If to be neutral is to stand by and silently acquiesce in the destruction of Belgium as an independent nation, then the author of this book is not neutral. In every fibre of his being he protests against such a course as a crime against liberty, against humanity. Happily, from every corner of the United States come unmistakable evidences that the American people as a whole are not, at heart, neutral on this subject. The embattled farmers who stood on the bridge at Concord and fired “the shot heard round the world” have thrilled the imagination and stimulated the patriotism of every American schoolboy, but no less heroic is the spectacle of the little Belgian army under the personal leadership of its noble King standing like a rock on the last tiny strip of Belgian soil and stopping the onrush of the most powerful fighting organisation in the world. At Nieuport and Dixmude and along the bloodstained Yser Canal, the men of Belgium fought for the same cause of liberty for which our forefathers fought at Bunker Hill. Whatever our sympathies may be with respect to the larger aspects of the great world war—and as to these we may most properly remain neutral—our national history and traditions, the very principles of government to which we owe “all that we have and are,” cannot but confirm us in the profound conviction that no conclusion to this war can be just and right, or permanent, that does not once more restore the Belgian nation and guarantee that it shall remain completely and forever free.

On the other hand, while news of the damage done to some famous Flemish church or Hotel de Ville causes the author sensations akin to those that he would experience on learning of the wounding of a friend, this book will contain no complaint regarding German destruction of these monuments of architecture. At Ypres and Malines, where the havoc wrought cannot fail to have been fearful, the damage was done in the course of battles in which the most powerful engines of destruction ever invented by man were used on both sides. Much as we may deplore the results, we cannot blame the individual commanders. At Antwerp, Ghent, Bruges and many other famous Flemish cities the Germans appear to have made every effort to avoid wanton destruction and preserve the most notable historic edifices. After the war is over and we have learned exactly what structures have been destroyed, and under what circumstances, we can justly place whatever blame may attach to such a catastrophe where it belongs—but not until then. For the present we can only hope that the damage may be less than has been reported, and that in many instances it will be possible for the Belgians—so skilful in the work of restoration—to reconstruct the sections of famous buildings that have been damaged.

When the war is over many thousands of Americans and English will be eager to visit the battle-fields of Flanders and see for themselves the scenes of conflicts that will forever hold a great place in human history. The author ventures to hope that this little book may be found serviceable to such tourists as it contains much information not to be found in any guide book. If it aids any of them—or any of the far larger host of travellers whose journeys in far-off lands must be made by their home firesides—to understand Flanders better it will have achieved its purpose. It is one of the many ironies of the war that towns like Ypres and Malines, which were rarely visited by American tourists when they were in their perfection, will, no doubt, be visited by thousands now that the clash of arms has brought them at the same moment destruction and immortal fame.

Edward Neville Vose.


CONTENTS

CHAPTER PAGE
[Publishers’ Note]vii
[Foreword]ix
I.[Introducing Flanders and the Four Pilgrims]1
II.[Vieux Bruges and Count Baldwin of the Iron Arm]15
III.[Bruges in the Days of Charles the Good]30
IV.[How Bruges Became “the Venice of the]54
V.[Dixmude and Furnes]78
VI.[Nieuport and the Yser Canal]94
VII.[When Ypres Was a Greater City than]116
VIII.[Courtrai and the Battle of the Spurs]146
IX.[Ghent in the Days of the Flemish]169
X.[The Age When Ghent Was Governed by]192
XI.[Philip the Good and the Van Eycks]218
XII.[Tournai, the Oldest City in Belgium]242
XIII.[Three Centuries of Tournaisian Art]268
XIV.[The Fall of Charles the Bold—Memling]285
XV.[Malines in the Time of Margaret of]311
XVI.[Ghent Under Charles the Fifth—and]344
XVII.[Audenaerde and Margaret of Parma]367
XVIII.[Old Antwerp—Its History and Legends]393
XIX.[Three Centuries of Antwerp Printers]411
XX.[Antwerp from the Time of Rubens Till]438
XXI.[Where Modern Flanders Shines—Ostende And “La Plage”]464
XXII.[The Spell of Flanders]480
[Bibliography]485
[Index]489

LIST OF ILLUSTRATIONS

PAGE
[Cathedral of St. Sauveur, Bruges] (in full colour) (See page 47)Frontispiece
[MAP OF BELGIUM AND THE NETHERLANDS, Showing the Old Flemish Principality]facing 1
[Béguinage Bridge, Bruges]35
[Tomb of Marie of Burgundy, Church of Notre Dame, Bruges]51
[Palais du Franc, Bruges] (in full colour)59
[The Belfry, Bruges]63
[The Minnewater, Bruges]71
[Shrimp Fishermen, Coxyde]93
[Tower of the Templars, Nieuport]99
[An Ancient Painting of the Flemish Kermesse by Teniers]115
[Cloth Hall, Ypres]119
[Hotel Merghelynck, Ypres]139
[Church of St. Peter, Ypres]141
[Statue of Peter de Coninck and John Breidel, Bruges]154
[Castle of the Counts, Ghent]170
[Ruins of the Abbey of St. Bavon, Ghent]184
[Post Office, Church of St. Nicholas, Belfry and Cathedral, Ghent]195
[De Dulle Griete, Ghent]208
[Workroom, Petit Béguinage de Notre Dame, Ghent]210
[“Singing Angels,” from “The Adoration of the Lamb”—Jean Van Eyck]236
[“George Van der Paele, Canon of St. Donatian, worshipping the Madonna”—Jean Van Eyck] (in full colour)239
[General View of Tournai and the Five-towered Cathedral]256
[The Belfry, Tournai]262
[A Triptych of the Seven Sacraments by Rogier Van der Weyden]272
[Shrine of St. Ursula, Hospital of St. Jean, Bruges]296
[An Illumination by Gheerhardt David of Bruges, 1498; St. Barbara] (in full colour)300
[“The Last Supper”—Thierry Bouts]307
[Quai Vert, Bruges]310
[Cathedral of St. Rombaut, Malines]312
[Tower of the Cathedral of St. Rombaut, from the Ruelle sans Fin]318
[In het Paradijs and Maison des Diables; two fifteenth century houses, Malines]333
[Portrait of Jean Arnolfini and his Wife by Jean Van Eyck]340
[Maison de la Keure, Hotel de Ville, Ghent]347
[Portrait of the Duke of Alva by A. Moro]352
[“The Adoration of the Shepherds”—Hugo Van der Goes]362
[Old Guild Houses, Quai aux Herbes, Ghent]365
[Hotel de Ville, Audenaerde]370
[Wooden Doorway, carved by Van der Schelden, Hotel de Ville, Audenaerde]375
[Church of Ste. Walburge, Audenaerde]383
[A Flemish Tapestry of the Fifteenth Century]386
[The Vielle Boucherie, Antwerp]399
[“The Banker and His Wife”—Matsys]403
[“Winter”—Peter Breughel]405
[“Dragging the Statue of the Duke of Alva through the Streets of Antwerp”—C. Verlat]418
[Courtyard of the Plantin Museum, Antwerp]428
[Ancient Printing Presses and Composing Cases, Plantin Museum, Antwerp]436
[“The Descent from the Cross”—Rubens]439
[“Coup de Lance”—Rubens]442
[“La Vierge au Perroquet”—Rubens]445
[Peter Paul Rubens]448
[“As the Old Birds Sing the Young Birds Pipe”—Jacob Jordaens]453
[Hotel de Ville, Antwerp]456
[The “Salle des Jeux,” in the Kursaal Ostende]476