,,cities ,,of ,,belgium ,g r a n t ,a l l e n ' s ,h i s t o r i c a l ,g u i d e s ,fcap4 #hvo1 green cloth1 with rounded corners to slip in the pocket1 price #cs4 #f;d4 net each4 ,i4 ,p ,a ,r ,i ,s4 ,by ,,grant ,,allen 7,second ,edition74 ,,ii4 ,f ,l ,o ,r ,e ,n ,c ,e4 ,by ,,grant ,,allen 7,second ,edition74 ,,iii4 ,t ,h ,e ,c ,i ,t ,i ,e ,s ,o ,f ,b ,e ,l ,g ,i ,u ,m4 ,by ,,grant ,,allen 7,second ,edition74 ,,iv4 ,v ,e ,n ,i ,c ,e4 ,by ,,grant ,,allen4 ,v4 ,t ,h ,e ,c ,i ,t ,i ,e ,s ,o ,f ,n ,o ,r ,t ,h ,e ,r ,n ,i ,t ,a ,l ,y4 ,by ,,geo4 ,c4 ,,williamson1 ,litt4,d4 ,,vi4 ,t ,h ,e ,u ,m ,b ,r ,i ,a ,n ,t ,o ,w ,n ,s4 ,by ,mr4 and ,mrs4 ,j4 ,w4 ,,cruickshank4 ,,london3 ,,grant ,,richards #dh ,,leicester ,,square ,,grant ,,allen',s ,,historical ,,guides ,,cities ,,of ,,belgium ,,by ,,grant ,,allen ,illustration ,,london3 ,,grant ,,richards #dh ,,leicester ,,square ,,butler ,,tanner1 ,,the ,,selwood ,,printing ,,works1 ,,frome1 ,,and ,,london4 ,,preface ,,to ,,the ,,second ,,edition ,,recent alterations1 especially in the ,brussels ,gallery1 make a new edition of this book imperative1 and1 as ,i had been with my father during its inception1 ,i have undertaken such revision as is necessary4 ,in the main1 however1 my work has been merely mechanical1 and the guide remains substantially identical in detail with that originally published in #ahig4 ,since that date it has been remarked in more than one quarter that many interesting towns and objects have been omitted4 ,i can only reply that it would be impossible to deal exhaustively with a country so rich in historical and artistic interest as ,belgium in a single volume of this size1 and that my father only professed to point out such sights in the chief towns as seemed to him most worthy of interest4 ,to alter even slightly the work of an author 7especially when1 as in this case1 that author is powerless to object7 is a task to be approached with the utmost diffidence1 and ,i can only trust that those who use this book will impute all blame for any errors or omissions wholly to me1 rather than to one who is beyond the reach of criticism4 ,,jerrard ,,grant ,,allen4 ,july1 #aijb4 ,,introduction ,,the object and plan of these ,historical ,handbooks is somewhat different from that of any other guides at present before the public4 ,they do not compete or clash with such existing works2 they are rather intended to supplement than to supplant them4 ,my purpose is not to direct the stranger through the streets and squares of an unknown town towards the buildings or sights which he may desire to visit2 still less is it my design to give him practical information about hotels1 cab fares1 omnibuses1 tramways1 and other every-day material conveniences4 ,for such details1 the traveller must still have recourse to the trusty pages of his ,baedeker1 his ,joanne1 or his ,murray4 ,i desire rather to supply the tourist who wishes to use his travel as a means of culture with such historical and antiquarian information as will enable him to understand1 and therefore to enjoy1 the architecture1 sculpture1 painting1 and minor arts of the towns he visits4 ,in one word1 it is my object to give the reader in a very compendious form the result of all those inquiries which have naturally suggested themselves to my own mind during thirty-five years of foreign travel1 the solution of which has cost myself a good deal of research1 thought1 and labour1 beyond the facts which ,i could find in the ordinary handbooks4 ,for several years past ,i have devoted myself to collecting and arranging material for a set of books to embody the idea ,i had thus entertained4 ,i earnestly hope they may meet a want on the part of tourists1 especially ,americans1 who1 so far as my experience goes1 usually come to ,europe with an honest and reverent desire to learn from the ,old ,world whatever of value it has to teach them1 and who are prepared to take an amount of pains in turning their trip to good account which is both rare and praiseworthy4 ,for such readers ,i shall call attention at times to other sources of information4 ,these guide-books will deal more particularly with the ,great ,towns where objects of art and antiquity are numerous4 ,in every one of them1 the general plan pursued will be somewhat as follows4 ,first will come the inquiry why a town ever gathered together at all at that particular spot--what induced the aggregation of human beings rather there than elsewhere4 ,next1 we shall consider why that town grew to social or political importance and what were the stages by which it assumed its present shape4 ,thirdly1 we shall ask why it gave rise to that higher form of handicraft which we know as ,art1 and towards what particular arts it especially gravitated4 ,after that1 we shall take in detail the various strata of its growth or development1 examining the buildings and works of art which they contain in historical order1 and1 as far as possible1 tracing the causes which led to their evolution4 ,in particular1 we shall lay stress upon the origin and meaning of each structure as an organic whole1 and upon the allusions or symbols which its fabric embodies4 ,a single instance will show the method upon which ,i intend to proceed better than any amount of general description4 ,a church1 as a rule1 is built over the body or relics of a particular saint1 in whose special honour it was originally erected4 ,that saint was usually one of great local importance at the moment of its erection1 or was peculiarly implored against plague1 foreign enemies1 or some other pressing and dreaded misfortune4 ,in dealing with such a church1 then1 ,i endeavour to show what were the circumstances which led to its erection1 and what memorials of these circumstances it still retains4 ,in other cases it may derive its origin from some special monastic body--,benedictine1 ,dominican1 ,franciscan--and may therefore be full of the peculiar symbolism and historical allusion of the order who founded it4 ,wherever ,i have to deal with such a church1 ,i try as far as possible to exhibit the effect which its origin had upon its architecture and decoration2 to trace the image of the patron saint in sculpture or stained glass throughout the fabric2 and to set forth the connection of the whole design with time and place1 with order and purpose4 ,in short1 instead of looking upon monuments of the sort mainly as the product of this or that architect1 ,i look upon them rather as material embodiments of the spirit of the age--crystallizations1 as it were1 in stone and bronze1 in form and colour1 of great popular enthusiasms4 ,by thus concentrating attention on what is essential and important in a town1 ,i hope to give in a comparatively short space1 though with inevitable conciseness1 a fuller account than is usually given of the chief architectural and monumental works of the principal art-cities4 ,in dealing with ,paris1 for example1 ,i shall have little to say about such modern constructions as the ,champs lyses or the ,eiffel ,tower2 still less1 of course1 about the ,morgue1 the ,catacombs1 the waxworks of the ,muse ,grvin1 and the celebrated ,excursion in the ,paris ,sewers4 ,the space thus saved from vulgar wonders ,i shall hope to devote to fuller explanation of ,notre-,dame and the ,sainte ,chapelle1 of the medival carvings or tapestries of ,cluny1 and of the pictures or sculptures in the galleries of the ,louvre4 ,similarly in ,florence1 whatever ,i save from description of the ,cascine and even of the beautiful ,viale dei ,colli 7where explanation is needless and word-painting superfluous71 ,i shall give up to the ,bargello1 the ,uffizi1 and the ,pitti ,palace4 ,the passing life of the moment does not enter into my plan2 ,i regard each town ,i endeavour to illustrate mainly as a museum of its own history4 ,for this reason1 too1 ,i shall devote most attention in every case to what is locally illustrative1 and less to what is merely adventitious and foreign4 ,in ,paris1 for instance1 ,i shall have more to say about truly ,parisian art and history1 as embodied in ,st4 ,denis1 the le de la ,cit1 and the shrine of ,ste4 ,genevive1 than about the ,egyptian and ,assyrian collections of the ,louvre4 ,in ,florence1 again1 ,i shall deal rather with the ,etruscan remains1 with ,giotto and ,fra ,angelico1 with the ,duomo and the ,campanile1 than with the admirable ,memlincks and ,rubenses of the ,uffizi and the ,pitti1 or with the beautiful ,van der ,goes of the ,hospital of ,santa ,maria4 ,in ,bruges and ,brussels1 once more1 ,i shall be especially ,flemish2 in the ,rhine towns1 ,rhenish2 in ,venice1 ,venetian4 ,i shall assign a due amount of space1 indeed1 to the foreign collections1 but ,i shall call attention chiefly to those monuments or objects which are of entirely local and typical value4 ,as regards the character of the information given1 it will be mainly historical1 antiquarian1 and1 above all1 explanatory4 ,i am not a connoisseur--an adept in the difficult modern science of distinguishing the handicraft of various masters1 in painting or sculpture1 by minute signs and delicate inferential processes4 ,in such matters1 ,i shall be well content to follow the lead of the most authoritative experts4 ,nor am ,i an art-critic--a student versed in the technique of the studios and the dialect of the modelling-room4 ,in such matters1 again1 ,i shall attempt little more than to accept the general opinion of the most discriminative judges4 ,what ,i aim at rather is to expound the history and meaning of each work--to put the intelligent reader in such a position that he may judge for himself of the sthetic beauty and success of the object before him4 ,to recognise the fact that this is a ,perseus and ,andromeda1 that a ,st4 ,barbara enthroned1 the other an obscure episode in the legend of ,st4 ,philip1 is not art-criticism1 but it is often an almost indispensable prelude to the formation of a right and sound judgment4 ,we must know what the artist was trying to represent before we can feel sure what measure of success he has attained in his representation4 ,for the general study of ,christian art1 alike in architecture1 sculpture1 and painting1 no treatises are more useful for the tourist to carry with him for constant reference than ,mrs4 ,jameson's ,sacred and ,legendary ,art1 and ,legends of the ,madonna 7,london1 ,longmans74 ,for works of ,italian art1 both in ,italy and elsewhere1 ,kugler's ,italian ,schools of ,painting is an invaluable vade-mecum4 ,these books should be carried about by everybody everywhere4 ,other works of special and local importance will occasionally be noticed under each particular city1 church1 or museum4 ,i cannot venture to hope that handbooks containing such a mass of facts as these will be wholly free from errors and misstatements1 above all in early editions4 ,i can only beg those who may detect any such to point them out1 without unnecessary harshness1 to the author1 care of the publisher1 and if possible to assign reasons for any dissentient opinion4 ,,grant ,,allen ,c ,o ,n ,t ,e ,n ,t ,s ,,page ,,preface ,,to ,,the ,,second ,,edition #e ,,introduction #f ,,how ,,to ,,use ,,these ,,guide-,,books #ab ,,origins ,,of ,,the ,,belgian ,,towns #ac ,,order ,,of ,,the ,,tour #bj ,i ,,bruges-- ,a4 ,origins of ,bruges #bb ,b4 ,the ,heart of the ,city #be ,c4 ,the ,hospital of ,st4 ,john #ce ,d4 ,the ,town in ,general #de ,e4 ,the ,churches #di ,f4 ,the ,academy #ei ,,ii ,,ghent-- ,a4 ,origins of ,ghent #ff ,b4 ,the ,core of ,ghent #fi ,c4 ,the ,cathedral #gg ,d4 ,the ,outskirts #ij ,,iii ,,brussels-- ,a4 ,origins of ,brussels #ih ,b4 ,the ,heart of ,brussels #ajj ,c4 ,the ,picture ,gallery #aje ,d4 ,the ,cathedral #ach ,e4 ,the ,upper ,town #ade ,f4 ,surroundings #aef ,,iv ,,antwerp-- ,a4 ,origins of ,antwerp #afd ,b4 ,the ,cathedral #afh ,c4 ,the ,picture ,gallery #agf ,d4 ,the ,town in ,general #bje ,v ,,historical ,,notes #bag ,,index #bbi ,,how ,,to ,,use ,,these ,,guidebooks ,t,,he portions of this book intended to be read at leisure at home1 before proceeding to explore each town or monument1 are enclosed in brackets thus4 ,the portion relating to each principal object should be quietly read and digested before a visit1 and referred to again afterwards4 ,the portion to be read on the spot is made as brief as possible1 and is printed in large legible type1 so as to be easily read in the dim light of churches1 chapels1 and galleries4 ,the key-note words are printed in bold type1 to catch the eye4 ,where objects are numbered1 the numbers used are always those of the latest official catalogues4 ,baedeker's ,guides are so printed that each principal portion can be detached entire from the volume4 ,the traveller who uses ,baedeker is advised to carry in his pocket one such portion1 referring to the place he is then visiting1 together with the plan of the town1 while carrying this book in his hand4 ,these ,guides do not profess to supply practical information4 ,individual works of merit are distinguished by an asterisk 79972 those of very exceptional interest and merit have two asterisks4 ,nothing is noticed in this book which does not seem to the writer worthy of attention4 ,see little at a time1 and see it thoroughly4 ,never attempt to 8do0 any place or any monument4 ,by following strictly the order in which objects are noticed in this book1 you will gain a conception of the historical evolution of the town which you cannot obtain if you go about looking at churches and palaces hap-hazard4 ,the order is arranged1 not quite chronologically1 but on a definite plan1 which greatly facilitates comprehension of the subject4 ,,origins ,,of ,,the ,,belgian ,,towns ,,the somewhat heterogeneous country which we now call ,belgium formed part of ,gaul under the ,roman ,empire4 ,but though rich and commercial even then1 it seems to have been relatively little ,romanised2 and in the beginning of the #eth century it was overrun by the ,salic ,franks1 on their way towards ,laon1 ,soissons1 and ,paris4 ,when civilization began to creep northward again in the #ith century through the districts barbarised by the ,teutonic invasion1 it was the ,frankish ,charlemagne 7,karl the ,great7 who introduced ,roman arts afresh into the ,upper and ,lower ,rhinelands4 ,the ,rhine from ,basle to ,cologne was naturally the region most influenced by this new ,roman revival2 but as ,charlemagne had his chief seat at ,aix-la-,chapelle 7,aachen71 near the modern ,belgian frontier1 the western ,frankish provinces were also included in the sphere of his improvements4 ,when the kingdom of the ,franks began to divide more or less definitely into the ,empire and ,france1 the ,flemish region formed nominally part of the ,neustrian and1 later1 of the ,french dominions4 ,from a very early date1 however1 it was practically almost independent1 and it became so even in name during its later stages4 ,but ,brabant 7with ,brussels7 remained a portion of the ,empire4 ,the ,rhine constituted the great central waterway of medival ,europe2 the ,flemish towns were its ports and its manufacturing centres4 ,they filled in the #acth and #adth centuries much the same place that ,liverpool1 ,glasgow1 ,manchester1 and ,birmingham fill in the #bjth4 ,many causes contributed to this result4 ,flanders1 half independent under its own ,counts1 occupied a middle position1 geographically and politically1 between ,france and the ,empire2 it was comparatively free from the disastrous wars which desolated both these countries1 and in particular 7see under ,ghent7 it largely escaped the long smouldering quarrel between ,french and ,english which so long retarded the development of the former4 ,its commercial towns1 again1 were not exposed on the open sea to the attacks of pirates or hostile fleets1 but were safely ensconced in inland flats1 reached by rivers or canals1 almost inaccessible to maritime enemies4 ,similar conditions elsewhere early ensured peace and prosperity for ,venice4 ,the canal system of ,holland and ,belgium began to be developed as early as the #abth century 7at first for drainage71 and was one leading cause of the commercial importance of the ,flemish cities in the #adth4 ,in so flat a country1 locks are all but unnecessary4 ,the two towns which earliest rose to greatness in the ,belgian area were thus ,bruges and ,ghent2 they possessed in the highest degree the combined advantages of easy access to the sea and comparative inland security4 ,bruges1 in particular1 was one of the chief stations of the ,hanseatic ,league1 which formed an essentially commercial alliance for the mutual protection of the northern trading centres4 ,by the #adth century ,bruges had thus become in the north what ,venice was in the south1 the capital of commerce4 ,trading companies from all the surrounding countries had their 8factories0 in the town1 and every ,european king or prince of importance kept a resident minister accredited to the merchant ,republic4 ,some comprehension of the mercantile condition of ,europe in general during the ,middle ,ages is necessary in order to understand the early importance and wealth of the ,flemish cities4 ,southern ,europe1 and in particular ,italy1 was then still the seat of all higher civilization1 more especially of the trade in manufactured articles and objects of luxury4 ,florence1 ,venice1 and ,genoa ranked as the polished and learned cities of the world4 ,further east1 again1 ,constantinople still remained in the hands of the ,greek emperors1 or1 during the ,crusades1 of their ,latin rivals4 ,a brisk trade existed vi the ,mediterranean between ,europe and ,india or the nearer ,east4 ,this double stream of traffic ran along two main routes--one1 by the ,rhine1 from ,lombardy and ,rome2 the other1 by sea1 from ,venice1 ,genoa1 ,florence1 ,constantinople1 the ,levant1 and ,india4 ,on the other hand1 ,france was still but a half civilized country1 with few manufactures and little external trade2 while ,england was an exporter of raw produce1 chiefly wool1 like ,australia in our own time4 ,the ,hanseatic merchants of ,cologne held the trade of ,london2 those of ,wisby and ,lbeck governed that of the ,baltic2 ,bruges1 as head of the ,hansa1 was in close connection with all of these1 as well as with ,hull1 ,york1 ,novgorod1 and ,bergen4 ,the position of the ,flemish towns in the #adth century was thus not wholly unlike that of ,new ,york1 ,philadelphia1 and ,boston at the present day2 they stood as intermediaries between the older civilized countries1 like ,italy or the ,greek empire1 and the newer producers of raw material1 like ,england1 ,north ,germany1 and the ,baltic towns4 ,the local manufactures of ,flanders consisted chiefly of woollen goods and linens2 the imports included ,italian luxuries1 ,spanish figs and raisins1 ,egyptian dates1 ,oriental silks1 ,english wool1 cattle1 and metals1 ,rhenish wines1 and ,baltic furs1 skins1 and walrus tusks4 ,in the early #afth century1 when navigation had assumed new conditions1 and trade was largely diverted to the ,atlantic1 ,antwerp1 the port of the ,schelde1 superseded the towns on the inland network4 ,as ,venice sank1 ,antwerp rose4 ,the art that grew up in the ,flemish cities during their epoch of continuous commercial development bears on its very face the visible impress of its mercantile origin4 ,france is essentially a monarchical country1 and it is centralized in ,paris2 everything in old ,french art is therefore regal and lordly4 ,the ,italian towns were oligarchies of nobles2 so the principal buildings of ,florence and ,venice are the castles or palaces of the princely families1 while their pictures represent the type of art that belongs in its nature to a cultivated aristocracy4 ,but in ,flanders1 everything is in essence commercial4 ,the architecture consists mainly1 not of private palaces1 but of guilds1 town halls1 exchanges1 belfries3 the pictures are the portraits of solid and successful merchants1 or the devotional works which a merchant donor presented to the patron saint of his town or business4 ,they are almost overloaded with details of fur1 brocade1 jewellery1 lace1 gold1 silver1 polished brass1 glasswork1 ,oriental carpets1 and richly carved furniture4 ,in order to understand ,flemish art1 therefore1 it is necessary to bear in mind at every step that it is the art of a purely commercial people4 ,another point which differentiates ,flemish painting from the painting of ,italy during the same period is the complete absence of any opportunity for the display of frescoes4 ,in the ,italian churches1 where the walls serve largely for support1 and the full southern light makes the size of the windows of less importance1 great surfaces were left bare in the nave and aisles1 or in the lower part of the choir1 crying aloud for decoration at the hands of the fresco-painter4 ,but in the northern ,gothic1 which aimed above all things at height and the soaring effect1 and which almost annihilated the wall1 by making its churches consist of rows of vast windows with intervening piers or buttresses1 the opportunity for mural decoration occurred but seldom4 ,the climate also destroyed frescoes4 ,hence the works of pictorial art in ,flemish buildings are almost confined to altar-pieces and votive tablets4 ,again1 the great school of painting in early ,italy 7from ,giotto to ,perugino7 was a school of fresco-painters2 but in ,flanders no high type of art arose till the discovery of oil-painting4 ,pictures were usually imported from the ,rhine towns4 ,hence1 pictorial art in the ,low ,countries seems to spring almost full-fledged1 instead of being traceable through gradual stages of evolution as in ,italy4 ,most of the best early paintings are small and highly finished2 it was only at a comparatively late date1 when ,antwerp became the leading town1 that ,italian influence began to produce the larger and coarser canvases of ,rubens and his followers4 ,very early ,flemish art greatly resembles the art of the ,school of ,cologne4 ,only with ,hubert and ,jan van ,eyck 7about #acfj-addj7 does the distinctively ,flemish taste begin to show itself--the taste for delicate and minute workmanship1 linked with a peculiar realistic idealism1 more dainty than ,german work1 more literal than ,italian4 ,it is an art that bases itself upon truth of imitation and perfection of finish3 its chief sthetic beauty is its jewel-like colour and its wealth of decorative adjuncts4 ,the subsequent development of ,flemish painting--the painting that pleased a clique of opulent commercial patrons--we shall trace in detail in the various cities4 ,whoever wishes to gain a deeper insight into ,flemish painting should take in his portmanteau ,sir ,martin ,conway's 8,early ,flemish ,artists10 a brilliant and masterly work of the first importance1 to which this ,guide is deeply indebted4 ,the political history of the country during this flourishing period of the ,middle ,ages has also stamped itself1 though somewhat less deeply1 on the character of the towns and of the art evolved in them4 ,the ,counts of ,flanders1 originally mere lords of ,bruges and its district1 held their dominions of the ,kings of ,france4 ,their territory included1 not only ,arras 7at first the capital1 now included in ,france7 with ,bruges1 ,ghent1 ,courtrai1 ,tournay1 and ,ypres1 but also the towns and districts of ,valenciennes1 ,lille1 and ,st4 ,omer1 which are now ,french4 ,from the time of ,baldwin ,,viii4 7#aaia71 however1 ,arras became a part of ,france1 and ,ghent was erected into the capital of ,flanders4 ,in the beginning of the #acth century1 two women sovereigns ruled in succession2 under them1 and during the absence of the elective ,counts on crusades1 the towns rose to be practically burgher republics4 ,bruges1 ,ypres1 ,ghent1 and ,lille were said to possess each #dj1jjj looms2 and though this is certainly a medival exaggeration1 yet the ,flemish cities at this epoch were at any rate the chief manufacturing and trading centres of northern ,europe1 while ,london was still a mere local emporium4 ,in the #adth century1 the cities acquired still greater freedom4 ,the citizens had always claimed the right to elect their ,count2 and the people of ,ghent now made treaties without him on their own account with ,edward ,,iii4 of ,england4 ,to this age belongs the heroic period of the ,van ,arteveldes at ,ghent1 when the burghers became the real rulers of ,flanders1 as will be more fully described hereafter4 ,in #achd1 however1 ,count ,louis ,,iii4 died1 leaving an only daughter1 who was married to ,philip the ,bold of ,burgundy2 and the wealthy ,flemish towns thus passed under the sway of the powerful princes of ,dijon4 ,brabant fell later by inheritance to ,philip the ,good4 ,it was under the ,burgundian dynasty1 who often held their court at ,ghent1 that the arts of the ,netherlands attained their first great development4 ,philip the ,good 7#adai-adfg7 employed ,jan van ,eyck as his court painter2 and during his reign or just after it the chief works of ,flemish art were produced in ,bruges1 ,ghent1 ,brussels1 and ,tournai4 ,charles the ,bold1 the last ,duke of ,burgundy1 left one daughter1 ,mary1 who was married to ,maximilian1 afterwards ,emperor4 ,from that date forward the history of the ,flemish towns is practically merged in that of the dynasty of ,charles ,v41 and finally becomes the story of an unwilling and ever justly rebellious ,spanish province4 ,the subsequent vicissitudes of ,belgium as an ,austrian appanage1 a part of ,holland1 and an independent kingdom1 belong to the domain of ,european history4 ,for the visitor1 it is the period of the ,burgundian supremacy that really counts in the cities of ,belgium4 ,yet the one great point for the tourist to bear in mind is really this--that the art of the ,flemish towns is essentially the art of a group of burgher communities4 ,it is frankly commercial1 neither royal nor aristocratic4 ,in its beginnings it develops a strictly municipal architecture1 with a school of painters who aimed at portraiture and sacred panel pictures4 ,after the ,reformation had destroyed sacred art in ,holland1 painting in that part of the ,netherlands confined itself to portraits and to somewhat vulgar popular scenes3 while in ,belgium it was ,italianised1 or rather ,titianised and ,veronesed1 by ,rubens and his followers4 ,but in its best days it was national1 local1 and sacred or personal4 ,take ,conway's 8,early ,flemish ,artists0 with you in your portmanteau1 and read over in the evening his account of the works you have seen during the day4 ,,order ,,of ,,the ,,tour ,,if possible1 visit the cities of ,belgium in the order in which they are treated in this ,guide3--,bruges first2 then ,ghent1 ,brussels1 and ,antwerp4 ,for this order you will find very good reasons4 ,bruges is the most antique in tone and the least spoiled of all the ,flemish towns2 it best exhibits the local peculiarities we have here specially to consider2 and it leads up naturally to the other cities4 ,it is true1 ,memling1 the great painter whom we have chiefly to study at ,bruges1 is later in date than ,jan van ,eyck1 whose principal work 7with that of his brother ,hubert7 is to be seen at ,ghent4 ,but historical sequence in this minor matter is somewhat less important than a due apprehension of the general air of an old ,flemish town such as those in which the art of the ,van ,eycks arose2 and besides1 there is at least one characteristic ,van ,eyck at ,bruges1 while there are many ,memlings for comparison in other cities4 ,as a rule1 too little time is given by tourists to ,bruges and ,ghent1 and too much to ,brussels4 ,i should advise three or four days each to the first-named towns1 and a week to the capital4 ,those who intend to combine a visit to ,holland in the same tour should certainly see ,belgium in the order here given first1 and then proceed to ,rotterdam1 the ,hague1 ,haarlem1 and ,amsterdam4 ,for such a sequence1 which is geographically the easiest1 is also chronologically natural4 ,bruges is the most medival of all the towns1 and has for its principal great artist ,memling4 ,ghent comes next1 with the ,van ,eycks and a few later painters4 ,brussels represents the end of the ,middle ,ages1 and contains a general metropolitan collection of early and middle ,flemish art4 ,antwerp gives us in particular ,quentin ,matsys and his contemporaries1 as well as ,rubens and ,van ,dyck4 ,and the ,dutch towns lead us on through ,van ,dyck and the later transitionals to ,rembrandt1 ,van der ,helst1 ,frans ,hals1 and the other mighty masters of ,holland4 ,i may add that as the arrangement of this ,guide is roughly chronological1 the tourist will use it best if he follows its order4 ,the ,ostend route takes the towns naturally in the sequence ,i suggest4 ,visitors arriving by ,harwich or ,calais should not stop first at ,antwerp or ,brussels1 but go straight to ,bruges1 and then double back again4 ,i ,,bruges ,a4 ,,origins ,,of ,,bruges ,,in a lost corner of the great lowland flat of ,flanders1 defended from the sea by an artificial dyke1 and at the point of intersection of an intricate network of canals and waterways1 there arose in the early ,middle ,ages a trading town1 known in ,flemish as ,brugge1 in ,french as ,bruges 7that is to say1 ,the ,bridge71 from a primitive structure that here crossed the river4 7,a number of bridges now span the sluggish streams4 ,all of them open in the middle to admit the passage of shipping47 ,bruges stood originally on a little river1 the ,reye1 once navigable1 now swallowed by canals3 and the ,reye flowed into the ,zwin1 long silted up1 but then the safest harbour in the ,low ,countries4 ,at first the capital of a petty ,count1 this land-locked internal harbour grew in time to be the ,venice of the ,north1 and to gather round its quays1 or at its haven of ,damme1 the ships and merchandise of all neighbouring peoples4 ,already in #abjj it ranked as the central mart of the ,hanseatic ,league4 ,it was the port of entry for ,english wool and ,russian furs3 the port of departure for ,flemish broadcloths1 laces1 tapestries1 and linens4 ,canals soon connected it with ,ghent1 ,dunkirk1 ,sluys1 ,furnes1 and ,ypres4 ,its nucleus lay in a little knot of buildings about the ,grand' ,place and the ,htel de ,ville1 stretching out to the ,cathedral and the ,dyver2 thence it spread on all sides till in #acfb it filled the whole space within the existing ramparts1 now largely abandoned or given over to fields and gardens4 ,it was the wealthiest town of ,europe1 outside ,italy4 ,in the #adth century1 ,bruges was frequently the residence of the ,counts of ,flanders2 and in the #aeth it became the seat of the brilliant court of the ,dukes of ,burgundy4 ,under their rule1 the opulent burghers and foreign merchants began to employ a group of famous artists who have made the city a place of pilgrimage for ,europe and ,america1 and to adorn the town with most of those buildings which now beautify its decay4 ,the foreign traders in ,bruges lived in 8factories0 or guilds1 resembling monasteries or colleges1 and were governed by their own commercial laws4 ,the ,bardi of ,florence were among its famous merchants3 the ,medici had agents here3 so had the millionaire ,fuggers of ,augsburg4 ,bruges is the best place in which to make a first acquaintance with the towns and art of ,flanders1 because here almost all the principal buildings are medival1 and comparatively little that is modern comes in to mar the completeness of the picture4 ,we see in it the architecture and the painting of ,flanders1 in the midst of the houses1 the land1 and the folk that gave them origin4 ,brussels is largely modernised1 and even ,ghent has great living manufactures2 but ,bruges is a fossil of the #aeth century4 ,it was the first to flourish and the first to decay of the towns of ,belgium4 ,the decline of the town was due partly to the break-up of the ,hanseatic system2 partly to the rise of ,english ports and manufacturing towns2 but still more 7and especially as compared with other ,flemish cities7 to the silting of the ,zwin1 and the want of adaptation in its waterways to the needs of great ships and modern navigation4 ,the old sea entrance to ,bruges was through the ,zwin1 by way of ,sluys and ,kadzand2 up that channel came the ,venetian merchant fleet and the ,flemish galleys1 to the port of ,damme4 ,by #adgj1 it ceased to be navigable for large vessels4 ,the later canal is still open1 but as it passes through what is now ,dutch territory1 it is little used2 nor is it adapted to any save ships of comparatively small burden4 ,another canal1 suitable for craft of #ejj tons1 leads through ,belgian territory to ,ostend2 but few vessels now navigate it1 and those for the most part only for local trade4 ,the town has shrunk to half its former size1 and has only a quarter of its medival population4 ,the commercial decay of ,bruges1 however1 has preserved its charm for the artist1 the archologist1 and the tourist2 its sleepy streets and unfrequented quays are among the most picturesque sights of bustling and industrial modern ,belgium4 ,the great private palaces1 indeed1 are almost all destroyed3 but many public buildings remain1 and the domestic architecture is quaint and pretty4 ,bruges was the mother of the arts in ,flanders4 ,jan van ,eyck lived here from #adbh to #addj3 ,memling1 probably1 from #adgg till #adid4 ,caxton1 the first ,english printer1 lived as a merchant at ,bruges 7in the ,domus ,anglorum or ,english factory7 from #addf to #adgf1 and probably put in the press here the earliest ,english printed book 7though strong grounds have been adduced in favour of ,cologne74 ,colard ,mansion1 the great printer of ,bruges at that date1 was one of the leaders in the art of typography4 ,those who desire further information on this most interesting town will find it in ,james ,weale's ,bruges et ses ,environs1 an admirable work1 to which ,i desire to acknowledge my obligations4 99 99 99 99 99 ,at least two whole days should be devoted to ,bruges3 more if possible4 ,but the hasty traveller1 who has but time for a glimpse1 should neglect the churches1 and walk round the ,grand' ,place and the ,place du ,bourg to the ,dyver3 spending most of his time at the 9999,hpital de ,st4 ,jean1 which contains the glorious works of ,memling4 ,these are by far the most important objects to be seen in the city4 ,the description in this ,guide is written from the point of view of the more leisurely traveller4 ,expect the frequent recurrence of the following symbols on houses or pictures3 7#a7 the ,lion of ,flanders1 heraldic or otherwise1 crowned1 and bearing a collar with a pendant cross2 7#b7 the ,bear of ,bruges2 7#c7 the ,golden ,fleece 7,toison d'or71 the device of the ,order founded by ,philippe le ,bon in #adcj1 and appropriate to a country which owed its wealth to wool2 it consists of a sheep's skin suspended from a collar4 ,the ,flemish emblem of the ,swan is also common as a relief or decoration4 ,st4 ,donatian1 ,archbishop of ,rheims1 is the patron saint4 ,his mark is a wheel with five lighted candles4 ,b4 ,,the ,,heart ,,of ,,the ,,city ,the original nucleus of ,bruges is formed by the ,bourg1 which stands near the centre of the modern city4 ,in #hfe1 ,baldwin ,bras-de-,fer1 ,count of ,flanders1 built a chteau or burg by the ,reye1 in a corner of land still marked by the modern canal of the ,dyver1 and near it a chapel1 into which he transported the relics of ,st4 ,donatian4 ,this burg grew in time into the chief palace of the ,counts of ,flanders1 now replaced by the ,palais de ,justice2 while the chapel by its side developed into the first cathedral of ,bruges1 ,st4 ,donatian1 now wholly demolished4 ,a bridge hard by crossed the little river ,reye2 and from this bridge the town ultimately derives its name4 ,the burg was built as a tte-du-pont to protect the passage4 ,a town of traders gradually sprang up under the protection of the castle1 and developed at last into the great trading port of ,bruges4 ,to this centre1 then1 we will first direct ourselves4 ,go from your hotel1 down the ,rue ,st4 ,amand1 or the ,rue ,st4 ,jacques1 to the ,grand' ,place or market-place of ,bruges1 noticing on your way the numerous handsome old houses1 with high-pitched roofs and gable-ends arranged like steps1 mostly of the #afth and #agth centuries4 7,bruges is a ,flemish-speaking town3 note the true names of the streets in ,flemish47 ,the very tall square tower which faces you as you enter the ,grand' ,place is the 99,belfry1 the centre and visible embodiment of the town of ,bruges4 ,the ,grand' ,place itself was the forum and meeting-place of the soldier-citizens1 who were called to arms by the chimes in the ,belfry4 ,the centre of the ,place is therefore appropriately occupied by a colossal statue group 7modern7 of ,pieter de ,coninck and ,jan ,breidel1 the leaders of the citizens of ,bruges at the ,battle of the ,spurs before the walls of ,courtrai in #acjb1 a conflict which secured the freedom of ,flanders from the interference of the ,kings of ,france4 ,the group is by ,devigne4 ,the reliefs on the pedestal represent scenes from the battle and its antecedents4 ,the majestic ,belfry itself represents the first beginnings of freedom in ,bruges4 ,leave to erect such a bell-tower1 both as a mark of independence and to summon the citizens to arms1 was one of the first privileges which every ,teutonic trading town desired to wring from its feudal lord4 ,this 7brick7 tower1 the pledge of municipal rights1 was begun in #abia 7to replace an earlier one of wood71 and finished about a hundred years later1 the octagon 7in stone7 at the summit 7which holds the bells7 having been erected in #acic-if4 ,it consists of three stories1 the two lower of which are square and flanked by balconies with turrets2 the windows below are of the simple ,early ,gothic style1 but show a later type of architecture in the octagon4 ,the niche in the centre contains the ,virgin and ,child 7restored1 after being destroyed by the ,french revolutionists74 ,below it on either side are smaller figures holding escutcheons4 ,from the balcony between these last1 the laws and the rescripts of the ,counts were read aloud to the people assembled in the square4 ,the ,belfry can be ascended by steps4 ,apply to the concierge2 #be c4 per person4 ,owing to the force of the wind1 it leans slightly to the ,s4,e4 ,the 99view from the top is very extensive and striking2 it embraces the greater part of the ,plain of ,flanders1 with its towns and villages3 the country1 though quite flat1 looks beautiful when thus seen4 ,in early times1 however1 the look-out from the summit was of practical use for purposes of observation1 military or maritime4 ,it commanded the river1 the ,zwin1 and the sea approach by ,sluys and ,damme2 the course of the various canals2 and the roads to ,ghent1 ,antwerp1 ,tournai1 and ,courtrai4 ,the ,belfry contains a famous set of chimes1 the mechanism of which may be inspected by the visitor4 ,he will have frequent opportunities of hearing the beautiful and mellow carillon1 perhaps to excess4 ,the existing bells date only from #afhj3 the mechanism from #aghd4 ,the square building on either side of the ,belfry1 known as ,les ,halles1 was erected in or about #abdh1 and is a fine but sombre specimen of ,early ,gothic civic architecture4 ,the wing to the left was originally the ,cloth ,hall1 for the display and sale of the woollen manufactures of ,ghent and ,bruges4 ,it is now used as municipal offices4 ,a door to the ,l4 gives access to a small ,museum of ,antiquities on the ground floor1 which may be safely neglected by all save specialist archologists4 7,admission #ej c47 ,the wing to the right is the meat market4 ,now1 stand with your back to the ,belfry to survey the ,square4 ,the brick building on your right is the ,post ,office 7modern72 the stone one beyond it 7also modern7 is the ,palace of the ,provincial ,government of ,flanders4 ,both have been erected in a style suitable to the town4 ,in the ,middle ,ages1 ships could come up to this part of the ,grand' ,place to discharge their cargo4 ,the quaint houses that face you1 with high-pitched gable-ends1 are partly modern1 but mostly old1 though restored4 ,on the left 7,w47 side of the ,place1 at the corner of the ,rue ,st4 ,amand1 stands the square castle-like building known as ,au ,lion de ,flandre and marked by its gold lion4 ,it is one of the best brick medival buildings in ,bruges4 ,according to a doubtful tradition1 it was occupied by ,charles ,,ii4 of ,england during his exile1 when he was created by the ,brugeois ,king of the ,crossbowmen of ,st4 ,sebastian 7see later74 ,in the house beside it1 known as the ,craenenburg1 the citizens of ,bruges imprisoned ,maximilian1 ,king of the ,romans1 from the #eth to the #agth of ,february1 #adhh1 because he would not grant the care of his son ,philip1 heir to the crown of the ,netherlands1 to the ,king of ,france4 ,they only released him after he had sworn before an altar erected at the spot1 on the ,host1 the true ,cross1 and the ,relics of ,st4 ,donatian1 to renounce his claim to the guardianship of his son1 and to grant a general amnesty4 ,however1 he was treacherously released from his oath by a congress of ,princes convened a little later by his father1 the ,emperor ,frederic ,,iv4 99 99 99 99 99 ,from the corner of the ,post ,office1 take the short ,rue ,breydel to the ,place du ,bourg1 the still more intimate centre and focus of the early life of ,bruges4 ,this ,place contained the old ,palace of the ,counts of ,flanders1 and the original ,cathedral1 both now destroyed1 as well as the ,town ,hall and other important buildings still preserved for us4 ,the tallest of the three handsome edifices on the ,s4 side of the ,square 7profusely adorned with sculpture7 is the 9999,htel de ,ville1 a beautiful gem of ,middle ,gothic architecture1 begun about #acgf1 and finished about #achg4 ,this is one of the finest pieces of civic architecture in ,belgium4 ,the faade1 though over-restored1 and the six beautiful turrets and chimneys1 are in the main of the original design4 ,the sculpture in the niches1 destroyed during the ,french ,revolution1 has been only tolerably replaced by modern ,belgian sculptors in our own day4 ,the lower tier contains the ,annunciation1 ,r4 and ,l4 of the doorway1 with figures of various saints and prophets4 ,in the tiers above this are statues of the ,counts of ,flanders of various ages4 ,the reliefs just below the windows of the first floor represent episodes from ,biblical history3--,david before ,saul1 ,david dancing before the ,ark1 the ,judgment of ,solomon1 the ,building of ,solomon's ,temple1 and other scenes which the visitor can easily identify4 ,the ,great ,hall in the interior is interesting only for its fine pendant ,gothic wooden roof4 ,the somewhat lower building1 to the right of the ,htel de ,ville1 is the 9999,chapelle du ,saint ,sang4 ,the decorated portal round the corner also forms part of the same building4 ,in the #abth and #acth centuries 7age of the ,crusades7 the chivalrous and credulous knights of the ,north and ,west who repaired to the ,holy ,land1 whether as pilgrims or as soldiers of the ,faith1 were anxious to bring back with them relics of the saints or of still more holy personages4 ,the astute ,greeks and ,syrians with whom they had to deal rose to the occasion1 and sold the simple ,westerns various sacred objects of more or less doubtful authenticity at fabulous prices4 ,over these treasured deposits stately churches were often raised2 for example1 ,st4 ,louis of ,france constructed the ,sainte ,chapelle in ,paris1 to contain the ,crown of ,thorns and part of the ,true ,cross1 which he had purchased at an immense cost from ,baldwin1 ,emperor of ,constantinople4 ,among the earlier visitors to the ,holy ,land who thus signalised their journey was ,theodoric of ,alsace1 elected ,count of ,flanders in #aabh2 he brought back with him in #aadi some drops of the ,holy ,blood of the ,saviour1 said to have been preserved by ,joseph of ,arimathea1 which he presented to his faithful city of ,bruges4 ,fitly to enshrine them1 ,theodoric erected a chapel in the succeeding year1 #aaej2 and this early church forms the lower floor of the existing building4 ,above it1 in the #aeth century1 when ,bruges grew richer1 was raised a second and more gorgeous chapel 7as at the ,sainte ,chapelle71 in which the holy relic is now preserved4 ,almost all the works of art in the dainty little oratory accordingly bear special reference to the ,holy ,blood1 its preservation1 and its transport to ,bruges4 ,the dedication is to ,st4 ,basil1 the founder of eastern monasticism--a ,greek ,father little known in the ,west1 whose fame ,theodoric must have learned in ,syria4 ,the nobles of ,flanders1 it must be remembered1 were particularly active in organising the ,crusades4 ,the exterior has a fine figure of ,st4 ,leonard 7holding the fetters which are his symbol7 under a ,gothic niche4 ,he was the patron of ,christian slaves held in duress by the ,saracens4 ,the beautiful flamboyant portal and staircase1 round the corner1 erected in #aebi-aecc1 in the ornate decorative style of the period1 have 7restored7 figures of ,crusaders and their ,queens in niches1 with incongruous ,renaissance busts below4 ,to visit the interior1 ring the bell in the corner3 admission1 #ej c4 per person4 ,the ,museum of the ,brotherhood of the ,holy ,blood1 on the first floor1 which we first visit1 contains by the left wall the handsome silver-gilt ,reliquary 7of #afag71 studded with jewels1 which encloses the drops of the ,holy ,blood4 ,the figures on it represent ,christ 7the source of the ,blood71 the ,blessed ,virgin1 ,st4 ,basil 7patron of the church71 and ,st4 ,donatian 7patron of the town74 ,the ,blood is exhibited in a simpler chsse in the chapel every ,friday2 that is to say1 on the day of the ,crucifixion4 ,the great ,reliquary itself is carried in procession only1 on the ,monday after the #crd of ,may4 ,right and left of the chsse are portraits of the members of the ,confraternity of the ,holy ,blood by ,p4 ,pourbus1 #aeef3 unusually good works of this painter4 ,a triptych to the right1 by an unknown master of the early #afth century1 figures the ,crucifixion1 with special reference to the ,holy ,blood1 representing ,st4 ,longinus in the act of piercing the side of ,christ 7thus drawing the ,blood71 with the ,holy ,women and ,st4 ,john in attendance2 on the wings1 the ,way to ,calvary1 and the ,resurrection4 ,between the windows is a curious chronological picture of the late #aeth century1 representing the ,history of ,our ,lady in the usual stages1 with other episodes4 ,to the ,r4 of it1 a painting of the #aeth century shows ,count ,theodoric receiving the ,holy ,blood from his brother-in-law1 ,baldwin1 ,king of ,jerusalem1 and the bringing of the ,holy ,blood to ,bruges4 ,on the right wall there is a famous 99triptych by ,gerard ,david 7the finest work here71 representing the ,deposition in the ,tomb1 with the ,maries1 ,st4 ,john1 ,nicodemus1 and an attendant holding a dish to contain the ,holy ,blood1 which is also seen conspicuously flowing from the wounds2 the left wing shows the ,magdalen with ,cleophas2 the right wing1 the preservation of the ,crown of ,thorns by ,joseph of ,arimathea4 ,the portrait character of the faces is admirable3 stand long and study this fine work4 ,the original designs for the windows of the ,chapel are preserved in a glass case by the window2 behind which are fragments of early coloured glass2 conspicuous among them1 ,st4 ,barbara with her tower4 ,on the exit wall is a fine piece of late ,flemish tapestry1 representing the bringing of the body of ,st4 ,augustine to ,pavia1 with side figures of ,san ,frediano of ,lucca and ,sant' ,ercolano of ,perugia--executed1 no doubt1 for an ,italian patron4 ,the ,chapel itself1 which we next enter1 is gorgeously decorated in polychrome1 recently restored4 ,the stained glass windows1 containing portraits of the ,burgundian ,princes from the beginning of the dynasty down to ,maria ,theresa and ,francis ,i41 were executed in #ahde from earlier designs4 ,the large window facing the ,high ,altar is modern4 ,it represents appropriately the history of the ,passion1 the origin of the ,sacred ,blood1 its ,transference to ,bruges1 and the figures of the ,flemish ,crusaders engaged in its transport4 ,at the summit of the window1 notice the frequent and fitting symbol of the pelican feeding its young with its own blood4 ,in the little side chapel to the ,r41 separated from the main building by an arcade of three arches1 is the tabernacle or canopy from which the ,sacred ,blood is exhibited weekly4 ,to the right is hung a ,crown of ,thorns4 ,notice1 also1 the ,crown of ,thorns held by the angel at the top of the steps4 ,the window to the ,l4 7modern7 represents ,st4 ,longinus1 the centurion who pierced the side of ,christ1 and ,st4 ,veronica1 displaying her napkin which she gave to the ,saviour to wipe his face on the way to ,calvary1 and which retained ever after the impress of the ,divine ,countenance4 ,almost all the other objects in the chapel bear reference1 more or less direct1 to the ,holy ,blood4 ,observe particularly in the main chapel the handsome modern ,high ,altar with its coloured reliefs of scenes of the ,passion4 ,such scenes as the ,paschal ,lamb on its base1 with the ,hebrew smearing the lintel of the door1 are of course symbolical4 ,the ,lower ,chapel1 to which we are next conducted1 is a fine specimen of late ,romanesque architecture4 ,it was built by ,theodoric in #aaej4 ,its solid short pillars and round arches contrast with the lighter and later ,gothic of the upper building4 ,the space above the door of the eastern of the two chapels which face the entrance1 is occupied by an interesting medival relief representing a baptism with a dove descending4 ,notice as you pass out1 from the ,place outside1 the two beautiful turrets at the west end of the main chapel4 99 99 99 99 99 ,to the left of the ,htel de ,ville stands the ornate and much gilded ,renaissance building known as the 99,maison de l',ancien ,greffe1 originally the municipal record office1 but now employed as a police-court4 ,it bears the date #aecg1 and has been recently restored and profusely covered with gold decoration4 ,over the main doorway is the ,lion of ,flanders2 on the architrave of the first floor are heads of ,counts and ,countesses2 and the building is surmounted by a figure of ,justice1 with ,moses and ,aaron and emblematical statues4 ,note the ,golden ,fleece and other symbols4 ,the interior is uninteresting4 ,the ,e4 side of the square is formed by the ,palais de ,justice1 which stands on the site of an old palace of the ,counts of ,flanders1 presented by ,philippe le ,beau to the ,liberty of ,bruges1 and employed by them as their town hall of the ,buitenpoorters1 or inhabitants of the district outside the gate1 known as the ,franc de ,bruges4 ,the ,renaissance building1 erected between #aebj and #afjh1 was burnt down and replaced in the #ahth century by the very uninteresting existing building4 ,parts of the old palace1 however1 were preserved1 one room in which should be visited for the sake of its magnificent 9999chimney-piece4 ,in order to see it1 enter the quadrangle3 the porter's room faces you as you enter2 inquire there for the key2 admission1 #ej c4 per person4 ,the concierge conducts you to the ,court-,room1 belonging to the original building4 ,almost the entire side of the room is occupied by a splendid ,renaissance chimney-piece1 executed in #aebi1 after designs by ,lancelot ,blondeel of ,bruges 7a painter whose works are frequent in the town71 and ,guyot de ,beaugrant of ,malines1 for the ,council of the ,liberty of ,bruges1 in honour of ,charles ,v41 as a memorial of the ,treaty of ,cambrai1 in #aebf4 7,this was the treaty concluded after the battle of ,pavia1 by which ,franois ,ier of ,france was compelled to acknowledge the independence of ,flanders4 ,some of the figures in the background are allusive to the victory47 ,the lower part1 or chimney-piece proper1 is of black marble4 ,the upper portion is of carved oak4 ,the marble part has four bas-reliefs in white alabaster by ,guyot de ,beaugrant1 representing the ,history of ,susannah1 a mere excuse for the nude3 7#a7 ,susannah and the ,elders at the ,bath2 7#b7 ,susannah dragged by the ,elders before the ,judge2 7#c7 ,daniel before the ,judge exculpating ,susannah2 7#d7 ,the ,stoning of the ,elders4 ,the genii at the corners are also by ,beaugrant4 ,the whole is in the pagan taste of the ,renaissance4 ,the upper portion in oak contains in the centre a statue of ,charles ,v41 represented in his capacity as ,count of ,flanders 7as shown by the arms on his cuirass73 the other figures represent his descent and the cumulation of sovereignties in his person4 ,on the throne behind ,charles 7ill seen7 are busts of ,philippe le ,beau1 his father1 through whom he inherited the ,burgundian dominions1 and ,johanna 7the ,mad7 of ,spain1 his mother1 through whom he inherited the united ,peninsula4 ,the statues ,l4 and ,r4 are those of his actual royal predecessors4 ,the figures to the ,l4 are his paternal grandfather1 the ,emperor ,maximilian1 from whom he derived his ,german territories1 and his paternal grandmother1 99,mary of ,burgundy1 who brought into the family ,flanders1 ,burgundy1 etc4 ,mary is represented with a hawk on her wrist1 as she was killed at twenty-five by a fall from her horse while out hawking4 7,we shall see her tomb later at ,notre-,dame47 ,the figures on the ,r4 are those of ,ferdinand of ,aragon and ,isabella of ,castile1 the maternal grandfather and grandmother of ,charles1 from whom he inherited the two portions of his ,spanish dominions4 ,the medallions at the back represent the personages most concerned in the ,treaty of ,cambrai1 and the ,victory of ,pavia which rendered it possible4 7,de ,lannoy1 the conqueror1 to whom ,franois gave up his sword1 and ,margaret of ,austria47 ,the tapestry which surrounds the hall is modern2 it was manufactured at ,ingelmnster after the pattern of a few old fragments found in the cellars of the ancient building4 ,the mediocre painting on the wall depicts a sitting of the court of the ,liberty of ,bruges in this room 7#afei74 99 99 99 99 99 ,the ,n4 side of the square is now occupied by a small ,place planted with trees4 ,originally1 however1 the old cathedral of ,bruges occupied this site4 ,it was dedicated to ,st4 ,donatian1 the patron of the city1 whose relics were preserved in it2 but it was barbarously destroyed by the ,french ,revolutionary army in #agii1 and the works of art which it contained were dispersed or ruined4 ,figures of ,st4 ,donatian occur accordingly in many paintings at ,bruges4 ,jan van ,eyck was buried in this cathedral1 and a statue has been erected to him under the trees in the little ,place4 ,in order1 therefore1 mentally to complete the picture of the ,place du ,bourg in the #afth century1 we must imagine not only the ,htel de ,ville1 the ,chapelle du ,saint ,sang1 and the ,ancien ,greffe in something approaching their existing condition1 but also the stately cathedral and the original ,renaissance building of the ,franc de ,bruges filling in the remainder4 ,an archway spans the space between the ,ancien ,greffe and the ,htel de ,ville4 ,take the narrow street which dives beneath it1 looking back as you pass at the archway with its inscription of ,s4,p4,q4,b4 7for ,senatus ,populusque ,brugensis74 ,the street then leads across a bridge over the river ,reye or principal canal1 and affords a good view of the back of the earlier portion of the ,palais de ,justice1 with its picturesque brick turrets1 and a few early arches belonging to the primitive palace4 ,i recommend the visitor to turn to the ,r4 after crossing the bridge1 traverse the little square1 and make his way home by the bank of the ,dyver and the