Mont Saint-Michel

Definition and stakes

Portrait of Henry Adams Henry Adams Mont-Saint-Michel and Chartres (1904)

To feel the art of Mont-Saint-Michel and Chartres we have got to become pilgrims again: but, just now, the point of most interest is not the pilgrim so much as the minstrel who sang to amuse him,—the jugleor or jongleur,— who was at home in every abbey, castle or cottage, as well as at every shrine.
Source: Gutenberg

Portrait of Henry Adams Henry Adams Mont-Saint-Michel and Chartres (1904)

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
Source: Gutenberg

Portrait of Henry Adams Henry Adams Mont-Saint-Michel and Chartres (1904)

Every one who loves travel will hope that it never may. If you are driven to notice it as the most distinctive mark of French art, it is not at all for the purpose of arguing a doubtful law, but only in order to widen the amusement of travel. We set out to travel from Mont-Saint-Michel to Chartres, and no farther; there we stop; but we may still look across the boundary to Assisi for a specimen of Italian Gothic architecture, a scheme of colour decoration, or still better for a mystic to compare with the Bernadines and Victorians.
Source: Gutenberg

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