In the Hipdorp, not far from the Church of St. James, stood an elegant mansion, which was the favorite resort of the élité of the Italian merchants. It was the residence of William Van de Werve, lord of Schilde.
Although this nobleman did not himself engage in mercantile transactions, because the aristocratic families of Brabant regarded commerce as an occupation unsuitable to persons of high birth,[6] he was very cordial and hospitable to all strangers whose rank entitled them to admission to his home circle. Moreover, he was extremely wealthy, luxurious in his manner of living, and so well versed in three or four different languages, that he could with ease enter into an agreeable and useful conversation in either of them.
The house of Mr. Van de Werve had still other attractions to noble foreigners. He had a daughter of extraordinary beauty, so lovely, so modest, notwithstanding the homage offered to her charms, that her admirers had surnamed her la bionda maraviglia, "the wonderful blonde."
One morning in the year 1550 the beautiful Mary Van de Werve was seated in her father's house in a richly sculptured arm-chair. The young girl had apparently just returned from church, as she still held in her hand a rosary of precious stones, and her hood lay on a chair near her. She seemed to be engrossed by some pleasing thought which filled her heart with a sweet anticipation, for a slight smile parted her lips, and her eyes were upraised to heaven as if imploring a favor from Almighty God.
Against the wall behind her hung a picture from the pencil of John Van Eyck, in which the great master had represented the Virgin in prayer, whilst she was still ignorant of the sublime destiny that awaited her.
The artist had lavished upon this masterpiece the most ardent inspirations of his pious and poetic genius, for the image seemed to live and think. It charmed by the beauty of feature, the majestic calm of expression, the sweetness of the smile, the look full of love cast from earth to heaven.
There was a striking resemblance between the creation of the artist and the young girl seated beneath in almost the same attitude. In truth, the youthful Mary Van de Werve was as beautiful as the poetical representation of her patroness. She had the same large blue eyes, whose expression, although calm and thoughtful, revealed a keen sensibility and a tender, loving soul; her golden hair fell in ringlets over a brow of marble whiteness, and no painter had ever traced a cheek of lovelier mould or more delicate hue; her whole being expressed that calm recollection and attractive gravity which is the true poetry of the immaterial soul, and which was comprehended only by the believing artists of the North before the material inspiration of pagan art had been transmitted to them from the South.
Mary Van de Werve was most richly attired; but there was in her dress an absence of ornament which appeared strange at that period of extreme pomp and show. A waist of sky-blue velvet encircled her slender form, and a brocade skirt fell in large folds to her feet. Only on her open sleeves appeared some gold thread, and the clasp which fastened the chamois-skin purse suspended from her girdle was encrusted with precious stones.
All her surroundings betokened her father's opulence: large stained-glass windows, covered with the armorial bearings of his ancestors, cast their varied hues upon the inlaid marble floor; tables and chairs of oak, slabs supporting exquisite statuary from the chisel of the most celebrated artists, were ranged along the walls; an ivory crucifix surmounted a silver basin of rare workmanship containing holy water. Even the massive andirons, which stood in the broad fireplace, were partly of gold and ornamented with the coat of arms.
Her prayer was finished, or it might be that her thoughts had taken another turn; she arose and walked slowly towards the large window which overlooked the garden. She fixed her eyes upon the beautiful blue sky; her countenance was bright, as though a sweet hope filled her heart, and a rosy hue suffused her cheeks.