turrets decorated with arcades and surmounted by octagonal spires,
served as watch-towers.
[Illustration: THE WINDOWS OF THE FIRST STORY OF THE CLOTH HALL
_Every alternate window was blind, and was ornamented with statues of
the Counts of Flanders or other notable persons of the city_ (_photo,
Antony, Ypres_).]
The Belfry rose from the centre of the buildings, of which it was the
oldest part, the foundation-stone having been laid by Baudoin =IX=.,
Count of Flanders, in 1201. Square in plan, it consisted of three
stories. Its exterior, like that of the facade, was decorated with
arches, and was lighted with windows ornamented with trefoils. It had
two rows of battlements, four corner-turrets, and a timber-work roof
surmounted by a campanile, above which rose a small spire. At the base
of this campanile there were four copper eagles, dating from 1330. At
the foot of the belfry a door, flanked by two pilasters, led to the
inner court of the Hall. Over this door was a modern statue of
Notre-Dame-de-Tuine, with the Lion of Flanders above.
The belfry served all the purposes of a Hotel-de-Ville (previous to the
14th century there were no Hotels-de-Ville properly so-called). It was
there that the representatives of the guilds held their meetings, and
that the charters of the guilds were kept in great coffers with manifold
locks. There, also, the archives of the town were stored. The bottom
storey was used as a prison. From the summit, unceasing watch was kept,
to warn the citizens of danger, especially that of fire.
[Illustration: YPRES. ALL THAT REMAINS OF THE FACADE OF THE CLOTH HALL]
The roof of the Hall was pitched very high, in order the more easily to
get rid of snow and rain water. It was gilded and emblazoned with the
arms of the city and those of the County of Flanders. This roof, with
its dormer windows, did not cover a stone vaulting, but a panelled
ceiling. Inside the upper storey were large wainscotted galleries,
which, in the 19th century, were divided by partitions and adorned with
mural decorations.
[Illustration: PORTAL OF THE BELL-TOWER
_The collapse of the facade which framed the tower (photo below) left
the latter standing alone. The lower portion still exists, thanks to its
massive construction (photo, Antony, Ypres)._]
[Illustration: THE PORTAL BEFORE THE WAR]
[Illustration: THE PAUWELS ROOM BEFORE THE WAR (_photo, Antony, Ypres_)]
=The Pauwels Room=
During the last century, the Hall was frequently restored and
embellished. In 1876 the walls of the eastern half of the southern
building were decorated with twelve mural paintings by Ferdinand
Pauwels, representing the principal events in the history of Ypres, in
the days of its prosperity (1187 to the siege by the people of Ghent in
1383). The artist displayed exquisite taste, especially in the fresco
depicting the "Wedding of Mahaut de Bethune with Mathias de Lorraine."
The western half of the gallery was decorated by the artist Delbecke,
with paintings depicting the life of a cloth merchant. Owing to the
death of the artist, the last picture was never finished. This gallery
was used as a banqueting hall. A number of statues by Puyenbroeck of
Brussels, along the southern facade, had replaced the originals, badly
damaged during the Revolution (1793).
The River Yperlee formerly flowed past the western facade and, until
1848, there was a flight of steps with a double balustrade (17th
century) to facilitate the transfer of merchandise from the boats to the
warehouses.
[Illustration: THE PAUWELS ROOM IN DEC., 1914 (_photo, Antony, Ypres_)]
[Illustration: THE JUNCTION OF THE CLOTH HALL WITH THE NIEUWERK (_photo,
Antony, Ypres_)]
=The Nieuwerk=
The Nieuwerk did not detract from the imposing appearance of the
southern facade, of which it formed the continuation. Renaissance in
style, the plans are said to have been the work of J. Sporeman (about
1575). Building was begun early in the 17th century and finished in
1624.
The ground-floor formed an open hall, 20 feet in width, the vaulting of
which was carried on slender cylindrical columns, joined by irregular
arcades. The building comprises two stories, the first of which
communicated with that of the Cloth Hall. The large high windows of the
facades were very close together. The roof was pierced with high and
very ornamental dormer-windows.
