Belgium Part 7

The greatest name a.s.sociated with the period is that of the brothers Jan and Hubert Van Eyck, and the work which naturally comes to the mind, when thinking of them, is the monumental altarpiece which they painted for Jos. Vyt, lord of Pamele, to be placed in his chapel in the Cathedral of St. John in Ghent. This work, generally known as the "Mystic Lamb," is composed of ten smaller pictures, but the part.i.tions separating the various divisions of the wings and the wings from the central piece scarcely detract from the majesty of the ensemble. The composition is well known: Above, G.o.d the Father, as Christ, enthroned, His hand raised in benediction, between St. John Baptist and the Virgin, with angels on both sides singing and playing on various instruments. On the extreme right and left of the upper panels, excluded, so to speak, from the company of heaven, stand Adam and Eve, in all the realistic weakness of their nakedness. Below, in the midst of a flowery meadow, behind the fountain of life, surrounded by groups of holy virgins, martyrs and saints, in the New Paradise, under the walls of the New Jerusalem, stands the Lamb, directly under the figure of Christ and the symbol of the Holy Ghost, the centre towards which every line, every att.i.tude in the picture converges. Towards the holy spot walk, on the right, the pilgrims and the hermits, on the left, the good judges and the soldiers of Christ. The symbolism of the picture which enfolds the majestic plan of the redemption of man through Christ's sacrifice, of the second creation through the Spirit, as contrasted with the first creation through the flesh, is directly inspired by the mystic writings of the time, while the harmony and depth of colours, the gorgeous robes and jewels adorning the figures of G.o.d, the Virgin and the angels, the pompous cavalcade of knights and judges and the systematic grouping of the central scene, are an adequate expression of the love of ceremony and solemn luxury which characterized the Burgundian age. The whole picture appears as a sacred pageant in which the saints, the angels and the blessed take the place of n.o.bles, ladies and clerics, as they were seen during the festivities and processions arranged at the ducal court.

Ill.u.s.tration: THE ADORATION OF THE LAMB (SAINT BAVON, GHENT).

Angels singing and playing.

[_THE MYSTIC LAMB_]

Considered as a purely religious picture, this work, like almost all the works of the school, stands in striking contrast to Italian fourteenth-century painting, especially as ill.u.s.trated by the frescoes of Giotto. The latter are characterized by an extreme simplicity of outline and by vivid narrative power. In Padua, for instance, Giotto tells us the story of Christ as he saw it in his mystical vision, without any concern for accessories or detail. He clings to essentials, to the figures of Christ and his apostles, while scorning any subordinate object, such as trees, architecture, costumes, etc., which are only represented in a rude fas.h.i.+on when necessary to the story. It is characteristic of Hubert Van Eyck's work (since, according to all evidence, Hubert must be considered as the author of the general outlines of the picture, which was finished by his brother Jan after his death) that perhaps the least satisfactory figure of the Adoration of the Lamb is the Deity, while our attention is immediately captured by the group of angels surrounding Him, and still more by the procession of wors.h.i.+ppers at the bottom of the picture. To put it briefly, whereas Giotto's art is at its best when dealing with the _divine_ side of the Christian drama, Van Eyck's genius stands foremost in the _human_ interpretation of the subject. His greatest creations are not the figures of the wors.h.i.+pped but of the wors.h.i.+ppers, and we must seek for religious inspiration not so much in the direct vision of the Divinity as in the expression of devotion reflected on the faces of the adoring crowds.

Ill.u.s.tration: THE ADORATION OF THE LAMB (SAINT BAVON, GHENT).

The Annunciation (exterior of the shutters).

_Hubert and Jan van Eyck._

It is true that we may find the same insistence on landscape, costume and the portraits of donors in the works of the Italian artists of the Early Renaissance, who painted at the same time as Van Eyck, and that the spirit of the period may, to a certain extent, account for it. But it would be difficult to discover in the pictures of Masaccio, Fra Filippo Lippi, Ghirlandajo, Botticelli and the other masters of the Italian fifteenth century, with the sole exception of Fra Angelico, the same depth of religious inspiration which pervades the works of the Van Eycks and of their disciples. If the Gospel story still provides most of the subjects of the Italian school, it is treated in a lighter vein, and pagan inspiration, prompted by the study of cla.s.sics, is more and more conspicuous. Earthly loveliness is of greater importance than Christian teaching.

