Part 10

An immense nave stretches for nearly five hundred feet. This part of the edifice was repeatedly extended to make space for the great crowds that attended the imposing coronation ceremonies. Around the choir are several chapels. In numerous niches and corners are statues of interest. "The long sweep of the nave, from the threshold to the point where the coloured light-shafts of the choir lose themselves in the grey distance, is a triumph of perpendicular perspective," writes Mr Henry James.

Perhaps the greatest treasures preserved in Notre Dame are the tapestries. There are pieces representing the life of the Virgin, while several depict scenes in the life of Christ. The Canticles form the subject of other examples. Two pieces of Gobelins, after designs by Raphael, represent the life of St Paul. These tapestries are exceptionally fine specimens of this art.

During the coronation celebrations, the sovereigns occupied the archbishop's palace, which is close to the cathedral. The building was begun about 1499. In the museum of the palace is the famous cenotaph of Jovinius, adorned with sculpture. A large hall contains portraits of kings.

Among the churches of importance in Rheims are St Jacques, St André, and St Thomas. The Church of St Rémi, named after the great bishop, dates from the eleventh century. During the Revolution this church was terribly damaged; many of the splendid relics and statues were destroyed, and but a few images were spared.

The tomb of St Rémi is modern, except the images that decorate it. There are some rich tapestries in the church. The doorway of the south transept is handsome, and there are beautiful windows of an early date. The cloister of the abbey is now enclosed by a hotel. In the seventeenth century the present Town Hall was erected. It contains a gallery of paintings and a museum.

The chief Roman monument in the town is the great arch of triumph, the Porte de Mars. This structure was probably erected by Agrippa on the occasion of the opening of the highways leading to the city. Near to the arch stood a temple of Mars. The Gate of Mars is over a hundred feet long, and over forty feet high. There are several figures under the archways. Parts of a Roman pavement are near the triumphal arch. These are the only memorials of Roman times, but it may be noted that the gates of the city still retain their original names.

Rheims was fortified after the Franco-Prussian War; and in recent years many of the streets have been widened and modernised. Henry James notes "a prosperous, modern, mercantile air" in the Rheims of to-day. Considerable business is transacted in the city. It is a centre of the woollen industry, and there are several weaving and spinning works, and a large trade in flannel and blankets.

The chief ancient charm of Rheims is in the great cathedral, with its highly interesting architecture, the old church of St Rémi, and the Roman arch. The streets are clean and bright, and the town has its tramcars among other tokens of modernity. There are not many statues of importance. The monument to Louis XV. stands in the Place Royale.

BRUGES

The air of prosperity which is so apparent in Amsterdam and Antwerp is missing in Bruges, once populated by a busy multitude of craftsmen and weavers. Early in the seventh century, the city contained as many as fifty thousand weavers, and this was probably the period of its greatest splendour. For several centuries, however, Bruges held its position as a trading town, and in the fourteenth century, under the rule of the dukes of Burgundy, its market was known throughout Europe, and was visited by the wealthy merchants of Italy and Greece.

If the greatness of the industrial power has long since declined, Bruges can still boast of its ancient monuments, which invite visitors from all parts of the world. The town is much visited by strangers. It is easily reached from England by way of Ostend, and ships of five hundred tons can sail up to Bruges on its wide artificial waterway.

For the causes of the decay of the town, we must refer to the early wars that disturbed the country, to the penalty which the natives suffered for rebellion against the Archduke Maximilian in 1488, when the trade was transferred to Antwerp, and finally to the ravages of the Duke of Alva's army.

Peter Titelmann harried the burghers in the days of religious strife to such an extent that the Catholic burgomasters and senators of the town petitioned the Duchess Regent to protect them. They complained that the Inquisitor of the Faith brought before them men and women, and forced them to confess; and that, without warrant, he dragged his victims from the church itself.

In 1583 the French, under Captain Chamois, having seized Ostend and other towns, came to the gates of Bruges. The burgomaster refused to admit the fifteen hundred troops, and rallying the townsmen, he made a stand against the invading force, compelling Chamois to retire.

