It was at Bruges that the Professor had his first experience with the Belgian species of barber. Instead of the ma.s.sive reclining chair, with which all Americans are familiar, one finds in all parts of Belgium, save the big tourist hotels and resorts, stiff little arm-chairs with immovable head rests that look as if they could never serve the purpose for which they are intended. In point of fact they do fairly well, once one becomes accustomed to them. Razors in Belgium, however, are almost invariably dull--especially with the lady barbers who abound in the smaller villages. Avoid these sirens if you value your skin, for they certainly will slice off a bit of it. On Sundays and holidays, it appears, their husbands officiate, but week days the better half does her best to accommodate the public--but her best is none too good, and the experience is usually a painful one for the unwary tourist.

The shave over, the barber says, "S'il vous plait, monsieur," or its equivalent in Flemish, motioning meanwhile toward a small wash basin that is placed in front of the chair. To the uninitiated this is somewhat bewildering, but the professor desires that monsieur will kindly wash his own face. The ablution performed, he proceeds to rub a piece of alum over the face, after which he sprays it with perfumed water, then dries and powders it much in the manner of the American barber. When one becomes accustomed to this performance--which costs two to three cents in the villages and five to ten cents in the large towns--he is apt to prefer it to the American method. Certainly it is vastly superior to the hot towel torture so deservedly caricatured some years ago by Weber and Fields. In the smaller villages of the industrial provinces we found that the first and second cla.s.s distinction that one encounters everywhere in Belgium extends even to the barber's chair. The rough clad workman is simply shaved--a few fierce sc.r.a.pes with the razor and it is all over--and is left to wipe off the remnants of lather as best he can, usually with a red bandanna handkerchief. For this the charge is only two cents--the alum, the spraying and the powder being reserved for first-cla.s.s patrons only.

On our way back to the hotel from these early morning promenades the Professor and I kept on the look-out for some _patisserie_ where _brioches_ or _cuches au beurre_ could be had with a pot of coffee.

This formed our usual breakfast for, it may as well be admitted right now, we did not feel that we could afford the extravagance of a three-franc breakfast at the hotel. The ladies were ready to join us by eight o'clock--before that hour it would be useless to look for a place open for business--and we conducted them to the _patisserie_ we had discovered. The _brioche_, it may be remarked, is a light spongy preparation--half cake and half biscuit--while the _cuche au beurre_ is apparently made from a kind of light pie-crust, rolled thin and built up in several layers with b.u.t.ter between. When served fresh and hot from the oven the latter is most delicious, but when cold it is as tough and soggy as a day-old griddle-cake. The usual charge for these delicacies was five centimes (one cent) each, and as three made a very substantial meal, and the coffee cost three or five cents per cup, our total expenditure for four people was less than two francs. If, as often happened--in addition to getting everything hot and delicious--we were served on little tables out of doors with a view of a cathedral or Hotel de Ville thrown in, we felt that we were getting a very good bargain indeed.

Of the Bruges of Charles the Good the most important existing monument is the great Cathedral of St. Sauveur, which was rebuilt by him after having been partially destroyed by fire in 1116, the work being completed in 1127. Probably very little of the structure as we see it to-day dates from this period, as the edifice has been enlarged and restored many times, much of it dating from the fourteenth and part from the sixteenth century--the era when architecture in Flanders flourished as never before or since. The tower was begun in 1116, continued in 1358, and its upper portions added during the last century, so that nearly eight hundred years elapsed before it was finally completed in its present form. Many writers speak of this tower as clumsy and unsightly, but to me it is one of the most majestic and stately structures in Flanders. At any rate, there is no other tower like it, and the way in which it lifts its castle-like ma.s.s of tawny brick high above the tiny houses that surround it is profoundly impressive. The lower part of the tower is Romanesque, being, no doubt, the portion erected under the supervision of Charles the Good. The rest is Gothic, if so unecclesiastical a style can be so denominated.

The interior of St. Sauveur dates in the main from a much later period than Charles the Good, and as we visited this interesting edifice several times an account of its later constructions and paintings will be found in a chapter devoted more particularly to the art treasures of Bruges. It is not the purpose of this book to weary the reader with detailed descriptions of this and every other "monument" in Flanders.

