Discover the Maison de Bois of Mâcon, a medieval gem in Burgundy, France, that offers a captivating glimpse into the audacious and rebellious spirit of the 15th century. From its scandalous past as a brothel to its provocative facade, this well-preserved wooden house is a treasure trove of historical intrigue and artistic whimsy.
By Lorris Chevalier
The Maison de Bois of Mâcon (The Wooden House), located in Burgundy, France, is a true architectural and historical treasure. Built at the end of the 15th century, this house is not only the oldest in the city but also remarkably well-preserved. It offers a fascinating glimpse into the architecture and social life of the medieval era.
Constructed between 1490 and 1510, the Maison de Bois is said to have housed the Bacchic Brotherhood of Malgouverne, an assembly of young troublemakers from wealthy local families rebelling against religious constraints. Known for their licentious behavior and scandalous festivities, they shocked high society.
Photo by Daniel Jolivet / Wikimedia Commons
The building is believed to have served as a brothel before officially becoming a tavern. The immoral activities of the brotherhood led the general lieutenant of the bailiwick to dissolve the organization in 1625. A century later, after a devastating fire, a wine merchant bought the house and redecorated it to attract revelers, thus illustrating the rebellious and bawdy spirit of the Brothers of Malgouverne.
Part of the royal domain since its purchase by Saint Louis in 1239, the town of Mâcon became opulent and enriched itself through maritime trade. Consequently, when the king prohibited prostitution by an edict in 1254, the law was enforced in Mâcon. The first recorded mention of prostitution dates back to four years later, in 1258, within the context of efforts to combat this practice.
The Saint-Antoine district, where the house is located, has been known since the Middle Ages as the district of bathhouses where men and women bathed separately in wooden tubs. Given the frequent nudity, prostitutes were present. Numerous sources attest to repeated attempts by authorities to reduce prostitution in the area. The last establishment, “La Nuée Bleue,” closed its doors in 1946 following the national ban on brothels.
The term “brothel” originates from the French word “bordel,” used to describe such establishments. This term comes from the common practice of situating them “by the water” (“bord de l’eau” contracted into “bordel”), taking advantage of the proximity to rivers where many workers laboured (sailors, dyers, merchants). This strategic location attracted a diverse and regular clientele, making these establishments accessible and discreet.
The Naughty Symbolism of the Facade
The entire symbolism is based on the inversion of codes and the comedic effect of such inversion. This type of humour is quite typical of popular fabliaux from the 14th century. Moreover, the goliardic atmosphere typical of the Late Middle Ages, with the joys of taverns, bawdy songs, and open references to sexuality, perfectly corresponds to the mental universe in which these sculptures were engraved.
The Siren
Photo by MOSSOT / Wikimedia Commons
At the top of the frieze, we find the figure of the siren. In medieval bestiaries and even in ancient references, the siren is a mythological creature, half-human and half-mythical, who, through her beauty and sometimes her songs, charms weak men. Here, the siren is positioned at the corner of the building, holding a scroll that she seems to be reading, like an invitation for passers-by to enter the place of perdition.
The Angelic Figures
Photo by Andrzej Otrębski / Wikimedia Commons
The human figures are placed between two mythological figures or animals, often angels, as indicated by the wings engraved behind them. These are likely fallen angels given the context. These semi-human, semi-mythical figures embody the duality of good and evil, being pulled from each side, holding ropes, ties, or directly the horn or tail of the animals. Their choice is simple: either release their grip and liberate their passions or continue holding both sides.
A virtuous motto of the time was “In medio stat virtus” (virtue stands in the middle). Additionally, these figures of fallen angels are quite strange because, between their legs, where the genitals would normally be, we find a small sculpted head. We know the sculptor was not shy about depicting male genitalia, as there is an erect monkey nearby. Was there a sumptuary law that prohibited him from representing human genitalia out of public modesty? Or did he want, by depicting this small head, to show the face of the source of the sin of fornication?
The Unicorn
Photo by MOSSOT / Wikimedia Commons
We also find the figure of the unicorn, which here resembles more of a goat. In the medieval bestiary, the unicorn is an extremely pure, white, and innocent animal, but its horn has always been associated with phallic symbols. Here, the horn is grasped by a little fallen angel.
Inverted Values
Photo by MOSSOT / Wikimedia Commons
For symbols of the inversion of values, we have the character at the far right of the frieze, wearing a hood but bare-bottomed, presenting his buttocks at the edge of the frieze.
Dragons
Photo by MOSSOT / Wikimedia Commons
The dragon figures represent demonic beasts embodying bad passions and lust, which were prevalent in the brothel. They are sometimes held on a leash, often by the neck, by quasi-human figures. One character holds a dragon by the tail, which forms a sort of pretzel, an enormous knot. This represents the knot of sin; those who sin through fornication place a knot in their spiritual life that only confession can untie. The knot is a symbol of the hindrance to righteousness that a virtuous man must live.
Monkeys
Photo by MOSSOT / Wikimedia Commons
On the frieze, there is also a completely naked monkey with very visible and erect sexual attributes. In the Middle Ages, the monkey, due to its physical resemblance to humans, represented the wild, hairy man who does not know civilization and gives free rein to his passions. This can perhaps be seen as a mockery of the state of the clergy. The human figure on the left wears a sash over one shoulder like a deacon’s stole, and in his hand, he holds a cord similar to the liturgical cord worn by canons and monks as a belt, which is supposed to represent chastity. However, here the cord secures a kind of sack, probably the sack of passions, and is held on the other side by an erect monkey. The Bacchic Brotherhood of Malgouverne that operated in this house was linked to an abbey, so the critique, or indeed the self-critique, sculpted here is even more humorous.
