The first written text about an abbey dates from the 9th century. When Christianity expanded to this area, around the 4th century, Mont Tombe, the original name of Mont Saint Michel, was part of diocèse d’Avranches. By the middle of the 6th century, christianism had a stronger presence in the bay. By this time, Mont Tombe was populated by religious devots, hermits (probably some Celtic monks) resupplied by the curé of Astériac, that took care of the site and led a contemplative life around some oratories.
In 710, Mont-Tombe is renamed Mont-Saint-Michel-au-péril-de-la-Mer (Mont Saint Michel at the peril of the sea) after erecting an oratory to Saint Michel by bishop Saint Aubert of Avranches in 708. According to the legend, Aubert received, during his sleep, three times the order from Saint-Michel to erect an oratory on the Mont-Tombe. The archangel left his finger mark on Aubert's skull. This skull is displayed at the Saint-Gervais d'Avranches basilica was such a scar on it.
This sanctuary should be, according to the archangel, a replica of the Gargano in Italy (from the 5th century). Aubert had a local religious artifact removed and instead a circular sanctuary built, made of dry stones. Around 708, On October 16 709, the bishop dedicated the church and put twelve chanoine there. The Mont-Saint-Michel was born. The remains of the oratory were found in the chapel Notre-Dame-Sous-Terre. This sanctuary contained the tomb of Aubert and most likely the artifacts brought from Gargano. The chapel Notre-Dame-Sous-Terre is today under the nave of the abbey-church.
The first buildings became too small and under the Western Roman Empire multiple buildings were added. In the 10th century the Benedictine monks settled in the abbey, constructing the Romanesque abbey church with its high vaulted ceilings and moulded arches, monastery and crypts at the apex of the rock.
Through successive centuries of the Middle Ages and with increasing numbers of monks and pilgrims both the abbey and village were extended until in the 13th century they stretched down to the foot of the rock.
By the 14th century and the Hundred Years war, the abbey had to be protected behind a massive set of military ramparts, enabling it to successfully hold out successfully through many English sieges lasting over 30 years and in doing so the Mount became a symbol of French national identity.
In 1421 the original Romanesque chancel (choir) of the abbey church collapsed and was replaced in the 15th century by a flamboyant Gothic structure, marking completion of the last major construction works at the mount. The abbey today is thus an exceptional example of the full range of medieval architecture.
Over the 16th and 17th centuries religious ideals waned and the number of monks dwindled until by 1790 the monastery was disbanded and the monks left the mount. This paved the way for the fortress to be turned into a prison in 1793, a situation which lasted through the days of the French Revolution and Empire until imperial decree in 1863 finally overturned the sacrilege.
In 1874 Mont Saint-Michel was designated as a French historical monument and major works have continued now for over a century to restore the mount to its former splendour, improving both the abbey interior and exterior. With the celebration of the monastery's 1000th anniversary in the year 1966, a religious community returned to the mount, perpetuating spiritual prayer and welcoming the mount's original vocation.
UNESCO recognised the unique character and historical importance of Mont Saint-Michel by classifying it as a world heritage site in 1979.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.