42 – The Trapdoor…

In The floor…      

I often do get sidetracked by small details in buildings, and these trapdoors in the floors of the various halls and rooms of the Marvel (here in the Knights’ Chamber) caught my attention. Made of solid oak, as is much of the woodwork in the abbey they have the glowing patina of centuries of wear on them. But what was their purpose? One of our party suggested there had probably been a gallows above them – an unlikely use I thought despite the knowledge that for part of its history the Mont had served as a prison. Hanging, after the invention of the guillotine, was not a widely used method of execution in France. I had seen a similar covered aperture in the Petit Trianon in Versailles, which was used to deliver food from the kitchen below the Queen’s dining room without the need for lowly kitchen staff to enter the presence of Royalty. However although the ‘class system’ was indeed adhered to in the Marvel, no kichen lay below this level and location of the building, besides which the height and function of the rooms below discounted that idea too. The size of the opening (perhaps a metre square at most) precluded their use for furniture removal, and so the only possible answer can be that they served for either temporary access to the lower chambers or for the delivery of building materials, or even timber used to construct refectory tables in situ.

The oak fixtures around the abbey are details not to be missed. Although not grown in the immediate region, much oak is still brought to Normandy – the well known local apple brandy – Calvados – is aged in casks of (usually Limousin) oak.

41 – The Knights’ Chamber…

Still In the marvel…     

Beyond the Guests' Chamber on the north side of the middle tier of the Marvel lies a second and larger hall known as the Knights’ Chamber, or the Salle des Chevaliers, so named after King Louis XI of France had founded the chivalrous order of the Knights of St Michel in 1469. Originally used as the scriptorium it was here that in these pre-printing press days the monks would copy and produce illuminated texts and religious manuscripts, giving the Mont its erstwhile name of The City of Books. The order founded by Louis was primarily a response to the Order of the Golden Fleece founded by Philip of Burgundy, a rival claimant to the allegiances of other notable houses of French nobility. Early members were amongst the most powerful noblemen in France, and mostly close relatives of Louis’, and it remained the highest Order in the realm for a century until the founding of the French Order of the Holy Spirit. It was abolished in 1830, but has seen two revivals in the twentieth century. The large fireplaces also gave rise its reference as the calefactory, and it was almost certainly divided into numerous smaller workrooms by tapestry screens. Despite its naming, and Louis’ plans for annual meetings at the Mont, due to its remote and impractical location it is not recorded that any gathering of the members of the order ever took place within its walls.

Built later than the Guests’ Chamber, the architecture here represents a distinctly Norman style, solid rather than elegant - with the ogival vaulting pronouncedly outlined in contrasting stone. The pillar capitals have varying foliar and floral carvings. Altogether not a bad place to spend another day at the office!

40 – Guests Chamber…

level two…

Exiting the refectory via the spiral stairs in Corbins Tower I descended to the thirteenth century hall known as the Salle des Hôtes or Guests Chamber. It was here that Abbot Raoul des Isles would entertain his rich and famous visitors with banquets and feasts. Tables were set out along two aisles and meals would be cooked over fires at the end of the hall – separated from guests by tapestry screens as were the ablution facilities – the mod-cons of the day! As mentioned previously the upper level of the abbey church and cloisters was the preserve of the clergy, and the middle level was for nobility and royalty. It is therefore not surprising to note the opulence of the Gothic architecture which would have been used to display many decorative artefacts no longer present in the room. Although the flooring seen in this the eastern end of the hall is of limestone, there remain some beautiful mosaic patterned floors elsewhere in the room. This chamber was considered at the time one of the foremost examples of its kind, and was the inspiration for a number of others of the same period. A private chapel (St Mary Magdalen), set to the side of the hall was used for pre and post prandial prayers and thanksgiving, for above all the Mont was a place of worship and the guests in the Middle Ages were mainly pilgrims.

I particularly remember the amazing acoustic qualities of the vaulted space and thinking how those Abbot’s dinners must have been quite a contrast to the comparative silence of the monastic level.