church of ,notre-,dame4 ,the view towards the ,htel de ,ville and the ,belfry1 from the part of the ,dyver a little to the east behind the ,belfry1 is one of the most picturesque and striking in ,bruges4 ,c4 ,,the ,,hospital ,,of ,,st4 ,,john ,the ,hospital of ,st4 ,john1 one of the most ancient institutions in ,bruges1 or of its kind in ,europe1 was founded not later than #aahh1 and still retains1 within and without1 its medival arrangement4 ,its ,augustinian brothers and nuns tend the sick in the primitive building1 now largely added to4 ,it derives its chief interest for the tourist1 however1 from its small ,picture ,gallery1 the one object in ,bruges which must above everything else be visited4 ,this is the only place for studying in full the exquisite art of ,memling1 whose charming and poetical work is here more fully represented than elsewhere4 ,in this respect the ,hospital of ,st4 ,john may be fitly compared with the two other famous 8one-man shows0 of ,europe--the ,fra ,angelicos at ,san ,marco in ,florence1 and the ,giottos in the ,madonna dell' ,arena at ,padua4 ,many of the pictures were painted for the institution which they still adorn2 so that we have here the opportunity of seeing works of medival art in the precise surroundings which first produced them4 ,hans ,memling1 whose name is also written ,memlinc and ,memlin1 etc4 7long erroneously cited as ,hemling2 through a mistaken reading of the initial in his signature7 is a painter of whom little is known1 save his work2 but the work is the man1 and therefore amply sufficient4 ,he was born about #adcj1 perhaps in ,germany1 and is believed to have been a pupil of ,roger van der ,weyden1 the ,brussels painter1 whose work we shall see later at ,antwerp and elsewhere4 ,mr4 ,weale has shown that he was a person of some wealth1 settled at ,bruges in his own house 7about #adgh71 and in a position to lend money to the town4 ,he died in #adie4 ,his period of activity as a painter is thus coincident with the earlier work of ,carpaccio and ,perugino in ,italy2 and he died while ,raphael was still a boy4 ,in relation to the artists of his own country1 whose works we have still to see1 ,memling was junior by more than a generation to ,jan van ,eyck1 having been born about ten years before ,van ,eyck died2 he was also younger by thirty years than ,roger van der ,weyden2 and by twenty or thirty years than ,dierick ,bouts2 but older by at least twenty than ,gerard ,david4 ,memling has been called the ,fra ,angelico of ,flanders2 but this is only true so far as regards ,fra ,angelico's panel works2 the saintly ,frate1 when he worked in fresco1 adopted a style wholly different from that which he displays in his miniature-like altar-pieces4 ,it would be truer to say that ,memling is the ,benozzo ,gozzoli of the ,north3 he has the same love of decorative adjuncts1 and the same nave delight in the beauty of external nature4 ,before visiting the ,hospital1 it is also well to be acquainted in outline with the history of ,st4 ,ursula1 whose chsse or shrine forms one of its greatest treasures4 ,the ,hospital possessed an important relic of the saint--her holy arm--and about #adhj-adhi commissioned ,memling to paint scenes from her life on the shrine destined to contain this precious deposit4 ,the chest or reliquary which he adorned for the purpose forms the very best work of ,memling's lifetime4 ,st4 ,ursula was a ,british 7or ,bretonne7 princess1 brought up as a ,christian by her pious parents4 ,she was sought in marriage by a pagan prince1 ,conon1 said to be the son of a king of ,england4 ,the ,english king1 called ,agrippinus in the legend1 sent ambassadors to the king of ,britain 7or ,brittany7 asking for the hand of ,ursula for his heir4 ,but ,ursula made three conditions3 first1 that she should be given as companions ten noble virgins1 and that she herself and each of the virgins should be accompanied by a thousand maiden attendants2 second1 that they should all together visit the shrines of the saints2 and third1 that the prince ,conon and all his court should receive baptism4 ,these conditions were complied with2 the king of ,england collected #aa1jjj virgins2 and ,ursula1 with her companions1 sailed for ,cologne1 where she arrived miraculously without the assistance of sailors 7but ,memling adds them74 ,here1 she had a vision of an angel bidding her to repair to ,rome1 the threshold of the apostles4 ,from ,cologne1 the pilgrims went up the ,rhine by boat1 till they arrived at ,basle1 where they disembarked and continued their journey on foot over the ,alps to ,italy4 ,at length they reached the ,tiber1 which they descended till they approached the walls of ,rome4 ,there1 the ,pope1 ,st4 ,cyriacus1 went forth with all his clergy in procession to meet them4 ,he gave them his blessing1 and lest the maidens should come to harm in so wicked a city1 he had tents pitched for them outside the walls on the side towards ,tivoli4 ,meanwhile1 prince ,conon had come on pilgrimage by a different route1 and arrived at ,rome on the same day as his betrothed4 ,he knelt with ,ursula at the feet of the ,pope1 and1 being baptized1 received in exchange the name of ,ethereus4 ,after a certain time spent in ,rome1 the holy maidens bethought them to return home again4 ,thereupon1 ,pope ,cyriacus decided to accompany them1 together with his cardinals1 archbishops1 bishops1 patriarchs1 and many others of his prelates4 ,they crossed the ,alps1 embarked again at ,basle1 and made their way northward as far as ,cologne4 ,now it happened that the army of the ,huns was at that time besieging the ,roman colony2 and the pagans fell upon the #aa1jjj virgins1 with the ,pope and their other saintly companions4 ,prince ,ethereus was one of the first to die2 then ,cyriacus1 the bishops1 and the cardinals perished4 ,last of all1 the pagans turned upon the virgins1 all of whom they slew1 save only ,st4 ,ursula4 ,her they carried before their king1 who1 beholding her beauty1 would fain have wedded her4 ,but ,ursula sternly refused the offer of this son of ,satan2 whereupon the king1 seizing his bow1 transfixed her breast with three arrows4 ,hence her symbol is an arrow2 also1 she is the patroness of young girls and of virgins1 so that her shrine is particularly appropriate in a nunnery4 ,most of the bones of ,st4 ,ursula and her #aa1jjj virgins are preserved at ,cologne1 the city of her martyrdom1 where they are ranged in cases round the walls of a church dedicated in her honour2 but her arm is here1 and a few other relics are distributed elsewhere4 ,the ,hospital is open daily from #i to #f2 ,sundays1 #c to #f4 #a franc per person4 ,if you have ,conway1 take it with you4 ,from the ,grand' ,place1 turn down the ,rue des ,pierres1 the principal shopping street of ,bruges1 with several fine old faades1 many of them dated4 ,at the ,place ,simon ,stvin turn to the ,l41 and go straight on as far as the church of ,notre-,dame4 ,the long brick building with ,gothic arches1 on your right1 is the 9999,hospital of ,st4 ,john the ,evangelist4 ,first1 examine the brick ,gothic exterior4 ,over the outer doorway is the figure of a bishop with a flaming heart1 the emblem of ,st4 ,augustine1 this being an ,augustinian hospital4 ,continue on to the original main portal 7now bricked up7 with a broken pillar1 and two #acth century reliefs in the tympanum4 ,that to the right represents the ,death of the ,virgin1 with the ,apostles grouped around1 and the figure of the ,christ receiving her naked new-born soul as usual4 ,above is the ,coronation of ,our ,lady4 ,that to the left seems like a reversed and altered replica of the same subject1 with perhaps the ,last ,judgment above it4 ,it is1 however1 so much dilapidated that identification is difficult4 7,perhaps the top is a ,glory of ,st4 ,ursula47 ,go on as far as the little bridge over the canal1 to inspect the picturesque river front of the ,hospital4 ,return to the main portal and ring the inner bell4 ,admission1 see above4 ,the pictures are collected in the former ,chapter-house of the ,hospital1 above the door of which is another figure of ,st4 ,augustine4 ,the centre of the room is occupied by the famous chsse or 9999shrine containing the arm of ,st4 ,ursula1 a dainty little ,gothic chapel in miniature4 ,it is painted with exquisite scenes from the legend1 by ,memling1 with all the charm of a fairy tale4 ,he treats it as a poetical romance4 ,begin the story on the side towards the window4 7,for a penetrating criticism of these works1 see ,conway47 #ast panel1 on the left3 ,st4 ,ursula and her maidens1 in the rich dress of the ,burgundian court of the #aeth century1 arrive at ,cologne1 the buildings of which are seen in the background1 correctly represented1 but not in their true relations4 ,in a window in the background to the ,r41 the angel appears to ,st4 ,ursula in a vision4 #bnd panel3 the ,virgins arrive at ,basle and disembark from the ships4 ,in the background1 they are seen preparing to make their way1 one by one1 across the ,alps1 which rise from low hills at the base to snowy mountains4 ,from another ship ,conon and his knights are disembarking4 9999#crd panel3 7the most beautiful37 the ,maidens arrive at ,rome4 ,in the distance they are seen entering the city through a triumphal arch2 in the foreground1 ,st4 ,ursula kneels before ,st4 ,cyriacus and his bishops1 with their attendant deacons1 all the faces having the character of portraits4 7,note especially the fat and jolly ecclesiastic just under the arch47 ,at the same time1 her betrothed1 ,conon1 with his knights1 arrives at ,rome by a different road1 and is seen kneeling in a red robe trimmed with rich fur beside ,st4 ,ursula4 7,fine portrait faces of ,conon and an old courtier behind him47 ,the ,pope and his priests are gathered under the portals of a beautiful round-arched building1 whose exquisite architecture should be closely examined4 ,to the extreme ,r41 the new converts and ,conon receive baptism naked in fonts after the early fashion4 ,in the background of this scene1 ,st4 ,ursula receives the ,sacrament4 7,she may be recognised throughout by her peculiar blue-and-white dress1 with its open sleeves47 ,to the left of her1 ,conon makes confession4 ,in this1 as in the other scenes1 several successive moments of the same episode are contemporaneously represented4 ,look long at it4 ,now1 turn round the shrine1 which swings freely on a pivot1 to see the scenes of the return journey4 #ast panel3 7beginning again at the left37 the ,pope and his bishops and cardinals embark with ,st4 ,ursula in the boat at ,basle on their way to ,cologne4 ,three episodes are here conjoined3 the ,pope cautiously stepping into a ship2 the ,pope seated2 the ship sailing down the ,rhine4 ,all the faces here1 and especially the timid old ,pope stepping into the boat1 deserve careful examination4 ,in the background1 the return over the ,alps4 99#bnd panel3 the ,maidens and the ,pope arrive at ,cologne1 where they are instantly set upon by the armed ,huns4 ,conon is slain by the thrust of a sword1 and falls back dying in the arms of ,st4 ,ursula4 ,many of the maidens are also slaughtered4 99#crd panel3 continuous with the last1 but representing a subsequent moment3 the ,martyrdom of ,st4 ,ursula4 ,the ,king of the ,huns1 in full armour1 at the door of his tent1 bends his bow to shoot the blessed martyr1 who has refused his advances4 ,around are grouped his knights in admirably painted armour4 7,note the reflections47 ,all the scenes have the character of a medival romance4 ,for their open-air tone and make-believe martyrdom1 see ,conway4 ,at the ends of the shrine are two other pictures1 7#a7 99,st4 ,ursula with her arrow1 as the protectress of young girls1 sheltering a number of them under her cloak 7not1 as is commonly said1 the #aa1jjj ,virgins74 ,similar protecting figures of the saint are common elsewhere 7,cluny1 ,bologna1 etc474 ,at the opposite end1 7#b7 the ,madonna and ,child with an apple1 and at her feet two ,augustinian nuns of this ,hospital1 kneeling1 to represent the devotion of the order4 ,the roof of the shrine is also decorated with pictures4 7#a7 ,st4 ,ursula receiving the crown of martyrdom from ,god the ,father1 with the ,son and the ,holy ,ghost2 at the sides1 two angels playing the mandoline and the regal or portable organ2 7#b7 ,st4 ,ursula in ,paradise1 bearing her arrow1 and surrounded by her maidens1 who shared her martyrdom1 together with the ,pope and other ecclesiastics in the background4 7,this picture is largely borrowed from the famous one by ,stephan ,lochner on the ,high ,altar of ,cologne ,cathedral1 known as the ,dombild4 ,if you are going on to ,cologne1 buy a photograph of this now1 to compare with ,meister ,stephan later4 ,his altar-piece is engraved in ,conway4 ,if you have it with you1 compare them47 ,at the sides are two angels playing the zither and the violin4 7,the angels are possibly by a pupil47 ,i have given a brief description only of these pictures1 but every one of them ought to be carefully examined1 and the character of the figures and of the landscape or architectural background noted4 ,you will see nothing lovelier in all ,flanders4 ,near the window by the entrance is a 9999,triptych1 also by ,memling1 commissioned by ,brother ,jan ,floreins of this ,hospital4 ,the central panel represents the ,adoration of the ,magi1 which takes place1 as usual1 under a ruined temple fitted up as a manger4 ,the ,eldest of the ,three ,kings 7according to precedent7 is kneeling and has presented his gift2 ,joseph1 recognisable 7in all three panels7 by his red-and-black robe1 stands erect behind him1 with the presented gift in his hands4 ,the ,middle-aged ,king1 arrayed in cloth of gold1 with a white tippet1 kneels with his gift to the ,l4 of the picture4 ,the ,young ,king1 a black man1 as always1 is entering with his gift to the right4 ,the three thus typify the ,three ,ages of ,man1 and also the three known continents1 ,europe1 ,asia1 ,africa4 ,on the ,l4 side of this central panel are figured the donor1 ,jan ,floreins1 and his brother ,jacob4 7,members of the same family are grouped in the well-known 8,duchtel ,madonna10 also by ,memling1 in the ,louvre47 ,to the right is a figure looking in at a window and wearing the yellow cap still used by convalescents of the ,hospital1 7arbitrarily said to be a portrait of ,memling47 ,the left panel represents the ,nativity1 with our ,lady1 ,st4 ,joseph1 and two adoring angels4 ,the right panel shows the ,presentation in the ,temple1 with ,simeon and ,anna1 and ,st4 ,joseph 7in red and black7 in the background4 7,the whole thus typifies the ,epiphany of ,christ2 left1 to the ,blessed ,virgin2 centre1 to the ,gentiles2 right1 to the ,jews47 ,the outer panels1 in pursuance of the same idea1 have figures1 right1 of ,st4 ,john ,baptist with the lamb 7he pointed out ,christ to the ,jews71 with the ,baptism of ,christ in the background2 and left1 ,st4 ,veronica1 who preserved for us the features of our ,lord1 displaying his divine face on her napkin4 ,the architectural frame shows the ,first ,sin and the ,expulsion from ,paradise4 ,note everywhere the strong character in the men's faces1 and the exquisite landscape or architectural backgrounds4 ,dated #adgi4 ,this is ,memling's finest altar-piece3 its glow of colour is glorious4 ,by the centre window1 a 99triptych1 doubtfully attributed to ,memling1 represents1 in the centre1 the ,deposition from the ,cross1 with the ,holy ,blood conspicuous1 as might be expected in a ,bruges work4 ,in the foreground are ,st4 ,john1 the ,madonna1 and ,st4 ,mary ,magdalene2 in the background1 the preparations for the ,deposition in the ,tomb4 ,on the wings3 left1 ,brother ,adrian ,reins1 the donor1 with his patron saint1 ,adrian1 bearing his symbol1 the anvil1 on which his limbs were struck off1 and with his lion at his feet2 right1 ,st4 ,barbara with her tower1 perhaps as patroness of armourers4 ,on the exterior wings1 left1 ,st4 ,wilgefortis with her tau-shaped cross2 right1 ,st4 ,mary of ,egypt1 with the three loaves which sustained her in the desert4 ,on the same stand is the beautiful 99diptych by ,memling1 representing ,martin van ,nieuwenhoven adoring the ,madonna4 ,the left panel represents ,our ,lady and the ,child1 with an apple1 poised on a beautifully painted cushion4 ,a convex mirror in the background reflects the backs of the figures 7as in the ,van ,eyck of the ,national ,gallery74 ,through the open window is seen a charming distant prospect4 ,the right panel has the fine portrait of the donor1 in a velvet dress painted with extreme realism4 ,note the admirable prayer-book and joined hands4 ,at his back1 a stained glass window shows his patron1 ,st4 ,martin1 dividing his cloak for the beggar4 ,below1 a lovely glimpse of landscape4 ,this is probably ,memling's most successful portrait4 ,dated #adhg3 brought here from the ,hospice of ,st4 ,julian1 of which ,martin was ,master4 ,in all ,flemish art1 observe now the wooden face of the ,madonna--ultimately derived1 ,i believe1 from imitation of painted wooden figures1 and then hardened into a type4 ,as a rule1 the ,madonna is the least interesting part of all ,flemish painting2 and after her1 the women1 especially the young ones4 ,the men's faces are best1 and better when old3 character1 not beauty1 is what the painter cares for4 ,this is most noticeable in ,van ,eyck1 but is true in part even of ,memling4 ,at the end of the room is the magnificent 99triptych painted by ,memling for the ,high ,altar of the ,church of this ,hospital4 ,this is the largest of his works1 and it is dedicated to the honour of the two saints 7,john the ,evangelist and ,john the ,baptist7 who are patrons of the ,hospital4 ,the central panel represents ,our ,lady1 seated in an exquisite cloister1 on a throne backed with cloth of gold4 ,to the right and left are two exquisite angels1 one of whom plays a regal1 while the other1 in a delicious pale blue robe1 holds a book for ,our ,lady4 ,two smaller angels1 poised in air1 support her crown4 ,to the left1 ,st4 ,catherine of ,alexandria kneels as princess1 with the broken wheel and the sword of her martyrdom at her feet4 ,the ,child ,christ places a ring on her finger2 whence the whole composition is often absurdly called 8,the ,marriage of ,st4 ,catherine40 ,it should be styled 8,the ,altar-piece of the ,st4 ,johns40 ,to the right is ,st4 ,barbara1 calmly reading1 with her tower behind her4 ,when these two saints are thus combined1 they represent the meditative and the active life 7as ,st4 ,barbara was the patroness of arms37 or1 more definitely1 the clergy and the knighthood4 ,hence their appropriateness to an institution1 half monastic1 half secular4 ,in the background stand the two patron saints2 ,st4 ,john ,baptist with the lamb 7,memling's personal patron71 to the left1 and ,st4 ,john the ,evangelist with the cup and serpent1 to the right4 7,for these symbols1 see ,mrs4 ,jameson47 ,behind the ,baptist are scenes from his life and preaching4 ,he is led to prison1 and his body is burned by order of ,julian the ,apostate4 ,behind the ,evangelist1 he is seen in the cauldron of boiling oil4 ,the small figure in black to the right is the chief donor1 ,brother ,jan ,floreins1 who is seen further back in his secular capacity as public gauger of wine1 near a great crane1 which affords a fine picture of mercantile life in old ,bruges4 ,the left wing represents the life of ,st4 ,john the ,baptist4 ,in the distance is seen the ,baptism of ,christ4 ,in a room to the left1 the daughter of ,herodias dances before ,herod4 ,the foreground is occupied by the episode of the ,decollation1 treated in a courtly manner1 very redolent of the ,burgundian splendour4 ,figures and attitudes are charming3 only1 the martyrdom sinks into insignificance beside the princess's collar4 ,other minor episodes may be discovered by inspection4 7,the episodes on either wing overflow into the main pictures47 ,the right wing shows ,st4 ,john the ,evangelist in ,patmos1 writing the ,apocalypse1 various scenes from which are realistically and too solidly represented above him1 without poetical insight4 ,memling here attempts to transcend his powers4 ,he has no sublimity4 ,on the exterior of the wings are seen the four other members of the society who were donors of the altar-piece2 ,anthony ,zeghers1 master of the ,hospital1 with his patron1 ,st4 ,anthony1 known by his pig and tau-shaped crutch and bell3 ,jacob de ,cueninc1 treasurer1 accompanied by his patron1 ,st4 ,james the ,greater1 with his pilgrim's staff and scallop-shell3 ,agnes ,casembrood1 mistress of the ,hospital1 with her patron1 ,st4 ,agnes1 known by her lamb3 and ,claire van ,hulsen1 a sister1 with her patron1 ,st4 ,clara4 ,dated1 #adgi4 ,by the entrance door is a ,portrait of ,marie ,moreel1 represented as a ,sibyl4 ,she was a daughter of ,willem ,moreel or ,morelli1 a patron of ,memling1 whom we shall meet again at the ,museum4 ,this is a fine portrait of a solid1 plain body1 a good deal spoiled by attempted cleaning4 ,it comes from the ,hospice of ,st4 ,julian4 ,as you go out1 cast a glance at the fine old brick buildings1 and note the cleanliness of all the arrangements4 ,return more than once3 do not be satisfied with a single visit4 ,the other pictures and objects formerly exhibited in this ,hospital have been transferred to the ,potterie and another building4 ,they need only be visited by those whose time is ample4 ,after leaving the ,hospital1 ,i do not advise an immediate visit to the ,academy4 ,let the ,memlings first sink into your mind4 ,but the walk may be prolonged by crossing the canal1 and taking the second turning to the ,r41 which leads 7over a pretty bridge of three arches7 to the ,bguinage1 a lay-nunnery for ladies who take no vows1 but who live in monastic fashion under the charge of a ,superior4 ,above the gateway is a figure of ,st4 ,elizabeth of ,hungary1 7to whom the church within is dedicated7 giving alms to a beggar4 ,she wears her crown1 and carries in her hand the crown and book which are her symbol4 ,remember these1--they will recur later4 ,pass under the gateway and into the grass-grown precincts for an external glimpse of the quiet old-world close1 with its calm white-washed houses4 ,the church1 dedicated to ,st4 ,elizabeth1 is uninteresting4 ,this walk may be further prolonged by the pretty bank of the ,lac d'amour or ,minnewater as far as the external canal1 returning by the ramparts and the picturesque ,porte de ,gand4 ,d4 ,,the ,,town ,,in ,,general4 ,the town of ,bruges itself is more interesting1 after all1 than almost any one thing in it4 ,vary your day by giving up the morning to definite sight-seeing1 and devoting the afternoon to strolls through the town and neighbourhood1 in search of picturesqueness4 ,i subjoin a few stray hints for such casual rambles4 7#a7 ,set out from the ,grand' ,place1 and turn down the ,rue ,breydel to the ,place du ,bourg4 ,cross the ,place by the statue of ,jan van ,eyck2 traverse the ,rue ,philippe ,stock2 turn up the ,rue des ,armuriers a little to the ,r41 and continue on to the ,place ,st4 ,jean1 with a few interesting houses4 ,note here and elsewhere1 at every turn1 the little statues of the ,virgin and ,child in niches1 and the old signs on the fronts or gables4 ,the interesting ,gothic turret which faces you as you go belongs to the old #adth ,century building called ,de ,poorters ,loodge1 or the ,assembly ,hall of the ,noble ,citizens ,within the ,gate1 as opposed to those of the ,franc de ,bruges4 ,continue on in the same direction to the ,place ,jan van ,eyck1 where you open up one of the most charming views in ,bruges over the canal and quays4 ,the ,place is 8adorned0 by a modern statue of ,jan van ,eyck4 ,the dilapidated building to your ,l4 is that of the ,acadmie des ,beaux-,arts which occupies the site of the ,citizens' ,assembly ,hall3 the ancient edifice was wholly rebuilt and spoilt in #agee1 with the exception of the picturesque tower1 best viewed from the base of the statue4 ,opposite you1 as you emerge into the ,place1 is the charming ,tonlieu or ,custom ,house1 whose decorated faade and portal 7restored7 bear the date #adgg1 with the arms of ,pieter van ,luxemburg1 and the collar of the ,golden ,fleece4 ,the dainty little neighbouring house to the ,l41 now practically united with it1 has a coquettish faade3 the saints in the niches are ,st4 ,george1 ,st4 ,john ,baptist1 ,st4 ,thomas ,becket1 7or ,augustine87 and ,st4 ,john the ,evangelist4 ,the ,tonlieu is now fitted up as the ,municipal ,library4 7,open daily1 free1 #aj to #a1 and #c to #e1 ,saturday and ,sunday excepted47 ,it contains illuminated manuscripts and examples of editions printed by ,colard ,mansion4 ,all round the ,place are other picturesque medival or ,renaissance houses4 ,the little street to the ,r4 7diagonally7 of the ,tonlieu leads on to the ,march du ,mercedi1 now called ,place de ,memling1 embellished by a statue of the great painter4 ,cross the ,place diagonally to the ,quai des ,espagnoles 7,madonna and ,child in front of you7 and continue along the quay1 to the ,l41 to the first bridge2 there cross and go along the picturesque ,quai des ,augustins to the ,rue ,flamande4 7,quaint little window to the left1 as you cross the bridge47 ,follow the ,rue ,flamande as far as the ,theatre1 just before reaching which you pass1 right1 a handsome medival stone mansion1 7formerly the ,guild of the ,genoese ,merchants17 with a relief over the door1 representing ,st4 ,george killing the ,dragon1 and the ,princess ,cleodolind looking on4 ,at the ,theatre1 turn to the ,r41 following the tram-line1 and making your way back to the ,grand' ,place by the ,rue des ,tonneliers4 7#b7 ,as early as #acfb1 ,bruges acquired its existing size1 and was surrounded by ramparts1 which still in part remain4 ,a continuous canal runs round these ramparts1 and beyond it again lies an outer moat4 ,most of the old gates have unhappily been destroyed1 but four still exist4 ,these may be made the objects of interesting rambles4 ,go from your hotel1 or from the ,grand' ,place1 by the ,rue ,flamande1 as far as the ,rue de l',acadmie4 ,turn along this to the ,r41 into the ,place ,jan van ,eyck1 noting as you pass the ,bear of ,bruges at the corner of the building of the old ,academy4 ,follow the quay straight on till you reach a second canal1 near the corner of which1 by the ,rue des ,carmes1 is an interesting shop with good beaten brasswork4 ,take the long squalid ,rue des ,carmes to the right1 past the ugly convent of the ,english ,ladies1 with its domed church in the most painful taste of the later ,renaissance 7#agcf74 ,the medival brick building on your right1 at the end of the street1 is the late ,gothic ,guild-house of the ,archers of ,st4 ,sebastian4 ,its slender octagonal tower has a certain picturesqueness4 7,st4 ,sebastian was of course the patron of archery47 ,charles ,,ii4 of ,england 7see under the ,grand' ,place7 was a member of this society during his exile3 his bust is preserved here4 ,so also was the ,emperor ,maximilian4 ,continue to the ramparts1 and mount the first hill1 crowned by a windmill1--a scene of a type familiar to us in many later ,dutch and ,flemish pictures4 ,a picturesque view of ,bruges is obtained from this point3 the octagonal ,belfry1 the square tower of ,st4 ,sauveur1 7the ,cathedral71 the tapering brick spire of ,notre-,dame1 with its projecting gallery and the steeple of the new church of the ,madeleine are all conspicuous in views from this side4 ,follow the ramparts to the ,r41 to the picturesque ,porte de ,ste4 ,croix1 and on past the barracks and the little garden to the ,quai des ,dominicains1 returning by the ,park and the ,place du ,bourg or the ,dyver4 7#c7 ,set out by the ,grand' ,place and the ,place du ,bourg2 then follow the ,rue ,haute1 with its interesting old houses1 as far as the canal4 ,do not cross it1 but skirt the quay on the further side1 with the towers of ,st4 ,walburge and ,st4 ,gilles in front of you4 ,at the bridge1 diverge to the right1 round the church of ,st4 ,anne1 and the quaint little ,church of ,jerusalem1 which contains an unimportant imitation of the ,holy ,sepulchre at ,jerusalem1 founded by a burgomaster of ,bruges in the #aeth century4 ,it is just worth looking at4 ,return to the bridge1 and follow the quay straight on to the modern ,episcopal ,seminary and the picturesque old ,hospice de la ,potterie1 which now harbours the ,museum of ,antiquities belonging to the ,hospital of ,st4 ,john4 ,i do not advise a visit4 7,it contains third-rate early ,flemish pictures1 inferior tapestry1 and a few pieces of carved oak furniture4 ,admission1 #ej c43 entrance by the door just beyond the church1 ,no4 ,f1 #gi4 ,the church itself is worth a minute's visit47 ,this walk passes many interesting old houses1 which it is not necessary now to specify4 ,return by the ,porte de ,damme1 and the opposite side of the same canal1 to the ,pont des ,carmes1 whence follow the pretty canal on the right to the ,rue ,flamande4 7#d7 ,take the ,rue ,st4 ,jacques1 and go straight out to the ,porte d' ,ostende1 which forms an interesting picture4 ,cross the canal and outer moat1 and traverse the long avenue1 past the gasometers1 as far as the navigable canal from ,bruges to ,ostend4 ,then retrace your steps to the gateway1 and return by the ramparts and the ,railway ,station to the ,rue ,nord du ,sablon4 ,these four walks will show you almost all that is externally interesting in the streets and canals of the city4 99 99 99 99 99 ,the original ,palace of the ,counts of ,flanders1 we saw1 occupied the site of the ,palais de ,justice4 ,their later residence1 the ,cour des ,princes1 in a street behind the ,htel du ,commerce1 has now entirely disappeared4 ,its site is filled by a large ornate modern building1 belonging to the ,sisters of the ,sacred ,heart1 who use it as a school for girls4 ,the water-system of ,bruges is also interesting4 ,the original river ,reye enters the town at the ,minnewater1 flows past the ,hospital and the ,dyver1 and turns northward at the ,bourg1 running under arches till it emerges on the ,place ,jan van ,eyck4 ,this accounts for the apparently meaningless way this branch seems to stop short close to the statue of ,van ,eyck3 also1 for the medival ships unloading at the ,grand' ,place4 ,the water is now mostly diverted along the canals and the moat by the ramparts4 ,e4 ,,the ,,churches ,the original ,cathedral of ,bruges 7,st4 ,donatian7 was destroyed1 as we saw1 by the ,french1 in #agii2 but the town still possesses two fine medival churches of considerable pretensions1 as well as several others of lesser importance4 ,though of very ancient foundation1 the two principal churches in their existing form date only from the most flourishing period of ,bruges1 the #acth1 #adth1 and #aeth centuries4 ,st4 ,salvator or ,st4 ,sauveur1 the larger1 was erected into the ,cathedral after the destruction of ,st4 ,donatian1 whose relics were transferred to it4 ,to this1 therefore1 we will first direct ourselves4 ,go down the ,rue des ,pierres as far as ,,the ,,cathedral1 which replaces a very ancient church built by ,st4 ,eligius 7,st4 loy7 in #fdf4 ,externally1 the edifice1 which is built of brick1 has rather a heavy and cumbrous effect1 its chief good features being the handsome square tower and the large decorated windows of the ,n4 and ,s4 ,transepts4 ,the ,choir and its chapels have the characteristic ,french form of a chevt4 ,the main portal of the ,n4 ,transept has been robbed of its sculpture4 ,the ,choir is of the late #acth century3 the ,nave and ,transept are mainly in the decorated style of the #adth4 ,the best entrance is near the tower on the ,n4 side4 ,walk straight on into the body of the ,nave1 by the archway in the heavy tower1 so as to view the internal architecture as a whole4 ,the ,nave and single ,aisles are handsome and imposing1 though the windows on the ,s4 side have been despoiled of their tracery4 ,notice the curious high-pointed ,triforium 7#acfb71 between the arches of the ,nave and the windows of the ,clerestory4 ,the ,choir is closed by a strikingly ugly debased ,renaissance or rococo ,rood-,screen1 7#afhb71 in black-and-white marble1 supporting the organ4 ,it has a statue of ,god the ,father by the younger ,quellin4 ,the whole of the interior has been decorated afresh in somewhat gaudy polychrome by ,jean ,bthune4 ,the effect is on the whole not unpleasing4 ,the ,cathedral contains few works of art of high merit1 but a preliminary walk round the ,aisles1 ,transept1 and ,ambulatory behind the ,choir will give a good idea of its general arrangement4 ,then return to view the paintings4 ,the sacristan takes you round and unlocks the pictures4 ,do not let him hurry you4 ,begin with the ,left ,aisle4 ,the ,baptistery1 on your ,l41 contains a handsome font4 ,r4 and ,l4 of the entry to it are admirable brasses4 ,in the ,baptistery itself1 ,l4 wall1 are two wings of a rather quaint triptych1 representing ,st4 ,martin dividing his cloak with the beggar2 ,st4 ,nicholas raising to life the three boys who had been salted for meat2 ,st4 ,mary ,magdalen with the pot of ointment 7in the distance1 as ,penitent in the ,desert72 and ,st4 ,barbara with her tower2 dated #afac4 ,also a rude ,flemish picture 7#afth century7 of the lives of ,st4 ,joachim and ,st4 ,anna1 and their daughter the ,blessed ,virgin3--the main episodes are the ,marriage of the ,virgin1 ,birth of the ,virgin1 and ,rejection of ,st4 ,joachim from the ,temple1 with other scenes in the background4 ,the end wall of the ,baptistery has ,peter ,pourbus's masterpiece1 a 99triptych painted for the ,guild of the ,holy ,sacrament1 attached to the church of ,st4 ,sauveur1 and allusive to their functions4 ,the outer wings1 when closed1 represent the ,miracle of the ,mass of ,st4 ,gregory1 when the ,host1 as he consecrated it1 was changed into the bodily ,presence of the ,saviour1 to silence a doubter4 ,it thus shows in a visible form the tremendous mystery of ,transubstantiation1 in honour of which the ,guild was founded4 ,behind1 the ,brothers of the ,confraternity are represented 7on the right wing7 in attendance on the ,pope1 as spectators of the miracle4 ,one of them holds his triple crown4 ,these may rank among the finest portraits by the elder ,pourbus4 ,they show the last stage in the evolution of native ,flemish art before it was revolutionized by ,rubens4 ,the inner picture represents1 in the centre1 the ,last ,supper1 or rather1 the ,institution of the ,eucharist1 to commemorate which fact the ,guild was founded4 ,the arrangement of the figures is in the old conventional order1 round three sides of a table1 with ,judas in the foreground to the left4 ,the wings contain ,old ,testament subjects of typical import1 as foreshadowing the ,eucharist4 ,left1 ,melchisedec giving bread and wine to ,abraham2 right1 ,elijah fed by the angel in the ,wilderness4 ,all the faces have still much of the old ,flemish portrait character4 ,on the ,r4 wall are the wings of a picture1 by ,f4 ,pourbus 7the son71 painted for the ,guild of ,shoemakers1 whose chapel is adjacent4 ,the inside contains portraits of the members4 ,on the outside are their patrons1 ,st4 ,crispinus and ,st4 ,crispianus1 with their shoemakers' knives4 ,also1 an early ,crucifixion1 of the school of ,cologne 7about #adjj71 with ,st4 ,catherine holding her wheel and trampling on the tyrant ,maximin1 by whose orders she was executed1 and ,st4 ,barbara with her tower4 7,these two also occur together in ,memling's great triptych47 ,the picture is interesting as the only specimen in ,bruges of the precursors of ,van ,eyck on the lower ,rhine4 ,the ,baptistery contains1 besides1 a fine old candlestick1 and a quaint ciborium 7for the ,holy ,oil7 with coloured reliefs of the ,seven ,joys of ,mary 7#aecf74 ,the vistas from the ,north ,transept are impressive4 ,it terminates in the ,chapel of the ,shoemakers' ,guild1 with a fine carved wooden door of about #adgj1 and good brasses1 as well as an early crucifix4 ,it is dedicated to the patron saints of the craft1 and bears their arms1 a boot4 ,the first two chapels in the ,ambulatory 7behind the ,choir7 have good screens4 ,the third ,chapel encloses the tomb of ,archbishop ,carondelet1 in alabaster1 7#aedd17 a fine work of the ,italian ,renaissance4 ,the ,descent from the ,cross by ,claeissens1 with the ,crown of ,thorns and the ,holy ,blood in the foreground3 on the wings1 ,st4 ,philip1 and the donor1 under the protection of 7the canonized7 ,charlemagne4 ,near this is a 99triptych by ,dierick ,bouts1 7falsely ascribed to ,memling7 representing1 in the centre1 ,st4 ,hippolytus torn to pieces by four horses4 7,he was the jailor of ,st4 ,lawrence1 who converted him3 see ,mrs4 ,jameson74 ,the faces show well the remarkable power of this bourgeois painter of ,louvain4 ,on the left wing are the donors2 on the right wing ,hippolytus confesses himself a ,christian1 and is condemned to martyrdom4 ,over the altar1 retable1 a ,tree of ,jesse1 in carved woodwork1 with the family of ,our ,lady3 on the wings1 7painted17 the legend of ,st4 ,hubert and the stag1 and the legend of ,st4 ,lucy4 ,in the ,apse is the ,chapel of the ,host4 ,the next chapel1 of the ,seven ,sorrows1 has a ,mater ,dolorosa of #adfj 7copy of one at ,rome72 a fine 99brass2 and the 99portrait of ,philippe le ,beau1 known as ,philippus ,stok 7father of ,charles ,v71 and bearing the collar of the ,golden ,fleece4 ,the ,choir1 7admirable architecturally17 contains the 99stalls and arms of the ,knights of the ,golden ,fleece1 with good carved ,misereres4 ,the ,cathedral contains many other pictures of interest1 which1 however1 do not fall within the scope of these ,guides4 ,the ,chambre des ,marguilliers1 or ,churchwardens' ,vestry1 contains manuscripts and church furniture1 sufficiently described by the sacristan4 ,in the ,sacristy are still preserved the relics of ,st4 ,donatian4 ,give the sacristan a franc1 and then go round alone again1 to inspect the unlocked pictures at your leisure4 99 99 99 99 99 ,on leaving the ,cathedral1 go round the south side1 which affords an excellent view of the chapels built out from the apse4 ,then take the little ,rue du ,st4 ,esprit as far as the ,church of ,,notre-,,dame1 which replaces a chapel1 built by ,st4 ,boniface1 the ,apostle of ,germany1 in #gdd1 and enclosed in the town in #iji4 ,stand opposite it1 in the small ,place on the ,n4 side1 to observe the somewhat shapeless architecture1 the handsome brick tower crowned by a tall brick steeple1 and the beautiful little 99porch or 8,paradise10 built out from the main structure in flamboyant ,gothic of the #aeth century4 ,the portal of this porch has been walled up1 and the area is now used as a chapel1 approached from the interior4 ,notice the delicate tracery of the windows1 the fine finials and niches1 and the charming gable-end4 ,the picturesque building with turrets to the ,l4 of the church was originally the mansion of the family ,van der ,gruuthuus1 one of the principal medival stocks of ,bruges4 ,it had a passage communicating with the family gallery in the church of ,notre-,dame4 ,the building1 recently restored1 is now in course of being fitted up for the ,town ,museum of ,antiquities4 ,a ,museum of ,lace is already installed in it2 the entrance is by a doorway over the bridge to the left 7#ej c4 per person74 ,enter the church1 and walk straight into the ,nave1 below the great ,west ,window1 a spot which affords a good view of the centre of the church1 the vaulted double ,aisles1 and the angular ,apse4 ,the ,choir is shut off from the body of the church by a very ugly marble ,rood-,screen 7#agbb71 still bearing its crucifix1 and with a figure of ,our ,lady1 patroness of the church1 enshrined above its central arch4 ,rococo statues of the ,twelve ,apostles1 with their well-known symbols 7#afah71 are attached to the pillars4 7,note these symbols3 they recur in similar situations everywhere47 ,in spite of hideous disfigurements1 the main portion of the interior is still a fine specimen of good middle ,gothic architecture1 mainly of the #adth century4 ,walk up the outer left ,aisle4 ,the last bay is formed by the ,baptistery1 originally the porch1 whose beautiful exterior we have already viewed4 ,its interior architecture is also very charming4 ,it contains the ,font1 and the usual figure of the patron1 ,st4 ,john the ,baptist4 ,this ,aisle terminates in an apsidal chapel 7of the ,holy ,cross7 containing inferior pictures of the #agth century1 representing the history of a relic of the ,true ,cross preserved here4 ,the inner left ,aisle leads to the ,ambulatory or passage at the back of the ,choir4 ,the ,confessionals to the ,r4 have fairly good rococo carved woodwork1 #afhi4 ,on the ,l4 is the handsome medival woodwork gallery 7#adgd71 belonging to the ,van der ,gruuthuus family1 originally approached by a passage from their mansion behind4 ,beneath it1 is a screen of delicate early ,gothic architecture1 with family escutcheons above the door4 ,the windows of the ,apse have good modern stained glass4 ,on the ,l41 at the entrance to the ,apse1 ,pourbus's ,adoration of the ,shepherds1 a winged picture1 closed4 ,the sacristan will open it4 ,on the wings are1 left1 the donor1 ,sire ,josse de ,damhoudere1 with his patron1 ,st4 ,josse1 and his four sons2 right1 his wife1 ,louise1 with her five daughters1 and her patron ,st4 ,louis of ,france1 wearing his crown and robe of fleurs-de-lis1 and holding the main de justice4 ,he is represented older than is usual1 or indeed historical1 and in features somewhat resembles ,henri ,,iv4 ,this is a fine picture for its master4 ,on the outer wings are the cognate subjects1 the ,circumcision and the ,adoration of the ,magi1 in grisaille4 ,the chapel in the ,apse1 formerly the ,lady ,chapel1 now contains the ,host4 ,it has a gaudy modern altar for the monstrance4 ,in the ,south ,ambulatory1 over a doorway1 ,foundation of the ,church of ,santa ,maria ,maggiore at ,rome1 by ,claeissens4 ,a chapel to the ,l41 just beyond1 locked1 but opened by the sacristan 7#a franc2 or1 for a party1 according to notice displayed at entrance71 contains the celebrated 9999tombs of ,mary of ,burgundy and ,charles the ,bold1 her father4 ,mary was the wife of ,maximilian1 and died by a fall from her horse in #adhb1 when only twenty-five4 ,her 9999monument was designed and executed by ,peter ,beckere of ,brussels1 by order of her son ,philippe le ,beau1 in #aejb4 ,the sarcophagus is of black marble3 the statue of the ,princess1 in gilt bronze1 lies recumbent upon it4 ,the style is intermediate between that of the later ,middle ,ages and of the full ,renaissance4 ,beside it is the 99tomb of ,charles the ,bold1 of far less artistic value4 ,charles was buried at ,nancy1 after the fatal battle1 but his body was transported to ,st4 ,donatian in this town by his descendant ,charles ,v1 and finally laid here beside his daughter by ,philip ,,ii1 who had this tomb constructed for his ancestor in imitation of that of ,mary4 7,i advise the visitor after seeing these tombs and the great chimney-piece of the ,franc de ,bruges to read up the history of ,charles the ,bold and his descendants1 down to ,charles ,v47 ,the east wall of this chapel1 beyond the tomb of ,charles the ,bold1 has a fine picture of ,our ,lady of ,sorrows1 enthroned1 surrounded by smaller subjects of the ,seven ,sorrows4 ,beginning at the left1 the ,circumcision1 the ,flight into ,egypt1 ,christ lost by his parents in the ,temple1 the ,way to ,calvary1 7with ,st4 ,veronica holding out her napkin17 the ,crucifixion1 7with ,our ,lady1 ,st4 ,john1 and ,mary ,magdalen17 the ,descent from the ,cross1 and the ,deposition in the ,tomb4 ,a fine work of its sort1 attributed to ,mostart 7or to ,maubeuge74 ,on the west wall are two wings from a triptych by ,pourbus1 with tolerable portraits1 7centre-piece destroyed17 and an early ,flemish painting of the ,deposition from the ,cross 7interesting for comparison with ,roger van der ,weyden and ,gerard ,david74 ,in the foreground lies the vessel containing the ,holy ,blood4 ,on the wings are the ,crucifixion and the ,resurrection4 ,the whole is very rudely painted4 ,outside are portraits of the donor and his wife and children1 with their patrons ,st4 ,james 7staff and scallop7 and ,st4 ,margaret 7whose dragon just appears in the background74 ,on an arcade1 a little further on1 is a very early fresco 7#acej87 of a saint 7,st4 ,louis of ,france871 and also a dainty small relief 7about #aejj7 of a donor1 introduced by his patron1 ,st4 ,peter1 adoring ,our ,lady4 ,the end chapel of the right aisle1 that of the ,holy ,sacrament1 contains a celebrated and noble white marble 9999,madonna and ,child1 by ,michael ,angelo1 enshrined in a black marble niche4 ,the pensive1 grave1 and graceful face1 the exquisite modelling of the dainty naked ,child1 and the beautiful infantile pose of its left hand1 all betray a design of ,michael ,angelo1 though the execution may possibly have been left to pupils4 ,but the modelling is softer and more feminine than is usual with this great sculptor1 except in his early period4 ,in this respect1 it resembles most the unfinished ,madonna in the ,bargello at ,florence4 ,condivi mentions that ,peter ,mouscron of ,bruges ordered of ,michael ,angelo a ,madonna and ,child in bronze3 he was probably mistaken as to the material3 and we have here doubtless the work in question4 ,apart from its great artistic value1 this exquisite group is interesting as affording another link between ,flanders and ,italy4 ,the same chapel also contains some good #agth century pictures4 ,near the confessional1 as we return towards the ,west ,end of the church1 we find a good diptych of ,herri met de ,bles1 of #aebj1 containing1 left panel1 an ,annunciation1 with all the conventional elements2 to the left1 as usual1 is the angel ,gabriel2 to the right1 ,our ,lady4 ,these relative positions are never altered4 ,the lilies in the pot1 the desk and book1 the bed with its furniture1 the arcade in the background1 and the rich brocade1 are all constant features in pictures of this subject4 ,look out for them elsewhere4 ,the right panel has the ,adoration of the ,magi1 with the ,old1 ,middle-aged1 and ,young ,kings1 the last-named a ,moor4 ,this quaint and interesting work of a ,flemish painter1 with its archaic background1 and its early ,italian reminiscences1 also betrays the influence of ,drer4 ,among the other pictures may be mentioned a triptych in an adjacent small chapel3 the central panel shows the ,transfiguration1 with the three apostles below1 ,moses1 ,elias1 and the ,eternal ,father above 7perhaps by ,jan ,mostart74 ,on the wings 7much later1 by ,p4 ,pourbus71 are the portraits of the donor1 his wife1 and their patron saints4 ,the ,west ,wall of the church has several large pictures of the later ,renaissance1 which can be sufficiently inspected on their merits by those who care for them4 ,the best of them are the ,adoration of the ,magi by ,seghers1 and ,de ,crayer's ,adoration of the ,infant ,jesus4 ,i do not propose to deal at length with later ,flemish art till we reach ,brussels and ,antwerp3 at ,bruges1 it is best to confine oneself to the introductory period of ,flemish painting--that of the ,burgundian princes4 ,i will therefore only call attention here to the meaningless way in which huge pictures like ,b4 van ,orley's ,crucifixion1 with subsidiary scenes from the ,passion1 reproduce the form of earlier winged pictures1 which becomes absurd on this gigantic scale4 99 99 99 99 99 ,the ,church of ,st4 ,jacques stands in the street of the same name1 conveniently near the ,htel du ,commerce4 ,it is a good old medival building 7#abth century1 rebuilt #adeg-aeah71 but hopelessly ruined by alterations in the #agth century1 and now1 as a fabric1 externally and internally uninteresting4 ,its architecture is in the churchwarden style3 its decoration in the upholsterer's4 ,the carved wooden pulpit is a miracle of bad taste 7#agth century71 surpassed only by the parti-coloured marble rood-screen4 ,a few good pictures and decorative objects1 however1 occur among the mass of paintings ranged round its walls as in a gallery4 ,the best is a panel of the old ,flemish ,school 7by ,dierick ,bouts1 or more probably a pupil71 in the left aisle1 just beyond the second doorway4 ,it tells very navely the ,history of ,st4 ,lucy 7see ,mrs4 ,jameson74 ,left1 she informs her mother that she is about to distribute her goods to the poor1 who are visibly represented in a compact body asking alms behind her4 ,centre1 she is hailed before the consul ,paschasius by her betrothed1 whom she refuses to marry4 ,she confesses herself a ,christian1 and is condemned to a life of shame4 ,right1 she is dragged away to a house of ill-fame1 the consul ,paschasius accompanying2 but two very stumpy oxen fail to move her4 ,the ,holy ,ghost flits above her head4 ,the details are good1 but the figures very wooden4 ,dated1 #adhj4 ,beside it is an extravagant ,lancelot ,blondeel of ,st4 ,cosmo and ,st4 ,damian1 the doctor saints1 with surgical instruments and pots of ointment4 ,the central picture shows their martyrdom4 ,further on hangs a good ,flemish triptych 7according to ,waagen1 by ,jan ,mostart71 representing1 the prophecies of ,christ's coming3 centre1 the ,madonna and ,child2 with ,king ,solomon below1 from whom a genealogical tree rises to bear ,st4 ,joachim and ,st4 ,anna1 parents of ,our ,lady4 ,r4 and ,l4 of him1 ,balaam and ,isaiah1 who prophesied of the ,virgin and ,christ3 with two ,sibyls1 universally believed in the ,middle ,ages to have also foretold the advent of the ,saviour4 ,the stem ends in the ,virgin and ,child4 ,left1 the ,tiburtine ,sibyl showing the ,emperor ,augustus the vision of the glorious ,virgin in the sky3 right1 ,st4 ,john the ,evangelist in ,patmos beholding the ,apocalyptic vision of the ,woman clothed with the ,sun4 ,this is a fine work of its kind1 and full of the prophetic ideas of the ,middle ,ages4 ,pass round the ,ambulatory and ,choir to the first chapel at the east end of the right ,aisle4 ,it contains an altar with the ,madonna and ,child in ,della ,robbia ware1 probably by ,luca4 ,also1 a fine tomb of ,ferry de ,gros and his two wives1 the first of whom reposes by his side and the second beneath him4 ,this is a good piece of early ,renaissance workmanship 7about #aecj74 ,the church also contains a few excellent later works by ,pourbus and others1 which need not be specified4 ,this was the church of the ,florentine merchants at ,bruges 7whence perhaps the ,della ,robbia7 and particularly of the ,portinari1 who commissioned the great altar-piece by ,van der ,goes now in the ,hospital of ,santa ,maria ,nuova at ,florence4 ,the other churches of ,bruges need not detain the tourist1 though all contain a few objects of interest for the visitor who has a week or two at his disposition4 ,f4 ,,the ,,academy ,the ,acadmie des ,beaux-,arts1 which formerly occupied the ,poorters ,loodge 7or ,guild ,hall of the citizens within the gates7 has a small but valuable collection of pictures1 removed from the destroyed cathedral of ,st4 ,donatian and other churches of ,bruges1 which well repays a visit4 ,you will here have an excellent opportunity for studying ,jan van ,eyck1 whose work ,i shall more particularly notice when we arrive at ,ghent4 ,it is interesting1 however1 here to compare him with his great successor1 ,memling1 who is represented at the ,academy by a fine triptych4 ,the little gallery also contains some admirable works by ,gerard ,david1 one of the latest of the old ,school of ,flemish painters1 whose work may thus be observed here side by side with those of his two chief predecessors4 ,owing to the ruinous state of the original building the collection has been transferred to a temporary apartment1 beyond the ,hospital bridge1 near the ,church of ,notre-,dame4 ,no tourist should leave ,bruges without visiting this interesting collection4 ,the ,museum is situated 7at present7 in a house on the right-hand side of the ,rue ,ste4 ,catherine1 nearly opposite a new church4 ,go to it past the ,hospital of ,st4 ,john4 ,admission daily1 #ej c4 per person4 ,begin in the centre of the wall opposite the entrance4 7#a47 ,jan van ,eyck4 9999,altar-piece1 ordered by ,george van der ,palen1 for the ,high ,altar of the original ,cathedral of ,st4 ,donatian1 of which he was a canon4 ,the centre of the picture is occupied by the ,madonna and ,child1 the face of ,our ,lady somewhat recalling ,german models4 ,she sits in the apse of a church1 probably ,st4 ,donatian4 ,the ,child1 whom it is the fashion to describe as 8aged-looking10 fondles a parrot and grasps a bunch of flowers4 ,to the left stands ,st4 ,donatian the ,archbishop1 patron saint of the church for which this altar-piece was painted4 ,he bears his usual symbol1 the wheel with five lighted candles 7as in the beautiful panel by ,gerard ,david in the ,national ,gallery at ,london74 ,this is a fine and finely-painted figure4 ,to the right1 ,st4 ,george1 in full armour1 admirably represented1 but in an affected attitude1 lifts his casque somewhat jauntily as he presents his namesake the ,canon ,george to ,our ,lady4 ,in all this we get a touch of ,burgundian courtliness3 the event is represented as a state ceremonial4 ,with his left hand the ,saint supports his ,red ,cross banner4 ,the portrait of the kneeling ,canon himself1--asthmatic1 pudding-faced--is very admirable and life-like1 but by no means flattered4 ,he grips his prayer-book with an old man's tremulous hand4 7,for a profound criticism of this fine picture1 see ,conway47 ,the insipid ,madonna1 the rather foolish ,st4 ,george1 the fine portrait of the ,canon1 are all typical of ,van ,eyck's manner4 ,the accessories of architecture1 decoration1 and background1 should also be carefully noted4 ,the capitals of the columns and the knobs of glass in the window1 as well as ,st4 ,george's costume1 are elaborated in ,van ,eyck's finest fashion4 7#b47 ,jan van ,eyck4 99,portrait of his wife1 painted for presentation to the ,bruges ,guild of ,painters1 together with one of the artist himself1 now undiscoverable4 ,this is a fine though evidently unflattered portrait of a capable housewife1 very stiffly arrayed in her best church-going costume4 ,it deserves close inspection4 ,above it1 7#c47 ,head of ,christ1 ascribed to ,jan van ,eyck1 but in reality a poor and reduced copy of the picture at ,berlin4 7#d47 ,memling4 9999,triptych painted for ,willem ,moreel or ,morelli1 a member of a wealthy ,savoyard family settled at ,bruges4 ,like ,jan van ,eyck's portrait of the two ,arnolfini in ,london1 and ,hugo van der ,goes's triptych of the ,portinari at ,florence1 this picture marks well the cosmopolitan character of old ,bruges4 ,in the central panel1 ,st4 ,christopher 7whose altar in the church of ,st4 ,jacques it adorned7 wades with his staff through the water1 feeling as he goes the increasing burden of the ,christ-,child on his shoulder4 7,for the legend1 see ,mrs4 ,jameson47 ,to the left1 above1 is the diminutive figure of the hermit with his lantern1 which always accompanies ,st4 ,christopher4 ,the left foreground of the picture is occupied by ,st4 ,maurus1 in his ,benedictine costume2 to the right is ,st4 ,giles 7,st4 ,egidius7 the hermit1 with the wounded doe1 the arrow piercing the arm of the saint4 ,the left wing represents the donor1 ,willem ,moreel1 under the care of his patron1 ,st4 ,william1 who wears a hermit's dress above his coat of armour4 7,when a saint places his hand on a votary's shoulder it usually implies that the votary is a namesake47 ,behind are ,moreel's five sons4 ,all these portraits1 but particularly that of the donor and his eldest son1 who closely resembles him1 are admirable4 ,the right wing represents the donor's wife1 ,barbara1 under the protection of her patron1 ,st4 ,barbara1 with her tower1 