|THE "Cameracum" of ancient days of Roman occupation, holding this name
up to the twelfth century, Cambrai, at the outbreak of the war in 1914,
was entirely satisfying to the seeker of the charms of picturesqueness,
as well as the historian. After what is known as the period of
the Antonine Itinerary, it became the capital of a petty episcopal
arrondisement, under the protection of the Dukes of Burgundy who, unable
to hold it, gave it over "for privileges" to the German emperors, who
thereafter retained it under the title of "Châtelains," as it was a
fortified stronghold.
Situated on a hillside on the right bank of the river Scheldt, it was a
busy and prosperous commercial town, with a semi-Flemish population of
about twenty-five thousand. Its history in thumbnail form is as follows:
In 1508 the Emperor Maximilian, Pope Julius II, Ferdinand of Aragon, and
Louis XII of France formed here the celebrated League of Cambrai, which
was directed against Venice. In 1529 the so-called Paix de Dames was
signed by Louise of Savoy and Margaret of Austria, who negotiated its
provisions in the castle on the hill, for Francis I and Charles V.
However, by the treaty of Nimwegen, Louis XV recovered it, and it was
thus held by France until captured by the Duke of Wellington in 1815.
Many celebrated men were born at Cambrai, or became identified with the
town, such as the chronicler, Enguer-rand de Monstrelet, who died in
1453. The great Fénelon was Archbishop of Cambrai, as was also Cardinal
Dubois, who served as minister for Louis XV, and then follows an array
of names that lent glory to the annals of Flanders.
Perhaps few know that the town gave name to that fine linen which was
produced here in the fifteenth century, the invention of a native named
Baptiste. The English named the cloth "Cambric," but to the Flemish and
French it was known, and is still for that matter, as "Ba'tiste" after
the inventor. At the outbreak of the war this linen cloth was the chief
product of the town.
Entrance to the town was through the gate called "Porte Robert," near
which was the citadel. There was a large and impressive square called
the "Esplanade," where statues had been raised to "Batiste" and the
historian "Enguerrand de Monstrelet." Then followed the "Place aux
Bois," lined with handsome trees, and large "Place d'Arms," on which was
the "Hôtel de Ville," which, while of comparatively modern construction
and rebuilt in the last century, was sufficiently interesting even to a
student of ancient Flemish architecture. Its most elaborate façade was
sculptured by one Hiolle of Valenciennes. The tower bore two gigantic
statues, much venerated by the townspeople, named respectively "Martin"
and "Martine," but curiously enough there was a wide difference of
opinion as to which was which, some saying that the left hand giant was
Martin, and others protesting the contrary. The figures dated from the
time of Charles V, and were presented by him to the town in 1510.
On the square at the opening of the Rue St. Martin was a fine Gothic
belfry dated 1447, and attached to the church of that name. This
contained a notable chime of bells, a carillon, the work of the Hemonys.
* In the Rue de Noyon was the Cathedral of "Notre Dame," part of which
had been rebuilt since a fire which consumed it about sixty years ago.
The interior contained notably the fine marble and bronze monument of
Fénelon, and a statue to this celebrity, the work of David d'Angers, all
worth a considerable journey to see. The body of the church was of
the eighteenth century and while of purity in detail, offered no very
striking features. There were eight very large mural paintings "en
grisaille" after the works of Rubens, by Geeraerts, a modern artist
of Antwerp, but these, despite the obvious merit of the work, seemed
somehow out of key with the interior.
* See "Vanished Towers and Chimes of Flanders,"
for chapter on bell founding.
Wandering about, we came upon a small street in which we found a
remarkable collection of paintings of the Netherlands School owned by
a private collector, who was pleased to show them, and delighted by our
enthusiasm over their qualities. This gentleman insisted upon becoming
our guide about the town, and showed us so many attentions that my Lady
Anne became bored with him, and this led to our leaving Cambrai before
the time we had set--but we left a letter of appreciation and thanks
addressed to him.
He it was who brought us to the church of St. Géry in the Place Fénelon,
on the site of one founded by St. Vaast in 520. This had a remarkable
dome which was upheld by four very slender columns, of very unusual
character, and there was also a magnificent renaissance "jube," or altar
screen, of colored marble, and a transept containing a large painting
of the "Entombment," attributed to Rubens. The "Episcopal Palace of
Fénelon" was just across the street, or at least a fragment of the
original building, with a very richly decorated triple portal in the
Renaissance style.
It was this palace that Fénelon opened to the fugitives of the battle
of Malplaquet, who thronged the town of Cambrai for protection and food.
