The Archangel loved heights. Standing on the summit of the tower that crowned his church, wings upspread, sword uplifted, the devil crawling beneath, and the cock, symbol of eternal vigilance, perched on his mailed foot, Saint Michael held a place of his own in heaven and on earth which seems, in the eleventh century, to leave hardly room for the Virgin of the Crypt at Chartres, still less for the Beau Christ of the thirteenth century at Amiens. The Archangel stands for Church and State, and both militant. He is the conqueror of Satan, the mightiest of all created spirits, the nearest to God. His place was where the danger was greatest; therefore you find him here. For the same reason he was, while the pagan danger lasted, the patron saint of France. So the Normans, when they were converted to Christianity, put themselves under his powerful protection. So he stood for centuries on his Mount in Peril of the Sea, watching across the tremor of the immense ocean,-immensi tremor oceani,-as Louis XI, inspired for once to poetry, inscribed on the collar of the Order of Saint Michael which he created. So soldiers, nobles, and monarchs went on pilgrimage to his shrine; so the common people followed, and still follow, like ourselves.

The church stands high on the summit of this granite rock, and on its west front is the platform, to which the tourist ought first to climb. From the edge of this platform, the eye plunges down, two hundred and thirty-five feet, to the wide sands or the wider ocean, as the tides recede or advance, under an infinite sky, over a restless sea, which even we tourists can understand and feel without books or guides; but when we turn from the western view, and look at the church door, thirty or forty yards from the parapet where we stand, one needs to be eight centuries old to know what this mass of encrusted architecture meant to its builders, and even then one must still learn to feel it. The man who wanders into the twelfth century is lost, unless he can grow prematurely young.

One can do it, as one can play with children. Wordsworth, whose practical sense equalled his intuitive genius, carefully limited us to "a season of calm weather," which is certainly best; but granting a fair frame of mind, one can still "have sight of that immortal sea" which brought us hither from the twelfth century; one can even travel thither and see the children sporting on the shore. Our sense is partially atrophied from disuse, but it is still alive, at least in old people, who alone, as a class, have the time to be young.

One needs only to be old enough in order to be as young as one will. From the top of this Abbey Church one looks across the bay to Avranches, and towards Coutances and the Cotentin,--the Constan- tinus pagus,--whose shore, facing us, recalls the coast of New Eng- land. The relation between the granite of one coast and that of the other may be fanciful, but the relation between the people who live on each is as hard and practical a fact as the granite itself. When one enters the church, one notes first the four great triumphal piers or columns, at the intersection of the nave and transepts, and on looking into M. Corroyer's architectural study which is the chief source of all one's acquaintance with the Mount, one learns that these piers were constructed in 1058. Four out of five American tourists will instantly recall the only date of mediaeval history they ever knew, the date of the Norman Conquest. Eight years after these piers were built, in 1066, Duke William of Normandy raised an army of forty thousand men in these parts, and in northern France, whom he took to England, where they mostly stayed. For a hundred and fifty years, until 1204, Normandy and England were united; the Norman peasant went freely to England with his lord, spiritual or temporal; the Norman woman, a very capable person, followed her husband or her parents; Normans held nearly all the English fiefs; filled the English Church; crowded the English Court; created the English law; and we know that French was still currently spoken in England as late as 1400, or thereabouts, "After the scole of Stratford atte bowe." The aristocratic Norman names still survive in part, and if we look up their origin here we shall generally find them in villages so remote and insignificant that their place can hardly be found on any ordinary map; but the common people had no surnames, and cannot be traced, although for every noble whose name or blood survived in England or in Normandy, we must reckon hundreds of peasants. Since the generation which followed William to England in 1066, we can reckon twenty-eight or thirty from father to son, and, if you care to figure up the sum, you will find that you had about two hundred and fifty million arithmetical ancestors living in the middle of the eleventh century. The whole population of England and northern France may then have numbered five million, but if it were fifty it would not much affect the certainty that, if you have any English blood at all, you have also Norman. If we could go back and live again in all our two hundred and fifty million arithmetical ancestors of the eleventh century, we should find ourselves doing many surprising things, but among the rest we should pretty certainly be ploughing most of the fields of the Cotentin and Calvados; going to mass in every parish church in Normandy; rendering military service to every lord, spiritual or temporal, in all this region; and helping to build the Abbey Church at Mont- Saint-Michel. From the roof of the Cathedral of Coutances over yonder, one may look away over the hills and woods, the farms and fields of Normandy, and so familiar, so homelike are they, one can almost take oath that in this, or the other, or in all, one knew life once and has never so fully known it since.

