Part 8

On the opposite side of the square was the large old church of St. Walburga, with a fine tower capped by a curious upturned bulbous cupola, upon which was a large gilt open-work clock face. As usual, there was a chime of bells visible, and a flock of rooks circling about the tower. The style of St. Walburga was Romanesque, with Gothic tendencies. Built in the twelfth century, it suffered severely at the hands of the Iconoclasts, and even in its unfinished state was very impressive, none the less, either, because of the rows of small stucco red roofed houses which clung to its walls, leaving only a narrow entrance to its portal. Inside I found an extremely rich polychromed Renaissance "reredos," and there was also the somewhat remarkable tomb of "Claude Talon," kept in good order and repair.

Oudenaarde was famed for the part it played in the history of Flanders, and was also the birthplace of Margaret of Parma. It was long the residence of Mary of Burgundy, and gave shelter to Charles the Fifth, who sought the protection of its fortifications during the siege of Tournai in 1521.

Here, too, Marlborough vanquished the French in 1708. I might go on for a dozen more pages citing the names of remarkable personages who gave fame to the town, which now is simply wiped from the landscape. But by some miracle, it is stated, the Town Hall still stands practically uninjured. I have tried in vain to substantiate this, or at least to obtain some data concerning it, but up to this writing my letters to various officials remain unanswered.

I like to think of Oudenaarde as I last saw it--the huge black door of the church yawning like a gaping chasm, the square partly filled with devout peasants in holiday attire for the church fete, whatever it was. Part of the procession had passed beyond the gloom of the vast aisles into the frank openness of daylight. Between the walls of the small houses at either hand a long line of figures was marching with many silken banners. There seemed to be an interminable line of young girls--first communicants, I fancied,--in all the purity of their white veils and gowns against the somber dull grays of the church. This mass of pure white was of dazzling, startling effect, something like a great bed of white roses.

[Illustration: Old Square and Church: Oudenaarde]

Then came a phalanx of nuns clad in brown--I know not what their order was--their wide white cowls or coifs serving only to accentuate the pallor of their grave faces, veritable "incarnations of meek renunciation," as some poet has beautifully expressed it.

Then followed a group of seminarians clad in the lace and scarlet of their order, swinging to and fro their brazen censers from which poured fragrant clouds of incense.

All at once a curious murmur came from the multitude, followed by a great rustling, as the whole body of people sank to their knees, and then I saw beyond at a distance across the square, the archbishop's silken canopy, and beneath it a venerable figure with upraised arms, elevating the Host.

Surely a moment of great picturesqueness, even to the non-participant; the bent heads of the multitude; the long lines of kneeling black figures; scarlet and gold and lace of the priests' robes against the black note of the nuns' somber draperies; the white coifs and veils, through which the sweet rapture of young religious awe made even homely features seem beautiful: the gold and scarlet again of the choristers; and finally, that culminating note of splendor beneath the silken canopy of the cardinal archbishop (Cardinal Mercier) enthroned here like some ancient venerated monarch; all this against the neutral gray and black lines of the townspeople; surely this was the psychological moment in which to leave Oudenaarde, that I might retain such a picture in my mind's eye.

Furnes

Furnes

The old red brick, flat topped, tower of St. Nicholas was the magnet which drew us to this dear sleepy old town, in the southwest corner of the Belgian littoral; and here, lodged in the historic hostel of the "Nobele Rose" we spent some golden days. The name of the town is variously pronounced by the people Foorn, Fern, and even Fearn. I doubt if many travelers in the Netherlands ever heard of it. Yet the town is one of great antiquity and renown, its origin lost in the dimness of the ages.

According to the chronicles in the great Library at Bruges, as early as A.D. 800 it was the theatre of invasions and massacres by the Normans. That learned student of Flemish history, M. Leopold Plettinck, has made exhaustive researches among the archives in both Brussels and Bruges, and while he has been unable to trace its beginnings he has collected and assorted an immense amount of detailed matter referring to Baudoin (or Baldwin) Bras de Fer, who seems to have been very active in harassing the people who had the misfortune to come under his hand.

