Seeing Europe with Famous Authors Volume IV Part 13

With the money Balthazar bought two pistols from a soldier (who afterward killed himself when he heard the use which was made of the purchase). On the next day, June 10, 1584, Balthazar returned to the convent as William was descending the staircase to dinner, with his fourth wife, Louise de Coligny (daughter of the Admiral who fell in the ma.s.sacre of St. Bartholomew), on his arm. He presented his pa.s.sport and begged the Prince to sign it, but was told to return later. At dinner the Princess asked William who was the young man who had spoken to him, for his expression was the most terrible she had ever seen.

The Prince laughed, said it was Guyon, and was as gay as usual. Dinner being over, the family party were about to remount the staircase. The a.s.sa.s.sin was waiting in a dark corner at the foot of the stairs, and as William pa.s.sed he discharged a pistol with three b.a.l.l.s and fled.

The Prince staggered, saying, "I am wounded; G.o.d have mercy upon me and my poor people." His sister Catherine van Schwartz-bourg asked, "Do you trust in Jesus Christ?" He said, "Yes," with a feeble voice, sat down upon the stairs, and died.

Balthazar reached the rampart of the town in safety, hoping to swim to the other side of the moat, where a horse awaited him. But he had dropt his hat and his second pistol in his flight, and so he was traced and seized before he could leap from the wall.

Amid horrible tortures, he not only confest, but continued to triumph in his crime. His judges believed him to be possest of the devil. The next day he was executed. His right hand was burned off in a tube of red-hot iron; the flesh of his arms and legs was torn off with red-hot pincers; but he never made a cry. It was not till his breast was cut open, and his heart torn out and flung in his face, that he expired.

His head was then fixt on a pike, and his body, cut into four quarters, exposed on the four gates of the town.

Close to the Prinsenhof is the Oude Kerk with a leaning tower. It is arranged like a very ugly theater inside, but contains, with other tombs of celebrities, the monument of Admiral van Tromp, 1650--"Martinus Harberti Trompius"--whose effigy lies upon his back, with swollen feet. It was this Van Tromp who defeated the English fleet under Blake, and perished, as represented on the monument, in an engagement off Scheveningen. It was he who, after his victory over the English, caused a broom to be hoisted at his mast-head to typify that he had swept the Channel clear of his enemies.

LEYDEN[A]

[Footnote A: From "Holland and Its People." Translated by Caroline Tilton. By special arrangement with, and by permission of, the publishers, G.P. Putnam's Sons. Copyright, 1880.]

BY EDMONDO DE AMICIS

Leyden, the antique Athens of the north, the Saragossa of the Low Countries, the oldest and most ill.u.s.trious of the daughters of Holland, is one of those cities which make you thoughtful upon first entering them, and are remembered for a long time afterward with a certain impression of sadness.

I had hardly arrived when the chill of a dead city seemed to fall upon me. The old Rhine, which crosses Leyden, dividing it into many islets joined together by one hundred and fifty stone bridges, forms wide ca.n.a.ls and basins which contain no s.h.i.+p or boat, and the city seems rather invaded by the waters than merely crossed by them. The princ.i.p.al streets are very broad and flanked by rows of old blockhouses with the usual pointed gables, and the few people seen in the streets and squares are like the survivors of a city depopulated by the plague.

In the smaller streets you walk upon long tracts of gra.s.s, between houses with closed doors and windows, in a silence as profound as that of those fabled cities where all the inhabitants are sunk in a supernatural sleep. You pa.s.s over bridges overgrown with weeds, and long ca.n.a.ls covered with a green carpet, through small squares that seem like convent courtyards; and then, suddenly, you reach a broad thoroughfare, like the streets of Paris; from which you again penetrate into a labyrinth of narrow alleys. From bridge to bridge, from ca.n.a.l to ca.n.a.l, from island to island, you wander for hours seeking for the life and movement of the ancient Leyden, and finding only solitude, silence, and the waters which reflect the melancholy majesty of the fallen city.