39 – The Legend…

Aubert and St Michel…

In the eighth century Aubert, Bishop of Avranches dedicated the rock on which Mont St Michel is built to the Archangel Michael. Known as Mont Tombe at the time, the rock had long attracted Christian pilgrims as a place of worship. The cult of St Michel had spread through Europe, and appearances of his spirit were claimed in many locations. Appearing in a dream one night (reputedly in the year 708) St Michel ordered Aubert to make Mont Tombe a place of worship and to build an oratory dedicated to him. Believing the dream to have been his imagination it is said Aubert ignored the command twice and on the third occasion St Michel pressed his thumb deeply into Aubert’s forehead, providing a waking reminder that his appearance was no figment of the bishop’s imagination. Aubert obeyed the archangel’s orders , the oratory was built and dedicated on October 16^th 709. Miracles were claimed to have occurred on Mont Tombe, which became known henceforth as Mont St Michel. There is a relic of a skull said to be that of St Aubert, displayed in the Saint Gervais Basilica in Avranches. Others believe the relic to be one of a prehistoric skull, showing only evidence of trepanation.

The legend of St Aubert’s dream and the Archangel’s third visitation is graphically depicted in this marble bas relief inside the abbey. The overhead spotlighting gives the archangel’s head a haloed glow – partially compensating for the lack of facial details as seen today.  

38 – Refectory…

In the Marvel …

Again marrying elements of Gothic and Romanesque design styles the refectory or frater off the cloisters is a magnificent, but simple chamber. The hall dates back to the early thirteenth century and its size – some thirty four metres in length and ten metres in width – indicates that communal meals must have been something special when an obviously large community of monks would have inhabited the church. Refectory sizes are a good indication of the wealth of an abbey, and from this it is evident that the abbey at Mont St Michel was well patronised. The arc vaulted ceiling supported on thick heavy limestone decorated and colonnaded walls resembles an upturned boat hull, and as is the cloister ceiling, is clad with timber slats adding to that description. Of distinctly Romanesque style are the simple seemingly narrow windows. Although not visible along the length of the salon, some half dozen windows along the length of the room let in an amazing amount of light. Although appearing to be narrow they are some five feet wide and twenty in height. This view to the northern window shows the austerity of decoration – a simple crucifix. The south end holds the pulpit from which a single monk would have recited Biblical texts whilst his colleagues would have eaten their twice daily meatless meals (in accordance with the rules of St Benedict) in otherwise complete silence. The acoustics are superb and his voice would have filled the air of the refectory.

37 – Arcade…

In the cloisters …

If I had to select one image that conveys the feelings I experienced during the entire visit to Mont St Michel, I think this would be it. There is something slightly hypnotic about the perspective of the arcade on the south side of the cloisters. Photographically too, it is certainly one of my favourite shots. Contrast the enclosed columns and arches to the left (of Caen limestone) with those of granite to the right. Note also the use of a double row of columns on the right, the two rows being slightly staggered creating a succession of tripods, a design not commonly seen previously, but found in later Normandy Gothic designs. This technique created greater strength for the timbered roof. Click on the image for an enlarged version to see the floral carved detail in the corner crochets between the arches, which were mentioned in yesterday’s post.

The vaulted shingle timbered roof and ceiling are in magnificent condition. Although restoration has taken place, the craftsmanship using age old traditions is notable, and the cloisters present a fine example of church gothic styling. I feel as though I’m walking in solitude there once more. I wish I was.

36 – The Cloisters…

A place of peace …

Distinctly Gothic in style and dating from the early thirteenth century the abbey cloisters form a quadrangle against the backdrop of the abbey church. With a tranquil, lawned garden suspended between the sky and the sea at their centre, this area would have been an ideal retreat for the monks’ daily meditations and whispered conversations. The cloisters are also a good indication of the wealth and strength held by the church at the time, for the cost of commissioning the beautiful granite pillars and elaborately carved decorative arch stonework must have been considerable. The carvings and crochets beneath the cloister arches, made of limestone from Caen, incorporate dragons and mythical creatures along with foliage, vines and floral themes. The supporting columns or orders have a classical simplicity about them, perhaps dictated by the hardness of the porphyritic granite stone, with octagonal plinths and complementary simple cushioned capitals – reminiscent of an earlier Romanesque styling.