Never so fully known it since! For we of the eleventh century, hard- headed, close-fisted, grasping, shrewd, as we were, and as Normans are still said to be, stood more fully in the centre of the world's movement than our English descendants ever did. We were a part, and a great part, of the Church, of France, and of Europe. The Leos and Gregories of the tenth and eleventh centuries leaned on us in their great struggle for reform. Our Duke Richard-Sans-Peur, in 966, turned the old canons out of the Mount in order to bring here the highest influence of the time, the Benedictine monks of Monte Cassino. Richard II, grandfather of William the Conqueror, began this Abbey Church in 1020, and helped Abbot Hildebert to build it. When William the Conqueror in 1066 set out to conquer England, Pope Alexander II stood behind him and blessed his banner. From that moment our Norman Dukes cast the Kings of France into the shade. Our activity was not limited to northern Europe, or even confined by Anjou and Gascony. When we stop at Coutances, we will drive out to Hauteville to see where Tancred came from, whose sons Robert and Roger were conquering Naples and Sicily at the time when the Abbey Church was building on the Mount. Normans were everywhere in 1066, and everywhere in the lead of their age. We were a serious race. If you want other proof of it, besides our record in war and in politics, you have only to look at our art. Religious art is the measure of human depth and sincerity; any triviality, any weakness, cries aloud. If this church on the Mount is not proof enough of Norman character, we will stop at Coutances for a wider view. Then we will go to Caen and Bayeux. From there, it would almost be worth our while to leap at once to Palermo. It was in the year 1131 or thereabouts that Roger began the Cathedral at Cefalu and the Chapel Royal at Palermo; it was about the year 1174 that his grandson William began the Cathedral of Monreale. No art--either Greek or Byzantine, Italian or Arab--has ever created two religious types so beautiful, so serious, so impressive, and yet so different, as Mont- Saint-Michel watching over its northern ocean, and Monreale, looking down over its forests of orange and lemon, on Palermo and the Sicilian seas. Down nearly to the end of the twelfth century the Norman was fairly master of the world in architecture as in arms, although the thirteenth century belonged to France, and we must look for its glories on the Seine and Marne and Loire; but for the present we are in the eleventh century,--tenants of the Duke or of the Church or of small feudal lords who take their names from the neighbourhood,-- Beaumont, Carteret, Greville, Percy, Pierpont,--who, at the Duke's bidding, will each call out his tenants, perhaps ten men-at-arms with their attendants, to fight in Brittany, or in the Vexin toward Paris, or on the great campaign for the conquest of England which is to come within ten years,--the greatest military effort that has been made in western Europe since Charlemagne and Roland were defeated at Roncesvalles three hundred years ago. For the moment, we are helping to quarry granite for the Abbey Church, and to haul it to the Mount, or load it on our boat. We never fail to make our annual pilgrimage to the Mount on the Archangel's Day, October 16. We expect to be called out for a new campaign which Duke William threatens against Brittany, and we hear stories that Harold the Saxon, the powerful Earl of Wessex in England, is a guest, or, as some say, a prisoner or a hostage, at the Duke's Court, and will go with us on the campaign. The year is 1058. All this time we have been standing on the parvis, looking out over the sea and sands which are as good eleventh-century landscape as they ever were; or turning at times towards the church door which is the pons seclorum, the bridge of ages, between us and our ancestors. Now that we have made an attempt, such as it is, to get our minds into a condition to cross the bridge without breaking down in the effort, we enter the church and stand face to face with eleventh- century architecture; a ground-plan which dates from 1020; a central tower, or its piers, dating from 1058; and a church completed in 1135. France can offer few buildings of this importance equally old, with dates so exact. Perhaps the closest parallel to Mont-Saint- Michel is Saint-Benoit-sur-Loire, above Orleans, which seems to have been a shrine almost as popular as the Mount, at the same time. Chartres was also a famous shrine, but of the Virgin, and the west porch of Chartres, which is to be our peculiar pilgrimage, was a hundred years later than the ground-plan of Mont-Saint-Michel, although Chartres porch is the usual starting-point of northern French art. Queen Matilda's Abbaye-aux-Dames, now the Church of the Trinity, at Caen, dates from 1066. Saint Sernin at Toulouse, the porch of the Abbey Church at Moissac, Notre-Dame-du-Port at Clermont, the Abbey Church at Vezelay, are all said to be twelfth- century. Even San Marco at Venice was new in 1020.

