Belgium

III.

Of Brussels I do not propose to say very much, because Brussels, although the brightest and gayest town in Belgium, and although retaining in its Grande Place, and in the buildings that immediately surround this last, as well as in its great church of St. Gudule (which, in spite of popular usage, is not, and never was, in the proper sense a cathedral), relics of antiquity of the very highest value and interest, yet Brussels, as a whole, is so distinctively a modern, and even cosmopolitan city, and has so much general resemblance to Paris (though its site is far more picturesque, and though the place, to my mind at least, just because it is smaller and more easily comprehensible, is a much more agreeable spot to stay in), that it seems better in a sketch that is principally devoted to what is old and nationally characteristic in Belgium to give what limited space one has to a consideration rather of towns like Louvain or Malines, in which the special Belgian flavour is not wholly overwhelmed by false and extraneous influences. St. Gudule, of course, should certainly be visited, not only for the sake of the general fabric, which, notwithstanding its possession of TWO west towers, is typically Belgian in its general character, but also for the sake of its magnificent sixteenth and seventeenth century glass, and especially for the sake of the five great windows in the Chapelle du Saint Sacrement, which illustrate in a blaze of gorgeous colour the story of how Jonathan the Jew bribed Jeanne de Louvain to steal the three Consecrated Wafers, from which oozed, when sacrilegiously stabbed by the sceptical Jew, the Sacred Blood of a world's redemption. This story is told again—or rather, perhaps, a similar story—in the splendid painted glass from the church of St. Eloi that is now preserved at Rouen in the Archaeological Museum. As for the Grande Place, or original market-place of the city, which is bounded on one side by the magnificent Hotel de Ville, on the opposite side by the rather heavy, rebuilt Maison du Roi, and on the remaining two sides chiefly by the splendid old seventeenth-century Corporation Houses of the various ancient city guilds—Le Renard, the house of the silk-mercers and haberdashers; Maison Cornet, the house of the boatmen, or "batelliers"; La Louvre, the house of the archers; La Brouette, the house of the carpenters; Le Sac, the house of the printers and booksellers; the Cygne, the house of the butchers; and other houses that need not be specified at any greater length, of the tailors, painters, and brewers—this is probably the completest and most splendid example of an ancient city market-square that now remains in Europe, and absolutely without rival even in Belgium itself, though similar old guild-houses, in the same delightful Flemish fashion, may still be found (though in this case with admixture of many modern buildings) in the Grande Place at Antwerp. It was in this splendid square at Brussels that the unhappy Counts of Egmont and Horn were brutally done to death, to glut the sinister tyranny of Spanish Philip, on June 5, 1568.

Also, in addition to these two superlative antiquities, two modern buildings in Brussels, though for widely different reasons, can hardly be passed over under plea of lack of space. Crowning the highest point of the city, and towering itself towards heaven in a stupendous pile of masonry, is the enormous new Palais de Justice, probably the most imposing law courts in the world. English Law undoubtedly is housed with much greater modesty, though not without due magnificence, in the altogether humbler levels of the Strand. Also in the High Town—which is the modern quarter of Brussels, in contrast with the mediaeval Low Town, which lies in the flat below—is the Royal Museum of Ancient Paintings, which probably divides honours with the Picture Gallery at Antwerp as the finest and most representative collection of pictures of the Netherlandish school in the world. Here you may revel by the hour in a candlelight effect by Gerard Dow; in the poultry of Melchior d'Hondecoeter; in a pigsty of Paul Potter's; in landscapes by Meindert Hobbema; in a moonlight landscape of Van der Neer's; in a village scene by Jan Steen; in the gallant world of Teniers; and in the weird imaginings of Pieter Brueghel the younger. The greatest pictures in the whole collection, I suppose, are those by Rubens, though he has nothing here that is comparable for a moment with those in the Picture Gallery and Cathedral at Antwerp. Very magnificent, however, is the "Woman taken in Adultery," the "Adoration of the Magi," the "Interceder Interceded" (the Virgin, at the prayer of St. Francis d'Assisi, restrains the angry Saviour from destroying a wicked world), and the "Martyrdom of St. Livinius." This last, however—like the "Crucifixion" in the Antwerp Gallery; like Van Dyck's picture in this collection of the drunken Silenus supported by a fawn; and like Rubens' own disgusting Silenus in our National Gallery at home—illustrates unpleasantly the painful Flemish facility to condescend to details, or even whole conceptions, the realism of which is unnecessarily deliberate and coarse. Here, in this death of St. Livinius, the executioner is shown in the act of presenting to a dog with pincers the bleeding tongue that he has just cut out of the mouth of the dying priest.

