[CHAPTER XX]
ANTWERP FROM THE TIME OF RUBENS TILL TO-DAY
If there is one name more honoured in Flanders than any other—more often employed as the name of hotels, restaurants or cafés; more frequently on the lips of guides, caretakers and sacristans; more constantly in the mind of every tourist, be he or she American, English or Continental—it is the name of the greatest of Flemish painters, Peter Paul Rubens. No book on Flanders, and most assuredly no work touching on Antwerp, would be complete without some reference to the life and work of this prince among painters, yet no task can be more superfluous, since nothing can be said that will add in the slightest degree to his fame. He ranks in the history of art with the greatest masters in the world—with Michael Angelo, Leonardo, Rembrandt, Raphael, Titian and Velasquez—and it is probable that more books have been written about him than about Antwerp itself.
Occasional references have been made in previous chapters to notable paintings by Rubens to be seen in various churches throughout Flanders—particularly to “The Miraculous Draught of Fishes” at Malines, which is said to have been saved from the destruction of that city, having been carried away before the first of its many bombardments. It is at Antwerp, however, that the tourist who desires to study the work of Rubens will find him at his best and in greatest profusion. And the most famous spot enriched by his unrivalled art is the cathedral. Here hang his two greatest devotional works, “The Elevation of the Cross” and “The Descent from the Cross.” The former was painted in 1610 and gave the young artist—he was then only thirty-three—instant and enduring fame. The companion work was completed the following year. Neither was originally painted for the cathedral. “The Elevation of the Cross,” the earlier and inferior of the two, was intended to be the altarpiece for the church of Ste. Walburge, while the other was painted for the Society of Arquebusiers, to adjust a difficulty that had arisen over apportioning the cost of a wall separating Rubens’ house from that of the guild. Both, however, are in an ideal location where they now are, and form an admirable starting point from which to see, first the cathedral, and then the work of Rubens as a whole.
“THE DESCENT FROM THE CROSS.”—RUBENS.
The Cathedral of Notre Dame is without doubt the most beautiful Gothic church in Belgium, and has thus far happily escaped the ravages of the present war—passing unscathed through the furious German bombardment of the city. Begun in 1352 it was, like other churches of its size, centuries in reaching completion. The exquisite lace-work in stone of the north tower was completed during the sixteenth century, but was not wholly finished when the iconoclasts ravaged the interior of the edifice. Originally the church of St. Mary, it became the Cathedral of Notre Dame in 1560. The nave and transepts were not vaulted until 1611-16, or the very period when Rubens was painting the famous pictures that now hang in the south transept. Work on the south tower was discontinued in 1474, which seems a pity, as its completion would have made the cathedral one of the most perfect specimens of Gothic architecture in the world. As it is, the single tower dominates the old part of the city and is a familiar feature of its sky line. The chimes of the cathedral are famous, and are often played by Jef Denyn of Malines. There are forty bells of various sizes, of which the greatest was named Charles V, and requires the strength of nineteen men to swing it. This bell was founded some eight years before the young Duke Charles made his joyous entry into Antwerp, and no doubt rang lustily on that occasion.
The interior of the cathedral is very vast, comprising six aisles, but is too well known to require description. Among the numerous paintings with which the chapels are adorned is one, a “Descent from the Cross,” by Adam Van Noort, the teacher of Jordaens, and said to be the first who taught Rubens how to handle a brush. In the second chapel on the south is an interesting “Resurrection” by Rubens, which was painted in 1612 for the tomb of his friend Moretus, of the famous printing-house of Plantin. The fourth chapel on the same side contains the tomb of Christopher Plantin, with an inscription by his colleague and friend, Justus Lipsius, and several family portraits. The visitor will find many other points of interest in this vast church, which is a veritable museum of art, architecture, history and human progress. The high altarpiece is another famous Rubens, an “Assumption”—a subject which he painted no less than ten times. There are half a dozen other notable paintings by other artists, but the majority are of minor artistic importance. The rich Gothic choir stalls, however, are worth more than a passing glance, for the wood-carvings here are very fine, although modern—having been begun in 1840, and completed forty years later. The elaborately carved pulpit was made in the eighteenth century by the sculptor Michel Vervoort, and was intended for the Abbey of St. Bernard.