In 1573 the Spaniards, led by Valdez, laid siege to Leyden. In the city there were only some volunteer soldiers. The military command was given to Van der Voes, a valiant man, and a Latin poet of some renown. Van der Werf was burgomaster. In brief time the besiegers had constructed more than sixty forts in all the places where it was possible to penetrate into the city by sea or land, and Leyden was completely isolated. But the people of Leyden did not lose heart.

William of Orange had sent them word to hold out for three months, within which time he would succor them, for on the fate of Leyden depended that of Holland; and the men of Leyden had promised to resist to the last extremity....

The Prince of Orange received the news of the safety of the city at Delft, in church, where he was present at divine service. He sent the message at once to the preacher, and the latter announced it to the congregation, who received it with shouts of joy. Altho only just recovered from his illness, and the epidemic still raging at Leyden, William would see at once his dear and valorous city. He went there; his entry was a triumph; his majestic and serene aspect put new heart into the people; his words made them forget all they had suffered. To reward Leyden for her heroic defense, he left her her choice between exemption from certain imposts or the foundation of a university.

Leyden chose the university.

How this university answered to the hopes of Leyden, it is superfluous to say. Everybody knows how the States of Holland with their liberal offers drew learned men from every country; how philosophy, driven out of France, took refuge there; how Leyden was for a long time the securest citadel for all men who were struggling for the triumph of human reason; how it became at length the most famous school in Europe. The actual university is in an ancient convent. One can not enter without a sentiment of profound respect the great hall of the Academic Senate, where are seen the portraits of all the professors who have succeeded each other from the foundation of the university up to the present day.

DORTRECHT[A]

[Footnote A: From "Sketches in Holland and Scandinavia."]

BY AUGUSTUS J.C. HARE

Our morning at Dortrecht was very delightful, and it is a thoroughly charming place. Pa.s.sing under a dark archway in a picturesque building of Charles V., opposite the hotel, we found ourselves at once on the edge of an immense expanse of s.h.i.+mmering river, with long, rich meadows beyond, between which the wide flood breaks into three different branches. Red and white sails flit down them. Here and there rises a line of pollard willows or clipt elms, and now and then a church spire. On the nearest sh.o.r.e an ancient windmill, colored in delicate tints of gray and yellow, surmounts a group of white buildings.

On the left is a broad esplanade of brick, lined with ancient houses, and a ca.n.a.l with a bridge, the long arms of which are ready to open at a touch and give a pa.s.sage to the great yellow-masted barges, which are already half intercepting the bright red house-fronts ornamented with stone, which belong to some public buildings facing the end of the ca.n.a.l. With what a confusion of merchandise are the boats laden, and how gay is the coloring, between the old weedy posts to which they are moored!

It was from hence that Isabella of France, with Sir John de Hainault and many other faithful knights set on their expedition against Edward II. and the government of the Spencers.

From the busy port, where nevertheless they are dredging, we cross another bridge and find ourselves in a quietude like that of a cathedral close in England. On one side is a wide pool half covered with floating timber, and, in the other half, reflecting like a mirror the houses on the opposite sh.o.r.e, with their bright gardens of lilies and hollyhocks, and trees of mountain ash, which bend their ma.s.ses of scarlet berries to the still water. Between the houses are glints of blue river and of inevitable windmills on the opposite sh.o.r.e. And all this we observe standing in the shadow of a huge church, the Groote Kerk, with a nave of the fourteenth century, and a choir of the fifteenth and a gigantic trick tower, in which three long Gothic arches, between octagonal tourelles, enclose several tiers of windows.

At the top is a great clock, and below the church a grove of elms, through which fitful sunlight falls on the gra.s.s and the dead red of the brick pavement (so grateful to feet sore with the sharp stones of other Dutch cities), where groups of fishermen are collecting in their blue s.h.i.+rts and white trousers.

There is little to see inside this or any other church in Holland; travelers will rather seek for the memorials at the Kloveniers Doelen, of the famous Synod of Dort, which was held 1618-19, in the hope of effecting a compromise between the Gomarists, or disciples of Calvin, and the Arminians who followed Zwingli, and who had recently obtained the name of Remonstrants from the "remonstrance" which they had addrest eight years before in defense of their doctrines. The Calvinists held that the greater part of mankind was excluded from grace, which the Arminians denied; but at the Synod of Dort the Calvinists proclaimed themselves as infallible as the Pope, and their resolutions became the law of the Dutch Reformed Church. The Arminians were forthwith outlawed; a hundred ministers who refused to subscribe to the dictates of the Synod were banished; Hugo Grotius and Rombout Hoogerbeets were imprisoned for life at Loevestein; the body of the secretary Ledenberg, was hung; and Van Olden Barneveldt, the friend of William the Silent, was beheaded in his seventy-second year....

Through the street of wine--Wijnstraat--built over stonehouses used for the staple, we went to the museum to see the pictures. There were two schools of Dortrecht. Jacob Geritee Cuyp (1575); Albert Cuyp (1605), Ferdinand Bol (1611), Nicolas Maas (1632), and Schalken (1643) belonged to the former; Arend de Gelder, Arnold Houbraken, Dirk Stoop, and Ary Scheffer are of the latter. Suns.h.i.+ne and glow were the characteristics of the first school, grayness and sobriety of the second. But there are few good pictures at Dort now, and some of the best works of Cuyp are to be found in our National Gallery, [London]

executed at his native place and portraying the great brick tower of the church in the golden haze of evening, seen across rich pastures, where the cows are lying deep in the meadow gra.s.s. The works of Ary Scheffer are now the most interesting pictures in the Dortrecht Gallery. Of the subject, "Christus Consolator," there are two representations. In the more striking of these the pale Christ is seated among the sick, sorrowful, blind, maimed, and enslaved, who are all stretching their hands to Him. Beneath is the tomb which the artist executed for his mother, Cornelia Scheffer, whose touching figure is represented lying with outstretched hands, in the utmost abandonment of repose.

THE ZUYDER ZEE[A]

[Footnote A: From "Holland and Its People." Translated by Caroline Tilton. By special arrangement with, and by permission of, the publishers, G.P. Putnam's Sons. Copyright, 1880.]

BY EDMONDO DE AMICIS

This great basin of the North Sea, which bathes five provinces and has an extent of more than seven hundred square kilometers, six hundred years ago was not in existence. North Holland touched Friesland, and where the gulf now extends there was a vast region sprinkled with fresh-water lakes, the largest of which, the Flevo, mentioned by Tacitus, was separated from the sea by a fertile and populous isthmus.

Whether the sea by its own force broke through the natural dikes of the region, or whether the sinking of the land left it free to invasion, is not certainly known. The great transformation was completed during the course of the thirteenth century.

About the formation of this gulf there has collected a varied and confused history of cities destroyed and people drowned, to which has been added in later times another history, of new cities rising on new sh.o.r.es, becoming powerful and famous, and being in their turn reduced to poor and mean villages, with streets overgrown with gra.s.s, and sand-choked ports. Records of great calamities, wonderful traditions, fantastic horrors, strange usages and customs, are found upon the waters and about the sh.o.r.es of this peculiar sea, born but yesterday, and already encircled with ruins and condemned to disappear; and a month's voyage would not suffice to gather up the chief of them; but the thought alone of beholding from a distance those decrepit cities, those mysterious islands, those fatal sand-banks, excited my imagination....

Marken is as famous among the islands of the Zuyder Zee as Broek is among the villages of Holland; but with all its fame, and altho distant but one hour by boat from the coast, few are the strangers, and still fewer the natives who visit it. So said the captain as he pointed out the lighthouse of the little island, and added that in his opinion the reason was, that when a stranger arrived at Marken, even if he were a Dutchman, he was followed by a crowd of boys, watched, and commented upon as if he were a man fallen from the moon. This unusual curiosity is explained by a description of the island. It is a bit of land about three thousand meters in length and one thousand in width, which was detached from the continent in the thirteenth century, and remains to this day, in the manners, and customs of its inhabitants, exactly as it was six centuries ago.

