THE ADORATION OF THE LAMB

The hôtels de ville built during the Burgundian period afford an excellent example of the new economic tendencies prevailing at the time, but they are by no means the greatest works of art illustrating this period of Belgian efflorescence. Neither in the Town Hall of Bruges, begun in 1376 by Jean de Valenciennes, nor in those of Brussels (1402 to 1444), built by Jacques van Thienen and Jean de Ruysbroeck, or of Louvain, completed in 1448 by Matthieu de Layens, still less in the pretty municipal buildings of Oudenarde or destroyed Arras, can we find any adequate representation of the wonderful intellectual and artistic movement which placed the Netherlands, during the fifteenth century, at the head of Northern European civilization. This can only be realized by a careful study of the pictures of the period, generally known as the works of the Early Flemish School.

INTELLECTUAL MOVEMENT

Before trying to determine the position of this school in the history of Art, it may be well to give a rapid survey of the intellectual movement under the Burgundian régime, and to show that in every department, literature, architecture and music, the civilization of the period produced some remarkable works. In this way, the Netherlands of the fifteenth century are comparable with the Italian republics and principalities which flourished at the same time. In Belgium, as in Tuscany and Umbria, all arts were cultivated at the same time and sometimes by the same man, and people and princes took an equal interest in all the manifestations of human genius. One would have to go back as far as ancient Greece to find such a harmonious development, and the world has never produced it since.

Literary activity was perhaps the least brilliant, owing mostly to the division of languages. Though the intercourse between the Flemish and the Walloon parts of the country was intimate and never constituted an obstacle in the work of unification, Belgium can scarcely boast of one common literature at the time when its nationality was founded.

As far as political and administrative activity was concerned, an almost exact balance was struck between the languages of the North and the South. In Flanders, from the beginning of the fourteenth century, French influence had considerably decreased, owing partly to the loss of Artois and Walloon Flanders and to the blow inflicted on French prestige by the reverses of the Hundred Years' War. The use of French was only maintained among the nobility and the rich bourgeoisie, and in all intercourse with other countries; Flemish made considerable progress and took the place of Latin in all acts of common administration. Its prestige as a literary language had been enhanced by the reputation of van Maerlant, and it served also in all relations with Lower Germany. By the end of the century, bilingualism was a consecrated institution both in Flanders and Brabant, the judges rendering their sentences in the tongue spoken by the parties and some officials using, according to circumstances, either French, Latin or Flemish. Under John the Fearless and Philip the Good, this situation, which favoured the centralizing influence of the dukes, remained unchanged. In Holland and Zeeland, where French was practically unknown, State officials only used Flemish. The dukes themselves knew both languages, included Flemish books in their libraries, and encouraged Flemish letters. Owing to the economic attraction of Antwerp, a great number of Walloon traders used both languages, and the number of those who understood Flemish and French was considerable enough to allow the production of Flemish plays to the south and of French plays to the north of the dividing language line. It is true that Charles the Bold attempted vainly to enforce French for administrative purposes in Flemish districts, but, owing to subsidiary evidence, this must be considered much more as an act of political absolutism than as a sign of hostility towards Flemish. As a matter of fact, we should seek vainly for proof of any attempt to frenchify the country at the time. In holding their courts in the Netherlands, the dukes of Burgundy had renounced their French origin.

Bilingualism must thus be considered as a solution of the language question in Belgium in the fifteenth century. But though the people remained united, the literatures of the two parts of the country followed different lines.

On the Flemish side, poetry had never ceased to decline since the death of van Maerlant, in spite of the numerous works produced by the disciples of this master, especially in Brabant. Jean Boendaele (1280-1365) described in his remarkable Brabantsche Yeesten the struggle of the duke against his enemies. His attitude of mind is thoroughly typical of the time. Boendaele is a bourgeois poet, and distrusts equally the democracy of the towns and the nobility. He places his faith in the prince, the merchants and the peasants.