The Nieuwerk was restored about 1862. In the Chapelle Echevinale,
frescoes by Guffens and J. Swerts, and stained-glass was renovated, and
at the same time a fine fireplace was built by Malfait of Brussels. Old
mural paintings, representing St. Mark and St. John, and a frieze,
depicting the Counts of Flanders from 1322 to 1476, were discovered and
restored. In the middle of the hall stood a small equestrian statue of
John of Brabant (1252--1294) by A. Fiers.
This slightly-built Nieuwerk could not long withstand the bombardment.
The south gable, struck on November 21, 1914, collapsed, while on the
following day the Cloth Hall burst into flames. A few weeks' later the
Nieuwerk was completely destroyed.
[Illustration: THE SHERIFF'S ROOM IN THE NIEUWERK, DECEMBER, 1914
_The collapse of the first floor left visible the remains of the
decoration seen in the photo below (photo, Antony, Ypres)._]
[Illustration: THE SHERIFF'S ROOM IN THE NIEUWERK, BEFORE THE WAR
(_photo, Antony, Ypres_)]
[Illustration: OLD HOUSES WHICH, BEFORE THE WAR, WERE THE PRIDE OF THE
VANDENPEEREBOOM SQUARE (_photo, Antony, Ypres_)]
_Turn to the right in the Place Vandenpeereboom_, formerly an ornamental
pond, now filled in.
Here used to stand a row of old houses with double facade, now
completely destroyed. Here also, to the north of the Cloth Hall, stood
the Cathedral of St. Martin.
[Illustration: ST. MARTIN'S CATHEDRAL]
[Illustration: ST. MARTIN'S CATHEDRAL AS IT WAS
_In the background: the Cloth Hall. Compare with photo below (photo,
Antony, Ypres)._]
=The Cathedral of St. Martin=
The Church of St. Martin (which became a cathedral in 1559) replaced an
older church of the 11th century. Built in the 13th century, its choir
dated from 1221, and its nave from the second half of that century. The
foundation-stone was laid by Marguerite of Constantinople. The western
tower dated only from the 15th century, and replaced a tower which had
collapsed in 1433. The new tower was 175 feet in height, and was to have
been twice as high. Built from the plans of Martin Untenhove of Malines,
it was severe in style.
The plan of the Cathedral was a Latin cross, and terminated in a
semicircular choir. It underwent important restorations during the last
century.
The facade of the south arm of the transept was of unusually great
width.
[Illustration: ST. MARTIN'S CATHEDRAL, AS THE GERMAN SHELLS LEFT IT
_In the background: The Cloth Hall._]
[Illustration: SOUTH TRANSEPT OF THE CATHEDRAL, BEFORE THE WAR (_photo,
Antony, Ypres_)]
The central portal was surrounded by a polygonal rose-window and crowned
with a high gable flanked by turrets. Above the side portals, the
surface of which was decorated with arcading, were gables lighted by
rose-windows. This part of the building was probably not earlier than
the 14th century.
There were no radial chapels in this great church. A circulating gallery
running through the buttresses formed an uninterrupted passage around
the building.
At the base of the roof ran an open balustrade, broken at intervals by
the pinnacles which crowned the buttresses.
Above the centre of the transept rose a campanile, surmounted by a very
pointed timber-work spire.
The nave, and more especially the choir, were remarkable. High pillars
with crocketed and foliate capitals supported the springing of the large
irregular arches. Above ran a circulating gallery or triforium. The
pointed arches of the latter were carried by small columns which
originally rested on the wide _abaci_ of the capitals, but several of
them had been cut away and replaced by statues of apostles, evangelists,
or persons of note.
[Illustration: THE CATHEDRAL DOOR
_Seen from the interior_ (_photo, Andre Schelker_).]
[Illustration: THE NAVE OF THE CATHEDRAL
(_Photo, Antony, Ypres._) _Compare with photo below._]
This arrangement is common in Burgundy and, like others to be found in
the Cathedral--the exterior circulating gallery, the interior gallery,
the form of the latter, and various decorative features--show how
strongly French, and especially Burgundian influence preponderated in
Flanders during the 14th century.
