The E. side of the square is formed by the Palais de Justice, which stands on the site of an old palace of the Counts of Flanders, presented by Philippe le Beau to the Liberty of Bruges, and employed by them as their town hall of the Buitenpoorters, or inhabitants of the district outside the gate, known as the Franc de Bruges. The Renaissance building, erected between 1520 and 1608, was burnt down and replaced in the 18th century by the very uninteresting existing building. Parts of the old palace, however, were preserved, one room in which should be visited for the sake of its magnificent **chimney-piece. In order to see it, enter the quadrangle: the porter’s room faces you as you enter; inquire there for the key; admission, 50 c. per person. The concierge conducts you to the Court-Room, belonging to the original building. Almost the entire side of the room is occupied by a splendid Renaissance chimney-piece, executed in 1529, after designs by Lancelot Blondeel of Bruges (a painter whose works are frequent in the town), and Guyot de Beaugrant of Malines, for the Council of the Liberty of Bruges, in honour of Charles V., as a memorial of the Treaty of Cambrai, in 1526. (This was the treaty concluded after the battle of Pavia, by which François Ier of France was compelled to acknowledge the independence of Flanders. Some of the figures in the background are allusive to the victory.) The lower part, or chimney-piece proper, is of black marble. The upper portion is of carved oak. The marble part has four bas-reliefs in white alabaster by Guyot de Beaugrant, representing the History of Susannah, a mere excuse for the nude: (1) Susannah and the Elders at the Bath; (2) Susannah dragged by the Elders before the Judge; (3) Daniel before the Judge exculpating Susannah; (4) The Stoning of the Elders. The genii at the corners are also by Beaugrant. The whole is in the pagan taste of the Renaissance. The upper portion in oak contains in the centre a statue of Charles V., represented in his capacity as Count of Flanders (as shown by the arms on his cuirass): the other figures represent his descent and the cumulation of sovereignties in his person. On the throne behind Charles (ill seen) are busts of Philippe le Beau, his father, through whom he inherited the Burgundian dominions, and Johanna (the Mad) of Spain, his mother, through whom he inherited the united Peninsula. The statues L. and R. are those of his actual royal predecessors. The figures to the L. are his paternal grandfather, the Emperor Maximilian, from whom he derived his German territories, and his paternal grandmother, *Mary of Burgundy, who brought into the family Flanders, Burgundy, etc. Mary is represented with a hawk on her wrist, as she was killed at twenty-five by a fall from her horse while out hawking. (We shall see her tomb later at Notre-Dame.) The figures on the R. are those of Ferdinand of Aragon and Isabella of Castile, the maternal grandfather and grandmother of Charles, from whom he inherited the two portions of his Spanish dominions. The medallions at the back represent the personages most concerned in the Treaty of Cambrai, and the Victory of Pavia which rendered it possible. (De Lannoy, the conqueror, to whom François gave up his sword, and Margaret of Austria.) The tapestry which surrounds the hall is modern; it was manufactured at Ingelmünster after the pattern of a few old fragments found in the cellars of the ancient building. The mediocre painting on the wall depicts a sitting of the court of the Liberty of Bruges in this room (1659).
The N. side of the square is now occupied by a small Place planted with trees. Originally, however, the old cathedral of Bruges occupied this site. It was dedicated to St. Donatian, the patron of the city, whose relics were preserved in it; but it was barbarously destroyed by the French Revolutionary army in 1799, and the works of art which it contained were dispersed or ruined. Figures of St. Donatian occur accordingly in many paintings at Bruges. Jan van Eyck was buried in this cathedral, and a statue has been erected to him under the trees in the little Place. In order, therefore, mentally to complete the picture of the Place du Bourg in the 16th century, we must imagine not only the Hôtel de Ville, the Chapelle du Saint Sang, and the Ancien Greffe in something approaching their existing condition, but also the stately cathedral and the original Renaissance building of the Franc de Bruges filling in the remainder.
An archway spans the space between the Ancien Greffe and the Hôtel de Ville. Take the narrow street which dives beneath it, looking back as you pass at the archway with its inscription of S.P.Q.B. (for Senatus Populusque Brugensis). The street then leads across a bridge over the river Reye or principal canal, and affords a good view of the back of the earlier portion of the Palais de Justice, with its picturesque brick turrets, and a few early arches belonging to the primitive palace. I recommend the visitor to turn to the R. after crossing the bridge, traverse the little square, and make his way home by the bank of the Dyver and the church of Notre-Dame. The view towards the Hôtel de Ville and the Belfry, from the part of the Dyver a little to the east behind the Belfry, is one of the most picturesque and striking in Bruges.
C. THE HOSPITAL OF ST. JOHN
[The Hospital of St. John, one of the most ancient institutions in Bruges, or of its kind in Europe, was founded not later than 1188, and still retains, within and without, its mediæval arrangement. Its Augustinian brothers and nuns tend the sick in the primitive building, now largely added to. It derives its chief interest for the tourist, however, from its small Picture Gallery, the one object in Bruges which must above everything else be visited. This is the only place for studying in full the exquisite art of Memling, whose charming and poetical work is here more fully represented than elsewhere. In this respect the Hospital of St. John may be fitly compared with the two other famous “one-man shows” of Europe—the Fra Angelicos at San Marco in Florence, and the Giottos in the Madonna dell’ Arena at Padua. Many of the pictures were painted for the institution which they still adorn; so that we have here the opportunity of seeing works of mediæval art in the precise surroundings which first produced them.
Hans Memling, whose name is also written Memlinc and Memlin, etc. (long erroneously cited as Hemling; through a mistaken reading of the initial in his signature) is a painter of whom little is known, save his work; but the work is the man, and therefore amply sufficient. He was born about 1430, perhaps in Germany, and is believed to have been a pupil of Roger van der Weyden, the Brussels painter, whose work we shall see later at Antwerp and elsewhere. Mr. Weale has shown that he was a person of some wealth, settled at Bruges in his own house (about 1478), and in a position to lend money to the town. He died in 1495. His period of activity as a painter is thus coincident with the earlier work of Carpaccio and Perugino in Italy; and he died while Raphael was still a boy. In relation to the artists of his own country, whose works we have still to see, Memling was junior by more than a generation to Jan van Eyck, having been born about ten years before Van Eyck died; he was also younger by thirty years than Roger van der Weyden; and by twenty or thirty years than Dierick Bouts; but older by at least twenty than Gerard David. Memling has been called the Fra Angelico of Flanders; but this is only true so far as regards Fra Angelico’s panel works; the saintly Frate, when he worked in fresco, adopted a style wholly different from that which he displays in his miniature-like altar-pieces. It would be truer to say that Memling is the Benozzo Gozzoli of the North: he has the same love of decorative adjuncts, and the same naïve delight in the beauty of external nature.
Before visiting the Hospital, it is also well to be acquainted in outline with the history of St. Ursula, whose châsse or shrine forms one of its greatest treasures. The Hospital possessed an important relic of the saint—her holy arm—and about 1480-1489 commissioned Memling to paint scenes from her life on the shrine destined to contain this precious deposit. The chest or reliquary which he adorned for the purpose forms the very best work of Memling’s lifetime.
St. Ursula was a British (or Bretonne) princess, brought up as a Christian by her pious parents. She was sought in marriage by a pagan prince, Conon, said to be the son of a king of England. The English king, called Agrippinus in the legend, sent ambassadors to the king of Britain (or Brittany) asking for the hand of Ursula for his heir. But Ursula made three conditions: first, that she should be given as companions ten noble virgins, and that she herself and each of the virgins should be accompanied by a thousand maiden attendants; second, that they should all together visit the shrines of the saints; and third, that the prince Conon and all his court should receive baptism. These conditions were complied with; the king of England collected 11,000 virgins; and Ursula, with her companions, sailed for Cologne, where she arrived miraculously without the assistance of sailors (but Memling adds them). Here, she had a vision of an angel bidding her to repair to Rome, the threshold of the apostles. From Cologne, the pilgrims went up the Rhine by boat, till they arrived at Basle, where they disembarked and continued their journey on foot over the Alps to Italy. At length they reached the Tiber, which they descended till they approached the walls of Rome. There, the Pope, St. Cyriacus, went forth with all his clergy in procession to meet them. He gave them his blessing, and lest the maidens should come to harm in so wicked a city, he had tents pitched for them outside the walls on the side towards Tivoli. Meanwhile, prince Conon had come on pilgrimage by a different route, and arrived at Rome on the same day as his betrothed. He knelt with Ursula at the feet of the Pope, and, being baptized, received in exchange the name of Ethereus.
After a certain time spent in Rome, the holy maidens bethought them to return home again. Thereupon, Pope Cyriacus decided to accompany them, together with his cardinals, archbishops, bishops, patriarchs, and many others of his prelates. They crossed the Alps, embarked again at Basle, and made their way northward as far as Cologne. Now it happened that the army of the Huns was at that time besieging the Roman colony; and the pagans fell upon the 11,000 virgins, with the Pope and their other saintly companions. Prince Ethereus was one of the first to die; then Cyriacus, the bishops, and the cardinals perished. Last of all, the pagans turned upon the virgins, all of whom they slew, save only St. Ursula. Her they carried before their king, who, beholding her beauty, would fain have wedded her. But Ursula sternly refused the offer of this son of Satan; whereupon the king, seizing his bow, transfixed her breast with three arrows. Hence her symbol is an arrow; also, she is the patroness of young girls and of virgins, so that her shrine is particularly appropriate in a nunnery.