Places & buildingsPosted by Your Bruges Tue, February 27, 2018 18:05:03This is the
cathedral of the city. As you know, there’s only one in Bruges. This may be
known, but the difference between a church and a cathedral is only one little
detail. This detail can’t be seen from the outside, but you need to go inside
to find it.
Inside there’s the “cathedra” or the seat of the Bishop. When a Bishop is
seated (and sometimes does services) in a church, this is considered as a
cathedral.
So size had nothing to do with it!
No, this
cathedral is about 80 meter high, while the close-by Church of Our Lady is
about 120 meter!
Saint Eligius
According
to legend the founder of this church was Saint Eligius… He is born in Frnace
around 588 and died on December 1st 660. He’s the patron of
goldsmiths, metalworkers, mechanical engineers and coin collectors. Most of his
life he lived in France, but started out as a goldsmith. When he made a throne
of gold, decorated with jewels kind Clotaire II paid a royal salary to Eligius
who… donated the money to the man who learned him the profession of goldsmith.
Eligius became mint master and later most influential advisor of the French
kings Clotaire II and Dagobert
In 632
Eligius had a monastery built and lived a devoted life. When Dagobert died
Eligius was ordained, in 640 he became Bishop. When we go inside, I’ll show you
a sculpture of Eligius with his miter (of being Bishop), but also you’ll find
another attribute of a bishop: a crosier (kromstaf).
One nice legend about the life of Eligius is the one of “the removable
horse-leg”. Yes, I know!
At young
age Eligius already knew how to work as a metalworker. He worked for a
blacksmith boss who was really full of himself. This man had a sign that said
“Master of masters” at his workshop. One day, a resistive horse was brought in
the workshop, but even the master of masters couldn’t handle this feisty
animal. Eligius however walked up to the horse, took off the leg of the animal,
brought the leg to the anvil and put on a new horseshoe. Then returned to the
animal with his leg, attached it back where it should be and the animal quietly
walked out the workshop.
The
blacksmith boss didn’t want to be lesser than his apprentice so when a next
difficult animal came in, he tried this little trick himself… The poor animal
started bleeding severely and the master didn’t know what to do and turned to
Eligius. He said that the boss really should remove the sign… When this was
done, the bleeding stopped, Eligius returned the leg at its place and the horse
could leave the workshop unharmed. The blacksmith was learned a lesson and
didn’t consider himself a master of masters any more.
But, why
Eligius? Well, I told you the legend says he was the founder of this church…
But the first church that stood here was erected around 850. That’s about, oh…
190 years after he died. So he couldn’t have been the founder. But you do find
some of his images in the cathedral, still today.
St Salvators church in 1802
Something
else is strange, two churches this close to one another… Some brochures will
tell that the canal was the border between the two dioceses, but then the
Church of our Lady is on the wrong side!
There were
several fires in this building. The first was in 1116 and a new building is
erected after this. You can still see some of the first stones on the lower
levels at the front gate.
Unfortunately
in 1183 a second fire hits the church, so they restore the church and build a
first tower that is about 45 meter high.
In 1358 a
third fire strikes and the tower is heavily damaged. Parts of this tower were
covered in the renovations then.
Throughout
the ages the church expands, a choir is built, later an ambulatory is needed.
In 1580 the Iconoclastic Fury comes to our regions and several works of art are
destroyed.
When they restore the church afterwards, the brilliant plan of painting the
interior of the church in white! So the paintings and polychrome are lost.
The end of
the 17th century the rood screen (doksaal) is built, but where it
should be, between the choir and transept.
With the
French period the church is sold publicly, parishioners buy the building and
use a nice trick… They ask to postpone the payment over and over again. Until
there is the treaty of Amiens, ending the war between French and English. So
the church was never paid for!
In 1834 the
church gets the title of cathedral. When the French sold the St
Donatiuscathedral on the Burg square, this couldn’t be saved so the diocese
(bisdom) of Bruges ceased to exist then. But in 1834 it was refounded and we
needed a new cathedral.
