There were many hundreds of churches, more or less remarkable, in the Netherlands. Although a severe criticism might regret to find in these particular productions of the great Germanic school a development of that practical tendency which distinguished the Batavian and Flemish branches,—although it might recognize a departure from that mystic principle which, in its efforts to symbolize the strivings of humanity towards the infinite object of worship above, had somewhat disregarded the wants of the worshippers below,—although the spaces might be too wide and the intercolumniations too empty, except for the convenience of congregations; yet there were, nevertheless, many ecclesiastical masterpieces, which could be regarded as very brilliant manifestations of the Batavian and Belgic mind during the thirteenth and fourteenth centuries. Many were filled with paintings from a school which had precedence in time and merit over its sister nurseries of art in Germany. All were peopled with statues. All were filled with profusely-adorned chapels, for the churches had been enriched generation after generation by wealthy penitence, which had thus purchased absolution for crime and smoothed a pathway to heaven.
And now, for the space of only six or seven summer days and nights, there raged a storm by which all these treasures were destroyed. Nearly every one of these temples was entirely rifled of its contents; not for the purpose of plunder, but of destruction. Hardly a province or a town escaped. Art must forever weep over this bereavement; Humanity must regret that the reforming is thus always ready to degenerate into the destructive principle; but it is impossible to censure very severely the spirit which prompted the brutal, but not ferocious deed. Those statues, associated as they were with the remorseless persecution which had so long desolated the provinces, had ceased to be images. They had grown human and hateful, so that the people arose and devoted them to indiscriminate massacre.
No doubt the iconoclastic fury is to be regretted; for such treasures can scarcely be renewed. The age for building and decorating great cathedrals is past. Certainly, our own age, practical and benevolent, if less poetical, should occupy itself with the present, and project itself into the future. It should render glory to God rather by causing wealth to fertilize the lowest valleys of humanity, than by rearing gorgeous temples where paupers are to kneel. To clothe the naked, redeem the criminal, feed the hungry, less by alms and homilies than by preventive institutions and beneficent legislation; above all, by the diffusion of national education, to lift a race upon a level of culture hardly attained by a class in earlier times, is as lofty a task as to accumulate piles of ecclesiastical splendor.
It would be tedious to recount in detail the events which characterized the remarkable image-breaking in the Netherlands. As Antwerp was the central point in these transactions, and as there was more wealth and magnificence in the great cathedral of that city than in any church of northern Europe, it is necessary to give a rapid outline of the events which occurred there. From its exhibition in that place the spirit every where will best be shown.
The Church of Our Lady, which Philip had so recently converted into a cathedral, dated from the year 1124, although it may be more fairly considered a work of the fourteenth century. Its college of canons had been founded in another locality by Godfrey of Bouillon. The Brabantine hero, who so romantically incarnates the religious poetry of his age, who first mounted the walls of redeemed Jerusalem, and was its first Christian monarch, but who refused to accept a golden diadem on the spot where the Saviour had been crowned with thorns; the Fleming who lived and was the epic which the great Italian, centuries afterwards; translated into immortal verse, is thus fitly associated with the beautiful architectural poem which was to grace his ancestral realms. The body of the church, the interior and graceful perspectives of which were not liable to the reproach brought against many Netherland churches, of assimilating themselves already to the municipal palaces which they were to suggest—was completed in the fourteenth century. The beautiful facade, with its tower, was not completed till the year 1518. The exquisite and daring spire, the gigantic stem upon which the consummate flower of this architectural creation was to be at last unfolded, was a plant of a whole century's growth. Rising to a height of nearly five hundred feet, over a church of as many feet in length, it worthily represented the upward tendency of Gothic architecture. Externally and internally the cathedral was a true expression of the Christian principle of devotion. Amid its vast accumulation of imagery, its endless ornaments, its multiplicity of episodes, its infinite variety of details, the central, maternal principle was ever visible. Every thing pointed upwards, from the spire in the clouds to the arch which enshrined the smallest sculptured saint in the chapels below. It was a sanctuary, not like pagan temples, to enclose a visible deity, but an edifice where mortals might worship an unseen Being in the realms above.