The War of the "Deux Roses" was fought outside the walls here, likewise the Battle of the Spurs took place on the plains between Furnes and Ypres. Following the long undulations of the dunes from Dunkerque, overgrown here and there with a rank coarse grass sown by the authorities to protect them from the wind and the encroachments of the ever menacing sea, dune succeeds dune, forming a landscape of most unique character. Passing the small hamlet of Zuitcote, marked by the sunken tower of its small church, which now serves as a sort of semaphore for the fishing boats off the coast, one reached the canal which crosses the plain picturesquely. This led one along the path to the quaint old town of Furnes, showing against the heavy dark green of the old trees, its dull red and pink roofs with the bulk of the tower forming a picture of great attractiveness.

The town before the war had about six thousand population which seemed quite lost in the long lines of silent grass grown streets, and the immense Grand' Place, around which were ranged large dark stone Flemish houses of somewhat forbidding exteriors. All the activity of the town, however, was here in this large square, for the lower floors had been turned into shops, and also here was the hotel, before which a temporary moving picture theatre had been put up.

[Illustration: The Fish Market: Ypres]

These are very popular in Flanders, and are called "Cinema-Americain." The portable theatres are invariably wooden and are carried "knocked down" in large wagons drawn by hollow-backed, thick-legged Flemish horses. As a rule they have steam organs to furnish the "music" and the blare of these can be heard for miles across the level plains.

The pictures shown are usually of the lurid sort to suit the peasants, and the profits must be considerable, as the charge is ten and twenty-five cents for admission. On this square is the Hotel de Ville, the Palace of Justice, and Conciergerie. This latter is a sort of square "donjon" of great antiquity, crenelated, with towers at each corner and the whole construction forming an admirable specimen of Hispano-Flemish architecture.

The angle of the "Place" opposite the pavilion of the officers is occupied by the Hotel de Ville and the "Palais de Justice," very different in style, for on one side is a massive facade of severe aspect and no particular period, while on the other is a most graceful Flemish Renaissance construction, reminding one of a Rubens opposed, in all its opulence, to a cold classic portrait by Gainsborough.

The Hotel de Ville, of 1612, exhibits in its "Pignons," its columns and Renaissance motifs, a large high tower of octagonal form surmounted by a small cupola. Its frontage pushes forward a loggia of quite elegant form, with balustrades in the Renaissance style.

Above this grave looking gray building rises the tower of the "Beffroi," part Gothic in style.

All the houses on the "Place" have red tiled roofs, and gables in the Renaissance style very varied in form, and each one with a characteristic window above, framed richly _en coquille_, and decorated with arabesques.

Behind these houses is what remains of the ancient Church of St. Walburga, half buried in the thick verdure of the garden. After considerable difficulty we gained admittance to the ruin, because it is not considered safe to walk beneath its walls. Even in its ruin it was most imposing and majestic. We would have tarried here, but the _custode_ was very nervous and hurried us through the thickets of bushes growing up between the stones of the pavement, and fairly pushed us out again into the small parkway, accepting the very generous fee which I gave him with what I should call surliness. But we ignored this completely, after the manner of old travelers, which we had been advised to adopt.

At one side were stored some rather dilapidated and dirty wax figures which reclined in various postures, somewhat too lifelike in the gloom of the chamber, and entirely ludicrous, so much so that it was with much difficulty that we controlled our smiles. The roving eye of the surly _custode_, however, warned us against levity of any sort. These wax figures, he explained, gruffly enough, were those of the most sacred religious personages, and the attendant saints and martyrs, used in the great procession and ceremony of the "Sodalite," which is a sort of Passion Play, shown during the last Sunday in July of each year in the streets of the town. The story relates an adventure of a Count of Flanders, who brought to Furnes, during the first years of the Holy Crusades, a fragment of the True Cross. Assailed by a tempest in the Channel off the coast, he vowed the precious object to the first church he came to, if his prayers for succor were answered. "Immediately the storm abated, and the Count, bearing the fragment of the Cross aloft, was miraculously transported over the waves to dry land."