Brussels itself, as already intimated, is an exceedingly pleasant city for a more or less prolonged stay; and, owing at once to the admirable system of "Rundreise" tickets that are issued by the State railways at an uncommonly low price, to the rather dubious quality of the hotels in some of the smaller towns, and to the cardinal fact that Brussels is a centre from which most of the other great cities of Belgium—Malines, Ghent, Antwerp, and Liege, not to mention smaller towns of absorbing interest, such as Mons, Namur, Hal, Tirlemont, Leau, and Soignies—may be easily visited, more or less completely, in the course of a single day—owing to all these facts many people will be glad to make this pleasant city their centre, or headquarters, for the leisurely exploration of most of Belgium, with the exception of the more distant and out-of-the-way districts of West Flanders and the Ardennes. All the places enumerated are thoroughly worth visiting, but obviously only the more important can be dealt with more than just casually here. Mons, on a hill overlooking the great coalfield of the Borinage, with its strange pyramidal spoil-heaps, is itself curiously free from the dirt and squalor of an English colliery town; and equally worth visiting for the sake of its splendid cathedral of St. Wandru, the richly polychromatic effect of whose interior, due to the conjunction of deep red-brick vaulting with the dark blue of its limestone capitals and piers, illustrates another pleasant phase of Belgian ecclesiastical architecture, as well as for the sake of a contest, almost of yesterday, that has added new and immortal laurels to the genius of British battle. Tournai, on the upper Scheldt, or Escaut, is remarkable for the heavy Romanesque nave of its cathedral, which is built of the famous local black marble, as well as for its remarkable central cluster of five great towers. Soignies (in Flemish Zirick), roughly half-way between Mons and Brussels, and probably little visited, has a sombre old abbey church, of St. Vincent Maldegaire, that was built in the twelfth century, and that is enriched inside with such a collection of splendidly carved classical woodwork—stalls, misericordes, and pulpit—as you will scarcely find elsewhere even in Belgium. The pulpit in particular is wonderful, with its life-sized girl supporters, with their graceful and lightly poised figures, and pure and lovely faces. Namur, strangely enough, has really nothing of antiquity outside the doors of its Archaeological Museum, but is worth a visit if only for the pleasure of promenading streets which, if almost wholly modern, are unusually clean and bright. Tirlemont, again, has two old churches that will not delay you long, though Notre Dame de Lac has remarkably fine confessionals of the dawn of the seventeenth century, and though the splendid brass-work of the font and baptistery lectern at St. Germains would alone be worth a visit; but Leau, for which Tirlemont is the junction, is so quaint and curious a little town, and comes so much in the guise of a pleasant discovery—since Baedeker barely mentions it—that, even apart from its perfect wealth of wood and brass work in the fine thirteenth-century church of St. Leonhard, it might anyhow be thought to justify a visit to this little visited corner of South Brabant. I do not know that the brass-work could be easily matched elsewhere: the huge standard candelabrum to the north of the altar, with its crowning Crucifixion; the lectern, with its triumphant eagle and prostrate dragon; the font, with its cover, and the holy-water stoup almost as big as a small font (in Brittany I have seen them as big as a bath); and the beautiful brass railings that surround the splendid Tabernacle that was executed in 1552 by Cornelius de Vriendt, the brother of the painter Frans Floris, and that towers high into the vaulting to a height of fifty-two feet. One realizes more completely in a quiet village church like this the breadth and intensity of the wave of artistic impulse that swept through the Lowlands in the sixteenth and seventeenth centuries than is possible in half a dozen hurried visits to a picture gallery at Antwerp or Brussels. Finally Hal, to conclude our list of minor places, has a grand fourteenth-century church, with a miracle-working Virgin, and a little red-brick town hall of characteristically picturesque aspect.