For those who are interested in architectural details there are numerous works written by experts and discussing exhaustively--if not exhaustingly--every feature of technical importance. Our little party was not learned and these random jottings will therefore record only such facts as seemed interesting to the average American visitor. Nor would it be possible to attempt a detailed account of the pictures and sculptures, either at St. Sauveur or elsewhere. Many of the great Flemish churches are literally museums of early Flemish art and a mere catalogue of their contents would fill many pages. For the most part the works are of mediocre merit, but nearly every church possesses one or more masterpieces--which the uninformed visitor can generally distinguish by the fact that a charge is made to uncover them. At times this practice becomes a bit annoying, particularly when--in addition to paying the fee--one has to hunt around for half an hour to find the sacristan, who may live two or three blocks away; but, after all, it is the tourist who is under obligation for the privilege of visiting the churches when they are closed to the general public, and all the fees in Flanders add only a trifle to the expense account of one's tour.

In St. Sauveur on the occasion of our first visit we were especially interested in a curious painting of the Crucifixion located in the Baptistry and said to be the earliest picture of the famous Bruges school in existence. The savants a.s.sign a date prior to 1400 to this work, the author of which is unknown.

The name of Charles the Good is also a.s.sociated with the Church of Notre Dame, part of the present structure dating from his reign. The bulk of the edifice was erected during the fourteenth and fifteenth centuries. The spire was begun in 1440, torn down and rebuilt, being finally completed nearly a century later. There is a legend that the architect, in despair over the fact that it leans considerably to the east, threw himself from its summit. At present it is one hundred and twenty-two metres in height, which is said to be the greatest elevation ever attained by a structure of this kind built of brick. It can hardly be described as beautiful, the dark red of the top portion being out of harmony with the rich tawny grey of the lower part, but it forms a splendid feature in the sky-line of the city. Perhaps the most charming view of it is that obtained from the opposite side of the Lac d'Amour. Another excellent point of view is from the Dyver with the outline of the tower, reflected in the still waters of the Roya.

The interior of this church is, like the tower, built of brick, only the great supporting pillars being of stone. The general effect of the interior is greatly marred by a wooden rood-loft that separates the nave from the choir. In this church there is an interesting "Adoration of the Magi" by Daniel Seghers, a painter of the later Antwerp school, who became a Jesuit but continued to practise his art and was especially renowned for the flowers and b.u.t.terflies with which he adorned his pictures. This work, which was finished in 1630, is thought by many to be the artist's masterpiece. Another notable treasure is the statue of the Virgin and Child by Michael Angelo, executed in 1503.

[Ill.u.s.tration: TOMB OF MARIE OF BURGUNDY, CHURCH OF NOTRE DAME, BRUGES.]

The most famous of the possessions of Notre Dame, however, are the superb tombs of Charles the Bold and his daughter Marie of Burgundy, to be seen only by paying a small fee to enter the chapel in which they are placed. That of Marie is the older, and by far the finer of the two, and consists of a sarcophagus of black marble upon which rests a life-sized rec.u.mbent figure of the famous princess--"the greatest heiress in Europe"--who died at the age of twenty-five as a result of an injury received when hunting in 1482, less than five years after her marriage to Maximilian who later became Emperor. At the command of her son, Philip the Handsome, this masterpiece of stone and bronze was begun by Pierre de Beckere in 1495 and completed in 1502. Around the altar-tomb are exquisitely carved statues of saints and angels, with twining plants and scrolls and the heraldic shields of all the provinces and not a few of the cities within Marie's wide domains. The figure of the princess lies above all this with her hands folded as if in prayer, a crown upon her head and two hounds lying at her feet. The bronze has been cunningly carved to represent the finest lace and richly gilded until it seems to be pure gold. The body of Charles the Bold was brought from Nancy in 1550 at the command of Charles the Fifth, his grandson, and eight years later the funeral monument was begun by order of Philip II. It was completed in 1562, and is designed in imitation of that of Marie. The figure of "the terrible Duke" is shown clad in armour, with his helmet at one side and a lion crouching at his feet.

"Here, in this little chapel," said the Professor, "one can see the beginning and the end of the most interesting period in the long history of Bruges, the alpha and omega of her greatness. At the time of Charles the Good the little Bourg on the Roya was slowly emerging from obscurity and beginning to a.s.sume the aspect of a great capital.

For three hundred and fifty years its power and fame grew until 'the Venice of the North' was everywhere recognised as one of the most beautiful and brilliant cities in the world. Then suddenly, almost within the span of a single generation, the fickle sea abandoned it and it became the quiet inland city that it is to-day, living largely upon the memories of its splendid past. When the beautiful Marie was brought home to the Princenhof, dying from her fall at Wynandael, the decline had already begun, and when the remains of her father were placed beside her here in Notre Dame the end had already come and the city's merchants and prosperity had departed."