This land proved to be the sand dunes of Flanders, and the church tower was that of St. Walburga. After a conference with his followers, who also were saved, he founded the solemn annual procession in honor of the True Cross, in which was also introduced the representation of the "Mysteries of the Passion."[2]

This procession was suppressed during the religious troubles of the Reform, but afterwards was revived by the church authorities, and now all of the episodes of the life of Christ pass yearly through the great Grand' Place--the stable in Bethlehem; the flight into Egypt; down to the grand drama of the Calvary and the Resurrection, all are shown and witnessed with great reverence by the crowds of devout peasants from the surrounding country. And these pathetic waxen figures were those of Prophets, Apostles, Jews, Angels, Cavaliers and Roman Soldiers, lying all about the dim dusty chamber in disorder. Afterwards, from the window of the quaint Hotel of the "Nobele Rose," we saw this procession passing through the crowded streets of Furnes, and almost held our breaths with awe at the long line of black cloaked, hooded penitents, bare-footed, the faces covered so that one could hardly tell whether they were men or women, save for the occasional delicate small white foot thrust forward beneath the black shapeless gown.

And finally _One Figure_, likewise black gowned and with concealed face, staggering along painfully--feebly--and bearing a heavy wooden cross, the end of which dragged along on the stones of the street.[3]

Outside of this, the Grand' Place, and the old red brick tower of St. Nicholas, so scorched by the sun and beaten by the elements, and the rows of quaint gabled houses beneath, Furnes has little to offer to the seeker after antiquity. The bells in the tower are of sweet tone, but the chimes which hung there were silent, and no amount of persuasion could induce the _custode_ to admit me to the bell chamber. Madame at the "Nobele Rose" had assured me that I could go up there into the tower whenever I wished, but somehow that pleasure was deferred, until finally we were forced to give it up. Of course Madame _did_ rob me; when the bill was presented, it proved to be fifty per cent. more than the price agreed upon, but she argued that we had "used" the window in our apartment overlooking the procession, so we must pay for that privilege. The point was so novel that I was staggered for a suitable reply to it,--the crucial moment passed,--I was lost. I paid!

The Artists of Malines

The Artist of Malines

It may not be out of place to add here some account of the artists[4] who dwelt in and made Malines famous in the early days. Primitively the painters formed part of the Society of Furniture Makers, while sculptors affiliated with the Masons' Gild. These at length formed between them a sort of federation as they grew in number and power. Finally, in 1543, they formed the Gild of Saint Luke. In 1560 they numbered fifty-one free masters, who gave instruction to a great number of apprentices. They admitted the gold beaters to membership in 1618, and the following year the organization had increased to ninety-six members.

Working in alabaster was, during this epoch, a specialty with the sculptors of Malines, which soon resulted in a monopoly with them, for they made a law that no master workman could receive or employ more than one apprentice every four years. The workers in gold covered the statues with heavy ornaments of gold, it being forbidden to market statuary not so gilded. The Gild of Saint Luke chafed under this ruling of the Gild Master, and surreptitiously made and delivered some statuary and paintings without any gilding whatever.

Charges being brought against the offenders, they were fined twenty-five florins, and a law was passed authorized by the magistrate, permitting domiciliary visits upon certain days known only to the officers, to the houses of suspected men engaged in art work. Of course reputable workmen were free from suspicion, it being only those mediocre craftsmen and irregular apprentices who would engage in such traffic.

It was not until 1772 that any sculptor was permitted to paint or gild for profit, nor was any painter allowed to model. The profession of an artist was regarded as less than an industry, being a sort of hand to mouth existence in which the unfortunate was glad to accept whatever work the artisan could give him. In 1783 the Gild had dwindled to twelve members, who finally were absorbed by the Academy of Design, established by Maria Theresa in 1773. Thus perished the Gild of Painters and Sculptors of Malines.

