THEODORE ROUSSEAU (1812-1867)
Mont Saint Michel (92m-302ft)
France (Normandie)
The mount
Le Mont-Saint-Michel (92 m - 302 ft) is an island commune in Normandy, France. Mont Saint-Michel (first called Mont Tombe) consists of leucogranite, which solidified from an underground intrusion of molten magma about 525 million years ago, during the Cambrian period, as one of the younger parts of the Mancellian granitic batholith. Early studies of Mont Saint-Michel by French geologists sometimes describe the leucogranite of the Mont as "granulite", but this granitic meaning of granulite is now obsolete.
It is located about one kilometre (0.6 miles) off the country's northwestern coast, at the mouth of the Couesnon River near Avranches and is 100 hectares (247 acres) in size.
The island has held strategic fortifications since ancient times and since the 8th century AD has been the seat of the monastery from which it draws its name. The structural composition of the town exemplifies the feudal society that constructed it: on top, God, the abbey and monastery; below, the great halls; then stores and housing; and at the bottom, outside the walls, houses for fishermen and farmers. The commune's position - on an island just 600 m from land - made it accessible at low tide to the many pilgrims to its abbey, but defensible as an incoming tide stranded, drove off, or drowned would-be assailants. The Mont remained unconquered during the Hundred Years' War; a small garrison fended off a full attack by the English in 1433. The reverse benefits of its natural defence were not lost on Louis XI, who turned the Mont into a prison. Thereafter the abbey began to be used more regularly as a jail during the monarchy.
One of France's most recognizable landmarks, visited by more than 3 million people each year, Mont Saint-Michel and its bay are on the UNESCO list of World Heritage Sites.
Over 60 buildings within the commune are protected in France as "Monuments historiques" (Historical buildings).
In the 11th century, the italian architect William di Volpiano was chosen by Richard II, Duke of Normandy, to be the building contractor of the Mont Saint-Michel church. He designed the Romanesque church of the abbey, daringly placing the transept crossing at the top of the mount. Many underground crypts and chapels had to be built to compensate for this weight; these formed the basis for the supportive upward structure that can be seen today.
Robert de Thorigny, a great supporter of Henry II of England (also Duke of Normandy), reinforced the structure of the buildings and built the main façade of the church in the 12th century.
In 1204, Guy de Thouars, regent for the Duchess of Brittany, as vassal of the King of France, undertook a siege of the Mount. After having set fire to the village and having massacred the population, he was obliged to beat a retreat under the powerful walls of the abbey. The buildings, and the roofs fell prey to the flames. Horrified by the cruelty and the exactions of his Breton ally, Philip Augustus offered Abbot Jordan a grant for the construction of a new Gothic architectural set which included the addition of the refectory and cloister.
Charles VI is credited with adding major fortifications to the abbey-mount, building towers, successive courtyards, and strengthening the ramparts.
Since 2001, a community of monks and nuns of the Monastic Fraternities of Jerusalem, sent from the mother-house of St-Gervais-et-St-Protais in Paris, have been living as a community on Mont Saint-Michel. They replaced the Benedictine monks who returned to the Mount in 1966. They are tenants of the centre for National Historical Monuments and are not involved in the management of the abbey. The community meets four times a day to recite the liturgical office in the abbey itself (or in the crypt of Notre-Dame des Trente Cierges in winter). In this way, the building keeps its original purpose as a place of prayer and singing the glory of God. The presence of the community attracts many visitors and pilgrims who come to join in the various liturgical celebrations.
In 2012, the community undertook the renovation of a house on the Mount, the Logis Saint-Abraham, which is used as a guest house for pilgrims on retreat.
The painter
Etienne- Pierre-Théodore Rousseau was a French painter of the Barbizon school. Not to be confused with Henri Rousseau (called Le Douanier), he was born in Paris, of a bourgeois family and received at first a business training, but soon displayed aptitude for painting. The influence of classically trained artists was against Rousseau and its paintings had to wait until 1848 before to be presented adequately to the public.
In 1848, Rousseau took up his residence in the forest village of Barbizon, and spent most of his remaining days in the vicinity. He was now able to obtain fair sums for his pictures (but only about one-tenth of their value thirty years after his death), and the number of his admirers increased. He was still ignored by the authorities, for while Narcisse Virgilio Diaz was made Chevalier of the Legion of Honour in 1851, Rousseau was left undecorated at this time, but was nominated and awarded the Cross soon afterwards.
At the Exposition Universelle of 1853, where all Rousseau's rejected pictures of the previous twenty years were gathered together, his works were acknowledged to form one of the best of the many splendid groups there exhibited. But, after an unsuccessful sale of his works by auction in 1861, he contemplated leaving Paris for Amsterdam or London, or even New York. Rousseau's pictures are always grave in character, with an air of exquisite melancholy. They are well finished when they profess to be completed pictures, but Rousseau spent so much time developing his subjects that his absolutely completed works are comparatively few. He left many canvases with parts of the picture realized in detail and with the remainder somewhat vague; and also a good number of sketches and water-color drawings. His pen work in monochrome on paper is rare. There are a number of good pictures by him in the Louvre, and the Wallace collection contains one of his most important Barbizon pictures. There is also an example in the Ionides collection at the Victoria and Albert Museum in London.