The church, placed in the centre of the city, with the noisy streets of the busiest metropolis in Europe eddying around its walls, was a sacred island in the tumultuous main. Through the perpetual twilight, tall columnar trunks in thick profusion grew from a floor chequered with prismatic lights and sepulchral shadows. Each shaft of the petrified forest rose to a preternatural height, their many branches intermingling in the space above, to form an impenetrable canopy. Foliage, flowers and fruit of colossal luxuriance, strange birds, beasts, griffins and chimeras in endless multitudes, the rank vegetation and the fantastic zoology of a fresher or fabulous world, seemed to decorate and to animate the serried trunks and pendant branches, while the shattering symphonies or dying murmurs of the organ suggested the rushing of the wind through the forest, now the full diapason of the storm and now the gentle cadence of the evening breeze.
Internally, the whole church was rich beyond expression. All that opulent devotion and inventive ingenuity could devise, in wood, bronze, marble, silver, gold, precious jewelry, or blazing sacramental furniture, had been profusely lavished. The penitential tears of centuries had incrusted the whole interior with their glittering stalactites. Divided into five naves, with external rows of chapels, but separated by no screens or partitions, the great temple forming an imposing whole, the effect was the more impressive, the vistas almost infinite in appearance. The wealthy citizens, the twenty-seven guilds, the six military associations, the rhythmical colleges, besides many other secular or religious sodalities, had each their own chapels and altars. Tombs adorned with the effigies of mailed crusaders and pious dames covered the floor, tattered banners hung in the air, the escutcheons of the Golden Fleece, an order typical of Flemish industry, but of which Emperors and Kings were proud to be the chevaliers, decorated the columns. The vast and beautifully-painted windows glowed with scriptural scenes, antique portraits, homely allegories, painted in those brilliant and forgotten colors which Art has not ceased to deplore. The daylight melting into gloom or colored with fantastic brilliancy, priests in effulgent robes chanting in unknown language, the sublime breathing of choral music, the suffocating odors of myrrh and spikenard, suggestive of the oriental scenery and imagery of Holy Writ, all combined to bewilder and exalt the senses. The highest and humblest seemed to find themselves upon the same level within those sacred precincts, where even the bloodstained criminal was secure, and the arm of secular justice was paralyzed.
But the work of degeneration had commenced. The atmosphere of the cathedral was no longer holy in the eyes of increasing multitudes. Better the sanguinary rites of Belgic Druids, better the yell of slaughtered victims from the "wild wood without mercy" of the pagan forefathers of the nation, than this fantastic intermingling of divine music, glowing colors, gorgeous ceremonies, with all the burning, beheading and strangling work which had characterized the system of human sacrifice for the past half-century.
Such was the church of Notre Dame at Antwerp. Thus indifferent or hostile towards the architectural treasure were the inhabitants of a city, where in a previous age the whole population would have risked their lives to defend what they esteemed the pride and garland of their metropolis.
The Prince of Orange had been anxiously solicited by the Regent to attend the conference at Duffel. After returning to Antwerp, he consented, in consequence of the urgent entreaties of the senate, to delay his departure until the 18th of August should be past. On the 13th of that month he had agreed with the magistrates upon an ordinance, which was accordingly published, and by which the preachings were restricted to the fields. A deputation of merchants and others waited upon him with a request to be permitted the exercises of the Reformed religion in the city. This petition the Prince peremptorily refused, and the deputies, as well as their constituents, acquiesced in the decision, "out of especial regard and respect for his person." He, however, distinctly informed the Duchess that it would be difficult or impossible to maintain such a position long, and that his departure from the city would probably be followed by an outbreak. He warned her that it was very imprudent for him to leave Antwerp at that particular juncture. Nevertheless, the meeting of the Fleece-knights seemed, in Margaret's opinion, imperatively to require his presence in Brussels. She insisted by repeated letters that he should leave Antwerp immediately.