Yet in 1020 Norman art was already too ambitious. Certainly nine hundred years leave their traces on granite as well as on other material, but the granite of Abbot Hildebert would have stood securely enough, if the Abbot had not asked too much from it. Perhaps he asked too much from the Archangel, for the thought of the Archangel's superiority was clearly the inspiration of his plan. The apex of the granite rock rose like a sugar-loaf two hundred and forty feet (73.6 metres) above mean sea-level. Instead of cutting the summit away to give his church a secure rock foundation, which would have sacrificed about thirty feet of height, the Abbot took the apex of the rock for his level, and on all sides built out foundations of masonry to support the walls of his church. The apex of the rock is the floor of the croisee, the intersection of nave and transept. On this solid foundation the Abbot rested the chief weight of the church, which was the central tower, supported by the four great piers which still stand; but from the croisee in the centre westward to the parapet of the platform, the Abbot filled the whole space with masonry, and his successors built out still farther, until some two hundred feet of stonework ends now in a perpendicular wall of eighty feet or more. In this space are several ranges of chambers, but the structure might perhaps have proved strong enough to support the light Romanesque front which was usual in the eleventh century, had not fashions in architecture changed in the great epoch of building, a hundred and fifty years later, when Abbot Robert de Torigny thought proper to reconstruct the west front, and build out two towers on its flanks. The towers were no doubt beautiful, if one may judge from the towers of Bayeux and Coutances, but their weight broke down the vaulting beneath, and one of them fell in 1300. In 1618 the whole facade began to give way, and in 1776 not only the facade but also three of the seven spans of the nave were pulled down. Of Abbot Hildebert's nave, only four arches remain. Still, the overmastering strength of the eleventh century is stamped on a great scale here, not only in the four spans of the nave, and in the transepts, but chiefly in the triumphal columns of the croisee. No one is likely to forget what Norman architecture was, who takes the trouble to pass once through this fragment of its earliest bloom. The dimensions are not great, though greater than safe construction warranted. Abbot Hildebert's whole church did not exceed two hundred and thirty feet in length in the interior, and the span of the triumphal arch was only about twenty-three feet, if the books can be trusted. The nave of the Abbaye-aux-Dames appears to have about the same width, and probably neither of them was meant to be vaulted. The roof was of timber, and about sixty-three feet high at its apex. Compared with the great churches of the thirteenth century, this building is modest, but its size is not what matters to us. Its style is the starting-point of all our future travels. Here is your first eleventh-century church! How does it affect you?

Serious and simple to excess! is it not? Young people rarely enjoy it. They prefer the Gothic, even as you see it here, looking at us from the choir, through the great Norman arch. No doubt they are right, since they are young: but men and women who have lived long and are tired,--who want rest,--who have done with aspirations and ambition,--whose life has been a broken arch,--feel this repose and self-restraint as they feel nothing else. The quiet strength of these curved lines, the solid support of these heavy columns, the moderate proportions, even the modified lights, the absence of display, of effort, of self-consciousness, satisfy them as no other art does. They come back to it to rest, after a long circle of pilgrimage,--the cradle of rest from which their ancestors started. Even here they find the repose none too deep.