The choir was disfigured by an ungraceful 16th century altar. The
stalls, carved about 1598 by C. Van Hoveke and Urbain Taillebert, were
noteworthy, as was also the pulpit--a richly decorated monumental work,
at the base of which stood a life-size statue of St. Dominic.
[Illustration: NAVE OF THE CATHEDRAL RUINED BY GERMAN SHELLS
_Seen from the Choir, near the Porch._]
Urbain Taillebert was also the sculptor of the magnificent "Christ
Triumphant," suspended between the columns of the main entrance; and of
the tomb of Antoine de Hennin, Bishop of Ypres, who died in 1626. The
centre of the tomb represented the bishop in his pontifical robes; _on
the left_, he was seen kneeling in prayer, with his mitre close by; _on
the right_, his patron, St. Anthony, was represented in a hermit's gown,
accompanied by his traditional pig.
[Illustration: CHOIR OF THE CATHEDRAL
(_Photo, Antony, Ypres._) _Compare with photo below._]
[Illustration: CHOIR OF THE CATHEDRAL AFTER THE GERMAN BOMBARDMENT
_Seen from the Porch. Compare with photo above._]
[Illustration: THE CHOIR STALLS OF THE CATHEDRAL, BEFORE THE WAR
(_Photo, Antony, Ypres._) _See below._]
[Illustration: THE CHOIR STALLS OF THE CATHEDRAL IN JANUARY, 1915
(_Photo, Antony, Ypres._) _See above._]
A "Virgin and Child" was fortunately rescued from the ruins of the
Cathedral. It is a Flemish work of the 16th century. A surrounding fence
(_Hortus conclusus_ of the Litanies) is represented on the pedestal
(photo opposite).
Beside the tomb described above was that of Jean Visscherius, Bishop of
Ypres, who died in 1613. The bishop, clothed in his pontifical robes and
wearing his mitre, was represented in a recumbent position, his head
raised on a cushion and supported by his hand (photo below).
There were other tombs in the church, notably that of Louise Delage,
Lady of Saillort, widow of the Chancellor of Burgundy, Hugonnet
(beheaded in 1477).
[Illustration: THE VIRGIN OF ST. MARTIN
(_Photo, Antony, Ypres._)]
In the pavement before the altar was the third tombstone of the famous
_Cornelius Jansenius_. It was a simple slab of stone, on which was
carved a cross, and in the four corners the figures 1, 6, 3, 8.
Jansenius, Bishop of Ypres, who died of plague on May 6, 1638, was the
founder of the sect of the Jansenists, which still exists in Holland,
and whose headquarters are at Utrecht. When and how this tombstone was
placed there is not known. It replaced two others removed by
ecclesiastical authority in 1655 and 1673 respectively.
[Illustration: MAUSOLEUM OF JEAN VISSCHERIUS
(_Photo, Antony, Ypres._)]
Round the chapel, known as the Dean's Chapel, there was a fine copper
railing decorated with small alabaster figures.
The inner doors of the church were magnificently carved; those of the
south portal, with superimposed figures of saints, were considered to be
marvels of Belgian art.
In the Place Vandenpeerboom, take the Rue de Boesinghe. Leaving the Rue
d'Elverdinighe (see plan, p. 72) _on the left_, the Cattle Market is
next reached, formerly a pond, since filled in. Here were three
guild-houses, Nos. 15, 19 and 21. No. 15 was the Maison des Bateliers,
on whose facade two symbolic boats were depicted. The canal which passed
before the house has disappeared. The date of construction was shown by
anchors fixed in the wall of the second storey: 1-6-2-9. At the top of
the gable there was an involuted niche which probably sheltered the
statue of the patron-saint of sailors (photo opposite). The next house,
part of which may be seen on the right of the photo, was 17th century.
[Illustration: THE MAISON DES BATELIERS (1629)
_Completely destroyed. Note the two emblematical ships on the facade._
(_Photo, Antony, Ypres._)]
_Take the road on the left which rejoins the Promenade, and turning
again to the left, skirt "La Plaine d'Amour"_ (photos below and p. 91).
