The Story of Brussels

by Ernest Gilliat-Smith

The Church of Nivelles is not only interesting on account of its architecture: Pepin of Landen is buried here in the centre of the nave, and beside him his wife, Saint Idenberge, and their daughter Begga, whom the Beguines regard as their patron saint. Here, too, are the mortal remains of another of Pepin's daughters, Saint Gertrude, foundress of the abbey. They are treasured in a shrine of copper gilt, adorned with sculpture and bas-relief, and encrusted with precious stones, a veritable triumph of the goldsmith's craft, designed by Jaquemon, monk of Anchin, and wrought by another Jaquemon, a townsman of Nivelles, with the assistance of one Nicolon, who seems to have been a citizen of Douai. The names of these men are meet to be had in perpetual remembrance.

For the moment this marvellous piece of metal-work is laid up in the sacristy. Presently, when the restoration of the chancel is completed, it will be restored to its former position above the high altar.

Of the remaining fragments of Romanesque architecture in the immediate neighbourhood of Brussels, most remarkable, perhaps, is the great square tower of the Church of Saint Jacques at Louvain, which probably dates from the beginning of the eleven hundreds. Within are some curious cylindrical columns, adorned with floriated capitals of good design and workmanship. The Abbey Church of Parc, hard by the same city, was commenced in 1225, perhaps earlier, but not completed till 1297. This building exists to-day, but it has been so frequently altered by successive abbots that no trace of the original Romanesque work is visible, save a little round-headed doorway alongside the main entrance and some narrow slits of windows in the chancel.

For the rest, in the villages and hamlets, which are so thickly sown in the country round Brussels, there are not a few churches or portions of churches which date from the period we have just been considering. It is impossible, however, within the limits of this handbook to give even a list of them. Those who are interested in this matter will do well to consult Mr. Weale's Belgium. Here will be found descriptions, with numerous historical notes, of the village churches in the neighbourhood of the chief towns of the kingdom and along the main lines. It was published nearly fifty years ago, and of course since then many archæological discoveries have been made, and, alas, much ancient work has disappeared, but no other handbook with which we are acquainted contains in so small a compass such a vast mass of generally reliable information concerning the architecture and the art of the Low Countries.

Gothic architecture seems to have been first introduced into the Netherlands from France by way of Tournai. The stately choir, second to none in Europe, which that great church-builder, Bishop Walter de Marvis, added to his cathedral there during the second quarter of the twelve hundreds, was probably the first purely Gothic structure erected in Belgium. It is altogether French in plan and in method of construction, and it may well have been designed by a mason of the Ile de France. Men's minds were at once captivated by its beauty, and the new style spread rapidly throughout the land.

It could hardly have been otherwise: Tournai was not only the religious capital of Flanders, it was also the artistic capital of a very considerable portion of the Low Country; here was established a school of architects and sculptors, which at this time was among the most famous of the North; when the architects of Tournai adopted the new style it was bound to make headway. Flanders, Holland, Zeeland, without quarries of their own, and without native masons, were constrained to bring from Tournai, the nearest point where stone was to be had, alike their building material and their builders. These men had drawn their inspiration from beyond the Rhine, and perhaps, too, from Normandy, and had already attained in their craft a very high order of excellence. When fascinated, then, by the beauty of Bishop Walter's choir, they determined to follow the new French fashion; they showed themselves no servile imitators, but modified their old plans and their old schemes of ornament in such a manner as to suit the needs of the new methods of construction: thus they gradually evolved a distinct style of their own, and the flat apse, the octagonal towers, the round turrets, adorned with pilasters with capitals delicately carved on either side of the western gable, the high, narrow lancet windows, without mullions or tracery—all distinctive features of Tournai work, are to be met with over and over again, not only in Hainault and in Flanders, but even in Picardy and in Holland.

Less marked was the influence of the Tournai school on the architecture of Brabant. Brabant had quarries of her own, and builders, inferior, indeed, to the builders of Tournai, but for all that well skilled in their craft; and thus what Tournai was doing for the rest of Belgium Brabant was able to do for herself. Though at first her architects seem to have taken as their models the buildings which their rivals of Tournai were constructing in Hainault, in Holland, and in Flanders, even their earliest Gothic work is in no way lacking in originality. Witness, for example, the choir of the Collegiate Church of Saint Gudule at Brussels, one of their first efforts. As time progressed the distinctive features became more and more pronounced, and presently a style was developed more original and also more beautiful than anything produced at the same time by the Tournai school. Indeed, the Gothic architecture of Brabant of the fourteen, fifteen and sixteen hundreds, if it be equalled, is certainly not surpassed by the Gothic architecture of those centuries in any other land. So far as concerns civic buildings, Brabant certainly holds the palm. Neither France nor Germany nor England can show anything which can be compared, for example, to the Town Hall of Brussels or the Town Hall of Louvain, or even with the Gothic portion of the Town Hall of Ghent, which was designed by Brabant architects.

So great was the fame of the architects of Brabant from the commencement of the fourteen hundreds that their services were in request all over the Netherlands, and later on, in the days of the Emperor Charles V., in Germany, in France, and even in far-off Spain; and, strangely enough, some of their latest efforts are as nobly conceived and as carefully executed as in the days when their art was at its zenith.