Great Hall of the Palais
The palais consists of a long, somewhat narrow building thrusting out into the inner court, and of other structures resting against the western curtain wall on one side, but with their larger inner windows looking also into the court. The rooms are high, with enormous fireplaces where great logs can warm the apartments in winter. The ceilings are ribbed and vaulted like a church, and some of the masonry is beautifully carved. Where the bare walls are exposed they are often covered with a stucco on which are sketched fresco scenes somewhat after the style of stiff Byzantine paintings, or the famous tapestry of Queen Mathilde at Bayeux. All the tints are flat red, yellow, or brown, without perspective or fine lines, and in a kind of demi-silhouette. Little touches of green, violet, and blue relieve the bareness, and despite many awkward outlines and other limitations many of the scenes are spirited as well as highly decorative. Some of the pictures are religious. We notice "Christ on the Cross" between the "Synagogue" and the "New Law," a "Last Judgment," an episode in the life of St. Aliquis himself; also many secular pictures based often on the jongleur's epics. Thus from the "Song of Roland" there is the tearing by wild horses of the traitor Ganelon.
The windows in this palais betray the luxury of the owner. They are not closed by wooden shutters, as are most other apertures in the castle. They are of glass, with very small panes set in lead. The panes in the smaller rooms are uncolored, although hardly of transparent whiteness, but in the huge dining hall they are richly colored as in a church, giving a jewel-set galaxy of patron saints (e.g., St. Martin, the warrior saint of France) and of knights and paladins from Charlemagne and King Artus down, gazing benignantly upon the feasters below.
This new hall is, of course, the finest apartment in the castle. Here amid wood- and stone-work deeply carved the baron's household sits down to dinner. It is, however, more than a mere dining room. Great feudal ceremonies, such as the receiving of homage, here take place. Hither also in bad weather or on winter evenings nearly all the castle folk will resort. Messire will sit on the dais upon his canopied chair; everybody else will wedge in as closely as possible, and after infinite chatter, jesting, dice playing, and uproar the ever-popular jongleurs will take station near the fireplace, do their tricks, sing songs, or recite romances. The hall is, in short, the focus of the peaceful life of the castle.
There are other rooms in the palais, but, considering the number of people who have to live therein, they seem rather few. There is little real privacy in St. Aliquis. The baron has a special closet indeed, where he can retire and hope that he is not overheard, but the great chamber for himself and the baroness is ordinarily full of servitors. Next to the chamber is a second room where the baron's sons sleep while they are little, and where honored guests can be lodged. Conon's brother and sister have each a large apartment, but there seems a singular lack of anterooms, boudoirs, and other retiring rooms. It is perfectly good manners to ask noble guests to share the same rooms with the family; and a couple of the baroness's maids will sleep on pallets within her chamber, with the baron's favorite squire just outside the door. As for the lesser folk at night, they often stretch unceremoniously on the tables or even on the floor in the main hall. The possession of a strictly private room is indeed a decided luxury; even a great noble is often able to go without it.
INTERIOR OF A THIRTEENTH-CENTURY APARTMENT
From the restoration by Viollet-Le-Duc. At the left the chair where sits the seigneur, the bed separated by a screen from the rest of the hall; at the back, between the two windows, a cupboard; opposite the fireplace, a large table. Tapestries ornament the walls.
Tables, Rushes and Tapestries in Hall