The splendor of the classical past
If one can still make out the cloister of the former royal Benedictine Abbey, it is the18th century glamour and elegance that reigned during the Maurists’ tenure that surprises today’s visitors, who can admire the sumptuously vaulted halls, redesigned in the 17th and 18th centuries by Pierre Mignard, architect of King Louis XIV, including an exceptional succession of ceilings created by François Franque.
The monumental entrance door and staircase, the facade of the left wing designed for guests, and the admirable vaults of the great dining hall on the first floor with their beautiful repetitive motifs are the achievements of the Abbey’s last architect, Jean-Ange Brun.
It is important to note that after the Revolution only the entrance pavilion, today’s abbatial palace, was preserved. But it lets us easily imagine the splendour and scale of the place. One can easily visualize from it the highly classical structure of the Maurist Abbey, which incorporated the remaining Romanesque style buildings by remarkable, scientific use of the hill’s downward slope.
At courtyard level, the Abbey comprised a three-story entry pavilion with a pediment, resting on the semi-underground story of kitchens, whose galleries led to the main staircase. The staircase led on the left to the churches and on the right, to a large two-story building on the terrace that was completed in 1742, then polished off in 1763 with a pedimented pavilion identical to the one in the entrance courtyard.
The paintings of Émile Bernard
On the ceiling of one of the vaulted galleries in the abbatial palace, one can admire a cycle of three paintings depicting the Annunciation with scenes of musician Angels executed by the artist Émile Bernard. The paintings were done in 1914 when his friend and fellow painter Louis Yperman owned the Abbey.