The railway journey from Brussels to Antwerp traverses a typical bit of Belgian landscape that is as flat as a pancake; and the monotony is only relieved, first by the little town of Vilvoorde, where William Tyndale was burnt at the stake on October 6, 1536, though not alive, having first been mercifully strangled, and afterwards by the single, huge, square tower of Malines (or Mechlin) Cathedral, which dominates the plain from enormous distances, like the towers of Ely or Lincoln, though not, like these last, by virtue of position on a hill, but solely by its own vast height and overwhelming massiveness. Malines, though certainly containing fewer objects of particular interest than Bruges, and though certainly on the whole a less beautiful city, strikes one as hardly less dead-and-alive, and altogether may fairly claim second place among the larger Belgian cities (it houses more than fifty thousand souls) in point of mediaeval character. The great thirteenth and fourteenth century cathedral of St. Rombaut has been the seat of an archbishopric since the sixteenth century, and is still the metropolitan church of Belgium. Externally the body, like the market-hall at Bruges, is almost entirely crushed into insignificance by the utterly disproportionate height and bulk of the huge west tower, the top of which, even in its present unfinished state (one almost hopes that it may never be finished), is actually three hundred and twenty-four feet high. Boston "Stump" is only two hundred and eighty feet to the top of the weather vane, but infinitely slimmer in proportion; whilst even Salisbury spire is only about four hundred odd feet. Immediately below the parapet is the enormous skeleton clock-face, the proportions of which are reproduced on the pavement of the market-place below. The carillons in this tower are an extravagant example of the Belgian passion for chiming bells. Once safely inside the church, and the monster tower forgotten, and we are able to admire its delicate internal proportions, and the remarkable ornament of the spandrels in the great main arcades of the choir. Unfortunately, much of this interior, like that of St. Pierre at Louvain, is smothered under half an inch of plaster; but where this has been removed in tentative patches, revealing the dark blue "drums" of the single, circular columns of the arcades, the general effect is immensely improved. One would also like to send to the scrap-heap the enormous seventeenth-century figures of the Apostles on their consoles on the piers, which form so bad a disfigurement in the nave. The treasure of the church is the great "Crucifixion" by Van Dyck, which is hung in the south transept, but generally kept covered. To see other stately pictures you must go to the church of St. Jean, where is a splendid altar triptych by Rubens, the centre panel of which is the "Adoration of the Magi"; or to the fifteenth-century structure of Notre Dame au dela de la Dyle (the clumsy title is used, I suppose, for the sake of distinction from the classical Notre Dame d'Hanswyck), where Rubens' "Miraculous Draught of Fishes" is sometimes considered the painter's masterpiece. It is not yet clear whether this noble picture has been destroyed in the recent bombardment. Even to those who care little for art, a stroll to these two old churches through the sleepy back-streets of Malines, with their white and sunny houses, can hardly fail to gratify.