Apart from the use of the cloister arcades as an ambulatory, the area serves as a distribution gallery lead to other abbey buildings – the dormitories, refectory and the church.  The western aspect is a belvedere outlook to sea, the originally planned chapter house intended for this face having never been constructed. This view across the herbaceous garden looks onto the North transept and its window seen earlier from inside the abbey church.

I could not help but recall the famous labyrinth I had seen earlier at Chartres Cathedral, and imagine how perfect this garden would be for such a device.

35 – Frieze…

Inside the abbey iv

Besides the appealing polychrome wooden statuary, there are a number of friezes of polychrome decorated stone to be seen displayed within the abbey. These depict well known scenes from the Bible, such as this example of the banishment of Adam and Eve from the Garden of Eden. Notice the depiction of Satan within the Tree of the Knowledge of Good and Evil. It was Satan, symbolised by the dragon that was defeated by St Michel. Each of the displayed stone panels depicts a scene of punishment and retribution. I did not manage to get detailed information of these reliefs.  They are evidently not in their original location (they appear to have once been a continuous sequential panel) which would indicate that they belonged to an earlier abbey church or were brought from some other place of Christian worship. I’m not a serious art historian, but from the style and the colours used I would imagine they are medieval – probably around the 13^th century. I found them fascinating and strangely moving.

34 – St Michel…

Inside the abbey iii

QVIS VT DEVS, is the inscription beneath this polychrome statue – the one overlooking the altar in the transept crossing of the abbey. Accepting that it is probably from mediaeval times and that the inscription would be Latin we then get it as Quis Ut Deus – "who is like God". There is no doubt then that this is a depiction of St Michel. The name Michel or Michael can be broken down into its Hebrew components Mich El – which literally translates again as “who like God” – further identity confirmation if needed.

Two coincidences immediately came to my mind. The first is that I recognised this Latin phrase as the motto of the South African Midlands college school Michaelhouse. That in turn led me to discovering that the school was originally known as St Michael’s Diocesan College – a saintly association I had not made before. It’s probably not important, the school is not my personal alma mater, but I recently moved to live in this area of the country.

The second coincidence (of sorts) – my second (and family used) name is Michael. I started to understand better the unfathomably deep feelings of belonging I had felt during my visit to the Mont (and probably the hopes my mother had had for me at birth).

The motto is also frequently depicted on St Michel’s shield in artworks of his dragon slaying adventure, referenced in an earlier post. You will see too in the carving the scales and lance in hand – symbols of his exalted position in the hierarchy of angels – the scales being his to use during the judgement of souls, the lance his symbol of defender - the dragon's heart lies at his feet. Quis Ut Deus?

33 – Madonna and Child…

Inside the Abbey ii

Mont Saint-Michel remains in the custody of the Roman Catholic Church. Although not of that faith myself I do know enough about it to know that Mary, mother of Jesus is adored and revered more than in others of the Christian faith. This is so much the case that somewhat grand statues and effigies of Mary dominate the naves or apses of many a Roman Catholic Church or cathedral I have visited. I was therefore a little surprised that this is not so in the abbey church of Mont Saint Michel. But, then again I have already said that despite the towering grandeur of the Marvel’s structure, I found most things (especially so where decorative arts are concerned) on the Mont to be somewhat understated. Pleasantly so, I may add.

That is not to say that representations of Mary are not there, as this wooden polychrome Madonna and Child will attest. I have admired many examples of wooden polychrome decorated carvings, especially in Germany where the art form continues as a traditional craft especially in the Black Forest region. But the rustic naivety of the examples of the style found inside the abbey show that even since the Middle Ages it was an art form that found widespread appreciation throughout Europe. Surprisingly, you can today find fairly old examples at auction and even on eBay at remarkably affordable prices.

The silent penetrating stare of the statuettes added to the feeling that Saints still dwell within the abbey, watching over the many who make this pilgrimage.