The following is a list of the principal artists and engravers, chronologically arranged, who made Malines famous:

Jean Van Battele, one of the promoters of the Gild of Saint Luke of Malines, was a successful workman in 1403. He was said to be more of a painter-glazer than a painter of pictures, but there is sufficient evidence that he practised both genres.

Gauthier Van Battele, son of the above, was admitted to the Gild in 1426, and figured in the artistic annals of the town in 1474-75.

Baudoin Van Battele, alias Vander Wyck, believed to be "petitfils" of Gauthier, is mentioned in the chronicles of 1495. He painted many mural pictures for the "Beyaerd"; the fresco of the Judgment Day in the great hall of the "Vierschaer" is his greatest work. He died about 1508.

He had one son, Jean, who executed a triptych in the Hotel de Ville of Malines in 1535, and illuminated a manuscript register on vellum relating to the "_Toison d'Or_." This book was presented to Charles-Quint, and so pleased him that he ordered a duplicate which cost the artist three years of hard work to complete. He died in July, 1557, highly honored.

Daniel Van Yleghem was the chief workman upon the Holy tabernacle of the chief altar of St. Rombauld. An engraver of great merit; he died in 1451(?).

Jean Van Orshagen occupied the position of Royal Mint Engraver of Malines, 1464-65. The following year he was discovered passing false money at Louvain. Imprisoned, he died of the pestilence in 1471.

Guillaume Trabukier excelled in the art of a designer-engraver (ciseleur) in gold. For the town he made many beautiful pieces of work, notably the silver statue of St. Rombauld which decorated the high altar of the Cathedral. He died in 1482.

Zacherie Van Steynemolen, born about 1434, was an excellent engraver of dies. During more than forty years (1465-1507) he made the seals of the town corporations. Notably he engraved for the Emperor Frederic IV the two great seals which are now in the museum. He died in 1507.

Michael or Michel Coxie, le vieux, was a greatly esteemed painter who worked under the direction of Raphael. His real name was Van Coxcien, or Coxcyen, but he changed its form to Coxie.

His son, Michel Coxie le Jeune, surnamed the Flemish Raphael, was born in 1499, and first studied under his father. He was shortly placed with Bernard Van Orley, who sent him to Rome, where he might study the work of Raphael Sanzio. His work was of very unequal merit, although he painted hundreds of compositions in triptych form for the churches. Towards the end of his life he was commissioned to paint a decoration for the Hotel de Ville of Antwerp. He fell from the scaffolding during his work, receiving such injuries that he was incapacitated. Removed to his home in Malines, he died after some years of suffering, aged 93 years!

His second son, Raphael Coxie, born in 1540, was a painter of great merit, whose paintings were ordered for the Royal Spanish Cabinet. He lived at Antwerp, Ghent, and Brussels respectively, and died, full of honors, in 1616.

Michael, or Michel, Coxie, the third of the name, was received in the Gild of Painters the 28th day of September, 1598. He is the author of the triptych over the altar of the "Jardiniers" of Notre-Dame au dela de la Dyle. He died in 1618.

Michel Coxie, the Fourth, son of the above, born September, 1604, was elected to the Gild in 1623. He became Court Painter to the King.

Jean Coxie, son of Michel (above) excelled as a painter of landscape. He it was who decorated the two great salons of the "Parc" Abbey. The subjects were drawn from the life of Saint Norbert.

His son, Jean-Michel, though a member of the Gild of Malines, passed almost his whole life in Amsterdam, Dusseldorf, and Berlin. In the latter town he enjoyed the favor and patronage of Frederick I. He died in Milan in 1720.

Jean de Gruyter, gold worker and engraver, came in 1504 to Malines, where he enjoyed a certain renown. After his death in 1518, his sons Jean and Pierre continued the work which he began. Jean made seals of great beauty of detail, but Pierre was condemned to banishment in 1536 and confiscation of all his goods and chattels, for counterfeiting the state coinage.