If Malines is a backwater of the Middle Time, as somnolent or as dull (so some, I suppose, would call it) as the strange dead towns of the Zuyder Zee, or as Coggeshall or Thaxted in our own green Essex, Antwerp, at any rate, which lies only some fifteen miles or so to the north of it, is very much awake, and of aspect mostly modern, though not without some very curious and charming relics of antiquity embedded in the heart of much recent stone and mortar. Perhaps it will be well to visit one of these at once, taking the tram direct from the magnificent Gare de l'Est (no lesser epithet is just) to the Place Verte, which may be considered the real centre of the city; and making our way thence by a network of quieter back-streets to the Musee Plantin-Moretus, which is the goal of our immediate ambition. I bring you here at once, not merely because the place itself is quite unique and of quite exceptional interest, but because it strikes precisely that note of real antiquity that underlies the modern din and bustle of Antwerp, though apt to be obscured unless we listen needfully. Happy, indeed, was the inspiration that moved the city to buy this house from its last private possessor, Edward Moretus, in 1876. To step across this threshold is to step directly into the merchant atmosphere of the sixteenth century. The once great printing house of Plantin-Moretus was founded by the Frenchman, Christopher Plantin, who was born at St. Aventin, near Tours, in 1514, and began his business life as a book-binder at Rouen. In 1549 he removed to Antwerp, and was there innocently involved one night in a riot in the streets, which resulted in an injury that incapacitated him for his former trade, and necessitated his turning to some new employment. He now set up as printer, with remarkable success, and was a sufficiently important citizen at the date of his death, in 1589, to be buried in his own vault under a chapel in the Cathedral. The business passed, on his decease, to his son-in-law, Jean Moertorf, who had married his daughter, Martine, in 1570, and had Latinized his surname to Moretus in accordance with the curious custom that prevailed among scholars of the sixteenth century. Thus Servetus was really Miguel Servete, and Thomas Erastus was Thomas Lieber. The foundation of the fortunes of the house was undoubtedly its monopoly—analogous to that enjoyed by the English house of Spottiswoode, and by the two elder Universities—of printing the liturgical works—Missals, Antiphons, Psalters, Breviaries, etc.—that were used throughout the Spanish dominions. No attempt, however, seems to have been made in the later stages of the history of the house to adopt improved machinery, or to reconstruct the original, antiquated buildings. The establishment, accordingly, when it was taken over by the city in 1876, retained virtually the same aspect as it had worn in the seventeenth century, and remains to the present day perhaps the best example in the world of an old-fashioned city business house of the honest time when merchant-princes were content to live above their office, instead of seeking solace in smug suburban villas. The place has been preserved exactly as it stood, and even the present attendants are correctly clad in the sober brown garb of the servants of three hundred years since. It is interesting, not only in itself, but as an excellent example of how business and high culture were successfully combined under the happier economic conditions of the seventeenth and eighteenth centuries. The Plantin-Moretus family held a high position in the civic life of Antwerp, and mixed in the intellectual and artistic society for which Antwerp was famed in the seventeenth century—the Antwerp of Rubens (though not a native) and Van Dyck, of Jordaens, of the two Teniers, of Grayer, Zegers, and Snyders. Printing, indeed, in those days was itself a fine art, and the glories of the house of Plantin-Moretus rivalled those of the later Chiswick Press, and of the goodly Chaucers edited in our own time by Professor Skeat, and printed by William Morris. Proof-reading was then an erudite profession, and Francois Ravelingen, who entered Plantin's office as proof-reader in 1564, and assisted Arias Montanus in revising the sheets of the Polyglot Bible, is said to have been a great Greek and Oriental scholar, and crowned a career of honourable toil, like Hogarth's Industrious Apprentice, by marrying his master's eldest daughter, Marguerite, in 1565. The room in which these scholars worked remains much in its old condition, with the table at which they sat, and some of their portraits on the wall. Everything here, in short, is interesting: the press-room, which was used almost continuously and practically without change—two of the antiquated presses of Plantin's own time remain—for nearly three centuries; the Great and Little Libraries, with their splendid collection of books; the archive room, with its long series of business accounts and ledgers; the private livingrooms of the Moretus family; and last, but not least, the modest little shop, where books still repose upon the shelves, which looks as though the salesman might return at any moment to his place behind the counter. England has certainly nothing like it, though London had till recently in Crosby Hall a great merchant's house of the fifteenth century, though stripped of all internal fittings and propriety. Luckily this last has been re-erected at Chelsea, though robbed by the change of site of half its authenticity and value.

I have chosen to dwell on this strange museum at length that seems disproportionate, not merely because of its unique character, but because it seems to me full of lessons and reproach for an age that has subordinated honest workmanship to cheap and shoddy productiveness, and has sacrificed the workman to machinery. Certainly no one who visits Antwerp can afford to overlook it; but probably most people will first bend their steps towards the more popular shrine of the great cathedral. Here I confess myself utter heretic: to call this church, as I have seen it called, "one of the grandest in Europe," seems to me pure Philistinism—the cult of the merely big and obvious, to the disregard of delicacy and beauty. Big it is assuredly, and superficially astonishing; but anything more barn-like architecturally, or spiritually unexalting, I can hardly call to memory. Outside it lacks entirely all shadow of homogeneity; the absence of a central tower, felt perhaps even in the great cathedrals of Picardy and the Ile de France, just as it is felt in Westminster and in Beverley Minster, is here actually accentuated by the hideous little cupola—I hardly know how properly to call it—that squats, as though in derision, above the crossing; whilst even the natural meeting and intersection at this point of high roofs, which in itself would rise to dignity, is wantonly neglected to make way for this monstrosity. The church, in fact, looks, when viewed externally, more like four separate churches than one; and when we step inside, with all the best will in the world to make the best of it, it is hard to find, much to admire, and anything at all to love, in these acres of dismally whitewashed walls, and long, feeble lines of arcades without capitals. The inherent vice of Belgian architecture—its lack of really beautiful detail, and its fussy superfluity of pinnacle and panelling—seems to me here to culminate. Belgium has really beautiful churches—not merely of the thirteenth century, when building was lovely everywhere, but later buildings, like Mons, and St. Pierre at Louvain; but Antwerp is not of this category. Architecturally, perhaps, the best feature of the whole church is the lofty spire (over four hundred feet), which curiously resembles in general outline that of the Hotel de Ville at Brussels (three hundred and seventy feet), and dates from about the same period (roughly the middle of the fifteenth century). As usual in Belgium, it is quite out of scale; it is lucky, indeed, that the corresponding south-west tower has never been completed, for the combination of the two would be almost overwhelming. It is curious and interesting as an example of a tower tapering upwards to a point in a succession of diminishing stages, in contrast with tower and spire. France has something like it, though far more beautiful, in the thirteenth-century tower at Senlis; but England affords no parallel. I am not sure who invented the quite happy phrase, "Confectioner's Gothic," but this tower at Antwerp is not badly described by it. It is altogether too elaborate and florid, like the sugar pinnacle of a wedding-cake.