Behind the prison walls there is a British cemetery in the gardens
(photo, p. 91).
[Illustration: THE "PLAINE D'AMOUR," WITH YPRES IN THE DISTANCE,
DEVASTATED BY THE WAR
_Compare with photo opposite._]
[Illustration: BRITISH CEMETERY, BEHIND THE PRISON]
_Turn to the left into the Chaussee de Furnes_, leaving on the left the
reservoir of the ruined waterworks. _Take Boulevard Malou and return to
the Grande Place_, via _the Rue de Stuers and the Rue au Beurre_
(photos, p. 92).
[Illustration: THE "PLAINE D'AMOUR," BEFORE THE WAR
_See photo opposite._ (_Photo, Antony, Ypres._)]
[Illustration: RUE AU BEURRE, BEFORE THE WAR (_photo, Antony, Ypres_)]
_Pass the ruins of St. Nicolas Church._
Before reaching the Grande Place the site of the Meat Market (photo, p.
93) is passed.
[Illustration: RUE AU BEURRE, DESTROYED BY GERMAN SHELLS]
[Illustration: THE MEAT MARKET, BEFORE THE WAR
(_Photo, Antony, Ypres._)]
[Illustration: THE MEAT MARKET, RUINED BY ENEMY BOMBARDMENTS]
This was an important, two-gabled building of symmetrical proportions.
The lower part of the facade resembled that of the Cloth Hall, but the
upper story and roof of the building were of a later date. The gables,
with stair-like copings, were decorated with blind windows. The lower
storey was of stone, while the gables and the upper part of the facade
were brick.
[Illustration: THE "HOSPICE BELLE" (WOMEN'S ASYLUM), RUE DE LILLE]
The first storey was formerly occupied by the Brotherhood of St.
Michael. The Museum, which was housed there, contained a number of
pictures, interesting drawings of the old wooden fronts of the houses of
Ypres (by L. Boehm), old chests containing the Charters of the Drapers,
pieces of sculpture and wrought ironwork.
Almost directly opposite the Cloth Hall is the Rue de Lille, in which,
on the right, is the =Hospice Belle= (photos, p. 94).
[Illustration: HOSPICE BELLE, BEFORE THE WAR
(_Photo, Antony, Ypres._)]
This asylum for aged women was founded about 1279 by Christine de
Guines, widow of Solomon Belle, Lord of Boesinghe, and rebuilt in the
17th century. The facade of the chapel, which faced the Rue de Lille,
contained twin doors, surmounted by a large stained-glass window set in
a radiating flamboyant framework. In addition to the statue of St.
Nicholas (against the central mullion of the stained-glass window), the
lower part of this facade was embellished with statues, in Renaissance
niches, of the foundress and her husband. Above the window was an
_oculus_, the decoration of which was mingled with that of an escutcheon
immediately beneath it, on which the date "1616" could still be
deciphered.
[Illustration: VAULTING OF THE OLD FRENCH BARRACKS]
Inside the chapel were a 17th century portable confessional (a very
curious specimen of carved woodwork), 15th century copper candelabra,
and a line picture attributed to Melchior Broederlam. This artist, whose
works are very rare, was a native of Ypres. He preceded J. van Eyek as
official painter to the Dukes of Burgundy. This picture was saved.
On the right of the street, in the midst of the ruins, can be seen the
broken-in vaulting of the old French Barrack (photo above), and on the
left, the =Hotel Merghelynck=.
[Illustration: HOTEL MERGHELYNCK, BEFORE THE WAR
(_Photo, Antony, Ypres._)]
The latter charming 18th century house stood at the corner of the Rue
des Fripiers. It was built (1774--1776) from the plans of Thomas Gombert
of Lille, and its last proprietors had converted it into an interesting
museum.
It was decorated with woodwork, panelling, and Louis XVI. medallions by
Ant. Jos. de la Dicque.
[Illustration: THE TEMPLARS' HOUSE IN THE RUE DE LILLE]
The stucco ornamentation was the work of Gregoire Joseph Adam of
Valenciennes. The staircase balustrading was by Jacques Beernaert.