The city was famed for its workers in tapestry, an art known early in the Netherlands, and probably borrowed from the Saracens. In 1606 Flemish artists, invited by Henri IV., introduced the working of tapestry into France, and a few years later the industry was established in England.

Philip the Good, of Burgundy, who died in 1467, was scarcely worthy of his title of virtue. He was, however, in spite of his adroitness in deception, an encourager of industry and commerce, and a protector of the arts. He invited the brothers, John and Hubert Van Eyck, to Bruges, and he patronised men of science and scholars. "Lord of so many opulent cities and fruitful provinces, he felt himself equal to the kings of Europe." Upon his marriage with Isabella of Portugal, he founded at Bruges the celebrated order of the "Golden Fleece." This Order played a great part in Flemish history. The symbol of the Golden Fleece was both religious and industrial, and the Lamb of God, hung upon the breast of the twenty-five knights, represented not only devotion, but also the woollen trade of the country. Motley gives the number of the knights as twenty-five, but another authority states that it numbered thirty-one, and that the members of the Order wore a distinguishing cloak, lined with ermine, and the cipher of the Duke of Burgundy in the form of a B, with flints striking fire. The motto was: _Aute ferit, quam flamma micat._

The memorials of the days of splendour are many in this city of the past. The cathedral is not of the finest Gothic work externally, but it is rich in monuments, and lavishly decorated within. Its earlier portions date from the twelfth century, the fine nave is of a later period. The pictures are not of much importance.

Notre Dame has a lofty spire, and many interesting details will be found in its architecture of the early and the later Gothic periods. One of the chapels contains the tombs of Charles, Duke of Burgundy, and his daughter, Mary. The images are in copper, and recumbent on marble.

Memories of Charles the Bold crowd into the mind as we stand before his effigy. His vast ambition led him into rash adventures, and his career, if brilliant, was also tragic in its failures. Charles would have made Burgundy a kingdom, but he lacked the essentials of a conqueror, in spite of his courage. His rapacity was a drain on the resources of the Netherlands; his love of power made him an oppressor, and caused discontent and rebellion. Through his want of the true kingly qualities he brought disaster upon the country, and destroyed the peace of the small republics.

In his forty-fourth year, in 1477, he died, leaving his people impoverished, and the industries decaying. His realm was given into the charge of his daughter, Mary, who married the Emperor Maximilian.

The monument of Mary of Burgundy is an example of the work of De Beckere, an eminent sculptor. A painting by Porbus of "The Crucifixion and Last Supper" is in this church. The carved pulpit is a good specimen of this Flemish craft.

The Town Hall and Palace of Justice contain several important pictures, and both buildings are architecturally instinctive; the former is very highly decorated Gothic, with a fine façade, and several statues of the Flemish counts. There is a library in the town hall with a beautiful roof. Here are some missals and manuscripts, and a large collection of books.

The Palace of Justice has been restored, but parts of the older building remain. It has a spacious hall, and an elaborate fireplace, with statues of some of the rulers of Burgundy.

La Chapelle du Saint Sang is finely decorated, and has an ancient crypt, containing early treasures.

We must now visit the academy of painting, and inspect the pictures, though not without regret that there are so few works of the illustrious artists of Bruges, the brothers Van Eyck, in the collection. There is, however, one of J. Van Eyck's greatest pictures in the academy. This is the famous "Portrait of his Wife," a rarely finished piece of work, with a singular history, for it was found in one of the markets of Bruges, thickly coated with filth. The permanent quality of the colour used by the Flemish artists of this period is instanced in the case of this portrait, which has been most successfully cleaned. The tints are in splendid preservation.

In the fourteenth and fifteenth centuries, the art of Flanders flourished, and the brothers Van Eyck were the pioneers of oil painting. Many painters had tried oil as a medium, but none succeeded till Hubert and Jan Van Eyck discovered a suitable oil. Working with this new medium, they produced wonderfully durable pictures. It is supposed that the medium was a mixture of oils and resin, which dried rapidly. The colours of our modern artists cannot compare with those of the old Flemish school in respect to durability, which is seen in some of the works of the Victorian period in England.