showing as usual three windows 7emblematic of the ,holy ,trinity74 ,behind the lady are her two daughters1 one of whom is habited as a ,benedictine nun1 whence1 doubtless1 the introduction of ,st4 ,maurus into the main altar-piece4 ,this fine triptych originally decorated an altar of ,st4 ,christopher in ,moreel's private chapel in the church of ,st4 ,jacques4 ,one of his daughters is the 8,sibylla ,sambetha0 represented at the ,hospital4 ,the wings at the back represent in grisaille ,st4 ,john the ,baptist with the lamb1 and ,st4 ,george with the dragon4 ,it was usual to paint the outer wings in grisaille or in low tones of colour1 so that the splendour of the interior hues might burst upon the spectator as the triptych was opened4 7#ab7 ,attributed to ,schoreel3 really1 by a master of the ,brabant ,school4 ,death of the ,virgin4 ,our ,lady is represented on her deathbed1 surrounded1 as always1 by the surviving apostles1 who were miraculously collected together to her chamber4 ,the faces are those of ,flemish peasants or artisans4 ,above1 ,christ appears in glory1 surrounded by a halo of cherubs1 to receive her new-born soul4 ,two angels support his outer garment4 ,this picture well shows the beginning of the later ,flemish tendency4 ,now return to ,no4 #e1 by ,gerard ,david1 on the other side of the great ,van ,eyck4 ,this is a 99triptych1 painted for ,jean des ,trompes1 for the ,high ,altar of the lower chapel of the ,holy ,blood4 ,the central panel represents the ,baptism of ,christ4 ,in the middle1 the ,saviour wades in the water of a diminutive ,jordan1 where the concentric circles show the increased careful study of nature4 ,on the right-hand side of the picture1 ,st4 ,john-,baptist1 patron saint of the donor1 pours water on his head4 ,the relative positions of these two figures1 and of the angel to the left holding a robe1 are conventional3 they have descended from a very early period of art4 7,in the ,ravenna mosaics1 the place of the angel is filled by the river-god of the ,jordan with his urn1 afterwards transformed and ,christianized into an angel with a towel4 ,look out in future for similar arrangements47 ,the central figures are weak2 but the robe of the angel is painted with ,flemish minuteness4 ,so are the flowers and leaves of the foreground4 ,above1 the dove descends upon the head of the ,saviour1 while the ,eternal ,father pronounces from the skies the words1 8,behold my ,beloved ,son in whom ,i am well pleased40 ,in the background are two other episodes3 ,l41 the preaching of ,st4 ,john-,baptist 7where ,oriental costumes indicate the heathen72 ,r41 ,st4 ,john-,baptist pointing out ,christ to his disciples with the words1 8,behold the ,lamb of ,god40 ,the distance shows two towns and a fine landscape4 ,observe the admirable painting of the trees1 with their good shadows2 also the ivy climbing up the trunk of one to the right4 ,this picture is among the earliest in which the gloom of a wood is accurately represented3 in many other respects it well illustrates the rise of landscape-painting4 7,for an exhaustive criticism1 see ,conway47 ,the left wing has a portrait of the donor1 with his other patron1 ,st4 ,john the ,evangelist1 holding the cup4 ,beside the donor kneels his little son ,philip4 ,this portrait1 the face and foot of the ,evangelist1 the fur of the donor's robe1 the crane in the background1 and many other accessories deserve close attention4 ,two figures in the background dimly foreshadow ,teniers4 ,the right wing has a portrait of the donor's wife1 ,elizabeth1 with her four daughters4 ,behind her stands her patroness1 ,st4 ,elizabeth of ,hungary1 in ,franciscan robes1 with the crown on her head and the double crown and book in her hands1 as on the statuette at the door of the ,bguinage4 ,the painting of a rosary here is excellent4 ,the outer wings 7turn them back7 show1 on the left1 the ,madonna and ,child with a bunch of grapes2 on the right1 the donor's second wife ,madeleine1 introduced by her patroness1 ,st4 ,mary ,madeleine1 who holds the alabaster pot of ointment4 ,by the lady's side kneels her daughter4 ,the background consists of a view1 probably in the ,bruges of that period4 ,painted about #aejg4 #f and #g4 ,gerard ,david4 99,the ,punishment of the ,unjust ,judge4 ,these two panels are of a type commonly set up in courts of justice as a warning to evil-doers4 ,they were ordered by the ,bruges magistracy4 ,you will see a similar pair by ,dierick ,bouts in ,brussels4 ,the story1 a horrid one1 is taken from ,herodotus4 ,sisamnes was a judge in ,persia whom ,king ,cambyses detected receiving a bribe and ordered to be flayed alive4 ,the king then stretched his skin on the seat of judgment1 and appointed the son of ,sisamnes to sit in his father's place1 that he might remember to avoid a like fate4 ,the first picture represents1 in the background1 the bribery4 ,in the foreground1 ,king ,cambyses1 in a rich embroidered robe1 demonstrates on his fingers the guilt of the unjust judge4 ,sisamnes is seized on his tribunal by a man of the people2 courtiers1 lawyers1 and burgesses looking on4 ,the expression on his face and the painting of all the accessories is admirable4 ,in the second picture we have the flaying of the unjust judge1 a horrible scene1 powerfully rendered4 ,cambyses stands by1 holding his sceptre1 surrounded by courtiers who recall the last age of the ,burgundian dominion4 ,in the background 7as a subsequent episode7 the son of ,sisamnes is seen sitting in his father's place3 behind him hangs the skin of the father4 ,architecture1 landscape1 ropes1 and all other accessories of this painful picture should be carefully noted4 #ae4 ,j4 ,prvost4 ,last ,judgment4 ,below1 the dead are rising1 half naked1 from the tomb1 girt only with their shrouds2 the good receiving garments from angels1 and the bad hurried away to a very ,flemish and unimpressive ,hell4 ,above1 ,christ as ,judge holds the sword4 ,two angels blow out the words of blessing or malediction4 ,on the spectator's left1 ,our ,lady shows the breast that suckled the ,redeemer4 ,behind her are ,st4 ,peter with the key1 ,st4 ,paul with the sword1 ,st4 ,bartholomew with the knife1 and other saints4 ,on the right are ,st4 ,john-,baptist with the lamb1 ,king ,david with the harp1 ,moses1 horned 7as always71 with the tables of the law1 and a confused group of saints4 ,this picture is rather curious than beautiful4 ,above it is a later treatment of the same subject by ,van ,coornhuuse1 interesting for comparison as showing the usual persistence of types and the conventional grouping of the individual figures4 ,compare especially the corresponding personages in the lower left-hand corners4 ,a few other pictures skied on this wall deserve passing notice4 #bi is a ,death and the ,miser1 of the ,school of ,quentin ,matsys4 #ag1 by ,lancelot ,blondeel1 the architect of the great chimney-piece of the ,franc de ,bruges1 represents ,st4 ,luke painting ,our ,lady1 in one of the fantastic frames in which this painter delighted4 #ah1 by the same1 has a ,st4 ,george and the ,dragon1 with the ,princess ,cleodolind looking on4 ,around it are four smaller scenes of his martyrdom3 7he was boiled1 burnt with torches1 dragged by a horse1 and finally decapitated74 #aa1 is a good diptych of the ,flemish school1 by an unknown contemporary of ,gerard ,david4 ,it represents1 left1 a donor1 with his patron ,st4 ,john the ,almoner1 holding his symbol1 a sheaf of corn4 ,on the right1 his wife with her patroness1 ,st4 ,godeliva4 #bh1 is an ,adoration of the ,magi1 where the ,three ,kings again illustrate the three ages of man and the three continents4 ,beside it is a ,nativity which exhibits all the traditional features already noted4 ,the end wall has in its centre a tolerably good ,adoration of the ,magi1 of the ,german ,school1 #aeth century4 ,note once more the ,three ,kings1 of whom the youngest is a ,moor4 ,left of this1 a 99drawing1 by ,jan van ,eyck1 of ,st4 ,barbara1 which should be closely inspected4 ,she holds a palm of martyrdom4 ,in the background1 workmen build her tower4 ,it is interesting as a scene of real life at this period4 ,this is a replica of the well-known picture at ,antwerp4 ,to the right1 two coloured drawings by ,gerard ,david from the life of ,st4 ,john-,baptist4 ,above these hangs a tolerable ,p4 ,pourbus of the ,last ,judgment1 valuable for comparison with the two previous treatments of the same subject on the principal wall4 ,go from one to the other once or twice4 ,later painters of the ,renaissance use this solemn theme as a mere excuse for obtruding the nude--and often the vulgar nude--into churches4 ,on the same wall are a good triptych in grisaille by ,p4 ,pourbus 7,way to ,calvary1 ,descent from the ,cross1 ,resurrection3 from ,notre-,dame at ,damme71 and other pictures4 ,the remaining walls have portraits and other works1 from the #agth century downwards1 most of which need no explanation4 ,a few of them1 indeed1 are not without merit4 ,but1 as ,i have before observed1 it is best in medival ,bruges to confine oneself to the #acth1 #adth1 #aeth1 and early #afth centuries1 leaving the rise of the ,renaissance1 and the later ,flemish ,school of painting1 to occupy us at ,antwerp1 where they can be studied to far greater advantage4 ,,ii ,,ghent ,a4 ,,origins ,,of ,,ghent ,,flanders owes everything to its water communications4 ,at the junction of the ,schelde with the ,lys or ,lei1 there grew up in the very early ,middle ,ages a trading town1 named ,gent in ,flemish1 and ,gand in ,french1 but commonly ,anglicised as ,ghent4 ,it lay on a close network of rivers and canals1 formed partly by these two main streams1 and partly by the minor channels of the ,lieve and the ,moere1 which together intersect it into several islands4 ,such a tangle of inland waterways1 giving access both to the sea and to ,bruges1 ,courtrai1 and ,tournai1 as well as less directly to ,antwerp and ,brussels1 ensured the rising town in early times considerable importance4 ,it formed the centre of a radiating commerce4 ,westward1 its main relations were with ,london and the ,english wool ports2 eastward with ,cologne1 ,maastricht1 the ,rhine towns1 and ,italy4 ,ghent was always the capital of ,east ,flanders1 as ,bruges or ,ypres were of the ,western province2 and after the ,counts lost possession of ,arras and ,artois1 it became in the #acth century their principal residence and the metropolis of the country4 ,the trade in weaving grew rapidly in importance1 and the ,ghenters received from their ,count a charter of liberties of the usual medival burgher type4 ,as time went on1 and the city advanced in wealth1 its subjection to its sovereigns became purely nominal4 ,ghent equipped large bodies of citizen soldiers1 and repulsed a considerable ,english army under ,edward ,i4 ,the ,ghenters were also determined opponents of the claims of the ,french kings to interfere in the internal affairs of ,flanders2 thus they were mainly instrumental in winning the famous ,battle of the ,spurs in #acjb1 when the citizens of ,bruges and ,ghent put to flight the army of ,france under the ,count of ,artois before the walls of ,tournai1 and dedicated as trophies #gjj golden spurs1 worn by the ,french knights whom they had routed4 ,this battle1 memorable as one of the chief triumphs of nascent industrial freedom over the chivalry and royalty of medivalism1 secured the liberties of the ,flemish towns against ,french aggression4 ,early in the #adth century1 the burghers of ,ghent1 under their democratic chief1 ,jacob or ,jacques ,van ,artevelde1 attained practical independence4 ,till #acbb1 the ,counts and people of ,flanders had been united in their resistance to the claims of ,france2 but with the accession of ,count ,louis of ,nevers1 the aspect of affairs changed4 ,louis was ,french by education1 sympathies1 and interests1 and aristocratic by nature2 he sought to curtail the liberties of the ,flemish towns1 and to make himself despotic4 ,the wealthy and populous burgher republics resisted1 and in #accg ,van ,artevelde was appointed ,captain of ,ghent4 ,louis fled to ,france1 and asked the aid of ,philip of ,valois4 ,thereupon1 ,van ,artevelde made himself the ally of ,edward ,,iii4 of ,england1 then beginning his war with ,france2 but as the ,flemings did not like entirely to cast off their allegiance--a thing repugnant to medival sentiment--,van ,artevelde persuaded ,edward to put forward his trumped-up claim to the crown of ,france1 and thus induced the towns to transfer their fealty from ,philip to his ,english rival4 ,it was therefore in his character as ,king of ,france that ,edward came to ,flanders4 ,the alliance thus formed between the great producer of raw wool1 ,england1 and the great manufacturer of woollen goods1 ,ghent1 proved of immense commercial importance to both parties4 ,but as ,count ,louis sided with ,philip of ,valois1 the breach between the democracy of ,ghent and its nominal sovereign now became impassable4 ,van ,artevelde held supreme power in ,ghent and ,flanders for nine years--the golden age of ,flemish commerce--and was treated on equal terms by ,edward1 who stopped at ,ghent as his guest for considerable periods4 ,but he was opposed by a portion of the citizens1 and his suggestion that the ,black ,prince1 son of ,edward ,,iii41 should be elected ,count of ,flanders1 proved so unpopular with his enemies that he was assassinated by one of them1 ,gerard ,denys4 ,the town and states immediately repudiated the murder2 and the alliance which ,van ,artevelde had brought about still continued4 ,it had far-reaching results2 the woollen industry was introduced by ,edward into the ,eastern ,counties of ,england1 and ,ghent had risen meanwhile to be the chief manufacturing city of ,europe4 ,the quarrel between the democratic weavers and their exiled ,counts was still carried on by ,philip van ,artevelde1 the son of ,jacques1 and godson of ,queen ,philippa of ,england1 herself a ,hainaulter4 ,under his rule1 the town continued to increase in wealth and population4 ,but the general tendency of later medival ,europe towards centralised despotisms as against urban republics was too strong in the end for free ,ghent4 ,in #acha1 ,philip was appointed dictator by the democratic party1 in the war against the ,count1 son of his father's old opponent1 whom he repelled with great slaughter in a battle near ,bruges4 ,he then made himself ,regent of ,flanders4 ,but ,count ,louis obtained the aid of ,charles ,,vi4 of ,france1 and defeated and killed ,philip ,van ,artevelde at the disastrous battle of ,roosebeke in #achb4 ,that was practically the end of local freedom in ,flanders4 ,though the cities continued to revolt against their sovereigns from time to time1 they were obliged to submit for the most part to their ,count and to the ,burgundian princes who inherited from him by marriage4 ,the subsequent history of ,ghent is that of the capital of the ,burgundian ,dukes1 and of the ,house of ,austria4 ,here the ,german king1 ,maximilian1 afterwards ,emperor1 married ,mary of ,burgundy1 the heiress of the ,netherlands2 and here ,charles ,v4 was born in the palace of the ,counts4 ,it was his principal residence1 and he was essentially a ,fleming4 ,other historical reminiscences will be pointed out in the course of our peregrinations4 ,the old waterways1 partially artificial1 between ,ghent and the sea1 other than the circuitous route by the shallow ,schelde1 had silted up by #ahbg1 when a ship canal was constructed to ,terneuzen4 ,this canal has since been widened and deepened so as to admit vessels of #a1gjj tons2 it has thus helped to some small degree to save the town from the fate of ,bruges4 ,but as its mouth lies in what is now ,dutch territory1 and as heavy tolls are levied1 it is comparatively little used4 ,another and somewhat frequented canal leads to ,bruges2 but ,ghent owes most of its existing prosperity to its manufactures 7cotton1 linen1 engines1 leather7 and to its central position on the railway system4 ,the important points for the tourist to bear in mind are these1 however4 ,ghent during the ,middle ,ages was a merchant republic1 practically independent1 with its guilds and its belfry1 the last of which was used to summon the citizens to arms in case of danger4 ,it was also the chief manufacturing town in ,europe1 as ,bruges was the chief commercial centre4 ,by treaty with ,edward ,,iii41 ,bruges was made the 8staple0 or sole port of entry for ,english wool3 and this wool was woven into cloth for the most part at ,ghent4 ,further details of the vicissitudes of ,ghent can be found in ,van ,duyse1 ,gand1 ,monumental et ,pittoresque4 99 99 99 99 99 ,the chief objects of interest at ,ghent are the ,cathedral1 with its great ,van ,eyck2 and the ,town ,hall and ,belfry4 ,these can be tolerably seen in one day3 but a stay of three or four days will not be too much to explore the curious nooks of the early city4 ,b4 ,,the ,,core ,,of ,,ghent ,the old town of ,ghent lies on the island formed by the junction of the ,lys and the ,schelde1 with their various backwaters 7all now largely artificial74 ,near this point1 but beyond the ,lys1 the ,counts of ,flanders early erected a strong castle1 the ,gravensteen or ,oudeburg1 beneath whose protection1 aided by the two navigable rivers1 merchants and weavers gradually settled4 ,as at ,bruges1 the heart of the town1 however1 is purely municipal and mercantile in its architecture4 ,the ,town ,hall1 which was the meeting-place of the citizens1 and the ,belfry1 which summoned them to arms or council1 are the chief points of interest in the city4 ,the ,schelde is still tidal to its very centre4 ,as most visitors will probably stop in one of the hotels on the ,place d',armes1 near the ,s4 end of older ,ghent1 ,i shall frankly take that square as our starting-point4 ,it may facilitate recognition at first sight to add that the large square tower1 visible to the ,r4 from the ,place d',armes1 is that of the ,cathedral1 while the tapering spire1 crowned by a gilt dragon1 belongs to the ,belfry4 ,go first on a tour of orientation through early ,ghent4 ,if you follow these directions implicitly1 you can see everything important in one short walk4 ,cross the ,place d',armes diagonally to the ,n4,e4 corner1 and follow the small and narrow streets which run due ,n4 to the front of the ,cathedral4 ,walk round the ,s4 side of this1 to form a first general impression1 but do not enter it at present4 ,then1 from the ,west ,front of the ,cathedral1 take the ,rue ,st4 ,jean straight before you4 ,the tower with the gilded dragon which faces you as you walk is that of the ,belfry4 ,it was designed in #aahc1 about a century earlier than that of ,bruges1 but only erected between #acba and #acci2 it is a fine work in the ,early ,gothic style4 ,its windows have been walled up4 ,the tapering turret which crowns the tower is unfortunately modern1 and of iron4 ,on the very summit stands a huge gilded dragon1 which universal tradition represents as having been brought from ,st4 ,sophia at ,constantinople to ,bruges by the ,crusader ,baldwin of ,flanders1 7#abjd71 and removed as a trophy by the people of ,ghent 7under ,philip van ,artevelde7 in #achb4 ,it certainly appears to be of ,oriental origin1 but is stated on documentary evidence 7discovered by ,m4 ,vuylsteke7 to have been made in ,ghent itself in #achj4 ,if so1 it would seem at least to be based on an ,oriental model4 ,the small building at the foot of the ,belfry1 now in course of 7over7 restoration1 is the ,cloth ,hall1 erected in #adbd1 a graceful but not very important ,gothic edifice 7of the ,decorated period71 with niches vacant of their statues4 ,the concierge of the ,belfry now has a room in it4 ,application must be made here to mount to the summit4 7#a franc1 or #b for a party47 ,dark and steep4 ,the view is extensive and beautiful1 but not quite so striking as that at ,bruges4 ,the principal buildings of the city lie just below you3 beyond1 all ,flanders4 ,the chimes are celebrated4 ,the chief bell is known as ,roelandt4 ,now turn round into the ,botermarkt or ,march au ,beurre to the right1 and inspect the ,belfry again from the little bay in the corner opposite4 ,this is the best near view of the tower4 ,the portal to the ,r4 was formerly the entry to the town prison1 beneath the ,belfry1 now in course of complete restoration4 ,in its gable is a too-famous #ahth century relief 7the ,mammelokker7 representing the ,roman daughter feeding her father from her breast at the window of a prison1 and doubtless intended to excite the charity of passers-by4 ,it certainly serves no other function1 for it is neither beautiful nor decorative4 ,cross over to the ,r4 side of the ,butter-market4 ,the building on the ,l41 in two totally distinct portions1 is the ,htel-de-,ville4 ,the part at which you first arrive1 7latest in point of time17 was rebuilt in the early ,renaissance style in #aeie-afbh4 ,it is one of the earliest and in many ways the best example of ,renaissance architecture in ,belgium1 in part because it retains certain good features of local domestic building1 such as the pointed gable-ends 7round the corner to the ,l47 and the projecting windows with dormers on the main faade4 7,look out for their origin elsewhere47 ,it has three storeys1 with projecting half colonnades1 the columns being ,doric on the ground floor1 ,ionic on the first floor1 and ,corinthian on the second4 ,recollect the gable-ends and dormers for comparison with others in old houses in ,ghent hereafter4 ,now1 continue on to the corner1 where we arrive at the earlier ,gothic portion of the ,htel-de-,ville1 erected in #aeah-aece by ,dominic de ,waghemakere1 who also built in part the cathedral at ,antwerp4 ,the projecting polygonal corner1 with its handsome balcony1 is very noticeable4 ,the work is of the latest and most florid ,gothic1 somewhat lacking in grace and dignity1 but ornate in its splendour4 ,observe the depressed arches1 the noble cornice1 the rich decoration of garlands4 ,a few of the niches have now been filled with modern statues of saints4 ,from the corner opposite1 a good view is obtained of both parts of the ,htel-de-,ville and also of the ,belfry4 ,turn to the left into the ,rue ,haut-,port1 to observe the main front of this earlier ,gothic building1 with its fine projecting windows above1 its empty niches1 its handsome entrance staircase and main portal1 its beautiful little balcony for addressing the people below1 and the large projecting window of its ancient chapel near the centre4 ,note how well the faade is thus broken up and diversified4 ,this is the finest specimen of florid ,gothic in ,belgium4 ,beyond it comes another ,renaissance portion1 and then a handsome ,renaissance dwelling-house4 ,the street also contains several fine early houses1 the best of which 7a ,gothic guildhall1 known as the ,cour ,st4 ,georges7 stands at the corner to the left1 facing the ,htel-de-,ville4 ,the interior of the ,htel-de-,ville need not be visited1 though it has a handsome ,gothic staircase 7demolished1 sold1 built into a private house1 re-erected7 and some fine halls and internal courts1 interesting to those who have plenty of time at their disposal4 ,now1 return to the ,belfry and continue straight down the left-hand side of the ,rue de la ,catalogne4 ,the church on the right1 round the base of which houses have been allowed to cluster1 is ,st4 ,nicolas--the oldest in the town4 ,this is one of the most solid pieces of architecture at ,ghent4 ,it has a fine decorated tower1 which has happily escaped restoration1 besides small turrets to the ,transepts1 and two1 rather larger1 to the gable of the ,nave4 ,go on into the ,koornmarkt or ,march aux ,bls1 to the ,r42 stand there for a moment1 at the end of the ,rue de la ,catalogne1 to observe the fine coup d'il1 which takes in ,st4 ,nicolas1 the ,belfry1 and the tower of the ,cathedral4 ,the main faade of ,st4 ,nicolas faces the ,koornmarkt4 ,over the door is a modern figure of the ,saint himself1 raising the three boys who were salted down for meat4 ,nicolas was the popular saint1 the patron of the merchants and burgesses2 and the prominent position of his church on the ,corn ,market is very characteristic of the burgher spirit of ,ghent4 ,a hasty glance will suffice for the interior1 which is a characteristic specimen of the unrestored ,belgian church1 with figures of the ,twelve ,apostles 7as always7 against the pillars of the ,nave2 an ugly carved pulpit2 short ,transepts2 an ,apse with bad glass2 and the vaulting of ,nave1 ,aisles1 and ,choir concealed by plaster4 ,the tawdry decorations render what might be a fine interior wholly unimpressive4 ,the ,high ,altar has an altar-piece by ,liemakere1 representing1 in the confused style of the ,school of ,rubens1 the election of ,st4 ,nicholas as ,bishop of ,myra4 ,above is an #ahth century figure of the ,saint1 raising the three boys from the tub4 ,the early pillars of the ,choir are really handsome4 ,on emerging from the front of the church1 continue straight on to the bridge which crosses the ,lys1 affording a good view to the ,l4 of the ,apse of ,st4 ,michel4 ,then1 go along the side of this handsome church1 with late ,gothic windows resembling ,english ,perpendicular4 ,it has a solid but unfinished tower1 and a good ,west ,portal1 robbed of its sculpture and cruelly mutilated4 ,a glimpse at the interior1 which has been scraped and renovated1 will show at once the fine architecture4 ,the ,nave has impressive round pillars1 windows in the clerestory1 and excellent brick vaulting4 ,the vaulted ,aisles are surrounded by chapels4 ,the ,choir is very handsome4 ,in the ,n4 ,transept is a famous but overrated 99,crucifixion by ,van ,dyck1 not without beauty of conception and composition1 but spoiled by restorations4 ,walk round the ,transepts and ,ambulatory4 ,there are some good works of the ,school of ,rubens4 ,now1 continue along the quay1 on the same side as ,st4 ,michel1 7observing as you go that the early town extended to both banks of the river71 in order to view the faade of the handsome ,maison des ,bateliers1 or ,guild ,house of the ,skippers1 erected in #aeca for the masters of the shipping of ,ghent1 in somewhat the same florid late-,gothic style as the ,htel-de-,ville4 ,this is the finest existing specimen of old ,flemish houses4 ,over the doorway is an appropriate relief of a ship1 somewhat antiquated and heraldic in character4 ,by the side of this ,guild-house are two others1 less interesting3 the first1 the ,guild ,house of the ,grain ,measurers2 the next1 very old and dilapidated1 the ,staple ,house of ,corn1 ,romanesque1 said to be the earliest civil building in ,belgium4 ,several fine gable-ends are seen to the ,l41 including one with ,renaissance architecture1 on this side of the ,lys4 ,at the moment of writing1 the houses next to the ,skippers' ,guild are in course of demolition1 exposing a bare side of the old ,hall most unpicturesquely4 ,now1 retrace your steps over the ,bridge1 and through the ,corn ,market1 almost wholly modernized1 with the exception of a few gabled houses4 ,the next little square at which we arrive is the ,march aux ,herbes4 ,its ,w4 side is occupied by the ancient but uninteresting ,grande ,boucherie4 ,turn to the ,l4 by the corner of the ,boucherie1 with ,our ,lady and ,child in a niche1 and cross the bridge to the other side of the ,lys4 ,on the left are two handsome old houses4 ,in front rise the gateway and bastions of the ,,oudeburg1 or ,castle of the ,princes4 ,this was the primitive palace of the ,counts of ,flanders in ,ghent4 ,the irregular little square in front of it is known as the ,place ,ste4 ,pharailde4 ,the castle has recently been cleared from the numerous modern houses which encumbered and hid it4 ,the first stronghold on this site was erected in #hfh4 ,the existing ruins of the gateway1 with round ,romanesque arches1 date back to #aahj2 the square keep behind is of the #ajth century4 ,in this palace ,jacob van ,artevelde entertained ,edward ,,iii4 ,when ,edward returned to ,england1 he left ,queen ,philippa here1 and during his absence she bore 7in the ,monastery of ,st4 ,bavon7 her third son1 ,john of ,gaunt1 who took his well-known surname from the place of his birth4 ,it was on ,edward's return to ,flanders1 accompanied by the ladies of ,philippa's suite1 that he found the ,french fleet drawn up near ,sluys to prevent his entry into the port of ,bruges1 on which occasion he gained the first great ,english naval victory4 ,the ,castle1 which is now in course of partial restoration1 is closely bound up with the greatness of ,van ,artevelde and the heroic period in the history of ,ghent4 ,walk round it to note its extent and its commanding position at the point where the bridge crosses the ,lys to the main part of the town4 ,the opposite corner of the ,place ,ste4 ,pharailde has a ,renaissance gateway1 re-erected in imitation of the original by ,arthus ,quellin1 and adorned with sculptures of ,neptune1 the ,schelde1 and the ,lys1 the sources of ,ghent's greatness4 ,it leads to the ,fish-market4 ,around are several good old houses4 ,continue along the quay on the same side of the river as the ,oudeburg1 as far as the ,pont du ,laitage1 just before reaching which you pass on your left two #agth century houses with reliefs1 7the ,works of ,charity1 a ,flying ,hart1 etc474 ,cross the bridge and turn to the ,r4 as far as the big cannon1 known as ,dulle ,griete or ,mad ,margaret1 dating back to the #adth century4 ,by the touch-hole are the ,cross of ,st4 ,andrew and the ,arms of ,phillipe le ,bon of ,burgundy4 ,turn into the large square in front of you4 ,the building which faces you at the end of the street as you advance 7with a tower at the corner and high gables7 is one of the best old medival houses in ,ghent1 the ,collacie-,zolder1 or ,municipal ,council-,room1 of the #acth or #adth century4 ,it has an interesting little pulpit or balcony at its corner1 with a bell1 from which addresses could be made to the people4 ,the towers that face you a little to the ,l4 are those of ,st4 ,jacques1 to be visited presently4 ,continue into the square1 at the corner of which is the ,municipal ,council-,room4 ,this is the ,vrydagmarkt or ,march du ,vendredi1 in which a strikingly picturesque market is still held every ,friday morning4 ,if possible1 visit it4 ,the square was the forum of old ,ghent and the meeting-place of the citizens4 ,a few fine old buildings in the native local style still surround it4 ,the centre is appropriately occupied by a modern colossal statue of ,jacob van ,artevelde1 addressing the citizens in his famous speech when he excited them to opposition to the ,count of ,flanders with his ,gallicising policy4 ,at the base are allegorical figures of ,flanders1 and of the ,belgian towns1 wearing mural crowns4 ,the reliefs represent ,van ,artevelde's three chief diplomatic triumphs1--the ,league of ,ghent with ,bruges and ,ypres2 the ,league of ,flanders and ,england2 the ,league of ,flanders1 ,brabant1 and ,hainault4 ,in this square the most important events in the history of early ,flanders took place4 ,here the citizens of ,ghent took the oath of allegiance to each new ,count on his accession1 after they had compelled him to swear in good old ,teutonic style 8to uphold and see upheld all the standing wits 7laws71 fore-rights 7regulations71 freehoods1 and wonts of the ,countship and town of ,ghent40 ,the guilds which had their halls around met here to oppose arbitrary action on the part of their sovereign4 ,here1 too1 the parties within the town itself frequently joined issue in civil contest4 ,in later times1 the ,duke of ,alva perpetrated most of his shameful executions on this spot4 ,the site of the statue of ,van ,artevelde was originally occupied by one of ,charles ,v41 who was born in ,ghent1 in a palace now destroyed1 and whose history 7see later7 is intimately connected with this town1 always one of his principal residences4 ,the statue was destroyed in #agid by the ,french invaders3 7picture in the ,museum74 ,turn up at the corner by the ,municipal ,council-,room and take the first street to the ,l41 which leads you into the ,place ,st4 ,jacques1 occupied by the ,church of ,st4 ,jacques4 ,the faade1 with the two towers1 was ,romanesque1 but has been restored in such a wholesale way as to destroy its interest4 ,the remainder of the church is ,gothic4 ,walk round it so as to observe its features1 noticing in particular the quaint stone spire of the right-hand tower4 ,the interior might be good1 were it not spoiled by tawdry decorations4 ,the pulpit has a marble figure of the patron1 ,st4 ,james1 with the pilgrim's staff and gourd1 emblematic of his connection with the great place of pilgrimage of ,santiago de ,compostella4 ,the vaulting has been freed from excrescences1 and is excellent of its kind4 ,the ,high ,altar has a figure of ,st4 ,james above1 and a painting of his martyrdom beneath4 ,this walk will have led you through the principal part of early ,ghent4 ,hence you may return either by the ,cathedral1 or by the chief line of business streets which runs direct from the ,pont du ,laitage to the modern ,palais de ,justice and the ,place d',armes4 ,c4 ,,the ,,cathedral ,the local patron saint of ,ghent is ,st4 ,bavon1 a somewhat dubious personage1 belonging to the first age of ,christianity in ,flanders1 of whom little is known4 ,legend describes him as a 8,duke of ,brabant0 in the #gth century 7of course an anachronism74 ,he seems to have been a nobleman of ,hesbaie who spent his life as a soldier 8and in worldly pleasures02 but when he was #ej1 his wife died1 and1 overwhelmed with grief1 he gave up all his possessions to be distributed among the poor1 and entered a cell or monastery in ,ghent1 of which ,st4 ,amand 7see later7 was the founder4 ,of this he became abbot4 ,at last1 finding the monastic life not sufficiently austere1 the new saint took refuge in a hollow tree in a forest1 and there spent the remainder of his days4 ,his emblem is a falcon4 ,the monastery of ,st4 ,bavon long existed at ,ghent2 some of its ruins still remain1 and will be described hereafter4 ,to this local saint1 accordingly1 it might seem fitting that the ,cathedral of ,ghent should be dedicated4 ,but in reality the building was at first a parish church under the invocation of ,st4 ,john the ,baptist1 and only received the relics and name of ,st4 ,bavon after #aedj1 when ,charles ,v4 destroyed the monastery1 as will be described hereafter4 ,the real interest of the ,cathedral centres1 however1 not in ,st4 ,bavon1 nor in his picture by ,rubens1 but in the great polyptych of the ,adoration of the ,lamb1 the masterpiece of ,jan van ,eyck and his brother ,hubert1 which forms in a certain sense the point of departure for the native art of the ,netherlands4 ,this is therefore a convenient place in which to consider the position of these two great painters4 ,they were born at ,maaseyck or ,eyck-sur-,meuse near ,maastricht2 ,hubert1 the elder1 about #acfj or #acgj2 ,jan1 the younger1 about #acij4 ,the only undoubted work of ,hubert is the altar-piece in ,st4 ,bavon1 and even this is only his in part1 having been completed after his death by his brother ,jan4 ,hubert probably derived his teaching from the ,school of the ,lower ,rhine1 which first in the ,north attained any importance1 and which had its chief exponents at ,maastricht and ,cologne4 ,of this ,school1 he was the final flower4 ,though not1 as commonly said1 the inventor of oil-painting1 he was the first artist who employed the process in its developed form1 and he also made immense advances in naturalness of drawing and truth of spirit4 ,jan was probably a pupil of ,hubert2 he lived at ,ghent while the great picture of the ,adoration of the ,lamb was still being completed2 later1 he was painter by appointment to the court of the ,dukes of ,burgundy1 and had a house at ,bruges1 where he died in #addj4 ,he was also employed on various missions abroad1 accompanying embassies as far as to ,portugal4 ,his painting1 though less ideal and beautiful than that of his great successor ,memling1 is marvellous in its truth3 it has an extraordinary charm of purity of colour1 vividness of delineation1 and fine portrayal of character4 ,indeed1 all the early ,flemish artists were essentially portrait painters2 they copied with fidelity whatever was set before them1 whether it were fabrics1 furniture1 jewellery1 flowers1 or the literal faces and figures of men and women4 ,hubert and ,jan van ,eyck1 however1 were not so much in strictness the founders of a school as the culminating point of early ,german art1 to which they gave a new ,flemish direction4 ,their work was almost perfect in its own kind4 ,their successors did not surpass them3 in some respects they even fell short of them4 ,the ,adoration of the ,lamb is by far the most important thing to be seen at ,ghent4 ,but it is viewed at some disadvantage in the church1 and is so full of figures and meaning that it cannot be taken in without long study4 ,i strongly advise you1 therefore1 to buy a photograph of the entire composition beforehand1 and try to understand as much as possible of the picture by comparing it with the account here given1 the evening before you visit the picture4 ,you will then be able more readily to grasp the actual work1 in form and colour1 when you see it4 ,the ,cathedral is open daily 7for viewing the pictures1 etc47 from #e to #ab1 and from #c4cj to #f4 ,between #ab and #c4cj you can also get in by knocking loudly on the door in the ,west ,front4 ,go straight from your hotel to the ,cathedral1--built as the parish church of ,st4 ,john about #abej-acjj2 re-dedicated to ,st4 ,bavon1 #aedj2 erected into a ,bishop's see1 #aeii4 ,stand before the ,west ,front at a little distance1 to examine the simple but massive architecture of the tower and faade4 ,the great portal has been robbed of the statues which once adorned its niches4 ,three have been 8restored03 they represent1 centre1 the ,saviour2 ,l41 the patron1 ,st4 ,bavon1 recognisable by his falcon1 his sword as duke1 and his book as monk2 he wears armour1 with a ducal robe and cap above it2 ,r41 ,st4 ,john the ,baptist1 the earlier patron4 ,then1 walk1 to the right1 round the south side1 to observe the external architecture of the ,nave1 ,aisles1 and ,choir4 ,the latter has the characteristic rounded or apsidal termination of ,continental ,gothic1 whereas ,english ,gothic has usually a square end4 ,enter by the ,s4 portal4 ,the interior1 with single ,aisles and short ,transepts1 7,early ,gothic7 is striking for its simple dignity1 its massive pillars1 and its high arches1 though the undeniably noble effect of the whole is somewhat marred to ,english eyes by the unusual appearance of the unadorned brick walls and vaulting4 ,the pulpit1 by ,delvaux 7#agde71 partly in oak1 partly in marble1 represents ,truth revealing the ,christian ,faith to astonished ,paganism 7figured as an old and outworn man37 it is a model of all that should be avoided in plastic or religious art4 ,the screen which separates the ,choir from the ,transepts is equally unfortunate4 ,the apsidal end of the ,choir1 however1 with its fine modern stained glass1 forms a very pleasing feature in the general coup d'il4 ,begin the examination in detail with the left or ,n4 ,aisle4 ,the #ast chapel1 that of the ,holy ,cross1 contains a ,piet by ,janssens and a ,descent from the ,cross by ,rombouts1 good works of the school of ,rubens4 ,the #crd chapel1 that of ,st4 ,macarius or ,st4 ,macaire 7an object of local worship whom we shall meet again elsewhere at ,ghent71 has a modern statue of the saint1 and a pleasing decoration in polychrome4 ,the right or ,s4 ,aisle has nothing of importance4 ,a short flight of steps leads to the ,ambulatory1 whose black-and-white marble screen1 on the side toward the ,choir1 is not without dignity4 ,the sacristan opens the locked ,chapels in the ,ambulatory 7flamboyant71 beginning at the steps on the ,r4 or ,s4 side of the ,choir4 ,you will find him in the ,sacristy1 in the ,n4 ,transept4 ,do not let him hurry you4 ,the #ast chapel contains a tolerable triptych by ,f4 ,pourbus 7son of ,peter71 with the ,finding of ,christ in the ,temple for its central subject1 and the ,circumcision and ,baptism on the inner wings4 ,notice in the last the conventional attitudes of the ,baptist1 the ,saviour1 and the angel with the towel1 as in the ,gerard ,david and all old examples of this subject3 but the semi-nude figure undressing in the foreground is an unhappy innovation of the ,renaissance4 ,many of the heads in the central picture are portraits3 ,alva1 ,charles ,v41 ,philip ,,ii41 and ,pourbus himself4 ,on the outer wings is a good 99portrait of the donor 7,viglius7 adoring the ,saviour 7#aega74 #crd chapel4 ,crucifixion1 by ,gerard van der ,meire1 of ,ghent4 ,on the left wing1 ,moses striking the ,rock1 symbolical of the fountain of living water1 ,christ4 ,on the right wing1 the ,elevation of the ,brazen ,serpent1 symbolical of the ,crucifixion4 ,this is a mystic 8typical0 picture1 interesting only for its symbolism4 ,note the ,flemish love of such subjects4 ,the #dth chapel contains a good tomb of ,cornelius ,jansen and ,willem ,lindau1 the two first bishops of ,ghent 7bishopric founded only in #aeii7 with fair recumbent figures of the early #agth century4 #eth chapel4 ,coxcie4 ,lazarus and ,dives3 a mediocre picture4 ,mount the steps to the ,upper ,ambulatory4 ,the #fth chapel 7of the ,vydts family7 contains the famous altar-piece of the 9999,adoration of the ,lamb1 by ,,hubert and ,,jan ,,van ,,eyck1 to study which is the chief object of a visit to ,ghent4 ,see it more than once1 and examine it carefully4 ,ask the ,sacristan to let you sit before it for some time in quiet1 or he will hurry you on4 ,you must observe it in close detail4 ,as a whole1 the work before you is not entirely by the two ,van ,eycks4 ,the ,adam and ,eve on the outer upper shutters of the interior 7originally by ,hubert7 have been altogether removed1 and are now in the ,museum at ,brussels1 where we shall see them in due course4 ,their place has been filled1 not by copies 7for the originals were nude71 but by skin-clad representations of the same figures1 whose nudity seemed to the ,emperor ,joseph ,,ii4 unsuitable for a church4 ,the lower wings1 which were principally 7it is believed7 by ,jan van ,eyck1 have also been removed1 and sold to ,berlin4 ,they are replaced by very tolerable copies1 made in the early #afth century by ,michael ,coxcie4 ,thus1 to form an idea of the detail of the original in its full totality it is necessary to visit1 not only ,ghent1 but also ,brussels and ,berlin4 ,nevertheless1 ,i describe the whole picture here as it stands1 as this is the best place to observe its general composition4 ,i shall say a few words later as to variations of this work from the original4 ,there is a good copy of the whole picture in the ,museum at ,antwerp1 where you will be able to inspect it at greater length and under easier conditions4 ,the remaining portions of the original still left here are believed to be for the most part the work of ,hubert van ,eyck4 ,jan must rather be studied in many scattered places1--,bruges1 ,brussels1 ,berlin1 ,paris1 ,madrid1 and ,london4 ,the altar-piece was commissioned from ,hubert van ,eyck by ,josse ,vydts 7,latinised as ,jodocus71 a gentleman of ,ghent1 and his wife1 ,isabella1 about the year #adbj4 ,hubert died while the polyptych was still unfinished1 and ,jan completed it in #adcb4 ,too much importance has been attached by critics1 ,i fancy1 to the rhyming hexameter inscribed upon it1 7with the words 8,de ,eyck0 unmetrically introduced37 8,pictor ,hubertus major quo nemo repertus10 etc4 ,they have been twisted into a deliberate expression of belief on the part of ,jan that ,hubert was a greater painter than himself4 ,if so1 it seems to me1 ,jan was a worse critic than painter4 ,they are probably due1 however1 to a somewhat affected modesty1 or more probably still1 to a priestly poet who was in straits to find a rhyme for ,hubertus4 ,i proceed to a detailed explanation of the picture4 ,the subject1 in its entirety1 is the ,adoration of the ,lamb that was ,slain1 and it is mainly based on the passage in the ,apocalypse3 8,i looked1 and lo1 a ,lamb stood on the ,mount ,zion1 and with ,him an hundred and forty and four thousand1 having ,his ,father's name written in their foreheads4 4 4 4 ,and ,i heard the voice of harpers harping with their harps40 ,elsewhere we read3 8,i beheld1 and1 lo1 a great multitude1 which no man could number1 clothed with white robes1 and palms in their hands4 4 4 4 ,these are they which came out of great tribulation1 and have washed their robes1 and made them white in the blood of the ,lamb4 ,therefore are they before the throne of ,god2 and ,he shall feed them1 and shall lead them to living fountains of waters1 and shall wipe away all tears from their eyes40 ,much of the imagery1 however1 ,i believe1 is also taken from the ,te ,deum4 ,lower ,tier4 ,the central panel 7original3 attributed to ,hubert7 represents in its middle the altar1 hung with red damask1 and covered with a white cloth1 on which the ,lamb of ,god is standing4 ,his blood flows into a crystal chalice4 7,this part is clearly symbolical of the ,eucharist47 ,upon ,him1 from above1 descends the ,holy ,ghost1 in the form of a dove1 sent out by the ,eternal ,father1 who occupies the central panel on top4 ,around the altar are grouped adoring angels1 with many-coloured wings1 holding the instruments of the ,passion--the ,cross1 the ,spear1 the ,sponge1 and the ,column to which ,christ was fastened for flagellation4 ,in front of it1 two angels swing censers4 ,the flowery foreground is occupied by the ,fountain of ,life1 from which pure water flows limpid1 to irrigate the smiling fields of ,paradise4 ,four bands of worshippers converge towards this centre4 ,on the left-hand side1 stand1 kneel1 or ride1 a group of worshippers representing1 as a whole1 the secular aspect of the ,christian ,church--the laity4 ,the foreground of this group is occupied by the precursors of ,christ4 ,conspicuous among them are the ,jewish prophets in front1 and then the ,greek poets and philosophers1--,homer1 ,plato1 ,aristotle--whom medival charity regarded as inspired in a secondary degree by the ,spirit of ,wisdom4 ,homer1 in white1 is crowned with laurel4 ,the group also includes kings and other important secular personages4 ,the right-hand side1 opposite1 is occupied by representatives of the ,church1 showing the religious as opposed to the secular half of the ,christian world4 ,in the front rank kneel #ad persons1 the ,twelve ,apostles 7with ,paul and ,matthias7 in simple robes1 barefooted2 behind them are ranged all the orders of the hierarchy--canonized popes1 with their attendant deacons2 archbishops1 bishops1 and other dignitaries4 ,the background shows two other groups1 one of which 7to the ,l47 consists of the ,martyrs1 bearing their palms of martyrdom1 and including in their number popes1 cardinals1 bishops1 and other ecclesiastics4 ,the inner meaning of this group is further emphasized by the symbolical presence of a palm tree behind them4 ,to balance them on the ,r4 advance the ,virgins conspicuous among whom are ,st4 ,agnes with her lamb1 ,st4 ,barbara with her tower1 ,st4 ,catherine1 and ,st4 ,dorothy with her roses3 many of them carry palms of martyrdom4 ,these various groups thus illustrate the words of the ,te ,deum1 representing 8the glorious company of the apostles10 8the goodly fellowship of the prophets10 8the noble army of martyrs10 8the ,holy ,church throughout all the world10 etc41 in adoration of the ,lamb that was ,slain4 7,a chorus of ,apostles1 of ,prophets1 of ,martyrs1 of ,virgins is common in art47 ,the more distant background is occupied by towered cities1 typifying perhaps the ,new ,jerusalem1 but adorned with ,flemish or ,rhenish turrets and domes1 and painted with ,flemish minuteness and exactitude4 ,on the front of the altar are written in ,latin the words1 8,behold the ,lamb of ,god that taketh away the sins of the world40 ,the ,left ,wings 7inferior copy by ,coxcie3 originals1 probably by ,jan1 now at ,berlin7 form a continuation of the scene of the ,prophets and the secular side of ,christendom in the central panel1 and represent1 in the ,first or ,inner ,half1 the ,orders of ,chivalry and the medival knighthood riding1 as on a crusade or pilgrimage1 towards the ,lamb that was ,slain4 ,at their head go the soldier saints1 ,st4 ,george1 ,st4 ,adrian1 ,st4 ,maurice1 and ,st4 ,charlemagne 7for the great emperor ,karl is also a canonized person74 ,the action of the horses throughout is admirable4 ,the ,second or ,outer ,half 7ill described as 8the ,just ,judges07 represents the ,merchants and ,burgesses1 among whom two portraits in the foreground are pointed out by tradition as those of ,hubert and ,jan van ,eyck3 7,hubert in front1 on a white horse3 ,jan behind1 in a dark brown dress1 trimmed with fur74 ,but this detail is unimportant3 what matters is the colour and composition on one hand1 the idea on the other4 ,these two panels1 therefore1 with the group in front of them1 are to be taken as representing the ,secular ,world--learned1 noble1 knightly1 or mercantile--in adoration of the central truth of ,christianity as manifested in the ,holy ,eucharist4 ,the corresponding ,right ,wings 7copy by ,coxcie3 originals1 probably by ,jan1 at ,berlin7 show respectively the ,hermits and ,pilgrims--the contemplative and ascetic complement of the ecclesiastical group in front of them3 the monastic as opposed to the beneficed clerics4 ,the ,first or ,inner ,half shows the ,eremites1 amongst whom are notable ,st4 ,anthony with his crutch1 and1 in the background1 ,st4 ,mary ,magdalen with her box of ointment1 emerging from her cave1 7the ,sainte ,baume7 in ,provence1 in her character as the ,penitent in the ,desert4 ,on the ,second or ,outer ,half1 the body of ,pilgrims is led by the gigantic form of ,st4 ,christopher1 with his staff and bare legs for wading2 behind whom is a pilgrim with a scallop-shell1 and many other figures1 not all of them 7to me7 identifiable4 ,here again the presence of palms in the background marks the esoteric idea of martyrdom4 ,i need not call attention throughout to the limpid sky1 the fleecy clouds1 the lovely trees1 the exquisite detail of architecture and landscape4 ,upper ,tier4 ,the three ,central ,panels 7original7 are attributed to ,hubert4 ,that in the middle represents1 not 7,i feel sure7 as is commonly said1 ,christ1 but ,god the ,father 78,therefore they are before the throne of ,god07 wearing the triple crown 7like the ,pope71 holding the sceptre1 and with his right hand raised in the attitude of benediction4 ,his face is majestic1 grave1 passionless3 his dress kingly3 a gorgeous morse fastens his jewelled robe of regal red4 ,at his feet lies the crown of earthly sovereignty4 ,he seems to discharge the ,holy ,ghost on the ,lamb beneath him4 ,the word ,sabaoth1 embroidered on his garments1 marks him1 ,i think1 as the ,father3 indeed1 the ,son could hardly preside at the sacrifice of the ,lamb1 even in the ,eucharist4 ,on the right of the ,father1 in the panel to the 7spectator's7 left 7,hubert3 original71 ,our ,lady1 crowned1 as ,queen of ,heaven1 sits reading in her blue robe4 ,her face is far more graceful than is usual in ,flemish art3 indeed1 she is the most charming of ,flemish ,madonnas4 ,behind her is stretched a hanging of fine brocade4 ,the panel to the right 7,hubert3 original7 shows ,st4 ,john the ,baptist1 with his camel-hair garment1 covered by a flowing green mantle4 ,the folds of all these draperies in ,hubert's three figures1 though simple1 have great grandeur4 ,the ,outer ,wing to the left 7substituted clothed figure1 not a copy3 original1 by ,hubert1 at ,brussels7 has ,adam1 as typical 7with ,eve7 of unregenerate humanity3 a sense further marked by the ,offerings of ,cain and ,abel above it4 ,the ,outer ,wing to the right has an ,eve with the apple1 7similarly clad1 not copied from the original1 by ,hubert1 now at ,brussels37 above it1 the ,first ,murder4 ,the ,inner ,left ,wing 7copy3 the original1 attributed to ,jan1 is at ,berlin7 has a beautiful group of singing angels4 ,the ,inner ,right ,wing 7copy3 the original1 likewise attributed to ,jan1 is also at ,berlin7 has an angel 7not ,st4 ,cecilia7 playing an organ1 with other angels accompanying on various musical instruments4 ,taking it in its entirety1 then1 the altar-piece1 when opened1 is a great mystical poem of the ,eucharist and the ,sacrifice of the ,lamb1 with the ,christian folk1 both ,church and ,world1 adoring4 ,it was in order to prepare your mind for recognition of this marked strain of mysticism in the otherwise prosaic and practical ,flemish temperament1 that ,i called your attention at ,bruges to several mystic or type-emphasising pictures1 in themselves of comparatively small sthetic value4 ,the composition contains over #bjj figures4 ,many of them1 which ,i have not here identified1 can be detected by a closer inspection1 which1 however1 ,i will leave to the reader4 ,now1 ask the sacristan to shut the wings4 ,they are painted on the outer side 7all a copy7 mainly in grisaille1 or in very low tones of colour1 as is usual in such cases1 so as to allow the jewel-like brilliancy of the internal picture to burst upon the observer the moment the altar-piece is opened4 ,the lower wings have 7in this copy7 representations of the ,four ,evangelists1 in niches1 in imitation of statuary4 ,observe the half-classical pose and costume of ,luke1 the ,beloved ,physician4 ,these figures1 however1 were not so arranged in the original1 as ,i shall afterwards explain4 ,the upper wings represent on their first or lowest tier1 the ,annunciation1 a frequent subject for such divided shutters4 ,in the centre is the usual arcade1 giving a glimpse of the town of ,ghent where ,hubert painted it4 7,the scene is said to be ,hubert's own studio1 which stood on the site of the ,caf des ,arcades in the ,place d',armes3 the view is that which he saw from his own windows47 ,to the ,l41 as always1 is the angel ,gabriel1 with the ,annunciation lily2 to the ,r4 is ,our ,lady1 reading4 ,the ,dove descends upon her head4 ,the ordinary accessories of furniture are present--prie-dieu1 curtain1 bed-chamber1 etc4 ,note this arrangement of the personages of the ,annunciation1 with the empty space between ,our ,lady and the angel3 it will recur in many other pictures4 ,observe also the ,flemish realism of the painter1 who places the scene in his own town at his own period3 and contrast it with the mysticism of the entire conception4 ,the uppermost tier of all is occupied by figures of two ,sibyls 7universally believed in the ,middle ,ages to have prophesied of ,christ7 as well as two half-length figures of the prophets ,zachariah and ,micah1 7also as foretellers of the ,virgin birth74 ,in several details the outer shutters in this copy differ markedly from the originals at ,berlin4 ,jan's picture had1 below1 outer panels 7when shut71 portraits of ,josse ,vydts and his wife3 inner panels1 imitated statues 7in grisaille7 of ,st4 ,john the ,baptist and ,st4 ,john the ,evangelist1 patrons at that time of this church4 ,if you are going on to ,berlin1 you will see them3 if back to ,london1 then go to the ,basement ,floor of the ,national ,gallery1 where you will find the water-colour copy done for the ,arundel ,society1 which will give you an excellent idea of the work in its original condition4 ,a few words must be given to the external history of this great altar-piece4 ,it was begun by ,hubert about #adbj4 ,his death in #adbf interrupted the work4 ,jan probably continued to paint at it till #adbh1 when he went to ,portugal4 ,on his return1 he must have carried it to ,bruges1 where he next lived1 and