The surface of the island is but little higher than the sea, and it is surrounded by a small dike which does not suffice to protect it from inundation. The houses are built upon eight small artificial elevations, and form as many boroughs, one of which--the one which has the church--is the capital, and another the cemetery. When the sea rises above the dike, the s.p.a.ces between the little hills are changed into ca.n.a.ls, and the inhabitants go about in boats. The houses are built of wood, some painted, some only pitched; one only is of stone, that of the pastor, who also has a small garden shaded by four large trees, the only ones on the island. Next to this house are the church, the school, and the munic.i.p.al offices. The population is about one thousand in number, and lives by fis.h.i.+ng. With the exceptions of the doctor, the pastor, and the school-master, all are native to the island; no islander marries on the continent; no one from the mainland comes to live on the island.

They all profess the reformed religion, and all know how to read and write. In the schools more than two hundred boys and girls are taught history, geography, and arithmetic. The fas.h.i.+on of dress, which has not been changed for centuries, is the same for all, and extremely curious. The men look like soldiers. They wear a dark gray cloth jacket ornamented with two rows of b.u.t.tons which are in general medals, or ancient coins, handed down from father to son. This jacket is tucked into the waistband of a pair of breeches of the same color, very wide about the hips and tight around the leg, fastening below the knee; a felt hat or a fur cap, according to the season; a red cravat, black stockings, white wooden shoes, or a sort of slipper, complete the costume.

That of the women is still more peculiar. They wear on their heads an enormous white cap in the form of a miter, all ornamented with lace and needlework, and tied under the chin like a helmet. From under the cap, which completely covers the ears, fall two long braided tresses, which hang over the bosom, and a sort of visor of hair comes down upon the forehead, cut square just above the eyebrows. The dress is composed of a waist without sleeves, and a petticoat of two colors.

The waist is deep red, embroidered in colors and costing years of labor to make, for which reason it descends from mother to daughter, from generation to generation. The upper part of the petticoat is gray or blue striped with black, and the lower part dark brown. The arms are covered almost to the elbow with sleeves of a white chemise, striped with red. The children are drest in almost the same way, tho there is some slight difference between girls and women, and on holidays the costume is more richly ornamented.

THE ART OF HOLLAND[A]

[Footnote A: From "Holland and Its People." Translated by Caroline Tilton. By special arrangement with, and by permission of, the publishers, G.P. Putnam's Sons. Copyright, 1880.]

BY EDMONDO DE AMICIS

The Dutch school of painting has one quality which renders it particularly attractive to us Italians; it is of all others the most different from our own, the very ant.i.thesis, or the opposite pole of art. The Dutch and Italian schools are the two most original, or, as has been said, the only two to which the t.i.tle rigorously belongs; the others being only daughters, or younger sisters, more or less resembling them. Thus, even in painting Holland offers that which is most sought after in travel and in books of travel; the new.

Dutch painting was born with the liberty and independence of Holland.

As long as the northern and southern provinces of the Low Countries remained under the Spanish rule and in the Catholic faith, Dutch painters painted like Belgian painters; they studied in Belgium, Germany, and Italy; Heemskerk imitated Michael Angelo; Bloemart followed Correggio, and "Il Moro" copied t.i.tian, not to indicate others; and they were one and all pedantic imitators, who added to the exaggerations of the Italian style a certain German coa.r.s.eness, the result of which was a b.a.s.t.a.r.d style of painting, still inferior to the first, childish, stiff in design, crude in color, and completely wanting in chiaroscuro, but not, at least, a servile imitation, and becoming, as it were, a faint prelude to the true Dutch art that was to be....

After depicting the house, they turned their attention to the country.

The stern climate allowed but a brief time for the admiration of nature, but for this very reason Dutch artists admired her all the more; they saluted the spring with a livelier joy, and permitted that fugitive smile of heaven to stamp itself more deeply on their fancy.