CHAPTER IV

HOW BRUGES BECAME "THE VENICE OF THE NORTH"

After the murder of Charles the Good had been so thoroughly avenged, the King of France sought to foist one of his own underlings upon the people of Flanders, but they would have none of him, and he fell fighting before the gates of one of the Flemish cities. Dierick of Alsace was the popular hero and became Count on the death of this rival. The King of France sought once more to interpose, but the burghers of Bruges retorted proudly: "Be it known to the King and to all princes and peoples, and to their posterity throughout all time, that the King of France hath no part in the election of a Count of Flanders."

Of all the Counts of Flemish blood Dierick proved to be the greatest and the wisest who ever ruled over the land. During his long reign of forty years (from 1128 to 1168) and that of his son, Philip of Alsace, who ruled until 1191, the country prospered and grew rich. Both princes encouraged commerce, industry and the arts, and were liberal in their policy toward the cities. It was during this Golden Age of Flemish history--the longest period of happiness the country ever knew--that munic.i.p.al charters were granted to the cities of Bruges, Ghent, Ypres, Furnes, Gravelines, Nieuport, Dunkerque and Damme.

While the memory of Dierick of Alsace deserves to be fondly cherished by the people of Flanders as that of a wise and liberal ruler, his most famous exploit was bringing back the relic of the Precious Blood from Jerusalem. Like most princes of his time, Dierick joined in the Crusades, but, unlike many of them, he left his government so strong and secure that no harm came to the country during his absence. It was the second Crusade, and Dierick departed in 1147, and returned in 1150, bringing with him this relic, a portion of the most precious possession of the Holy Church of Palestine, consisting of a small crystal vial filled with what was alleged to be the blood of Christ, preserved by Joseph of Aramathea who prepared the body for burial.

Deeming himself unworthy to bear so holy a relic, the Count entrusted it to his chaplain, who never parted with it until the returning crusaders delivered it to the chaplains of the court who placed it in the chapel built by Baldwin of the Iron Arm, where it still remains in its original receptacle.

On the 2nd of May every year from 1303 until now--save for a brief interruption during the stormy times of the French Revolution--the city of Bruges has celebrated its possession of this holy relic by the great Procession of the Holy Blood. At first simply a religious ceremony, the procession gradually took on spectacular features such as the Flemings love, including representations of the Apostles, the Nativity, King Herod, and so on. At present _La n.o.ble Confrerie du Precieux Sang_, or Honourable Society of the Holy Blood, is a very wealthy and aristocratic organisation, even its affiliated members--of whom there are several thousands, of every nationality--esteeming their connection with it a great honour.

During the French Revolution mobs stripped the chapel of everything that could be torn down or broken, leaving it such a wreck that the munic.i.p.al authorities were considering tearing it down, but were happily prevented from doing so by Napoleon. The lower chapel was, however, used as a jail for drunken and disorderly persons--and even as a pound for stray dogs--until 1818. The upper chapel meanwhile was roofless and windowless, a sad wreck of so ancient and famous a structure. Both have since been restored, the lower--or Chapel of St.

Basil--being now just as it was in 1150, and, in the opinion of many critics, "the most beautiful and perfect specimen of Romanesque architecture in Europe." We had already inspected the lower chapel while exploring the Vieux Bourg of Baldwin of the Iron Arm our first day at Bruges, but had not spent much time in the upper one. Here the most interesting object was naturally the cha.s.se, or casket, containing the holy relic after which the chapel is named. This is on one side of the little museum of the chapel and is of silver-gilt, standing four feet, three inches high. It was made in 1617 by a silversmith of Bruges and, while not regarded as a masterpiece of its kind, is very graceful and elegant. The chapel itself is richly decorated and has some excellent stained gla.s.s windows, all of this work dating from the middle of the last century.

Adjoining the Chapelle du Saint-Sang is the Hotel de Ville. This structure is a very fine example of Flemish munic.i.p.al architecture, dating from the last quarter of the fourteenth century. Here the Counts of Flanders formerly took the oath to respect the rights and privileges of the city, this formality taking place in the last window to the right. Originally there were statues of former princes on the facade and six of these were coloured by Jean Van Eyck in 1435. All were destroyed during the Revolution. Part of the interior is still used by various government officials, while up-stairs the tourists usually visit the ancient Salle Echinivale, or Council Chamber. This was restored in 1895 and decorated with a series of twelve mural paintings representing notable scenes in the history of the city. Of these eleven are by Albrecht de Vriendt, and the last by his brother, Julian, the first artist dying just before his work was completed. As these pictures form an interesting epitome of the history of the city, the subjects are given herewith:

1.--Return of the Brugeois from the Battle of the Golden Spurs at Courtrai in 1302.

2.--Foundation of the Order of the Golden Fleece by Philip of Burgundy at Bruges in 1430.

3.--Dierick of Alsace bringing the Holy Blood to the chapel of St. Basil in 1150.