there completed it in #adcb4 ,it was then placed in this the family chapel of ,josse ,vydts4 ,during the troubles of the ,reformation it was carried to the ,htel-de-,ville1 but after the capitulation to the ,duke of ,parma it was restored to the chapel of the ,vydts family4 ,philip ,,ii4 wished to carry it off1 but had to content himself with a copy by ,coxcie1 the wings of which are now in this chapel4 ,the panels with ,adam and ,eve were removed in #aghd1 after ,joseph ,,ii4 had disapproved of them1 and hidden in the sacristy4 ,in #agid1 the remaining panels were carried to ,paris3 after the peace1 they were returned1 but only the central portions were replaced in the chapel4 ,the wings1 save ,adam and ,eve1 were sold to a ,brussels dealer1 and finally bought by the ,king of ,prussia1 which accounts for their presence at ,berlin4 ,as for ,adam and ,eve1 the church exchanged them with the ,brussels ,museum for the wings of ,coxcie's copy4 ,these various vicissitudes will explain the existing condition of the compound picture4 ,do not be content with seeing it once4 ,go home1 re-read this description1 and come again to study it afresh to-morrow4 99 99 99 99 99 ,the chapel of the ,holy ,sacrament1 in the ,apse1 has very ugly rococo monuments to bishops of the #ahth century1 in the worst style of the debased ,renaissance1 and other monstrosities4 ,the #ajth chapel has a famous 99altar-piece by ,rubens1 ,st4 ,bavon renouncing his worldly goods to embrace the monastic life4 ,the ,saint is seen1 attired as a ,duke of ,brabant of the #agth century1 in his armour and ducal robes1 attended by his pages1 making his profession at the door of a stately ,renaissance church1 such as certainly did not exist in the ,north in his time1 and received with acclamation by a dignified body of nobly-robed ecclesiastics1 including ,st4 ,amand 7see later1 under the ,monastery of ,st4 ,bavon74 ,the features of the patron saint are said to be those of ,rubens2 they certainly resemble his portrait of himself at ,florence4 ,the foreground is occupied by a group of poor1 to whom ,st4 ,bavon's worldly goods are being profusely scattered4 ,on the ,l4 are two ladies1 in somewhat extravagant courtly costumes1 who are apparently moved to follow the ,saint's example4 ,they are said to be the painter's two wives1 but the resemblance to their known portraits is feeble4 ,this is a fine specimen of ,rubens's grandiose and princely manner1 of his feeling for space1 and of his large sense of colour2 but it is certainly not a sacred picture4 ,it was appropriately painted for the ,high ,altar in the ,choir 7#afbd71 after the church was dedicated to ,st4 ,bavon and erected into a cathedral1 but was removed from that place of honour in the #ahth century to make room for a vulgar abomination by ,verbruggen4 7,i defer consideration of ,rubens and his school till we reach ,brussels and ,antwerp47 ,fair monument of a #agth century bishop4 ,descend the steps again4 ,enter the ,choir1 a very fine piece of architecture1 cleared of the monstrosities of the last century3 it has beautiful grey stone arches 7about #acjj71 a handsome ,triforium1 and excellent brick vaulting4 ,the lower portion1 however1 is still disfigured by black-and-white marble screens and several incongruous rococo tombs1 some of which have individual merit4 7,that to the left1 ,bishop ,triest by ,duquesnoy1 is excellent in its own genre47 ,over the ,high ,altar flutters a peculiarly annoying and flyaway #agth century figure of the ,apotheosis of ,st4 ,bavon1 the patron saint of the ,cathedral1 who of course thus occupies the place of honour4 ,it is by ,verbruggen4 ,the huge copper candlesticks1 bearing the royal arms of ,england1 as used by ,charles ,i1 belonged to his private oratory in ,old ,st4 ,paul's in ,london1 and were sold by order of ,cromwell4 ,impressive view down the ,nave from this point4 ,tip the ,sacristan at the rate of #a franc per head of your party4 ,d4 ,,the ,,outskirts ,old ,ghent occupied for the most part the island which extends from the ,palais de ,justice on one side to the ,botanical ,gardens on the other4 ,this island1 bounded by the ,lys1 the ,schelde1 and an ancient canal1 includes almost all the principal buildings of the town1 such as the ,cathedral1 ,st4 ,nicolas1 the ,htel-de-,ville1 the ,belfry1 and ,st4 ,jacques1 as well as the chief ,places1 such as the ,march aux ,grains1 the ,march aux ,herbes1 and the ,march du ,vendredi4 ,it also extended beyond the ,lys to the little island on which is situated the church of ,st4 ,michel1 and again to the islet formed between the ,lieve and the ,lys1 which contains the chteau of the ,counts and the ,place ,ste4 ,pharailde4 ,in the later middle ages1 however1 the town had spread to nearly its existing extreme dimensions1 and was probably more populous than at the present moment4 ,but its ancient fortifications have been destroyed1 and their place has been taken by boulevards and canals4 ,the line may still be traced on the map1 or walked round through a series of shipping suburbs2 but it is uninteresting to follow1 a great part of its course lying through the more squalid portions of the town4 ,the only remaining gate is that known as the ,rabot 7#adhi71 a very interesting and picturesque object1 situated in a particularly slummy quarter4 ,it can best be reached by crossing the bridge near the church of ,st4 ,michel1 and continuing along the ,rue ,haute to the ,boulevard du ,bguinage1 7where stood originally the ,grand ,bguinage1 whose place is now occupied by modern streets47 ,turn there along the boulevard to the ,r41 till you reach the gate1 which consists of two curious round towers1 enclosing a high and picturesque gable-end4 ,owing to the unpleasant nature of the walk1 ,i do not recommend this excursion4 99 99 99 99 99 ,the ,s4 quarter of the town1 beyond the ,cathedral and ,st4 ,nicolas1 has been much modernized during the last two centuries4 ,its only interesting points are the recent ,palais de ,justice and the ,kouter or ,place d',armes1 7once the archery ground7 in which a pretty flower-market is held on ,friday and ,sunday mornings4 ,the ,caf des ,arcades1 at its ,e4 end1 occupies the site of ,hubert van ,eyck's studio4 ,the rest of the inner town contains little that throws light on its origin or history4 99 99 99 99 99 ,there is1 however1 one small excursion which it would be well for those to take who have a morning to spare1 and who desire to understand the development of ,ghent--,i mean to the ,monastery of ,st4 ,bavon1 which alone recalls the first age of the city4 ,every early medival town had outside its walls a ring of abbeys and monasteries1 and ,ghent was particularly rich in this respect4 ,st4 ,amand was the apostle of ,flanders and the surrounding countries4 ,he was sent by the pious king ,dagobert to convert the ,flemings en bloc1 and is said to have built1 about #fcj1 a little cell by the bank of the ,lys1 ,n4,e4 of the modern city4 ,in #fea1 ,st4 ,bavon entered this infant monastery1 which henceforth took his name4 ,the abbey grew to be one of the most important in ,flanders1 and occupied a large area on the ,n4,e4 of the town1 near the ,antwerp ,gate4 ,eginhard1 the biographer and son-in-law of ,charlemagne1 was abbot in the #ith century4 ,the ,counts of ,flanders had rights of hospitality at ,st4 ,bavon's2 hence it was here1 and not in the ,oudeburg as usually stated1 that ,queen ,philippa gave birth to ,john of ,gaunt4 ,in #aeci1 however1 ,charles ,v4 that headstrong despot1 angry at the continual resistance of his native town to his arbitrary wishes1 dissolved the monastery in the high-handed fashion of the #afth century1 in order to build a citadel on the spot4 ,as compensation for disturbance to the injured saint1 he transported the relics of ,st4 ,bavon to what was then the parish church of ,st4 ,john1 which has ever since borne the name of the local patron4 ,around the dismantled ruins1 the ,emperor erected a great fort1 afterwards known as the ,spaniards' ,castle1 7,chteau des ,espagnols1 or ,het ,spanjaards ,kasteel47 ,this gigantic citadel occupied a vast square space1 still traceable in the shape of the modern streets2 but no other relic of it now remains4 ,the ruins of the ,abbey are in themselves inconsiderable1 but they are certainly picturesque and well worth a visit from those who are spending some days in ,ghent4 ,the hurried tourist may safely neglect them4 ,the direct route from the ,place d',armes to the ,abbey is by the ,quai du ,bas ,escaut1 and the ,rue ,van ,eyck4 ,a pleasanter route1 however1 is by the ,rue de ,brabant and the ,rue ,digue de ,brabant to the ,place d',artevelde1 passing through the handsomest part of the modern town4 7,in the ,place itself stands the fine modern ,romanesque ,church of ,st4 ,anne1 the interior of which is sumptuously decorated in imitation of mosaic47 ,thence1 follow the ,quai ,porte aux ,vaches to the ,place ,van ,eyck4 ,cross the bridges over the ,upper and ,lower ,schelde1 and the ,abbey lies straight in front of you4 ,walk past the ivy-clad outer wall of the ruins to the white house at the corner of the street beyond it1 where you will find the concierge 7notice above the door74 ,one franc is sufficient tip for a party4 ,the concierge conducts you over the building1 which has a picturesque cloister1 partly ,romanesque1 but mainly #aeth century4 ,the centre of the quadrangle is occupied by a pretty and neatly-kept garden of the old sweet-scented peasant flowers of ,flanders4 ,the most interesting part of the ruins1 however1 is the octagonal ,romanesque ,baptistery or 8,chapel of ,st4 ,macaire10 a fine piece of early vaulting1 with round arches1 very ,byzantine in aspect4 ,the chapel rests on massive piers1 and its ,romanesque arches contrast prettily with the transitional ,gothic work of the cloister in the neighbourhood4 ,within are several fragments of ,romanesque sculpture1 particularly some 99capitals of columns1 with grotesque and nave representations of ,adam and ,eve with the ,lord in the ,garden1 and other similar biblical subjects4 7,examine closely47 ,there is likewise an interesting relief of ,st4 ,amand preaching the ,gospel in ,flanders1 and a man-at-arms in stone1 of ,artevelde's period1 removed from the old coping of the ,belfry4 ,we next go on to the ,crypt1 the tombs of the monks1 the monastery cellars1 etc41 where are collected many pieces of ancient sculpture1 some found in the ruins and others brought from elsewhere4 ,the ,refectory at the end1 which for some time served as the ,church of ,st4 ,macaire1 is now in course of transformation into a local ,museum of ,monumental ,art4 ,it contains some good old tombs1 and an early fresco 7of ,st4 ,louis87 almost obliterated4 ,but the garden and cloister are the best of the place1 and make together a very pretty picture4 ,you can return by the ,quai and the ,rue ,st4 ,georges1 or by the ,place ,st4 ,bavon and the ,archiepiscopal ,palace4 7,the castellated building to the ,l41 much restored1 near the ,cathedral1 known as the ,steen of ,grard le ,diable1 is the sole remaining example of the medival fortified houses in ,ghent47 99 99 99 99 99 ,another monastery1 a visit to which will lead you through the extensive southern portion of the city1 is the 7wholly modernized7 ,benedictine ,abbey of ,st4 ,pierre 7,i do not recommend it74 ,to reach it1 you take the ,rue ,courte du ,jour and the ,rue ,neuve ,st4 ,pierre1 to the large square known as the ,plaine ,st4 ,pierre1 partly obtained by demolition of the monastery buildings4 ,it is situated on rising ground1 which may pass for a hill in ,flanders4 ,this is1 in its origin1 the oldest monastery in ,ghent1 having been founded1 according to tradition1 by ,st4 ,amand himself1 in #fcj1 on the site of an ancient temple of ,mercury4 ,the existing buildings1 however1 hardly date in any part beyond the #agth century4 ,the ,church of ,notre-,dame de ,st4 ,pierre was erected between #afbi and #agbj1 in the grandiose style of the period4 ,it is vast1 and not unimposing4 ,the interior has a certain cold dignity4 ,the pictures are mostly of the school of ,rubens1 many of them dealing with ,st4 ,peter and ,st4 ,benedict2 among them are good specimens4 ,the best1 by ,de ,crayer1 shows the favourite ,benedictine subject of ,st4 ,benedict recognising the envoy of ,king ,totila1 who personated the king4 ,the ,plaine de ,st4 ,pierre is used for the amusing yearly fair1 from ,mi-,carme to ,easter4 99 99 99 99 99 ,the ,museum of ,painting 7a small and unimportant gallery7 is situated in part of an old ,augustinian monastery1 which is reached by the ,oudeburg and the ,rue ,ste4 ,marguerite4 7,church by the side1 full of ,augustinian symbols47 ,open daily from #i to #ab1 and #b to #e1 free4 7,i do not advise a visit1 unless you have plenty of time to spare47 ,the ,picture ,gallery is on the second floor4 ,the ,rooms to the ,l4 contain modern ,belgian and ,french pictures1 many of them possessing considerable merit1 but not of a sort which enters into the scheme of these ,guide-books4 ,the ,rooms to the ,r4 of the staircase contain the early pictures4 #ast ,room4 ,f4 ,pourbus3 ,a votive triptych for recovery from sickness4 ,in the centre1 ,isaiah prophesying to ,hezekiah his recovery4 ,on the wings1 the ,crucifixion1 and the donor with his patron ,st4 ,james4 ,outside the wings1 in grisaille1 the ,raising of ,lazarus 7in two panels71 giving a symbolical meaning to this votive offering4 ,on the wall beside it1 several tolerable pictures of the old ,flemish ,school3 a good ,ex ,voto of a donor1 with the ,madonna and ,child1 by an unknown artist2 a writhing ,calvary1 by ,van ,heemskerk2 a ,holy ,family1 by ,de ,vos2 and a quaint triptych of ,st4 ,anne and her family1 with her daughter1 the ,madonna1 and her grand-child1 the ,saviour1 at her feet4 ,around are grouped ,joseph1 ,mary ,cleophas1 ,zebedee1 ,alpheus1 ,joachim1 the husband of ,anna1 and ,mary ,salome1 with her children1 ,james and ,john4 ,this queer old work1 by an unknown artist1 is interesting for comparison with the great ,quentin ,matsys1 which you will see at ,brussels4 ,st4 ,joseph holds in his hand the rod that has flowered4 7,see ,legends of the ,madonna47 ,beneath this triptych are three interesting portrait groups of husbands and wives1 #afth century4 ,on the wings1 a 8,noli ,me ,tangere0--,christ and the ,magdalen in the garden4 ,the #bnd ,room has ,dutch and ,flemish works of the #agth century1 mostly self-explanatory4 ,the ,last ,judgment1 by ,r4 ,coxcie1 shows a late stage of a subject which we have already seen at ,bruges1 now reduced to an opportunity for the display of exaggerated anatomical knowledge4 ,there are also several tolerable works of the ,school of ,rubens1 many of which are interesting mainly as showing the superiority of the ,master to all his followers4 ,rombouts1 ,the ,five ,senses1 is1 however1 an excellent work of its own class4 ,the centre of the further wall is occupied by a worthless picture of ,duchastel's1 representing the ,inauguration of ,charles ,,ii4 of ,spain as ,count of ,flanders1 in #afff1 interesting mainly as a view of old ,ghent4 ,the action takes place in the ,march du ,vendredi1 the centre of which is occupied by the statue of ,charles ,v41 destroyed at the ,french ,revolution4 ,all round are the original picturesque houses1 with their high ,flemish gable-ends4 ,on the ,r4 is the ,church of ,st4 ,jacques1 much as at the present day4 ,in front of the ,municipal ,council ,chamber a platform is erected for the inauguration4 ,the picture gives a good idea of the splendour of ,ghent1 even at the period of the ,spanish domination4 ,near it1 ,rubens's ,st4 ,francis receiving the ,stigmata1 where the conventional elements of the crucified six-winged seraph1 the rays proceeding from the five wounds to the saint's hands1 feet1 and side1 and the astonished brother1 ,leo1 in the distance1 are all preserved1 though enormously transfigured4 ,the colour is unpleasing4 ,this is almost a replica of the work in the ,cologne ,museum4 ,rombouts--tolerable ,holy ,family4 ,close by1 some of ,hondekoeter's favourite birds1 and ,zeghers's flowers4 ,over the door1 a fine ,de ,crayer4 ,in the centre of the room are a series of pictures from the ,gospel ,history1 by ,f4 ,pourbus1 with the ,last ,supper and donor at the back of one1 formerly a triptych4 ,the #crd ,room has pictures of the ,school of ,rubens1 many of them of considerable merit1 particularly ,de ,crayer's ,coronation of ,st4 ,rosalie and ,vision of ,st4 ,augustine1 in both of which he approaches within a measureable distance of the great master4 ,his ,judgment of ,solomon is also excellent4 ,some other pictures in the room1 however1 exhibit the theatrical tendency of the #agth century in its worst form4 99 99 99 99 99 ,on the way back from the ,picture ,gallery1 you pass on your ,l4 the ,rue ,longue des ,pierres1 down which1 a little way on the ,r41 is a small ,museum of ,antiquities4 ,i do not advise a visit to this4 ,it contains one good brass1 and some silver badges worn by ambassadors of ,ghent1 but otherwise consists1 for the most part1 of third-rate bric--brac4 99 99 99 99 99 ,most visitors to ,ghent go to see the ,grand ,bguinage4 ,this was originally situated in a little district by itself1 close to the gate of the ,rabot1 where its church1 uninteresting1 7dedicated1 like that of ,bruges1 to ,st4 ,elizabeth of ,hungary71 still stands2 but the site has been occupied by the town for new streets4 ,the present ,grand ,bguinage lies on the road to ,antwerp4 ,it is a little town in miniature1 enclosed by wall and moat1 with streets and houses all very neat and clean1 but of no archological interest4 ,yet it forms a pleasant enough end for a short drive4 ,and you can buy lace there4 ,the description in ,baedeker is amply sufficient4 99 99 99 99 99 ,bruges is full of memories of the ,burgundian ,princes4 ,at ,ghent it is the personality of ,charles ,v41 the great emperor who cumulated in his own person the sovereignties of ,germany1 the ,low ,countries1 ,spain and ,burgundy1 that meets us afresh at every turn4 ,he was born here in #aejj1 and baptized in a font 7otherwise uninteresting7 which still stands in the ,n4 ,transept of the ,cathedral4 ,ghent was really1 for the greater part of his life1 his practical capital1 and he never ceased to be at heart a ,ghenter4 ,that did not prevent the citizens from justly rebelling against him in #aedj1 after the suppression of which revolt ,charles is said to have ascended the ,cathedral tower1 while the executioner was putting to death the ringleaders in the rebellion1 in order to choose with his brother ,ferdinand the site for the citadel he intended to erect1 to overawe the freedom-loving city4 ,he chose the ,monastery of ,st4 ,bavon as its site1 and1 as we have seen1 built there his colossal fortress1 now wholly demolished4 ,the ,palace in which he was born and which he inhabited frequently during life1 was known as the ,cour du ,prince4 ,it stood near the ,ancien ,grand ,bguinage1 but only its name now survives in that of a street4 ,the ,spaniard's ,castle was long the standing menace to freedom in the ,low ,countries4 ,within its precincts ,egmont and ,hoorn were imprisoned in #aefh for several months before their execution4 ,during the early ,middle ,ages1 the ,oudeburg was the residence of the ,counts of ,flanders in ,ghent4 ,later on1 that castellated building grew out of keeping with the splendour of the ,burgundian ,princes1 and its place as a royal residence was taken by the ,cour du ,prince1 already mentioned1 which was inhabited by ,maximilian and his wife1 ,mary of ,burgundy1 as well as by ,philippe le ,beau and ,johanna of ,spain1 the parents of ,charles ,v4 ,no direct memorials of the great ,emperor now exist in ,ghent1 his statue in the ,march du ,vendredi having been destroyed2 but a modern street commemorates his name1 and mementoes of him crop up at every point in the city4 ,though the ,ghenters were rebellious subjects1 ,charles ,v4 was proud of his capital1 and several of his very bad bon mots1 punning on the words ,gand and gant1 have been preserved for us4 ,as ,baedeker repeats these imperial jests1 however1 ,i need not detail them4 ,,iii ,,brussels ,a4 ,,origins ,,of ,,brussels ,b,,russels was in a certain sense the ancient capital of ,brabant1 as ,bruges and ,ghent were the ancient capitals of ,west and ,east ,flanders4 ,it grew up 7as early as the #hth century7 on the banks of the little river ,senne1 whose course through its midst is now masked by the modern ,inner ,boulevards1 built on arches above the unseen stream4 ,the ,senne is one of the numerous rivers which flow into the ,schelde1 and the original town clustered close round its banks1 its centre being marked by the ,grand' ,place and the church of ,st4 ,nicolas4 ,unlike ,bruges and ,ghent1 however1 ,brussels has always been rather an administrative than a commercial centre4 ,it is true1 it had considerable trade in the ,middle ,ages1 as its fine ,htel-de-,ville and ,guild ,houses still attest2 but it seems to have sprung up round a villa of the ,frankish kings1 and it owed at least as much to its later feudal lords1 the ,counts of ,louvain1 afterwards ,dukes of ,brabant1 and to their ,burgundian successors1 as to its mercantile position4 ,the ,senne was never a very important river for navigation1 though1 like most of the ,belgian waterways1 it was ascended by light craft1 while a canal connected the town with the ,schelde and ,antwerp3 but the situation of ,brussels on the great inland trade route between ,bruges or ,ghent and ,cologne gave it a certain mercantile value4 ,bruges1 ,ghent1 ,brussels1 ,louvain1 ,maastricht1 and ,aix-la-,chapelle all formed stations on this important route1 and all owed to it a portion of their commercial prestige4 ,the burgher town which was thus engaged in trade and manufactures was ,flemish in speech and feeling1 and lay in the hollow by the river and the ,grand' ,place4 ,but a lordly suburb began to arise at an early date on the hill to eastward1 where the ,counts of ,louvain built themselves a mansion1 surrounded by those of the lesser nobility4 ,after #achj1 the ,counts migrated here from too democratic ,louvain4 ,later on1 in the fifteenth century1 the ,dukes of ,burgundy 7who united the sovereignty of ,brabant with that of ,flanders7 often held their court here1 as the population was less turbulent and less set upon freedom than that of purely commercial and industrial ,bruges and ,ghent4 ,thus the distinctive position of ,brussels as the aristocratic centre and the seat of the court grew fixed4 ,again1 the ,dukes of ,burgundy were ,french in speech1 and surrounded themselves with ,french knights and courtiers2 to suit the sovereigns1 the local nobility also acquired the habit of speaking ,french1 which has gradually become the language of one-half of ,belgium4 ,but the people of the ,old ,town in the valley were1 and are still1 largely ,flemish in tongue1 in customs1 in sympathies1 and in aspect2 while the inhabitants of the ,montagne de la ,cour and the court quarter generally are ,french in speech1 in taste1 and in manners4 ,we will trace in the sequel the gradual growth of ,brussels from its nucleus by the river 7the ,lower ,town71 up the side of the eastern hill to the ,palace district 7the ,upper ,town71 and thence through the new ,quartier ,lopold and the surrounding region to its modern extension far beyond the limits of the medival ramparts4 ,choose an hotel in the airy and wholesome ,upper ,town1 as near as possible to the ,park or the ,place ,royale4 ,st4 ,michael the ,archangel is the patron saint of ,brussels3 he will meet you everywhere1 even on the lampposts4 ,for the patroness1 ,st4 ,gudula1 see under the ,cathedral4 ,b4 ,,the ,,heart ,,of ,,brussels ,the nucleus of ,brussels1 as of ,paris1 was formed by an island1 now no longer existing4 ,round this islet ran two branches of the little river ,senne1 at present obliterated by the ,inner ,boulevards4 ,brussels1 in short1 has denied its parentage2 the ,senne1 which is visible ,n4 and ,s4 of the ,outer ,boulevards1 being covered over by arches within the whole of the ,inner ,city4 ,the centre of the island is marked by the little ,place ,st4 ,gry1 which the reader need not trouble to visit4 ,here1 at the end of the #fth century1 ,st4 ,gry1 ,bishop of ,cambrai and apostle of ,brabant1 built a small chapel1 succeeded by a church1 now demolished4 ,the true centre of ,brussels1 however1 may be conveniently taken as the existing ,bourse4 ,close by1 as the town grew1 the ,grand' ,place or market-place was surrounded by noble medival and ,renaissance buildings4 ,to this centre then1 the real heart of ,brussels in the ,middle ,ages1 we first direct ourselves4 ,go from your hotel to the ,grand' ,place4 ,it may be reached by either of two convenient roads2 from the ,place ,royale by the ,montagne de la ,cour and the ,rue de la ,madeleine1 or from the ,park by the ,montagne du ,parc 7which takes various names as it descends71 and the ,galrie ,st4 ,hubert4 ,either route brings you out at the end of the ,galrie1 whence a short street to the ,l4 will land you at once in the ,grand' ,place1 undoubtedly the finest square in ,europe1 and the only one which now enables us to reconstruct in imagination the other ,grand's ,places of ,belgium and the ,rhine country4 ,the most conspicuous building in the ,place1 with the tall tower and open spire1 is the ,h,,tel-,,de-,,ville1 with one possible exception 7,louvain7 the handsomest in ,belgium4 ,it consists of a tapering central tower1 flanked by two wings1 their high-pitched roof covered with projecting windows4 ,the ground floor is arcaded4 ,the first and second floors have ,gothic windows1 altered into square frames in a portion of the building4 ,the edifice is of different dates4 ,the original ,htel-de-,ville consisted only of the wing to your ,l41 as you face it1 erected in #adjb4 ,the ,r4 wing1 shorter in faade1 and architecturally somewhat different1 was added in #addc4 ,the style of the whole1 save where altered1 is ,middle ,gothic 8,decorated074 ,the beautiful open spire should be specially noticed4 ,on its summit stands a colossal gilt metal figure 7#aded7 of the ,archangel ,michael1 patron of the city4 ,the statues in the niches are modern1 and not quite in keeping with the character of the building4 ,observe1 over the main portal1 ,st4 ,michael1 patron saint of the town1 with ,st4 ,sebastian1 ,st4 ,christopher1 ,st4 ,george1 and ,st4 ,gry4 ,below are the ,cardinal ,virtues4 ,the figures above are ,dukes of ,brabant4 ,inspect the whole faade carefully4 ,you will hardly find a nobler piece of civic architecture in ,europe4 ,the carved wooden door has also a figure of ,st4 ,michael4 ,the gargoyles and the bosses near the staircase entrance to the ,l4 are likewise interesting4 ,now1 go round the corners to the ,l4 and ,r41 to inspect the equally fine faades1 facing the ,rues de l',htel-de-,ville and de la ,tte-d',or4 ,the back of the building is #ahth century and uninteresting4 ,you may also pass rapidly through the courtyard1 which however has very little character4 ,but you need not trouble to inspect the interior1 unless you are an abandoned sight-seer4 ,the other important and beautiful building which faces the ,htel-de-,ville is the ,,maison ,,du ,,roi1 formerly used as the ,,halle ,,au ,,pain or ,broodhuis4 ,it is of late florid ,gothic1 verging towards ,renaissance 7#aead1 restored37 and is in three storeys1 two of them arcaded4 ,the first floor has an open gallery1 like the loggia of a ,venetian palace1 whence ladies could view processions and ceremonies in the square below4 ,the building terminates in a high roof1 with projecting windows1 and a handsome open tower and lantern4 ,the whole has been recently rebuilt and profusely gilded4 ,within1 is a small ,communal ,museum 7open free daily1 #aj to #d74 ,come again often to view these two noble halls4 ,the third principal building 7on the ,e4 side of the ,square7 known as the ,,maison ,,des ,,ducs was the ,public ,weighing ,house1 constructed in a debased ,renaissance style1 and also profusely gilded4 ,it bears the date #afih1 but is now unworthily occupied by sale rooms and shops4 ,the whole of the remaining space in this glorious square is surrounded by magnificent ,guild ,halls of the various corporations4 ,beginning on the ,s4 side 7that occupied by the ,htel-de-,ville71 we have1 first1 ,l41 two high-gabled houses of good #agth century domestic architecture4 ,next to them1 ,r41 comes the ,htel des ,brasseurs1 dated #ageb1 and lately surmounted by a bronze equestrian statue of ,charles of ,lorraine4 ,this was originally the ,guild ,hall of the ,brewers4 ,after that1 again1 rises the house known as 8,the ,swan10 belonging to the ,corporation of ,butchers4 ,the small building at the corner1 next the ,htel-de-,ville1 with an open loggia1 now in course of restoration1 is known as the ,maison de l'toile3 a gilt star surmounts its gable4 ,the finest group of houses1 however1 is that to the ,w4 side of the ,square 7,r4 of the ,htel-de-,ville71 unoccupied by any one prominent building4 ,beginning on the ,l41 we have1 first1 the house known as 8,the ,fox0 7,le ,renard71 dated #afii3 it is surmounted by a figure of ,st4 ,nicholas resuscitating the three boys1 and is adorned with statues of ,justice and the ,four ,continents on its first floor4 ,then comes the ,guild ,hall of the ,skippers1 or ,maison des ,bateliers1 its gable constructed somewhat like the poop of a ship4 ,the symbolism here is all marine--sailors above2 then ,neptune and his horses1 etc4 ,r4 of this1 we see the house known as 8,la ,louve10 bearing as a sign ,romulus and ,remus with the wolf4 ,this was originally the ,guild ,hall of the ,archers4 ,it shows an inscription stating that it was restored1 after being burnt down1 by the ,confraternity of ,st4 ,sebastian 7patron of archers74 ,its relief of the ,saint with a bow is appropriate4 ,the two remaining houses are 8,la ,brouette10 dated #afig1 and 8,le ,sac10 bearing on its gable a medallion with three faces4 ,the houses on the ,n4 side1 7that occupied by the ,maison du ,roi17 are less interesting1 except those on the extreme ,r4 ,next to the ,maison du ,roi itself come two pretty little decorated houses1 beyond which is the ,guild ,hall of the ,painters1 known as 8,the ,pigeon10 and that called 8,la ,taupe10 the ,hall of the ,tailors4 ,the two last at the corner of the street have been recently restored4 ,several other fine houses of the same period close the vista of the streets round the corner4 ,this imposing group of ,guild ,halls dates1 however1 only from the end of the #agth century1 mostly about #afig4 ,the reason is that in #afie the greater part of the ,grand' ,place was destroyed by ,marshal de ,villeroi during the siege4 ,two years later1 the ,guild ,houses were rebuilt in the ornate and somewhat debased style of the ,louis ,,xiv4 period4 ,fortunately1 the two great medival buildings1 which stood almost isolated1 did not share the general destruction4 ,continue your stroll through the ,lower ,town4 ,from the ,grand' ,place1 take the ,rue au ,beurre1 which leads ,w4 towards the ,bourse4 ,on your ,r4 you will pass the now uninteresting and entirely modernized ,church of ,st4 ,nicolas4 ,in its origin1 however1 this is one of the oldest churches in ,brussels1 and though it has long lost almost every mark of antiquity1 it is instructive to recognise here again 7as at ,ghent7 the democratic patron saint of the merchants and burgesses in close proximity to their ,town ,hall and their ,guild ,houses4 ,the ,bourse itself1 which faces you1 is a handsome and imposing modern building4 ,go past its side till you reach the line of the ,inner ,boulevards1 which lead ,n4 and ,s4 between the ,gare du ,nord and the ,gare du ,midi4 ,this superb line of streets1 one of the finest set of modern boulevards in ,europe1 has been driven straight through the heart of the ,old ,town1 and the authorities offered large money prizes for the best faades erected along the route4 ,content yourself for the moment with a glance up and down1 to observe the general effect1 and then continue on to your ,l4 along the ,boulevard1 where the first street on the ,r4 will lead you to the little ,place ,st4 ,gry1 now occupied by a market1 but originally the centre of ,old ,brussels4 ,a stroll through the neighbouring streets is interesting1 past the ,halles ,centrales1 and the modern ,church of ,st4 ,catherine1 close by which stands the old ,tower of ,st4 ,catherine1 built into a modern block of houses4 ,a little further on is the picturesque ,tour ,noire1 the only remaining relic of the first fortifications of the city4 ,you may prolong this walk to the ,place du ,bguinage1 with a tolerable church4 ,the quarter has no special interest1 but it will serve to give you a passing idea of the primitive nucleus of medival ,brussels4 ,i will interpolate here a few remarks about the more modern portion of the ,old ,town4 ,the best way to see it is to take the tram along the ,inner ,boulevards from the ,gare du ,midi to the ,gare du ,nord4 ,you will then pass1 first1 the ,outer ,boulevards 7see later73 next1 ,r41 the ,palais du ,midi2 ,l41 the ,place d',anneessens1 with a statue of ,anneessens1 the intrepid and public-spirited magistrate of ,brussels who was put to death in #agai for venturing to defend the privileges of the city against the ,austrian authorities4 ,just opposite this1 you get a glimpse1 ,r41 of the ,place ,rouppe1 to be noticed later4 ,passing the ,place ,fontainas1 where many streets radiate1 you arrive at the ,bourse1 already noticed4 ,the handsome corner building 7with dome7 in front of you1 which forms so conspicuous an element in the prospect as you approach1 is the ,htel ,continental4 ,just in front of it expands a small new square 7,place de ,brouckere7 still unfinished1 on which a monument is now being erected to a late burgomaster 7,de ,brouckere47 ,at this point1 the ,boulevard divides1 the western branch following the course of the ,senne 7which emerges to light just beyond the ,outer ,boulevards17 while the eastern branch goes straight on to the ,gare du ,nord1 passing at the first corner a handsome narrow house with gilt summit1 which won the first prize in the competition instituted by the ,municipality for the best faades on the new line of streets4 ,after reaching the ,gare du ,nord1 you can return to the ,gare du ,midi by an alternative line of main streets1 which also cuts through the heart of the ,old ,town1 a little to the ,e4 of the ,inner ,boulevards4 ,it begins with the ,rue ,neuve1 where a short street to the ,l4 conducts you straight to the ,place des ,martyrs1 a white and somewhat desolate square of the #ahth century1 7#agge7 adorned later with a ,monument to the ,belgians who were killed during the ,war of ,independence in #ahcj4 ,shortly after this 7continuing the main line7 you pass two covered galleries1 ,r4 and ,l41 and then arrive at the ,place de la ,monnaie4 ,on your ,r4 is the handsome building of the new ,post ,office2 on your ,l41 the white ,ionic-pillared ,grand ,thtre or ,thtre de la ,monnaie1 7opera1 etc474 ,you then pass between ,st4 ,nicolas on the ,l41 and the ,bourse on the ,r41 and continue on to the ,place ,rouppe1 7ornamented with a fountain and a statue of ,brussels personified73 whence the ,avenue du ,midi leads you straight to the ,place de la ,constitution1 in front of the ,south ,station4 ,the remainder of the ,western ,half of the town is1 for the most part1 poor and devoid of interest1 though it contains the principal markets1 hospitals1 and barracks1 as well as the basins for the canals which have superseded the ,senne4 ,c4 ,,the ,,picture ,,gallery ,i interpolate here the account of the ,brussels ,picture ,gallery1 because it is the most important object to be seen in the town1 after the ,grand' ,place and its neighbourhood4 ,you must pay it several visits--three at the very least--and you may as well begin early4 ,follow the roughly chronological order here indicated1 and you will understand it very much better4 ,begin again next time where you left off last3 but also1 revisit the rooms you have already seen1 to let the pictures sink into your memory4 ,intersperse these visits with general sight-seeing in the town and neighbourhood4 ,the ,brussels ,gallery forms an excellent continuation to the works of art we have already studied at ,bruges and ,ghent4 ,in the first place1 it gives us some further examples of the ,old ,flemish masters1 of the ,van ,eycks and of ,memling1 as well as several altar-pieces belonging to the mystical religious ,school of the ,brussels town-painter1 ,roger ,van der ,weyden1 who was ,memling's master4 ,these have been removed from churches at various times1 and gradually collected by the present ,government4 ,it also affords us an admirable opportunity of becoming well acquainted with the masterpieces of ,dierick ,bouts1 or ,dierick of ,haarlem1 an early painter1 ,dutch by birth but ,flemish by training1 who was town painter in democratic ,louvain1 7which town may afterwards be made the object of an excursion from ,brussels74 ,but1 in the second place1 besides these painters of the early school1 the ,brussels ,gallery is rich in works of the transitional period1 and possesses in particular a magnificent altar-piece by ,quentin ,matsys1 the last of the old ,flemish ,school1 and the first great precursor of the ,renaissance in the ,low ,countries4 ,he was practically an ,antwerp man 7though born at ,louvain71 and his place in art may more fitly be considered in the ,antwerp ,museum4 ,from his time on we are enabled to trace1 in this ,gallery1 the evolution of ,flemish art to its third period1 the time of ,rubens 7also better seen at ,antwerp7 and his successors1 the great ,dutch painters1 here fairly represented by ,rembrandt1 ,frans ,hals1 ,van der ,helst1 ,gerard ,dou1 and ,teniers4 ,in the following list of the most noteworthy works of each ,school1 ,i have adhered1 roughly speaking1 to a chronological order1 but without compelling the reader unnecessarily to dance up and down the various rooms of the collection from one work to another4 ,the ,gallery itself is one of the most splendid in ,europe1 and it has been recently re-arranged in a most satisfactory manner4 ,the national collection of pictures by ,old ,masters occupies the very handsome modern building known as the ,palais des ,beaux-,arts in the ,rue de la ,rgence1 immediately after passing through the ,place ,royale4 7,four large granite columns in front3 bronze sculpture groups to ,r4 and ,l47 ,see plan on p4 #ajh4 ,enter by the big door with the four large granite columns4 ,in the vestibule1 turn to the ,r41 and mount the staircase4 ,then pass through ,room ,,iii4 and ,corridor ,a1 to ,room ,v4 on the right1 and on into ,,room ,i4 ,hall of the ,old ,flemish ,masters4 ,this contains the most interesting works in the ,gallery4 7,you may also1 if you like1 pass through the collection of ,sculpture in the ,hall below1 entering by ,corridor ,d2 in which case1 turn to the ,l4 into ,rooms ,,viii4 and ,,ii41 and then to the ,r4 into ,room ,i41 as above4 ,this is the handsomer entrance4 ,much of the sculpture has great merit3 but being purely modern1 it does not fall within the scope of these ,historical ,guides47 ,begin in the middle of the wall1 with ,no4 #agj1 9999,hubert van ,eyck3 the two outer upper shutters from the ,adoration of the ,lamb at ,ghent1 representing ,adam and ,eve1 whose nudity so shocked ,joseph ,,ii4 that he objected to their presence in a church4 ,these fine examples of the unidealized northern nude are highly characteristic of the ,van ,eycks' craftsmanship4 ,the ,adam is an extremely conscientious and able rendering of an ordinary and ill-chosen model1 surprisingly and almost painfully true in its fidelity to nature4 ,the foreshortening of the foot1 the minute rendering of the separate small hairs on the legs1 the large-veined1 every-day hands1 the frank exhibition of the bones and sinews of the neck1 all show the extreme northern love of realism1 and the singular northern inattention to beauty4 ,compare this figure with the large ,german panels on a gold ground in the corners diagonally opposite 7,no4 #fbd71 if you wish to see how great an advance in truth of portraiture was made by the ,van ,eycks4 ,the ,eve is an equally faithful rendering of an uninteresting model1 with protruding body and spindle legs4 ,above1 in the lunettes1 are the ,offerings of ,cain and ,abel1 and the ,death of ,abel1 in grisaille4 ,the backs of the shutters will be opened for you by the attendant4 ,they exhibit1 above1 two ,sibyls1 with scrolls from their prophecies2 below1 the central portion of the ,annunciation in the total picture1 with a view through the window over the town of ,ghent1 and the last words of the angelic message1 truncated from their context4 ,this portion of the picture is1 of course1 only comprehensible by a study of the original altar-piece at ,ghent4 ,illustration3 ,,the ,,picture ,,gallery ,,at ,,brussels4 ,continue now along this wall to the ,r4 of the ,adam and ,eve4 #bd4 ,j4 ,gossart1 called ,mabuse 7#adgj-aeda71 triptych with a ,glorification of the ,magdalen1 given by a special votary4 ,the central panel contains the chief event in her history--the ,supper at the ,house of ,simon the ,pharisee4 ,the host and one guest are admirably represented by ,flemish portraits1 exquisitely robed1 and reproduced in marvellous detail4 ,the figure of the ,christ is1 as usual1 insipid4 ,beneath the table1 the ,magdalen1 as central figure1 with her alabaster box of ointment1 kisses the feet of ,christ4 ,to the right1 ,judas1 with his traditional red hair1 and bearing the purse1 asks1 with a contemptuous gesture1 ,why this was not sold and given to the poor8 ,in the background are the ,apostles4 ,conspicuous amongst them is the conventional round face of ,st4 ,peter4 ,the whole scene takes place in a richly decorated interior1 with charming colouring and a finely rendered clock1 curtain1 and other accessories4 ,gossart visited ,italy1 and was one of the earliest ,flemings to be influenced by the ,italian ,renaissance4 ,you will not overlook the half-,gothic1 half-,renaissance architecture1 nor the chained squirrel1 nor the semi-grotesque episodes in the background1 very domestic and ,flemish4 7,moses above the ,pharisee's head marks his devotion47 ,the left panel has another principal event in the ,magdalen's life1 the ,resurrection of ,lazarus4 ,here also the ,christ is insipid1 but the ,peter behind him1 in a green robe1 is finely characterized2 and the ,john1 affected4 ,beside are the ,magdalen 7same dress as before7 and ,martha1 with a group of women and bystanders in singular head-dresses4 ,in the background rises a very ideal ,bethany4 ,the right panel represents the kneeling donor 7an unknown ,premonstratensian abbot72 on his book is written1 8,mary ,magdalen1 pray for us40 ,above him is seen the floating figure of the ,magdalen1 clad only in her own luxuriant hair1 and raised aloft by angels from her cave1 the ,sainte ,baume1 in ,provence1 to behold the ,beatific ,vision4 ,the background has ,stations of the ,cross1 actually copied 7with the rest of the landscape7 from those at the ,sainte ,baume1 which ,gossart must have visited at his patron's instance4 ,on the backs of the wings1 yet another scene in the life of the ,saint1 ,christ and the ,magdalen in the ,garden4 ,all this triptych is finely modelled and well-coloured4 #eeb4 ,three panels attributed to ,roger van der ,weyden1 of ,tournai1 town painter of ,brussels1 and teacher of ,memling--a highly symbolical and religious master4 ,scenes from the ,life of the ,virgin4 ,in the centre1 the ,presentation of the ,virgin in the ,temple4 ,the foreground is occupied by ,st4 ,joachim and ,st4 ,anna1 parents of the little ,virgin1 who is seen mounting the regulation fifteen steps of the ,temple1 assisted by a somewhat unusual angel4 ,at the head of the steps stands the ,high ,priest4 ,within1 the ,virgins of the ,lord are seen reading4 ,to the right1 still in the same panel1 is the ,annunciation1 with the usual features1 angel ,l41 ,madonna ,r41 prie-dieu1 bed1 ,annunciation lily1 and arcade in the foreground4 ,the left panel has the ,circumcision2 and the right1 ,christ among the ,doctors in the ,temple1 with some excellent portraits in the background4 7,for ,van der ,weyden's place in art1 see ,conway2 for the ,madonna ascending the steps1 ,legends of the ,madonna47 #eed4 ,also attributed to ,roger van der ,weyden3 parts of the same series1 ,way to ,calvary and the ,crucifixion4 ,the first has the usual brutal soldiers and a suffering but not very dignified ,christ4 7,study for comparison with others47 ,beside the ,virgin kneels the donor4 ,the second has the conventional figures of the fainting ,madonna1 ,st4 ,john1 the ,magdalen1 and the other ,maries3 sun and moon darkened4 ,in the distance of both1 ,flemish towns4 7,good trees and landscape47 #aje;,a4 ,fine ,madonna with ,child1 and an apple by ,van ,clve4 #aei4 ,a crowded ,calvary of the ,german ,school 7late #aeth century7 with an emaciated ,saviour1 writhing and distorted thieves1 and rather wooden spectators4 ,observe the ,st4 ,longinus in armour on the bay horse1 piercing the side of ,christ1 for comparison hereafter with such later conceptions as ,rubens's at ,antwerp4 ,to the ,l4 is the group of the ,madonna1 ,st4 ,john1 and the two ,maries4 ,the red eyes of ,st4 ,john are characteristic of this scene1 and descend to ,van ,dyck4 ,the ,maries are unmitigated ,german housewives4 ,the ,magdalen embraces the foot of the ,cross4 ,on the right are spectators and a brawl between soldiers4 ,the background is full of characteristic ,german devils and horrors3 also ,st4 ,veronica1 ,peter and ,malchus1 ,judas hanging himself1 etc4 ,above it1 #ebc1 ,german ,school1 attributed to ,wolgemut1 ,christ and the ,apostles3 gold background4 ,very flavourless3 shows the tendencies from which the ,van ,eycks revolted4 #eag4 ,roger van der ,weyden3 head of a ,woman ,weeping4 ,perhaps a portion of a large composition1 or a study for one4 ,more likely1 a copy by a pupil4 ,much damaged4 ,now1 return along the same wall1 beyond the great ,van ,eyck in the centre4 #cce4 ,bernard van ,orley 7transitional74 ,triptych 7sawn in two71 with the ,patience of ,job inside1 and ,lazarus and ,dives outside4 ,in the centre panel1 the house falling upon the sons of ,job4 ,in the background1 ,job and his comforters3 his house in flames1 etc4 ,left panel1 the flocks and herds of ,job driven off by the ,sabeans1 with ,satan before the ,almighty at the summit4 ,right panel1 ,job in his last state more blessed than formerly3 his comforters ask him to intercede for them4 ,beyond this again1 the outer shutters 7the panels having been sawn through73 extreme left1 ,lazarus at the ,rich ,man's gate2 above1 his new-born soul borne aloft to ,heaven4 ,below1 cooks1 servants1 etc4 ,extreme right1 the ,rich ,man dying1 attended by his physician 7compare the ,dropsical ,woman by ,gerard ,dou in the ,louvre74 ,below1 ,dives in ,torments 7in a very ,flemish ,hell7 calling to ,lazarus4 ,above1 ,lazarus in ,abraham's bosom4 ,this is a good characteristic example of the transitional period between the early and later ,flemish art1 greatly influenced by the ,italian ,renaissance4 ,van ,orley travelled in ,italy1 and imitated ,raphael in composition and drawing4 ,beyond it1 attributed to ,roger van der ,weyden1 #eec 7#c panels arbitrarily placed together74 ,in the centre panel1 two subjects4 ,left1 the ,nativity1 elements all conventional3 ruined temple1 shed1 ox and ass 7extremely wooden71 and ,st4 ,joseph in background4 7,he frequently bears a candle in this scene in order to indicate that the time is night47 ,right1 the ,adoration of the ,three ,kings1 old1 middle-aged1 young1 the last a ,moor4 ,st4 ,joseph examines1 as often1 the ,old ,king's gift4 ,note his costume2 it recurs in ,flemish art4 ,left panel1 ,joseph of ,arimathea with the ,crown of ,thorns1 ,nicodemus with the three nails1 ,st4 ,john1 and the three ,maries at the sepulchre4 ,right panel1 ,entombment1 with the same figures3 the ,crown of ,thorns and nails in the foreground4 ,great importance is always attached to these relics1 preserved in the ,sainte ,chapelle1 and at ,monza1 near ,milan4 #cej4 ,patinier4 ,repose on the ,flight into ,egypt1 with fine landscape background4 #abb4 ,cranach the ,elder4 ,hard portrait of a very ,scotch looking and ,calvinistic ,elder4 #aj4 ,amberger2 ,german ,school1 #afth century2 excellent portrait of a gentleman2 good beard4 #efi4 ,fine portrait of a man1 by unknown artist4 ,flemish ,school1 #afth century4 ,above these1 #fah1 ,flagellation and ,ascension1 ,german ,school1 with gilt backgrounds4 ,the skied pictures on this wall are only interesting as specimens of the later transitional period2 when ,flemish ,art was aiming ill at effects unnatural to it4 ,continue along the wall in the same direction4 ,by the door1 #eeg1 99portrait of ,johanna of ,spain 7the ,mad71 mother of ,charles ,v43 fine #aeth century work4 #eca and #ecb4 ,excellent old ,flemish portraits4 ,above these1 #eda1 ,scenes from the ,life of the ,virgin1 with a donor4 ,l41 ,nativity4 ,note the conventional elements4 ,r41 ,circumcision4 ,above1 ,angel and patron saints4 #eeg4 99,portrait of ,philippe le ,beau1 father of ,charles ,v41 companion to his wife opposite4 ,observe the collar of the ,golden ,fleece1 and the united arms of ,spain1 ,burgundy1 etc41 on his doublet4 ,these portraits were originally the wings of a triptych4 #edd4 ,a ,holy ,family and ,st4 ,anne1 with the donor1 a ,franciscan monk1 by a feeble imitator of ,memling4 #ccd4 ,tolerable portrait of a doctor1 by ,bernard ,van ,orley4 ,next it1 unnumbered1 99,virgin and child4 ,grard ,david4 ,our ,lady feeds ,christ with a characteristic ,flemish wooden spoon4 #cdh4 ,patinier1 a painter chiefly memorable for his landscapes 7of which this is a poor example74 ,st4 ,jerome in the ,desert1 beating his breast with a stone before a crucifix4 ,beside him1 his cardinal's hat and lion4 ,not a good example of the master4 #fda4 ,holbein the ,younger4 ,portrait of 99,sir ,thomas ,more4 ,above1 #ege4 ,triptych1 ,flemish ,school1 early #afth century4 ,centre panel1 ,miracle of ,st4 ,anthony of ,padua and the ,mule4 7,the ,saint1 carrying the ,host1 met a scoffer's mule1 which knelt till it passed47 ,above1 ,st4 ,bonaventura1 attired as bishop1 praying4 ,these must be the chief objects of the donor's devotion3 they are also represented on the outer wings4 ,right and left1 the donor 7whose name was ,tobias71 with his personal patron1 ,st4 ,raphael the ,archangel 7accompanying the young ,tobias71 and his wife1 with ,st4 ,margaret and the ,dragon4 7,for ,tobias and the ,fish1 see ,book of ,tobit47 #agd1 skied1 is a ,last ,judgment by ,floris1 also transitional and useful for comparison with others elsewhere4 ,to ,r4 and ,l41 the ,fall of the ,damned and the ,just ,ascending recall early examples at ,bruges4 #ecd4 ,triptych of the ,flemish ,school 7,hugo van der ,goes872 ,centre panel1 ,assumption of ,our ,lady4 ,round the empty tomb are gathered the apostles2 conspicuous among them1 ,st4 ,peter with a censer1 and ,st4 ,james4 ,above1 ,our ,lady taken up in a glory by ,christ and the ,holy ,ghost1 represented as like ,him4 ,in the background1 her ,funeral1 ,st4 ,peter1 as ,pope1 accompanying4 ,note the papal dress of ,st4 ,peter2 ,st4 ,james holds the cross as ,bishop of ,jerusalem4 ,left wing1 the chief donor1 accompanied by his guardian angel and two of the apostles1 one of whom holds ,st4 ,peter's tiara1 as if part of the main picture4 ,in the background1 ,st4 ,thomas receiving the ,holy ,girdle from an ,angel1 a common treatment in ,flemish art1 though ,italians make him receive it from ,our ,lady in person4 7,see my ,guide to ,florence47 ,right wing1 donor's son and wife1 with guardian angel4 ,this triptych closely resembles ,no4 #ece 7which see later71 except that that picture is in one panel1 instead of three4 ,i think #ece must have been painted first1 and this taken from it1 but made into a triptych2 which would account for the unusual flowing over of the main subject into the wings4 #dai4 ,martin ,schongauer 7of ,colmar1 a ,german largely influenced by ,roger van der ,weyden71 99,ecce ,homo1 painted like a miniature4 #cdi4 ,patinier3 another ,repose on the ,flight into ,egypt4 ,observe persistence of the main elements4 ,notice in particular1 as compared with the similar picture 7#cej7 close by1 the staff1 basket1 etc41 in the ,r4 foreground4 #edf4 ,school of ,memling1 perhaps by the master3 a ,bishop preaching3 ,m4 ,ftis thinks1 exhorting the ,crusade in which ,pope ,nicholas ,v4 wished to interest the princes of ,europe after the fall of ,constantinople4 #fba4 ,school of ,drer3 ,fine and thoughtful portrait of a man1 perhaps ,erasmus4 ,above it1 #egg1 ,flemish triptych 7school of ,van der ,weyden7 of the ,adoration of the ,magi1 the elements in which will by this time be familiar to you4 ,right and left1 ,adoration of the ,shepherds and ,circumcision4 ,the exceptional frequency of the subject of the ,adoration of the ,magi in the ,low ,countries and the ,rhine district is to be accounted for by the fact that the relics of the ,three ,kings are preserved in ,cologne ,cathedral1 and are there the chief object of local cult4 ,at the corner1 #hd and #bee1 two good portraits by the ,german de ,bruyn 7early #afth cent474 ,transitional3 show ,italian influence4 ,between them1 #fai1 unknown ,german1 ,wedding ,feast at ,cana4 ,that you may have no doubt as to the reality of the miracle1 a servant is pouring water into the jars in the foreground4 ,he is much the best portion of the picture4 ,behind are ,christ1 ,st4 ,john1 and ,our ,lady4 ,next to them1 the bride and bridegroom4 7,compare the ,gerard ,david in the ,louvre47 ,above it1 #fbd1 a very quaint ,st4 ,george and ,st4 ,catherine1 early ,german ,school1 with gold background4 ,st4 ,george is stiffly clad in armour1 and painfully conscious of his spindle legs1 with a transfixed dragon and broken lance at his feet4 ,st4 ,catherine looks extremely peevish1 with a ,byzantine down-drawn mouth3 she holds the sword of her martyrdom1 and has a fragment of her wheel showing behind her4 ,her face is highly characteristic of the severity and austerity of early ,german art4 ,companion piece 7#fbd7 at opposite corner4 ,now proceed to the next wall4 #eci4 ,fine portraits of a donor and his wife1 with their patron saints1 ,peter and ,paul4 ,the tops of both have been sawn off4 #edi and #fdc4 ,two ,madonnas4 ,not very important4 #ede4 ,between them1 9999unknown ,german ,master 7,lafenestre says1 ,flemish74 ,panel with ,our ,lady and ,virgin ,saints1 what is called a 8,paradise ,picture10 apparently painted for a church or nunnery in ,cologne1 and with the chief patronesses of the city churches or chapels grouped around in adoration4 ,our ,lady1 with her typical ,german features1 sits in front1 in a robe of blue1 before a crimson damask curtain upheld by angels4 ,her face is sweetly and insipidly charming4 ,she holds a regal court among her ladies4 ,in front of her kneels the ,magdalen1 with her long hair and pot of ointment4 ,to the ,l41 ,st4 ,catherine of ,alexandria1 crowned as princess1 and with her wheel embroidered in pearls on her red robe as a symbol4 ,the ,infant ,christ places the ring on her finger4 ,further ,l41 ,st4 ,cecilia with a bell1 substituted in northern art 7where the chimes in the belfry were so important7 for the organ which she holds in ,italy4 ,then1 ,st4 ,lucy1 with her eyes in a dish1 and ,st4 ,apollonia1 holding her tooth in a pair of pincers4 ,in front of these two1 in a richly brocaded dress1 and beautiful crown1 ,st4 ,ursula1 the great martyr of ,cologne1 with the arrows of her martyrdom lying at her feet4 ,to ,our ,lady's right1 ,st4 ,barbara1 in a purple robe trimmed with ermine and embroidered with her tower 7of three windows71 offers a rose to the ,infant4 ,her necklet is of towers4 ,as usual in northern art1 she balances ,st4 ,catherine4 ,beside her kneels ,st4 ,agnes1 in red1 with her lamb1 and her ruby ring3 beyond whom are ,st4 ,helena with the cross 7wearing a simple ,roman circlet71 ,st4 ,agatha1 holding her own severed breast in the pincers1 and ,st4 ,cunera with the cradle and arrow1 one of the martyred companions of ,st4 ,ursula4 ,in the background1 the ,true ,vine on a trellis1 the garden of roses 78is my sister1 my spouse071 and a landscape of the ,rhine1 in which ,st4 ,george kills the dragon4 ,this is a particularly fine composition of the old ,german ,school4 #fe and #ff4 9999,dierick ,bouts3 ,two companion panels1 life-size figures1 known as the ,justice of the ,emperor ,otho1 and painted for the ,council-,room of the ,htel-de-,ville at ,louvain1 as a warning to evil-doers1 perjurers1 or unjust magistrates4 7,compare the ,gerard ,david of the ,flaying of ,sisamnes in the ,academy at ,bruges47 ,it is first necessary to understand the story4 ,during the absence of the ,emperor ,otho in ,italy 7according to tradition71 his empress made advances to a gentleman of the court1 who rejected her offers4 ,piqued by this rebuff1 the empress denounced him to ,otho on his return as having attempted to betray her honour4 ,otho1 without further testimony1 had the nobleman beheaded4 ,his widow appeared before the ,emperor's judgment-seat1 bearing her husband's head in her hands1 and offered to prove his innocence by the ordeal of fire4 ,she therefore held a red-hot iron in her hand unhurt4 ,otho1 convinced of his wife's treachery by this miraculous evidence1 had the perjured empress burned alive4 ,the first panel1 to the ,r41 represents the scene in two separate moments4 ,behind1 the nobleman1 in his shirt and with his hands tied1 walks towards the place of execution1 accompanied by his wife in a red dress and black hood1 as well as by a ,franciscan friar4 ,in the foreground1 the executioner 7looking grimly stern7 has just decapitated the victim1 and is giving the head to the wife in a towel4 ,the headless corpse lies on the ground before him4 ,the neck originally spurted blood2 flowers have been painted in to conceal this painful element4 ,all round stand spectators1 probably portraits of the ,louvain magistrates1 admirably rendered in ,bouts's dry and stiff but life-like manner4 ,behind them1 within a walled garden belonging to a castle in the background1 stand the ,emperor with his sceptre and crown1 and the faithless ,empress4 ,good town and landscape to the ,l4 ,the second panel1 to the ,l41 separated from this by a large triptych1 represents the nobleman's wife appearing before the enthroned ,otho4 ,in her right hand she holds her husband's head2 with her left she grasps the red-hot iron1 unmoved4 ,the brazier of charcoal in which it has been heated stands on the parti-coloured marble floor in the foreground4 ,around are several portraits of courtiers4 ,behind is represented the scene of the empress burning1 which closes the episode4 ,i need not call attention to the admirable painting of the fur1 the green coat1 ,otho's flowered red robe1 the dog1 the throne1 and all the other accessories4 ,this is considered ,dierick ,bouts's masterpiece4 7,go later to ,louvain to complete your idea of him47 ,between these two pictures are arranged five of the finest works in the collection4 #bib and #bic4 ,memling3 9999,portraits of ,william ,moreel 7or ,morelli71 ,burgomaster of ,bruges1 and his wife ,barbara1 the same persons 7,savoyards7 who are represented in the ,st4 ,christopher triptych in the ,academy at ,bruges4 ,their daughter is the ,sibyl ,sambetha of the ,st4 ,john's ,hospital4 ,both portraits1 but especially the ,burgomaster's1 are good1 hard1 dry pictures4 #eae4 ,memling3 9999,triptych3 perhaps painted in ,italy 7if ,i permitted myself an opinion1 ,i would say1 doubtfully by ,memling74 ,at any rate1 it is for the ,sforza family of ,milan4 ,central panel1 the ,crucifixion1 with ,our ,lady and ,st4 ,john4 ,beautiful background of a fanciful ,jerusalem4 ,sun and moon darkened4 ,in the foreground kneel ,francesco ,sforza in armour1 his wife ,bianca ,visconti1 and his son ,galeazzo-,maria4 ,behind the duke1 his coat of arms4 ,left panel3 the ,nativity4 ,in the foreground ,st4 ,francis with the ,stigmata1 as patron saint of ,francesco1 and ,st4 ,bavon with his falcon4 ,right panel3 ,st4 ,john the ,baptist1 as patron saint of ,giovanni ,galeazzo4 ,below1 ,st4 ,catherine with her sword and wheel1 and ,st4 ,barbara with her tower1 two charming figures4 ,i do not know the reason of their introduction1 but they are common pendants of one another in northern art4 ,you can get an attendant to unfasten the outer wings of the triptych for you1 but they are not important4 ,they contain1 in grisaille1 ,l41 ,st4 ,jerome and the lion2 ,r41 ,st4 ,george and the dragon4 7,the presence of ,st4 ,bavon in this enigmatic picture leads me to suppose it was painted for a church at ,ghent4 ,but what were the ,sforza family doing there8 ,perhaps it has reference to some local business of the ,sforzas in ,flanders47 #aij4 9999,roger van der ,weyden3 ,portrait of ,charles the ,bold of ,burgundy1 wearing the ,golden ,fleece4 ,an excellent and characteristic piece of workmanship4 ,the arrow has a meaning3 it is the symbol of ,st4 ,sebastian1 to whom 7as plague-saint7 ,charles made a vow in illness1 and whom ever after he specially reverenced4 #bid4 ,memling3 9999,portrait of an unknown man1 which may be contrasted for its comparative softness of execution with the harder work of his master beside it4 ,above these3-- #baa4 ,triptych1 by ,heemskerck 7early ,dutch ,school71 representing1 ,centre1 the ,entombment1 ,christ borne1 as usual1 by ,nicodemus and ,joseph of ,arimathea4 ,in front1 the crown of thorns4 ,behind1 the ,magdalen2 then the ,madonna and ,st4 ,john1 the two ,maries1 and an unknown man holding a vase of ointment4 ,l4 and ,r4 the donor and his wife1 with their patron saints ,peter and ,mary ,magdalen 7keys1 box of ointment74 #edb4 99,dierick ,bouts of ,louvain3 ,the ,last ,supper4 ,a fine and characteristic example of the town painter of ,louvain4 ,the faces are those of peasants or small bourgeois4 ,to the right are the donors1 entering as spectators3 their faces are excellent4 ,judas sits in front of the table4 ,the ,christ is insipid4 ,note the admirable work of the pavement and background4 ,the servant is a good feature4 ,if you have ,conway with you1 compare this picture with the engraving of the very similar one by ,bouts at ,louvain1 7p4 #bgg37 only1 the architecture there is ,gothic1 here ,renaissance4 #aci4 99,descent from the ,cross 7,van der ,weyden or his school74 ,notice the white sheet on which the body is laid1 as later in the great ,rubens4 ,nicodemus and ,joseph of ,arimathea support the body1 ,st4 ,john and one of the ,maries holds the fainting ,madonna4 ,left1 the ,magdalen1 with her long hair4 ,by her feet1 her box of ointment4 ,close beside it1 the nails1 hammer and pincers4 7,m4 ,lafenestre1 following ,bode1 attributes this picture to ,petrus ,christus1 but with a query47 #bi4 ,pleasing transitional ,madonna1 ,school of ,van ,orley1 somewhat ,italian in feeling1 in a pretty arcade1 with nice landscape background4 ,above these1 #aji1 a triptych1 by ,coninxloo4 ,centre1 ,family of ,st4 ,anne4 ,interesting for comparison with the great ,quentin ,matsys in the centre of the room4 ,l41 ,joachim's offering rejected in the ,temple 7small episodes behind74 ,r41 the death of ,st4 ,anne4 ,come back to the central panel after you have viewed the ,quentin ,matsys4 7,the component personages are explained there47 #edc4 ,tolerable triptych1 ,flemish school1 representing the events of the ,infancy4 ,centre1 ,adoration of the ,shepherds1 with the usual conventional features 7ruined temple1 shed1 ox and ass1 etc471 and ,st4 ,joseph holding his candle1 as often1 to indicate night time4 ,left1 ,annunciation1 with the usual position of the angel reversed4 ,otherwise1 the portico and other features persist4 ,compare the great ,van ,eyck at ,ghent1 from which some elements here are borrowed4 ,right1 the ,circumcision4 ,symbolical figure of ,moses on altar1 full of the symbolism of ,van der ,weyden's school4 7,outer shutters1 uninteresting1 ,,ss4 ,catharine and ,barbara47 #ehe4 ,above it1 good family group of a donor and his sons1 with ,st4 ,george2 and his wife and daughters1 with ,st4 ,barbara4 7,the crucifixes mark monks and nuns47 ,at the corner1 #fbd1 ,german school4 ,st4 ,mary ,magdalen and ,st4 ,thomas1 on gold background4 ,companion piece to #fbd4 ,at opposite end4 #fbf4 ,school of ,martin ,schongauer3 ,christ and the ,magdalen in the house of the ,pharisee4 ,very contorted4 ,compare with the ,gossart4 ,above it1 #ajf1 ,flemish school4 ,mass of ,st4 ,gregory1 with the ,crucified ,christ appearing on the altar4 7,recall the ,pourbus at ,bruges47 ,a most unpleasant picture4 ,behind1 are the elements of the ,passion4 ,l41 the donors2 ,r41 ,souls in ,purgatory1 relieved by masses4 ,many minor episodes occupy the area4 ,on either side of it1 99#bg1 #bh1 beautiful soft-toned ,german portraits 78 by ,beham7 of two children1 ,maximilian ,,ii4 and his sister ,anne of ,austria4 #efc4 ,lombard3 ,unimportant picture1 meaninglessly described as ,human ,misfortunes4 ,it seems to commemorate an escape from shipwreck and from plagues by the same person4 ,l4 panel3 ,a ship sinking2 a man saved on the shore4 ,in the background1 under divine direction of an angel1 he finds his lost gold in a fish's body4 ,r4 panel1 ,he lies ill of plague1 while above is seen the miracle of ,st4 ,gregory and the ,angel of the ,plague 7,michael7 sheathing his sword on the ,castle of ,st4 ,angelo4 #edj4 ,virgin and ,child4 ,attributed without much certainty to ,petrus ,christus4 #ece4 ,good unknown ,flemish picture of the 99,assumption of ,our ,lady 7closely resembling ,no4 #ecd1 which see again74 ,the empty tomb stands in the midst1 with lilies2 around1 ,st4 ,peter and ,st4 ,james1 and the other apostles2 above1 ,our ,lady ascending1 borne by a duplicated figure of ,christ 7one standing for the ,holy ,ghost71 in an almond-shaped glory4 ,r41 ,her ,funeral1 with ,st4 ,peter wearing the triple crown2 ,l41 ,st4 ,thomas receiving the girdle from an angel4 ,compare with #ecd1 which ,lafenestre judges to be the work of a different artist4 #efg4 ,good portrait attributed to ,bernard ,van ,orley4 #eif4 ,six panels3 ,flemish ,school4 ,ornate1 but not interesting4 7#a7 ,the ,lord creating ,eve2 in the background the ,temptation4 7#b7 ,abraham1 ,sarah1 and ,isaac2 in the background in three successive scenes1 ,abraham's ,sacrifice4 7#c7 ,noah and his ,family with the ,ark4 7#d7 ,esau asks the ,blessing of ,isaac4 7#e7 ,meeting of ,jacob and ,esau4 ,note the grotesquely urban conception of the ,semitic nomads4 7#f7 ,the ,nativity4 #eei4 ,attributed to ,van ,orley4 ,piet1 with the usual group1 and family of donors4 ,interesting as a work of transition4 ,above it1 #ehj4 ,triptych1 with ,descent from the ,cross1 ,flemish school4 ,usual figures2 identify them4 ,on the wings1 ,l41 ,agony in the ,garden1 ,kiss of ,judas1 ,peter and ,malchus3 ,r41 ,the ,resurrection4 ,noli ,me ,tangere1 ,disciples at ,emmaus1 etc4 #ajg4 ,p4 ,coecke1 #afth century3 ,a ,last ,supper4 ,only interesting as showing transition4 ,compare with ,dierick ,bouts4 ,above it1 #cjj4 ,patinier3 ,dead ,christ on the knees of the ,virgin 7,our ,lady of the ,seven ,sorrows71 painfully emaciated4 ,a sword pierces ,our ,lady's breast 7and will recur often74 ,around it1 the rest of the ,seven ,sorrows4 ,note the landscape1 characteristic of the painter4 #ab4 7,old number2 no new number47 ,coninxloo3 ,joachim and ,anna1 with the rejected offering4 ,from them1 a genealogical tree bears the ,madonna and ,child4 ,l4 and ,r41 the ,angel appearing to ,joachim1 and ,joachim and ,anna at the ,golden ,gate4 7,read up the legend47 ,curious architectural setting4 #cja4 ,good portrait by an unknown 7transitional7 ,fleming 7,van ,orley871 probably of a lawyer2 the charters seem to indicate a secretary of ,maximilian and ,charles ,v4 ,the place of honour in the centre of the room is occupied by #bii1 a magnificent 9999triptych by ,quentin ,matsys1 one of the noblest works of the transitional school1 strangely luminous1 with very characteristic and curious colouring4 ,it represents the favourite ,flemish subject of the ,family of ,st4 ,anne4 7,it was painted for the ,confraternity of ,st4 ,anne at ,louvain1 and stood as an altar-piece in the church of ,st4 ,pierre47 ,central panel3 ,an arcade1 in the middle arch of which appears ,st4 ,anne1 in red and purple 7throughout71 offering grapes to the ,divine ,child1 who holds a bullfinch1 and is seated on the lap of ,our ,lady4 ,r41 ,mary ,salome1 with her two sons ,james and ,john4 ,l41 ,mary ,cleophas1 with her sons ,james the ,less1 ,simon1 ,thaddus1 and ,joseph the ,just4 ,behind the parapet1 beside ,st4 ,anne1 her husband ,joachim2 and beside ,mary ,salome1 her husband ,zebedee4 ,beside ,our ,lady1 her husband ,joseph2 beside ,mary ,cleophas1 her husband ,alphus4 ,beautiful blue mountain landscape4 ,l4 panel3 ,the angel appearing to ,joachim1 in a magnificent blue landscape4 ,joachim's dress is constant4 ,the angel's robe is most delicious in colour4 ,r4 panel3 ,the ,death of ,st4 ,anne1 with ,our ,lady and the other ,maries in attendance4 ,behind1 their husbands4 ,the young ,christ gives the benediction4 ,now1 go round to the back of the picture1 to observe the outer wings4 ,l41 ,st4 ,joachim driven from the ,temple by the ,high ,priest ,r4 7chronologically the first71 ,joachim and ,anna 7much younger71 making their offerings 7on marriage7 to the ,high ,priest in the ,temple4 7,same ,high ,priest1 younger2 same dresses47 ,the portrait behind recalls the earlier ,flemish manner2 otherwise1 the work is full of incipient transition to the ,renaissance4 ,little episode of ,joachim and ,anna distributing alms in the background4 7,when the triptych is closed1 this wing comes in its proper place as first of the series47 #aia4 ,jan van ,eyck3 7attribution doubtful2 probably a later artist1 perhaps ,gerard ,david73 ,the ,adoration of the ,magi4 ,another good example of this favourite ,flemish subject4 ,in the foreground1 the ,madonna and ,child3 one of ,van ,eyck's most pleasing faces 7if his74 ,then1 the ,old ,king1 kneeling2 the ,middle-aged ,king1 half-kneeling2 and the ,young ,king1 a ,moor1 with his gift1 behind4 7,the ,old ,king in such pictures has almost always deposited his gift47 ,in the background1 ,joseph1 and the retinue of the ,magi4 ,ruined temple1 shed1 ox1 ass1 etc41 as usual4 #bia4 ,dierick ,bouts3 99,martyrdom of ,st4 ,sebastian4 ,characteristic peasant face2 admirable cloak and background4 ,now go into the next hall1 marked ,,room ,,ii4 on the plan4 ,this contains mainly ,german and ,flemish pictures of the transition4 ,right of the door1 #cch4 ,very ,raphaelesque ,holy ,family by ,bernard ,van ,orley1 showing in the highest degree the ,italian influence on this originally quite ,flemish painter4 ,above it1 #ib and #ib;,a4 ,portraits of the ,micaul family4 #aje4 ,j4 ,joest3 ,st4 ,anne enthroned1 ,joseph1 ,our ,lady1 the ,infant4 ,early transitional4 #aic4 ,jean ,gossaert1 ,adam and ,eve4 ,good later ,flemish nude4 #ej4 ,j4 ,bosch3 ,appalling ,flemish ,temptation of ,st4 ,anthony1 with perhaps the silliest and most grotesquely repulsive devils ever painted4 #b4 ,aertsen3 99,the ,dutch ,cook4 ,a famous picture1 showing well the earlier stages of ,dutch genre development4 #bag4 ,van ,hemessen3 ,genre piece1 absurdly given the name of ,the ,prodigal ,son1 by a sort of prescription1 but really a ,flemish tavern scene of the sort which afterwards appealed to ,dutch artists4 ,a characteristic work3 transitional1 but with good humorous faces1 especially to the right4 ,painters still thought all pictures must pretend to be sacred4 #eia4 ,german ,adoration of the ,magi4 ,a fragment only4 #fjc4 ,herri met de ,bles3 ,the ,temptation of ,st4 ,anthony4 ,figures and landscape show ,italian influence4 #ccf4 ,transitional ,adoration of the ,shepherds4 ,observe the growing ,renaissance feeling and ,italian influence4 #bdg1 #bdh4 ,excellent portraits by ,adrien ,key4 #da4 ,lancelot ,blondeel3 ,st4 ,peter enthroned as ,pope3 in one of his usual extravagant architectural frameworks4 ,in circles above1 his ,imprisonment and ,crucifixion4 ,close by1 unnumbered1 two excellent portraits4 #ha4 ,p4 ,brueghel the ,younger3 absurdly called ,the ,census at ,bethlehem4 ,in reality a ,flemish winter scene4 #cah4 ,sir ,anthony ,more3 99,portrait of the ,duke of ,alva1 with the firm lips and cruel eyes of the ruthless ,spaniard4 ,one understands him4 #cei4 ,good portrait by ,pourbus of a plump and well-fed ,flemish gentleman4 #hj4 ,p4 ,brueghel the ,younger3 ,described as the ,massacre of the ,innocents4 ,flemish winter4 ,the beginning of genre painting4 ,most of the pictures skied above these are of some interest for comparison with earlier examples of the same subjects4 #efe4 ,unknown ,french portrait of ,edward ,,vi4 of ,england4 ,hard and dry and of little artistic value4 #eff4 ,tolerable ,flemish portrait of ,guillaume de ,croy 7,golden ,fleece74 #egc4 ,good ,flemish portrait of a woman1 dated #aejd4 #eee4 ,flemish school3 ,annunciation4 ,chiefly interesting for its conventional features1 and its very quaint figure of ,st4 ,mary of ,egypt1 with her three loaves1 in the ,r4 panel4 #abd;,b4 7,old number2 no new number given47 ,unusual combined picture of ,st4 ,jerome1 uniting the subjects usually known as ,st4 ,jerome in the ,desert and ,st4 ,jerome in his ,study4 #fbb4 ,fine ,german portrait of the early #agth century4 #caf4 ,good strong portrait1 by ,sir ,anthony ,more1 of ,hubert ,goltzius4 #abc4 ,cranach the ,elder 7,german #afth cent473 99,adam and ,eve4 ,fine specimens of the later northern nude of the early ,renaissance1 interesting for comparison with the cruder realism of ,van ,eyck4 ,as yet1 however1 even the figure of ,eve has relatively little idealism or beauty4 ,excellent stag in the background4 #cfa4 ,a good ,pourbus4 ,beyond the door1 #ecf1 ,flemish school3 7,hugo ,van der ,goes874 ,donor1 a lady in a nun's dress 7871 with her name-saint1 ,st4 ,barbara1 bearing her palm as a martyr3 in the background1 her tower with the three windows4 ,to balance it1 #ecf1 ,her brother 787 or husband1 with his patron1 ,st4 ,james4 7,staff and scallop-shell47 ,above1 #hd1 ,triptych by ,jan ,coninxloo of the ,history of ,st4 ,nicholas4 7,the wings are misplaced47 ,r4 wing 7it should be ,l471 ,st4 ,nicholas1 three days old1 stands up in his bath to thank ,god for having brought him into the world4 ,central panel1 the young ,st4 ,nicholas enthroned as ,bishop of ,myra4 ,l4 wing 7should be ,r471 ,the ,death of ,st4 ,nicholas1 with angels standing by to convey his soul to ,heaven4 ,a good transitional ,flemish picture4 ,beneath1 tolerable portraits4 #cfa;,a4 ,a late ,flemish ,virgin1 with portrait of the donor and ,st4 ,francis receiving the stigmata4 #egb4 ,sir ,anthony ,more4 ,portrait4 ,above it1 #eie1 an ,entombment1 where note again the conventional grouping4 #ccg4 ,wings of a triptych by ,bernard van ,orley4 ,the centre is missing4 ,l41 ,martyrdom of ,st4 ,matthias4 ,r41 ,the ,doubting ,thomas4 ,in the background1 ,lazarus and ,dives1 and other episodes4 ,renaissance architecture4 #d4 ,van ,alsloot3 ,the ,procession of the ,body of ,st4 ,gudula at ,brussels3 of the ,spanish period1 with the guilds named4 ,interest purely archological4 ,each guild carries its mace and symbol4 7,the second part comes later47 #ehf4 ,above this1 skied1 are four good female saints1 transitional1 named on labels4 #egd4 ,portrait1 of the school of ,van ,orley3 lady with a pink1 pleasing4 ,italian influence is obvious4 #eje4 ,portrait of a lady1 by ,m4 ,de ,vos4 ,early #agth century1 marking the latest transitional period4 ,it belongs to a destroyed triptych4 #gi4 ,breughel the ,elder3 ,st4 ,michael the ,archangel conquering the devils4 ,a hideous nightmare of a morbid and disordered imagination4 #fbg4 ,crucifixion1 by an unknown ,german1 with small figures of donors1 and ,rhine background4 #eig4 ,german school4 ,tree of ,jesse1 of purely symbolical interest4 #ejd4 99,portrait by ,m4 ,de ,vos4 ,probably husband of 7and pendant to7 the previous one4 ,it was the other wing of the same triptych4 #e4 ,van ,alsloot3 ,remainder of the ,procession of ,st4 ,gudula1 with a quaint dragon1 and the ,maison du ,roi in the background4 ,observe1 near the centre1 the personification of the patron1 ,st4 ,michael3 elsewhere are ,st4 ,christopher1 ,ste4 ,gudule1 etc4 #efa4 ,two panels from a triptych attributed to ,van ,orley4 ,centre1 missing4 ,l41 ,the ,birth of the ,virgin4 ,note this for the conventional features3 ,st4 ,anne in bed2 attendant feeding her3 bath for infant4 ,in the background presentation of the ,virgin in the ,temple3 ,joachim and ,anna below3 the ,virgin ascending3 the ,high ,priest welcoming her3 the ,virgins of the ,lord by the side4 ,r41 ,joachim's offering rejected4 ,in the background1 the meeting of ,joachim and ,anna at the ,golden ,gate1 and the angel foretelling the ,birth of the ,virgin4 ,compare this with the great ,quentin ,matsys1 observing especially the money falling from the table4 #gf4 ,another example of a later ,last ,judgment4 #ehd4 ,mostart3 ,two stories from the life of ,st4 ,benedict4 7#a7 ,the miracle of his dinner4 7#b7 ,as a youth1 he mends by prayer the dish broken by his nurse4 7,see ,mrs4 ,jameson's ,monastic ,orders47 ,now pass through ,room ,,viii41 containing chiefly late ,italian and ,french pictures 7which neglect for the present7 and go on into ,,corridor ,a1 to the ,l41 overlooking the ,sculpture ,gallery4 ,this takes us at once into the ,later ,flemish school of ,rubens and his followers1 whose works fill all these large corridors1 which are admirably adapted for them4 ,begin to the ,r4 of the door4 7,remember that ,i do not attempt criticism1 but confine myself to historical indications47 #bcj4 ,jordaens3 ,fine landscape1 with city to the right4 ,as yet1 however1 landscape dare not stand entirely on its own merits4 ,therefore1 we have here in the foreground figures of ,eleazar and ,rebecca at the well1 which retain the tradition that pictures must have some sort of sacred purpose4 #aid;,a4 ,unknown4 ,interior of a picture-gallery1 with well-known pictures4 ,l4 of the door4 #dfe4 ,van ,thulden3 ,flemish ,wedding ,feast4 ,landscape is beginning to triumph now2 it gets rid of all pretence of sacredness1 but still retains small figures in the foreground4 ,landscape for landscape's sake is hardly yet dreamed of4 #ace4 ,de ,crayer1 one of the best imitators of ,rubens3 99,adoration of the ,shepherds1 in the master's manner4 #agi;,a4 ,good ,still ,life by ,fyt4 #cgi4 ,rubens3 9999,coronation of the ,virgin by ,god the ,father and the ,son1 the ,holy ,ghost hovering above in a glory4 ,this altar-piece1 for an altar of ,our ,lady1 is a magnificent specimen of the master's rich and luminous colouring4 ,the crimson robe of the ,christ1 the blue and lilac harmony on the ,madonna1 and the faint yellow of the ,father's robe1 are admirably contrasted4 ,so are the darkness of the lower clouds and the luminosity of the upper region1 recalling ,titian's famous ,assumption at ,venice4 ,the little boy angels are sweet and characteristic4 ,here you may begin to appreciate the force1 the dash1 the lavish wealth of ,rubens4 7,according to ,rooses1 however1 the work of a pupil1 touched up by the master47 ,then1 unnumbered1 ,jordaens3 99,susannah and the ,elders3 a very ,flemish and matronly ,susannah4 ,the nude of ,rubens1 without the glorious touch of the master3 but a good picture4 #cib4 ,study by the same for the ceiling in ,whitehall4 #chf4 ,fine 99portrait by ,rubens of a fair man 7,j4 ,c4 de ,cordes74 8,inferior work40 7,fromentin47 #cij4 ,rubens3 9999,charming little ,madonna and ,child 7called 8,our ,lady of the ,forget-me-not071 in a garden of roses 7the landscape by ,j4 ,brueghel74 ,one of his best small pictures1 in a careful style4 #chg4 ,rubens3 99,portrait3 ,wife of the last3 in his finest and richest portrait manner1 which contrasts in many ways with his larger and freer allegorical style4 7,fromentin thinks poorly of it47 #chi4 ,in the corner1 four ,fine 99,heads of ,negroes1 a study for the ,magi1 by ,rubens4 ,not caricatured1 but full of genuine negro character4 ,above it1 #bai4 ,an ,adoration of the ,magi by ,herreyns3 ,interesting only as showing the persistence of the school into the #ahth century4 #bce4 ,jordaens3 99,an ,allegory of ,abundance4 ,studies from the nude in the style of the school3 meritorious4 ,pass the door of the ,dutch school4 ,beyond it1 more ,still ,life1 excellently painted4 #bdj4 ,next door1 ,jordaens3 99,nymph and ,satyr4 7,this corridor is largely given up to works by ,jordaens1 who was a ,protestant1 and preferred heathen mythological subjects to ,catholic ,christian ones4 #dcd4 ,snyders3 #agth century3 99,still ,life1 which now begins to be painted on its own merits4 ,this last is by the great animal painter of the ,flemish school4 #bch4 ,jordaens3 ,very ,flemish 99family group1 with a somewhat superfluous satyr4 7,subject nominally taken from the fable of the ,satyr and the ,wayfarer47 #cjb4 ,vandermeulen3 ,view of ,tournai and landscape1 with the siege by ,louis ,,xiv4 introduced for the sake of figures in the foreground4 ,above it1 #bdj 78 old number74 ,de ,crayer3 ,st4 ,anthony and ,st4 ,paul the ,hermit4 ,interesting for persistence of the typical figures4 ,the other pictures in this corridor are1 ,i think1 self-explanatory4 ,now enter ,,room ,,iii4 ,right hand1 further corner from door1 ,still ,life by ,snyders4 #ajj4 ,good portrait by ,philippe de ,champaigne4 #chg;,a4 ,splendid 99portrait by ,rubens 7according to ,rooses1 by ,van ,dyck74 ,this room also contains several fine pictures by ,teniers 7father or son7 and other late ,flemish painters1 deserving of attention1 but needing no explanation4 7,portraits1 etc47 ,do not imagine because ,i pass them by that you need not look at them4 ,now enter ,,corridor ,b4 ,l4 of the door1 good works by ,de ,crayer and others4 #aff4 ,van ,dyck 7the greatest pupil of ,rubens1 leading us on to the later ,dutch school74 99,st4 ,francis in ecstasy before the ,crucifix4 ,from the ,franciscan ,capuchin ,church in ,brussels4 #bhh4 ,p4 ,meert1 good portraits4 #afe4 ,companion to #aff4 ,another ,franciscan picture by ,van ,dyck4 99,st4 ,anthony of ,padua holding the ,infant ,jesus4 7,in neither is he seen to great advantage47 ,in the centre1 #cgh1 ,rubens3 9999,assumption1 high altar-piece from the ,carmelite ,church in ,brussels4 ,a fine picture1 of ,ruben's early period1 smooth of surface and relatively careful1 with the apostles looking into the empty tomb1 whence women are picking roses 7,see ,legends of the ,madonna74 ,to the ,r41 the youthful figure of ,st4 ,thomas1 stretching his hands4 ,observe the fine contrast of colour between the lower and upper portions4 ,this is a noble specimen of the master's bold and dramatic treatment1 but without his later ease of execution4 #ejc4 99,good portraits1 by ,c4 ,de ,vos1 of himself and his family4 #abg4 ,de ,crayer3 ,st4 ,anthony1 with his pig and staff1 and ,st4 ,paul the ,hermit1 in his robe of palm-leaves1 fed by a raven4 ,in the background1 the ,death of ,st4 ,paul2 two lions dig his grave4 ,r41 below1 late figure of donor1 seldom so introduced at this period4 ,jay in the background4 ,good landscape4 ,enter ,,room ,,iv4 with landscapes and still life of the later period4 ,left of the door1 #cha1 ,rubens3 ,the ,woman ,taken in ,adultery4 #fje4 ,good 99family group of the ,van ,vilsteren household1 attributed to ,van ,dyck4 #dff4 ,interior of a picture-gallery1 ,teniers4 ,the room also contains several pictures worthy of note1 but too modern in tone to need explanation4 ,observe that landscape has now almost vindicated its right to be heard alone1 though figures in the foreground are still considered more or less necessary4 ,now enter ,,corridor ,c4 which contains good pictures of the later ,flemish school4 ,r4 of door1 #dce1 ,a4 ,van ,utrecht3 one of the favourite ,dutch kitchen scenes1 well painted4 ,l4 of the door4 #ie4 ,philippe de ,champaigne3 ,presentation in the ,temple1 with characteristic crude ,french colouring4 #dcg4 ,stag ,hunt by ,snyders4 #cge4 ,rubens3 99,martyrdom of the local ,bishop1 ,st4 ,lieven4 ,his tongue is torn out and given to dogs4 ,very savage pagans2 rearing horse2 and characteristic angels1 with celestial scene4 ,in ,rubens' less pleasing 8allegorical0 manner4 ,plenty of force1 but too fiercely bustling4 #chc4 ,rubens3 ,fine portrait of the ,archduke ,albert4 #chd4 ,rubens3 companion portrait of the ,infanta ,isabella1 wife of #chc4 #cgf4 ,rubens3 99,painfully un-,christian subject3 mainly by a pupil1 re-touched by the master3 ,the ,saviour about to destroy the ,world1 which is protected by ,st4 ,francis and ,our ,lady4 ,a strange method by which a votary seeks to impress his devotion to his own patrons4 ,behind1 burning towns1 murder1 etc4 #cgd4 ,rubens3 99,the ,way to ,calvary4 7,almost all these large ,rubenses are from ,high ,altars47 ,in the foreground1 the two thieves2 then ,christ falling1 and a very ,flemish and high-born ,st4 ,veronica unconcernedly wiping his forehead4 ,our ,lady faints close by1 supported by ,st4 ,john4 ,st4 ,longinus mounted1 and ,roman soldiers4 ,the composition somewhat sketchy1 but immensely vigorous4 ,a gorgeous pageant1 it wholly lacks pathos4 #cgg4 ,rubens3 9999,adoration of the ,magi 7,altar-piece of the ,capuchin ,church at ,tournai74 ,one of his noblest works1 magnificently and opulently coloured4 ,the subject was one he often painted4 ,note still the ,three ,kings1 representing the three ages and continents1 but1 oh1 how transfigured6 ,in their suite are ,moors and other ,orientals4 ,behind1 ,st4 ,joseph with flambeaux1 representing the earlier candle4 ,this is a painting in ,rubens's best ,grand ,seigneur manner--vast1 throbbing1 concentrated4 ,he thinks of a ,nativity as taking place with all the pomp and ceremony of the courts which he frequented4 ,charming pages in the foreground4 #chb4 ,rubens3 ,venus in the ,forge of ,vulcan4 ,a made-up picture4 ,splendid studies of the exuberant nude by ,rubens2 with effects of light and shade in a smithy1 added in the late #agth century to make up for a lost portion4 #chj4 ,rubens 7much restored73 99,christ on the knees of ,our ,lady4 ,a noble composition1 greatly injured4 ,in the foreground kneels the ,magdalen 7her hair falling ungracefully71 with the nails and ,crown of ,thorns4 ,notice always her abundant locks4 ,to the ,r41 ,st4 ,francis1 with the ,stigmata1 bends over in adoration 7a ,franciscan picture74 ,to the ,l41 very fleshy angels 7,antwerp models7 hold the instruments of the ,passion4 ,white sheet and dead flesh in their usual strong combination4 7,painted for the ,franciscan ,capuchins of ,brussels47 ,the ,de ,crayers1 close by1 contrast in the comparative crudity of their colour with the splendid harmonies of the master4 #ejg4 ,paul de ,vos3 ,horse and ,wolves4 ,full of spirit4 #abi4 ,de ,crayer4 ,the ,martyrdom of ,st4 ,blaise4 ,shows him combed with a wool-carder4 ,then flowers1 hunting scenes1 etc41 requiring no comment4 ,now pass through ,room ,,vii4 7with ,italian pictures to be considered later7 and enter ,,corridor ,d4 ,right of door1 nothing that requires comment4 ,left of door1 #bca1 ,janssens3 ,our ,lady appearing to ,st4 ,bruno4 #abe4 ,de ,crayer3 99,assumption of ,st4 ,catherine1 with her wheel and sword4 ,a fine picture1 in which ,de ,crayer approaches very near ,rubens4 ,in the foreground are ,st4 ,augustine with the flaming heart2 ,st4 ,gregory1 habited as ,pope2 ,st4 ,ambrose1 and ,st4 ,jerome1--the four ,doctors of the ,church1 with other saints1 contemplating devoutly the glory of ,st4 ,catherine4 ,r4 and ,l4 of central door1 #acf1 #acg1 good saints1 by ,de ,crayer4 ,beneath them1 excellent landscapes4 ,the remaining pictures in this room can be inspected by the visitor without need for explanation4 ,it is interesting to stand by the balustrade1 here1 above the sculpture gallery1 not only for the general outlook upon the handsome hall1 but also to note how the colour of the ,rubenses stands out at a distance among the other pictures4 ,now1 go on through ,room ,,viii4 to ,corridor ,a41 reaching on the ,l41 ,,room ,v4 containing the ,dutch ,masters4 ,on these1 for the most part1 ,i shall have little to say4 ,their landscapes1 flower-pieces1 and portraits are admirable1 indeed1 but they are of the sort which explain themselves at sight1 and need rather for their appreciation critical faculty than external knowledge4 ,begin on the ,l4 of the door4 #bhb4 ,nicolas ,maes3 ,good portrait of a #agth century lady4 #bfc4 ,leerman's ,crucifixion1 finely executed4 ,near it1 good landscape or flower-pieces1 etc41 by ,cuyp1 ,de ,heem1 and ,isaac van ,ostade4 #ddh4 ,st4 ,pierre at ,louvain4 #ebe4 ,good hunting scene by ,wouwerman4 #bgi4 9999,admirable figure of an old woman fallen asleep over her reading1 by ,nicolas ,maes4 ,above it1 #bhd4 99,good portrait by ,nicolas ,maes4 #bgh4 99,fine portrait by ,luttichuys4 #cjd4 ,van ,mieris3 ,susannah and the ,elders4 ,frankly anachronistic4 #bcc is a fine 99landscape with cattle1 by ,karel du ,jardin4 #adg4 ,van ,delen3 ,excellent architectural piece1 with good 99portraits in the foreground1 painted in later by ,emmanuel ,biset4 ,end ,wall4 #dd4 ,admirable 99portrait by ,bol4 #de4 ,bol3 99,portrait of a lady1 probably wife of the last4 ,on either side #caj1 #caa1 characteristic tavern scenes by ,molinaer4 ,right ,wall4 #cih4 ,one of ,jacob ,ruysdael's finest landscapes1 with ruined tower4 #cii4 ,excellent 99sea piece by ,jacob ,ruysdael1 representing the ,lake of ,haarlem in a storm4 ,good foam4 ,i pass by1 on the same wall1 many meritorious ,dutch works which cannot fail to strike the observer4 #ada4 ,albert ,cuyp3 99,cows4 ,excellent4 #bcb4 99,delicately luminous piece by ,karel du ,jardin1 8,l',avant-garde du ,convoi40 #aec4 ,gerard ,dou3 9999,the artist drawing a ,cupid by lamplight4 ,one of his finest studies in light and shade4 ,it should be looked at long and carefully4 ,on either side of it1 delicate small pieces by ,steen1 ,a4 van ,ostade and ,dietrich4 #dg4 99,good portrait by ,bol4 #bha4 99,portrait by ,maes4 ,fine and audacious in colouring4 ,above it1 #djc1 good ,ruysdael4 ,do not imagine because ,i give little space to the pictures in this room that they are not therefore important4 ,as works of art1 many of them are of the first value2 but they do not require that kind of explanation which it is the particular province of these ,guides to afford4 ,now1 pass through the small passage to ,,room ,,vi4 containing works also by the ,dutch masters1 the finest of which are here exhibited4 ,left of the door4 #cfd4 ,van ,ravestein1 capital portrait4 #bhj4 ,maes3 9999,old woman reading4 #bjf4 ,fruit piece by ,de ,heem4 ,one of his finest4 #dij4 ,van der ,velde1 junior3 ,shipping on the ,zuyder ,zee4 ,the ,dutch interest in the sea begins to make itself felt4 #cde4 ,portraits by ,palamedes1 arranged as a musical party4 #ceb 7old number1 no new number given74 ,molyn the ,elder3 ,town fte by night4 ,good effect of light4 #ccc4 ,admirable 99portrait by ,nicolas ,maes4 #bea and #bej4 ,de ,keyser3 ,two fine portraits of women4 #df4 ,bol3 9999,excellent portrait of ,saskia1 wife of ,rembrandt4 #dfc4 9999,exquisite miniature portrait by ,ter ,burg1 which should be inspected closely4 #cbh4 ,van der ,neer3 ,the ,burning of ,dordrecht4 ,a lurid small piece4 #eja4 ,a4 de ,voys3 ,the ,jolly ,drinker4 ,highly characteristic of ,dutch sentiment4 #ebh4 ,landscape by ,wynants4 ,the other still life and fruit or flower pieces on this wall need no comment4 ,end wall4 #faf4 ,weenix3 ,dutch lady dressing1 with good effects of light and colour4 #bjc4 ,frans ,hals3 9999,portrait of ,w4 van ,heythuysen4 ,one of his finest works4 ,broadly executed1 and full of dash and bravado4 #dif4 ,excellent still life by ,jan ,weenix4 #ebb4 ,de ,witte3 ,fine architectural church interior4 #bbb4 ,above it1 99peacock and other birds by ,hondecoeter1 who painted almost exclusively similar subjects4 ,the solitary feather in the foreground recalls his famous masterpiece at the ,hague4 ,on each side of this1 tolerable portraits by ,van der ,helst4 #cf4 ,fruit and still life by ,van ,beyeren4 #ddd4 99,one of ,jan ,steen's most characteristic pieces of ,batavian humour4 ,a ,dutch lover offering affection's gift1 in the shape of a herring and two leeks1 to a lady no longer in her first youth4 ,behind1 her unconscious husband4 ,the painting of every detail is full of the best ,dutch merits1 and the tone of the whole frankly repulsive4 ,right wall4 #bba4 ,hobbema3 99,the ,wood at ,haarlem4 ,characteristic ,dutch landscape4 #bjb4 ,frans ,hals3 9999,splendid portrait of ,professor ,hoornebeck of ,leyden4 ,extremely vivacious and rapidly handled4 #bbj4 99,one of ,hobbema's most famous mills4 ,above this1 #ai1 ,storm at ,sea1 by ,backhuysen4 #cfh4 ,excellent 9999portrait by ,rembrandt4 #baf4 ,portrait by ,van der ,helst4 ,not in his best manner4 #dde4 ,a very characteristic and excellent ,jan ,steen1 known as 99,the ,rhetoricians--that is to say1 members of a ,literary ,club or ,debating ,society1 one of whom is engaged in reading his prize verses to a not too appreciative audience outside4 ,even here1 however1 ,jan cannot omit his favourite touch of coarse ,dutch love-making1 with a tavern-girl introduced out of pure perversity4 #ceg4 ,paul ,potter3 99,pigs4 ,admirably piggy4 ,end wall4 #bbc4 ,more of ,hondecoeter's unimpeachable 99poultry4 #dh4 ,bol3 99,portrait of a ,mathematician and ,anatomist4 ,one of the painter's masterpieces4 #cfg4 9999,splendid portrait by ,rembrandt 78,l',homme au grand chapeau074 ,an excellent and characteristic example of his art4 ,the light and shade1 the painting of the hair1 and the masterly handling of the robe are all in the great painter's noblest manner4 #djb4 ,capital 99water scene by ,s4 van ,ruysdael3 a ferry on the ,meuse4 #bbd4 ,hondecoeter4 ,more poultry1 this time dead1 with realistic nails1 and other little tricks to catch the great public4 ,left wall 7,r4 of door74 #hh4 ,van der ,capelle3 ,calm sea1 with excellent fishing boats4 ,now1 return through ,corridors ,a4 and ,d4 to ,,room ,,vii4 containing the early ,italian pictures4 ,few of these are of much value1 and as they are not connected with ,flanders or ,brabant1 ,i will not enlarge upon them4 ,right of door1 #fca4 ,an early ,italian ,adoration of the ,magi1 where you may compare the ,three ,kings1 ,joseph with the gift1 the ox and ass1 etc41 with ,flemish examples4 #fca 7left7 is a characteristic example of ,st4 ,francis receiving the stigmata4 ,study it for comparison with the ,rubens at ,ghent1 and others4 #fbh4 ,above is a set of panels containing events in the ,history of ,our ,lady4 ,i give the subjects1 running along the top row first1 with necessary brevity3 ,joachim expelled from the ,temple3 ,warned by the ,angel3 ,anna warned by the ,angel3 ,meeting of ,joachim and ,anna at the ,golden ,gate3 ,birth of the ,virgin3 ,presentation of the ,virgin in the ,temple3 ,the ,nativity3 ,adoration of the ,magi3 ,christ found in the ,temple3 ,miracle at ,cana3 ,raising of ,lazarus3 ,death of the ,virgin1 with ,christ receiving her soul as a new-born baby4 ,all these may be studied as early examples of the subjects they represent4 ,above them1 #fbi and #fcj3 two ,crucifixions of various ages4 #adj4 ,good characteristic ,carlo ,crivelli of 99,st4 ,francis with the stigmata4 #c4 ,adam and ,eve4 ,albani4 ,above it1 a tolerable ,veronese of 99,juno scattering wealth into the lap of ,venice1 ,st4 ,mark's lion beside her4 #adj4 ,beautiful ,carlo ,crivelli of 99,our ,lady and ,child4 ,this picture and the corresponding one opposite are parts of a large altar-piece1 the main portion of which1 a ,piet1 is in the ,national ,gallery in ,london4 #dae4 ,vannuchi 7not ,perugino73 ,leda and the ,swan4 #dab is a good portrait of ,mary of ,austria4 #fcd4 ,a tolerable ,marriage of the ,virgin4 #dgc4 ,tintoretto3 ,portrait of a ,venetian gentleman4 #dgd4 ,another by the same4 ,,room ,,viii4 opposite1 also contains later ,italian pictures1 with a few ,french4 #dgb is a ,martyrdom of ,st4 ,mark1 by ,tintoretto4 #dig is a ,holy ,family by ,paolo ,veronese1 with ,st4 ,theresa and ,st4 ,catherine4 ,the other works in the room do not call for notice4 ,,passage leading into ,,room ,,vi4 ,skied4 #dgg4 ,perugino3 ,madonna and ,child1 with the infant ,st4 ,john of ,florence1 in a frame of ,delia ,robbia work4 ,this is one of the best ,italian pictures in this ,gallery1 but not a good example4 ,near it1 ,school of ,mantegna1 ,christ and ,st4 ,thomas with ,st4 ,john the ,baptist4 ,if you want further information about the pictures in the ,brussels ,gallery1 you will find it in ,lafenestre and ,richtenberger's ,la ,belgique1 in the series of ,la ,peinture en ,europe4 ,illustration3 ,,cathedral ,,of ,,brussels ,d4 ,,the ,,cathedral ,the ,cathedral of ,brussels is dedicated to ,st4 ,gudula or ,ste4 ,gudule1 and to ,st4 ,michael the ,archangel4 ,ste4 ,gudule is a holy person who takes us back to the earlier ages of ,christianity among the ,middle ,franks4 ,she was a member of the family of ,pepin d',heristal1 the kinsman of ,charlemagne1 and she died about #gab4 ,she became a nun at ,nivelles under her aunt1 ,st4 ,gertrude4 ,the only fact of importance known as to her life is that she used to rise early1 in order to pay her devotions at a distant church1 whither she guided her steps by the aid of a lantern4 ,satan frequently extinguished this light1 desiring to lead her feet astray1 but the prayers of the saint as often rekindled it4 ,hence she is usually represented carrying a lantern1 with the devil beside her1 who endeavours to blow it out4 ,in the #ajth century1 the body of ,ste4 ,gudule was brought to ,brussels from ,morseel2 and in the #aath 7#ajdg71 ,lambert1 ,count of ,louvain1 built a church on this site above it3 but the existing building1 still containing the body of the saint1 was not begun till #abbj4 ,more important1 however1 than ,ste4 ,gudule1 in the later history of ,brussels ,cathedral1 is the painful medival incident of the ,stolen ,hosts4 ,the ,jew-baiting of the #adth century led to a story that on ,good ,friday1 #acgj1 certain impious ,jews had stolen #af consecrated ,hosts from the ,cathedral1 and sacrilegiously transfixed them with knives in their synagogue4 ,the ,hosts miraculously bled1 which so alarmed the ,jews that they restored them to the altar4 ,their sacrilege was discovered by the aid of an accomplice1 and on this evidence several ,jews were burned alive1 and the rest banished from ,brabant for ever4 ,a chapel on the site of the synagogue still commemorates the event1 and the ,miracle of the ,hosts 7as it is called7 gives rise to several works of art now remaining in the ,cathedral4 ,an annual ceremony 7on the ,sunday after the #aeth of ,july7 keeps green the memory of the miraculous bleeding3 the identical wafers are then exhibited4 ,visit the interior between #ab and #d1 when the doors are closed1 but will be opened for you by a sacristan in the ,south ,portal1 at a charge of #ej c4 per head4 ,you will then be able to inspect the whole place peaceably at your leisure4 ,take your opera-glasses4 ,approach the ,cathedral1 if possible1 from the direction of the ,grand' ,place4 ,it is built so as to be first seen from this side1 and naturally turns its main ,west ,front towards the older city4 ,go to it1 therefore1 by the street known as the ,rue de la ,montagne and the short 7modern7 ,rue ,ste4 ,gudule1 which lead straight up to the handsome 7recent7 staircase and platform4 ,the building loses much by being approached sideways1 as is usually the case1 from the ,upper ,town1 which did not exist at all in this direction when the ,cathedral was built4 ,consider it in relation to the nucleus in the valley4 ,first examine the exterior4 ,the accompanying rough plan will sufficiently explain its various portions4 ,the faade has two tall towers1 and a rather low gable-end1 with large ,west ,window4 ,in style1 it approaches rather to ,german than to ,french ,gothic4 ,over the ,principal ,entrance are 7restored7 figures of the ,trinity1 surrounded by angels1 with the ,twelve ,apostles1 each bearing his symbol or the instruments of his martyrdom4 ,below1 on the central pillar1 the ,three ,magi1 the middle one a ,moor4 ,high up on the gable-end is the figure of ,ste4 ,gudule1 the human patron1 with the ,devil endeavouring to extinguish her lantern4 ,above her is the other and angelic patron1 ,st4 ,michael4 7,these two figures also occur on the middle of the carved wooden doors47 ,at the sides1 two bishops1 probably ,st4 ,gry and ,st4 ,amand4 ,though the sculpture is modern1 it is of interest from the point of view of symbolism4 ,the left portal has ,st4 ,joachim1 ,st4 ,anne1 and the education of the ,virgin4 ,the right portal has ,st4 ,joseph and ,our ,lady with the ,divine ,infant4 99 99 99 99 99 ,now1 go round the building to the ,r41 to observe its arrangement4 ,you pass first the chapels or bays of the ,s4 ,aisle1 with weather-beaten sculpture1 and then reach the slightly projecting ,south ,transept4 ,beyond the ,south ,portal1 the ,choir is hidden by the addition of a large projecting chapel 7that of ,notre-,dame-de-,dlivrance71 whose architecture will be better understood from the interior4 ,at the ,east ,end1 you get a good view of the ,gothic ,choir and ,apse1 with its external chapels and flying buttresses4 ,the extreme ,east point is occupied by the ugly little hexagonal rococo ,chapel of the ,magdalen1 a hideous addition of the #ahth century4 ,still passing round in the same direction1 you arrive at a second projecting ,chapel 7du ,saint ,sacremnt71 which balances the first4 ,the best general view is obtained from the ,north ,side1 taking in the beautiful porch of the ,north ,transept4 7,the handsome ,louis ,,xvi4 building opposite is the ,banque ,nationale47 99 99 99 99 99 ,the ,cathedral as an interior is disappointing4 ,it contains no pictures of any importance1 and its architecture is less striking within than without4 ,the stained glass1 indeed1 is famous2 none of it1 however1 is medival4 ,the best windows date only from the ,high ,renaissance2 the remainder are #agth century or modern4 99 99 99 99 99 ,walk first into the centre of the ,church1 where you can gain a good idea of the high ,choir1 with its ,apse and ,triforium of graceful ,early ,gothic architecture1 as well as of the short ,transepts1 the two additional chapels1 ,r4 and ,l41 the ,nave and single ,aisles1 and the great west window4 99 99 99 99 99 ,now1 begin the tour of the church with the ,south ,aisle1 to the ,l4 as you enter4 ,the glass here is modern4 ,it represents the story of the ,stolen ,hosts1 some of the subjects being difficult to decipher4 ,we see the ,jew bribing a ,christian1 who removes the ,hosts in a monstrance3 then the ,christian departing from the ,jewish ,synagogue with his ill-gotten gains4 ,the third window ,i do not understand4 ,after that1 we see the ,jews betrayed by one of their number2 the ,miracle of the ,blood1 with their horror and astonishment2 the ,recovery of the ,hosts2 and in the ,north ,aisle1 their ,return to the ,church in procession1 and the various miracles afterward wrought by them4 ,i cannot pretend to have deciphered all these accurately4 ,the ,nave has the usual ,flemish figures of the ,twelve ,apostles set against the piers1 most of them of the #agth century4 ,the great west window has the ,last ,judgment1 by ,floris1 a poor composition1 overcrowded with indistinguishable figures4 99 99 99 99 99 ,the pulpit1 by ,verbruggen1 is one of the usual unspeakable abominations of seventeenth century wood-carving4 ,below are ,adam and ,eve driven from ,paradise3 above1 on the canopy1 the ,virgin and ,infant ,saviour wound the serpent's head with the cross3 the ,tree of ,life1 supporting the actual platform1 gives shelter to incredible birds and animals4 ,this ugly object was made for the ,jesuits' ,church at ,louvain1 and given to the ,cathedral by ,maria ,theresa on the suppression of the ,society of ,jesus4 99 99 99 99 99 ,return to the ,transepts4 ,the window in the ,north ,transept represents ,charles ,v41 kneeling1 attended by his patron1 ,charlemagne1 who was a canonized saint1 but who bears the sword and orb of empire4 ,behind him1 ,charles's wife ,isabella1 with her patroness1 ,st4 ,elizabeth of ,hungary1 holding the crown4 ,this window1 erected in #aech1 from designs by ,bernard van ,orley1 was the gift of the ,emperor4 ,that in the ,south ,transept represents the ,holy ,trinity1 with ,king ,louis of ,hungary kneeling in adoration1 attended by his patron1 ,st4 ,louis of ,france4 ,behind him is his ,queen1 ,marie 7sister of ,charles ,v471 with her patron1 the ,blessed ,virgin4 ,this window also is by ,van ,orley4 99 99 99 99 99 ,now1 enter the ,chapel by the ,north ,transept1 that of the ,holy ,sacrament1 erected in #aece-ci1 in honour of the ,miraculous 7,stolen7 ,hosts1 which are still preserved here1 and which are carried in procession annually on the ,sunday following the #aeth of ,july4 ,the windows in this chapel1 each of which bears its date above1 were placed in it immediately after its erection1 and are the best in the ,cathedral4 ,they exhibit the style of the ,transitional ,renaissance4 ,each window shows1 above1 the story of the ,stolen ,hosts1 with1 below1 the various donors and their patrons4 ,first window as you enter3 ,above1 the ,bribery3 below1 ,king ,john ,,iii4 of ,portugal with his patron1 ,st4 ,john-,baptist2 and ,queen ,catherine1 his wife 7sister of ,charles ,v471 with her patron1 ,st4 ,catherine1 holding her sword of martyrdom and trampling on the tyrant ,maximin3 7all by ,michael ,coxcie74 ,second window3 above1 the ,hosts insulted in the ,synagogue3 below1 ,louis of ,hungary1 with his patron1 ,st4 ,louis2 and ,marie1 his wife 7sister of ,charles ,v471 with her patroness1 ,our ,lady 7,coxcie74 ,third window3 above1 same subject as in the #crd of the ,s4 ,aisle--perhaps the attack on the ,jews3 below1 ,francis ,i4 of ,france1 with his patron1 ,st4 ,francis1 receiving the ,stigmata2 behind him1 ,eleonora1 his wife 7sister of ,charles ,v471 with her patroness1 ,st4 ,helena 7,bernard van ,orley74 ,fourth window3 above1 ,denunciation of the ,jews3 below1 ,ferdinand1 brother of ,charles ,v41 with his patron1 ,st4 ,ferdinand2 and his wife1 ,anne1 with her patron1 ,st4 ,anna 7,bernard van ,orley74 ,the end window represents the ,adoration of the ,holy ,sacrament1 and of the ,lamb that was slain1 in a composition suggested by the ,van ,eyck at ,ghent4 ,below1 to the ,l4 are an ,emperor and ,empress 7,charles ,v4 and ,isabella71 a king and queen1 and other representatives of the world secular3 to the ,r4 are a pope1 a cardinal1 bishops1 prophets1 and other representatives of the church or the world ecclesiastical4 99 99 99 99 99 ,now1 proceed to the opposite chapel1 by the ,s4 ,transept1 that of ,our ,lady of ,deliverance 7,notre-,dame de ,dlivrance74 ,this chapel was erected in #afdi-ec1 to balance that in the ,n4 ,transept4 ,its windows1 made after designs by ,van ,thulden1 in #afef1 represent the continued decadence of the art of glass-painting4 ,the subjects are taken from the ,history of ,our ,lady1 above1 with the donors and their patrons1 princes of the ,house of ,austria1 below4 ,unlike the last1 the subjects here begin at the inner end1 near the altar4 ,first window3 the ,presentation of ,our ,lady in the ,temple4 ,she mounts the steps to the ,high ,priest3 below are ,st4 ,joachim and ,st4 ,anna4 ,second window3 ,the ,marriage of the ,virgin4 ,third window3 ,the ,annunciation1 with the ,angel ,gabriel and the ,dove descending in a glory4 ,fourth window3 ,the ,visitation of ,mary to ,elizabeth3 the figure of ,mary1 in its odd hat1 taken from the ,rubens in ,antwerp ,cathedral4 ,the ,austrian ,princes and ,princesses below1 in the insipid taste of the #agth century1 have commemorated their own names so legibly on the bases that ,i need not enumerate them4 99 99 99 99 99 ,now1 return to the ,n4 ,transept1 to make the tour of the ,ambulatory4 ,at the entrance to the ,apse1 ,l41 is a colossal statue of the patroness1 ,ste4 ,gudule1 with the ,devil under her feet4 ,the stained glass of the ,apse is good modern4 ,notice the fine pillars to your right4 ,the hexagonal rococo ,chapel of ,st4 ,mary ,magdalen1 at the end of the ,apse1 has modern windows of1 ,l4 and ,r41 the two patrons1 ,st4 ,michael and ,ste4 ,gudule1 the latter with the lantern and ,devil3 and1 ,centre1 the ,trinity4 ,exit from the ,apse3 ,l41 gilded statue of the other patron1 ,st4 ,michael1 to balance the ,ste4 ,gudule4 ,beside it1 curious wooden ,easter ,sepulchre1 with ,nicodemus1 ,joseph of ,arimathea1 the ,mater ,dolorosa1 and the ,maries4 ,above it1 the ,risen ,christ1 with ,roman soldiers on the pediment4 ,fine view from near this point of the ,choir and ,transepts4 99 99 99 99 99 ,the high ,choir has in its ,apse stained-glass windows 7use your opera-glass71 representing ,our ,lady1 and the patron saints1 with various kings and queens in adoration 7middle of the #afth century74 ,the portraits are 7#a7 ,maximilian and ,mary of ,burgundy3 7#b7 ,philippe le ,beau1 their son1 with his wife1 ,johanna the ,mad1 of ,castille3 7#c7 ,charles ,v4 and his brother ,ferdinand1 sons of ,philippe3 7#d7 ,philip ,,ii4 of ,spain1 son of ,charles ,v41 with his second wife4 ,the architecture here is ,early ,gothic and interesting4 ,e4 ,,the ,,upper ,,town ,from the ,grand' ,place1 two main lines of streets lead towards the ,upper ,town4 ,the first1 which we have already followed1 runs straight to the ,cathedral2 the second1 known as the ,rue de la ,madeleine and then as the ,montagne de la ,cour1 mounts the hill to the ,place ,royale4 ,the city of the merchants lay about the ,htel-de-,ville1 the ,senne1 and the old navigation4 ,the town and court of the ,counts of ,louvain and ,dukes of ,brabant clustered about the ,castle on the high ground overlooking the ,lower ,city4 ,on this hill1 the ,caudenberg1 the ,counts of ,louvain built their first palace1 close to what is now the ,place ,royale4 ,their castle was burnt down in #agca1 but the neighbourhood has ever since been the seat of the ,belgian court for the time being--,burgundian1 ,austrian1 ,dutch1 or ,coburger4 ,all this quarter1 however1 has been so greatly altered by modern 8improvements0 that scarcely a relic of antiquity is now left in it1 with the exception of a few medival churches4 ,in spite of the competition of the ,central or ,inner ,boulevards1 the ,montagne de la ,cour1 which mounts directly from the ,grand' ,place to the ,cour 7the residence of the ,dukes or afterwards of the ,emperors and the ,austrian ,viceroys71 still remains the principal street for shopping in ,brussels4 ,it takes one straight into the ,place ,royale1 one of the finest modern squares in ,europe1 occupying in part the site of the old ,castle4 ,its centre is filled by the famous 99statue of ,godfrey de ,bouillon by ,simonis3 the great ,crusader is represented on horseback1 waving his banner1 and crying his celebrated cry of 8,dieu le veut60 ,the unimpressive ,church1 with ,corinthian pillars1 a crude fresco in the pediment1 and a green cupola1 which faces you as you enter1 is ,st4 ,jacques sur ,caudenberg4 ,to ,r4 and ,l4 you open up vistas of the ,rue de la ,rgence and the ,rue ,royale4 ,the former is closed by the huge mass of the new ,palais de ,justice4 ,the latter ends in the great domed church of ,ste4 ,marie de ,schaerbeck4 ,in order to gain a proper conception of the ,upper ,town1 one of the best-arranged in ,europe1 you must take the ,place ,royale and the ,ancienne ,cour 7just below it7 as your starting-point4 ,the ,place1 the ,park1 and the streets about them were all laid out1 under ,austrian rule1 at the end of the #ahth century 7#aggd7 by the architect ,guimard1 who thus made ,brussels into the handsome town we now see it4 ,turning to the ,r4 from the ,place ,royale1 towards the ,rue de la ,rgence1 you come first to the gateway of a courtyard1 guarded by sentinels4 ,disregarding these1 push past them into the court as if the place belonged to you4 ,the quadrangle you have entered is the site of the old ,palace of the ,dukes of ,brabant1 for which the present building1 known as the ,ancienne ,cour1 was substituted by the ,austrian ,stadtholders in #agca after the great fire4 ,the first building to your ,l4 is occupied by the ,royal ,museum and ,library4 ,the portion of the building at the end of the court1 in a semi-circular recess1 contains the ,,modern ,,picture ,,gallery 7open daily from #aj to #d1 free74 ,in this gallery are collected the chief works of the modern ,belgian ,school of ,painters1 which the tourist should not omit to study1 but a full description of which lies wholly outside the scope of these ,guide ,books4 ,this modern ,belgian ,school was started in ,antwerp1 after the ,revolution of #ahcj4 ,it answered at first to the romantic movement in ,france 7headed by ,delaroche1 ,gricault1 and others37 but the ,belgian painters dealt mainly in historical pictures drawn from the struggles for liberty in their own country4 ,the most distinguished of these 8romantic0 ,belgian artists were ,louis ,gallait and ,edouard de ,bifve1 whose chief national works are to be seen in this gallery4 ,though they belong to a type which now strikes us as mannered and artificial1 not to say insipid1 they may help to impress historical facts on the spectator's memory4 ,a very different side of the national movement will meet us at ,antwerp4 ,the later ,belgian ,school has been gradually swamped by ,parisian tendencies4 ,returning to the ,place ,royale1 and continuing along the ,rue de la ,rgence1 the first building on the ,l4 closed with a grille1 is the ,palace of the ,comt de ,flandre4 ,nearly opposite it 7with four granite pillars7 is the ,palais des ,beaux-,arts1 containing the ,ancient ,pictures 7already noticed74 ,further on to the ,r4 we arrive at the church of ,notre-,dame-des-,victoires 78glise du ,sablon071 to be described in detail hereafter4 ,the pretty and coquettish little garden on the ,l4 is the ,square or ,place du ,petit ,sablon4 ,it contains a modern monument to ,counts ,egmont and ,hoorn1 the martyrs of ,belgian freedom1 by ,fraikin1 and is worth a visit4 ,the little statuettes on the parapet of the square represent artisans of the old ,guilds of ,brussels4 ,the building at the back of the ,place is the ,palace of the ,duke d',arenberg3 its central part was ,count ,egmont's mansion 7erected #aedh74 ,further on1 to the ,l41 come the handsome building of the ,conservatoire de ,musique and then the ,jewish ,synagogue4 ,the end of the street is blocked by the gigantic and massive faade of the new ,palais de ,justice1 one of the hugest buildings of our period1 imposing by its mere colossal size and its almost ,egyptian solidity1 but not architecturally pleasing4 ,the interior need not trouble you4 99 99 99 99 99 ,northward from the ,place ,royale1 again1 stretches the ,rue ,royale1 along which1 as we walk1 we have ever before us the immense gilt dome of ,ste4 ,marie de ,schaerbeck4 ,this fine street was admirably laid out in #aggd by the architect ,guimard1 who was the founder of the modern plan of ,brussels4 ,it is a fine promenade1 along the very edge of the hill1 beautifully varied1 and affording several attractive glimpses over the earlier town by means of breaks in the line of houses1 left on purpose by ,guimard1 some of which have1 however1 been unfortunately built up4 ,starting from the ,place ,royale1 we have first1 on our ,r41 the ,htel ,bellevue2 beyond which1 round the corner1 facing the ,park1 extends the unprepossessing white faade of the ,king's ,palace 7#ahth century1 rebuilt74 ,then1 again on the ,r41 we arrive at the pretty little ,park1 laid out by ,guimard in #aggd1 on the site of the old garden of the ,dukes of ,brabant4 ,this is a pleasant lounging-place1 animated in the afternoon1 when the band plays4 ,it contains ponds1 sculpture1 nursemaids1 children1 and one of the principal theatres4 ,continuing still northward1 we pass the ,statue of ,belliard1 in the first break1 and then the ,montagne du ,parc1 ,l41 leading direct to the ,lower ,town4 ,at the end of the ,park1 the ,rue de la ,loi runs ,r41 eastward1 towards the ,exhibition ,buildings4 ,the great block of public offices in this street1 facing the ,park1 includes the ,chamber of ,representatives 7,palais de la ,nation7 and the principal ,ministries4 ,beyond these we get1 on the ,l41 a glimpse of the ,cathedral1 and on the ,r4 a number of radiating streets which open out towards the fashionable ,quartier ,lopold4 ,then1 on the ,l41 we arrive at the ,place du ,congrs with its ,doric column1 commemorating the ,congress which ratified the ,independence in #ahca4 ,it can be ascended 7#aic steps1 spiral7 for the sake of its admirable 99view1 the best general outlook to be obtained over ,brussels4 7,a few sous should be given to the guardian47 ,the prospect from the summit 7morning light best7 will enable you to identify every principal building in the city 7good map by ,kiessling1 #gb1 ,montagne de la ,cour74 ,continuing our route1 the street to the ,r4 leads to the little ,place de la ,libert4 ,beyond this1 the ,rue ,royale goes on to the ,outer ,boulevards1 and finally ends at ,ste4 ,marie de ,schaerbeck1 a gigantic modern ,byzantine church1 more splendid than beautiful1 but a good termination for an afternoon ramble4 99 99 99 99 99 ,the ,outer ,boulevards of ,brussels1 which ring round the original #adth century city1 have now been converted into magnificent promenades1 planted with trees1 and supplied with special lanes for riders4 ,these ,boulevards1 perhaps the handsomest in the world1 replace the ancient walls1 erected in #aceg-acgi1 when the town had already reached such considerable limits4 ,most of what is interesting or important in ,brussels is still to be found within the irregular pentagonal ring of the ,boulevards4 ,a pleasant way of seeing the whole round is to take the electric tram1 from the ,gare du ,nord1 by the ,upper ,boulevards1 to the ,gare du ,midi4 ,you first mount the steep hill1 with the ,botanical ,gardens on your ,l41 backed by the extensive hot-houses4 ,the line then crosses the ,rue ,royale1 looking ,l4 towards ,ste4 ,marie de ,schaerbeck1 and ,r4 towards the ,place ,royale4 ,as you turn the corner1 you have on your ,l4 a small triangular garden1 and on your ,r4 the circular ,place des ,barricades1 with a statue of the great anatomist ,vesalius1 physician to ,charles ,v41 and an indirect victim of the ,inquisition4 ,the rail then bends round the ,boulevard du ,rgent1 with glimpses 7to the ,r47 of the ,park1 and 7to the ,l47 of the ,squares in the ,quartier ,lopold4 ,you next pass1 ,r41 the ,palais des ,acadmies1 in its neatly kept garden1 beyond which you arrive at the private gardens of the ,royal ,palace and the ,place du ,trne4 ,hence you continue to the ,place de ,namur and the ,fontaine de ,brouckere1 and continue on to the ,place ,louise1 at which point the open ,avenue ,louise leads direct to the pleasant ,bois de la ,cambre4 ,the ,boulevard de ,waterloo carries you on to the ,porte de ,hal1 the only one of the old gateways still standing4 ,this is a massive fortress of irregular shape1 built in #acha1 and it was used by the ,spanish authorities in the time of ,alva as the ,bastille of ,brussels4 ,the interior 7open free1 daily7 contains a fine winding staircase and a small collection of arms and armour1 with a little ,ethnographical ,museum1 which is worth ten minutes' visit in passing4 ,hence1 the ,boulevard du ,midi conducts you straight to the ,gare du ,midi1 from which point you can return1 on foot or by tram1 through the ,inner ,boulevards or diagonally through the old town1 to your htel4 99 99 99 99 99 ,the remainder of the ,outer ,boulevards1 leading from the ,gare du ,midi to the ,gare du ,nord by the western half of the town1 is commonly known as the ,lower ,boulevards1 7,note the distinction of ,upper1 ,lower1 and ,inner47 ,it passes through a comparatively poor quarter1 and is much less interesting than the other half4 ,the only objects of note on its circuit are the slaughter houses and the basins of the canal4 ,nevertheless1 a complete tour of the ,boulevards1 ,upper1 ,lower1 and ,inner1 will serve to give you a better general conception of ,brussels within the old walls than you can otherwise obtain4 99 99 99 99 99 ,i cannot pretend in this ,guide to point out all the objects of interest in ,modern ,brussels1 within this great ring4 ,speaking generally1 the reader will find pleasant walks for spare moments in the quarter between the ,rue ,royale or the ,rue de la ,rgence and the ,upper ,boulevards4 ,this district is high1 healthy1 and airy1 and is chiefly given over to official buildings4 ,on the other hand1 the quarter between these two streets and the ,inner ,boulevards1 especially southward about the ,place ,st4 ,jean and the ,rue de l'tuve1 leads through some interesting portions of #agth century and #ahth century ,brussels1 with occasional good domestic architecture4 ,the district lying ,w4 of the ,inner ,boulevards is of little interest1 save in its central portion already indicated4 ,it is the quarter of docks1 entrepts1 and the more squalid side of wholesale business4 99 99 99 99 99 ,the immense area of ,brussels outside the ,outer ,boulevards ,i cannot pretend to deal with4 ,pleasant walks may be taken at the ,e4 end of the town about the ,chausse de ,louvain1 the ,square ,marie-,louise1 the ,exhibition ,grounds1 the ,parc ,lopold 7near which is the too famous ,muse ,wiertz71 and the elevated land in the eastern quarter generally4 ,the ,bois de la ,cambre1 the true park of ,brussels1 makes a delightful place to walk or drive in the afternoon1 especially on ,sundays4 ,it somewhat resembles the ,bois de ,boulogne1 but is wilder and prettier4 ,perhaps the most satisfactory way of visiting it is to take the tram to the gate of the wood1 and then walk through it4 99 99 99 99 99 ,there are three other churches1 beside the ,cathedral1 in the neighbourhood of the ,place ,royale1 which you may go to see1 if you have plenty of time left1 but which you need not otherwise trouble about4 ,the three can be easily combined in a single short round4 ,go down the ,montagne du ,parc1 and take the first turning to the ,l41 ,rue des ,douze ,aptres1 which will bring you direct to the little ,chapelle de l',expiation1 erected in #adcf1 on the site of the synagogue where the ,stolen ,hosts were profaned1 and in expiation of the supposed crime4 ,the exterior of the building has been modernized1 and indeed the whole is of little interest1 save in connection with the ,cathedral and the ,stolen ,hosts2 but a glance inside is not undesirable4 ,the interior1 flamboyant ,gothic1 is thoroughly well decorated throughout1 in modern polychrome1 with scenes from the ,gospel ,history4 ,the ,apse has good modern stained-glass windows1 and frescoes of angels holding the instruments of the ,passion4 ,it is separated from the ,nave by a high ,rood-,loft1 without a screen4 ,modern taste has here almost entirely ignored the painful and malicious story of the ,stolen ,wafers4 ,now1 continue down the ,rue des ,sols as far as the ,rue de l',impratrice 7where a slight dtour to the ,r4 takes you in front of the ,universit ,libre1 a large and somewhat imposing1 but uninteresting building74 ,continue rather to the ,l4 down the ,rue de l',impratrice1 crossing the ,montagne de la ,cour1 into the ,rue de l',empereur and the ,rue d',or1 till you arrive at the ,place de la ,chapelle1 containing the church of ,notre-,dame de la ,chapelle--after the ,cathedral1 the finest medival church of ,brussels4 ,the exterior has lately 7alas67 been quite too much restored4 ,it shows a fine ,nave and ,aisles of the #aeth century1 and a much lower and very beautiful ,choir of the #acth century1 with some ,romanesque details of an earlier building 7#ajth century87 ,walk once round the church1 to observe the exterior architecture4 ,the ,west ,front is massive rather than beautiful4 ,the sculpture over the door 7the ,trinity with angels1 and ,our ,lady7 is modern4 ,over the southern portal is a modern relief1 in a ,romanesque tympanum1 representing the ,coronation of ,our ,lady by ,god the ,father and the ,son4 ,the ,romanesque and transitional work of the beautiful low ,choir and ,apse has unfortunately been over-restored4 ,the interior1 with its fine ,nave and ,aisles1 is impressive1 especially as you look from the centre down towards the ,west end4 ,the round pillars of the ,nave are handsome1 and have the usual figures of the ,twelve ,apostles4 ,the pulpit is one of the familiar #agth century monstrosities1 with palms1 and ,elijah in the ,wilderness4 ,the interior of the pretty little ,apse has been so completely modernized as to leave it little interest4 ,there are a few good pictures of the ,school of ,rubens 7,de ,crayer1 ,van ,thulden1 etc474 ,on emerging from the church1 follow the tramway line up the hill to the market-place of the ,grand ,sablon4 ,good views in every direction as you enter the ,place4 ,the square is animated on ,fridays and ,sundays1 when markets are held here4 ,pass through the market-place1 which contains an absurd #ahth century monument1 erected by a ,marquis of ,ailesbury of the period1 in gratitude for the hospitality he had received from the citizens of ,brussels1 and continue on to the ,rue de la ,rgence1 passing on your ,r4 the beautiful ,apse of the church of ,notre-,dame-des-,victoires1 now unhappily in course of restoration4 ,the entrance is in the ,rue de la ,rgence1 and the church is not oriented4 ,notre-,dame-des-,victoires1 or ,notre-,dame du ,sablon1 was founded in #acjd by the ,guild of ,crossbowmen2 but the existing late-,gothic building is almost entirely of the #aeth and #afth centuries4 ,it has been over-restored in parts1 and the beautiful crumbling exterior of the ,apse is now threatened with disfigurement4 ,the interior is pleasing4 ,over the ,main ,entrance1 within1 is a curious ex voto of a ship1 in commemoration of the arrival of a sacred image1 said to have floated miraculously by sea4 ,the first chapel to your ,l4 as you enter has a 99tomb of ,count ,flaminio ,gamier1 secretary to the ,duke of ,parma1 partly restored1 but with fine original alabaster reliefs of the early ,renaissance1 representing the ,history of the ,virgin4 ,the series begins below3 7#a7 ,meeting of ,joachim and ,anna at the ,golden ,gate2 7#b7 ,the ,birth of the ,virgin2 7#c7 ,the ,presentation of the ,virgin in the ,temple4 ,then1 above3 7#d7 ,annunciation2 note the relative positions of the angel and ,our ,lady1 the lily1 the prie-dieu1 and the loggia in the background2 7#e7 the ,visitation1 with the usual arch2 and 7#f7 the ,presentation of ,christ in the ,temple4 ,the ,apse has restored figures of saints 7named7 in imitation of those which were discovered in ruined fresco during the restoration4 ,they are a good typical collection of the saints most venerated in the ,low ,countries in the ,middle ,ages4 ,the ,nave has the usual figures of ,apostles1 named1 and a small open ,triforium just below the ,clerestory4 ,the ,pulpit has on its face a medallion of ,our ,lady2 ,r4 and ,l41 ,moses and ,st4 ,augustine4 ,below1 the four beasts of the ,evangelists4 ,you need not trouble about any other special building in ,brussels2 but you may occupy yourself pleasantly with many walks through all parts of the city4 99 99 99 99 99 ,you are now in a position to understand the growth and spread of ,brussels4 ,from the very beginning1 the merchant town occupied the valley1 while the capital of the ,counts1 ,dukes1 or ,sovereigns spread over the hill1 in the neighbourhood of what are still significantly called the ,montagne de la ,cour and the ,place ,royale4 ,to this day the two contrasted parts of the city are broadly distinct4 ,the valley speaks ,flemish2 the mountain1 ,french4 ,in the valley stand all the municipal and mercantile buildings--the ,htel-de-,ville1 the ,bourse1 the ,post-,office1 the markets1 and the principal places of wholesale business4 ,on the hill stand the ,royal ,palace1 the ,government ,offices1 the ,legislative ,body1 the ,ministries1 the ,palais de ,justice1 and the whole of the ,national ,museums and collections4 ,from this point of view again1 in our own day1 the valley is municipal1 and the hill national4 ,the contrasted aspects of the ,inner ,boulevards and the ,rue de la ,rgence well mark the difference4 ,in the valley1 you will find1 once more1 the hotels of commerce and of the passing traveller2 on the hill1 those frequented by ambassadors and the wealthier class of foreign tourists4 ,near the ,place ,royale were situated the houses of the old ,brabant nobility1 the ,egmonts and the ,cuylenburgs2 as at the present day are situated those of the ,arenbergs and the ,de ,chimays4 ,historically1 the spread of the town from its centre began towards the ,castle of the ,counts of ,louvain and ,dukes of ,brabant1 in the ,ancienne ,cour1 now occupied by the ,royal ,library and the ,modern ,picture ,gallery1 as well as towards the ecclesiastical quarter of the ,cathedral and the ,chancellerie4 ,the antiquity of this portion of the ,upper ,town is well marked by the continued existence of the medival churches of ,notre-,dame de la ,chapelle1 ,notre-,dame-des-,victoires1 and the ,chapelle de l',expiation4 ,under the ,burgundian princes1 ,brussels ranked second to ,ghent and ,bruges2 but after the ,hapsburgs obtained possession of the ,low ,countries1 it was made the principal residence of the sovereigns in their western domains4 ,charles ,v4 inhabited it as one of his chief capitals4 ,under ,philip ,,ii4 of ,spain1 it became the official residence of the ,stadtholder of the ,netherlands2 and ,margaret of ,parma1 who bore that office1 held her court in the old ,palace4 ,from that time forth ,brussels was recognised as the common capital of the southern ,low ,countries4 ,the ,austrian ,stadtholders habitually lived here2 and when1 after the ,napoleonic upheaval1 ,belgium and ,holland were united into a single kingdom1 ,brussels was made the alternative capital with ,amsterdam4 ,by the time that ,belgium asserted her independence in #ahcj1 ,brussels had thus obtained the prescriptive right to become the seat of government of the new nation4 ,the old ,palace had been burnt down in #agca1 and the outer wings of the existing ,palace were built by the ,austrians shortly after4 ,it was they1 too1 who laid out the ,rue ,royale and ,place ,royale1 with the ,park and its surroundings1 as we still see them at the present day4 ,to the ,austrian rulers are also due the ,parliamentary ,buildings3 but the ,palais des ,acadmies was built under ,dutch rule in #ahbi4 ,since #ahcj the town has been greatly beautified and improved4 ,the ,inner ,boulevards have been opened through the labyrinth of streets in the old centre3 the ,palais de ,justice has been built1 the ,quartier ,lopold has grown up1 and great edifices have been erected at ,schaerbeck and elsewhere on the outskirts4 ,at the present day1 of ,brussels within the ,boulevards1 the ,hill ,district is governmental and fashionable2 the ,central ,district1 municipal and commercial3 the ,western ,district contains the markets1 basins1 canals1 and wholesale business side of the city4 ,without the ,boulevards1 ,fashion has spread eastward towards the ,bois de la ,cambre and the ,parc ,lopold4 ,the poorer districts run southward and westward4 ,but every part of the city is amply provided with wide thoroughfares and open breathing-spaces4 ,in this respect1 ,brussels is one of the best-arranged cities in ,europe4 ,f4 ,,surroundings ,the only excursion of interest in the immediate neighbourhood of ,brussels is that to ,laeken 7recommended71 which may be taken by tram from the ,inner ,boulevards1 the ,gare du ,nord1 the ,gare du ,midi1 ,bourse1 etc4 ,cars run every #aj minutes4 ,the modern ,church of ,st4 ,mary at ,laeken is a handsome unfinished building4 ,a little to the ,r4 lie the ,park and the ,royal ,chteau1 inaccessible and unimportant4 ,the road behind the church ascends the ,montagne du ,tonnerre1 a little hill with a ,monument to ,lopold ,i41 not unlike the ,albert ,memorial in ,london4 ,a good 99view of ,brussels is obtained from the summit of the monument1 ascended by a winding staircase4 7,no fee47 ,the easiest way to make this excursion is by carriage in the afternoon4 ,unless you are a military man or a student of tactics1 ,i do not advise you to undertake the dull and wearisome excursion to ,waterloo4 ,the battle-field is hot and shade-less in summer1 cold and draughty in spring and autumn4 ,the points of interest1 such as they are1 lie at considerable distances4 ,waterloo is country1 and ugly country--no more4 ,the general traveller who desires to be conducted round the various strategic landmarks of the field will find his wants amply catered for by ,baedeker4 ,but ,i advise him to forego that foregone disappointment4 ,the time saved by not visiting ,waterloo may1 however1 be well devoted to a morning excursion to ,,louvain4 ,this ancient and important town1 which should be visited both on account of its magnificent ,htel-de-,ville1 and in order to make a better acquaintance with ,dierick ,bouts1 the town painter1 can be conveniently reached by train from the ,gare du ,nord4 ,the best trains take little more than half an hour to do the journey4 ,a single morning is sufficient for the excursion1 especially if you start early4 ,wednesday is the most convenient day1 as a quick train then returns about #a4cj4 7,consult ,bradshaw47 ,lunch can be obtained 7good7 in the large white building on the left-hand side of the ,htel-de-,ville4 7,it is a private club1 but contains a public restaurant1 on the ,r41 within1 to which1 push through boldly47 ,if you have ,conway1 take him with you on this excursion1 to compare the doubtful ,roger van der ,weyden at ,st4 ,pierre with the woodcut he gives of its supposed original at ,madrid4 ,read before you start 7or on the way7 his admirable accounts of ,roger van der ,weyden and ,dierick ,bouts4 ,louvain is1 in a certain sense1 the mother city of ,brussels4 ,standing on its own little navigable river1 the ,dyle1 it was1 till the end of the #adth century1 the capital of the ,counts and of the ,duchy of ,brabant4 ,it had a large population of weavers1 engaged in the cloth trade4 ,here1 as elsewhere1 the weavers formed the chief bulwark of freedom in the population4 ,in #acgh1 however1 after a popular rising1 ,duke ,wenseslaus besieged and conquered the city2 and the tyrannical sway of the nobles1 whom he re-introduced1 aided by the rise of ,ghent or1 later1 of ,antwerp1 drove away trade from the city4 ,many of the weavers emigrated to ,holland and ,england1 where they helped to establish the woollen industry4 ,during the early ,middle ,ages1 ,louvain was also celebrated for its ,university1 founded in #adbf1 and suppressed by the ,french in #agig4 ,it was re-established by the ,dutch in #ahag1 but abandoned by the ,belgian ,government in #ahcd1 and then started afresh in the next year as a free private ,roman ,catholic ,university4 ,charles ,v4 was educated here4 ,the modern town has shrunk far away within its ancient ramparts1 whose site is now for the most part occupied by empty ,boulevards4 ,it is still the stronghold of ,roman ,catholic theology in ,belgium4 ,as you emerge from the station1 you come upon a small ,place1 adorned with a statue 7by ,geefs7 of ,sylvain van de ,weyer1 a revolutionary of #ahcj1 and long ,belgian ,minister in ,england4 ,take the long straight street up which the statue looks4 ,this leads direct to the ,grand' ,place1 the centre of the town1 whence the chief streets radiate in every direction1 the ground-plan recalling that of a ,roman city4 ,the principal building in the ,grand' ,place is the ,htel-de-,ville1 standing out with three sides visible from the ,place1 and probably the finest civic building in ,belgium4 ,it is of very florid late-,gothic architecture1 between #addh and #adfc4 ,begin first with the left faade1 exhibiting three main storeys1 with handsome ,gothic windows4 ,above come a gallery and then a gable-end1 flanked by octagonal turrets1 and bearing a similar turret on its summit4 ,in the centre of the gable is a little projecting balcony of the kind so common on ,belgian civic buildings4 ,the architecture of the niches and turrets is of very fine florid ,gothic1 in better taste than that at ,ghent of nearly the same period4 ,the statues which fill the niches are modern4 ,those of the first storey represent personages of importance in the local history of the city3 those of the second1 the various medival guilds or trades3 those of the third1 the ,counts of ,louvain and ,dukes of ,brabant of all ages4 ,the bosses or corbels which support the statues are carved with scriptural scenes in high relief4 ,i give the subjects of a few 7beginning ,l473 the reader must decipher the remainder for himself4 ,the ,court of ,heaven3 ,the ,fall of the ,angels into the visible ,jaws of ,hell3 ,adam and ,eve in the ,garden3 ,the ,expulsion from ,paradise3 ,the ,death of ,abel1 with quaint rabbits escaping3 ,the ,drunkenness of ,noah3 ,abraham and ,lot3 etc4 ,the main faade has an entrance staircase1 and two portals in the centre1 above which are figures of ,st4 ,peter1 ,l41 and ,our ,lady and ,child1 ,r41 the former in compliment to the patron of the church opposite4 ,this faade has three storeys1 decorated with ,gothic windows1 and capped by a gallery parapet1 above which rises the high-pitched roof1 broken by several quaint small windows4 ,at either end are the turrets of the gable1 with steps to ascend them4 ,the rows of statues represent as before 7in #d tiers7 persons of local distinction1 medival guilds1 and the ,princes who have ruled ,brabant and ,louvain4 ,here again the sculptures beneath the bosses should be closely inspected4 ,among the most conspicuous are the ,golden ,calf1 the ,institution of ,sacrifices in the ,tabernacle1 ,balaam's ,ass1 ,susannah and the ,elders1 etc4 ,the gable-end to the ,r41 ill seen from the narrow street1 resembles in its features the one opposite it1 but this faade1 which was even finer than the others1 is at present in course of wholesale restoration4 ,the best general view is obtained from the door of ,st4 ,pierre1 or near either corner of the ,place1 diagonally opposite4 ,do not trouble about the interior4 ,opposite the ,htel-de-,ville stands the ,church of ,st4 ,pierre1 originally erected in #ajdj1 but entirely rebuilt in #adcj1 to which date the whole existing edifice belongs4 ,it is a handsome late-,gothic building1 with a fine ,west ,front1 never completed1 and a truncated tower4 ,the central ,west ,window is imposing1 but the ruined portal has a depressing effect4 ,walk round the church once outside to observe its exterior architecture1 obscured towards the ,grand' ,place by the usual agglomeration of small ,renaissance houses4 ,the main entrance is in the ,south ,transept2 above it stands a poor modern statue of the patron1 ,st4 ,peter4 ,the ,high ,choir1 with its flying buttresses1 would form a fine element if the houses were cleared away1 so as to afford a view of the chapels below4 ,now view the interior4 ,go at once into the body of the church4 ,the general effect is handsome1 but the walls are cold and white-washed4 ,the church has a fine ,nave1 with single ,aisles1 short ,transepts1 high ,choir1 and ,ambulatory4 ,the ,nave1 ,transepts1 and ,choir1 have all an exactly similar clerestory1 with an unusual ,triforium of open latticework1 and tracery in the same style in the spandrils of the arches4 ,go down to the ,w4 end of the ,nave4 ,the entrance doors at this end have good but not beautiful carved woodwork of the ,renaissance4 ,left ,aisle4 ,first chapel4 ,late ,gothic copper font1 with large crane1 to support a heavy iron cover1 now removed4 ,the other chapels on this side contain nothing of interest4 ,right ,aisle4 ,first chapel 7of ,san ,carlo ,borromeo71 has an altar-piece1 copied from one by ,de ,crayer1 carried off by the ,french and now at ,nancy4 ,it represents ,san ,carlo ministering to the plague-stricken at ,milan4 ,also1 a triptych1 by ,van de ,baeren1 #aeid4 ,centre1 ,st4 ,dorothea beheaded4 ,her head praising ,god4 ,l41 ,her trial before the governor1 ,fabricius4 ,r41 ,her torture in enduring the sight of her sister's martyrdom4 ,statue of ,san ,carlo by ,geefs4 ,second chapel1 of the ,armourers1 has a railing with arms and cannon1 and contains an old blackened crucifix1 much venerated because it is said to have caught a thief who had entered the church to steal the treasures4 ,the pulpit is a carved wooden monstrosity of the #ahth century1 representing1 behind1 the ,repentance of ,peter1 with the cock crowing1 a maladroit subject for a church dedicated to the saint4 ,in front1 the ,conversion of ,st4 ,paul1 with his horse overthrown4 ,above are two palm trees4 ,the ,choir is separated from the ,transepts and ,nave by a very handsome and elaborate 99,rood-,loft1 in the finest flamboyant late-,gothic style 7#adej71 one of the best still remaining examples in ,europe4 ,it supports a ,crucifixion1 with ,st4 ,john and ,our ,lady4 ,its arcade of three handsome arches is surmounted by a sculptured balustrade1 containing figures of saints 7the ,saviour1 ,our ,lady and ,child1 the ,twelve ,apostles with the instruments of their martyrdom1 the ,doctors of the ,church1 and a few others74 ,examine carefully4 ,now1 pass behind the ,choir1 into the ,ambulatory1 beginning on the ,n41 or left side4 ,the first recess has a fine medival tomb of ,mathilde de ,flandre4 ,on your ,r41 in the ,choir1 a little further on1 is a beautiful late-,gothic tabernacle or canopy of #adej1 gilded1 and containing scenes from the ,passion4 ,just behind the ,high ,altar is a curious little #aeth century relief3 ,centre1 the ,crucifixion with ,st4 ,john and ,our ,lady3 ,r41 ,the ,resurrection1 with sleeping ,roman soldiers3 ,l41 ,the donor1 with his patron ,st4 ,john the ,baptist4 ,the first chapel beyond the ,high ,altar contains 9999,the ,last ,supper1 by ,dierick ,bouts4 ,this picture forms the central piece of a triptych1 painted for the ,confraternity of the ,holy ,sacrament4 ,the ,l4 wing of it is now at ,munich1 and the ,r4 at ,berlin4 ,it represented1 when entire1 the same mystical series of the ,institution of the ,eucharist which we have already seen in the ,pourbus of the ,cathedral at ,bruges4 ,the central panel represented the ,institution of the ,eucharist2 the ,l4 7,munich7 has ,melchizedeck offering bread and wine to ,abraham2 the ,r4 7,berlin7 ,elijah fed by ravens in the wilderness4 ,on the outer sides of the panels are two similar typical subjects3 ,l4 7,munich71 the ,gathering of the ,manna or food from ,heaven2 and ,r4 7,berlin71 the ,feast of the ,passover1 the ,paschal ,lamb being regarded as a type of the ,christian sacrifice4 ,the picture as it stands in this chapel has of course lost its mystical significance4 ,it closely resembles the smaller ,last ,supper in the ,brussels ,gallery2 but the architecture here is ,gothic1 not ,renaissance4 ,study well1 especially the figures of the donor 7by the door7 and the servant4 ,the floor is characteristic4 ,also a 9999triptych1 by ,dierick ,bouts1 the ,martyrdom of ,st4 ,erasmus1 patron against intestinal diseases3 a bishop1 martyred at ,formia in the persecution of ,diocletian4 ,it represents the hideous episode of the unwinding of the saint's bowels4 ,the executioner on the ,l4 is a good specimen of ,dierick ,bouts's rude artisan figures2 he looks like a cobbler4 ,in the background is the ,emperor ,diocletian1 richly attired1 with a courtier1 whose attitude recalls more than one of those in the ,justice of ,otho4 ,the landscape is characteristic of ,bouts's manner4 ,this is a good1 hard1 dry picture4 ,the ,l4 panel has ,st4 ,jerome1 robed as cardinal1 with his lion2 the ,r4 has ,st4 ,anthony1 accompanied by a vanquished demon4 ,this1 however1 is a ,st4 ,anthony as the abbot1 not as the hermit in the desert4 ,on the roof of the fourth chapel have recently been discovered some frescoes1 from which the plaster and whitewash is now being removed4 ,in the chapel next it to the ,r4 is a triptych1 the ,descent from the ,cross 7covered1 the ,sacristan will open it3 #a franc72 usually attributed to ,roger van der ,weyden1 but much disputed4 ,it is probably a smaller 7altered7 copy of the famous composition in the ,escurial at ,madrid 7see ,conway74 ,the central picture has ,christ supported by ,joseph of ,arimathea and ,nicodemus1 with the fainting ,madonna1 ,st4 ,john1 and the other ,maries4 ,the singularly unpleasing fat cook-like ,magdalen1 in a rich robe1 is a constant feature in the group of ,descents from the ,cross by ,roger and his pupils4 ,study this picture4 ,the ,l4 panel has a good portrait of the donor1 with his two sons1 accompanied by his patron ,st4 ,james the ,greater 7or ,st4 ,william874 ,the ,r4 panel has his wife1 with her two daughters and her patroness1 ,st4 ,adelaide 7or ,st4 ,elizabeth of ,hungary1 holding the crown which she gave up for the ,franciscan profession874 ,in the sixth chapel is a fine ,renaissance tomb1 representing ,adolf van ,baussede in adoration before the ,trinity1 introduced by his patron ,st4 ,adolphus1 with allegorical figures of ,faith1 ,hope1 and ,charity4 ,the work is almost ,italian in character4 ,over the ,high ,altar is a modern figure of the patron1 ,st4 ,peter1 enthroned as pope1 and with papal symbols behind him4 ,left of it is the fine canopy we have already observed from the outside1 with scenes from the ,passion4 ,the architecture here is striking4 ,the great ,quentin ,matsys of the ,family of ,st4 ,anne in the ,brussels ,picture ,gallery was formerly an altar-piece in this church4 ,there is nothing else at ,louvain that need detain you4 ,if you like1 you can stroll a little way down the ,rue de ,namur1 just to the ,r4 of the ,htel-de-,ville4 ,it contains some good old houses4 ,the desolate building on your ,r4 was originally the ,halles1 but is now the ,university4 ,it was built for the ,guild of ,clothmakers in #acag1 and has been wholly modernised2 but there are some good ,gothic arches on the basement floor within 7approach down the side street to the ,r474 ,further on is the ,collge du ,st4 ,esprit on the ,r41 and the ,church of ,st4 ,michel 7uninteresting7 on the ,l4 ,the street which here runs off obliquely conducts to the ,collge ,marie-,thrse1 and the ,collge ,adrien ,,vi41 uninteresting1 and all used as hostelries for the students4 ,the only other objects to look at in ,louvain are the choir-stalls in carved wood1 early ,renaissance1 at the ,church of ,st4 ,gertrude1 dedicated to the ,abbess of ,nivelles and aunt of ,st4 ,gudula4 ,it lies down the ,rue de ,malines1 in the opposite direction from the ,rue de ,namur4 ,you have then seen ,louvain4 99 99 99 99 99 ,on your way from ,brussels to ,antwerp1 you ought to visit ,malines ,cathedral4 ,the easiest way is to book your luggage through1 and then stop for an hour or two at ,malines1 going on by a later train4 ,,iv ,,antwerp ,a4 ,,origins ,,of ,,antwerp ,,antwerp1 the seaport of the ,schelde estuary1 is practically the youngest 7and the least interesting7 of the great ,belgian towns4 ,it should therefore be visited last by the historically-minded tourist4 ,a small town1 known in ,flemish as ,antwerpen 78at the ,wharf071--a name altered in ,french and ,english into ,anvers and ,antwerp1--existed here1 it is true1 as early as the #gth century1 and suffered heavily in the #ith from the ubiquitous ,northmen4 ,but its situation at the open mouth of the great estuary of the ,schelde1 exposed to every passing piratical invader1 rendered it unfit for the purposes of early commerce4 ,the trade of ,flanders1 in its first beginnings1 accordingly concentrated itself in the more protected inland ports like ,bruges and ,ghent2 while that of ,brabant1 of which province ,antwerp itself formed a part1 found a safer home in ,brussels or ,louvain1 far up some minor internal river4 ,hence the rise of ,antwerp dates no further back than the end of the #aeth and beginning of the #afth century4 ,its rise1 that is to say1 as a great commercial port1 for from an early period it was the capital of a petty margrave1 under the ,duke of ,brabant4 ,as northern ,europe grew gradually quieter during the #aath and #abth centuries1 ,antwerp rose somewhat in importance2 and the magnificence of its cathedral1 the earliest part of which dates from #aceb1 sufficiently shows that the town was increasing in wealth and population during the palmy period when ,bruges and ,ghent governed the trade of the ,continent4 ,but when1 in the #aeth century and the beginning of the #afth1 ,bruges began to decline 7partly from political causes1 but more still from changes in navigation and trade routes71 ,antwerp rose suddenly to the first position in the ,low ,countries and perhaps in ,europe4 ,its large1 deep1 and open port was better adapted to the increasing shipping of the new epoch than were the shallow and narrow canals or rivers of ,ghent1 ,bruges1 and ,brussels4 ,the discovery of ,america1 and of the route to ,india by the ,cape of ,good ,hope1 had revolutionized both commerce and navigation2 vessels were built larger and of deeper draught2 and the ,schelde became for a time what the ,thames1 the ,clyde1 and the ,mersey have become in our own period4 ,antwerp under ,charles ,v4 was probably even more prosperous and wealthier than ,venice4 ,the centre of traffic was shifting from the ,mediterranean to the ,atlantic seaboard4 ,the city reached its highest point of prosperity about #aefh1 when it is said that thousands of vessels lay at anchor in the ,schelde1 and that more than a hundred craft sailed and arrived daily4 ,even allowing for the smaller burden of those days1 however1 this is probably an exaggeration4 ,the great fairs of ,antwerp1 of which those of ,leipzig and ,nijni ,novgorod are now the only modern representatives1 also drew thousands of merchants from all parts of the world4 ,the chief imports were wool and other agricultural produce from ,england1 grain from the ,baltic1 wines from ,france and ,germany1 spices and sugar from ,portuguese territory1 and silks and ,oriental luxuries from ,venice and other parts of ,italy4 ,the exports were the manufactured goods of ,flanders and ,brabant1 countries which still took the lead in textile fabrics1 tapestries1 carpets1 and many other important industries4 ,it is to this late period of wealth and prosperity that ,antwerp owes most of the great buildings and works of art which still adorn it4 ,its cathedral1 indeed1 varies in date in different parts from the middle of the #adth to the beginning of the #afth century1 and some portions were not quite completed till the #agth2 but the general aspect of the core of the town is of the ,renaissance epoch4 ,it contains in its modern gallery not a few ,flemish paintings of the earlier period1 produced by the artists of ,ghent1 ,bruges1 and ,brussels2 but its own native art dates no further back than ,quentin ,matsys 7#adff-aeca71 the last of the painters of the ,netherlands who adhered to the national type of art2 while it reached its highest point in ,rubens 7#aegg-afdj71 who introduced into the ,low ,countries the developed style of the ,italian ,renaissance1 adapted and strained through an essentially robust ,flemish nature4 ,it is only at ,antwerp that these two great masters can be studied to the highest advantage2 they illustrate1 one the rise1 the other the culmination and after-glow1 of the greatness of their native city4 ,i say native advisedly1 for though ,rubens most probably was born at ,siegen 7in ,nassau71 he was an ,antwerper by descent1 by blood1 by nature1 and by residence4 ,the decline of the city in later times was due to a variety of concurrent causes1 some of them strangely artificial1 which long distracted trade from one of its most natural outlets in ,europe4 ,the ,spanish troops began the devastation1 during the abortive attempt of the southern provinces to shake off the yoke of ,spain2 in #aegf1 the ,town ,hall and nearly a thousand noble buildings were burnt1 while #h1jjj people were ruthlessly massacred4 ,in #aehe1 the ,duke of ,parma completed the destruction of the local prosperity3 the population was largely scattered1 and the trade of ,antwerp completely ruined4 ,the long and unsuccessful rebellion1 the division which it unhappily caused between ,holland and ,belgium1 and the rapid commercial rise1 first of ,amsterdam and then of ,england1 all contributed to annihilate the mercantile importance of ,antwerp4 ,the ,dutch erected forts on their own territory at the mouth of the ,schelde1 and refused to allow shipping to proceed up the river4 ,finally by the ,treaty of ,munster in #afdh it was agreed that no sea-going vessel should be allowed to ascend the estuary to ,antwerp1 but that all ships should unload at a ,dutch port1 goods being forwarded by river craft to the former capital of ,european commerce4 ,from that date forward to the ,french occupation in #agid1 ,antwerp sank to the position of a mere local centre1 while ,rotterdam and ,amsterdam took its place as commercial cities4 ,in the latter year1 however1 the ,french reopened the navigation of the ,schelde1 and destroyed the iniquitous ,dutch forts at the entrance to the river4 ,napoleon1 in whose empire the town was included1 constructed a harbour and built new quays2 but after his fall1 ,antwerp was made over to ,holland1 and began to trade as a ,dutch seaport4 ,the erection of ,belgium into a separate kingdom in #ahcj again told against it1 as the ,dutch maintained their unjust power of levying tolls on the shipping2 in addition to which drawback1 ,antwerp had suffered heavily from siege during the ,war of ,independence4 ,in #ahfc1 however1 the ,dutch extortioners were bought off by a heavy money payment1 and ,antwerp1 the natural outlet of the ,schelde1 and to a great extent of the ,german empire1 once more regained its natural place as a main commercial port of ,europe4 ,since that date1 its rise has been extraordinarily rapid1 in correspondence with the large development of ,belgian manufactures and still more with the new position of ,germany as a world-trading power4 ,indeed1 nothing but the artificial restrictions placed upon its commerce by the selfishness and injustice of the ,dutch could ever have prevented the seaport of the ,schelde from ranking as one of the chief harbours of the world1 as soon as ocean-going ships demanded ports of that size1 and as commerce had no longer anything to fear from marauding pirates4 ,as a consequence of these conditions1 we have to expect in ,antwerp mainly a central town of the #aeth and #afth centuries1 with an immense modern outgrowth of very recent origin4 ,save its fine ,cathedral1 and its imported pictures1 it has little or nothing of medival interest4 ,the population of ,antwerp is almost entirely ,flemish1 though ,french is the language of the higher commerce2 and the town is the stronghold of the old ,flemish feeling in ,belgium1 as opposed to the ,parisian tone of ,brussels4 ,concurrently with the rise of its renewed commercial importance1 ,antwerp has become once more a centre of ,belgian art1 and especially of the pure ,flemish school of archaists1 who have chosen their subjects from ,flemish history1 and followed to some extent the precedents of the early ,flemish painters4 ,examples of these will meet us later4 ,choose an hotel on the ,place ,verte1 if possible1 or at least very near it4 ,you cannot gain a first impression of ,antwerp in less than four or five days4 ,antwerp is a confused town1 a maze without a plan3 till you have learnt your way about1 ,i advise you to follow the tram-lines3 you will thus avoid the slummy streets which abound even in the best quarter4 ,b4 ,,the ,,cathedral ,the first thing to see at ,antwerp is the ,high ,church of ,our ,lady1 once the ,cathedral1 and still commonly so called1 though it is not now a bishop's see1 but part of the diocese of ,malines4 ,it is a fine early and middle ,gothic church1 with a late ,gothic or flamboyant tower2 but1 relatively to its fame1 it is externally disappointing4 ,this is partly because mean houses have been allowed to gather round it1 but partly also because its somewhat meretricious spire has been unduly praised by earlier generations4 ,modern taste1 which admires the simpler and severer early forms of ,gothic1 finds it fantastic and over-elaborate4 ,the ,place ,verte opposite the ,cathedral 7once the churchyard71 is planted with trees1 and has its centre occupied by a modern statue of ,rubens4 ,this is one of the few points from which you can view 7more or less7 the exterior of the ,cathedral1 the greater part of which is obstructed by shabby shops clustered round its base4 ,the only really good views1 however1 are obtained from the second-floor windows of the houses on the ,e4 side of the ,square1 such as the ,htel de l',europe4 ,nevertheless1 it will be well to walk round the building outside1 in order to inspect as much of it as is visible4 ,the chief portal 7practically71 recently restored1 and the ,s4 ,transept are seen from the ,place ,verte4 ,there is little sculpture on them1 save a small late figure of the patroness1 ,our ,lady1 with the ,child1 high up between the angels of the gable-end4 ,now1 go round to the ,l41 into the little triangular ,place known as the ,march aux ,gants1 to view the main ,west ,front1 best seen from the apex of the triangle opposite4 ,it has a fine central ,portal and ,west ,window1 flanked by two great towers1 the southern incomplete4 ,its niches have statues of six only out of the ,twelve ,apostles4 ,the northern tower1 up to the first gallery1 is middle ,gothic of #aceb-addi4 ,the upper portion1 with the octagonal lantern of very open work1 flanked by projecting pinnacles1 tied by small buttresses1 is in later flamboyant ,gothic1 and was erected in #aejb-aeah1 by ,dominic de ,waghamakere1 the architect of the ,gothic portion of the ,town ,hall at ,ghent4 ,this florid spire has been excessively praised above its merits1 but will hardly satisfy a modern taste4 ,it can be ascended 7#ge c471 but is dark and steep3 the view1 though fine1 hardly repays the trouble4 ,the well in the ,march aux ,gants1 near the front of the ,cathedral1 has a beautiful wrought-iron canopy1 to support its lid1 said to have been made by ,quentin ,matsys when he was a blacksmith1 or rather a metal-worker1 before he took to painting4 7,but the legend is doubtful47 ,it consists of a trellis of vine1 supporting wild men and women with clubs1 and capped by a figure of ,brabo1 the eponymous hero of ,brabant1 flinging the hand of the giant ,antigonus 7see later1 under the ,htel-de-,ville74 ,now1 continue on round the ,n4 ,side of the ,cathedral4 ,a few glimpses of the ,n4 ,transept and ,aisles1 as well as of the ,nave and ,choir1 may be obtained as we proceed1 much of it unfortunately now marred by excessive restoration4 ,the beautiful ,choir and ,apse1 with their flying buttresses1 are almost entirely concealed by neighbouring houses4 ,if these were cleared away1 a fine view would be obtained of a noble piece of architecture1 now only visible by occasional glimpses from the upper floors of surrounding houses4 ,this portion of the church is further disfigured by the abrupt terminations to the roofs of the ,transepts1 and by the ridiculous pepper-caster top which replaces the central spire or flche of the original conception4 ,continue on through the narrow streets till you have made a complete tour of the ,cathedral and returned to the ,place ,verte and the door of the ,s4 ,transept4 ,the best general view1 however1 is not obtainable from any of these points1 but from the ,grand' ,place1 and especially the upper windows of the ,htel-de-,ville1 to be visited later4 ,now1 enter the ,cathedral1 by the door in the ,s4 ,transept4 7,open1 free1 from #h to #ab on ,sundays and ,thursdays3 or1 every day1 #ab to #d1 on payment of #a franc per person4 ,but if you wish really to inspect the works of art it contains1 pay your franc like a man1 and see them at your leisure when there are no services in progress4 ,fine music at ,high ,mass at #aj on ,sundays47 ,the interior is impressive and solemn1 with its high ,nave1 ,transepts1 and ,choir1 of good simple ,gothic1 and its three rows of ,aisles1 the perspective of which1 with their many pillars1 is extremely striking4 ,the ,aisles1 however1 are unusually low in proportion to the height of the central cruciform building4 ,first walk down the ,nave to the ,west ,end1 to form a general conception of the fine and impressive interior1 grand in its colossal simplicity1 and commendably free from #ahth century disfigurements4 ,now1 begin at the ,r4 or ,s4 ,aisle1 which contains admirable modern ,stations of the ,cross by ,vinck and ,hendrickx1 excellently painted in the archaic spirit4 ,i do not describe these1 as they need no explanation1 but each is worthy of individual attention4 ,do not hurry4 ,the ,chapel of the ,sacrament1 at the end of this ,aisle1 has good polychrome decoration1 and fine stained glass windows 7,last ,supper1 #aejc3 ,st4 ,amand converting ,antwerp2 ,st4 ,norbert preaching against the heresy of ,tanquelin at ,antwerp1 etc473 also1 a reliquary of ,st4 ,roch1 and an interesting modern statue of that great plague-saint4 ,the ,s4 ,transept has a good modern stained glass window1 and affords fine views of the central ,dome and ,aisles4 ,on the ,r4 wall are the ,marriage at ,cana in ,galilee1 appropriately painted for the ,altar of the ,wine-merchants1 by ,m4 de ,vos 7excellent for comparison with others of the same subject71 and a ,last ,supper by ,otto van ,veen1 the master of ,rubens1 formerly the ,altar-piece of the ,chapel of the ,sacrament4 ,the ,l4 wall of the ,s4 ,transept is occupied by ,rubens's great triptych of ,st4 ,christopher1 commonly called 7from its central portion7 9999,the ,descent from the ,cross4 ,this is a splendid work1 conceived 7as to idea7 in the mystical spirit of old ,flemish art1 though carried out1 of course1 in the utterly different and incongruous style of ,rubens4 ,in order to understand it we must remember that triptychs were usually kept closed on the altar1 and that the picture which first met the eye was that which occupies the outer shutters4 ,it struck the key-note4 ,now1 the outer shutters of this work 7seldom seen1 unless you ask the ,sacristan to close it7 are occupied by a figure of ,st4 ,christopher1 with the hermit who directed him to ,christ1 accompanied by his lantern and owl1 as in the earlier ,st4 ,christopher triptych by ,memling in the ,academy at ,bruges4 ,this painting was ordered from ,rubens by the ,guild of ,arquebusiers1 whose patron is ,st4 ,christopher4 ,on the outside1 therefore1 ,rubens painted the saint himself1 whose name 7of course7 means the ,christ-,bearer4 ,but on the inner portion he painted three other symbolical or allusive scenes of the ,bearing of ,christ3 ,l41 ,the ,visitation2 the unborn ,christ borne by ,his mother3 ,r41 ,the ,presentation in the ,temple2 the living ,christ borne by ,simeon3 ,centre1 ,the ,descent from the ,cross2 the dead ,christ borne by ,joseph of ,arimathea and the ,disciples4 ,the ,l4 wing shows us ,our ,lady1 in a big ,flemish hat1 approaching ,st4 ,elizabeth4 ,behind1 ,joseph and ,zacharias1 the two husbands1 shake hands4 7,this composition has been copied in the stained glass window of the ,cathedral at ,antwerp47 ,in order to impress the mystical meaning of the picture1 the fact of ,our ,lady's pregnancy has been strongly insisted upon4 ,the central panel shows us the ,descent from the ,cross4 ,nicodemus holds the body by one shoulder1 while ,st4 ,john1 below1 receives it in his arms1 and the ,magdalen at the feet expresses her tenderness4 ,joseph of ,arimathea descends the ladder4 ,the actual corpse forms the salient point in the picture4 ,it is usual to say that the contrast of the dead body and white sheet is borrowed from the famous treatment of the same subject by ,daniele da ,volterra in ,santa ,trinit de' ,monti at ,rome2 and indeed1 the composition in this work has probably been suggested by the ,italian example2 but a similar white sheet1 with the dead body seen against it1 is found in all early ,flemish art1 and especially in works of the ,school of ,roger van der ,weyden4 7,it is known as the ,holy ,sudarium47 ,in this splendid and gorgeous conception1 ,rubens has given the greatest importance to the body of the ,saviour2 but he is so intensely occupied with the mechanical difficulties of its support1 the strain and stress of the dead weight1 that he forgets feeling2 in spite of the agonised attitude of the ,mater ,dolorosa1 the picture is sadly lacking in pathos4 ,he realizes the scene as to its material facts2 he fails to realize its spiritual significance4 7,for an opposite opinion1 see ,m4 ,max ,rooses1 who speaks of 8the profound expression of a tender and respectful love407 ,to my mind1 the man who holds the ,sudarium in his teeth is a fault of taste of the most flagrant character4 ,we think of the whole work rather as a wonderful piece of art than as the fitting delineation of a sacred subject4 ,but as art it is triumphant4 ,the faces of the ,st4 ,john and the ,magdalen are also charming4 ,the ,r4 wing1 with the ,presentation1 and the aged ,simeon receiving ,christ in his arms1 is of less interest4 ,next1 enter the ,ambulatory1 behind the ,choir4 #ast ,chapel4 ,good modern stained glass window of the ,piet4 #bnd ,chapel4 ,tomb of ,john ,moretus1 the son-in-law of ,plantin1 the famous printer 7see after1 under ,muse ,plantin-,moretus7 erected by ,martina ,plantin1 his widow1 and with pictures by ,rubens4 ,above1 in an oval1 portrait of ,john ,moretus 7by a pupil1 re-touched by ,rubens74 ,below1 triptych2 centre1 99,the ,resurrection1 emblematic of hope for his glorious future4 ,l4 wing1 his patron1 ,st4 ,john-,baptist2 ,r4 wing1 his widow's patroness1 ,st4 ,martina4 ,this triptych1 too1 loses by not being first seen closed3 on the outside are two angels1 about to open a door2 as the wings unfold1 you behold the luminous figure of the risen ,christ1 grasping the red ,resurrection banner4 ,this figure is celebrated4 ,the dismay of the ,roman soldiers is conceived in the thorough ,rubens spirit4 ,observe the arrangement of this triptych on the tomb3 it will help you to understand others in the ,museum4 ,opposite this1 ,tomb of a ,premonstratensian ,friar1 with ,st4 ,norbert1 founder of the ,order1 in adoration1 by ,pepyn4 ,this chapel is also one of the best points of view for ,rubens's famous 9999,assumption1 above the ,high ,altar4 ,we here see one of these great altar-pieces 7of which we shall meet many examples in the ,museum7 placed in the situation for which it was originally designed4 ,this ,assumption ranks as one of ,rubens's masterpieces4 ,above1 ,our ,lady is caught up into the air by a circle of little cherubs1 dimly recalling the earlier ,italian mandorla4 ,below1 stand the ,apostles1 looking into the empty tomb1 with the youthful figure of ,st4 ,thomas stretching out his