A Surgeon in Belgium

by Henry Sessions Souttar

Like so many of the cities of Belgium, Furnes is a town of the past. To stand in the great square, surrounded by buildings which would delight the heart of any artist, is to travel back through three centuries of time. Spain and the Renaissance surround us, and we look instinctively towards the Pavilion for the soldiers of Philip, or glance with apprehension at the door of the Palais de Justice for the sinister form of Peter Titelmann the Inquisitor. Around this very square marched the procession of the Holy Office, in all the insolent blasphemy of its power, and on these very stones were kindled the flames that were to destroy its victims. But all these have gone; the priest and his victim, the swaggering bravo and the King he served, have gone to their account, and Furnes is left, the record of a time when men built temples like angels and worshipped in them like devils.

The immense square, with the beautiful public buildings which surround it, speaks of a time when Fumes was an important town. As early as the year 850 it is said that Baldwin of the Iron Arm, the first of the great Counts of Flanders, had established a fortress here to withstand the invasion of the Normans. After that Furnes appears repeatedly with varying fortunes in the turbulent history of the Middle Ages, until in the thirteenth century it was razed to the ground by Robert of Artois. In the next three hundred years, however, it must have entirely recovered its position, for in the days of the Spanish Fury it was one of the headquarters of the Inquisition and of the Spanish Army, and there is no town in Belgium upon which the Spanish occupation has left a greater mark. Since then, of no commercial or political importance, it has lived the life of a dull country town, and tradition says that there is plenty of solid wealth stored by its thrifty inhabitants behind the plain house-fronts which line its quiet streets.

From the centre of the square one can see all that there is to be seen of Furnes. The four sides are lined by beautiful old houses whose decorated fronts and elaborate gables tell of the Renaissance and of Spanish days. Behind the low red roofs tower the churches of St. Walburga and St. Nicholas, dwarfing the houses which nestle at their base. In the corners of the square are public buildings, small when compared with those of Bruges and Ypres, but unsurpassed in exquisite detail of design. Behind one corner rises the tall belfry without which no Flemish town would be complete. On an autumn evening when the sun is setting, when the red roofs glow with a deeper crimson, and the tall churches catch the sun's last rays on their old brick walls, there can be few more perfect pictures than the square of Furnes.

The two oldest buildings in the square stand at the ends of the eastern side. At the north end is the Pavilion des Officiers espagnols, once the Town Hall, and, in the days of the Spanish occupation, the headquarters of the army for the district. It is an old Flemish building, solidly built, with high-pitched roof, and windows framed in ornamental stonework, ending in a big square tower with battlements and little turrets at its corners. A short outside staircase leads up to the entrance. The whole building gives the impression that in the days when it was built the Town Hall was also the Fortress, and that the mayor had duties more strenuous than the eating of dinners. At the other end of the eastern side stands the old Halle aux Vins, where the night-watchmen had their quarters, a fine old gabled house with a loggia reached by a flight of steps in the centre, a row of plain stone columns supporting the floors above.

Directly opposite is the north-west corner of the square, with the Palais de Justice on the right and the Hotel de Ville on the left. Both date from the Spanish occupation, but they are very different in their style of architecture. The first is classical and severe, the second has all the warmth of the Renaissance. The Hotel de Ville is an elaborately decorated building, with two exquisite gables and a steep roof surmounted by a little octagonal tower. The loggia below, standing out from the building and supporting a balcony above, is perhaps its most charming feature, both for the beauty of its proportions and the delicacy of its carved stone balustrades. Inside, the rooms are as they were three hundred years ago, and the wonderful hangings of Cordova leather in the council chamber are still intact. Beside the Hotel de Ville the straight lines of the Palais de Justice, with its pillars and its high narrow windows, form a striking contrast. It was here, in the large room on the first floor, that the Inquisition held its awful court, and here were the instruments of torture with which it sought to enforce its will. Behind the Palais rises the tall belfry, a big square tower from which springs an octagonal turret carrying an elaborate campanile. There is a quaint survival on this belfry, for upon it the town crier has a little hut. He is a cobbler, and from below one can hear the tap-tap of his hammer as he plies his trade. But at night he calls out the hours to the town below, together with any information of interest, concluding with the assurance that he and his wife are in good health. The office has descended from father to son from the earliest days of the history of Furnes, and its holder has always been a cobbler. Till early in last November the record was unbroken, but, alas the fear of German shells was too much for the cobbler, and he is gone.