32 – The subtlety of leadlight…

Inside the abbey

We first saw this style of window art above the abbey church doorway. It appears colourless, especially as I mentioned, when compared the rich hues and pictorial style of the work in Chartres Cathedral, Notre Dame and St Chapelle – the latter two in Paris. In effect most Gothic churches have windows that will be memorable for their detail and depth of colour. The work in the church and chapels of Mont St Michel has a different kind of beauty. 

If you haven’t yet worked it out, clicking on images on this site will display a larger version than the version shown on each blog entry. I suggest you examine this one especially, in larger format to gain a better appreciation of the subtlety of the light colouring and pattern detail. 

The monastic simplicity and elaborate patterning of the lead work here is what makes me recall these magnificent windows as easily as I can visualise those in the aforementioned places. They also help with that unity of the Gothic and Romanesque architectural styles we have looked at and discussed in the two earlier posts.

31 – Romanesque and Gothic

Side by side

Looking across the transept crossing and nave from the north transept, one gets a good appreciation of the differing but complementary architectural styles of Romanesque and Gothic. Let’s spend a little more time looking at what differentiates these two architectural periods.

Romanesque (in the style of the Romans) was prevalent from the 9^th through to the 12^th centuries and followed the earlier Byzantine style – typified by much smaller buildings than were now to be constructed. Arches were barrelled - as found in many classical Roman buildings - and buildings tended to have a heaviness from the thick walls to the heavy vaulted roofs, resulting in small and often few windows which tended to weaken construction. These larger buildings with blunted towers and often fortress like appearance, are something we have seen much of on the Mont so far, and will encounter again. The term Romanesque was introduced into the architect’s lexicon in the 1800’s

Gothic style (forget about today’s eyelined Goths) superceded Romanesque in the 12^th century and was introduced in church design with the intention of making them appear like heaven (or man’s idea of the place – colourful, spacious and light).  The use of complex external supporting structures, towers and buttresses along with internal ribbed arches displaced roof pressure outwards allowing increased heights, thinner walls and most notably increased use of glazed windows. Pointed arches, vaulted roofs, tall spires and lead-light or stained-glass panels typify the style. It is one that comes into its own in the Marvel.

A good descriptive comparison of the two styles can be seen here. Use your back arrow to return to this site, and you’ll see many of these features contrasted in today’s image – the transept with its Romanesque origins, and the nave, crossing and chancel - pure Gothic.

From the relative quiet of the transept I did feel somehow closer to heaven; it was probably here that I first mentally applied a single word to the abbey.

Celestial.

The place truly is celestial.

30 – The Architecture…

History

Mont St Michel is frequently described as an example of Romanesque architecture, yet as we have already seen the most recently built parts of the abbey apse and chancel (if one may call the sixteenth century recent) are decidedly Gothic. So too, as we will shortly see, are other parts of the Marvel. For a construction that has evolved over many centuries the entirety of the mount forms a surprisingly cohesive whole. The differing styles of architecture are as I have mentioned before sympathetically blended, as is the restoration work which continues to this day.  It retains a most attractive profile from almost any angle. Although there are records of an earlier pre-Romanesque church, the earliest known records of the Mont’s grand design date from around 1020 – the time of Abbot Hildebert. This early construction was only completed in 1135. The original three storied Marvel built above the existing church was begun in the early thirteenth century and completed in around 1230. Much damage was caused by a fire in 1204. The Marvel comprised of a number of halls, refectory, cloisters and the abbey towers. It is believed that one tower collapsed in 1300 followed by the collapse of the nave in 1421. Reconstruction began in 1450 and was completed in 1521. In 1618 this façade too began to collapse and was removed in the mid eighteenth century – all barring four arches. Further fire damage occurred in 1856, and restoration was begun in 1874 under Napoleon III who declared the site a national monument, and the government of France took responsibility for the upkeep and maintenance of the Mont.

As seen here, the nave of the abbey church displays a distinctly Romanesque style of construction.