Jean Hoogenbergh, born about 1500, was a successful painter of miniatures; he lived about fifty years.

Jean Van Ophem was appointed Civic Engraver of Seals and Gold Worker. He died in 1553.

Francois Verbeek became master workman in 1531, and finally _doyen_ of the craft. He abandoned oil painting for distemper, in which medium he excelled, producing masterpieces depicting the most fantastic subjects. He died in July, 1570.

Hans Verbeek, or Hans de Malines, believed to be the son of Francois. He was Court Painter to Albert and Isabella. He died sometime after 1619.

Gregoire Berincx, born in 1526, visited Italy and there made paintings in distemper of the ruins and ancient constructions. Returning to his native town in 1555 he was at once made a Gild Member of the Corporation of Painters. He died in 1573.

His youngest son, Gregoire, became _doyen_, and of him the following story is told: The great Van Dyck visited him unexpectedly one day, and demanded that he make a sketch of him (Van Dyck) at once, in his presence. Berincx accordingly painted in monotone the sketch in full length, adding the details in carnation, and so charmed was Van Dyck, that he assured him that he would adopt the system in his own work, "if he would permit." He died full of honors the 14th of October, 1669.

Jacques de Poindre, born in 1527, acquired a brilliant reputation as a portrait painter. He afterwards established himself under royal patronage in Denmark where he died in 1570.

Corneille Ingelrams, a painter in distemper, was born in 1527. He practised his art successfully in Malines and died in 1580.

His son, Andre, was admitted to the Painters' Gild in May, 1571, and died in 1595.

Marc Willems, born about 1527, was a pupil of Michel Coxie (le vieux), was considered a great painter in his time. He made many designs for the decorators, and admirable cartoons for tapestry makers. He died in 1561.

Jean Carpreau was commissioned in 1554 to take charge of the restorations of the "chasse" of the patron saint of the town. Such was his success that he was appointed Official Seal Cutter and Engraver, a position of great importance in those days. At the Hotel de Ville was preserved and shown a remarkable die in silver from his hand, for the Seal of the Municipality of Malines.

Jean or Hans Bol, born December, 1534, was the pupil of his uncles Jacques and Jean the Elder, but after two years of apprenticeship he went to Germany for a time. Returning to Malines, he devoted himself to the painting of landscapes with great success. Likewise he sometimes engraved plates on copper. His productions are many. He died at Amsterdam in 1593.

Lambert de Vos, admitted to the Gild of Saint Luke in 1563, was engaged in the service of Charles Kimy, Imperial Ambassador to Constantinople. He painted oriental subjects in water colors, which were distinguished for richness of color, and accuracy of drawing. Many of these are in the Library of Breme.

Jean Snellinck, born about 1554, was an historical and battle painter. It was he who prepared the designs for the tapestries of Oudenaarde. During his residence in that town he painted the triptych for the church of Notre Dame de Pamele. He died at Antwerp in 1638.

Louis Toeput was born about 1550. He was a landscape painter of renown, but also drew many architectural subjects. In his later period, he devoted himself to Flemish literature with marked success as an authority.

Luc Van Valckenborgh, called "partisan of the Reform," was born in 1566, and in his student days went to Germany, where he practised his art as a portrait painter. His reputation was made by his portrait of the Archduke Matthias.

He died in 1625, leaving a son Martin, also his pupil, who established himself at Antwerp and later at Frankfort. Martin was an historical and landscape painter, although he painted some good portraits in the manner of his father. He is thought to have died about 1636.

Philip Vinckboons, the elder, was born about 1550, became an associate of the Gild of Painters in 1580, and died 1631. His son Maur, the younger, born 1585, studied painting under his father, finishing under his uncle Pierre Stevens. He died in 1647.

Pierre Stevens, born about 1550, was an historical painter and engraver, as well as a portrait painter. This master latinized his name and signed his works thus--P. Stephani. He died in 1604 at Prague, where he had dwelt since 1590, under the patronage of the Emperor Rudolphe II.