4.--The interior of the ancient Hospital of St. Jean.

5.--Magistrates of Bruges renewing the privileges of the Hanseatic League.

6.--Count Philip of Alsace granting a charter to Bruges (1190).

7.--Magistrates visiting the Studio of Jean Van Eyck (1433).

8.--The printing by movable type in Bruges by Jean Britto in 1446.

9.--Count Louis of Maele laying the foundation of the Town-hall (1376).

10.--Jacob Van Maerlant, father of Flemish poetry, born at Damme.

11.--The Free-fair.

12.--Opening of the new Zwyn ca.n.a.l in 1404.

[Ill.u.s.tration: _Palais du Franc, Bruges_]

One of the most interesting of the almost innumerable mediaeval buildings in Bruges is the Palais du Franc which, with its many quaint turrets and gables, overlooks the fish market on the Quai Vert. The a.s.sociations and history of this sumptuous bit of sixteenth century architecture date from the twelfth century--1190 to be exact--when Philip of Alsace granted a charter to the region stretching to the northward from the city to the sea, and from Aardenburg (now just across the Dutch frontier) to Dixmude. This wide tract of territory was called the Franc or Liberty of Bruges, and comprised ninety-one parishes and the towns of Ostende, Blankenburghe, Eccloo, Lissweghe, Aardenburg, Sluys and Dixmude. Of these only the first two are known to the tourists of the present day, while one must needs search the map very closely to find one or two of the others at all, but in the time of Philip all were busy centres of trade and industry. This was the hereditary land of the Karls, whose revolt against the attempt of Charles the Good to force them under the feudal yoke cost that monarch his life.

The charter was called the _Keurbrief_ and laid the foundation for the administration of a code of justice that, rude as it was, meant liberty for those who otherwise would have been utterly at the mercy of any feudal lord or wandering knight. It was the _Magna Carta_ of a large part of the Count's dominions and even its stern eye-for-eye and life-for-life doctrine was tempered by equivalents in cash that might be paid. The life of a Karl was worth twice as much as that of a monk or priest, while for each injury there was an appropriate fine. He who broke a d.y.k.e must lose the hand that did the damage, besides forfeiting all his goods; for false weights the penalty was a fine of three livres for each offence. Fencing one's property against game entailed branding with a red hot iron, or trial by the Count--who might confiscate the goods of the guilty party, but his life and liberty were to be safe. This cruel game law was not repealed for nearly three centuries, and must have entailed much hardship. On the whole, however, the charter was liberal for its day, and the country under it flourished exceedingly--a sure evidence of wise laws.

The Keurbrief was administered by the Magistrates of the Franc in the Palais du Franc, which was therefore a sort of special court. The present edifice is not the one erected by Philip, or used by him for the purpose, but dates from the early part of the fifteenth century.

Part of it is still used as the Palais de Justice, but that part of the present structure is for the most part modern. The most interesting portion of the edifice, and the only one shown to tourists, is the Court Room containing the magnificent Cheminee du Franc, or chimney-piece, erected in honour of the Ladies' Peace negotiated by Margaret of Austria while Regent of the Netherlands in 1529. The work was executed from designs by Lancelot Blondeel, a painter of Bruges, and was completed in 1530. The fireplace itself is of black marble, surmounted by a frieze in white marble containing four bas-reliefs representing the history of the chaste Suzanne. One cannot but wonder what was the connection of thought that suggested this story in conjunction with the commemoration of the Treaty of Cambrai, but at all events here it is. The reliefs are of varying excellence, the one showing Suzanne about to be seized by her aged admirers being very sharp and clear, while the fourth which shows the culprits being stoned to death is rather indistinct.

The upper part of the monumental chimney is of oak and occupies almost the entire side of the room. In the centre stands Charles V, represented as a Count of Flanders, nearly life size and finely carved. At his right are statues of Maximilian and Marie of Burgundy, and at the left Ferdinand of Aragon and Isabella of Castile--these being the Emperor's ancestors on his father's and mother's sides respectively. On the throne behind the Emperor are the busts of Philip the Handsome and Joanna of Spain, his father and mother, and below these are the portraits in small medallions of Charles de Lannoy, who won the victory of Pavia where Francis I, the King of France, was captured, and Margaret of Austria, who negotiated the treaty. As the last mentioned portrait is almost invisible in the shadow of the Emperor it hardly seems as though the chimney-piece does justice to the loyal and talented woman whose successful diplomacy the entire work is intended to commemorate. As an example of sixteenth-century wood-carving, however, and as a most important historical monument, this chimney-piece is by no means the least interesting of the many things to be seen at Bruges.