The other paintings by Jan Van Eyck are "The Virgin and Child, with St George and St Donatus," and "A Head of Christ," dated 1440. Of these two pictures, the former is by far the more representative of the painter's genius.

J. Van Eyck died, and was buried in Bruges, in a church which the French destroyed. There is a poor statue of the painter on the ground whereon the church stood.

Memling's altarpiece is in the collection, a much restored painting of "St Christopher and the Infant Jesus." For other works of this artist, we must visit the Hospital of St John, which stands near to Notre Dame. The pictures are very remarkable and marvellously preserved. "The Adoration of the Magi," "The Virgin and Child," "The Head of Zambetha," "The Virgin," and other examples are in this collection.

Memling and his school used landscape, as seen through windows, in many of their portrait works, and his architectural backgrounds were painted from the houses in Bruges. We may still see houses that recall his period. Hans Memling was probably born in 1425, and appears to have lived in the town until 1495. His statue is in the Place du Vieux Bourg.

Among the old houses of the town is the Prissenhof, though now it is only a ruined memorial of its past grandeur. Here Charles the Bold wedded Margaret of York, and here lived several of the counts of Flanders.

An idea of the fortifications of the town in the Middle Ages is gained by a walk around the ramparts which enclose Bruges. The many canals, that intersect the city, lend beauty to Bruges. Besides the great waterway to Ostend there are a canal to Ghent and other streams.

Lace-making is one of the industries of Bruges, and there is a trade in linen and woollen goods and pottery. The city to-day is not a bustling, commercial place, as in mediæval times, and to some visitors it may savour of sadness.

Mr Harry Quilter is a traveller who finds the Gothic towns "more than ordinarily depressing," by reason of their monotony. "Perhaps it is the effect of the angular roofs and windows, wearying to the eye as the diagrams in a book of Euclid. Perhaps it is the low-browed shops, the irregularly paved streets, the dull unrelieved brown and grey of the houses. But for whatever reason, the effect is certainly dreary."

If we do not find Bruges a town of dull aspect it is due to personal temperament and taste. There may be greyness in these old Gothic towns, there may be a suggestion of decay in Bruges; but there is also a strong fascination, a charm that appeals to those whose eyes have grown weary of modern streets with their regular outlines and monotonous architecture. These tortuous lanes of Belgium and Holland, the gables, and the tall irregular houses, are steeped in an old-world atmosphere, and every corner suggests a subject for the painter's brush. Certainly, the term "picturesque" may be used in speaking of Bruges.

It is still a large town, with a big population; but the thoroughfares seem rarely thronged, and there is slumber in the by-lanes. There appears to be no demand for new houses, and no indication that Bruges will grow. Its hotels prosper through the number of strangers that visit the city. Few tourists in Belgium neglect to visit this old town.

GHENT

From Bruges to Ghent the distance is about twenty-eight miles. The railroad runs by the side of a placid canal, with banks planted with rows of tall trees--such as Hobbema painted--and traverses a fertile country, a verdant district of West Flanders, famous for its gardens and orchards. Though an inland town, Ghent can be approached by large vessels, by way of the Schelde and a big canal draining from the river.

From the top of the belfry tower the eye wanders over the countless spires and towers of the city, and a vague, distant expanse of flat country. There are few city views in Europe to be compared with this. The prospect is vast and impressive; the town below presents a curious scene, partly old-world, and yet bustling and modern in many aspects; for Ghent, with over one hundred and sixty thousand inhabitants, is one of the largest centres of Belgian commerce, and was once the capital of Flanders. In the fourteenth century it was said that over seventy thousand of its citizens were trained to arms, while the industrial population was large and thriving.