Indeed, when you look longer at it, you begin to doubt whether there is any repose in it at all,--whether it is not the most unreposeful thought ever put into architectural form. Perched on the extreme point of this abrupt rock, the Church Militant with its aspirant Archangel stands high above the world, and seems to threaten heaven itself. The idea is the stronger and more restless because the Church of Saint Michael is surrounded and protected by the world and the society over which it rises, as Duke William rested on his barons and their men. Neither the Saint nor the Duke was troubled by doubts about his mission. Church and State, Soul and Body, God and Man, are all one at Mont-Saint-Michel, and the business of all is to fight, each in his own way, or to stand guard for each other. Neither Church nor State is intellectual, or learned, or even strict in dogma. Here we do not feel the Trinity at all; the Virgin but little; Christ hardly more; we feel only the Archangel and the Unity of God. We have little logic here, and simple faith, but we have energy. We cannot do many things which are done in the centre of civilization, at Byzantium, but we can fight, and we can build a church. No doubt we think first of the church, and next of our temporal lord; only in the last instance do we think of our private affairs, and our private affairs sometimes suffer for it; but we reckon the affairs of Church and State to be ours, too, and we carry this idea very far. Our church on the Mount is ambitious, restless, striving for effect; our conquest of England, with which the Duke is infatuated, is more ambitious still; but all this is a trifle to the outburst which is coming in the next generation; and Saint Michael on his Mount expresses it all.

Taking architecture as an expression of energy, we can some day compare Mont-Saint-Michel with Beauvais, and draw from the comparison whatever moral suits our frame of mind; but you should first note that here, in the eleventh century, the Church, however simple-minded or unschooled, was not cheap. Its self-respect is worth noticing, because it was short-lived in its art. Mont-Saint- Michel, throughout, even up to the delicate and intricate stonework of its cloisters, is built of granite. The crypts and substructures are as well constructed as the surfaces most exposed to view. When we get to Chartres, which is largely a twelfth-century work, you will see that the cathedral there, too, is superbly built, of the hardest and heaviest stone within reach, which has nowhere settled or given way; while, beneath, you will find a crypt that rivals the church above. The thirteenth century did not build so. The great cathedrals after 1200 show economy, and sometimes worse. The world grew cheap, as worlds must.

You may like it all the better for being less serious, less heroic, less militant, and more what the French call bourgeois, just as you may like the style of Louis XV better than that of Louis XIV,-- Madame du Barry better than Madame de Montespan,--for taste is free, and all styles are good which amuse; but since we are now beginning with the earliest, in order to step down gracefully to the stage, whatever it is, where you prefer to stop, we must try to understand a little of the kind of energy which Norman art expressed, or would have expressed if it had thought in our modes. The only word which describes the Norman style is the French word naif. Littre says that naif comes from natif, as vulgar comes from vulgus, as though native traits must be simple, and commonness must be vulgar. Both these derivative meanings were strange to the eleventh century. Naivete was simply natural and vulgarity was merely coarse. Norman naivete was not different in kind from the naivete of Burgundy or Gascony or Lombardy, but it was slightly different in expression, as you will see when you travel south. Here at Mont-Saint-Michel we have only a mutilated trunk of an eleventh-century church to judge by. We have not even a facade, and shall have to stop at some Norman village--at Thaon or Ouistreham--to find a west front which might suit the Abbey here, but wherever we find it we shall find something a little more serious, more military, and more practical than you will meet in other Romanesque work, farther south. So, too, the central tower or lantern--the most striking feature of Norman churches--has fallen here at Mont-Saint-Michel, and we shall have to replace it from Cerisy-la-Foret, and Lessay, and Falaise. We shall find much to say about the value of the lantern on a Norman church, and the singular power it expresses. We shall have still more to say of the towers which flank the west front of Norman churches, but these are mostly twelfth-century, and will lead us far beyond Coutances and Bayeux, from fleche to fleche, till we come to the fleche of all fleches, at Chartres.