29 – Gazing…

Higher

The almost colourless windows of the glass cage that forms the apse add to the simplicity of the abbey. It is a form of leadlight work that I find particularly appealing, and in fact had used in my own home at the time. The prismatic effect of some of the cut glass creates small iridescent rainbow spots of light that dance and move upon the stones constantly as the light outside changes and hides behind passing clouds. 

The use of polychromatic decorative carvings inside the church (such as that of Saint Michel seen yesterday behind the main altar) benefit greatly from this pure light – again a strong contrast when compared to the deep rich colours used in glazing the windows of Chartres Cathedral. We’ll take a closer look at some of these polychrome works later. 

Take time to appreciate the stone lace and lattice work, so typical of French Gothic, and yet unlike anything I have seen elsewhere. The placement of the external supporting structures and buttresses is incredible for its lack of shadow interference with the lighting. The strength of those internal supports is almost unimaginable. That this is the third tier of the Marvel stretches belief - for we were yet to see how this feat was achieved.

28 – From the nave…

The transept

With St Michel watching over the altar we faced the elaborate Gothic transept crossing and the apse. Reputedly based on the Abbey of St Ouen in Rouen, this part of the abbey emulates the best in Gothic architecture. While the exterior of this section of the building is decidedly flamboyant with flying buttresses and lace like tracery, there is a simplicity to the interior that somehow enhances and highlights the few decorative elements of detail in the stone carving surrounding the second and third tiers of the chancel windows. Likened by some  to a glass cage, light streams in from the windows of the chapels off the surrounding ambulatory behind the rear chancel arches. The central chapel directly behind the altar is that of Notre Dame. The height of the vaulting in the chancel is simply staggering and the contrasting colour of supporting stone piers serves to attract the eye to this. Once again the interior of the chancel's appearance belies the exterior forest of stone enabling it to stand erect - a testament to the architectural genius that designed it.

This sight must surely awaken any latent seeds of spirituality in even the least devout. Those more so spontaneously genuflected and began to pray.

I stood in awe.

27 – The Doors…

In To The abbey

Have you heard of Project Gutenberg? Johannes Gutenberg is of course widely acknowledged as the father of the printed word. The eponymously named Project has a simple mission – to encourage the creation and distribution of e-books.  Amongst the volumes available for download from this source is a fascinating and detailed glimpse into the past of Mont St Michel from the American journalist, historian and academic Henry Brooks Adams (February 16, 1838 – March 27, 1918). If you appreciate poetic, fine and slightly archaic writing it’s worth taking a look at this work.

Why do I mention this? Coincidentally during this trip to France I was to visit two very different places of Christian worship – the Mont and Chartres Cathedral. I went to Chartres principally to view the magnificent stained glass art of the cathedral windows – acknowledged to be amongst the finest in the world.  Adams’ work by coincidence is titled “Mont-Saint-Michel and Chartres” and he well illustrates through his writing how very different in character these two destinations are. Having already enjoyed the splendour and colour of the windows Chartres, the simplicity of the work found in the abbey of Mont St Michel is a marked contrast in style. And yet it is also very much in keeping with the monastic atmosphere of the island. 

We entered the abbey door. A hush fell on the crowd. Before us lay the towering transept of the abbey at Mont St Michel.  It was a lot to take in.

26 – Across the courtyard…

To The abbey

We had arrived at the summit of our climb of the Mont on the western platform, an ideal place from which to start the tour of the abbey and interiors of the Merveille. All that remained was to cross the stone courtyard with its strangely marked stone slabs, and to enter the church.  I once again marvelled at the amount of stone that had been transported to the Mont, and raised from its landing place so far below us. How many hours must have been spent in cutting and shaping the rocks, and what toil had so many men contributed to get each to its final place. In no small way the achievement of the buildings on the Mont must be close the accomplishment of the building of the pyramids of Egypt (an analogy I have mentioned before, as aptly as here). I needed to savour each step across these stones, thinking of the many millions who have gone this way before me, from the pilgrims of centuries ago to yesterday’s tourists. To the right stood gables of stone, and around the courtyard stood visitors, predominantly a coach load of the ubiquitous Japanese visitors that one increasingly encounters appreciating Europe. No matter what their language, nationality or faith, one could tell from the visitors’ expressions and actions that they too had just arrived and had yet to visit inside the church. There is something that noticeably changes in each sightseer once they have been through the abbey.