There’s always been a competition between St Salvators and the Church of Our
Lady. St Salvators won because it’s the oldest… It won with only 25 years!
But, the
new cathedral didn’t have the grandeur it should have.
The fire in 1839
Can we
speak of a divine intervention? It’s a strange one maybe, because in 1839 a
fourth fire breaks out and destroys the larger part of the building. Roofs came
down, a part of the tower came down, several works of art lost… But, we could
build a “new” cathedral.
End of the
19th century there are neo-gothic wall decorations painted, and in
1935-36 the rood screen is moved to its current location.
In 1989
renovations begin on the outside, finished in 2009. In that same year the
renovations inside are started. They were supposed to be ready in 2012… but
just so you know, inside it took them 5 years longer than planned.
If you
want, we can go inside. I can show you the mural paintings of angels (1480),
Peter (1500) and the neo-gothic decorations from the 19th century.
Also the
rood screen from 1679 in marble is really impressive. You see a God that has
motion in it.
The rood screen
The pulpit
(preekstoel) is a nice piece as well, where you see St Eligius as bishop with
his tools. This work is from 1777.
The pulpit
Today, the
renovations –that took over 5 years- inside are almost finished. A cathedral
well worth a visit.
Historical figuresPosted by Your Bruges Thu, February 15, 2018 13:30:22When you
visit the Groeningemuseum in Bruges, you can’t miss the painting by Jan van
Eyck; Virgin and Child with Canon Van der Paele.
Jan van
Eyck was one of the Early Netherlandish painters (Flemish Primitives). This
group of artists worked in the 15th and beginning of the 16th
century in flourishing cities as Bruges, Ghent, Leuven, Tournai and Brussels.
Some of the most known names were Rogier van der Weyden, Hugo van der Goes,
Hans Memling, Dirk Bouts and Gerard David.
In those centuries the Southern part of the Netherlands was the centre of
economic and political power. With all those trading partners converging in
that area these artists soon made name and fame in all of Europe.
Jan van
Eyck introduced a style that was never seen before. With an unprecedented eye
for the tiniest detail, a perception-based view of the visual reality. It is
remarkable that the innovations of van Eyck run surprisingly similar with the
developments in Florentine paintings. There are a lot of speculations on the
ties between van Eyck and his Italian colleagues, but tangible proof is still
missing.
Portrait of a man (supposed self-portrait)
Jan van
Eyck is also the personification of the transition from an anonymous, modest
painter to an educated, self-aware and famous individual. He put his signature
and a date on many of works, on the frame or hidden in the painting. His motto
“Als ich can” (roughly translated to “If I can”) is found on several frames.
All this points to the fact he was proud and aware of his standing and
craftsmanship, an attitude that will become typical for the artists of the
renaissance.
Where Jan
van Eyck was born is uncertain. The family name could refer to the Belgian city
Maaseik. And it’s generally accepted that this could indeed be the birthplace
of little Jan. Some documents dating from the 16th century confirm
this assumption.
However the
Township of Arendonk has also strong arguments in which it claims to be the
birthplace of little Jan. Art-historical the exact birthplace or origin of a
painter was less important. Less important than the place where he learned his
profession. And when I look at the statements this Township makes, they could
be right.
In the Altarpiece of Ghent (Lam Gods) there is a prophet kneeling (centre
panel) with an open book. The text reads: “Iste
erat electus alios eligi nec licet testis deest et eis esto testis est igitur
Jan van der Moelnere ex Arendonca civitate”. This handwritten text by Jan
van Eyck names the nickname Van der Moelen. This name that be found in the town
documents of Arendonk, next to the signature of Jan van Eyck…
Also when
Jan van Eyck was born is controversial. There are no authenticated sources that
can verify anything. So everything is done through interpretations of the
documented events during the life of Jan van Eyck. There is a document that
states that Hubert – the brother of Jan – was born around 1366 and that Jan was
considerably younger. Today the year 1390 is the most accepted date of birth
for little Jan.