hands in an attitude derived from the ,italian subject of the ,sacra ,cintola4 ,in the centre of the foreground1 the ,holy ,women1 about to pick roses from the empty tomb4 7,see a similar work in the ,brussels ,museum4 ,this composition can only be understood by the light of earlier ,italian examples47 ,on the pier between this and the next chapel1 ,crucifixion1 with ,scenes from the ,passion4 #crd ,chapel4 ,master of the ,school of ,cologne1 #adth century4 ,a ,glory of the ,angels4 ,in the centre1 ,st4 ,michael the ,archangel slaying a dragon1 whose double tongue divides into many heads of kings4 ,r4 and ,l41 the insignificant donor and donatrix4 ,on either side1 choirs of angels in hierarchies4 ,above1 ,christ enthroned in a mandorla 7almond-shaped halo7 worshipped by angels4 ,beneath1 in the predella1 ,st4 ,stephen with his stone2 ,st4 ,ursula with bow and arrow2 ,st4 ,peter 7keys72 a ,piet2 ,st4 ,john the ,evangelist2 ,st4 ,agnes with her ruby ring2 and ,st4 ,anthony the ,abbot with his staff and bell4 ,a good picture of the school from which ,van ,eyck was a reaction4 ,opposite it1 ,tomb of ,bishop ,ambrosio ,capello1 by ,arthus ,quellin1 the only one remaining tomb of a bishop in the ,cathedral4 #dth ,chapel4 ,good #afth century figure of ,our ,lady and ,child4 ,tomb of ,plantin1 with ,last ,judgment by ,de ,backer4 #eth ,chapel4 ,beautiful modern archaic altar-piece of ,st4 ,barbara4 #fth ,chapel4 ,nothing of special interest1 though in all these chapels the stained-glass windows and polychromatic decorations are worthy of notice4 ,opposite it1 on the back of the ,high ,altar1 painted imitations of reliefs by ,van ,bree3 an extraordinary illusion2 ,annunciation1 ,marriage of the ,virgin1 ,visitation4 ,in front of these1 ,tomb of ,isabella of ,bourbon1 wife of ,charles the ,bold1 and mother of ,mary of ,burgundy4 ,altar-back1 ,death of the ,virgin1 #agth cent4 #gth ,chapel4 ,good modern archaic altar-piece1 with a miracle of ,st4 ,john ,berchman4 ,the saints are named on it4 #hth ,chapel4 ,tolerable modern archaic altar-piece of ,our ,lady and ,child1 with donors and saints4 ,on the pier1 between this and the next chapel1 ,school of ,roger van der ,weyden1 ,selection of ,joseph as the husband of the ,virgin1 and ,marriage of the ,virgin2 a good picture4 #ith ,chapel1 of ,st4 ,joseph1 patron saint of ,belgium1 and therefore honoured with this larger shrine4 ,on the ,altar1 modern carved and gilt altar-piece1 ,st4 ,joseph bearing the ,infant ,christ4 ,around it1 ,scenes from his ,life4 ,l4 7beginning below71 ,marriage of the ,virgin and ,joseph1 ,nativity1 ,presentation in the ,temple2 ,r4 7beginning above71 ,flight into ,egypt1 ,finding of ,christ in the ,temple1 the ,holy ,carpenter's ,shop4 ,centre1 ,death of ,st4 ,joseph4 ,on the wings1 ,r41 ,philip ,,iv4 dedicating ,belgium to ,st4 ,joseph2 ,l41 ,pius ,,ix41 accompanied by ,st4 ,peter1 appointing ,joseph patron saint of ,belgium4 ,now enter the ,n4 ,transept4 ,r4 wall4 ,rubens's famous 99,elevation of the ,cross4 ,in form a triptych1 but with the same subject continued through its three members4 ,centre1 ,the ,elevation3 ,l41 ,st4 ,john1 the ,mater ,dolorosa1 and the ,holy ,women3 ,r41 ,longinus and the soldiers1 with the two thieves4 ,this is one of ,rubens's most bustling pictures1 where the mere muscular effort almost wholly chokes the sense of pathos4 ,the dog in the foreground is an exceptionally unhappy later addition by the master4 ,the tone of colour is brown and cold2 the work is mainly painted for light and shade4 ,it was formerly the altar-piece in the ,church of ,st4 ,walburga1 who appears with other saints on the outer shutters4 ,this ,transept also contains stained glass of the #agth century4 ,on the ,l4 wall is a triptych by ,francken3 ,centre1 ,christ among the ,doctors1 said to be portraits of the ,reformers4 ,l4 wing1 ,st4 ,ambrose baptizing ,augustine1 with the donor1 kneeling4 ,r4 wing1 ,elijah causing the widow's cruse of oil to be replenished4 ,the ,chapel in the ,n4 ,transept has nothing of interest4 ,now1 enter the ,choir1 with good modern carved stalls1 and a different but less impressive view of ,rubens's ,assumption4 ,the ,n4 ,aisle has little of interest1 save its stained-glass windows1 and a ,head of ,christ1 painted on marble1 ascribed to ,leonardo1 but really of ,flemish origin4 ,this is affixed to the first pillar of the ,lady ,chapel4 ,further on in the ,aisle1 confessionals with tolerable wood-carvings4 ,the ,nave has the usual overloaded #agth century pulpit1 with ,europe1 ,asia1 ,africa1 and ,america4 ,i have only briefly enumerated the principal contents2 but you will find much more that is interesting for yourself if you spend an hour or two longer in examining the ,cathedral4 ,c4 ,,the ,,picture ,,gallery ,the chief object of interest at ,antwerp1 even more important than the ,cathedral itself1 is the ,picture ,gallery1 regally housed in a magnificent ,museum at the ,s4 end of the town4 ,the building alone might make ,trafalgar ,square blush1 if ,trafalgar ,square had a blush left in it4 ,to this collection you should devote at least two or three mornings4 ,illustration3 ,,the ,,picture ,,gallery1 ,,antwerp4 ,modern ,pictures in the ,rooms marked with an ,italic capital4 ,the ,antwerp ,gallery contains in its palatial rooms a large number of ,flemish pictures1 many of them collected from the suppressed ,churches and ,monasteries of the city4 7,remember that they were painted for such situations1 not to be seen in ,museums47 ,you will here have an opportunity of observing a few good pictures of the early ,flemish ,school1 and especially of improving your slight acquaintance with ,roger van der ,weyden1 one of whose loveliest works is preserved in the gallery4 ,you will also see at least one admirable example of ,quentin ,matsys1 as well as several fine works of the ,transitional ,school between the early and the later ,flemish periods4 ,but the special glory of the ,antwerp ,museum is its great collection of ,rubenses4 ,it is at ,antwerp alone1 indeed1 that you can begin to grasp the greatness of ,rubens1 as you may grasp it afterwards at ,munich and ,vienna4 ,i do not say you will love him3 ,i will not pretend to love him myself3 but you may at least understand him4 ,this1 then1 is the proper place in which to consider briefly the position of ,rubens in ,flemish ,art4 ,from the days of the ,van ,eycks to those of ,gerard ,david1 painting in the ,low ,countries had followed a strictly national line of development4 ,its growth was organic and internal4 ,with ,quentin ,matsys1 and still more with ,bernard van ,orley1 ,pourbus1 and the rest1 the influence of the ,italian ,renaissance had begun to interfere with the native current of art in the ,low ,countries4 ,it was ,rubens who finally transformed ,flemish painting by adopting to a certain extent the grandiose style of the later ,italian and especially the ,venetian ,masters1 at the same time that he transfused it with local feeling and with the private mark of his own superabundant and vigorous individuality4 ,rubens was an ,antwerp man1 by descent and education1 though accidentally born at ,siegen in ,nassau4 ,his father was an ,antwerp justice of an important family1 exiled for supposed ,calvinistic leanings1 and disgraced for an intrigue with a royal lady1 ,anna of ,saxony1 the eccentric wife of ,william of ,orange4 ,a gentleman by birth and breeding1 ,peter ,paul ,rubens painted throughout life in the spirit of a generous1 luxurious aristocrat4 ,his master was ,otto van ,veen1 ,court ,painter to the ,dukes of ,parma1 and himself an ,italianised ,flemish artist1 whose work is amply represented in the ,museum4 ,early in life1 ,rubens travelled in ,italy1 where he imbibed to a great extent the prevailing tone of ,italian art1 as represented by ,titian1 ,veronese1 and to a less extent1 ,tintoretto1 as well as by ,domenichino and the later ,roman ,school of painters4 ,to these influences we must add the subtler effect of the general spirit of the late #afth and early #agth centuries1 the age when voyages to ,america and to ,india1 and the sudden opening of the ,atlantic seaboard1 had caused in men's minds a great ferment of opinion and given rise to a new outburst of activity and struggle4 ,romance was rife4 ,the world was turned upside down4 ,it was the day of ,spanish supremacy1 the day when the gold and silver of the ,indies poured in vast sums into ,madrid and the ,low ,countries4 ,the ,mediterranean had given way to the ,atlantic1 ,venice to ,antwerp4 ,in ,england1 this age gave us the rich and varied ,elizabethan literature2 in the ,low ,countries1 it gave us the highly analogous and profusely lavish art of the ,school of ,rubens4 ,rubens lived his life throughout on a big scale4 ,he travelled much4 ,he was statesman and diplomatist as well as painter4 ,he moved from ,paris to ,london1 from ,madrid to ,mantua4 ,all these things give a tone to his art4 ,he is large1 spacious1 airy1 voluptuous4 ,he has a bold self-confidence1 a prodigal freedom1 an easy opulence4 ,he delights in colossal figures1 in regal costume1 in court dresses and feathers1--the romance and pageantry of the royal world he lived in4 ,space seems to swell and soar on his canvas4 ,vast marble halls with huge pillars and lofty steps are the architectural background in which his soul delights4 ,his outlines are too flowing to be curbed into stiff correctness4 ,his sturdy ,flemish nature1 again1 comes out in the full and fleshy figures1 the florid cheeks1 and the abundant fair hair of his female characters4 ,all scenes alike1 however sacred1 are for him just opportunities for the display of sensuous personal charm1 enlivened by rich costume or wealthy accessories4 ,yet in his large romantic way he is doing for cosmopolitan mercantile ,antwerp in the #agth century what ,van ,eyck and ,memling did for cosmopolitan ,ghent and ,bruges in the #aeth4 ,one more peculiarity of his art must be mentioned4 ,the early painters1 as we saw in the ,st4 ,ursula casket1 had little sense of real dramatic life and movement4 ,rubens had learned to admire this quality in his ,venetian masters1 and he bettered their instruction with ,flemish force and with the stir and bustle of a big seaport town in an epoch of development4 ,his pictures are full1 not merely of life1 but of strain1 stress1 turmoil4 ,it is more than animation--it is noise1 it is tumult4 ,he often forgets the sacredness of a scene by emphasizing too much the muscular action and the violent movement of those who participate in it4 ,this is particularly noticeable in the ,descent from the ,cross in the ,cathedral1 and still more in the famous ,coup de ,lance at the ,museum4 ,the astonishing number of pictures which ,rubens has left may be accounted for in part by his incredible rapidity of execution--he dashed off a huge picture in a fortnight1--but in part also by the fact that he was largely assisted by a numerous body of pupils4 ,of these1 ,van ,dyck was by far the most individual1 the tenderest1 the most refined3 and not a few of his stately and touching masterpieces may here be studied4 ,the ,dutch ,school is also represented by several excellent small pictures4 ,of alien art1 there are a few fine pieces by ,early ,italian artists4 ,the entrance door is under the great portico on the west front1 facing the river4 ,open daily1 #i or #aj to #d or #e1 #a fr4 per person3 free on ,sundays4 7,inquire hours of hotel porter47 ,you pass from the ,vestibule 7sticks and umbrellas left7 into a ,hall and ,staircase of palatial dimensions1 admirably decorated with fine modern paintings by ,n4 ,de ,keyser1 of ,antwerp1 representing the ,arts and ,artists of the city1 the influence upon them of ,italian masters1 and the recognition extended to their work in ,london1 ,paris1 ,rome1 ,bologna1 ,amsterdam1 and ,vienna4 ,i do not describe these excellent pictures1 as the inscriptions upon them sufficiently indicate their meaning1 but they are well worth your careful attention4 ,the rooms are lettered 7,a4 ,b4 ,c4 etc47 over the doorways4 ,on reaching the top of the staircase1 pass at once through ,rooms ,j4 and ,i41 and go straight into ,,room ,c4 ,hall of the ,ancient ,masters1 ,flemish or foreign4 ,right of the door1 #bbd4 ,justus of ,ghent3 a bland old pope1 probably ,st4 ,gregory1 holding a monstrance1 between two angels4 ,in the background1 a curious altar-piece1 with the ,annunciation1 ,nativity1 ,adoration of the ,magi1 ,flight into ,egypt1 ,presentation in the ,temple1 and ,finding of ,christ in the ,temple4 ,above it1 two female saints 7or figures of ,our ,lady874 ,a good work1 in an early dry manner4 ,above it1 #dfc4 ,madonna and ,child1 by ,van ,orley3 the landscape by ,patinier4 ,from a tomb in the ,cathedral4 #chc4 ,van der ,meire4 ,triptych from an altar2 ,centre1 ,way to ,calvary1 with ,st4 ,veronica offering her napkin1 and brutal1 stolid ,flemish soldiers bearing the hammer1 etc4 ,in the background1 the ,flight into ,egypt4 ,the wings have been transposed4 ,l41 7should be ,r471 the ,finding of ,christ in the ,temple4 ,r4 7should be ,l471 the ,presentation in the ,temple4 ,above it1 #chj4 ,van den ,broeck 7#aecj-afja73 a ,last ,judgment4 ,interesting for comparison with previous examples4 ,renaissance nude4 #eeg4 ,unknown4 ,dutch ,school of the early #afth century4 ,the ,tiburtine ,sibyl showing the ,emperor ,augustus the apparition of the ,virgin and ,child on the ,aventine4 ,a page1 his robe embroidered with his master's initial ,a41 holds the ,emperor's crown4 ,very ,dutch architecture4 7,the ,catalogue1 ,i think erroneously1 makes it the ,madonna appearing to ,constantine47 #efj4 ,good hard early ,dutch portrait4 #ebg4 ,unknown4 ,resurrection1 the ,saviour1 bearing the white pennant1 with red cross1 and sleeping ,roman soldiers4 #db4 ,an ,adam and ,eve1 attributed to ,cranach the ,elder4 ,harsh northern nude4 #cda4 ,good portrait by ,susterman1 alias ,lambert ,lombard4 ,above these1 ,madonna1 in the ,byzantine style1 with the usual ,greek inscriptions4 #eba4 ,school of ,albert ,drer3 ,mater ,dolorosa1 with the ,seven ,sorrows around her4 #edi4 ,good ,flemish portrait of ,william ,i41 ,prince of ,orange4 ,above1 #chg1 ,van der ,meire3 an ,entombment1 with the usual figures1 ,nicodemus and ,joseph of ,arimathea2 the ,magdalen in the foreground with the box of ointment2 the ,mater ,dolorosa supported by ,st4 ,john 7in red72 and1 behind1 the two ,maries4 ,in the background1 a ,piet--that is to say1 the same group mourning over the ,dead ,saviour4 #dbe4 ,van ,hemessen3 ,the ,calling of ,matthew from the receipt of custom4 ,harsh and uninteresting4 #efh4 ,school of ,quentin ,matsys3 ,christ and ,st4 ,veronica4 ,probably part only of a ,way to ,calvary4 ,the spiked club is frequent4 #bda4 ,quentin ,matsys3 a fine and celebrated 99,head of the ,saviour ,blessing1 with more expression than is usual in the ,flemish type of this subject4 ,notice even here1 however1 close adhesion to the original typical features4 #bdb4 ,quentin ,matsys3 ,companion 99,head of ,our ,lady1 as ,queen of ,heaven4 ,full of charm and simplicity4 ,between these1 #d1 99,antonello da ,messina 7an ,italian profoundly influenced by the ,school of ,van ,eyck1 and the first to introduce the ,flemish improvements in oil-painting into ,italy74 ,crucifixion1 with ,st4 ,john and ,our ,lady4 ,this work should be carefully studied1 as a connecting link between the art of ,flanders and ,italy4 ,it is painted with the greatest precision and care1 and bears marks everywhere of its double origin--,flemish minuteness1 ,italian nobility4 #bed4 ,memling3 9999admirable cold-toned portrait of a member of the ,de ,croy family4 ,the hands1 face1 and robe1 are all exquisitely painted4 ,centre of the wall1 #dab1 good early copy of ,jan van ,eyck's altar-piece for ,canon ,george van der ,paelen1 in the ,academy at ,bruges4 ,if you have not been there1 see page #ei for particulars4 ,better preserved than the original3 perhaps a replica by the master himself4 #eai4 ,crucifixion1 with ,our ,lady and ,st4 ,john1 on a gold background4 ,interesting only as a specimen of the very wooden ,dutch painting of the #adth century4 ,contrast it with the ,van ,eyck beneath it1 if you wish to see the strides which that great painter took in his art4 #cig4 ,good hard 99portrait of ,philippe le ,bon of ,burgundy1 an uninteresting1 narrow-souled personage1 wearing the collar of the ,golden ,fleece1 by ,roger van der ,weyden4 #dc4 ,cranach the ,elder3 ,charity4 ,a study of the nude1 somewhat more graceful than is the wont of this painter4 #bfd4 ,mostaert 7,jan1 the ,dutchman71 tolerable hard portrait3 same person reappears in #bfb4 #agi4 ,gossaert3 99a beautiful panel representing the ,return from ,calvary4 ,the ,mater ,dolorosa is supported by ,st4 ,john4 ,on the ,l41 the ,magdalen with her pot of ointment2 ,r41 the other ,maries4 ,very touching4 ,notice the ,flemish love for these scenes of the ,passion and ,entombment4 #aih4 ,hans ,holbein the ,younger3 9999admirable portrait of ,erasmus4 ,it lives4 ,full of vivacity and scholarly keenness1 with the quick face of a bright intelligence1 and the expressive hands of a thinker4 ,the fur is masterly4 #ahj4 ,gossaert3 group of figures somewhat strangely known as 8,the ,just ,judges40 ,probably a single surviving panel from an extensive work of the same character as the ,adoration of the ,lamb at ,ghent4 #bfc4 ,jan ,mostaert3 99very fine portrait of a man in a large black hat and yellow doublet4 ,pendant to #bfd4 #eeh4 ,holy ,family4 ,dutch ,school4 ,early #afth century4 #bjb4 ,lucas van ,leyden3 99portraits4 ,characteristic1 and well thrown out against the background4 #eff4 ,school of ,quentin ,matsys3 a genre piece2 an unpleasant representation of a young girl attempting to cut the purse strings of an old man4 ,probably a companion picture to one now in the possession of the ,countess of ,pourtals1 ,paris4 ,above these1 #afh1 ,triptych by ,fyol1 ,german ,school4 ,centre1 the ,adoration of the ,magi4 ,the ,old ,king has removed his crown1 as usual1 and presented his gift4 ,he is evidently a portrait3 he wears a collar of the ,golden ,fleece1 and is probably ,philippe le ,bon4 ,behind him1 the ,middle-aged ,king1 kneeling2 then the ,young ,king1 a ,moor1 with his offering4 7,the story of the ,three ,kings--,gaspar1 ,melchior1 ,balthasar--was largely evolved in the ,cologne district1 where their relics formed the main object of pious pilgrimage47 ,to the ,r41 an undignified ,joseph1 with his staff1 and the peculiar robe with which you are now1 ,i hope1 familiar4 ,in the background1 the family of the donor1 looking in through a window4 ,the wings have1 ,i think1 been misplaced4 ,l41 ,the ,circumcision2 ,r41 ,nativity3 notice the ox and ass1 and the costume of ,joseph4 #cbe4 ,schoreel3 ,crucifixion1 with ,our ,lady1 ,st4 ,john1 the ,magdalen1 and angels catching the ,holy ,blood4 7,a frequent episode47 ,above it1 #egj1 ,school of ,gossaert3 ,our ,lady4 #bfb4 ,jan ,mostaert3 ,the ,prophecies of ,our ,lady4 ,above1 she is represented as ,queen of ,heaven1 in an oval glory of angels1 recalling the ,italian mandorla4 ,below1 those who have prophesied of her3 in the centre1 ,isaiah1 with scroll1 8,behold1 a ,virgin shall conceive10 etc43 ,r4 and ,l41 ,micah and ,zechariah4 ,further ,r4 and ,l41 two ,sibyls4 ,the one to the ,r4 is the same person as #bfd4 #efg4 ,school of ,quentin ,matsys3 ,favourite subject of the ,miser4 #be4 ,more monstrosities by ,bosch4 ,beyond the door1 #ecd4 ,unknown3 ,flemish ,school3 ,assumption of ,our ,lady4 ,above1 the ,trinity waiting to crown her4 #abc4 ,dunwege3 ,german ,school4 ,the ,family of ,st4 ,anne1 resembling in subject the ,quentin ,matsys at ,brussels4 ,centre1 ,st4 ,anne enthroned4 ,below her1 ,our ,lady and the ,divine ,child4 7,often ,our ,lady sits on ,st4 ,anne's lap47 ,l41 ,joachim offers ,st4 ,anne and ,our ,lady cherries4 7,see ,legends of the ,madonna47 ,r41 ,st4 ,joseph1 with his staff and robe4 ,on either side1 the ,maries1 with their children1 here legibly named1 and their husbands4 7,from a church at ,calcar47 ,above this1 #ebc4 ,triptych3 ,madonna and ,child1 with donors and patron saints 7,sebastian and ,mary ,magdalen74 ,note their symbols4 ,on either side1 ,van der ,meire3 #chh3 ,mater ,dolorosa2 her breast pierced with a sword3 and on the other side of the triptych #chi 7attribution doubtful1 according to ,lafenestre71 a donatrix with ,st4 ,catherine1 holding the sword of her martyrdom4 #efi4 ,school of ,gossaert1 ,way to ,calvary1 with the usual brutal soldiers4 #dg4 ,herri ,met de ,bles3 ,repose on the ,flight into ,egypt4 ,notice the sleeping ,st4 ,joseph1 and the staff1 basket1 and gourd1 which mark this subject4 #eci4 ,good unknown ,flemish portrait4 ,beyond this1 a frame containing five excellent small pictures4 #bdc4 ,quentin ,matsys3 99,st4 ,mary ,magdalen with her alabaster box4 ,sweet and simple4 ,in reality1 portrait of an amiable round-faced ,flemish young lady1 in the character of her patron saint4 ,her home forms the background4 #ebf and #ech4 ,fine unknown portraits4 #aii4 99,exquisite and delicate miniature by ,hans ,holbein the ,younger4 7,lafenestre doubts the attribution47 #acb4 ,fouquet1 the old ,french painter1 #adae-adhe4 ,hard old ,french picture of a ,madonna and ,child1 of the regal ,french type1 with solid-looking red and blue cherubs4 ,said to be a portrait of ,agnes ,sorel1 mistress of ,charles ,,vii4 ,from the ,cathedral of ,melun4 ,then1 another case1 containing six delicate works of the first importance4 #cif4 99,roger van der ,weyden 7more probably1 ,school of ,van ,eyck73 ,annunciation4 ,the angel ,gabriel1 in an exquisitely painted bluish-white robe1 has just entered4 ,our ,lady kneels at her prie-dieu with her book4 ,in the foreground1 the ,annunciation lily2 behind1 the bed-chamber4 ,the ,dove descends upon her head4 ,this is one of the loveliest works in the collection4 #bec4 ,memling3 9999,exquisite portrait of a ,premonstratensian ,canon4 #bh4 ,dierick ,bouts3 ,the ,madonna and ,child4 ,an excellent specimen of his hard1 careful manner4 #bjc4 ,lucas of ,leyden3 ,david playing before ,saul4 #cj4 ,bril1 #aeef-afbf4 ,fine miniature specimen of later ,flemish landscape1 with the ,prodigal ,son in the foreground4 #eei4 ,unknown but admirable portrait of a man4 #bbc4 ,justus van ,ghent3 ,nativity1 with ,adoration of the ,shepherds4 ,a good picture1 full of interesting episodes4 ,beyond these1 another case1 containing fine small works4 ,a beautiful little 99,madonna with the ,fountain of ,life 7#daa7 by ,jan van ,eyck1 closely resembling a large one by ,meister ,wilhelm1 in the ,museum at ,cologne4 ,two good unknown portraits4 ,a splendid 9999portrait of a medallist 7#e7 by ,antonello da ,messina 7sometimes attributed to ,memling74 ,a portrait 7#cc7 of ,franois ,,ii4 of ,france as a child1 by ,clouet1 of the old ,french ,school4 ,a characteristic 99,albert ,drer 7#abd71 portrait of ,frederick ,,iii4 of ,saxony3 and a good ,gossaert 7#ahb74 ,these do not need description1 but should be closely studied4 ,the place of honour on this wall is occupied by #cic1 a magnificent 9999,seven ,sacraments1 usually attributed to ,roger van der ,weyden1 though believed by some to be a work of his master1 ,robert ,campin of ,tournai4 ,at any rate1 it is a work full of ,roger's mystic spirit4 ,in form1 it is a triptych1 but the main subjects are continued through on to the wings4 ,the central panel represents the ,sacrament of the ,mass1 typified in the foreground by a ,crucifixion1 taking place in the nave of an unknown ,gothic church4 ,at the foot of the cross are the fainting ,madonna1 supported by ,st4 ,john 7in red as usual7 and a touching group of the three ,maries4 ,the robe of one to the left overflows into the next panel4 ,in the background1 the actual ,mass is represented as being celebrated at the ,high ,altar4 ,the architecture of the church 7with its triforium1 clerestory1 and apse1 and its fine reredos and screen7 is well worth notice4 ,so are the figures of ,our ,lady1 ,st4 ,peter and ,st4 ,john1 on the decorative work of the screen and reredos4 ,i believe the kneeling figure behind the officiating priest to be a portrait of the donor4 ,the side panels represent the other sacraments1 taking place in the aisles and lateral chapels of the same church4 ,l41 ,baptism1 ,confirmation1 ,confession3 in the ,confirmation1 the children go away wearing the sacred bandage4 ,r41 ,holy ,orders1 ,matrimony1 ,extreme ,unction4 ,each of these groups should be carefully noted4 ,the colours of the angels above are all symbolical3--white 7innocence7 for ,baptism3 yellow 7initiation7 for ,confirmation3 red 7love or sin7 for confession and absolution3 green 7hope7 for the ,eucharist3 purple 7self-sacrifice7 for ,holy ,orders3 blue 7fidelity7 for ,marriage3 violet1 almost black1 7death7 for ,extreme ,unction4 ,the picture is full of other episodes and mystical touches4 ,in all this beautiful and touching composition1 the ,mary to the right of the ,cross is perhaps the most lovely portion4 ,for a fine criticism1 see ,conway4 ,beyond this1 another frame with exquisite small works4 #bej4 ,quentin ,matsys3 ,head of ,christ1 with the ,crown of ,thorns and ,holy ,blood2 painful4 #edj4 ,admirable unknown miniature portrait4 #edd4 ,excellent little ,st4 ,helena4 #edb4 ,a little donor1 with his patron1 ,st4 ,john4 #bjd1 #bje1 #bjf4 ,good ,lucas of ,leyden1 of the ,four ,evangelists 7,john missing74 ,luke1 with the bull1 painting2 ,matthew1 with the angel1 and ,mark1 with the lion1 writing4 #ecg4 ,admirable unknown portrait4 ,these little works again need no description1 but close study4 ,above them1 #bdd4 ,quentin ,matsys 7874 ,the ,misers1 one of the best known of this favourite subject4 ,then1 another frame of miniatures4 #eag1 #eah4 ,unknown ,flemish #adth century ,madonna and ,child1 with donor and wife4 #eda1 #ebb4 ,tolerable portraits4 #ede4 ,fine portrait1 of the ,spanish period4 #daj4 9999,van ,eyck's celebrated unfinished ,st4 ,barbara1 holding her palm of martyrdom1 and with her tower in the background4 ,it should be closely studied1 both as an indication of the master's method1 and as a contemporary drawing illustrating the modes of medival building4 ,for a careful criticism1 see ,conway4 ,above these1 ,engelbrechtsen1 #acj4 ,st4 ,hubert1 attired as bishop1 bearing his crozier and hunting horn1 and with the stag beside him1 with the crucifix between its horns4 #abg4 ,the same4 ,st4 ,leonard releasing prisoners4 ,then1 another case of good small pictures4 #c4 ,a ,fra ,angelico4 ,interesting in the midst of these ,flemish pictures4 ,st4 ,romuald reproaching the ,emperor ,otho ,,iii4 for the murder of ,crescentius4 #cb4 ,petrus ,christus 7874 ,a donor and his patron1 ,st4 ,jerome4 #fd4 ,a landscape by ,patinir4 #ecf4 ,a ,baptism of ,christ1 where note the conventional arrangement and the angel with the robe4 #efa4 ,triptych4 ,madonna and ,child4 ,st4 ,christopher1 and ,st4 ,george4 ,harsh and angular4 #edh4 ,mater ,dolorosa1 transpierced by the sword4 #ece4 ,good ,flemish ,madonna with angels4 #bjg4 ,lucas of ,leyden3 ,adoration of the ,magi4 ,you can now note for yourself the ox1 ass1 ,joseph1 position1 age1 and complexion of ,kings1 etc4 #bi4 ,attributed 7doubtfully7 to ,dierick ,bouts3 ,st4 ,christopher wading1 with the ,infant ,christ4 ,in the background1 the hermit and lantern4 7,see ,mrs4 ,jameson47 #agf4 ,giotto3 ,a ,st4 ,paul with the sword4 ,characteristic of early ,florentine work4 #beg1 #beh1 #bei1 #bfj4 ,simone ,martini of ,siena3 ,four panels4 ,extreme ends1 9999,annunciation1 closely resembling the figures in the ,ufizzi at ,florence3 ,annunciations are often thus divided into two portions4 ,centre1 ,crucifixion and ,descent from the ,cross4 ,these exquisitely finished little works are full of the tender and delicate spirit of the early ,sienese ,school4 ,in the ,crucifixion1 notice particularly the ,magdalen1 and ,st4 ,longinus piercing the side of ,christ4 ,our ,lady in the ,annunciation has the fretful down-drawn mouth inherited by early ,italian art from its ,byzantine teachers4 #agg4 ,giotto3 ,st4 ,nicolas of ,myra with the three golden balls1 protecting a donor4 ,above are three good portraits by ,van ,orley1 and other works which need no description4 ,on easels at the end1 #bee4 ,attributed to ,memling3 9999,exquisite ,madonna and ,child in a church4 ,our ,lady1 arrayed as ,queen of ,heaven1 with a pot of lilies before her1 stands in the nave of a lovely early ,gothic cathedral1 with a later ,decorated apse1 and admirable rood-screen4 ,every detail of the tiles1 the crown1 the screen1 and the robe1 as well as ,our ,lady's hair and hands1 should be closely looked into4 ,this is one of the loveliest pictures here4 ,it is a very reduced copy from one by ,jan van ,eyck at ,berlin3 the church is that of the ,abbey of the ,dunes near ,furnes4 ,its attribution to ,memling has been disputed3 ,conway believes it to be by a follower4 ,in any case1 it is lovely4 #bef4 9999,companion panel1 of the donor1 a ,cistercian ,abbot of the ,dunes1 in a sumptuous room1 half bed-chamber1 half study1 with a beautiful fireplace and fire4 ,he kneels at his prayers1 having deposited his mitre on a cushion beside him1 and laid his crozier comfortably by the fireplace4 ,creature comforts are not neglected on the side-board4 ,here also every decorative detail should be closely examined4 ,these are two of the very finest works of the ,school of ,memling4 ,probably the ,abbot admired ,jan van ,eyck's ,madonna1 painted for a predecessor1 and asked for a copy1 with himself in adoration on the other wing of the diptych4 ,at the back1 on a revolving pivot1 #ecj1 #eca4 ,christ blessing1 and a ,cistercian ,canon in adoration4 ,as usual1 the outer panels are less brilliant in colouring than the inner4 ,notice the ,alpha and ,omega and the ,p4 and ,f4 7for ,pater and ,filius7 on the curtain behind the ,saviour4 ,these works are by an inferior hand4 ,the other easel has a fine 7#bjh1 #bji1 #baj7 99,lucas van ,leyden3 ,adoration of the ,magi1 with fantastic elongated figures4 ,note the ruined temple4 ,the other features will now be familiar4 ,lucas's treatment is peculiar4 ,l41 ,st4 ,george and the ,dragon4 ,the saint has broken his lance and attacks the fearsome beast with his sword4 ,in the background1 the ,princess ,cleodolind and landscape4 ,r41 ,the donor1 in a rich furred robe1 and behind him1 ,st4 ,margaret with her dragon4 ,at the back1 #aha1 wings1 by the same1 with a peculiar ,annunciation 7the wings being open1 reversed in order74 ,between them has been unwisely inserted an ,ecce ,homo by ,gossaert4 ,now1 go straight through ,rooms ,h1 ,f1 and ,e1 to three rooms en suite1 the last of which is ,,room ,a1 containing the ,transitional ,pictures4 7,it is usual to skip these insipid works of the intermediate age1 and to jump at once from the ,school of ,van ,eyck to the ,school of ,rubens--,i think unwisely--for ,rubens himself can only properly be appreciated as the product of an evolution1 by the light of the two main influences which affected him--his ,flemish masters1 and his ,italian models1 ,veronese and ,giulio ,romano47 ,begin at the far end1 near the lettered doorway1 and note throughout the effort to imitate ,italian art2 the endeavour at classical knowledge2 and the curious jumble of ,flemish and ,tuscan ideas4 ,but the ,flemish skill in portraiture still continues4 #fih4 ,good portrait of ,giles van ,schoonbeke1 by ,p4 ,pourbus4 ,next to it1 #ajc1 ,martin ,de ,vos1 the ,elder3 ,st4 ,anthony the ,abbot1 accompanied by his pig and bell1 and his usual tempters1 burying the body of ,st4 ,paul the ,hermit1 whose grave two lions are digging4 ,to the ,r41 hideous ,flemish devils1 grotesquely horrible4 ,above1 phases of the ,temptation of ,st4 ,anthony4 #cgb4 ,michael ,coxcie3 ,martyrdom of ,st4 ,george--one of his tortures4 ,good transitional work1 inspired by ,italian feeling4 #gb4 ,m4 ,de ,vos3 ,triptych1 painted for the altar of the ,guild of ,crossbowmen in the ,cathedral4 ,centre1 ,triumph of the risen ,christ4 ,in the foreground1 ,st4 ,peter 7keys71 and ,st4 ,paul 7sword71 with open pages of their writings4 ,l41 ,st4 ,george1 patron of the ,crossbowmen1 with his banner and armour2 ,r41 ,st4 ,agnes with her lamb4 ,left panel1 ,baptism of ,constantine by ,st4 ,sylvester4 ,right panel1 ,constantine ordering the erection of the ,church of ,st4 ,george at ,constantinople4 ,in the sky1 the apparition of ,our ,lady to the ,emperor4 ,a gigantic work1 recalling the later ,italian ,renaissance1 especially the ,schools of ,bronzino and ,giulio ,romano4 #cgd4 ,michael ,coxcie3 ,martyrdom of ,st4 ,george2 the other wing of the same triptych in honour of ,st4 ,george as #cgb2 central portion lost4 #hi4 ,m4 ,de ,vos3 ,st4 ,conrad of ,ascoli1 a ,franciscan friar1 in devout contemplation of the founder of his ,order1 ,st4 ,francis1 receiving the ,stigmata4 ,around it1 small scenes from the life of ,st4 ,conrad1 unimportant4 ,below1 ,devotion at the tomb of ,st4 ,conrad3 royal personages praying1 offerings of rich images1 and the sick healed by his relics4 ,a curious picture of frank corpse-worship4 #fii4 ,good portrait by ,pourbus4 #egf4 ,triptych1 unknown4 ,st4 ,eligius of ,noyon 7,st4 loy71 one of the apostles of ,brabant1 preaching to a congregation really composed of good local portraits4 7,a pious way of having oneself painted47 ,r4 and ,l41 ,st4 ,eligius feeding prisoners1 and ,st4 ,eligius healing the sick4 #gda4 ,another of ,bernard van ,orley's ,general ,resurrections1 the type of which will now be familiar to you4 ,in the centre1 strangely introduced group of portraits of the donors1 engaged in burying a friend1 whose memory this triptych was doubtless intended to commemorate4 ,on either wing1 the six works of ,mercy 7the seventh1 burial1 is in the main picture74 #gg4 ,good transitional triptych1 by ,m4 ,de ,vos1 for the ,guild of ,leather-dressers4 ,centre1 ,the ,incredulity of ,st4 ,thomas4 ,on the wings1 ,scenes from the life of the ,baptist4 ,l41 ,baptism of ,christ2 where note the persistence of the little symbolical ,jordan1 with angels almost inconspicuous4 ,r41 ,the ,decollation of ,st4 ,john4 ,salome receiving his head in a charger4 ,in the background1 ,herodias4 #cga4 ,coxcie the ,younger3 ,martyrdom of ,st4 ,sebastian1 patron saint of ,bowmen1 from their altar in the ,cathedral4 ,an attempt to be very ,italian4 ,the wings of this triptych are by ,francken4 ,l41 ,st4 ,sebastian exhorting ,marcus and ,marcellinus to go to martyrdom4 ,r41 ,st4 ,sebastian miraculously healing the dumb woman1 with portrait spectators1 in dress of the period1 deeply interested4 ,now go on into ,,room ,b1 7unlettered1 the centre of the three74 ,it contains works of an earlier period4 ,the left wall is entirely occupied by three large panels of a fine old ,flemish #aeth century picture1 attributed to ,memling 7and apparently accepted as his by ,lafenestre71 representing 99,christ ,enthroned1 with orb and cross1 surrounded by choirs of angels2 those in the central panel singing2 the others1 playing various musical instruments4 ,this is a beautiful work1 but less pleasing than those of the same school on a smaller scale4 ,it has been recently bought from the monastery of ,najera in ,spain4 ,it was intended1 ,i think1 to be seen at a height1 probably on an organ-loft1 and loses by being placed so near the eye of the spectator4 ,the opposite wall1 ,r41 is occupied by #bde1 ,quentin ,matsys's masterpiece1 the triptych of 9999the ,entombment1 painted for the altar of the ,guild of ,cabinet-makers4 ,the colouring is much more pleasing than in the ,family of ,st4 ,anne at ,brussels4 ,central panel1 ,the ,entombment4 ,nicodemus supports the emaciated body of the dead ,saviour1 while ,joseph of ,arimathea wipes the marks of the crown of thorns from his head4 ,the worn body itself1 with a face of pathetic suffering1 lies on the usual white sheet in the foreground4 ,at the foot1 ,mary ,magdalen1 with her pot of ointment and long fair hair1 strokes the body tenderly4 ,in the centre is the fainting ,madonna1 supported1 as always1 by ,st4 ,john1 in his red robe4 ,behind are the three ,maries4 ,the usual attendant 7a ruffianly ,fleming1 in a queer turban-like cap7 holds the crown of thorns4 ,at the back1 preparations for the actual placing in the sepulchre4 ,in the background1 ,calvary4 ,the wings have scenes from the lives of the two ,st4 ,johns4 ,l41 ,the daughter of ,herodias1 a very mincing young lady1 in a gorgeous dress1 brings the head of ,st4 ,john the ,baptist on a charger to her mother and a fiercely-bearded ,herod4 ,the queen appears to be about to carve it4 ,above1 a gallery of minstrels4 ,admirable drapery and accessories4 ,the ,r4 wing has the so-called ,martyrdom of ,st4 ,john the ,evangelist1 in the cauldron of boiling oil1 with a delightful boy spectator looking on in a tree4 ,the ,emperor ,domitian 7older than history71 on a white horse1 behind4 ,flemish varlets stir the fire lustily4 ,this noble work originally decorated the altar in the ,chapel of the ,menuisiers of ,antwerp in the ,cathedral4 ,on easels1 #fdi1 ,claeissens3 ,triptych of the ,crucifixion1 with the ,way to ,calvary and the ,resurrection4 ,elongated1 attenuated figures4 #fhj4 ,giles ,mostaert 7the elder73 ,singular complex picture1 painted for the ,hospital of ,antwerp2 representing1 above1 ,the ,general ,resurrection3 ,christ enthroned between ,our ,lady and ,st4 ,john-,baptist4 ,beneath1 naked souls rising from the tomb4 ,to the ,l41 ,st4 ,peter welcomes the just at the gate of the ,celestial ,city4 ,to the ,r41 devils drive the wicked into the gaping jaws of ,hell4 ,beneath1 the courses that lead to either end3 the ,seven ,works of ,mercy1 inspired by the ,redeemer1 and the ,seven ,deadly ,sins1 suggested by devils4 ,i will leave you to identify them 7it is easy74 ,go on into ,,room ,d1 containing more works of the ,transition4 ,these large altar-pieces of the early #agth century1 the period of the greatest wealth in ,antwerp1 though often frigid1 as works of art1 are at least interesting as showing the opulence and the tastes of the ,antwerp guilds during the epoch of the ,spanish domination4 ,they are adapted to the huge ,renaissance churches then erected1 as the smaller triptychs of the #aeth century were adapted to the smaller ,gothic altars4 #ebi4 ,feast of ,archers1 with the ,king of the ,archers enthroned in the background4 #fif1 #fig4 ,tolerable portraits by ,pourbus4 #ahc4 ,a ,madonna by ,gossaert4 #aad4 ,frans ,floris3 ,st4 ,luke painting1 with his bull most realistically assisting1 and his workman grinding his colours4 ,from the old ,academy of ,painters1 whose patron was ,st4 ,luke4 ,italian influence4 #ace4 ,ambrose ,francken3 ,loaves and fishes4 #adh4 ,the same4 ,decollation of ,st4 ,cosmo and ,st4 ,damian3 painted for the ,guild of ,physicians1 of whom these were the patron saints4 #ceg4 ,a splendid and luminous ,titian1 in the curious courtly ceremonial manner of the ,venetian painters4 9999,pope ,alexander ,,vi4 7,borgia71 in a beautiful green dalmatic1 introducing to the enthroned ,st4 ,peter his friend1 ,giovanni ,sforza da ,pesaro1 ,bishop of ,paphos1 and admiral of the ,pope's fleet4 ,at the bishop's feet lies his helmet1 to show his double character as priest and warrior4 ,he grasps the banner of the ,borgias and of the ,holy ,church4 ,in the background 7to show who he is71 the sea and fleet4 ,st4 ,peter's red robe is splendid4 ,the ,venetians frequently paint similar subjects1--8,allow me to introduce to your ,sainthood10 etc4 ,this is a fine work in ,titian's early harder manner1 still somewhat reminiscent of the ,school of ,bellini4 ,its glorious but delicate colour comes out all the better for the crudity of the works around it4 #adf4 ,ambrose ,francken3 ,st4 ,cosmo and ,st4 ,damian1 the ,doctor ,saints1 amputating an injured leg1 and replacing it by the leg of a dead ,moor4 ,in the background1 other episodes of their profession4 7,wing of the triptych for the ,guild of ,physicians47 #hc4 ,m4 ,de ,vos3 ,triptych1 painted for the ,guild of the ,mint1 and allusive to their functions4 ,centre1 ,the ,tribute ,money4 8,render unto ,csar10 etc41 with tempting ,pharisees and ,sadducees1 and ,roman soldiers4 ,in the foreground1 ,st4 ,peter in blue and yellow1 with his daughter ,petronilla4 ,left wing3 ,peter1 similarly habited1 finds the tribute money in the fish's mouth4 ,right wing3 ,the ,widow's ,mite4 7,the ,french titles1 8,le ,denier de ,csar10 8,le ,denier du ,tribut10 8,le ,denier de la ,veuve10 bring out the allusion better47 #hh4 ,m4 ,de ,vos3 ,st4 ,luke painting ,our ,lady1 with his bull1 as ever1 in attendance4 ,the wings by others4 ,l41 ,st4 ,luke preaching4 ,r41 ,st4 ,paul before ,felix4 ,from the altar of the 7painters'7 ,confraternity of ,st4 ,luke in the ,cathedral4 #aac4 ,frans ,floris3 ,adoration of the ,shepherds4 ,note persistence of formal elements from old ,school1 with complete transformation of spirit4 #ffc4 ,floris3 ,judgement of ,solomon4 #aab4 ,frans ,floris's horrible ,st4 ,michael conquering the devils2 the most repulsive picture by this repulsive and exaggerated master4 ,right and left of it1 good late ,flemish portraits of donors4 #dhc4 ,portrait by ,van ,veen1 ,rubens's master4 ,,room ,e contains chiefly works of the school of ,rubens1 most of which can now be satisfactorily comprehended by the reader without much explanation4 ,i will therefore treat them briefly4 ,left of the door1 #hb4 ,a ,nativity1 by ,de ,vos4 ,can be instructively compared with earlier examples4 #eg4 ,good #agth century landscape4 #fdf4 ,attributed to ,brueghel3 ,paying tithes4 #fdd4 ,p4 ,brueghel the ,younger3 ,a village merry-making 78,kermesse ,flamande074 ,with more than the usual vulgarity of episode4 #gbb and #gbd4 ,capital portraits4 ,good ,still life1 etc4 ,,room ,f contains nothing which the reader cannot adequately understand for himself4 ,omit ,room ,g for the present 7it contains the ,dutch ,masters71 and turn instead into ,,room ,h1 mostly devoted to works of the ,school of ,rubens4 ,end ,wall1 #cje4 ,rubens3 99,the ,last ,communion of the dying ,st4 ,francis of ,assisi4 ,a famous work1 in unusually low tones of colour--scarcely more than chiaroscuro4 ,st4 ,francis1 almost nude1 is supported by his friars4 ,above1 angels1 now reduced to cherubs1 wait to convey his soul to ,heaven4 ,painted for the altar of ,st4 ,francis in the ,franciscan ,church of the ,rcollets4 ,see it from the far end of the room1 where it becomes much more luminous4 ,on either side1 #ffb1 good portrait by ,s4 ,de ,vos 7himself1 dashing and vigorous3 every inch an artist73 and #ajd4 ,c4 ,de ,vos3 ,admirable and life-like 9999portrait of the messenger or porter of the ,guild of ,st4 ,luke1 the ,society of ,painters of ,antwerp1 exhibiting the plate belonging to his confraternity4 ,he is covered with medals1 which are the property of the ,society1 and has the air of a shrewd and faithful servant4 ,this living presentment of a real man is deservedly popular4 #ffa4 ,tolerable portrait by ,c4 ,de ,vos4 #djc4 ,van ,dyck's 99,entombment 7or ,piet71 often called ,descent from the ,cross4 ,this is one of his noblest pictures1 but badly restored4 #cce4 ,angry swans disturbed by dogs4 ,snyders4 #bae4 ,jordaens3 ,last ,supper4 ,the effect of gloom somewhat foreshadows ,rembrandt4 #dja4 ,van ,dyck3 9999,a ,dominican picture 7,guiffrey calls it 8cold and empty071 painted at his father's dying wish for the ,dominican ,nunnery at ,antwerp4 ,the two great saints of the ,order1 ,st4 ,dominic1 the founder1 and ,st4 ,catherine of ,assisi1 the originator of the female branch1 stand at the foot of the ,cross1 which is itself a secondary object in the picture4 ,st4 ,dominic looks up in adoration2 ,st4 ,catherine1 wearing the crown of thorns1 fervently embraces the feet of the ,saviour4 ,on the base1 a child angel1 in a high unearthly light1 with a half extinguished torch1 points with hope to the figure of the crucified ,lord4 ,the whole is emblematic of belief in a glorious ,resurrection1 through the aid of the ,dominican prayers4 ,interesting inscription on the rock3 8,lest earth should weigh too heavily on his father's soul1 ,a4 van ,dyck rolled this stone to the foot of the ,cross1 and placed it in this spot40 #cha4 ,van ,hoeck3 ,madonna and ,child1 with ,st4 ,francis1 from the ,franciscan ,church of the ,rcollets4 #ffj4 ,tolerable portrait by ,c4 ,de ,vos4 #djf4 ,van ,dyck's noble 9999,crucifixion1 with the sun and moon darkened4 ,one of his most admirable pictures4 #fgg4 ,jordaens3 9999,charming family scene1 known by the title of 8,as sing the ,old1 so pipe the ,young40 ,three generations--grandparents1 parents1 and children--engaged in music together4 ,very catching3 a most popular picture4 #gcd4 ,good 99portrait of a priest1 by ,van ,dyck4 #djb4 ,fine 99portrait of a bishop of ,antwerp1 by ,van ,dyck4 #djd4 ,van ,dyck3 9999,piet1 altar-piece for a chapel of ,our ,lady of the ,seven ,sorrows4 ,our ,lady holds on her lap the dead ,christ1 while ,st4 ,john points out with his finger the wound in ,his hand to pitying angels4 ,all the formal elements in this scene--,our ,lady1 ,st4 ,john1 the angels1 etc4--belong to the earlier conception of the ,piet1 but all have been entirely transfigured by ,van ,dyck in accordance partly with the conceptions of the ,school of ,rubens1 though still more with his own peculiar imagination4 ,it is interesting1 however1 to note in this touching and beautiful picture1 full of deep feeling1 how far the type of the ,st4 ,john has been inherited1 remotely1 from the ,school of ,van der ,weyden4 ,even the red robe and long hair persist4 ,the features1 too1 are those with which we are familiar4 ,this is one of the gems of the collection4 ,it shows the direct influence of ,italian travel modifying ,van ,dyck's style1 acquired from ,rubens4 ,this room also contains several other excellent works of the ,school of ,rubens or his more or less remote followers1 which ,i need not particularize4 ,now continue into ,,room ,i1 containing what are considered to be the gems among the ,rubenses and the later pictures4 ,right of the door1 ,rubens and ,brueghel1 #cai3 ,small copy of the ,dead ,christ4 ,schut1 #cbg3 ,the ,beheading of ,st4 ,george4 ,a pagan priest1 behind1 endeavours to make him worship an image of ,apollo4 ,above1 angels wait to convey his soul to ,heaven4 ,this is a somewhat confused picture1 with a spacious composition and a fine luminous foreground3 it is considered its painter's masterpiece4 ,intended for the altar of the ,archers 7whose patron was ,st4 ,george71 in ,antwerp ,cathedral4 #fgc4 ,good still life by ,gysels4 #ffi4 ,f4 ,francken3 ,portraits of a wealthy family in their own picture gallery4 #ajg4 ,c4 ,de ,vos3 99,portraits of the ,snoek family1 in devotion to ,st4 ,norbert4 ,this picture requires a little explanation4 ,st4 ,norbert was the ,catholic antagonist of the heretic ,tankelin at ,antwerp in the #abth century4 ,in this frankly anachronistic picture the ,snoek family of the #agth century1 portly1 well-fed burghers1 are represented restoring to the medival saint the monstrance and other church vessels removed from his church during the ,calvinist troubles4 ,the ,snoeks are living personages2 the ,saint is envisaged as a heavenly character4 ,it is1 in short1 a highly allegorical picture of the family showing their devotion to true ,catholicism1 and their detestation of current heresy4 ,in the background stands the town of ,antwerp1 with the ,cathedral and ,st4 ,michael4 7,from the burial chapel of the ,snoek family at ,st4 ,michael47 ,there is a ,brueghel in ,brussels ,museum1 representing ,st4 ,norbert preaching against ,tankelin4 #cjg4 ,beyond the door1 ,rubens3 9999,triptych1 to adorn a tomb1 for the funerary chapel of his friend ,rockox4 ,compare1 for size and purpose1 the ,moretus tomb in the ,cathedral4 ,it shows the painter's early careful manner1 and represents in its central piece the ,incredulity of ,st4 ,thomas4 ,on the wings1 the ,burgomaster ,nicolas ,rockox1 and his wife1 for whose tomb it was painted4 ,the wings are finer than the central portion4 ,this early work1 still recalling ,van ,veen's academic tone1 should be compared with the ,van ,veens and also with ,rubens's fine portrait of himself and his brother1 with ,lipsius and ,grotius1 in the ,pitti at ,florence4 ,it marks the earliest age1 when he was still content with comparatively small sizes1 and gave greater elaboration to his work1 but without his later dash and vigour4 ,m4 ,rooses thinks ill of it4 #gha4 99,fine farmyard scene by ,rubens1 with the story of the ,prodigal ,son in the foreground4 ,one of the many signs of his extraordinary versatility4 ,beyond1 on either side of the great ,rubens1 to be noticed presently1 are two pictures by his master1 ,otto van ,veen3 #dhj1 ,the ,calling of ,matthew1 and #dgi1 ,zacchus in the ,fig-,tree4 ,these two careful works recall the later ,italian ,schools1 more particularly ,titian1 and are good examples of that careful academic transitional ,flemish art which ,rubens was to transform and revivify by the strength of his own exuberant and powerful personality4 ,they are admirably placed here for comparison with #big4 ,rubens's famous altar-piece of the ,crucifixion1 for the ,church of the ,franciscans1 commonly known as the 9999,coup de ,lance4 ,in this splendid work ,rubens is seen in one of his finest embodiments4 ,the figure of ,christ has fine virility4 ,st4 ,longinus1 to the ,l41 on a white horse1 is in the very act of piercing his side4 ,the ,magdalen1 embracing the foot of the ,cross1 as ever1 throws up her arms with supplicating gesture4 ,to the ,r4 is the ,madonna4 ,behind1 a soldier is engaged in breaking the limbs of the ,impenitent ,thief 7always on ,christ's ,l47 who writhes in his torture4 ,the whole work is full of ,rubens's life and bustle1 well contrasted with the academic calm of the ,van ,veens beside it4 ,even those who do not love ,rubens 7and ,i confess ,i am of them7 must see in such a work as this how his great powers succeeded in effects at which his contemporaries aimed ineffectually4 ,boldly dramatic1 but not sacred4 #cjj4 9999,triptych by ,rubens1 commonly known as the ,christ la ,paille1 painted for a tomb in the ,cathedral 7compare the ,moretus one74 ,in the centre is a ,piet3 ,joseph of ,arimathea supporting the dead body of the ,christ on the edge of a stone covered with straw4 ,behind1 ,our ,lady and another ,mary1 with the face of ,st4 ,john just appearing in the background4 ,this 8too famous0 work is rather a study of the dead nude than a really sacred picture4 ,some of its details overstep the justifiable limits of horror4 ,the wings are occupied by1 ,l41 a so-called ,madonna and ,child1 really a portrait of a lady and boy--7his wife and son873 ,r41 ,st4 ,john the ,evangelist 7patron of the person for whose tomb it was painted71 accompanied by his eagle4 #gjf4 ,admirable 99portrait by ,rubens of ,gaspard ,groaerts1 town secretary4 ,the bust is ,marcus ,aurelius4 #aga4 ,j4 ,fyt3 ,excellent screaming eagles1 with a dead duck4 ,one of the earliest and best presentations of wild life at home4 #cae4 ,rubens3 ,small copy 7with variations7 of the ,descent from the ,cross in the ,cathedral 7by a pupil74 #gjh4 ,one of the best 99portraits by ,rubens in the ,gallery1 subject unknown3 lacks personal dignity1 but ,rubens has made the most of him4 ,the rest of this wall is occupied by some tolerable gigantic altar-pieces and other good works of the ,school of ,rubens4 ,most of them derive their chief interest from their evident inferiority in design and colour to the handicraft of the ,master4 ,they are the very same thing--with the genius omitted4 ,end wall1 #cad1 ,rubens3 called the 99,holy ,trinity4 ,the ,almighty supports on ,his knees the figure of the dead ,christ4 ,behind1 hovers the ,holy ,ghost4 ,on either side1 boy angels hold the crown of thorns1 the three nails1 and the other implements of the ,passion4 ,this is really a study in the science of foreshortening1 and in the painting of the dead nude1 largely suggested1 ,i believe1 by a still more unpleasing ,mantegna in the ,brera at ,milan4 #gai4 ,above4 ,excellent fishmongery by ,snyders4 #bab4 ,janssens3 ,the ,schelde bringing wealth to ,antwerp1 in the allegorical taste of the period4 #gab4 ,rubens3 ,st4 ,dominic4 #agb4 ,fyt3 ,excellent dogs and game4 #bii4 ,rubens3 ,an 9999allegorical picture to enforce the efficacy of the prayers of ,st4 ,theresa4 ,the foundress of the ,scalzi1 dressed in the sober robe of her ,carmelite ,order1 is interceding with ,christ for the soul of ,bernardino de ,mendoza1 the founder of a ,carmelite convent at ,valladolid4 ,below1 souls in ,purgatory4 ,in the left-hand corner stands ,bernardino1 whom1 at ,st4 ,theresa's prayer1 angels are helping to escape from torment4 ,a fine luminous picture of a most unpleasing subject4 ,painted for the altar of ,st4 ,theresa in the church of her own barefooted ,carmelites4 #dje4 ,van ,dyck3 ,magnificent portrait of ,cesare ,alessandro ,scaglia1 in black ecclesiastical robes1 with lace cuffs and collar1 and the almost womanish delicate hands of a diplomatic1 astute1 courtier-like ecclesiastic4 ,the thoughtful eyes and resolute face might belong to a ,richelieu4 #cjf4 ,rubens3 9999,the ,education of the ,virgin1 painted for a chapel of ,st4 ,anne4 ,a charming domestic picture of a wealthy young lady of ,flanders1 pretending to be ,our ,lady1 in a beautifully painted white silk gown4 ,beside her1 her mother1 a well-preserved ,st4 ,anne1 of aristocratic matronly dignity4 ,behind is ,st4 ,joachim1 and above1 two light little baby angels4 ,the feeling of the whole is graceful courtly-domestic4 #dha1 #dhb4 ,two scenes from the life of ,st4 ,nicholas1 by ,van ,veen1 the master of ,rubens4 ,r41 he throws through a window three purses of gold as dowries for the three starving daughters of a poor nobleman4 7,this ornate treatment contrasts wonderfully with the simpler early ,italian pictures of the same subject47 ,l41 he brings corn for the starving poor of ,myra4 ,both pictures represent the bourgeois saint in his favourite character of the benefactor of the poor4 ,they are here well placed for contrast with #bih4 ,rubens3 9999,adoration of the ,magi1 considered to be his finest embodiment of this favourite subject1 and one of his masterpieces4 ,r41 ,our ,lady and ,child1 with the ox in the foreground1 and ,st4 ,joseph behind her4 ,l41 two kings make their offerings4 ,behind them1 the third1 a ,moor1 in an ,algerian costume1 leering horribly4 ,above1 the ruined temple1 the shed1 and the camels4 ,m4 ,max ,rooses calls this work 8the chef d'uvre by which ,rubens inaugurated his third manner10 and other critics praise loudly its gorgeous colouring1 its audacious composition1 its marvellous certainty4 ,to me1 the great canvas1 with its hideous ogling ,moor1 is simply unendurable2 but ,i give the gist of authoritative opinion4 #cab4 ,rubens3 99,the ,holy ,family1 known as ,la ,vierge au ,perroquet4 ,it is chiefly remarkable as a rich and gorgeous piece of colouring1 with a charming nude boy of delicious innocence4 #cac4 ,rubens3 99,crucifixion4 ,one of his best embodiments of this subject4 ,opposite wall4 #gji4 ,rubens1 partly made-up3 ,jupiter and ,antiope4 ,a mythological subject1 treated in a somewhat ,italian style1 with a quaint little huddling ,cupid in the foreground4 ,beyond this1 three designs by ,rubens for ,triumphal ,cars and ,arches1 on the occasion of the entry of ,ferdinand of ,austria in #afce4 ,the whole of this room contains several other excellent altar-pieces1 many of which are ,franciscan4 ,,room ,j4 ,r4 and ,l4 of the door1 #aje1 ,c4 ,de ,vos3 ,portraits of a husband and wife1 with their sons and daughters4 #cgj4 ,van ,cortbemde3 ,the ,good ,samaritan1 pouring in oil and wine in a most literal sense4 ,in the background1 the priest and the ,levite4 #aji4 ,fine portrait of a