25 – The Mystery…

Numbers

Where is Robert Langdon when you really need him?

Crossing the expanse of the courtyard outside the abbey, the observant visitor will notice numbers and symbols cut into many of the granite paving stones.  At first I spotted a single number or letter. Was it an 8? Or was it the letter B? And what did it mean? The one thing I was certain about with everything on Mont St Michel was that nothing was insignificant. Everything had its purpose, and so too, I was sure would be these cuts into the cobbled pavers.  With the publication of his runaway bestsellers “The Da Vinci Code” and “Angels and Demons” the links between coded messages, historic French locations and ancient religious sites, especially those with centuries old secrets were never far from my mind. What secrets does Mont St Michel hold – and could these numbers have some deep dark hidden meaning?

I had to catch Segolene our guide, for her wealth of knowledge of the history of the Mont seemed limitless.

“The stones,” she explained, “were cut in quarries some distance from here – their final site - and each batch was marked with a location number for re laying.” Seeing an obvious slight look of scepticism on face, she added, “and the cutters were paid according to the number of stones they shaped. So the numbers were location markers and the letters were the mason’s code determining his wages due.”  I bought the explanation at the time, but still find myself wondering if that is all the meaning the glyphic symbols contain.

And – if Dan Brown ever works these into novel, remember you read the inspiration here first.

24 – Down below…

From up above

From the courtyard in front of the abbey one gets a good idea of just how far one has climbed.  The rock on which the abbey is constructed rises some eighty four metres above sea level, while the Fremiet statue of St Michel atop the abbey spire is said to be some one hundred and seventy metres high.

Looking west down to the Gabriel Tower, one sees acres of the silt now settled in the salt marshes of the bay. Distinctive in colour, this is known to the French as the “tangue”. The Gabriel Tower was added to the fortifications on the mont following the end of a period under siege in 1524. It is suggested by some that the tower had been named after Gabriel, one of three archangels of mention in the Bible. That would be fitting (romantic even) but it was in fact named after Gabriel de Puy a French military strategist. Designed to allow artillery defence from all approaches, in the seventeenth century when its defensive purpose was no longer required a windmill was mounted on the tower. It was repurposed as a lighthouse station for boats on the Couesnon river. Operational at the time for three and a half hours around the high tide, the light has been inactive since 1904. It was originally (in 1870) a static red light mounted in a wood cabin, then moved to the tower in 1881. For a height perspective – this three storied tower stands some eight metres to its peak.

Although the tower is now closed, one couple with our tour party did get to the doorway of the structure.

They returned engaged. Such is the magic of the mont!!!

23 – The Causeway…

Controversy

Arriving almost at the top of Mont St Michel one gets a great 360 degree perspective of the area and surrounding bay of the abbey.  One can also see why claim to ‘ownership’ of the Mont is rightfully made by Normandy – for in truth the site lies right on the border of Normandy and Brittany. That border is effectively defined by the small Couesnon River, and by an act of providence the Couesnon flows into the sea below the south side of the Mont.

But is it providence?

You may have noticed that I have on occasion referred to the Mont as an island, yet I always have a slight feeling of discomfort when doing so, for the motor causeway constructed some sixty years ago to carry visitors to the parking at the foot of the Mont has also effectively permanently joined the island to the mainland. And it has more significantly altered the flow of waters and tides around the bay – including the flow of the Couesnon.

The bay area of Mont St Michel is one of the largest, most ecologically diverse and important marine areas in the world. And it has been largely ruined. Fortunately it is not too late to undo the damage and a major project, proposed as far back as 1995, is now underway to return the bay closely to its former pristine glory. Known as Projet Mont Saint-Michel, fuller details of this ambitious and worthwhile project may be viewed here (use your back arrow key or browser history to return to this site). Work will free the island from the binds of the salt marshes, rid it of the unsightly parking area and return it to a marine setting. Visitors will again enjoy the Mont, and nature undisturbed.

It will once more become an island.