Reform, but afterwards was revived by the church authorities, and now
all of the episodes of the life of Christ pass yearly through the great
Grand' Place--the stable in Bethlehem; the flight into Egypt; down to
the grand drama of the Calvary and the Resurrection, all are shown and
witnessed with great reverence by the crowds of devout peasants from the
surrounding country. And these pathetic waxen figures were those of
Prophets, Apostles, Jews, Angels, Cavaliers and Roman Soldiers, lying
all about the dim dusty chamber in disorder. Afterwards, from the window
of the quaint Hôtel of the "Nobèle Rose," we saw this procession passing
through the crowded streets of Furnes, and almost held our breaths with
awe at the long line of black cloaked, hooded penitents, bare-footed,
the faces covered so that one could hardly tell whether they were men or
women, save for the occasional delicate small white foot thrust forward
beneath the black shapeless gown.
And finally _One Figure_, likewise black gowned and with concealed face,
staggering along painfully--feebly--and bearing a heavy wooden cross,
the end of which dragged along on the stones of the street.[3]
Outside of this, the Grand' Place, and the old red brick tower of St.
Nicholas, so scorched by the sun and beaten by the elements, and the
rows of quaint gabled houses beneath, Furnes has little to offer to the
seeker after antiquity. The bells in the tower are of sweet tone, but
the chimes which hung there were silent, and no amount of persuasion
could induce the _custode_ to admit me to the bell chamber. Madame at
the "Nobèle Rose" had assured me that I could go up there into the tower
whenever I wished, but somehow that pleasure was deferred, until finally
we were forced to give it up. Of course Madame _did_ rob me; when the
bill was presented, it proved to be fifty per cent. more than the price
agreed upon, but she argued that we had "used" the window in our
apartment overlooking the procession, so we must pay for that privilege.
The point was so novel that I was staggered for a suitable reply to
it,--the crucial moment passed,--I was lost. I paid!
The Artists of Malines
The Artist of Malines
It may not be out of place to add here some account of the artists[4]
who dwelt in and made Malines famous in the early days. Primitively the
painters formed part of the Society of Furniture Makers, while sculptors
affiliated with the Masons' Gild. These at length formed between them a
sort of federation as they grew in number and power. Finally, in 1543,
they formed the Gild of Saint Luke. In 1560 they numbered fifty-one free
masters, who gave instruction to a great number of apprentices. They
admitted the gold beaters to membership in 1618, and the following year
the organization had increased to ninety-six members.
Working in alabaster was, during this epoch, a specialty with the
sculptors of Malines, which soon resulted in a monopoly with them, for
they made a law that no master workman could receive or employ more than
one apprentice every four years. The workers in gold covered the
statues with heavy ornaments of gold, it being forbidden to market
statuary not so gilded. The Gild of Saint Luke chafed under this ruling
of the Gild Master, and surreptitiously made and delivered some statuary
and paintings without any gilding whatever.
Charges being brought against the offenders, they were fined twenty-five
florins, and a law was passed authorized by the magistrate, permitting
domiciliary visits upon certain days known only to the officers, to the
houses of suspected men engaged in art work. Of course reputable workmen
were free from suspicion, it being only those mediocre craftsmen and
irregular apprentices who would engage in such traffic.
It was not until 1772 that any sculptor was permitted to paint or gild
for profit, nor was any painter allowed to model. The profession of an
artist was regarded as less than an industry, being a sort of hand to
mouth existence in which the unfortunate was glad to accept whatever
work the artisan could give him. In 1783 the Gild had dwindled to twelve
members, who finally were absorbed by the Academy of Design, established
by Maria Theresa in 1773. Thus perished the Gild of Painters and
Sculptors of Malines.
The following is a list of the principal artists and engravers,
chronologically arranged, who made Malines famous:
Jean Van Battele, one of the promoters of the Gild of Saint Luke of
Malines, was a successful workman in 1403. He was said to be more of a
painter-glazer than a painter of pictures, but there is sufficient
evidence that he practised both genres.
Gauthier Van Battele, son of the above, was admitted to the Gild in
1426, and figured in the artistic annals of the town in 1474-75.
Baudoin Van Battele, alias Vander Wyck, believed to be "petitfils" of
Gauthier, is mentioned in the chronicles of 1495. He painted many mural
pictures for the "Beyaerd"; the fresco of the Judgment Day in the great
hall of the "Vierschaer" is his greatest work. He died about 1508.
He had one son, Jean, who executed a triptych in the Hôtel de Ville of
Malines in 1535, and illuminated a manuscript register on vellum
relating to the "_Toison d'Or_." This book was presented to
Charles-Quint, and so pleased him that he ordered a duplicate which cost
the artist three years of hard work to complete. He died in July, 1557,
highly honored.
Daniel Van Yleghem was the chief workman upon the Holy tabernacle of the
chief altar of St. Rombauld. An engraver of great merit; he died in
1451(?).
Jean Van Orshagen occupied the position of Royal Mint Engraver of
Malines, 1464-65. The following year he was discovered passing false
money at Louvain. Imprisoned, he died of the pestilence in 1471.
Guillaume Trabukier excelled in the art of a designer-engraver
(ciseleur) in gold. For the town he made many beautiful pieces of work,
notably the silver statue of St. Rombauld which decorated the high altar
of the Cathedral. He died in 1482.
Zacherie Van Steynemolen, born about 1434, was an excellent engraver of
dies. During more than forty years (1465-1507) he made the seals of the
town corporations. Notably he engraved for the Emperor Frederic IV the
two great seals which are now in the museum. He died in 1507.
Michael or Michel Coxie, le vieux, was a greatly esteemed painter who
worked under the direction of Raphaël. His real name was Van Coxciën, or
Coxcyën, but he changed its form to Coxie.
His son, Michel Coxie le Jeune, surnamed the Flemish Raphaël, was born
in 1499, and first studied under his father. He was shortly placed with
Bernard Van Orley, who sent him to Rome, where he might study the work
of Raphaël Sanzio. His work was of very unequal merit, although he
painted hundreds of compositions in triptych form for the churches.
Towards the end of his life he was commissioned to paint a decoration
for the Hôtel de Ville of Antwerp. He fell from the scaffolding during
his work, receiving such injuries that he was incapacitated. Removed to
his home in Malines, he died after some years of suffering, aged 93
years!
His second son, Raphaël Coxie, born in 1540, was a painter of great
merit, whose paintings were ordered for the Royal Spanish Cabinet. He
lived at Antwerp, Ghent, and Brussels respectively, and died, full of
honors, in 1616.
Michael, or Michel, Coxie, the third of the name, was received in the
Gild of Painters the 28th day of September, 1598. He is the author of
the triptych over the altar of the "Jardiniers" of Notre-Dame au dela de
la Dyle. He died in 1618.
Michel Coxie, the Fourth, son of the above, born September, 1604, was
elected to the Gild in 1623. He became Court Painter to the King.
Jean Coxie, son of Michel (above) excelled as a painter of landscape. He
it was who decorated the two great salons of the "Parc" Abbey. The
subjects were drawn from the life of Saint Norbert.
His son, Jean-Michel, though a member of the Gild of Malines, passed
almost his whole life in Amsterdam, Dusseldorf, and Berlin. In the
latter town he enjoyed the favor and patronage of Frederick I. He died
in Milan in 1720.
Jean de Gruyter, gold worker and engraver, came in 1504 to Malines,
where he enjoyed a certain renown. After his death in 1518, his sons
Jean and Pierre continued the work which he began. Jean made seals of
great beauty of detail, but Pierre was condemned to banishment in 1536
and confiscation of all his goods and chattels, for counterfeiting the
state coinage.
Jean Hoogenbergh, born about 1500, was a successful painter of
miniatures; he lived about fifty years.
Jean Van Ophem was appointed Civic Engraver of Seals and Gold Worker. He
died in 1553.
François Verbeek became master workman in 1531, and finally _doyen_ of
the craft. He abandoned oil painting for distemper, in which medium he
excelled, producing masterpieces depicting the most fantastic subjects.
He died in July, 1570.
Hans Verbeek, or Hans de Malines, believed to be the son of François. He
was Court Painter to Albert and Isabella. He died sometime after 1619.
Grégoire Berincx, born in 1526, visited Italy and there made paintings
in distemper of the ruins and ancient constructions. Returning to his
native town in 1555 he was at once made a Gild Member of the Corporation
of Painters. He died in 1573.
His youngest son, Grégoire, became _doyen_, and of him the following
story is told: The great Van Dyck visited him unexpectedly one day, and
demanded that he make a sketch of him (Van Dyck) at once, in his
presence. Berincx accordingly painted in monotone the sketch in full
length, adding the details in carnation, and so charmed was Van Dyck,
that he assured him that he would adopt the system in his own work, "if
he would permit." He died full of honors the 14th of October, 1669.
Jacques de Poindre, born in 1527, acquired a brilliant reputation as a
portrait painter. He afterwards established himself under royal
patronage in Denmark where he died in 1570.
Corneille Ingelrams, a painter in distemper, was born in 1527. He
practised his art successfully in Malines and died in 1580.
His son, André, was admitted to the Painters' Gild in May, 1571, and
died in 1595.
Marc Willems, born about 1527, was a pupil of Michel Coxie (le vieux),
was considered a great painter in his time. He made many designs for the
decorators, and admirable cartoons for tapestry makers. He died in 1561.
Jean Carpreau was commissioned in 1554 to take charge of the
restorations of the "chasse" of the patron saint of the town. Such was
his success that he was appointed Official Seal Cutter and Engraver, a
position of great importance in those days. At the Hôtel de Ville was
preserved and shown a remarkable die in silver from his hand, for the
Seal of the Municipality of Malines.
Jean or Hans Bol, born December, 1534, was the pupil of his uncles
Jacques and Jean the Elder, but after two years of apprenticeship he
went to Germany for a time. Returning to Malines, he devoted himself to
the painting of landscapes with great success. Likewise he sometimes
engraved plates on copper. His productions are many. He died at
Amsterdam in 1593.
Lambert de Vos, admitted to the Gild of Saint Luke in 1563, was engaged
in the service of Charles Kimy, Imperial Ambassador to Constantinople.
He painted oriental subjects in water colors, which were distinguished
for richness of color, and accuracy of drawing. Many of these are in the
Library of Brême.
Jean Snellinck, born about 1554, was an historical and battle painter.
It was he who prepared the designs for the tapestries of Oudenaarde.
During his residence in that town he painted the triptych for the church
of Notre Dame de Pamele. He died at Antwerp in 1638.
Louis Toeput was born about 1550. He was a landscape painter of renown,
but also drew many architectural subjects. In his later period, he
devoted himself to Flemish literature with marked success as an
authority.
Luc Van Valckenborgh, called "partisan of the Reform," was born in 1566,
and in his student days went to Germany, where he practised his art as a
portrait painter. His reputation was made by his portrait of the
Archduke Matthias.
He died in 1625, leaving a son Martin, also his pupil, who established
himself at Antwerp and later at Frankfort. Martin was an historical and
landscape painter, although he painted some good portraits in the manner
of his father. He is thought to have died about 1636.
Philip Vinckboons, the elder, was born about 1550, became an associate
of the Gild of Painters in 1580, and died 1631. His son Maur, the
younger, born 1585, studied painting under his father, finishing under
his uncle Pierre Stevens. He died in 1647.
Pierre Stevens, born about 1550, was an historical painter and engraver,
as well as a portrait painter. This master latinized his name and signed
his works thus--P. Stephani. He died in 1604 at Prague, where he had
dwelt since 1590, under the patronage of the Emperor Rudolphe II.
Rombaut Van Avont, incorporated in the Gild of Saint Luke in 1581, was a
sculptor and painter as well as an illuminator of manuscripts on vellum.
He died in 1619. His son Pierre, born in 1599, was an excellent painter
of landscapes, which were distinguished by a most agreeable manner.
Admitted as a "franc maitre" at Antwerp, he became one of the burgesses
of that town in October, 1631.
Luc Franchoys, the elder, born January, 1574, was admitted to the Gild
in 1599. A painter of remarkable talent, he turned to historical
subjects, which he produced with great success. In drawing, too, he was
most skillful and correct. He died in 1693 and was buried with honors in
the church of St. Jean.
His son Pierre, born in 1606, became pupil of Gérard Seghers of Antwerp,
where he resided for some time. Afterward he lived in Paris, where his
works were eagerly sought and appreciated. He never married, but always
surrounded himself with young pupils to the time of his death in 1654.
His younger brother, Luc, was born 1616. He remained with his father,
working in his studio until he was admitted to the Gild, when he went to
Paris, where he painted portraits of members of the Court, enjoying
considerable renown and favor. He returned finally to Malines, where he
died in April, 1681.
Frans Hals (The Great), was born either here in Malines, or at Antwerp,
in 1584. Accounts differ. His parents were citizens of Malines, at any
rate. He had the honor and glory of introducing into Holland the
"procede magistral" of Rubens and his school. His works are too well
known to need description here. He established himself at Haarlem, where
he died in great poverty in 1666. Not even his burial place is now
known.
[Illustration: The Church of Our Lady of Hanswyk]
Jean le Saive of Namur, son of Le Saive the Elder, was born in the
commencement of the seventeenth century. He painted animals, landscapes,
and historical subjects. In the latter genre he is inferior to his
father; his color is drier, and his drawing less correct. The date of
his death is not recorded.
George Biset, painter-decorator, entered the studio of Michel Coxie
(Third) in 1615. He lived throughout his life at Malines, and died 1671.
His son, Charles Emmanuel, born 1633, was an excellent portrait painter,
enjoying much appreciation at the Court of France. He became Burgess of
Antwerp in 1663, and was elected a Director of the Academy. He died at
Breda in 1685.
Martin Verhoeven was elected to the Gild in 1623. He painted flowers and
fruit pieces which enjoyed great celebrity.
His brother Jean was known as a portraitist of great ability. In late
life he produced some good sculptures.
David Herregouts, born 1603, was elected to the Gild in 1624. Examples
of his work are rare. He died at Ruremonde. His son Henri was a pupil of
his father. David went to Italy, residing at Rome. After traveling in
Germany he returned to Malines, and died at Antwerp at an advanced age.
Jacques de (or Van) Homes, painter in distemper, was a pupil of Grégoire
Berincx (Second) and executed much work in "ciselé" under the direction
of Fayd'herbe. He died in 1674.
Jean Philippe Van Thieleu, born 1618, was an eminent flower and
still-life painter, under the guidance of Daniel Zeghers. He was
patronized by the King of Spain, and died in 1674.
Ferdinand Elle, born 1631, according to some; in 1612, say other
accounts, painter of portraits, went to Paris, where he remained until
his death in 1660(?).
Gilles (or Egide) Smeyers, historical painter, was born in 1635, and
studied under his father Nicholas, later under Jean Verhoeven. In
friendship for his companion and master Luc Franchoys the younger, he
finished many of the latter's incompleted works after his death.
His son Jacques, born 1657, was admitted to the Gild in 1688, and died
in 1732.
Egide Joseph, natural son of Jacques, born 1694, was an historical
painter, as well as a poet. He lived at Dusseldorf for three years.
Obliged to support his sick parents, he did a great deal of work.
Smeyers had a profound knowledge of the Latin tongue, which he wrote
with great fluency and ease, in both poetry and prose. He possessed,
too, a working knowledge of French, German, and Italian. His historical
works are many. At length, sick and helpless, he was admitted to the
hospital of Notre Dame, where he died in 1771. He painted the large
portrait of Cardinal Thomas Philippe d'Alsace, Archbishop of Malines.
Daniel Janssens, born in 1636, was a painter-decorator of the first
order. He adopted the manner of Jacques de Hornes of whom he was the
favorite pupil. After having resided in Antwerp for some years he
returned to Malines, where he died in 1682. He it was who designed and
constructed the immense triumphal arch for the Jubilee of 1680. This
arch is preserved in the Town Hall, and serves to decorate the façade of
the "Halles" on the occasion of the Grandes Fêtes.
Sebastian Van Aken, born 1648, was pupil of Luc Franchoys the Younger.
Later he entered the studio of Charles Maratti in Rome. After painting
in Spain and Portugal he returned to Malines, where he died in 1722.
August Casimir Redel, born 1640. This painter of merit became insane
from excesses and died in 1687. He was also the author of a life of St.
Rombaut (Rombold) and wrote much in verse. He composed an ode on the
occasion of the Jubilee of Malines in 1680.
Jacques la Pla, pupil of Jean le Saive, a master painter of Malines in
1673, died in 1678.
Jean Barthelemy Joffroy, born 1669, was historian, painter, and
engraver. He died 1740.
Jean Joseph Van Campenhout, designer and engraver. He was designer of
the great book of the "Cavalcade of Malines" in 1775.
Antoine Opdebeek, born 1709, author of many paintings of merit, was an
untaught genius. Employed in the hospital of St. Hedwige in Malines, he
taught himself the art, with success, but never reached the height which
would have been his had he had instruction in his youth. He died 1759.
Pierre Antoine Verhulst, born 1751, painter of marines and landscape,
which he executed with great delicacy and charm, died 1809.
Matthieu Joseph Charles Hunin, born 1770, was a master engraver,
producing many plates after Rubens and other masters. To his talent is
also due a great number of original engravings of the Tower of St.
Rombold; the interior and exterior of the Cathedral of Antwerp; the
Hôtels de Villes of Oudenaarde, Brussels and Louvain, etc., etc. He died
in 1851.
His son, Pierre Paul Aloys, born 1808, was a genre painter of great
taste and renown. His works in which the painting of silk and satin
appeared were in great demand. He was professor of the Malines Academy,
and in 1848 Leopold I conferred upon him the decoration of the Order of
Leopold. He died February 27th, 1855. Many of his paintings have been
reproduced in engravings.
Jean Ver Vloet, the _doyen_ of the artists of Malines, died October
27th, 1869, after a long and successful artistic career. One of the
founders of the society "Pour l'Encouragement des Beaux Arts" of
Malines, he was indefatigable in all art movements of the town. To him
was due the success of the magnificent Cavalcades for which Malines has
been famous. For fifty years he was the director of the Academy of
Design and Painting of his native town.
This ends the list of famous painters of Malines, and so far as I know
it is the first and only one in English. Did space permit I might
include the architects who made Flanders famous the world over as the
cradle of art and architecture.
A Word About the Belgians
A Word About the Belgians
The little country called Belgium, it should be remembered, dates only
from 1830, when the existing constitution was prepared and adopted for
the nine southern provinces of the ancient Netherlands. The sudden and
unexpected revolt against the Dutch in that year has been since styled
"a misunderstanding" upon the part of the Belgians, and was brought
about by the action of the King, William I, of the house of
Orange-Nassau, who attempted ostentatiously to change at once the
language and religion of his southern subjects. They were both Roman
Catholic and conservative to the last degree, attached to traditional
rights and forms and fiercely proud of the ancient separate
constitutions of the southern provinces, which could be traced back to
the charters of the Baldwins and Wenceslas.
Undoubtedly the French Revolution of 1830, which closed the Monarchy of
the Bourbons, hastened the crisis. For the Belgians had no liking for
the rule of the House of Orange-Nassau against which they had
discontentedly struggled for some years more or less openly. But
matters might have gone on thus indefinitely had not the French
Revolution furnished ground for hope of support from a people akin in
religion and language, as well as race. The smouldering fire of
discontent broke into fierce flame on August 25th, 1830, in the city of
Brussels, during a performance of the opera "Muette de Portici," when
the tenor was singing the inspired words of Massaniello:
"Plutôt mourir que rester misérable,
Pour un esclave est-il quelque danger?
Tombe le joug qui nous accable,
Et sous nos coups périsse l'étranger.
Amour sacré de la patrie,
Rends nous l'audace et la fierté;
À mon pays je dois la vie,
Il me devra sa liberté!"
The immense audience, roused to patriotic enthusiasm, took up the words
of the song and, rushing from the theatre _en masse_, paraded the
streets, attacking the residences of the Dutch ministers, which they
sacked and burned.
The few troops in the town were powerless to stem the revolt, which grew
until Brussels was entirely in the hands of the revolutionists, who then
proceeded to appoint a Council of Government, which prepared the now
celebrated Document of Separation.
William sent his son, the Prince of Orange, to treat with the Council,
instead of sending a force of soldiers with which the revolt might have
been terminated easily, it is claimed. The Prince entered Brussels
accompanied only by a half dozen officers as escort. After three days'
useless parley, he returned to King William with the "Document of
Separation."
The reply of the King to this message was made to the Dutch Chambers ten
days later. Denouncing the revolt, he declared that he would never yield
to "passion and violence." Orders were then issued to Dutch troops under
Prince Frederick of Holland to proceed to Brussels and retake the city.
The attack was made upon the four gates of the walled city on September
23rd. The Belgians prepared a trap, cunningly allowing the Dutch
soldiers to enter two of the gates and retreating towards the Royal Park
facing the Palace. Here they rallied and attacked the troops of William
from all sides at once. Joined by a strong body of men from Liège they
fought for three days with such ferocity that Prince Frederick was
beaten back again and again, until he was forced to retreat at midnight
of the third day.
In the battle six hundred Belgian citizens were slain, and to these men,
regarded now as the martyrs of the Revolution, a great monument has been
erected in the Place des Martyrs, near the trench in which they were
buried.
A provisional government was now formed which issued the following
notice: "The Belgian provinces, detached by force from Holland, shall
form an independent state." Measures were taken to rid the country of
the Dutch, who were expelled forcibly across the border.
Envoys to Paris and London presented documents to secure sympathy for
the new government, while the fight for independence was still going on
fiercely. Waelhern and Berchem, besieged by the Belgian volunteers, soon
fell, and the city of Antwerp was occupied by them before the end of
October.
Then the Conference of the Five Powers, sitting in London, interposed to
force an armistice in order to determinate some understanding and
arrangement between the Dutch and the Belgians, since it had become
evident that the Netherlands kingdom of 1815 had practically come to an
end. By the treaty of London in 1814, and that of Vienna in 1815,
Belgium, after a short interregnum of Austrian rule, was incorporated
with Holland into the Kingdom of the Netherlands.