[Illustration: WOODEN HOUSES IN THE RUE DE LILLE
(_Photo, Antony, Ypres._)]
[Illustration: ST. PETER'S CHURCH (_photo, Antony, Ypres_)]
A white stone vase, carved from designs by Rubens, stood in the fine
court of the house.
Almost opposite, at No. 68, was the old 14th century =Templars' House=,
since turned into a post-office (photo, p. 96). The Church of St. Pierre
is next reached.
[Illustration: RUINS OF ST. PETER'S CHURCH (_see above_)]
[Illustration: ST. PETER'S CHURCH. THE CHOIR (_See below._)]
[Illustration: ST. PETER'S CHURCH, THE CHOIR BEFORE THE WAR (_photo,
Antony, Ypres_)]
[Illustration: THE RAMPARTS, LILLE GATE AND ST. PETER'S CHURCH
(_Photo, Antony, Ypres._) _See below._]
This 11th century church had been largely rebuilt. The facade was
surmounted by a substantial square tower, flanked by four corner turrets
and crowned by an octagonal spire rebuilt in 1868.
[Illustration: AFTER FOUR YEARS' BOMBARDMENTS (_see above_).]
Inside, lofty columns supported the springing of the large irregular
arches. There was no vaulting, the church having a timber-work roof in
shape of an inverted keel. In it were a 16th century altar, large carved
pulpit and a fine choir-screen.
[Illustration: PANORAMIC VIEW OF THE RUIN OF YPRES TAKEN FROM THE LILLE
GATE
(_The point from where this photograph was taken is shown on the plan on
p. 72_ (_at the bottom, on the right_).)
St. Nicolas Old French Barracks School Belltower St. Peters Church St.
James' Church]
[Illustration: RUINS OF THE HOTEL DE GAND, RUE DES CHIENS]
Rue de Lille ends at Lille Gate. Before passing through, climb up the
ramparts, from which there is a magnificent panorama.
Pass through the Gate, the towers of which date from 1395. There is an
interesting view over the wide moats, and of the ancient ramparts
(rebuilt by Vauban), which were ruined by shells.
_Turn back and re-enter the town by the same way. Beyond the Church of
St. Pierre, take the first street on the right as far as the Rue des
Chiens, where, on turning to the left_, the ruins of the Church St.
Jacques, and the shattered facade of the Hotel de Gand will be seen.
[Illustration: THE HOTEL DE GAND
(_Photo, Antony, Ypres._)]
The latter fine house, with double gables dated from the 16th century.
The transition from 15th to 16th century style is very marked: on the
ground-floor is the irregular arch of the 15th century, while on the
first floor the arches are full semi-circles, framing the rectangular
bays, whose tympana are decorated with flamboyant figures. These
tympana were added some years later, thus giving the wide 17th century
windows, of which the (French) architect of the Hotel Merghelynck made
such happy use (photo, p. 101).
[Illustration: BRITISH CEMETERY AT THE HOSPICE NOTRE-DAME]
_Having reached the Grande-Place, take the Rue de Menin on the right_,
leaving on the left the ruins of the Hospice Notre-Dame. _Next take the
Menin Road, to visit the Chateau de Hooge and_ =Zillebeke=.
[Illustration: MENIN GATE
_On leaving Ypres in the direction of Hooge and Zillebeke._]
[Illustration: BRITISH CEMETERY JUST OUTSIDE YPRES, ON THE ROAD TO
MENIN]
=Visit to Zillebeke and Hooge=
(_See Itinerary, p. 47._)
_At the Menin Gate leave the Westroosebeke Road on the left, and take
the main road to Menin on the right._
[Illustration: BRITISH CEMETERY AT ZILLEBEKE]
On the right, near the last houses, a British cemetery (photo above).
_Before the level-crossing over the Ypres-Routers railway, take the road
to the right. After passing two further level-crossings, the road
descends slightly._ On the left is a large British cemetery: on the high
ground to the right are the remains of the Chateau, whilst in the
distance lies =Zillebeke Pond=. On the left is another cemetery. _Pass,
on the left, the beginning of an impassable road, which formerly led to
the main road from Menin. Go past the ruins of Zillebeke Church_, shown
in the photographs, p. 104 (before and after the War).
