Chapter 62

There was a crush of people at the entrance to see the royals make their exit. Gendarmes were busy, and mounted guards went smashing through the crowd to clear a space. Everybody was on the tiptoe of expectation. There is a portion of the Emperor's guard; there is an officer of the household; there is an emblazoned carriage; and, quick, there! with a rush they come, driving as if there was no crowd, with imperial haste, postilions and outriders and the imperial carriage. There is a sensation, a cordial and not loud greeting, but no Yankee-like cheers. That heavy gentleman in citizen's dress, who looks neither to right nor left, is Napoleon III.; that handsome woman, grown full in the face of late, but yet with the bloom of beauty and the sweet grace of command, in hat and dark riding-habit, bowing constantly to right and left, and smiling, is the Empress Eugenie. And they are gone. As we look for something more, there is a rout in the side avenue; something is coming, unexpected, from another quarter: dragoons dash through the dense mass, shouting and gesticulating, and a dozen horses go by, turning the corner like a small whirlwind, urged on by whip and spur, a handsome boy riding in the midst,--a boy in cap and simple uniform, riding gracefully and easily and jauntily, and out of sight in a minute. It is the boy Prince Imperial and his guard. It was like him to dash in unexpectedly, as he has broken into the line of European princes. He rides gallantly, and Fortune smiles on him to-day; but he rides into a troubled future. There was one more show,--a carriage of the Emperor, with officers, in English colors and side-whiskers, riding in advance and behind: in it the future King of England, the heavy, selfish-faced young man, and beside him his princess, popular wherever she shows her winning face,--a fair, sweet woman, in light and flowing silken stuffs of spring, a vision of lovely youth and rank, also gone in a minute.

These English visitors are enjoying the pleasures of the French capital. On Sunday, as I passed the Hotel Bristol, a crowd, principally English, was waiting in front of it to see the Prince and Princess come out, and enter one of the Emperor's carriages in waiting. I heard an Englishwoman, who was looking on with admiration "sticking out" all over, remark to a friend in a very loud whisper, "I tell you, the Prince lives every day of his life." The princely pair came out at length, and drove away, going to visit Versailles. I don't know what the Queen would think of this way of spending Sunday; but if Albert Edward never does anything worse, he does n't need half the praying for that he gets every Sunday in all the English churches and chapels.

THE LOW COUNTRIES AND RHINELAND

AMIENS AND QUAINT OLD BRUGES

They have not yet found out the secret in France of banishing dust from railway-carriages. Paris, late in June, was hot, but not dusty: the country was both. There is an uninteresting glare and hardness in a French landscape on a sunny day. The soil is thin, the trees are slender, and one sees not much luxury or comfort. Still, one does not usually see much of either on a flying train. We spent a night at Amiens, and had several hours for the old cathedral, the sunset light on its noble front and towers and spire and flying buttresses, and the morning rays bathing its rich stone. As one stands near it in front, it seems to tower away into heaven, a mass of carving and sculpture,--figures of saints and martyrs who have stood in the sun and storm for ages, as they stood in their lifetime, with a patient waiting. It was like a great company, a Christian host, in attitudes of praise and worship. There they were, ranks on ranks, silent in stone, when the last of the long twilight illumined them; and there in the same impressive patience they waited the golden day. It required little fancy to feel that they had lived, and now in long procession came down the ages. The central portal is lofty, wide, and crowded with figures. The side is only less rich than the front. Here the old Gothic builders let their fancy riot in grotesque gargoyles,--figures of animals, and imps of sin, which stretch out their long necks for waterspouts above. From the ground to the top of the unfinished towers is one mass of rich stone-work, the creation of genius that hundreds of years ago knew no other way to write its poems than with the chisel. The interior is very magnificent also, and has some splendid stained glass. At eight o'clock, the priests were chanting vespers to a larger congregation than many churches have on Sunday: their voices were rich and musical, and, joined with the organ notes, floated sweetly and impressively through the dim and vast interior. We sat near the great portal, and, looking down the long, arched nave and choir to the cluster of candles burning on the high altar, before which the priests chanted, one could not but remember how many centuries the same act of worship had been almost uninterrupted within, while the apostles and martyrs stood without, keeping watch of the unchanging heavens.

When I stepped in, early in the morning, the first mass was in progress. The church was nearly empty. Looking within the choir, I saw two stout young priests lustily singing the prayers in deep, rich voices. One of them leaned back in his seat, and sang away, as if he had taken a contract to do it, using, from time to time, an enormous red handkerchief, with which and his nose he produced a trumpet obligato. As I stood there, a poor dwarf bobbled in and knelt on the bare stones, and was the only worshiper, until, at length, a half-dozen priests swept in from the sacristy, and two processions of young school-girls entered from either side. They have the skull of John the Baptist in this cathedral. I did not see it, although I suppose I could have done so for a franc to the beadle: but I saw a very good stone imitation of it; and his image and story fill the church. It is something to have seen the place that contains his skull.