The first
documents telling us where Jan van Eyck was, date back to 1422. Then he was
already named a “Master”, had one assistant and worked for Jan van Beieren,
Duke of Holland and living in Den Haag (The Hague). When Jan van Beieren died
in 1425, Jan van Eyck moved to Bruges. Documents tell us that on May 19th
1425 Jan van Eyck was the court painter of Philip the Good, Duke of Burgundy (grandfather
of Mary of Burgundy, whom I mention several times during my walk).
In August
of 1426 Jan van Eyck is paid for two trips in order of Philip the Good. The
first is a pilgrimage he makes in the place of the Duke. The second trip
however is classified as a “secret mission”, bringing the artist to “distant
countries”. Nothing more is mentioned in the documents found. It is suspected
that Jan van Eyck travels to the Holy Land, passing Italy and further on to the
Ottoman Empire.
Jan stayed
in Tournai from 1427 until 1432. On May 6th 1432 the Altarpiece of
Ghent is ready. The son of Philips the Good and Isabella of Portugal, Joos van
Gent is baptised there on that day. Unfortunately shortly after, in 1434, Joos
van Gent dies. It is also in 1432 Jan van Eyck settled permanently in Bruges.
His house and workshop was in the Gouden Handstraat 6.
In 1434 he
paints the Arnolfini Portrait and it’s assumed he receives the order for Virgin
and Child with Canon van der Paele, that he finishes in 1436.
In 1436 he goes on another “secret mission” for the Duke of Burgundy. He must
have been a type of James Bond!
In the years that follow he makes more works. One thing I found strange… Next
to a couple of secret missions I also found a payment for “some panels and
other secret objects” in 1440. He really was a spy, I think.
Jan van
Eyck died on July 9th 1441 and was buried on St Donathian’s
Cathedral cemetery. In 1442 the body was moved to the choir inside the
cathedral.
With
bringing name and fame to Bruges, it is safe to say Jan van Eyck was one of our
most important painters ever.
Today, his
works can be found all over the world. In Belgium there are two works in
Bruges, two in Antwerp and the Altarpiece in Ghent. But in Berlin, Dresden,
Frankfurt, Vienna, Rotterdam, Paris, Madrid, London, Turin, Sibiu, New York,
Philadelphia, Detroit and Washington you can admire his works. Except for
Bruges, Ghent, Antwerp and London I haven’t seen other works. Have you noticed
them and did you know it was a Flemish artist you were looking at?
I'll be telling you more about a couple of his works, as the symbolism is sometimes really fun!
Historical figuresPosted by Your Bruges Tue, February 13, 2018 20:39:37Georges
Rodenbach and Bruges La Morte
Georges
Rodenbach was born in Doornik in 1855, son of a family with German origins.
Patriarch Ferdinand (1714-1786) was a chirgan with the Austrian army, who
settled in Ypres after the marriage with Catharina Vanden Bossche.
The name Rodenbach may sound familiar to the beer lovers amongst you, and you
are right. One of the grandsons of Ferdinand was the founder of the known beer
Rodenbach.
Georges
lived in Ghent, went there to school and university. He graduated in law in
1878, but before passing the bar in Ghent he first went to Paris to improve his
legal competences. In Paris he mostly spent his free time in literary salons to
make friends with numerous poets and writers. It was no secret that Georges was
a writer of poems and novels himself. In that year in Paris he wrote 21
“Lettres Parisiennes” (Letters from Paris) for the catholic Brussels weekly “La
Paix”.
Feeling
homesick he returned to Ghent and started working as a lawyer. Disappointed in
his work, his love for the literary arts prevails. He keeps close contacts with
the Brussels literary circle “L’Union Littéraire”, where he becomes friends
with Caroline Popp, writer and publisher of “Journal de Bruges”. This
friendship is so strong he spends the entire summer of 1884 with her in Bruges,
getting the important impressions of the city of Bruges.
