In the early part of the fifteenth century, the choir of the church collapsed, but peace having been declared with England, soon afterwards D'Estouteville was able to construct the wonderful foundations composed of ponderous round columns called the crypt of les Gros-Piliers, and above it there afterwards appeared the splendid Gothic choir. The flamboyant tracery of the windows is filled with plain green leaded glass, and the fact that the recent restoration has left the church absolutely bare of any ecclesiastical paraphernalia gives one a splendid opportunity of studying this splendid work of the fifteenth century. The nave of the church has still to undergo the process of restoration, for at the present time the fraudulent character of its stone-vaulted roof is laid bare by the most casual glance, for at the unfinished edge adjoining the choir one may see the rough lath and plaster which for a long time must have deceived the visitors who have gazed at the lofty roof. The western end of the building is an eighteenth century work, although to glance at the great patches of orange-coloured lichen that spread themselves over so much of the stone-work, it would be easy to imagine that the work was of very great antiquity. In earlier times there were some further bays belonging to the nave beyond the present west front in the space now occupied by an open platform. There is a fine view from this position, but it is better still if one climbs the narrow staircase from the choir leading up to the asphalted walk beneath the flying buttresses. About the middle of the fourteenth century, Tiphaine de Raguenel, the wife of Bertrand du Guesclin, that splendid Breton soldier, came from Pontorson and made her home at Mont St Michel, in order not to be kept as a prisoner by the English. There are several facts recorded that throw light on the character of this noble lady, sometimes spoken of as "The Fair Maid of Dinan." She had come to admire Du Guesclin for his prowess in military matters, and her feeling towards him having deepened, she had no hesitation in accepting his offer of marriage. It appears that Du Guesclin after this most happy event--for from all we are able to discover Tiphaine seems to have shared his patriotic ideals--was inclined to remain at home rather than to continue his gallant, though at times almost hopeless struggle against the English. Although it must have been a matter of great self-renunciation on her part, Tiphaine felt that it would be much against her character for her to have any share in keeping her husband away from the scene of action, and by every means in her power she endeavoured to re-animate his former enthusiasm. In this her success was complete, and resuming his great responsibilities in the French army, much greater success attended him than at any time in the past. Du Guesclin was not a martyr, but he is as much the most striking figure of the fourteenth century as Joan of Arc is of the fifteenth.