The country becomes more interesting as one gets into Belgium. Windmills are frequent: in and near Lille are some six hundred of them; and they are a great help to a landscape that wants fine trees. At Courtrai, we looked into Notre Dame, a thirteenth century cathedral, which has a Vandyke ("The Raising of the Cross"), and the chapel of the Counts of Flanders, where workmen were uncovering some frescoes that were whitewashed over in the war-times. The town hall has two fine old chimney-pieces carved in wood, with quaint figures, --work that one must go to the Netherlands to see. Toward evening we came into the ancient town of Bruges. The country all day has been mostly flat, but thoroughly cultivated. Windmills appear to do all the labor of the people,--raising the water, grinding the grain, sawing the lumber; and they everywhere lift their long arms up to the sky. Things look more and more what we call "foreign." Harvest is going on, of hay and grain; and men and women work together in the fields. The gentle sex has its rights here. We saw several women acting as switch-tenders. Perhaps the use of the switch comes natural to them. Justice, however, is still in the hands of the men. We saw a Dutch court in session in a little room in the town hall at Courtrai. The justice wore a little red cap, and sat informally behind a cheap table. I noticed that the witnesses were treated with unusual consideration, being allowed to sit down at the table opposite the little justice, who interrogated them in a loud voice. At the stations to-day we see more friars in coarse, woolen dresses, and sandals, and the peasants with wooden sabots.

As the sun goes to the horizon, we have an effect sometimes produced by the best Dutch artists,--a wonderful transparent light, in which the landscape looks like a picture, with its church-spires of stone, its windmills, its slender trees, and red-roofed houses. It is a good light and a good hour in which to enter Bruges, that city of the past. Once the city was greater than Antwerp; and up the Rege came the commerce of the East, merchants from the Levant, traders in jewels and silks. Now the tall houses wait for tenants, and the streets have a deserted air. After nightfall, as we walked in the middle of the roughly paved streets, meeting few people, and hearing only the echoing clatter of the wooden sabots of the few who were abroad, the old spirit of the place came over us. We sat on a bench in the market-place, a treeless square, hemmed in by quaint, gabled houses, late in the evening, to listen to the chimes from the belfry. The tower is less than four hundred feet high, and not so high by some seventy feet as the one on Notre Dame near by; but it is very picturesque, in spite of the fact that it springs out of a rummagy-looking edifice, one half of which is devoted to soldiers' barracks, and the other to markets. The chimes are called the finest in Europe. It is well to hear the finest at once, and so have done with the tedious things. The Belgians are as fond of chimes as the Dutch are of stagnant water. We heard them everywhere in Belgium; and in some towns they are incessant, jangling every seven and a half minutes. The chimes at Bruges ring every quarter hour for a minute, and at the full hour attempt a tune. The revolving machinery grinds out the tune, which is changed at least once a year; and on Sundays a musician, chosen by the town, plays the chimes. In so many bells (there are forty-eight), the least of which weighs twelve pounds, and the largest over eleven thousand, there must be soft notes and sonorous tones; so sweet jangled sounds were showered down: but we liked better than the confused chiming the solemn notes of the great bell striking the hour. There is something very poetical about this chime of bells high in the air, flinging down upon the hum and traffic of the city its oft-repeated benediction of peace; but anybody but a Lowlander would get very weary of it. These chimes, to be sure, are better than those in London, which became a nuisance; but there is in all of them a tinkling attempt at a tune, which always fails, that is very annoying.

Bruges has altogether an odd flavor. Piles of wooden sabots are for sale in front of the shops; and this ugly shoe, which is mysteriously kept on the foot, is worn by all the common sort. We see long, slender carts in the street, with one horse hitched far ahead with rope traces, and no thills or pole.

The women-nearly every one we saw-wear long cloaks of black cloth with a silk hood thrown back. Bruges is famous of old for its beautiful women, who are enticingly described as always walking the streets with covered faces, and peeping out from their mantles. They are not so handsome now they show their faces, I can testify. Indeed, if there is in Bruges another besides the beautiful girl who showed us the old council-chamber in the Palace of justice, she must have had her hood pulled over her face.