The virgins of Van Eyck, the Pieta of Van der Weyden and the saints of Memling occupy the intermediate position between the purely mediaeval att.i.tude of Giotto and of the sculptors of the French cathedrals and the worldly atmosphere of the Early Italian Renaissance. They preserve, to a great extent, the religious atmosphere of the former, and devote the same attention to technical skill and realistic representation as the second. The combination of these two elements is the chief source of originality of the Burgundian school of painters, and it is truly characteristic of the period, which, though strongly attached to the world and its pleasures, founded its greatest productions on the stern lessons of deep devotion and of a society in which the Beggards and the Brothers of the Common Life strove incessantly to bring religion closer to the heart of the people.

The Adoration of the Lamb is not only the most complete expression of the spirit of Belgium in the fifteenth century, it is also the first great work produced by Belgian painters. Art critics have been at great pains to explain the sudden appearance in history of such a highly skilled and complete production. But a closer study of Belgian civilization in the fourteenth century would show that it is merely the outcome of previous efforts and the blossoming of a great individual genius in an Art which had already found, in other departments, very remarkable means of expression.

[_SCULPTURE_]

From the end of the twelfth century, Belgian Art, as shown by the works of the goldsmiths, decorators, sculptors and miniaturists, had become independent of German and French influence. A highly trained cla.s.s of artisans was formed, and, in the middle of the fourteenth century, was organized into regular corporations. Goldsmiths and decorators devoted their talent to the embellishment of churches and ecclesiastical treasures, as well as to decoration of secular buildings such as Cloth Halls or Town Halls and to the designing of banners for the guilds. We still possess a great number of engraved tombstones which reveal an extraordinary development of technique. Soon the figure of the deceased was raised in high relief, and even, as in the tomb of the Count of Artois in the cathedral of St. Denys, the work of Pepin of Huy, raised on the shoulders of standing figures. From the second half of the fourteenth century the most prominent sculptors ceased to be considered as mere artisans. Hennequin of Liege was attached to the court of the French king Charles V, while Andre Beauneveu (1364-90) remained in Flanders as the sculptor of Louis de Male. The striking sculptures of the pit of Moses, at Dijon, were executed by Claus s.l.u.ter of Zeeland.

These statues, which bear comparison with those of Ghiberti and Donatello, s.l.u.ter's contemporaries, suffice to explain the sense of form and of line in the draperies revealed by the early Flemish masters. In the North, as in the South, sculpture developed earlier than painting, and, just as Pisano precedes Giotto, s.l.u.ter precedes, and to a certain extent explains, the brothers Van Eyck. The influence of sculpture on painting is made evident from the fact that many statues of the time were gilded and coloured, painters being frequently called in to perform this part of the work. Besides, many sculptors such as Beauneveu and Hennequin were equally skilled in the art of painting. The result of these influences is shown in the _Book of Hours_ of the Duke of Berry, the work of Pol de Limburg, and in the pictures painted in Dijon for Philip the Bold by Melchior Broederlam.

The latter's Annunciation, Presentation in the Temple and Flight into Egypt prepare the way for the Adoration of the Lamb, though far from being equal to it. These pictures serve as a link between the Belgian Art of the fifteenth and the fourteenth centuries. The difference to be accounted for is certainly not larger than that separating, a century before, the frescoes of Giotto from the works of Cimabue and his school.

Ill.u.s.tration: "PLOURANT."

Detail of the tomb of John the Fearless (Dijon Museum). Netherlandish School of the fifteenth century.

[_FLEMISH SCHOOL_]

It would be impossible here to characterize the works of the various masters who followed in the wake of the brothers Van Eyck. Of the two brothers, hailing from Maeseyck, we know that Hubert settled in Ghent (_c._ 1410) and Jan in Bruges in 1425. Roger de la Pasture, usually known as Van der Weyden, the foremost representative of the Walloon branch of the school, came from Tournai to Brussels in 1435. There were other Walloons, such as Robert Campin and Jacques Daret of Tournai, but the Flemish element, represented beside the brothers Van Eyck by the Brabancon Pieter Christus, Justus van Ghent, Hughes Van der Goes (of Ghent) and Thierry Bouts of Harlem, not to mention Memling (of Mayence), was manifestly prevalent. The renown enjoyed by these artists extended far beyond the limits of Belgium and France, and the influence exerted by their works in Italy can easily be traced. Strangely enough, while during the next century the Belgian painters were subjected so strongly to Italian influence, they were hailed, at this period, as pioneers by the Italians themselves. At home, the consideration which the great painters enjoyed is shown by the interest displayed in their work not only by the prince but also by his courtiers, among them Chancellor Rolin, and by rich foreigners, such as the Portinari and the Arnolfini established in Flanders. Philip the Good visited Jan Van Eyck frequently, was G.o.dfather to his daughter, and employed him on several occasions for secret missions. His position at the court of Burgundy was equal to that occupied later by Rubens at the court of Albert and Isabella.

CHAPTER XII

HAPSBURG AND BURGUNDY

The disaster of Nancy naturally provoked a strong reaction in the Belgian provinces. We have seen that the large towns bore only with great reluctance the centralized rule of Philip the Good, in spite of the moderation and the diplomatic talents of this prince. In the latter part of his reign, Charles the Bold had completely disregarded local privileges and relentlessly crushed every attempt at rebellion. He raised taxes for his foreign expeditions which weighed heavily on the people. More and more absorbed by his struggle against Louis XI, he neglected internal affairs, and the Belgians were loath to support an expensive policy of foreign adventures which could only be detrimental to their own interests. Mary of Burgundy was thus left alone, in 1477, to confront, on one side the exigencies of the towns and States, and on the other the intrigues of Louis XI. The latter had not only confiscated the duke's French dominions, as soon as the news of his death reached him, but he proposed, with the support of the disaffected towns, to appropriate as well his Northern provinces. Fearing English interference, he thought of striking a bargain with the King of England and offered to conquer Brabant for him. Very wisely, Edward IV retorted that the province would be too difficult to hold and that "a war with the Netherlands would not be popular in England owing to the active trade between the two countries." Left to his own devices, Louis succeeded in persuading the Flemings that a marriage between Mary and the dauphin would be the most profitable solution of the crisis. On the refusal of the princess, who was already affianced to the Archduke Maximilian of Austria, the French king dropped the mask of friends.h.i.+p and invaded Hainault and Artois.

[_THE "GREAT PRIVILEGE"_]

By that time, Mary had given full satisfaction to the particularist demands by granting the "Great Privilege," which practically restored all provincial and urban liberties and brought to nought the patient work of centralization accomplished by the dukes. Under the threat of foreign invasion, the people rallied around her to the cry of "Vive Bourgogne!" and identified the cause of their national dynasty with that of their own independence. Arras was obliged to open its gates to the French armies, but Valenciennes and St. Omer made a desperate resistance. It was, however, evident that, under the circ.u.mstances, the Low Countries could not oppose the French advance without foreign help.

The States therefore agreed to the marriage of Mary with Maximilian of Austria, who entered the country at the head of a small army.

This marriage proved fatal to the independence of the Low Countries, by bringing them more and more under the sway of the Hapsburg dynasty. In spite of their French possessions, the Burgundian princes had maintained a national policy, or, to speak more accurately, had, with the exception of Charles's last adventures, furthered their own interests to the greater benefit of the Belgian provinces. As far as foreign politics were concerned, they succeeded in remaining neutral between the three Powers surrounding them and in interfering in European affairs only when their possessions were directly threatened.

There was no conflict between the economic and political interests of Belgium and those of the Burgundian dynasty. The dukes remained in the country and the welfare of the country was the essential condition of their own prosperity. Owing to the union of Maximilian with Mary of Burgundy, this situation was entirely altered. From the end of the fifteenth century to the time of the French Revolution, the Netherlands were more and more sacrificed to the interests of their masters, whether belonging to the Austrian or the Spanish branch of the Hapsburgs. They lost the benefit of the presence of their national and "natural" princes, who were absorbed in far more important affairs and spent most of their life out of the country. They were administered by regents or governors, who generally did not enjoy sufficient independence and authority to pursue a Netherlandish policy. They const.i.tuted a sort of outpost of the Power to which they were attached, and were, in consequence, first exposed to the attacks of the enemies of this Power. This is one of the main causes of the sixteenth-century revolution and the subsequent part.i.tion of the country, and of the decadence of the Southern provinces which became so evident during the seventeenth and eighteenth centuries.

For some time, however, the Hapsburg policy did not prevail, and it even appeared, at certain moments, as if a national dynasty might be restored. The Belgian States, and more especially the Belgian aristocracy, succeeded in influencing the princes and their governors, who, from time to time, reverted to a national policy. The story of the fifteenth and the sixteenth centuries in Belgium is composed of the struggle of the two opposing principles: the national Burgundian policy, based on peace and neutrality in European conflicts, and the Hapsburg policy, drawing the provinces in the wake of Hapsburg ambitions and rivalries.

Ill.u.s.tration: MARY OF BURGUNDY.

From the mausoleum in the Church of Notre Dame, Bruges.