Georges is
so disappointed in his work as lawyer in Ghent, that he moved to Brussels to
work there as a lawyer. But again is love and passion for the literary arts
wins and in 1888 he leaves Belgium and moves to Paris to become a fulltime
writer and poet. He moved in different artistic circles where he made friends
with some prominent people; Mallarmé, Daudet, Rodin…
He also
started working for the liberal newspaper “Le Figaro” where he wrote several
serials on cities as Ghent, Middelburg and… Bruges.
It is in
the format of a serial that Rodenbachs most known work is published for the
first time. Bruges La Morte tells the story of widower Hugues Viane, looking
for the shadow of his deceased wife and is attracted to Bruges. One of the
rooms of his house on the Rozenhoedkaai is devoted to his wife; with several
portraits and in a glass shrine a lock of hair of her. To pass the time he made
long walk through the city. During one of these walks he meets a woman whom is
the spitting image of his wife. He becomes friends with her. Turns out she’s an
actress and her name is Jane Scott.
During their dates Hugues seeks the traits of his deceased wife. Somehow
he has her moving in to one of his houses just outside the centre of the city.
However, soon Jane gets bored in this bizarre relationship and goes out in
search for more enjoyable company. In Bruges gossip about this widower and
actress starts. With months passing by, Hugues discovers more and more
differences between Jane and his wife. When Jane discovers the room with
portraits and lock of hair, she confronts him with this and everything goes
wrong. He strangles her with the lock of hair.
What made
this work special? The main character in this book isn’t Hugues Viane, but the
city. The bells of the Belfry, the Beguinage, the atmosphere of the city… It
all plays an important part in the setting.
But the
people of Bruges didn’t appreciate the book! It was published on February 4th
– 14th 1892. This was the moment Bruges took on the plans to
(re)connect with the sea and expanding its harbour (Zeebrugge). Just then this
writer from Paris wrote a book with “dead” in the title! Also the colourless
setting isn’t something the people of Bruges liked.
Also there was the language in which it was written; French. The Flemish-fanatics accused the writer of immoral, obscene and anti-religious
thoughts, having the descriptions of the relationship between Hugues and Jane
in mind. Maybe difficult to understand today, don’t forget that people had a
totally different view on love and relationships in those times.
While Rodenbach didn’t want to put a 100% accurate realistic image of the city
on paper. He only wanted to vent his personal feelings, feelings of melancholy
in which Bruges formed a perfect frame for this.
It is however without a doubt that Rodenbach –maybe unwillingly and without
realising- boosted tourism in Bruges. It is a paradox but Rodenbach didn’t want
to depict Bruges as a dead city. He fought this controversy by adding a
foreword in reprints of Bruges La Morte, trying to explain his intentions.
Georges
Rodenbach died in Paris on December 25th 1898. And even after his
death there was protest coming from Bruges. The Flemish catholics and
conservatives remained opposed, depicting him as “French”, who made Flemish
people as fools and mocking Bruges. The symbolism used in the book was
misinterpreted, taken too literally and considered too bold. Creating an image
of a dead could be blocking the expansion of the port of Zeebrugge and this
would be ill-fated form the economic growth of Bruges.
Still
today, if you go looking for anything on him in Bruges, the only reminder is a
plaque on the house ‘De Rode Steen’ at the Jan van Eyck Square.
It is clear
that Rodenbach was and still is a misunderstood figure in the history of
Bruges. Except for the controversy of those times it is impossible to recognize
the major influence the book had on Bruges and its tourism.
With the
book being translated in several languages (English, German, Italian, Spanish,
Russian, Finnish and Dutch) it attracted many people from all over Europe, and
today the world. After all the misinterpretations maybe it's time we recognize what Georges Rodenbach did for the city.
What do you think the city of Bruges could do to remember and commemorate him?
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