This cathedral of Antwerp, however, though at the time that it was built a mere collegiate church of secular canons, and only first exalted to cathedral rank in 1559, is one of the largest churches in superficial area in the world, a result largely due to its possession, uniquely, of not less than six aisles, giving it a total breadth of one hundred and seventy feet. Hung in the two transepts respectively are the two great pictures by Rubens—the "Elevation of the Cross" and the "Descent from the Cross"—that are described at such length, and with so much critical enthusiasm, by Sir Joshua Reynolds in his "Journey to Flanders and Holland." The "Descent from the Cross," painted by Rubens in 1612, when he was only thirty-five years old, is perhaps the more splendid, and is specially remarkable for the daring with which the artist has successfully ventured (what "none but great colourists can venture") "to paint pure white linen near flesh." His Christ, continues Sir Joshua, "I consider as one of the finest figures that ever was invented: it is most correctly drawn, and I apprehend in an attitude of the utmost difficulty to execute. The hanging of the head on His shoulder, and the falling of the body on one side, gives such an appearance of the heaviness of death, that nothing can exceed it." Antwerp, of course, is full of magnificent paintings by Rubens, though unfortunately the house in which he lived in the Place de Meir (which is traversed by the tram on its way from the Est Station to the Place Verte), which was built by him in 1611, and in which he died in 1640, was almost entirely rebuilt in 1703. There is another great Crucifixion by the master in the Picture Gallery, or Palais des Beaux Arts, which illustrates his exceptional power as well as his occasional brutality." The centurion, with his hands on the nape of his horse's neck, is gazing with horror at the writhings of the impenitent thief, whose legs are being broken with an iron bar, which has so tortured the unhappy man that in his agony he has torn his left foot from the nail." It is questionable whether any splendour of success can ever justify a man in thus condescending to draw inspiration from the torture-room or shambles.

One would gladly spend more time in this Antwerp gallery, which exceeds, I think, in general magnificence the collections at Brussels and Amsterdam; and gladly would one visit the great fifteenth and sixteenth century churches of St. Jacques, St. Andre, and St. Paul, which not merely form together architecturally an important group of a strongly localized character, but are also, like the cathedral, veritable museums or picture galleries. It is necessary, however, to conclude this section, to say a few words about Louvain, which, lying as it does on the main route from Brussels to Liege, may naturally be considered on our way to the northern Ardennes.

Louvain, on the whole, has been much more modernized than other Belgian cities of corresponding bulk, such as Bruges or Malines. The road from the railway-station to the centre of the town is commonplace indeed in its lack of picturesque Flemish house-fronts or stepped, "corbie," Flemish gables. Louvain, in fact, unlike the two "dead" cities of West Flanders and Brabant, wears a briskly business-like aspect, and pulses with modern life. I suppose that I ought properly to have written all this in the past tense, for Louvain is now a heap of smoking cinders. The famous Town Hall has, indeed, so far been spared by ruffians who would better have spared the magnificent Cloth Hall at Ypres; between these two great buildings, the products respectively of the Belgian genius of the fifteenth and thirteenth centuries, "culture" could hardly hesitate. The Hotel-de-Ville at Louvain is, indeed, an astonishing structure, just as the cathedral at Antwerp is astonishing; but one has to be very indulgent, or very forgetful of better models, not to deprecate this absolutely wanton riot of overladened panelling and bulging, top-heavy pinnacles. The expiring throes of Belgian Gothic were a thousand degrees less chaste than the classicism of the early Renaissance: few, perhaps, will prefer the lacelike over-richness of this midfifteenth century town hall at Louvain to the restraint of the charming sixteenth-century facade of the Hotel de Ville at Leiden. Opposite the town hall is the huge fifteenth-century church of St. Pierre, the interior of which, still smothered in whitewash in 1910, was remarkable for its florid Gothic rood-screen and soaring Tabernacle, or Ciborium. The stumpy fragment of tower at the west end is said once to have been five hundred and thirty feet high! It is not surprising to read that this last, and crowning, manifestation of a familiar Belgian weakness was largely wrecked by a hurricane in 1604.