Next morning was market-day. The square was lively with carts, donkeys, and country people, and that and all the streets leading to it were filled with the women in black cloaks, who flitted about as numerous as the rooks at Oxford, and very much like them, moving in a winged way, their cloaks outspread as they walked, and distended with the market-basket underneath. Though the streets were full, the town did not seem any less deserted; and the early marketers had only come to life for a day, revisiting the places that once they thronged. In the shade of the tall houses in the narrow streets sat red-cheeked girls and women making lace, the bobbins jumping under their nimble fingers. At the church doors hideous beggars crouched and whined, --specimens of the fifteen thousand paupers of Bruges. In the fishmarket we saw odd old women, with Rembrandt colors in faces and costume; and while we strayed about in the strange city, all the time from the lofty tower the chimes fell down. What history crowds upon us! Here in the old cathedral, with its monstrous tower of brick, a portion of it as old as the tenth century, Philip the Good established, in 1429, the Order of the Golden Fleece, the last chapter of which was held by Philip the Bad in 1559, in the rich old Cathedral of St. Bavon, at Ghent. Here, on the square, is the site of the house where the Emperor Maximilian was imprisoned by his rebellious Flemings; and next it, with a carved lion, that in which Charles II. of England lived after the martyrdom of that patient and virtuous ruler, whom the English Prayerbook calls that "blessed martyr, Charles the First." In Notre Dame are the tombs of Charles the Bold and Mary his daughter.

We begin here to enter the portals of Dutch painting. Here died Jan van Eyck, the father of oil painting; and here, in the hospital of St. John, are the most celebrated pictures of Hans Memling. The most exquisite in color and finish is the series painted on the casket made to contain the arm of St. Ursula, and representing the story of her martyrdom. You know she went on a pilgrimage to Rome, with her lover, Conan, and eleven thousand virgins; and, on their return to Cologne, they were all massacred by the Huns. One would scarcely believe the story, if he did not see all their bones at Cologne.

GHENT AND ANTWERP

What can one do in this Belgium but write down names, and let memory recall the past? We came to Ghent, still a hand some city, though one thinks of the days when it was the capital of Flanders, and its merchants were princes. On the shabby old belfry-tower is the gilt dragon which Philip van Artevelde captured, and brought in triumph from Bruges. It was originally fetched from a Greek church in Constantinople by some Bruges Crusader; and it is a link to recall to us how, at that time, the merchants of Venice and the far East traded up the Scheldt, and brought to its wharves the rich stuffs of India and Persia. The old bell Roland, that was used to call the burghers together on the approach of an enemy, hung in this tower. What fierce broils and bloody fights did these streets witness centuries ago! There in the Marche au Vendredi, a large square of old-fashioned houses, with a statue of Jacques van Artevelde, fifteen hundred corpses were strewn in a quarrel between the hostile guilds of fullers and brewers; and here, later, Alva set blazing the fires of the Inquisition. Near the square is the old cannon, Mad Margery, used in 1382 at the siege of Oudenarde,--a hammered-iron hooped affair, eighteen feet long. But why mention this, or the magnificent town hall, or St. Bavon, rich in pictures and statuary; or try to put you back three hundred years to the wild days when the iconoclasts sacked this and every other church in the Low Countries?

Up to Antwerp toward evening. All the country flat as the flattest part of Jersey, rich in grass and grain, cut up by canals, picturesque with windmills and red-tiled roofs, framed with trees in rows. It has been all day hot and dusty. The country everywhere seems to need rain; and dark clouds are gathering in the south for a storm, as we drive up the broad Place de Meir to our hotel, and take rooms that look out to the lace-like spire of the cathedral, which is sharply defined against the red western sky.

Antwerp takes hold of you, both by its present and its past, very strongly. It is still the home of wealth. It has stately buildings, splendid galleries of pictures, and a spire of stone which charms more than a picture, and fascinates the eye as music does the ear. It still keeps its strong fortifications drawn around it, to which the broad and deep Scheldt is like a string to a bow, mindful of the unstable state of Europe. While Berlin is only a vast camp of soldiers, every less city must daily beat its drums, and call its muster-roll. From the tower here one looks upon the cockpit of Europe. And yet Antwerp ought to have rest: she has had tumult enough in her time. Prosperity seems returning to her; but her old, comparative splendor can never come back. In the sixteenth century there was no richer city in Europe.

We walked one evening past the cathedral spire, which begins in the richest and most solid Gothic work, and grows up into the sky into an exquisite lightness and grace, down a broad street to the Scheldt. What traffic have not these high old houses looked on, when two thousand and five hundred vessels lay in the river at one time, and the commerce of Europe found here its best mart. Along the stream now is a not very clean promenade for the populace; and it is lined with beer-houses, shabby theaters, and places of the most childish amusements. There is an odd liking for the simple among these people. In front of the booths, drums were beaten and instruments played in bewildering discord. Actors in paint and tights stood without to attract the crowd within. On one low balcony, a copper-colored man, with a huge feather cap and the traditional dress of the American savage, was beating two drums; a burnt-cork black man stood beside him; while on the steps was a woman, in hat and shawl, making an earnest speech to the crowd. In another place, where a crazy band made furious music, was an enormous "go-round" of wooden ponies, like those in the Paris gardens, only here, instead of children, grown men and women rode the hobby-horses, and seemed delighted with the sport. In the general Babel, everybody was good-natured and jolly. Little things suffice to amuse the lower classes, who do not have to bother their heads with elections and mass meetings.

