home; and he entrusted it to Leonius, chaplain of the Flemish Army, who hung it round his neck, and so carried it to Bruges, where he arrived in May, 1150, along with Thierry, who, mounted on a white horse led by two barefooted monks, and holding the relic in his hand, was conducted in state to the Bourg, where he deposited the precious object in the Chapel of St. Basil, which is commonly known as the Chapel of the Holy Blood.
After some time the relic was found to be dry, but, strange to say, it became liquid, we are told upon the authority of Pope Clement V., every Friday, 'usually at six o'clock.' This weekly miracle continued till about the year 1325. Since then it has never taken place except once, in 1388, when the vial containing the relic was being transferred to a new crystal tube; and on this occasion William, Bishop of Ancona, was astonished to see the relic turning redder than usual, and some drops, as of newly-shed blood, flowing within the vial, which he was holding in his hand. Many notable persons who were present, one of them the Bishop of Lincoln, testified to this event!
Other miracles wrought through the agency of this relic are recorded. A child which had been born dead was taken to the shrine, and came to life after three days. A young girl who had suffered for twenty months from an issue of blood, and for whom the doctors could do nothing, was cured by the application of a piece of cloth which had been used to cover the relic. Another girl who had been paralyzed for a long time, being carried into the Chapel of St. Basil, was restored to complete strength the moment she kissed the crystal tube. In December, 1689, a fire broke out in the Bourg, and threatened to destroy the Hôtel de Ville; but a priest brought forth the tube containing the relic, and held it up before the flames, which were instantly extinguished. These and many other similar miracles, confirmed by the oath of witnesses and received by the Church at the present day as authentic, make the relic an object of profound devotion to the people of Bruges and the peasants of the surrounding country, who go in crowds to bow before it twice every Friday, when it is exhibited for public worship.
It was nearly lost on several occasions in the days of almost constant war, and during the French Revolution it was concealed for some years in the house of a private citizen. The Chapel of St. Basil suffered from the disturbed condition of the country, and when Napoleon came to Bruges in 1810 it was such a complete wreck that the magistrates were on the point of sweeping it away altogether. But Napoleon saved it, declaring that when he looked on the ruins he fancied himself once more amongst the antiquities of Egypt, and that to destroy them would be a crime. Four years after the Battle of Waterloo the relic was brought out from its hiding-place, and in 1856 the chapel was restored from the designs of two English architects, William Brangwyn and Thomas Harper King.[4]
On the first Monday after the 2nd of May every year the town of Bruges is full of strangers, who have come to witness the celebrated 'Procession of the Holy Blood,' which there is good reason to believe has taken place annually (except during the French Revolution) for the last 755 years.
Very early in the day a Mass is celebrated in the Upper Chapel of the Holy Blood, which is crowded to the doors. In the crypt, or lower chapel, where many people are kneeling before the sacred images, the gloom, the silence, the bent figures dimly seen in the faint yellow light of a few tapers, make up a weird scene all the morning till about nine o'clock, when the relic, in its 'châsse,' or tabernacle, is carried to the Cathedral of St. Sauveur, and placed on the high altar, while a pontifical Mass is celebrated by one of the Bishops. When that is done, the procession starts on its march along the chief thoroughfares of the town. The houses are decorated with flags, and candles burn in almost every window. Through the narrow streets, between crowds of people standing on the pavements or looking down from the windows, while the church bells ring and wreaths of incense fill the air, bands of music, squadrons of cavalry, crucifixes, shrines, images, the banners of the parishes and the guilds, heralds in their varied dresses, bareheaded pilgrims from England, France, and other countries, pages, maidens in white, bearing palms, or crowns of thorn, or garlands, priests with relics, acolytes and chanting choristers, pass slowly along. The buffoonery of the Middle Ages, when giants, ballet-dancers, and mythological characters figured in the scene, has been abandoned; but Abraham and Isaac, King David and King Solomon, Joseph and the Virgin Mary, the Magi, and many saints and martyrs, walk in the long procession, which is closed by the Bishops and clergy accompanying the gorgeous shrine containing the small tube of something red like blood, before which all the people sink to the ground, and remain kneeling till it has passed.
The proceedings of the day end with a benediction at an altar erected in front of the Hôtel de Ville. The Bourg is filled from side to side with those who have taken part in the procession, and by thousands of spectators who have followed them from all parts of the town to witness the closing scene. The crowd gathers under the trees and along the sides of the square, the centre of which, occupied by the processionists, is a mass of colour, above which the standards and images which have been carried through the streets rise against the dark background of the Hôtel de Ville and the Chapel of the Holy Blood. The relic is taken out of the châsse, and a priest, standing on the steps of the altar high above the crowd, holds it up to be worshipped. Everyone bows low, and then, in dead silence, the mysterious object is carried into the chapel, and with this the chief religious ceremony of the year at Bruges is brought to a close.
There are sights in Bruges that night, within a stone's-throw of the Chapel of the Holy Blood, which are worth seeing, they contrast so strangely with all this fervour of religion.
The curtain has fallen upon the drama of the day. The flags are furled and put aside. The vestments are in the sacristy. Shrines, canopies, censers, all the objects carried in the procession, have disappeared into the churches. The church doors are locked, and the images are left to stand all night without so much as one solitary worshipper kneeling before them. The Bourg is empty and dark, steeped in black shadows at the door of the chapel where the relic has been laid to rest. It is all quiet there, but a stroll through the Rue de l'Âne Aveugle and across the canal by the bridge which leads to the purlieus of the fish-markets brings one upon another scene. Every second house, if not every house, is a café, 'herberg,' or 'estaminet,' with a bar and sanded floor and some rough chairs and tables; and on the night of the Procession of the Holy Blood they are crowded to the doors. Peasants from the country are there in great force. For some days before and after the sacred festival the villagers are in the habit of coming into Bruges—whole families of them, father and mother, sons and daughters, all in their best finery. They walk through the streets, following the route by which the Holy Blood is carried, telling their beads and saying their prayers, crossing themselves, and kneeling at any image of Christ, or Madonna, or saint, which they may notice at the street corners. It is curious to watch their sunburnt faces and uncouth ways as they slouch along, their hands busy with their beads, and their lips never ceasing for a moment to mutter prayer after prayer. They follow in the wake of the Procession of the Holy Blood, or wait to fall upon their knees when it passes and receive the blessing of the Bishop, who walks with fingers raised, scattering benedictions from side to side. In the evening, before starting for home, they go to the cafés.
As evening passes into night the sounds of music and dancing are heard. At the doors people sit drinking round tables placed on the pavement or in the rank, poisonous gutter. The hot air is heavy with the smell of decayed fish. Inside the cafés men and women, old and young, are dancing in the fetid atmosphere to jingling pianos or accordions. The heat, the close, sour fumes of musty clothing, tobacco, beer, gin, fried fish, and unwashed humanity, are overpowering. There are disgusting sights in all directions. Fat women, with red, perspiring faces and dirty fingers, still clutching their rosaries; tawdry girls, field-workers, with flushed faces, dancing with country lads, most of whom are more than half tipsy; ribald jokes and laughter and leering eyes; reeling, drunken men; maudlin affection in one corner, and jealous disputing in another; crying babies; beer and gin spilt on the tables; and all sorts of indecency and hideous details which Swift might have gloated over or Hogarth painted.
This is how the day of the Holy Blood procession is finished by many of the countryfolk. The brutal cabaret comes after the prayers and adoration of the morning! It is a world of contrasts. But soon the lights are out, the shutters are put up, the last customer goes staggering homewards, and the Belfry speaks again, as it spoke when the sweet singer