Prince John, third son of Edward III. of England, was born here, and took the name of John of Ghent. The Emperor Charles V. was also born in Ghent, in the old palace that has disappeared. The history of this city, which was probably founded in the days of the Nervii, is nebulous until the tenth century, but in 1297 the town was strong enough to resist a big English army, and the prosperity of Ghent was envied by the rest of Europe.

Its busy looms gave employment to many thousands of weavers, and most of the wool used was supplied by England. Edward III. invited Flemish weavers to his country, and kept up friendly relations with Flanders. English wool was, however, still the chief supply of Bruges and Ghent, and the trade in one year enriched the coffers of Edward III. with £30,000 in duties.

Erasmus declared that there was no other town in Christendom that could be compared with Ghent, in "size, power, political constitution, or the culture of its inhabitants." The city was practically a republic, ruled by representatives, elected yearly by fifty-two guilds of manufacturers and thirty-two corporations of weavers, and by a principal senate selected from all classes. It appears that these legislative authorities were often at strife, for outbreaks of factions within the walls of the town were frequent.

When Charles V. was in need of money to conduct a war against France, he made a very heavy claim upon Ghent. The natives rebelled at the extortion; they even offered to fight with Francis against the emperor. Francis I. was, however, not disposed to ally himself with the people of Ghent, and he communicated with Charles, telling him of the defection of the burghers.

Hurrying from Spain, through the territory of the enemy, Charles V. advanced on Flanders, and on 14th February 1540 he appeared unexpectedly at the walls of Ghent. Surrounded by his great army of lancers, archers, halberd-men and musketeers, and attended by prelates and barons, with many of the knights of the Golden Fleece, the emperor marched into the rebellious city. The inhabitants were awed by this pomp and display. As a punishment, the Duke of Alva proposed to destroy Ghent; but Charles was too cultured and rational to allow such destruction of a noble city. Calling the leaders of the revolt before him, the emperor commanded that they should be executed, and he humiliated the chiefs of the trade guilds by causing them to bend before him, with halters tied around their necks, and to ask his leniency. All the privileges and charters of the city were made null, and the rents and revenues confiscated; while the subsidy demanded for the war was to be rendered in full. A fine was also levied, to be paid annually.

This was how Charles V. punished Ghent for its show of independence, and from that day the city suffered in prosperity. The republican form of government was banished; in its stead the emperor gave the town into the despotic control of the supreme court of Mechlin.

Nine miles of walls encompassed Ghent in this day. It was a well-armed city, protected on all sides, and furnished with drawbridges over the streams that flowed through it. The population in the height of its glory was probably two hundred thousand.

In 1376 a great congress was held in Ghent, to draw up a document of pacification, in order to end the great struggle between the adherents of the old faith and the reformed religion. All the edicts of Alva were withdrawn; all prisoners were to be freed, and compensation paid for confiscated property. Saint Aldegonde, with several commissioners, signed the treaty at Ghent on 8th November. Thus ended the Inquisition in Flanders. The publication of the treaty was received with the utmost joy throughout the land. Hymns of praise were sung, cannons boomed the news, and beacon fires were lighted.

A year later there was trouble in Ghent, through the appointment of the Duke of Aerschot as governor of Flanders. The duke was an ardent Roman Catholic, and the city abounded with converts to Protestantism. A grand ceremony was witnessed when the new ruler, attended by several companies of infantry and three hundred horse soldiers, came to Ghent. Aerschot was regarded as an emissary of Romanism by a large part of the inhabitants, and by the rest he was distrusted.

A young noble named Ryhove vowed that he would deliver Ghent from the duke; so he went to William of Orange with a plan for carrying out the extinction of Aerschot's power. He stated that he was prepared to lead a cause which would result in the expulsion of "the Duke with his bishops, councillors, lords, and the whole nest of them." On the day following Ryhove's interview with the prince, he was visited by Saint Aldegonde, who informed him that the Prince of Orange did not strongly discountenance his plan, nor did he strongly approve of it.