In front of the cathedral is the well, and the fine canopy of iron-work, by Quentin Matsys, the blacksmith of Antwerp, some of whose pictures we saw in the Museum, where one sees, also some of the finest pictures of the Dutch school,--the "Crucifixion" of Rubens, the "Christ on the Cross" of Vandyke; paintings also by Teniers, Otto Vennius, Albert Cuyp, and others, and Rembrandt's portrait of his wife,--a picture whose sweet strength and wealth of color draws one to it with almost a passion of admiration. We had already seen "The Descent from the Cross" and "The Raising of the Cross" by Rubens, in the cathedral. With all his power and rioting luxuriance of color, I cannot come to love him as I do Rembrandt. Doubtless he painted what he saw; and we still find the types of his female figures in the broad-hipped, ruddy-colored women of Antwerp. We walked down to his house, which remains much as it was two hundred and twenty-five years ago. From the interior court, an entrance in the Italian style leads into a pleasant little garden full of old trees and flowers, with a summer-house embellished with plaster casts, and having the very stone table upon which Rubens painted. It is a quiet place, and fit for an artist; but Rubens had other houses in the city, and lived the life of a man who took a strong hold of the world.

AMSTERDAM

The rail from Antwerp north was through a land flat and sterile. After a little, it becomes a little richer; but a forlorner land to live in I never saw. One wonders at the perseverance of the Flemings and Dutchmen to keep all this vast tract above water when there is so much good solid earth elsewhere unoccupied. At Moerdjik we changed from the cars to a little steamer on the Maas, which flows between high banks. The water is higher than the adjoining land, and from the deck we look down upon houses and farms. At Dort, the Rhine comes in with little promise of the noble stream it is in the highlands. Everywhere canals and ditches dividing the small fields instead of fences; trees planted in straight lines, and occasionally trained on a trellis in front of the houses, with the trunk painted white or green; so that every likeness of nature shall be taken away. From Rotterdam, by cars, it is still the same. The Dutchman spends half his life, apparently, in fighting the water. He has to watch the huge dikes which keep the ocean from overwhelming him, and the river-banks, which may break, and let the floods of the Rhine swallow him up. The danger from within is not less than from without. Yet so fond is he of his one enemy, that, when he can afford it, he builds him a fantastic summer-house over a stagnant pool or a slimy canal, in one corner of his garden, and there sits to enjoy the aquatic beauties of nature; that is, nature as he has made it. The river-banks are woven with osiers to keep them from washing; and at intervals on the banks are piles of the long withes to be used in emergencies when the swollen streams threaten to break through.

And so we come to Amsterdam, the oddest city of all,--a city wholly built on piles, with as many canals as streets, and an architecture so quaint as to even impress one who has come from Belgium. The whole town has a wharf-y look; and it is difficult to say why the tall brick houses, their gables running by steps to a peak, and each one leaning forward or backward or sideways, and none perpendicular, and no two on a line, are so interesting. But certainly it is a most entertaining place to the stranger, whether he explores the crowded Jews' quarter, with its swarms of dirty people, its narrow streets, and high houses hung with clothes, as if every day were washing-day; or strolls through the equally narrow streets of rich shops; or lounges upon the bridges, and looks at the queer boats with clumsy rounded bows, great helms' painted in gay colors, with flowers in the cabin windows,--boats where families live; or walks down the Plantage, with the zoological gardens on the one hand and rows of beer-gardens on the other; or round the great docks; or saunters at sunset by the banks of the Y, and looks upon flat North Holland and the Zuyder Zee.

The palace on the Dam (square) is a square, stately edifice, and the only building that the stranger will care to see. Its interior is richer and more fit to live in than any palace we have seen. There is nothing usually so dreary as your fine Palace. There are some good frescoes, rooms richly decorated in marble, and a magnificent hall, or ball-room, one hundred feet in height, without pillars. Back of it is, of course, a canal, which does not smell fragrantly in the summer; and I do not wonder that William III. and his queen prefer to stop away. From the top is a splendid view of Amsterdam and all the flat region. I speak of it with entire impartiality, for I did not go up to see it. But better than palaces are the picture-galleries, three of which are open to the sightseer. Here the ancient and modern Dutch painters are seen at their best, and I know of no richer feast of this sort. Here Rembrandt is to be seen in his glory; here Van der Helst, Jan Steen, Gerard Douw, Teniers the younger, Hondekoeter, Weenix, Ostade, Cuyp, and other names as familiar. These men also painted what they saw, the people, the landscapes, with which they were familiar. It was a strange pleasure to meet again and again in the streets of the town the faces, or types of them, that we had just seen on canvas so old.