This frieze serves as both an advertisement for what happened inside the building and a form of rather ironic warning typical of the goliardic humour of the time. It was meant to both attract and at least warn, if not frighten, with such a vision of horror, which was more likely to provoke laughter than fear.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon.
Discover the Maison de Bois of Mâcon, a medieval gem in Burgundy, France, that offers a captivating glimpse into the audacious and rebellious spirit of the 15th century. From its scandalous past as a brothel to its provocative facade, this well-preserved wooden house is a treasure trove of historical intrigue and artistic whimsy.
By Lorris Chevalier
The Maison de Bois of Mâcon (The Wooden House), located in Burgundy, France, is a true architectural and historical treasure. Built at the end of the 15th century, this house is not only the oldest in the city but also remarkably well-preserved. It offers a fascinating glimpse into the architecture and social life of the medieval era.
Constructed between 1490 and 1510, the Maison de Bois is said to have housed the Bacchic Brotherhood of Malgouverne, an assembly of young troublemakers from wealthy local families rebelling against religious constraints. Known for their licentious behavior and scandalous festivities, they shocked high society.
The building is believed to have served as a brothel before officially becoming a tavern. The immoral activities of the brotherhood led the general lieutenant of the bailiwick to dissolve the organization in 1625. A century later, after a devastating fire, a wine merchant bought the house and redecorated it to attract revelers, thus illustrating the rebellious and bawdy spirit of the Brothers of Malgouverne.
Part of the royal domain since its purchase by Saint Louis in 1239, the town of Mâcon became opulent and enriched itself through maritime trade. Consequently, when the king prohibited prostitution by an edict in 1254, the law was enforced in Mâcon. The first recorded mention of prostitution dates back to four years later, in 1258, within the context of efforts to combat this practice.
The Saint-Antoine district, where the house is located, has been known since the Middle Ages as the district of bathhouses where men and women bathed separately in wooden tubs. Given the frequent nudity, prostitutes were present. Numerous sources attest to repeated attempts by authorities to reduce prostitution in the area. The last establishment, “La Nuée Bleue,” closed its doors in 1946 following the national ban on brothels.
The term “brothel” originates from the French word “bordel,” used to describe such establishments. This term comes from the common practice of situating them “by the water” (“bord de l’eau” contracted into “bordel”), taking advantage of the proximity to rivers where many workers laboured (sailors, dyers, merchants). This strategic location attracted a diverse and regular clientele, making these establishments accessible and discreet.
The Naughty Symbolism of the Facade
The entire symbolism is based on the inversion of codes and the comedic effect of such inversion. This type of humour is quite typical of popular fabliaux from the 14th century. Moreover, the goliardic atmosphere typical of the Late Middle Ages, with the joys of taverns, bawdy songs, and open references to sexuality, perfectly corresponds to the mental universe in which these sculptures were engraved.
The Siren
At the top of the frieze, we find the figure of the siren. In medieval bestiaries and even in ancient references, the siren is a mythological creature, half-human and half-mythical, who, through her beauty and sometimes her songs, charms weak men. Here, the siren is positioned at the corner of the building, holding a scroll that she seems to be reading, like an invitation for passers-by to enter the place of perdition.
The Angelic Figures
The human figures are placed between two mythological figures or animals, often angels, as indicated by the wings engraved behind them. These are likely fallen angels given the context. These semi-human, semi-mythical figures embody the duality of good and evil, being pulled from each side, holding ropes, ties, or directly the horn or tail of the animals. Their choice is simple: either release their grip and liberate their passions or continue holding both sides.
A virtuous motto of the time was “In medio stat virtus” (virtue stands in the middle). Additionally, these figures of fallen angels are quite strange because, between their legs, where the genitals would normally be, we find a small sculpted head. We know the sculptor was not shy about depicting male genitalia, as there is an erect monkey nearby. Was there a sumptuary law that prohibited him from representing human genitalia out of public modesty? Or did he want, by depicting this small head, to show the face of the source of the sin of fornication?
The Unicorn
We also find the figure of the unicorn, which here resembles more of a goat. In the medieval bestiary, the unicorn is an extremely pure, white, and innocent animal, but its horn has always been associated with phallic symbols. Here, the horn is grasped by a little fallen angel.
Inverted Values
For symbols of the inversion of values, we have the character at the far right of the frieze, wearing a hood but bare-bottomed, presenting his buttocks at the edge of the frieze.
Dragons
The dragon figures represent demonic beasts embodying bad passions and lust, which were prevalent in the brothel. They are sometimes held on a leash, often by the neck, by quasi-human figures. One character holds a dragon by the tail, which forms a sort of pretzel, an enormous knot. This represents the knot of sin; those who sin through fornication place a knot in their spiritual life that only confession can untie. The knot is a symbol of the hindrance to righteousness that a virtuous man must live.
Monkeys
On the frieze, there is also a completely naked monkey with very visible and erect sexual attributes. In the Middle Ages, the monkey, due to its physical resemblance to humans, represented the wild, hairy man who does not know civilization and gives free rein to his passions. This can perhaps be seen as a mockery of the state of the clergy. The human figure on the left wears a sash over one shoulder like a deacon’s stole, and in his hand, he holds a cord similar to the liturgical cord worn by canons and monks as a belt, which is supposed to represent chastity. However, here the cord secures a kind of sack, probably the sack of passions, and is held on the other side by an erect monkey. The Bacchic Brotherhood of Malgouverne that operated in this house was linked to an abbey, so the critique, or indeed the self-critique, sculpted here is even more humorous.
This frieze serves as both an advertisement for what happened inside the building and a form of rather ironic warning typical of the goliardic humour of the time. It was meant to both attract and at least warn, if not frighten, with such a vision of horror, which was more likely to provoke laughter than fear.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon.
Top Image: Photo by Chabe01 / Wikimedia Commons
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