Meanwhile, Imbize, another young aristocrat of the city, had confronted Aerschot, and the governor had threatened the rebellious citizens with a rope for their necks. When Ryhove arrived, he called on the citizens to make a fight for their old charters and rights, and to banish for ever all vestiges of the Spanish Inquisition. Incited by the ardent Ryhove, the burghers arose and rushed through the streets to the house of Aerschot, demanding admission. Refused by the guards, they threatened to burn down the residence. But the duke surrendered in time, and Ryhove protected him from the violence of the crowd, at the same time commanding that he should be taken prisoner. Half naked, the governor was conveyed to the house of Ryhove.

So began an anti-Catholic campaign, which shattered the supremacy of the older form of religion. Aerschot was released. The Prince of Orange came to Ghent, and strove to restore peace in the city. He was received with honour, pageants were arranged, a spectacular drama was displayed, and the prince was entertained generously.

In 1579 Imbize again led the inhabitants in revolt, and incited them to attack and plunder the Catholics. William of Orange successfully stemmed the conflict for a time, but Imbize put himself at the head of a regiment, and actually arrested the magistrates of the city and other dignitaries, and established a board of rulers. William the Silent again intervened. He came to Ghent, reprimanded the riotous burghers, and had Imbize brought before him. With his customary clemency, the prince pardoned the young man, after chiding him for his intolerance and folly.

We read again of the fanatical Puritan, Imbize, in 1584, when he allied himself with the Catholic party, and plotted against his country. His scheme was, however, discovered; he was charged with treason, and brought to the gallows.

Ghent was early a stronghold of powerful trade guilds, and one of the meeting-places of these unions was in the Market Square. These organisations of craftsmen were probably established first by the Flemish weavers to protect the woollen industry. All over Europe the guilds were instituted by artisans working in walled towns during the Middle Ages. Chaucer mentions them in England in his day. The guilds had their masters or wardens, who exercised an almost despotic sway over the members, and watched their interests zealously. The election of the wardens was made a pompous ceremony, accompanied by a religious service which was attended by the mayor and corporation, and followed by a banquet. No doubt the Market Square of Ghent saw many of these ceremonies in days of old.

The power of the merchants and manufacturers of Ghent was great in the time of the city's affluence. We gain an idea of their sumptuous houses and their costly apparel from many paintings of the Dutch School. Often the merchant was wealthier than the feudal baron, and kings were known to borrow from them.

Jacques Van Artevelde, "the brewer" of Ghent, was an important burgher in his day, though he was not, strictly speaking, a brewer, but a patrician who joined the Brewer's Guild, and headed a riotous faction against a rival guild. A fierce fight broke out in the square, and several hundreds of the combatants were slain. Van Artevelde was a staunch friend of Edward III. of England. He was killed by the populace for plotting to make Edward ruler of Flanders.

Such, briefly, are some of the main historical events of this old town of martial and industrial renown. Let us now inspect some of the works of art preserved in the Cathedral of St Bavon. Perhaps the masterpiece here is "The Adoration of the Lamb," the marvellous altar-picture painted by Jan and Hubert Van Eyck. The colour is glowing, though the picture was painted in 1432. The Lamb is attended by angels, and worshipped by a company of the devout. There are hundreds of heads in the composition, which has several compartments. The landscape is exquisitely rendered, both in the effect of distance and in the flowers of the foreground. Parts of the altarpiece are elsewhere, in Berlin and Brussels, and the whole was carried away by the French, only a portion being restored. Portraits of the brothers Van Eyck are among the Just Judges in the picture.

Among other paintings in the cathedral are works of Roose, Jansen, Porbus, and a Rubens, highly praised by Sir Joshua Reynolds. There are several monuments, notably the statue of St Bavon by Verbruggen, and the effigies of bishops of Ghent. In the crypt is the tomb of Hubert Van Eyck.

In the Academy the pictures chiefly claiming inspection are "St Francis," by Rubens, some works by Grayer, and Jordaen's "Woman taken in Adultery."

St Michael's Church contains a painting by Vandyk, "The Crucifixion," which is in poor preservation, and several modern pictures by Flemish artists.