[Ill.u.s.tration: THE BELFRY, BRUGES.]

Unlike most tourists, the Professor seemed to be in no hurry to inspect the famous Belfry, although we had pa.s.sed it a score of times during our stay. Facing the Grande Place, and towering three hundred and fifty-three feet into the air, it could not be overlooked, while its loud chimes--which rang every quarter of an hour, and can be heard for many blocks around--insured that it could not be forgotten.

Moreover, we more than once took our evening meal at a little restaurant just across the Place from it and saw its graceful octagonal parapet on one occasion outlined against the fast-flying grey clouds of a summer storm and the next day against the blue sky of one of the few perfect June days it was our fortune to enjoy. "Too soon," he said, in answer to our inquiring glances--"the Belfry belongs to the period of Bruges' splendour, while the buildings we have seen thus far date from the formative period when she was still little more than a fortress on a marsh."

The original structure dates from the very early Counts of Flanders--possibly from the time of the first Baldwin--but was practically destroyed by a fire in the year 1280. It was then that the present edifice was begun, at a period when the commercial and industrial importance of the city was already very great. The city's seal and archives were stored in a strong room within the belfry walls, where four wrought iron doors secured by ten locks and ten keys guarded them against abstraction by the emissaries of some Count who might desire to curtail the privileges of the city. Eight of these keys were kept by the deans of the eight leading guilds--the butchers, bakers, shoemakers, tailors, weavers, brokers, carpenters and blacksmiths--who thus virtually controlled the government. This room the Professor desired to see above all else in the old structure. We found the four wrought iron doors, but the archive chamber no longer contains archives or the city's seal. It was a most interesting old room, nevertheless, and one that ought to particularly interest the builders of the elaborate burglar-proof and earthquake-proof vaults that extend below so many great banking houses in America. Alas!

neither the four doors nor the ten locks rendered this ancient strong-room for the protection of the city's liberties proof against the cunning and power of tyrants, and the precious charters it once held were gradually taken away, despite the stout handiwork of one Erembald, blacksmith, who received eighty-one pounds for forging the doors in the year 1290.

To reach the bells one mounts a steep, dark staircase which is said to contain four hundred and two steps, although we did not count them.

The chimes are claimed to be the finest in Europe, and comprise forty-nine bells weighing in the aggregate fifty-six thousand, one hundred and sixty-six pounds. They were cast by George Dumery in 1743 and are noted for their soft tone. The _tambour_ which operates the chimes that ring every quarter of an hour weighs nineteen thousand, nine hundred and sixty-six pounds and is pierced by thirty thousand, five hundred square holes in which are fixed the pegs that pull the strings commanding the hammers hanging outside the bells. By altering the position of these pegs the tunes can be varied, but the programme played while we were in the city was as follows:

At the hour: "Rondo, 15th sonata," by Mozart; at the quarter past: "Le Carillon de Dunkerque," a popular air; at the half: "The Day of Happiness," by Mozart; at the three-quarters past: "The Three Drummers," a Flemish popular air. The official bell-ringer is M. Toon Nauwelaerts, a native of Lierre, where his ancestors have been bell-ringers for more than a hundred years. Although a young man, M.

Nauwelaerts won an international compet.i.tion of bell-ringers organised by the city of Bruges in 1911.

The view from the summit of the Belfry is one of the most superb in Flanders, especially if the visitor is so fortunate as to have fallen on one of those days when the clouds roll in great fleecy ma.s.ses of dazzling white that form a wondrous background for the grim grey tower of St. Sauveur and the tapering red spire of the cathedral. As one looks down upon the sea of tiny red-roofed houses far below he is transported in fancy to the time, centuries ago, when watchmen peered off across these very parapets day and night to sound the alarm of an approaching foe, or announce the approach of their mighty Count or some n.o.ble visitor. In so doing he can realise what the old Belfry has meant to the city on the Roya. "For six hundred years," wrote M.

Gilliodts, one of the city's learned archivists, "this belfry has watched over the city of Bruges. It has beheld her triumphs and her failures, her glory and her shame, her prosperity and her gradual decay, and, in spite of so many vicissitudes, it is still standing to bear witness to the genius of our forefathers, to awaken alike memories of old times and admiration for one of the most splendid monuments of civic architecture which the Middle Ages have produced."

The best time of all in which to study and admire the external aspect of this n.o.ble structure is when the sun is sinking to rest and its rays fall slantingly across the sombre pile of tawny brick, touching up its projections here and there with high lights that contrast sharply with the deep shadows behind them, and listen--as did so often our poet Longfellow--to the wonderfully sweet chimes as they ring the quarter hours: