Other noble buildings, rich in design and beautiful in all their outlines, and great mansions, with marble halls and ceilings of exquisitely carved woodwork, rose on every side; towers and pinnacles, shapely windows and graceful arches, overhung the waterways; luxury increased; in the homes of the nobles and wealthy merchants were stores of precious stones, tapestries, silk, fine linen, cloth of gold; the churches and many buildings gleamed with gilded stone and tinted glass and brilliant frescoes. Art flourished as the town grew richer. The elder and the younger Van Eyck, Gerard David, and Memlinc, with many others before and after them, were attracted by its splendour, as modern painters have been attracted by its decay; and though the 'Adoration of the Immaculate Lamb' hangs in the choir of St. Bavon at Ghent, the genius which coloured that matchless altar-piece found its inspiration within the walls of Bruges.
The history of Bruges for many long years, especially under the rule of the House of Burgundy, was, in the midst of war, turmoil, and rebellion, the history of continuous progress. But all this prosperity depended on the sea. So long as the Zwijn remained open, neither war nor faction, not even the last great rising against the Archduke Maximilian, which drove away the foreign merchants, most of whom went to Antwerp, and so impoverished the town that no less than 5,000 houses were standing empty in the year 1405,[9] could have entirely ruined Bruges. These disasters might have been retrieved if the channel of communication with Damme and Sluis had not been lost; but for a long time the condition of this important waterway had been the cause of grave anxiety to the people of Bruges. The heavy volume of water which poured with every ebbing tide down the Scheldt between Flushing and Breskens swept past the island of Walcheren, and spread out into the North Sea and down the English Channel, leaving the mud it carried with it on the sands round the mouth of the Zwijn, which itself did not discharge a current strong enough to prevent the slow but sure formation of a bank across its entrance. Charters, moreover, had been granted to various persons, under which they drained the adjoining lands, and gradually reclaimed large portions from the sea. The channel, at no time very deep, became shallower, narrower, and more difficult of access, until at last, during the second half of the fifteenth century, the passage between Sluis and Damme was navigable only by small ships. Soon the harbour at Damme was nearly choked up with sand. Many schemes were tried in the hope of preserving the Zwijn, but the sea-trade of Bruges dwindled away to a mere nothing, and finally disappeared before the middle of the sixteenth century. And so Bruges fell from greatness. There are still some traces of the ancient bed of the Zwijn amongst the fields near Coolkerke, a village a short distance to the north of Bruges—a broad ditch with broken banks, and large pools of slimy water lying desolate and forlorn in a wilderness of tangled bushes. These are now the only remains of the highway by which the 'deep-laden argosies' used to enter in the days of old.
Footnotes
[6] Robinson, Bruges, an Historical Sketch, p. 107.
[7] Vereecke, Histoire Militaire de la Ville d'Ypres, p. 36.
[8] Gilliodts van Severen, Bruges Ancienne et Moderne, p. 14.
[9] Gilliodts van Severen, p. 25.
CHAPTER VI
'BRUGES LA MORTE'
They call it 'Bruges la Morte,' and at every turn there is something to remind us of the deadly blight which fell upon the city when its trade was lost. The faded colours, the timeworn brickwork, the indescribable look of decay which, even on the brightest morning, throws a shade of melancholy over the whole place, lead one to think of some aged dame, who has 'come down in the world,' wearing out the finery of better days. It is all very sad and pathetic, but strangely beautiful, and the painter never lived who could put on canvas the mellow tints with which Time has clothed these old walls, and thus veiled with tender hand the havoc it has made. To stand on the bridge which crosses the canal at the corner of the Quai des Marbriers and the Quai Vert, where the pinnacles of the Palais du Franc and the roof of the Hôtel de Ville, with the Belfry just showing above them, and dull red walls rising from the water, make up a unique picture of still-life, is to read a sermon in stones, an impressive lesson in history.
The loss of trade brought Bruges face to face with the 'question of the unemployed' in a very aggravated form. How to provide for the poor became a most serious problem, and so many of the people were reduced to living on charity that almshouses sprang up all over the town. God's Houses ('Godshuisen') they called them, and call them still. They are to be found in all directions—quaint little places, planted down here and there, each with a small chapel of its own, with moss-grown roofs and dingy walls, and doors that open on to the uneven cobbles. Every stone of them spells pauperism. The Church does much towards maintaining these shelters for the poor—perhaps too much, if it is true that there are 10,000 paupers in Bruges out of a population of about 55,000. There is a great deal of begging in the streets, and a sad lack of sturdy self-respect amongst the lower class, which many think is caused by the system of doles, for which the Church is chiefly responsible. Bruges might not have been so picturesque to-day if her commerce had survived; but the beauty of a town is dearly purchased at the cost of such degradation and loss of personal independence.
BRUGES
View of the Palais du Franc.
It was not only the working class which suffered. Many rich families sank into poverty, and their homes, some of which were more like palaces than private houses, had to be dismantled. The fate of one of these lordly mansions is connected with an episode which carries us back into the social life of Bruges in the middle of the seventeenth century. On the right side of the Rue Haute, as one goes from the Place du Bourg, there is a high block containing two large houses, Nos. 6 and 8, of that street. It is now a big, plain building without a trace of architectural distinction; but in the seventeenth century it was a single mansion, built about the year 1320, and was one of the many houses with towers which gave the Bruges of that time almost the appearance of an Oriental city. It was called the House of the Seven Towers, from the seven pinnacles which surmounted it; and at the back there was a large garden, which extended to the canal and Quai des Marbriers.
In April, 1656, the 'tall man above two yards high, with dark brown hair, scarcely to be distinguished from black,' for whom the Roundheads had searched all England after the Battle of Worcester, found his way to Bruges, with his brother Henry, Duke of Gloucester, and the train of Royalists who formed their Court. For nearly three years after Worcester, Charles II. had lived in France; but in July, 1654, the alliance between Cromwell and Mazarin drove him to Germany, where he remained till Don John of Austria became Governor of the Spanish Netherlands. Thereupon the prospect of recovering the English throne by the assistance of Spain led him to remove his Court, which had been established for some time at Cologne, to Flanders. He arrived at Bruges on April 22, 1656. His brother James, Duke of York, and afterwards King of England, held a commission in the French army, and Mazarin offered him a command in Italy. Charles, however, requested him to leave the French army, and enter the service of Spain. At first James refused; but by the mediation of their sister, the Princess of Orange, he was persuaded to do as his brother wished, and join the Court at Bruges. The Irish Viscount Tarah received Charles, when he first arrived, in his house in the Rue du Vieux Bourg, and there gave him, we read in local history, 'une brillante hospitalité.' But in the beginning of June the Court took up its quarters in the House of the Seven Towers.
During