We shall have a whole chapter of study, too, over the eleventh- century apse, but here at Mont-Saint-Michel, Abbot Hildebert's choir went the way of his nave and tower. He built out even more boldly to the east than to the west, and although the choir stood for some four hundred years, which is a sufficient life for most architecture, the foundations gave way at last, and it fell in 1421, in the midst of the English wars, and remained a ruin until 1450. Then it was rebuilt, a monument of the last days of the Gothic, so that now, standing at the western door, you can look down the church, and see the two limits of mediaeval architecture married together,--the earliest Norman and the latest French. Through the Romanesque arches of 1058, you look into the exuberant choir of latest Gothic, finished in 1521. Although the two structures are some five hundred years apart, they live pleasantly together. The Gothic died gracefully in France. The choir is charming,--far more charming than the nave, as the beautiful woman is more charming than the elderly man. One need not quarrel about styles of beauty, as long as the man and woman are evidently satisfied and love and admire each other still, with all the solidity of faith to hold them up; but, at least, one cannot help seeing, as one looks from the older to the younger style, that whatever the woman's sixteenth- century charm may be, it is not the man's eleventh-century trait of naivete;--far from it! The simple, serious, silent dignity and energy of the eleventh century have gone. Something more complicated stands in their place; graceful, self-conscious, rhetorical, and beautiful as perfect rhetoric, with its clearness, light, and line, and the wealth of tracery that verges on the florid.

The crypt of the same period, beneath, is almost finer still, and even in seriousness stands up boldly by the side of the Romanesque; but we have no time to run off into the sixteenth century: we have still to learn the alphabet of art in France. One must live deep into the eleventh century in order to understand the twelfth, and even after passing years in the twelfth, we shall find the thirteenth in many ways a world of its own, with a beauty not always inherited, and sometimes not bequeathed. At the Mount we can go no farther into the eleventh as far as concerns architecture. We shall have to follow the Romanesque to Caen and so up the Seine to the Ile de France, and across to the Loire and the Rhone, far to the South where its home lay. All the other eleventh-century work has been destroyed here or built over, except at one point, on the level of the splendid crypt we just turned from, called the Gros Piliers, beneath the choir.

There, according to M. Corroyer, in a corner between great constructions of the twelfth century and the vast Merveille of the thirteenth, the old refectory of the eleventh was left as a passage from one group of buildings to the other. Below it is the kitchen of Hildebert. Above, on the level of the church, was the dormitory. These eleventh-century abbatial buildings faced north and west, and are close to the present parvis, opposite the last arch of the nave. The lower levels of Hildebert's plan served as supports or buttresses to the church above, and must therefore be older than the nave; probably older than the triumphal piers of 1058.

Hildebert planned them in 1020, and died after carrying his plans out so far that they could be completed by Abbot Ralph de Beaumont, who was especially selected by Duke William in 1048, "more for his high birth than for his merits." Ralph de Beaumont died in 1060, and was succeeded by Abbot Ranulph, an especial favourite of Duchess Matilda, and held in high esteem by Duke William. The list of names shows how much social importance was attributed to the place. The Abbot's duties included that of entertainment on a great scale. The Mount was one of the most famous shrines of northern Europe. We are free to take for granted that all the great people of Normandy slept at the Mount and, supposing M. Corroyer to be right, that they dined in this room, between 1050, when the building must have been in use, down to 1122 when the new abbatial quarters were built.

How far the monastic rules restricted social habits is a matter for antiquaries to settle if they can, and how far those rules were observed in the case of great secular princes; but the eleventh century was not very strict, and the rule of the Benedictines was always mild, until the Cistercians and Saint Bernard stiffened its discipline toward 1120. Even then the Church showed strong leanings toward secular poetry and popular tastes. The drama belonged to it almost exclusively, and the Mysteries and Miracle plays which were acted under its patronage often contained nothing of religion except the miracle. The greatest poem of the eleventh century was the "Chanson de Roland," and of that the Church took a sort of possession. At Chartres we shall find Charlemagne and Roland dear to the Virgin, and at about the same time, as far away as at Assisi in the Perugian country, Saint Francis himself--the nearest approach the Western world ever made to an Oriental incarnation of the divine essence--loved the French romans, and typified himself in the "Chanson de Roland." With Mont-Saint-Michel, the "Chanson de Roland" is almost one. The "Chanson" is in poetry what the Mount is in architecture. Without the "Chanson," one cannot approach the feeling which the eleventh century built into the Archangel's church. Probably there was never a day, certainly never a week, during several centuries, when portions of the "Chanson" were not sung, or recited, at the Mount, and if there was one room where it was most at home, this one, supposing it to be the old refectory, claims to be the place.