History states that every corner of the building was filled with the
hapless people, and their small belongings hastily gathered together in
the flight. The gardens and courts were crowded with cows, calves,
and pigs, and the scene is said to have been indescribable. Emanuel de
Broglie, who wrote the account ("Fénelon a Cambrai," de Broglie),
says, "Officers to the number of one hundred and fifty, both French and
prisoners of war, were received by Fénelon at his house, and seated at
his table at one time."
"God will help us," said the Archbishop; "Providence hath infinite
resources on which I can confidently rely. Only let us give all we have:
it is my duty and my pleasure."
Over the side doors were inscriptions on "banderoles"--"A Clare
Justitia" on one, and on the other "A gladio pax." The fine "Chateau de
Selles," on the banks of the Scheldt River, was built in the fifteenth
century. The beautiful reliefs of its gables, its statues, and the
wrought iron grills of its balconies were still perfect, and the view
from its green terrace was most enjoyable.
There was a curious sort of penthouse shown to us, near a building
called "Vieux Château" of which pillars with rudely sculptured capitals
remained. Near this was a well with some ancient rusty ironwork, and
a stone which our quondam guide said had served in ages long ago as
a block in executions. Somehow we thought that he lied, and with
considerable skill withal, but we dismissed him with payment of a
franc for his pains. He did not go, however, but followed us about at
a distance muttering to himself and occasionally waving his hands in a
most absurd manner, until at length we happily lost him.
There was a curious small building called the Grange aux Dimes, divided
into two parts, one subterranean, the other on the level of the soil.
Two staircases, one inside, the other outside, led to a hall on the
first floor. This was divided by two ranges of pillars, with ornate
capitals of foliage. The door to the subterranean passage was unfastened
and we ventured down into the darkness and must for a short distance.
I am convinced that we might have had some adventures below had we
explored the tunnel. Near this was "Le Puits," supposed to be the
entrance to other vast vaults, a subterranean town extending beneath the
hill for miles, and formerly used for many purposes in the Middle Ages.
These vaults were to be found in many of the towns hereabouts, and
during the occupancy of the country by the Germans since the invasion of
1914, the soldiers have used them to store away ammunition and supplies.
Over these small towns for three years now have raged battles the like
of which for fierceness and bloody loss the world has never seen.
The small town of Marcoing, about five miles from Cambrai, had one of
these wonderful caverns of refuge dating from the Middle Ages, and there
were others at Villers-Guizlain and at Honnecourt, where there were
the ruins of a Roman town, and an immense church with a porch of
the eleventh century. This was said to have been a famous place of
pilgrimage in the twelfth century. Tradition has it that in that century
three brothers of the family of Courcy le Marchais were taken prisoners
during the crusades. In the power of the Sultan they languished, until
at length he bethought him to send his young daughter to their dungeon,
where they lay in chains, thinking that she might by the power of her
beauty and eloquence bring them to the faith of the Mussulmans. But
strange to relate, she it was who succumbed to the arguments of the
three fair-haired brothers, and finally promised to become a Christian
provided that they show her an image of the Holy Virgin of whom they
had so eloquently told her. Now the three brothers had no image of the
Virgin, everything having been taken from them when they were cast
into the dungeon. But all at once, says the Chronicle, the image of the
Virgin bathed in golden Celestial light appeared miraculously before
them in a niche on the wall, so the Sultan's daughter, thus convinced,
not only set the three fair-haired brothers free, but accompanied them,
bearing in her bosom the sacred image, which henceforth was enshrined
here on the altar and venerated.
The three brothers then built a church in the twelfth century, on the
site of which this present one of the fourteenth century was erected.
Its portal was fifteenth century, and at the cross was a spire with
quaintly formed pinnacles. Inside, a remarkably rich "jube," or altar
screen, divided the nave from the choir, almost hiding the sanctuary
containing a singular coal black doll-like sort of image, and a large
collection of "Ex-votos," with some other offerings most tawdry in
character.
North of Valenciennes and very near the Flemish border was the old
town of St. Amand-les-Eaux, famous for its mud baths for the cure of
rheumatism and gout since the time of the Romans. The town was situated
at the confluence of the rivers Elnon and Scarpe, and is said to have
grown up around an abbey built by St. Amand in the seventh century.
Save for the portal and the façade of the church nothing remained of
the original structure. A tower containing a fine carillon of bells by
Flemmish founders, perhaps the Van den Gheyns of Malines, is said to
have been designed by Peter Paul Rubens. From the summit of the tower a
wonderful view of the surrounding country was had, and for this reason
the Germans blew it up in April, 1917, before their retreat.