well-fed ,flemish merchant1 ,william ,van ,meerbeck1 by ,c4 ,de ,vos4 ,behind him his patron1 ,st4 ,william4 #gdh4 ,van ,thulden3 ,continence of ,scipio4 #bfe4 ,murillo 7,spanish ,school74 ,st4 ,francis4 ,a reminiscence of the older subject of his receiving the ,stigmata4 ,it has the showy and affected pietism of the ,spaniards4 ,a mere study4 #bad4 ,jordaens3 ,pharaoh in the ,red ,sea4 ,room ,n contains several good portraits and views of the town and other places1 of the #agth and #ahth centuries1 many of them excellent as studies of ,old ,antwerp1 enabling us to appreciate the greatness of the architectural losses which the city has sustained4 ,these1 however1 are essentially works for the visitor to inspect at his leisure4 ,they need little or no explanation4 ,notice especially #gbh1 #cdh1 #gbf4 #gge4 ,good unknown ,flemish portrait4 #bb4 ,portraits by ,boeyermans4 ,room ,o1 beyond1 is filled for the most part with canvases of the school of ,rubens1 mainly interesting for comparison with the works of the master1 and needing little comment4 ,now return to ,,room ,g1 containing the ,dutch ,pictures4 ,many of these are masterpieces of their sort1 but need here little save enumeration4 ,the ,reformation turned ,dutch art entirely upon portraiture1 landscape1 and domestic scenes4 ,dutch art is frankly modern4 #cch4 ,jan ,steen3 ,samson and the ,philistines1 as ,jan ,steen imaged it4 #gfg4 ,admirable calm sea-piece1 by ,van der ,capelle4 #geb4 ,weenix poaching on ,hondecoeter's preserves4 #ejb4 ,a beautiful little ,wynants4 #cii4 ,w4 van de ,velde the younger3 ,calm sea1 with ships4 #cih4 ,admirable cows1 by ,a4 van de ,velde4 #bic4 ,rembrandt3 9999,admirable portrait of his wife1 ,saskia2 almost a replica of the one at ,cassel1 perhaps either painted by a pupil1 or else from memory after her death1 and badly restored4 ,it breathes ,dutch modesty4 #cdi4 ,terburg3 99,girl playing a mandoline4 #gje4 ,excellent 99portrait of a ,burgomaster1 by ,rembrandt4 #cbd4 ,a charming ,schalken4 #fbh4 ,unknown3 perhaps ,frans ,hals3 ,excellent portrait of a calm old lady4 #ffh4 ,karel du ,jardin3 ,admirable landscape1 with cows4 #ahh4 ,celebrated and vigorous 9999,fisher-boy of ,haarlem1 with a basket1 by ,frans ,hals1 rapidly touched with the hand of a master4 #cci4 ,one of ,jan ,steen's village merry-makings4 #bf4 ,delicate soft landscape1 by ,j4 and ,a4 ,both4 #fge4 ,a mill1 by ,hobbema4 #gfh4 ,van der ,velde3 ,fine landscape1 with cows4 #dbg4 ,flowers by ,van ,huysum4 #fgd4 ,admirable 99portrait1 by ,frans ,hals1 of a round-faced1 full-blooded1 sensuous ,dutch gentleman4 ,full of dash and vigour4 #gch4 ,venus and ,cupid1 by ,w4 van ,mieris4 #dcg4 ,excellent fishmonger1 by ,w4 van ,mieris4 #dff4 99,the ,smoker1 by ,a4 van ,ostade4 #fhb4 ,arch and charming portrait1 by ,mytens4 #ggc4 ,a fine ,wynants4 #chb4 ,b4 van der ,helst3 ,child with a dog4 #fgi4 ,some of ,molenaer's peasant folk4 #gac4 ,ruysdael3 99,waterfall in ,norway4 ,the room is full of other fine and delicately-finished pictures of the ,dutch ,school1 of which ,i say nothing1 only because they are of the kind which are to be appreciated by careful examination1 and which do not need explanation or description4 ,room ,k4 contains ,flemish works of the later ,school of ,rubens and the beginning of the decadence4 ,the remaining rooms of the ,gallery have modern pictures1 belonging to the historical and to the archaic ,schools of ,antwerp4 ,these works lie without the scope of the present ,guides1 but many of them are of the highest order of merit1 and they well deserve attention both for their own intrinsic excellence and for comparison with the works of the #aeth and early #afth centuries on which they are based4 ,the paintings of ,leys and his followers1 mainly in ,room ,t1 are especially worth consideration in this connection4 ,these painters have faithfully endeavoured to revert to the principles and methods of the great early ,flemish ,masters1 and though their work has often the almost inevitable faults and failings of a revival1 it cannot fail to interest those who have drunk in the spirit of ,van ,eyck and ,memling4 ,on the ground floor1 a good copy1 #dac1 etc41 of the ,adoration of the ,lamb at ,ghent1 useful for filling up the gaps in your knowledge1 and more readily inspected at leisure and from a nearer point of view than the original4 ,the portraits and battle scenes on the remaining walls need little comment4 ,d4 ,,the ,,town ,,in ,,general ,medival ,antwerp1 now no more1 lay within a narrow ring of walls in the neighbourhood of the ,cathedral4 ,its circumference formed a rough semi-circle1 whose base-line was the ,schelde1 while its outer walls may still be traced on a good map about the ,rempart ,ste4 ,catherine and the ,rempart du ,lombard4 ,this oldest district still remains on the whole an intricate tangle of narrow and tortuous streets1 with a few ancient buildings4 ,later ,renaissance ,antwerp stretched to the limit of the existing ,avenues in their northern part1 though the southern portion 7from the ,place ,lopold on7 extends beyond the boundary of the #agth century city1 and occupies the site of the huge demolished ,old ,citadel1 built by ,alva4 ,antwerp1 however1 has undergone so many changes1 and so few relics of the medival age now survive1 that ,i can hardly apply to its growth the historical method ,i have employed in other ,belgian towns4 ,it will be necessary here merely to point out the principal existing objects of interest1 without connecting them into definite excursions4 ,the centre of medival ,antwerp was the ,grand' ,place1 which may be reached from the ,place ,verte1 through the little triangular ,march aux ,gants1 in front of the main faade of the ,cathedral4 ,it was1 however1 so entirely modernized under the ,spanish rgime that it now possesses very little interest4 ,the ,w4 side of the square is entirely occupied by the ,htel-de-,ville1 a poor ,renaissance building1 which looks very weak after the magnificent ,gothic ,town ,halls of ,bruges1 ,ghent1 ,brussels1 and ,louvain4 ,the faade is extremely plain1 not to say domestic4 ,the ground floor has an arcade in imitation of ,italian rustica work1 above which come two stories with ,doric and ,ionic columns 7and ,corinthian in the centre72 the top floor being occupied by an open loggia1 supporting the roof4 ,in the centre1 where we might expect a spire1 rises a false gable-end1 architecturally meaningless4 ,the niche in the gable is occupied by a statue of ,our ,lady with the ,child 7#aehe71 the patroness of the city1 flanked by allegorical figures of ,wisdom and ,justice4 ,the interior has been modernized3 but it contains one fine hall1 the ,salle ,leys1 decorated with noble archaistic paintings by ,baron ,leys4 ,it may be visited before #i1 or after #d in the evening 7#a franc to the concierge74 ,in the ,burgomaster's ,room is also a good ,renaissance chimney-piece1 from the ,abbey of ,tongerloo1 with reliefs of the ,marriage at ,cana1 the ,brazen ,serpent1 and ,abraham's ,sacrifice4 ,the square contains a few ,guild ,houses of the #agth century1 the best of which is the ,hall of the ,archers1 to the ,r4 of the ,htel-de-,ville1 a handsome and conspicuous building1 lately surmounted by a gilt figure of ,st4 ,george slaying the ,dragon1 in honour of the patron saint of the ,archers4 ,the older ,guild ,houses1 however1 were mostly destroyed by the ,spaniards4 ,the square1 as it stands1 being ,renaissance or modern1 cannot compare with the ,grand' ,place in most other ,belgian cities4 ,the centre of the ,place is occupied by a bronze fountain1 with a statue of ,silvius ,brabo1 a mythical hero of medival invention1 intended to account for the name ,brabant4 ,he is said to have cut off the hand of the giant ,antigonus1 who exacted a toll from all vessels entering the ,schelde1 under penalty of cutting off the hand of the skipper1--a myth equally suggested by a false etymology of ,antwerp from ,hand ,werpen 7,hand throwing74 ,the ,hand of ,antwerp1 indeed1 forms part of the city arms1 and will meet you on the lamp-posts and elsewhere4 ,it is1 however1 the ordinary ,hand of ,authority 7,main de ,justice71 or of good luck1 so common in the ,east1 and recurring all over ,europe1 as on the shields of our own baronets4 ,such a hand1 as an emblem of authority1 was erected over the gate of many medival ,teutonic cities4 99 99 99 99 99 ,one of the objects best worth visiting in ,antwerp1 after the ,cathedral and the ,picture ,gallery1 is the ,plantin-,moretus ,museum containing many memorials of a famous family of ,renaissance printers1 whose monuments we have already seen in the ,cathedral4 ,to reach it you turn from the ,place ,verte into the ,rue des ,peignes1 almost opposite the ,s4 door of the ,cathedral4 ,the second turning to the ,r4 will lead you into the small ,place du ,vendredi1 the most conspicuous building in which is the ,museum4 ,beyond advising a visit1 it is difficult to say much about this interesting old house and its contents4 ,those who are lovers of typography or of old engravings will find enough in it to occupy them for more than one morning4 ,such had better buy the admirable work1 ,le ,muse ,plantin-,moretus1 by ,m4 ,max ,rooses1 the conservator4 ,on the other hand1 the general sight-seer will at least be pleased with the picturesque courtyard1 draped in summer by the mantling foliage and abundant clusters of a magnificent old vine1 as well as with the spacious rooms1 the carved oak doorways1 balustrades1 and staircases1 the delicious galleries1 the tiles and fireplaces1 and the many admirable portraits by ,rubens or others4 ,were it merely as a striking example of a ,flemish domestic interior of the upper class during the ,spanish period1 this ,museum would well deserve attention4 ,read the following notes before starting4 ,the house of ,plantin was established by ,christopher ,plantin of ,tours 7born #aead71 who came to ,antwerp in #aedi1 and established himself as a printer in #aeee4 ,he was made ,archetypographer to the ,king by ,philip ,,ii41 and the business was carried on in this building by himself1 his son-in-law1 ,moretus1 and his descendants1 from #aegi till #ahge4 ,it was ,plantin's daughter1 ,martina1 who married ,john ,moretus 7see the ,cathedral71 and under the name of ,plantin-,moretus the business was continued through many generations to our own day4 ,the firm were essentially learned printers1 setting up works in ,latin1 ,greek1 and ,hebrew1 or even in ,oriental types1 and issuing editions of many important classical authors4 ,i will not describe the various rooms1 about which the reader can wander for himself at his own sweet will1 but will merely mention that they contain admirable portraits of the ,plantin and ,moretus families1 and of their famous editor1 ,justus ,lipsius1 by ,rubens1 and others4 7,the ,lipsius is particularly interesting for comparison with the one at ,florence in the ,pitti47 ,the dwelling-rooms and reception-rooms1 of the family1 with their fine early furniture1 are now open to the visitor4 ,so is the quaint little shop1 facing the street1 the composing room and proof-readers' room1 the study occupied by ,lipsius1 and the library1 with examples of many of the books printed by the firm4 ,the original blocks of their woodcuts and of their capital letters1 with the plates of their engravings1 are likewise shown1 together with old and modern impressions4 ,do not suppose from this1 however1 that the place is only interesting to book-hunters or lovers of engravings4 ,the pictures and decorations alone1--nay1 the house itself--will amply repay a visit4 99 99 99 99 99 ,a walk should be taken from the ,place ,verte1 by the ,vieux ,march au ,bl1 or through the ,march aux ,gants1 to the river front and ,port of the ,schelde4 7,follow the tram-line47 ,here two handsome raised promenoirs or esplanades1 open to the public1 afford an excellent 99view over the river1 the old town1 and the shipping in the harbour4 ,the southernmost 7and pleasantest7 of these promenoirs ends 7,s47 near the ,porte de l',escaut1 a somewhat insignificant gateway1 designed by ,rubens1 and adorned with feeble sculpture by ,arthus ,quellin4 ,it stood originally a little lower down the river1 but has been removed1 stone by stone1 to its present situation4 ,the quaint red building1 with hexagonal turrets at the angles1 visible from both esplanades1 is the ,vieille ,boucherie1 or ,butchers' ,guild ,hall1 of #aejc4 ,it stands in a squalid quarter1 but was once a fine edifice4 ,near the ,n4 end of this promenoir1 a ferry-boat runs at frequent intervals to the ,tte-de-,flandre on the opposite shore of the river4 ,here there is a ,kursaal and a strong fort4 ,it is worth while crossing on a fine day in order to gain a general view of the quays and the town4 ,the northernmost promenoir is approached by an archway under the castellated building known as the ,steen4 ,this is a portion of the old ,castle of ,antwerp1 originally belonging to the ,margraves and the ,dukes of ,brabant1 but made over by ,charles ,v4 to the burghers of ,antwerp4 ,the ,inquisition held its sittings in this castle4 ,it is now1 though much restored and quite modern-looking 7except the portal71 almost the only remaining relic of ,medival ,antwerp1 outside the ,cathedral4 ,it contains a small ,museum of ,antiquities 7unimportant2 open daily1 #aj to #d3 #a fr43 ,sunday and ,thursday free74 ,unless you have plenty of time you need not visit it4 ,a little way beyond the ,n4 end of the northern promenoir a tangled street leads to the ,church of ,st4 ,paul1 which will be described hereafter4 ,continuing along the ,quays in this direction you arrive at last at the ,docks4 ,the large modern castellated building in front of you is the ,pilotage1 round which sea-captains congregate in clusters4 ,turning along the dirty quay to the ,r41 you reach shortly on the ,l4 the site of the ,maison ,hansatique1 which was the entrept in ,antwerp of the ,hanseatic ,league4 ,but it was burnt down a few years since1 and its place is now occupied by mean sheds and warehouses4 ,all this quarter is given over to the most unsightly and malodorous realities of modern seafaring life and commerce4 99 99 99 99 99 ,antwerp is somewhat ill provided with drives or country walks4 ,the prettiest of its public gardens is the little ,park1 which may be reached from the ,avenue des ,arts by either of the three main ,avenues eastward1 adorned respectively with statues of ,quentin ,matsys1 ,leys1 and ,jordaens4 ,the ,park is a small but ingeniously laid out triangular area1 occupying the site of an old bastion1 with a pleasing sheet of ornamental water 7originally the moat71 crossed by a bridge1 and backed up by the twin spires of the modern ,church of ,st4 ,joseph4 ,around it lies the chief residential quarter of #aith century ,antwerp4 ,this is a cool stroll in the afternoon1 for one tired of sight-seeing4 7,ask your hotel porter when and where the band plays daily47 ,further on in the same direction is the pretty little public garden known as the ,ppinire1 and lying in a pleasant open quarter4 7,band here also47 ,the ,zoological ,garden1 just behind the ,gare de l',est1 7admission #a fr47 is well worth a visit if you are making a stay4 ,it is particularly well stocked with birds and animals1 and has a rather pretty alpine rock-garden4 ,on ,sunday afternoons1 a good band plays here from #c to #f1 and all ,antwerp goes to listen to it4 99 99 99 99 99 ,a round of the ,avenues may best be made in an open tram4 ,the northern portion1 leading from the ,entrept and the ,goods ,station as far as the ,place de la ,commune1 has few objects of interest4 ,in the ,place de la ,commune you pass1 ,r41 the handsome and ornate ,flemish ,theatre2 while1 ,l41 the ,rue ,carnot leads to the ,zoological ,garden1 and to the uninteresting industrial suburb of ,borgerhout4 ,beyond this comes a ,covered ,market1 ,l41 and then the ,place ,teniers1 with a statue of ,teniers4 ,here the ,avenue de ,keyser leads1 ,l41 to the main ,railway ,station 7,gare de l',est74 ,further on1 ,l41 the ,avenue ,marie-,thrse1 with a statue of ,matsys1 runs to the ,park4 ,so1 a little later1 do the ,avenue ,louise-,marie1 with a statue of ,leys1 and the ,avenue ,marie-,henriette1 with a statue of ,jordaens4 ,the handsome building1 with domed and rounded turrets1 on your ,r41 just beyond the last-named ,avenue1 is the ,banque ,nationiale1 intended to contain the public treasure of ,belgium in case of war4 ,here the ,chausse de ,malines leads off1 ,s4,e41 to the uninteresting suburb of ,berchem4 ,the heavy new building on the ,l41 a little further ,s41 looking like a ,french medival chteau1 is the ,palais de ,justice4 ,from this point the ,avenue du ,sud runs through an unfinished district1 occupying the site of the old ,citadel 7,alva's7 past the ,museum and the ,palais de l',industrie1 to the desolate ,place du ,sud1 with the ,south ,railway ,station4 ,you can return by tram along the ,quays to the ,htel-de-,ville and the ,cathedral4 ,if you have plenty of time to spare1 you may devote a day to ,,the ,,rococo ,,churches4 ,most of the ,antwerp churches1 other than the ,cathedral1 are late ,gothic or ,renaissance buildings1 disfigured by all the flyaway marble decorations so strangely admired during the #agth and #ahth centuries4 ,few of them deserve a visit1 save for a picture or two of ,rubens still preserved on their altars4 ,there are one or two1 however1 usually gone through by tourists1 and of these ,i shall give some brief account1 for the benefit of those who care for such things1 though ,i do not think you need trouble about them1 unless you have plenty of time1 and are specially attracted by the later ,school of ,antwerp4 ,the most important of these rococo churches is ,st4 ,jacques1 the principal doorway of which opens into the ,longue ,rue ,neuve4 ,the pleasantest way to reach it1 however1 is to go from the ,place ,verte through the ,march aux ,souliers1 following the tramway to the ,place de ,meir4 ,this broad street 7one of the few open ones in ,antwerp71 lined by baroque ,renaissance mansions of some pretensions1 has been formed by filling up an old canal4 ,the most imposing building on the ,r41 marked by two angels holding an oval with the letter ,l4 7the king's initial71 is the ,royal ,palace4 ,a little further on1 upon the same side of the street1 is the ,house of ,rubens's ,parents1 with his bust above1 and an inscription on its pediment signifying the fact in the ,latin tongue4 ,to reach ,st4 ,jacques you need not go quite as far down the street as these two buildings4 ,turn to your ,l4 at the ,bourse1 a handsome modern edifice1 standing at the end of what looks like a blind alley4 ,the road runs through it1 and it is practically used as a public thoroughfare4 ,the building itself is recent--#ahfi-gb--;but it occupies the site of a late-,gothic ,exchange of #aeca1 erected by ,dominic van ,waghemakere4 ,the present ,bourse resembles its predecessor somewhat in style1 but is much larger1 has an incongruous ,moorish tinge1 and is provided with a nondescript glass-and-iron roof4 ,turn to the ,r4 at the end of the lane1 and continue down the ,longue ,rue ,neuve1 which leads you towards ,st4 ,jacques1 a late-,gothic church1 never quite completed4 ,the entrance is not by the faade1 but on the ,s4 side1 in the ,longue ,rue ,neuve4 7,visitors admitted from #ab till #d p4m41 #a fr4 per person4 ,knock at the door1 and the sacristan will open47 ,the interior is of good late-,gothic architecture1 terribly over-loaded with ,renaissance tombs and sprawling baroque marble decorations4 ,the church was used as the ,pantheon 7or ,westminster ,abbey7 for burials of distinguished ,antwerp families under the ,spanish domination2 and they have left in every part of it their ugly and tasteless memorials4 ,begin in the ,s4 ,aisle4 #ast chapel4 ,van ,dyck3 ,st4 ,george and the ,dragon3 mediocre4 ,above1 statue of ,st4 ,george1 to whom angels offer crowns of martyrdom4 ,good modern marble reliefs of ,scenes from the ,passion1 continued in subsequent chapels4 ,at the end1 ,baptistery1 with good font4 #bnd chapel1 of ,st4 ,antony4 ,temptation of ,st4 ,antony1 by ,m4 ,de ,vos4 ,italian #agth century ,madonna4 #crd chapel1 of ,st4 ,roch1 the great plague-saint4 ,it contains an altar-piece by ,e4 ,quellin1 angels tending ,st4 ,roch when stricken with the plague4 ,above1 the saint with his staff and gourd1 in marble1 accompanied by the angel who visited him in the desert4 ,on the window wall1 relics of ,st4 ,roch1 patron against the plague4 ,round this chapel and the succeeding ones are a series of pictures from the ,life of ,st4 ,roch1 by an unknown ,flemish master1 dated #aeag4 ,they represent ,st4 ,roch in prison2 relieved by the dog2 resting in the forest2 visited by the angel2 etc4 7,see ,mrs4 ,jameson47 ,a tomb here has a good ,virgin and ,child4 #dth chapel4 ,fine old tomb2 also1 continuation of the ,history of ,st4 ,roch4 #eth chapel4 ,more ,history of ,st4 ,roch4 ,on the wall1 relics of ,st4 ,catherine1 who stands on the altar-piece with her sword and wheel2 balanced1 as usual1 by ,st4 ,barbara4 ,the chapel is dedicated to ,st4 ,anna1 who is seen above the altar1 with ,our ,lady and the ,infant4 #fth chapel4 ,baptism of ,christ1 by ,michael ,coxcie1 on the altar4 ,window wall1 ,m4 ,de ,vos3 ,triptych3 ,centre1 ,martyrdom of ,st4 ,james2 ,l41 the daughter of the ,canaanite2 ,r41 the daughter of ,jairus4 7,the wings are by ,francken47 ,the ,s4 ,transept has ,renaissance figures of the ,apostles 7continued in the ,n4 transept74 ,the ,choir is separated from the ,nave and ,transepts by an ugly ,renaissance rood-screen4 ,the ,chapel of the ,host1 in the ,s4 transept1 is full of twisting and twirling ,renaissance marble-work1 well seconded by equally obtrusive modern works in the same spirit4 ,the ,ambulatory has a marble screen1 separating it from the ,choir1 in the worst taste of the ,renaissance1 with many rococo tombs and sculptures of that period plastered against it4 #ast chapel1 of the ,trinity1 has a ,holy ,trinity for altar-piece1 by ,van ,balen4 ,the door to the ,l4 gives access to the ,choir1 with an atrocious sculptured ,high ,altar1 and carved choir-stalls4 #bnd and #crd chapels1 uninteresting4 ,the end chapel1 behind the ,high ,altar1 is the burial chapel of the ,rubens family4 ,the altar-piece1 painted by ,rubens for his family chapel1 represents the ,madonna and ,child adored by ,st4 ,bonaventura2 close by stands the ,magdalen2 to the ,l4 a hurrying ,st4 ,george 7reminiscent of the ,st4 ,sebastian by ,veronese at ,venice71 and to the ,r41 a very brown ,st4 ,jerome4 ,the calm of the central picture1 with its group of women1 is interfered with by these two incongruous male figures4 ,it is like parts of two compositions1 joined meaninglessly together4 ,above are infant cherubs scattering flowers4 ,one would say1 ,rubens had here thrown together a number of separate studies for which he had no particular use elsewhere4 ,but the colour is most mellow4 #eth chapel1 of ,san ,carlo ,borromeo 7who practically replaced ,st4 ,roch in later cosmopolitan ,catholicism as the chief plague-saint74 ,the altar-piece1 by ,jordaens1 represents the saint invoking the protection of ,christ and ,our ,lady for the plague-stricken in the foreground4 ,painted for the town almoner4 #fth chapel4 ,three good portraits4 #gth chapel4 ,visitation1 by ,victor ,wolfvoet4 ,the ,n4 ,transept has the continuation of the ,twelve ,apostles1 with two of the four ,latin ,fathers by the portal 7the other two being at the opposite doorway74 ,the ,chapel 7of ,our ,lady7 resembles that in the ,s4 ,transept1 and is equally terrible4 ,n4 ,aisle3 ,the #bnd chapel has a fine triptych by ,m4 ,de ,vos1 of the ,glory of ,our ,lady4 ,centre1 the ,court of ,heaven1 where the prominent position of ,our ,lady is unusual1 and marks an advanced phase of her cult4 ,in the assemblage of saints below1 ,st4 ,peter1 ,st4 ,john-,baptist1 and many others1 may be recognised by their symbols4 ,the ,l4 wing has the ,calling of ,matthew2 the ,r4 wing1 ,st4 ,hubert1 with the apparition of the crucifix between the horns of the stag4 ,beneath are good portraits of donors4 ,the fine stained glass window of this chapel is noteworthy4 ,it represents the ,last ,supper1 with donors 7#aech74 ,the #crd chapel1 of the ,rockox family1 has a good triptych1 by ,van ,orley1 of the ,last ,judgment4 ,on the wings are portraits of the donor and family4 ,l41 ,adrian ,rockox and sons1 with his patron ,st4 ,adrian 7sword1 anvil74 ,r41 his wife1 ,catherine1 with her daughters1 and her patroness1 ,st4 ,catherine4 #dth chapel4 ,good triptych by ,balen4 ,centre1 ,adoration of the ,magi2 ,r4 and ,l41 ,annunciation and ,visitation4 ,on a tomb opposite1 good portraits by ,ryckaert4 #eth chapel4 ,triptych1 by ,m4 ,de ,vos3 ,presentation of ,our ,lady in the ,temple4 ,l41 ,the ,pagans attempt in vain to burn the body of ,st4 ,mark2 ,r41 ,martyrdom of ,st4 ,lucy4 ,another church frequently visited by tourists is ,st4 ,paul1 formerly belonging to a ,dominican ,monastery by its side1 and situated in a dirty and malodorous district4 ,do not attempt to go to it direct4 ,reach it by the ,quays1 turning to the ,r4 near the end of the ,northern ,promenoir4 ,over the outer doorway of the court is a rococo relief of ,st4 ,dominic receiving the rosary from ,our ,lady4 ,to the ,r41 as you enter1 is an astonishing and tawdry ,calvary1 built up with rock and slag against the wall of the ,transept4 ,it has1 above1 a ,crucifixion2 below1 ,entombment and ,holy ,sepulchre4 ,all round are subsidiary scenes3 ,st4 ,peter1 with the crowing cock2 ,christ and the ,magdalen in the ,garden2 ,angels to lead the way1 etc4 ,the church itself is an imposing late-,gothic building1 uglified by unspeakable rococo additions4 7,admission1 from #ab till #d4 ,knock at the door3 #a fr4 per person4 ,but unless you are a great admirer of ,rubens1 the sum is ill-bestowed for seeing one or two of his less important pictures47 ,in the ,n4 ,transept is ,rubens's 99,scourging of ,christ1 covered3 the only thing here really worth seeing4 ,in the ,n4 ,aisle1 one of his weakest ,adorations of the ,magi4 ,on the altar of the ,sacrament1 a so-called 8,dispute on the ,sacrament10 by ,rubens3 really1 the ,fathers and ,doctors of the ,church1 especially the ,dominicans1 represented by ,st4 ,thomas ,aquinas1 in devout contemplation of the ,mystery of the ,eucharist4 ,the other pictures in the church are relatively uninteresting works of the ,school of ,rubens2 the best is a ,way to ,calvary by ,van ,dyck4 ,if you want more ,rubenses1 you will find a ,madonna1 with a great group of ,augustinian and primitive saints1 in the ,church of ,st4 ,augustine 7,rue des ,peignes71 where there is also a good ,ecstasy of ,st4 ,augustine by ,van ,dyck2 and in the ,church of ,st4 ,anthony of ,padua 7,march aux ,chevaux71 a picture1 partly by ,rubens1 representing ,st4 ,anthony receiving the ,child ,jesus from the hands of the ,virgin3 but ,i do not recommend either excursion4 99 99 99 99 99 ,antwerp is strongly fortified1 and a moat1 filled with water1 runs round its existing enceinte4 ,the ,old ,citadel to the ,s4 has been demolished 7its site being now occupied by the ,museum and the unfinished quarter in that direction71 and a ,new ,citadel erected in the ,n4 ,the defensive works are among the finest in ,europe4 ,if you wish to see whither ,flemish art went1 you must go on to ,holland4 ,but if you wish to know whence ,flemish art came1 you must visit the ,rhine ,towns4 ,if you are returning to ,england1 vi ,calais1 stop on the way to see the noble ,romanesque and ,transitional ,cathedral at ,tournai4 ,you can easily do this without loss of time by taking the first boat train from ,brussels in the morning1 stopping an hour or two at ,tournai 7break permitted with through tickets71 and going on by the second train4 ,you can register your luggage through to ,london1 and have no more bother with it4 ,you will then have seen everything of the first importance in ,belgium1 except ,ypres4 ,and ,ypres is so inaccessible that ,i advise you to neglect it4 ,v ,,historical ,,notes ,,in the separate ,introductions to the various towns1 dealing rather with ,origins than with ,history1 ,i have laid stress chiefly on the industrial and municipal facts1 which in ,belgium1 indeed1 are all-important4 ,i add here1 however1 a few general notes on the political history of the country as a whole1 chiefly dynastic4 ,these may serve for reference1 or at least as reminders2 and in particular they should be useful as giving some information about the originals of portraits in the various galleries4 ,the two portions of the modern kingdom of ,belgium with which we are most concerned in this ,guide are the ,county of ,flanders and the ,duchy of ,brabant4 ,the first was originally a fief of ,france2 the second1 a component member of the ,empire4 ,they were commercially wealthier than the other portions of the ,gallo-,german borderland which is now ,belgium2 they were also the parts most affected by the ,burgundian princes2 on both which accounts1 they are still by far the richest in works of art1 alike in architecture1 in painting1 and in sculpture4 ,the vast ,frankish dominions of the ,merovingians and of the descendants of ,charlemagne--of the ,merwings and ,karlings1 to be more strictly ,teutonic--showed at all times a tendency to break up into two distinct realms1 known as the ,eastern and ,western ,kingdoms 7,austria--not1 of course1 in the modern sense--and ,neustria74 ,these kingdoms were not artificial1 but based on a real difference of race and speech4 ,the ,eastern ,kingdom 7,franken or ,franconia7 where the ,frankish and ,teutonic blood was purest1 became first the ,empire1 in the restricted sense1 and later ,germany and ,austria 7in part74 ,the ,western ,kingdom 7,neustria7 where ,celtic or ,gallic blood predominated1 and where the speech was ,latin1 or 7later7 ,french1 became in time the ,kingdom of ,france4 ,but between these two ,francias1 and especially during the period of unrest1 there existed a certain number of middle provinces1 sometimes even a middle kingdom1 known from its first possessor1 ,lothar1 son of ,charlemagne1 as ,lotharingia or ,lorraine4 ,of these middle provinces1 the chief northern members were ,flanders1 ,brabant1 ,hainault1 and ,lige4 ,flanders in the early ,middle ,ages was a fief of ,france2 it included not only the modern ,belgian provinces of ,east and ,west ,flanders1 but also ,french ,flanders1 that is to say the ,department of the ,nord and part of the ,pas de ,calais4 ,as early as the ,treaty of ,verdun 7#hdc71 the land of ,flanders was assigned to ,neustria4 ,but the county1 as we know it1 really grew up from the possessions of a noble family at ,bruges and ,sluys1 the head of which was originally known as ,forester or ,ranger4 ,in #hfb1 the ,king of ,france1 as suzerain1 changed this title to that of ,count1 in the person of ,baldwin ,bras-de-,fer 7,baldwin ,i474 ,baldwin was also invested with the charge of the neighbouring coast of ,france proper1 on tenure of defending it against the ,norman pirates4 ,in #ajjf1 his descendant1 ,baldwin ,,iv41 seized the ,emperor's town of ,valenciennes2 and having shown his ability to keep his booty1 he was invested by the ,franconian ,henry ,,ii4 with this district as a fief1 so that he thus became a feudatory both of ,france and of the ,empire4 ,he was also presented with ,ghent and the ,isles of ,zealand4 ,baldwin ,v4 7#ajcf7 added to the growing principality the districts of ,alost1 ,tournai1 and ,hainault4 ,the petty dynastic quarrels of the #aath century are far too intricate for record here2 in the end1 the domains of the ,counts were approximately restricted to what we now know as ,flanders proper4 ,a bare list of names and dates must suffice for this epoch3--,baldwin ,v4 7#ajcf-ajfg72 ,baldwin ,,vi4 7#ajfg-ajgj72 ,robert ,,ii4 7#ajic-aaaa72 and ,baldwin ,,vii4 7#aaaa-aaai74 ,after this date1 the native line having become extinct1 the county was held by foreign elective princes1 under whom the power of the towns increased greatly4 ,among these alien ,counts1 the most distinguished was ,theodoric 7in ,french1 ,thierry2 in ,german1 ,dietrich2 or in ,dutch1 ,dierick7 of ,alsace1 who was a distinguished ,crusader1 and the founder of the ,chapel of the ,holy ,blood at ,bruges 7which see74 ,under ,baldwin of ,hainault 7#aaia-aaid7 ,artois was ceded to ,france1 together with ,st4 ,omer and ,hesdin4 ,henceforth1 ,ghent superseded ,arras as the capital4 ,baldwin ,,ix4 7#aaid-abjf7 became a mighty ,crusader1 and founded the ,latin ,empire of ,constantinople4 ,indeed1 the ,crusades were largely manned and managed by ,flemings4 ,he was followed in ,flanders by his two daughters1 ,johanna and ,margaret1 under whose rule the cities gained still greater privileges4 ,margaret's son1 ,guy de ,dampierre1 was the creature of ,philippe ,,iv4 of ,france1 who endeavoured to rule ,flanders through his minister1 ,chtillon4 ,the ,flemings answered by just revolt1 and fought the famous ,battle of the ,spurs near ,courtrai1 already described1 against the ,french interlopers 7see ,bruges74 ,in #acbb1 ,louis de ,nevers 7,louis ,i47 became ,count1 and provoked by his ,gallicising and despotic tendencies the formidable rebellion under ,van ,artevelde 7see ,ghent74 ,the quarrel between the league of burghers and their lord continued more or less during the reigns of ,count ,louis ,,ii4 7#acdf7 and ,louis ,,iii41 who died in #ache1 leaving one daughter1 ,margaret1 married to ,philip the ,bold 7,philippe-le-,hardi7 of ,burgundy4 ,the political revolution caused in ,flanders and ,brabant by the accession of the ,burgundian dynasty was so deep-reaching that a few words must be devoted to the origin and rise of this powerful family1 a branch of the royal ,valois of ,france4 ,the old ,kingdom of ,burgundy had of course been long extinct2 but its name was inherited by two distinct principalities1 the ,duchy of ,burgundy1 which formed part of ,france1 and the ,county of ,burgundy 7,franche ,comt71 which was a fief of the ,empire4 ,in the #adth century1 a new middle kingdom1 like the earlier ,lotharingia1 seemed likely to arise by the sudden growth of a practically independent power in this debateable land between ,france and ,germany4 ,in #acfa1 the ,duchy of ,burgundy fell in to the crown of ,france2 and in order1 as he thought1 to secure its union with the central authority1 ,john the ,good of ,france 7,jean-le-,bon71 during the troublous times after the ,treaty of ,bretigny1 conferred it as a fief upon his son1 ,philippe de ,valois 7,philip the ,bold1 or ,philippe-le-,hardi7 who married ,margaret of ,flanders1 thus uniting two of the greatest vassal principalities of the ,french crown4 ,in #ache1 on the death of ,louis ,,iii41 ,philip succeeded to the ,county of ,flanders1 now practically almost an independent state4 ,after him reigned three other princes of his family4 ,john the ,fearless 7,jean-sans-,peur1 #adjd-adai7 will be remembered by visitors to ,paris as the builder of the ,porte ,rouge at ,notre-,dame de ,paris4 ,philip the ,good 7,philippe-le-,bon1 #adai-adfg7 was the patron of ,van ,eyck and ,memling4 7,his portrait by ,roger van der ,weyden is in the ,antwerp ,gallery47 ,charles the ,bold 7,charles-le-,tmraire1 #adfg-adgg7 raised the power of the house to its utmost pitch1 and then destroyed it4 7,his portrait by ,memling is in the ,brussels ,gallery47 ,contrary1 however1 to the belief of ,john the ,good1 the princes of the ,valois dynasty in ,burgundy1 instead of remaining loyal to the crown of ,france1 became some of its most dangerous and dreaded rivals4 ,all these ,dukes1 as ,french princes1 played at the same time an important part in the affairs of ,france4 ,they also won1 by marriage1 by purchase1 by treaty1 or by conquest1 large territories within the ,empire1 including most of modern ,belgium and ,holland1 together with much that is now part of ,france4 ,they were thus1 like their ,flemish predecessors1 vassals at once of the ,emperor and the ,french king2 but they were really more powerful than either of their nominal over-lords2 for their central position between the two jealous neighbours gave them great advantages1 while their possession of the wealthy cities of the ,low ,countries made them into the richest princes in medival ,europe4 ,it was at their opulent and ostentatious court that ,van ,eyck and ,memling painted the gorgeous pictures which still preserve for us some vague memory of this old-world splendour4 ,at the same time1 the increased power of the princes1 who could draw upon their other dominions to suppress risings in ,flanders1 told unfavourably upon the liberties of the cities4 ,the ,burgundian dominion thus sowed the seeds of the ,spanish despotism4 ,jean-sans-,peur was murdered by the ,dauphin1 afterwards ,charles ,,vii42 and this cousinly crime threw his son1 ,philippe-le-,bon1 into the arms of the ,english4 ,it was the policy of ,burgundy and ,flanders1 indeed1 to weaken the royal power by all possible means4 ,philip supported the ,english cause in ,france for many years2 and it was his defection1 after the ,treaty of ,arras in #adce1 that destroyed the chances of ,henry ,,vi4 on the ,continent4 ,the reign of ,philippe-le-,bon1 we saw1 was the ,augustan age of the ,burgundian dynasty4 7,fully to understand ,burgundian art1 however1 you must visit ,dijon as well as ,brabant and ,flanders47 ,under ,charles the ,bold1 the most ambitious prince of the ,burgundian house1 the power of the ,dukes was raised for a time to its highest pitch1 and then began to collapse suddenly4 ,a constant rivalry existed between ,charles and his nominal suzerain1 ,louis ,,xi4 ,it was ,charles's dream to restore or re-create the old ,burgundian kingdom by annexing ,lorraine1 with its capital1 ,nancy1 and conquering the rising ,swiss ,confederacy4 ,he would thus have consolidated his dominions in the ,netherlands with his discontinuous ,duchy and ,county of ,burgundy4 ,he had even designs upon ,provence1 then as yet an independent county4 ,louis ,,xi4 met these attempts to create a rival state by a policy of stirring up enemies against his too powerful feudatory4 ,in his war with the ,swiss1 ,charles was signally defeated in the decisive battles at ,granson and ,morat1 in #adgf4 ,in the succeeding year1 he was routed and killed at ,nancy1 whither the ,swiss had gone to help ,ren1 ,duke of ,lorraine1 in his effort to win back his ,duchy from ,charles4 ,the conquered ,duke was buried at ,nancy1 but his body was afterwards brought to ,bruges by his descendant1 the ,emperor ,charles ,v41 and now reposes in the splendid tomb which we have seen at ,notre-,dame in that city4 ,this war had important results4 ,it largely broke down the power of ,burgundy4 ,charles's daughter1 ,mary1 kept the ,low ,countries and the ,county of ,burgundy 7,imperial72 but the ,duchy 7,french7 reverted to the crown of ,france1 with which it was ever after associated4 ,the scheme of a great ,middle ,kingdom thus came to an end2 and the destinies of the ,low ,countries were entirely altered4 ,we have next to consider the dynastic events by which the ,low ,countries passed under the rule of the ,house of ,hapsburg4 ,in #adgg1 ,mary of ,burgundy succeeded her father ,charles as ,countess of ,flanders1 ,duchess of ,brabant1 etc4 ,in the same year she was married to ,maximilian of ,austria1 ,king of the ,romans1 son of the ,emperor ,frederic ,,iii4 7or ,,iv474 ,maximilian was afterwards elected ,emperor on his father's death4 ,the children of this marriage were ,philip the ,handsome 7,philippe-le-,beau1 or le-,bel2 ,philippus ,stok71 who died in #aejf1 and ,margaret of ,austria4 ,philip1 again1 married ,johanna 7,juana7 the ,mad1 of ,castile1 and thus became ,king of ,castile1 in right of his wife4 ,the various steps by which these different sovereignties were cumulated in the person of ,philip's son1 ,charles ,v41 are so important to a proper comprehension of the subject that ,i venture to tabulate them4 ,frederic ,,iii4 7or ,,iv47 ,charles the ,bold4 ,ferdinand ,isabella ,maximilian ,mary 7of ,aragon7 7of ,castile7 7of ,austria7 7of ,burgundy7 ,johanna the ,mad ,philippe-le-,beau 7of ,spain7 7of ,burgundy and ,austria7 ,charles ,v4 ,during the lifetime of ,maximilian1 who was afterwards ,emperor1 ,mary1 and her son ,philippe-le-,beau1 ruled at first in the ,low ,countries 7for the quarrel between ,maximilian and ,bruges over the tutorship of ,philippe1 see p4 #bg74 ,after the death of ,isabella of ,castile1 ,ferdinand retired to ,aragon1 and ,philippe ruled ,castile on behalf of his insane wife1 ,juana4 ,philippe died in #aejf1 and his sister1 ,margaret of ,austria1 then ruled as ,regent in the ,netherlands 7for ,charles7 till her death in #aecj4 ,charles ,v41 born at ,ghent in #aejj1 was elected to the ,empire after his grandfather1 ,maximilian ,i41 and thus became at once ,emperor1 ,king of ,spain1 ,duke of ,austria1 and ruler of the ,low ,countries4 7,in #aeaf he succeeded ,ferdinand in the ,kingdom of ,spain1 and in #aeai was elected ,emperor47 ,the same series of events carried the ,netherlands1 quite accidentally1 under ,spanish rule4 ,for ,charles was an absolutist1 who governed on essentially despotic principles4 ,his conduct towards ,ghent in #aeci brought affairs to a crisis4 ,the ,emperor1 in pursuance of his plans against ,france1 had demanded an enormous subsidy from the city1 which the burgesses constitutionally refused to grant1 meeting the unjust extortion by open rebellion4 ,they even entered into negotiations with ,franois ,ier2 who1 however1 with the base instinct of a brother absolutist1 betrayed their secret to his enemy the ,emperor4 ,charles actually obtained leave from ,franois to march a ,spanish army through ,france to punish the ,flemings1 and arrived with a powerful force before the rebellious city4 ,the ,ghenters demanded pardon2 but ,charles1 deeply incensed1 entered the town under arms1 and took up his abode there in triumph4 ,alva1 his ruthless ,spanish commander 7portrait in the ,brussels ,gallery71 suggested that the town should be utterly destroyed2 but the ,emperor could not afford to part with his richest and most populous city1 nor could even he endure to destroy his birth-place4 ,he contented himself with a terrible vengeance1 beheading the ringleaders1 banishing the minor patriots1 and forfeiting the goods of all suspected persons4 ,the city was declared guilty of lse-majest1 and the town magistrates1 with the chiefs of the ,guilds1 were compelled to appear before ,charles with halters round their necks1 and to beg for pardon4 ,the ,emperor also ordered that no magistrate of ,ghent should ever thenceforth appear in public without a halter1 a badge which became with time a mere silken decoration4 ,the privileges of the city were at the same time abolished1 and the famous old bell1 ,roland1 was removed from the ,belfry4 ,thenceforth ,charles treated the ,netherlands as a conquered ,spanish territory4 ,he dissolved the monastery of ,st4 ,bavon1 and erected on its site the great ,citadel1 which he garrisoned with ,spaniards1 to repress the native love of liberty of the ,flemings 7see ,ghent74 ,in subsequent risings of the ,low ,countries1 the ,spaniards' ,castle1 the stronghold of the alien force1 was the first point to be attacked2 and on it depended the issue of freedom or slavery in the ,netherlands4 ,charles also established the ,inquisition1 which is said to have put to death no fewer than #ajj1jjj persons4 ,in #aeee1 the ,emperor abdicated in favour of his son ,philip1 known as ,philip ,,ii4 of ,spain4 ,but his brother ,ferdinand1 to whom he had resigned his ,austrian dominions1 was elected ,emperor 7having been already ,king of the ,romans7 as ,ferdinand ,i4 ,from his time forth1 the ,empire became more exclusively ,german1 so that its connexion with ,rome was almost forgotten save as a historic myth1 degenerating into the mere legal fiction of a ,holy ,roman ,empire1 with nothing ,roman in it4 ,thus1 the ,netherlands alone of the earlier ,burgundian heritage remained in the holding of the ,austrian kings of ,spain1 who ruled them nominally as native sovereigns1 but practically as ,spaniards and aliens by means of imported military garrisons4 ,philip ,,ii4--austere1 narrow1 domineering1 fanatical--remained only four years in the ,netherlands1 and then retired to ,spain1 appointing his half-sister1 ,margaret of ,parma 7illegitimate daughter of ,charles ,v471 regent of the ,low ,countries 7#aeei-aefg74 ,she resided in the ,ancienne ,cour at ,brussels4 ,her minister1 ,granvella1 ,bishop of ,arras1 made himself so unpopular1 and the measures taken against the ,protestants were so severe1 that the cities1 ever the strongholds of liberty1 showed signs of revolution4 ,they objected to the illegal maintenance of a ,spanish standing army1 and also to the ,inquisition4 ,in ,april1 #aefg1 as a consequence of the discontents1 the ,duke of ,alva was sent with #aj1jjj men as lieutenant-general to the ,netherlands1 to suppress what was known as the ,beggars' ,league 7,les ,gueux71 now practically headed by the ,prince of ,orange 7,william the ,silent74 ,alva entered ,brussels with his ,spanish and ,italian mercenaries and treacherously seized his two suspected antagonists1 ,count ,egmont and ,count ,hoorn4 ,the patriotic noblemen were imprisoned at ,ghent1 in the ,spaniards' ,castle1 were condemned to death1 and finally beheaded in the ,grand' ,place at ,brussels4 7,for fuller details of the great revolutionary movement thus inaugurated1 see ,motley's ,rise of the ,dutch ,republic1 and ,juste's ,le ,comt d',egmont et le ,comt de ,hornes47 ,alva also established in ,brussels his infamous 8,council of ,troubles10 which put to death in cold blood no less than #bj1jjj inoffensive burghers4 ,his cold and impassive cruelty led to the ,revolt of the ,united ,provinces in #aefh--;a general movement of all the ,spanish ,netherlands 7as they now began to be called7 to throw off the hateful yoke of ,spain4 ,under the able leadership of ,william of ,orange1 the ,flemings besieged and reduced the ,spaniards' ,castle at ,ghent4 ,in the deadly struggle for freedom which ensued1 the ,northern ,provinces 7,holland71 aided by their great natural advantages for defence among the flooded marshes of the ,rhine delta1 succeeded in casting off their allegiance to ,philip4 ,they were then known as the ,united ,netherlands4 ,the long and heroic contest of the ,southern ,provinces 7,belgium7 against the ,spanish oppressor was not equally successful4 ,a desperate struggle for liberty met with little result1 and the ,spanish sovereigns continued to govern their ,belgian dominions like a conquered country4 ,in #aegh1 ,alessandro ,farnese1 ,duke of ,parma 7son of ,margaret71 was sent as ,governor to the ,netherlands1 where he remained in power till #aeif4 ,in the prosecution of the war against the ,northern ,provinces 7,holland7 he besieged ,antwerp1 and took it after fourteen months in #aehe4 ,in the 8,spanish ,fury0 which followed1 ,antwerp was almost destroyed1 and all its noblest buildings ruined4 ,nevertheless1 under ,parma's rule1 the other cities recovered to a certain extent their municipal freedom2 though the country as a whole was still treated as a vanquished province4 ,the next great landmark of ,belgian history is the passage of the ,spanish ,netherlands under ,austrian rule4 ,the first indefinite steps towards this revolution were taken in #aeih1 when ,philip ,,ii4 ceded the country as a fief to his daughter the ,infanta ,isabella 7,clara ,isabella ,eugenia7 on her marriage with ,albert1 ,archduke of ,austria1 who held the provinces as the ,spanish ,governor4 7,portraits of ,albert and ,isabella by ,rubens in the ,brussels ,gallery47 ,the new rulers made the country feel to a certain extent that it was no longer treated as a mere disobedient ,spanish appanage4 ,after the troubles of the ,revolt1 and the cruel destruction of ,antwerp by ,parma1 trade and manufactures began to revive4 ,albert and ,isabella were strongly ,catholic in sentiment2 and it was under their rgime that the greater part of the rococo churches of ,antwerp and other cities were built1 in the showy but debased taste of the period1 and decorated with large and brilliantly-coloured altar-pieces4 ,they also induced ,rubens to settle in the ,netherlands1 appointed him ,court painter1 and allowed him to live at ,antwerp1 where the trade of the ,low ,countries was still largely concentrated4 ,during their vice-royalty1 however1 ,brussels became more than ever the recognised capital of the country1 and the seat of the aristocracy4 ,after ,albert's death in #afba1 the ,netherlands reverted to ,spain1 and a dull period1 without either art or real local history1 supervened1 though the wars of the #agth and #ahth centuries were in great part fought out over these unfortunate provinces1 8the cockpit of ,europe40 ,the campaigns of ,marlborough and ,prince ,eugene are too well-known as part of ,english and ,european history to need recapitulation here4 ,at the end of the ,war of the ,spanish ,succession1 the ,peace of ,rastadt1 in #agad1 assigned the ,spanish ,netherlands to ,austria1 thus entailing upon the unhappy country another hundred years of foreign domination4 ,nevertheless1 the ,austrian ,netherlands1 as they were thenceforth called 7in contradistinction to the 8,united ,netherlands0 or ,holland71 were on the whole tolerably well governed by the ,austrian ,stadtholders1 who held their court at ,brussels1 and who were usually relations of the ,imperial family4 ,few memorials1 however1 of ,maria ,theresa1 of ,joseph ,,ii41 or of ,lopold ,,ii4 now exist in ,belgium1 and those few are not remarkable for beauty4 ,it was during this relatively peaceful and law-abiding time1 on the other hand1 that the ,upper ,town of ,brussels was laid out in its existing form by ,guimard4 ,as a whole1 the ,belgian provinces were probably better governed under ,austrian rule than under any other rgime up to the period of the existing independent and national monarchy4 ,the ,french ,revolutionists invaded ,belgium in #agid1 and committed great havoc among historical buildings at ,bruges and elsewhere4 ,indeed1 they did more harm to the arts of the ,netherlands than anybody else1 except the ,spaniards and the modern 8restorers40 ,they also divided ,belgium into nine departments2 and ,napoleon half sneeringly1 half cynically1 justified the annexation on the ground that the ,low ,countries were the alluvial deposit of ,french rivers4 ,the ,belgian ,states formed part of ,napoleon's composite empire till #ahad1 when these ,southern ,provinces were assigned by the ,treaty of ,london to ,holland4 ,in #ahae1 during the ,hundred ,days1 the ,allied ,armies had their headquarters at ,brussels1 and the decisive battle against ,napoleon was fought at ,waterloo4 ,the ,congress of ,vienna once more affirmed the union of ,belgium with ,holland2 they remained as one kingdom till the first revolutionary period in #ahcj4 ,the ,southern ,provinces then successfully seceded from the ,dutch monarchy3 indeed1 the attempted fusion of semi-,french and ,catholic ,belgium with purely ,teutonic and ,protestant ,holland was one of those foredoomed failures so dear to diplomacy4 ,a ,national ,congress elected ,lopold of ,saxe-,coburg as ,king of the ,belgians 7,roi des ,belges71 and the crown is now held by his son1 ,lopold ,,ii4 ,for nearly seventy years ,belgium has thus enjoyed1 for the first time in its history1 an independent and relatively popular government of its own choosing4 ,the development of its iron and coal industries during this epoch has vastly increased its wealth and importance2 while the rise of ,antwerp as a great ,european port has also done much to develop its resources4 ,at the present day ,belgium ranks as one of the most thickly populated1 richest1 and on the whole most liberal-minded countries of ,europe4 ,its neutrality is assured by the ,treaty of ,london1 and its army exists only to repel invasion in case that neutrality should ever be violated4 ,i ,n ,d ,e ,x ,acadmie des ,beaux-,arts1 #df4 ,adoration of the ,lamb1 ,the1 #ha-hh4 ,adoration of the ,magi1 ,the1 #da1 #bja4 ,alva1 ,duke of1 #abd1 #bbe4 ,antiquities1 #dh1 #if4 ,antwerp1 #afd-bae4 ,armour1 ,collection of1 #aej4 ,assumption1 ,the1 #agc4 ,austrian ,netherlands1 ,the1 #bbg4 ,battle of the ,spurs1 #fg4 ,bguinages1 #de1 #cb4 ,belfries1 #be1 #gj4 ,bol1 #acd1 #acg4 ,boulevards1 #adi4 ,bouts1 ,dierick1 #eb1 #aaf1 #abj1 #afa1 #afb4 ,brabo1 ,legend of1 #bjf4 ,bruges1 #bb-fd4 ,brussels1 #ih-afc4 ,burgundy1 ,dukes of1 #ah1 #bai-bbb4 ,cathedrals1 #di-ec1 #gg-hi1 #ach-ade1 #afc1 #afh-agf4 ,caxton1 #bad4 ,charles ,i41 of ,england1 #hi4 ,charles ,,ii41 of ,england1 #bg1 #dg4 ,charles ,v41 ,emperor1 #if1 #ig1 #bbc4 ,charles the ,bold1 #ee1 #bba4 ,chimney-piece1 #cb4 ,christ la ,paille1 ,the1 #aii4 ,colard ,mansion1 #bd1 #df4 ,cologne1 ,school of1 #ag1 #agc4 ,counts of ,flanders1 #ag4 ,coup de ,lance1 ,the1 #aih4 ,cranach1 #abc4 ,crucifixion1 ,the1 #bjb4 ,de ,crayer1 #acc4 ,descent from the ,cross1 ,the1 #aga4 ,de ,vos1 #aig1 #aii4 ,education of the ,virgin1 ,the1 #bjj4 ,edward ,,iii41 of ,england1 #fg4 ,egmont1 ,count1 #adg1 #bbe4 ,elevation of the ,cross1 ,the1 #age4 ,entombment1 ,the1 #aib4 ,ethnographical ,museum1 #aej4 ,flanders1 ,history of1 #bag-bai4 ,fountain1 #bjf4 ,french ,revolution in ,belgium1 #bbg4 ,gateways1 #dg1 #gd1 #ge1 #aej4 ,gerard ,david1 #cj1 #fb1 #fc4 ,gerard ,dou1 #acd4 ,ghent1 #ff-ig4 ,godfrey de ,bouillon1 #adf4 ,gossaert1 #ajh4 ,guild ,halls1 #dg1 #gd1 #ajb1 #bjf4 ,guimard1 #adh4 ,hals1 ,frans1 #ace1 #acf1 #bjc4 ,hand of ,antwerp1 #bjf4 ,hanseatic ,league1 #ad1 #ae1 #bb1 #bji4 ,hobbema1 #acd4 ,holbein the ,younger1 #aab1 #ahb4 ,hondecoeter1 #acf4 ,hoorn1 ,count1 #adg1 #bbe4 ,htels-de-,ville1 #bh1 #ga1 #ajj1 #aeh1 #bje4 ,italian ,pictures1 #acg1 #ach4 ,john of ,gaunt1 #ge1 #ia4 ,jordaens1 #abg4 ,laeken1 #aef4 ,lamb1 ,the ,adoration of the1 #ha-hh4 ,leys1 #bjd1 #bjf4 ,louvain1 #aef-afc4 ,lucas van ,leyden1 #ahi4 ,mabuse1 #ajh1 #ahb4 ,maes1 ,nicolas1 #acc1 #acd4 ,magi1 ,adoration of the1 #da1 #bja4 ,malines1 #afc4 ,mary of ,burgundy1 #ah1 #cc1 #ee4 ,matsys1 ,quentin1 #abb1 #afi1 #aha1 #ahd1 #aib4 ,memling1 #ce1 #ch-dd1 #fi1 #aag1 #aah1 #ahb1 #ahe1 #ahh1 #aia4 ,michael ,angelo1 #ef4 ,modern ,belgian ,pictures1 #adg1 #bjd4 ,moretus1 #agc1 #bjg4 ,orange1 ,william of1 #bbe4 ,palais de ,justice1 ,the1 #cb1 #adh4 ,parma1 ,duke of1 #bbe4 ,parma1 ,margaret of1 #bbd4 ,perugino1 #ach4 ,philip ,,ii41 #bbd4 ,plantin-,moretus ,museum1 #bjg4 ,pourbus1 ,peter1 #ej4 ,rembrandt1 #acf1 #bjc4 ,rood-,loft1 #afa4 ,rubens1 #hh1 #abh1 #abi1 #aca1 #aga1 #agc1 #age1 #agg1 #agh1 #aie1 #aih-bjb1 #bac1 #bae4 ,ruysdael1 #acd1 #bjd4 ,st4 ,bavon1 ,legend of1 #gg4 ,ste4 ,gudule1 ,legend of1 #ach4 ,ste4 ,ursula1 ,legend of1 #cf1 #cg4 ,spaniards' ,castle1 ,the1 #ia4 ,spanish ,rule in ,flanders1 #bbb-bbf4 ,steen1 ,jan1 #acf1 #acg4 ,teniers1 #abi4 ,ter ,burg1 #ace4 ,titian1 #aic4 ,tombs1 #ec1 #ic1 #aec1 #agc1 #bac4 ,tournai1 #baf4 ,town ,halls1 #bh1 #ga1 #ajj1 #aeh1 #bje4 ,universities1 #aeg1 #afc4 ,van ,arteveldes1 ,the1 #fg1 #fh1 #gf4 ,van der ,weyden1 ,roger1 #aaj1 #aah1 #afj1 #ahb1 #ahf4 ,van ,dyck1 #acj1 #aif1 #aih1 #bjb4 ,van ,eyck1 ,hubert1 #gh1 #ha-hh1 #afg4 ,van ,eyck1 ,jan1 #cd1 #ei1 #fj1 #gh1 #ha-hh1 #ahb1 #ahe1 #ahg4 ,van ,orley1 ,bernard1 #aaa1 #abf4 ,van ,ostade1 #bjd4 ,van ,veen1 ,otto1 #aih1 #bja4 ,veronese1 #ach4 ,waghemakere1 #gb1 #afi4 ,waterloo1 #aef4 ,well1 with canopy1 #afi4 ,wiertz1 #aea4 ,zoological ,gardens1 #baj4 ,butler ,tanner4 ,the ,selwood ,printing ,works1 ,frome and ,london4 ,,transcriber ,,notes ,misspelled words and printer errors have been corrected4 ,inconsistencies in punctuation have been maintained4 ,some illustrations were moved to facilitate page layout4 ,the end of ,cities of ,belgium1 by ,grant ,allen4