JAN RUYSBROECK

The mystic treatises of Jan Ruysbroeck (1292-1381), who may be considered as the founder of Flemish prose, just as van Maerlant is the founder of Flemish poetry, are far more important than the rhymed chronicles of Boendaele. Not only do they rank among the most inspired religious writings of the Middle Ages, but they are the expression of a deep-rooted religious movement which animated the Flemish bourgeoisie at the time, and which had its origin in the foundation of the institution of the Béguines and the Beggards, so active and so influential during the twelfth century. This movement aimed at bringing religion closer to the common people through the work of laymen who, though deeply attached to the Church, were conscious of its limitations and of the barrier which aristocracy and privilege had built around it. One of Ruysbroeck's disciples, Gérard de Groote (1340-84), founded the Order of the "Frères de la Vie Commune" (Brothers of the Common Life), and the "Sustershuysen," which contributed so much to the revival of religious studies and general education in the early days of the fifteenth century. Like the Beggards, the Brothers did not strictly constitute a religious order, they did not pronounce any binding vow and retained their lay character. Refusing any gift or endowment from outside, they had to provide for their own needs, but, while the Beggards devoted most of their time to the weaving industry, the Brothers gave themselves up to copying manuscripts, learning and teaching. Under Florent Radewyn, one of de Groote's early disciples, they acquired a very complete organization and founded numerous schools, specially in Brussels (1422) and in Ghent (1432), their influence spreading as far as Germany. Thierry Maertens, the first well-known Belgian printer, was one of their pupils. This educational and religious revival is closely connected with the foundation of the University of Louvain in 1426. De Groote and his disciples were frequently attacked, chiefly by the monks, who became jealous of their success, but their strict orthodoxy and the unimpeachable character of their life made their position unassailable. De Groote was equally well known for his criticism of the abuses among the clergy, his denunciation of the luxury displayed by the rich and the mystic character of his preaching. He was equally severe against heretics, and was called by his contemporaries "malleus hereticorum." Another of his followers founded the celebrated monastery of Windesheim, where, half a century later, the Imitation of Christ was written.

While the Flemish writers of the fourteenth and fifteenth centuries wrote mostly for the bourgeoisie and the people and kept in close contact with the religious aspirations of the time, the authors belonging to the Walloon part of the country were nearly all attached to some court and confined themselves to the production of chronicles and mémoires destined for the aristocracy. Though extremely limited, this genre was cultivated with great success by the Walloon writers and is typical of the Belgian branch of the French letters of the period. As early as the fourteenth century, Jean Le Bel of Liége had related with extraordinary vividness his adventures at the court of Hainault and the part played by his master, Jean de Beaumont, in the expedition led by Edward III against the Scots. Le Bel writes in French, but as far as his political views are concerned remains impervious to French influence and chooses an English King, "le noble roi Edowart," for his hero, while he has nothing but harsh words for Philip de Valois.

JEAN FROISSART

Jean Froissart, of Valenciennes, who continued the work of Le Bel and served as a link between him and the Burgundian school of chroniclers, had a much wider field of vision. Attached successively to Albert of Bavaria, Queen Philippa of England and Wenceslas of Luxemburg, he had many opportunities to study European affairs, and, as a Belgian, was able to consider them from an independent and even a sceptical point of view. Though generally considered as a French writer, he remains independent of French influence. With Monstrelet, Chastellain, Jean Molinet and Jean Lemaire de Belges, who wrote for the dukes of Burgundy, this independent attitude is still further strengthened. All these writers extolled the Burgundian régime and supported the duke's policy, whether friendly or antagonistic to France. From a literary point of view, they are greatly inferior to their predecessors and often lapse into rhetorical eloquence. Their style, which appears to be overloaded with flowery images, excited great admiration at the time, especially in the case of Chastellain, who was hailed by his contemporaries as a "supreme rhetorician."

Music was not hampered, like literature, by the division of languages, and might, under different circumstances, have given a more accurate expression to the Belgian national spirit. Its style was, unhappily, still so formal that national characteristics cannot immediately be recognized in the works of Guillaume Dufay, of Chimay (1350-1432) and Giles de Binche, Chapelmasters to Philip the Good, and those of the Fleming Jean Ockeghem (dec. 1494-6) and of Josquin des Prés, of Hainault (c. 1450-1521). These musicians, who enjoyed European celebrity and exerted a widespread influence on the musical movement in France and Italy, are well known to musical historians as having largely contributed to the development of polyphonic music as opposed to the monody of the Gregorian chant. They were thus pioneers in the art of musical ornamentation, and their method may be associated with the flowery images of Chastellain's style, the architectural luxury of Burgundian Gothic and the display of colouring of the early Flemish painters. In all branches of intellectual activity, Belgium enters decidedly, from the beginning of the fifteenth century, into the Renaissance period. But, unlike the Italian, the Belgian Renaissance was at first only very slightly affected by the study of the classics. It was more realistic in its aims than the mediæval period. It revelled in the display of harmony, whether in sound, colour or form, and abundance of tracery, but as far as the subject was concerned it remained essentially and profoundly Christian.