[Illustration: ZILLEBEKE IN 1919
_The mound is all that remains of the Church Tower seen in the photo
below_]
[Illustration: ZILLEBEKE, BEFORE THE WAR (_photo, Antony, Ypres_)]
[Illustration: BRITISH CEMETERY AT HOOGE]
_Return by the same road as far as the railway, and turn to the right._
A large British cemetery, containing 1,500 to 2,000 graves, will be seen
on the western slopes of the Hooge Crest. The site of the village of
=Hooge=--marked only by a notice board--is next reached. There is no
trace whatever left of the chateau or of Bellewaarde Lake. It was here
that the battles of July 31, 1917, were fought. On June 2, 1917, the
first objectives of the British, in their offensive for the clearing of
Ypres, were the Wood and Village of Hooge. They were only taken on July
31, although the chateau itself was captured in June.
[Illustration: ALL THAT IS LEFT OF HOOGE--THE SIGNBOARD!]
[Illustration: HOOGE CHATEAU (_photo, Antony, Ypres_)
_To-day the site of the castle is barely discernable._]
Again lost by the British in April, 1918, these positions were evacuated
by the Germans in October.
_Follow the road to the top of the crest_, where the "tank cemetery,"
containing fourteen broke-down tanks, lies (photo below).
_Now skirt on the right the beginning of_ =Sanctuary Wood=, beyond which
is the strategic Hill 60.
Hill 60 was captured by the Germans in 1914, and retaken by the British
in 1915. It was the object of frequent attacks, chiefly the German
attack of April 27--28, 1916.
_At the place called Veldhoek, opposite Herenthage Wood_ (full of
concrete shelters and tanks), _return to Ypres, entering the town by the
Menin Gate_.
[Illustration: TANK CEMETERY
_To the right and left of the road from Ypres to Menin, beyond Hooge,
fourteen tanks lie sunk in the mud._]
=From Ypres to Poperinghe=
_Cross the town by the Grande Place, Rue du Beurre, Rue des Stuers,
Boulevard Malou, on the right, and Rue Capron, on the left, coming out
at the Chaussee de Poperinghe. On leaving the town pass over the
level-crossing._
From Ypres to Vlamertinghe, the road runs through devastated country;
here numerous trenches and machine-gun shelters can still be seen.
_Take the level-crossing over the Hazebrouck-Ypres railway, then cross
the Kemmelbeek by a bridge, still in good condition, and go through_
=Vlamertinghe=. This village suffered greatly from bombardments. In
front of the partly demolished church the road turns to the left.
From Vlamertinghe to Poperinghe the aspect of the country changes
completely. The road is shaded by large trees, and there are hop-fields
on both sides.
_Enter_ =Poperinghe= _by the Chaussee d'Ypres, continue by the Rue
d'Ypres. Passing the Hotel-des-Postes and the Hotel-de-Ville, the
tourist comes to the Grande Place_.
[Illustration: POPERINGHE: BERTIN PLACE AND CHURCH OF ST. BERTIN]
=Poperinghe=
Poperinghe, a small town of 12,000 inhabitants, is the centre of an
agricultural district, where hop-growing is the chief industry.
Of its three churches, two only are interesting from an artistic point
of view.
The Church of St. Jean is Romanesque in style, whilst that of St. Bertin
contains some remarkable woodwork: the Verite pulpit, the Dean's
confessional, and the roof-loft are masterpieces of the Renaissance
period.
In the court of the Hotel Skindles there is a tombstone dating from
1171.
Old houses are rare in Poperinghe, the town having several times been
destroyed during its history.
[Illustration]
=SECOND DAY: POPERINGHE--LILLE=
=Via The Hills of Flanders, Armentieres, Nieppe Forest,
Merville and Bethune=
_Visit to the Hills_: Scherpenberg, Vidaigne, Rouge and Kemmel in
Belgium; and the Mont des Cats and Mont Noir in France.