Furnes is a town of contrasts, and though both its churches were built by the wonderful architects of the fourteenth century, there could hardly be two buildings more diverse. Behind the line of red roofs on the east of the square rises the rugged tower of St. Nicholas, a great square mass of old and weather- beaten brick, unfinished like so many of the Belgian towers, but rough, massive, and grand, like some rude giant. On the north, behind the Palais de Justice and the belfry, stands St. Walburga, with the delicate tracery of her flying buttresses and her spire fine as a needle. There is something fitting in the rugged simplicity which commemorates the grand old Bishop, and in the exquisite fragility of the shrine of the virgin saint. The double flying buttresses of St. Walburga, intersecting in mid-air, and apparently defying the laws of gravity, are as delicate a dream as the mind of architect could conceive, and they give to the whole an airy grace which cannot be described. The church was planned six hundred years ago on a gigantic scale, in the days when men built for the worship of God and not for the accommodation of an audience, and for six hundred years the choir stood alone as a challenge to future generations to complete what had been so gloriously begun. Only seven years ago the transept was added, and to the credit of its builders it is worthy to stand beside the choir. One wonders how many hundred years may have passed before the vision of the first great architect is complete. It is built for the most part of red brick, the rich red brick of Belgium, which grows only more mellow with age. Inside, the tall pillars of a dark grey stone support at a great height a finely groined roof of the same red brick, lit by a clerestory so open that one wonders how it can carry the weight of the roof above. The tall windows of the transept, reaching almost from the floor to the roof, with their delicate tracery, carry on the same effect of airiness, while their light is softened by the really beautiful stained glass which they frame. The richly carved choir-stalls of dark mahogany and the fine organ furnish an interior of which any town in England might well be proud. And all this magnificence is in a little Flemish town of some six thousand inhabitants.

One is brought suddenly face to face with the tremendous difference which exists between the Protestant and the Catholic conception of what a church is and what it is for. To the one it is a place where men meet for mutual support and instruction, for united worship; to the other it is a place where men meet God. To the one some organized service is necessary; the other only requires the stones on which to kneel. The one will only go to church—in fact, he will only find his church open at certain appointed times; for the other it is only closed with darkness. Of course, I am using the words Protestant and Catholic to indicate broad conceptions of religion, and not as defining definite bodies of men; but even of those who call themselves by these names what I have said is largely true. And this difference in conception is reflected in the churches which they build. For the one a simple building will suffice which will seat in comfort those who may come; the other, though he alone should ever enter it, will raise to heaven the mightiest temple which mortal hands can frame.

Fumes still carries on a tradition of medieval times—the strange procession which passes through its streets and across the great square on the last Sunday in July. Its origin, in the twelfth century, is unknown, though many legends are woven around it. It is a long procession, in which are represented many of the episodes in the story of the Christ, some in sculptured groups of figures, some by living actors. Before each group walks a penitent, barefoot and heavily veiled in black gown and hood, carrying an inscription to explain the group which follows. Abraham appears with Isaac, Moses with the serpent, Joseph and Mary, the Magi, and the flight into Egypt. Then come incidents from the life of Jesus, and the great tragedy of its close. The Host and its attendant priests conclude the procession. It is all very primitive and bizarre, but behind it there is a note of reality by which one cannot but be moved. For the figures concealed beneath the black hoods and dragging along the heavy wooden crosses are not actors; they are men and women who have come, many of them, long distances to Furnes, in the hope that by this penance they may obtain the forgiveness they desire.

XX A Journey