SOCIAL LIFE

Though the works of Belgian writers and artists of the period are very remarkable, they are somewhat misleading if we want to form an accurate idea of social life in the fifteenth century. Neither the Libri Teutonici, published by Ruysbroeck's followers, nor the great paintings of the brothers Van Eyck, Van der Weyden and Memling, suggest for one moment the laxity of morals prevalent at the time and revealed by the writers of the Chronicles. The number of illegitimate births was extraordinarily high, the example being set by the dukes themselves, Philip the Good alone being responsible for eighteen bastards and Jean de Heinsberg, Bishop of Liége, for nearly as many. It must be pointed out, however, that the illegitimate character of their birth did not stand in the way of many prominent men of the time, such as the Chancellor Rolin, the Dean of St. Donatian of Bruges, the great financier Pierre Bladelin, the Bishop of Tournai and many high officials. All these had, of course, received their letters of legitimation. Numerous edicts made by the dukes were unable to check gambling, prostitution and prodigality. The scant effect of the regulations relating to the latter may be easily understood when we read that, on the occasion of the marriage of Margaret of York to Charles the Bold, Belgian artists and artisans were ordered to prepare and to decorate a large wooden house which was subsequently transported by water from Brussels to Bruges. In a tower 41 feet high attached to this house, the noble company invited to the ceremony witnessed the movements and heard the cries of a number of mechanical animals, monkeys, wolves and boars, while a whale 60 feet long moved around the hall together with elephants, amid thirty large trees, a fountain of crystal and a pelican "spouting hippocras from his beak." The fact is that the situation in the Netherlands, in the second half of the fifteenth century, was very much the same as that in Florence at the same time, the people being swayed between an exuberant enjoyment of life and a severe asceticism. There are many points of contact between Charles the Bold and Lorenzo the Magnificent, and no figure comes closer to Savonarola than that of the Carthusian, Thomas Conecte, who stirred public feeling to such a pitch that the people crowding to listen to his fiery speeches, in market-places, threw into the braziers burning before his platform all the instruments of their worldly life—chessboards, cards, dice, skittles, silks and jewels.

Strangely enough, no religious order benefited more from the sympathy and generosity of the people than the ascetic Carthusians. Philip the Bold erected in Dijon the famous Chartreuse of Champmol; Philip the Good and Margaret of York corresponded with the celebrated Carthusian Denys de Ryckel, the "doctor extaticus," and the Chartreuse of Louvain was endowed by rich bourgeois of the duke's entourage. Unless this apparent contradiction is fully realized, it is impossible to understand the spirit of an epoch which, though deeply absorbed by its worldly life, produced works almost entirely devoted to Faith, and in which luxurious garments and colours are only employed to enhance the glory of God.

THE BROTHERS VAN EYCK

Painting stands foremost among the achievements of the Burgundian period. Here again the difference of language does not hamper the genius of the nation. While in music the Walloon element dominates, the Flemish dominates in Art; but it must be clearly stated that, in this branch, as in all other branches of Burgundian civilization, the two parts of the country are strongly represented, and that the title of "Flemish School of Painting" is therefore misleading when referring to Belgian painting of the fifteenth century.

The greatest name associated with the period is that of the brothers Jan and Hubert Van Eyck, and the work which naturally comes to the mind, when thinking of them, is the monumental altarpiece which they painted for Jos. Vyt, lord of Pamele, to be placed in his chapel in the Cathedral of St. John in Ghent. This work, generally known as the "Mystic Lamb," is composed of ten smaller pictures, but the partitions separating the various divisions of the wings and the wings from the central piece scarcely detract from the majesty of the ensemble. The composition is well known: Above, God the Father, as Christ, enthroned, His hand raised in benediction, between St. John Baptist and the Virgin, with angels on both sides singing and playing on various instruments. On the extreme right and left of the upper panels, excluded, so to speak, from the company of heaven, stand Adam and Eve, in all the realistic weakness of their nakedness. Below, in the midst of a flowery meadow, behind the fountain of life, surrounded by groups of holy virgins, martyrs and saints, in the New Paradise, under the walls of the New Jerusalem, stands the Lamb, directly under the figure of Christ and the symbol of the Holy Ghost, the centre towards which every line, every attitude in the picture converges. Towards the holy spot walk, on the right, the pilgrims and the hermits, on the left, the good judges and the soldiers of Christ. The symbolism of the picture which enfolds the majestic plan of the redemption of man through Christ's sacrifice, of the second creation through the Spirit, as contrasted with the first creation through the flesh, is directly inspired by the mystic writings of the time, while the harmony and depth of colours, the gorgeous robes and jewels adorning the figures of God, the Virgin and the angels, the pompous cavalcade of knights and judges and the systematic grouping of the central scene, are an adequate expression of the love of ceremony and solemn luxury which characterized the Burgundian age. The whole picture appears as a sacred pageant in which the saints, the angels and the blessed take the place of nobles, ladies and clerics, as they were seen during the festivities and processions arranged at the ducal court.

the adoration of the lamb (saint bavon, ghent).
Angels singing and playing.
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THE MYSTIC LAMB

Considered as a purely religious picture, this work, like almost all the works of the school, stands in striking contrast to Italian fourteenth-century painting, especially as illustrated by the frescoes of Giotto. The latter are characterized by an extreme simplicity of outline and by vivid narrative power. In Padua, for instance, Giotto tells us the story of Christ as he saw it in his mystical vision, without any concern for accessories or detail. He clings to essentials, to the figures of Christ and his apostles, while scorning any subordinate object, such as trees, architecture, costumes, etc., which are only represented in a rude fashion when necessary to the story. It is characteristic of Hubert Van Eyck's work (since, according to all evidence, Hubert must be considered as the author of the general outlines of the picture, which was finished by his brother Jan after his death) that perhaps the least satisfactory figure of the Adoration of the Lamb is the Deity, while our attention is immediately captured by the group of angels surrounding Him, and still more by the procession of worshippers at the bottom of the picture. To put it briefly, whereas Giotto's art is at its best when dealing with the divine side of the Christian drama, Van Eyck's genius stands foremost in the human interpretation of the subject. His greatest creations are not the figures of the worshipped but of the worshippers, and we must seek for religious inspiration not so much in the direct vision of the Divinity as in the expression of devotion reflected on the faces of the adoring crowds.

the adoration of the lamb (saint bavon, ghent).
The Annunciation (exterior of the shutters).
Hubert and Jan van Eyck.
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It is true that we may find the same insistence on landscape, costume and the portraits of donors in the works of the Italian artists of the Early Renaissance, who painted at the same time as Van Eyck, and that the spirit of the period may, to a certain extent, account for it. But it would be difficult to discover in the pictures of Masaccio, Fra Filippo Lippi, Ghirlandajo, Botticelli and the other masters of the Italian fifteenth century, with the sole exception of Fra Angelico, the same depth of religious inspiration which pervades the works of the Van Eycks and of their disciples. If the Gospel story still provides most of the subjects of the Italian school, it is treated in a lighter vein, and pagan inspiration, prompted by the study of classics, is more and more conspicuous. Earthly loveliness is of greater importance than Christian teaching.

The virgins of Van Eyck, the Pietà of Van der Weyden and the saints of Memling occupy the intermediate position between the purely mediæval attitude of Giotto and of the sculptors of the French cathedrals and the worldly atmosphere of the Early Italian Renaissance. They preserve, to a great extent, the religious atmosphere of the former, and devote the same attention to technical skill and realistic representation as the second. The combination of these two elements is the chief source of originality of the Burgundian school of painters, and it is truly characteristic of the period, which, though strongly attached to the world and its pleasures, founded its greatest productions on the stern lessons of deep devotion and of a society in which the Beggards and the Brothers of the Common Life strove incessantly to bring religion closer to the heart of the people.

The Adoration of the Lamb is not only the most complete expression of the spirit of Belgium in the fifteenth century, it is also the first great work produced by Belgian painters. Art critics have been at great pains to explain the sudden appearance in history of such a highly skilled and complete production. But a closer study of Belgian civilization in the fourteenth century would show that it is merely the outcome of previous efforts and the blossoming of a great individual genius in an Art which had already found, in other departments, very remarkable means of expression.

SCULPTURE

From the end of the twelfth century, Belgian Art, as shown by the works of the goldsmiths, decorators, sculptors and miniaturists, had become independent of German and French influence. A highly trained class of artisans was formed, and, in the middle of the fourteenth century, was organized into regular corporations. Goldsmiths and decorators devoted their talent to the embellishment of churches and ecclesiastical treasures, as well as to decoration of secular buildings such as Cloth Halls or Town Halls and to the designing of banners for the guilds. We still possess a great number of engraved tombstones which reveal an extraordinary development of technique. Soon the figure of the deceased was raised in high relief, and even, as in the tomb of the Count of Artois in the cathedral of St. Denys, the work of Pepin of Huy, raised on the shoulders of standing figures. From the second half of the fourteenth century the most prominent sculptors ceased to be considered as mere artisans. Hennequin of Liége was attached to the court of the French king Charles V, while André Beauneveu (1364-90) remained in Flanders as the sculptor of Louis de Mâle. The striking sculptures of the pit of Moses, at Dijon, were executed by Claus Sluter of Zeeland. These statues, which bear comparison with those of Ghiberti and Donatello, Sluter's contemporaries, suffice to explain the sense of form and of line in the draperies revealed by the early Flemish masters. In the North, as in the South, sculpture developed earlier than painting, and, just as Pisano precedes Giotto, Sluter precedes, and to a certain extent explains, the brothers Van Eyck. The influence of sculpture on painting is made evident from the fact that many statues of the time were gilded and coloured, painters being frequently called in to perform this part of the work. Besides, many sculptors such as Beauneveu and Hennequin were equally skilled in the art of painting. The result of these influences is shown in the Book of Hours of the Duke of Berry, the work of Pol de Limburg, and in the pictures painted in Dijon for Philip the Bold by Melchior Broederlam. The latter's Annunciation, Presentation in the Temple and Flight into Egypt prepare the way for the Adoration of the Lamb, though far from being equal to it. These pictures serve as a link between the Belgian Art of the fifteenth and the fourteenth centuries. The difference to be accounted for is certainly not larger than that separating, a century before, the frescoes of Giotto from the works of Cimabue and his school.

"plourant".
Detail of the tomb of John the Fearless (Dijon Museum).
Netherlandish School of the fifteenth century.
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FLEMISH SCHOOL

It would be impossible here to characterize the works of the various masters who followed in the wake of the brothers Van Eyck. Of the two brothers, hailing from Maeseyck, we know that Hubert settled in Ghent (c. 1410) and Jan in Bruges in 1425. Roger de la Pasture, usually known as Van der Weyden, the foremost representative of the Walloon branch of the school, came from Tournai to Brussels in 1435. There were other Walloons, such as Robert Campin and Jacques Daret of Tournai, but the Flemish element, represented beside the brothers Van Eyck by the Brabançon Pieter Christus, Justus van Ghent, Hughes Van der Goes (of Ghent) and Thierry Bouts of Harlem, not to mention Memling (of Mayence), was manifestly prevalent. The renown enjoyed by these artists extended far beyond the limits of Belgium and France, and the influence exerted by their works in Italy can easily be traced. Strangely enough, while during the next century the Belgian painters were subjected so strongly to Italian influence, they were hailed, at this period, as pioneers by the Italians themselves. At home, the consideration which the great painters enjoyed is shown by the interest displayed in their work not only by the prince but also by his courtiers, among them Chancellor Rolin, and by rich foreigners, such as the Portinari and the Arnolfini established in Flanders. Philip the Good visited Jan Van Eyck frequently, was godfather to his daughter, and employed him on several occasions for secret missions. His position at the court of Burgundy was equal to that occupied later by Rubens at the court of Albert and Isabella.

CHAPTER XII