[_DEATH OF MARY_]

If Maximilian, after his victory at Guinegate, had limited his aims to the defence of the country and managed to conclude an early peace with Louis, the att.i.tude of the people would no doubt have remained friendly. But, before being Mary's husband and the successor of the Burgundian dukes, he was an Austrian archduke, bound to pursue the policy of his House against France, whether it was to the interest of the Netherlands or not, and to oppose any local liberties which hampered his action. It is in this light that the intricate conflicts which arose between the archduke and the towns, more especially Ghent, must be viewed. The latter town rose against him, and even went as far as to re-enter into negotiations with France, far more to guard munic.i.p.al liberties than from any friendly feeling towards that country. Mary died in 1482, leaving two children, Philip and Margaret, who had been entrusted to the care of Ghent. On the archduke's refusal to conclude peace, the Ghent deputies, reverting to the project of the French marriage, negotiated at Arras a treaty with Louis XI, according to which the young Princess Margaret was to marry the dauphin.

Maximilian succeeded in defeating the Ghent militias, and transferred Philip from Ghent to Malines. But the Communes were not yet daunted. A rising occurred in Bruges and the citizens took Maximilian prisoner, obliging him, before restoring him to liberty, to abolish all the monarchical reforms which he had introduced since the granting of the Great Privilege. Bruges, however, was finally defeated, in 1490, and Ghent, which had allied itself with Charles VIII of France, in 1492.

The next year peace was concluded at Senlis between Maximilian and Charles, who was compelled to restore Artois and Franche Comte. This date marks, for the time, the end of the stubborn fight waged by the towns against the central authority of the monarch and the triumph of the modern principle of the State against the mediaeval principle of local privilege.

Ill.u.s.tration: MAXIMILIAN I. From a portrait by Ambrozio de Predis (Imperial Museum, Vienna).

[_THE "JOYOUS ENTRY"_]

With the accession of Maximilian to the Empire (1493) and of his son Philip the Handsome, then sixteen years old, to the governance of Belgium, we witness a return to the traditional Burgundian policy on strictly national lines. The enthusiasm provoked by the change and the professions of loyalty made to Belgium's "natural prince" show how deep was the attachment for the Burgundian policy and how much Maximilian's foreign origin had counted against him. The new prince, who had never left his Belgian provinces and whose education had been entrusted to Belgian tutors, became the symbol of national independence, and all the restrictions which had been exacted from Mary of Burgundy and from Maximilian were allowed to lapse in his favour. He was not asked to ratify the Great Privilege nor the various promises made by Maximilian. His "Joyous Entry of Brabant" was very much on the same lines as those sworn previously by Philip the Good and Charles the Bold. The prince's commissaries were restored to their offices and had again the power to choose communal magistrates, thus removing them from the direct influence of the corporations. The Ducal Council was reappointed, and a special ordinance of 1495 provided for the reconst.i.tution of the prince's estates. The Parliament of Malines was re-established under the name of "Grand Council." In fact, all the ground lost by centralization since the death of Charles the Bold was rapidly reconquered without any opposition, and the States General made no difficulty in granting the taxes. Such an extraordinary transformation can only be explained if we remember that almost all foreigners had been excluded from the Council of the prince. Out of fourteen councillors, two only were Germans and three of Burgundian origin. Philip himself did not even know German and had become estranged from his father. The readiness with which he accepted the counsels of his Belgian advisers, the Princes of Croy and the Counts of Berg and Lalaing, had gained for him the nickname of "Take-advice"

(Croit-conseil).

Needless to say his foreign policy was entirely directed towards peace.

In vain did Maximilian endeavour to lure him into his intrigues against France. Philip established the most cordial relations with Charles VIII. Henry VII of England, who had alienated Maximilian's sympathies since his reconciliation with France (the archduke having even encouraged the pretender Perkin Warbeck against him), and who had retaliated by transferring the staple of English cloth from Antwerp to Calais and by forbidding all trade with the Low Countries, was also pacified by Philip after some negotiations. In 1496, the two sovereigns signed the "Intercursus Magnus," which re-established commercial relations between the two countries. It is characteristic of the intimate economic connection between England and Belgium that they were the first to sign the most liberal treaty of commerce of the time.

In 1498, after a new attempt by Maximilian to enlist his support against Louis XII, Philip appealed to the States General, which strongly supported his pacific att.i.tude. By the treaty of Paris, concluded in the same year, the Belgian prince went as far as renouncing his rights on Burgundy in order to maintain friendly relations and to keep the advantages granted by the treaty of Senlis.

Philip the Handsome, in so doing, went farther than the dukes themselves: he deliberately sacrificed his dynastic interests to the welfare of the Northern provinces.

Ill.u.s.tration: PHILIP THE FAIR. JUANA OF CASTILE. Portraits by an unknown Flemish painter of the sixteenth century.

[_PHILIP THE HANDSOME_]

This uncompromising att.i.tude with regard to Belgian interests was unhappily not destined to be adhered to much longer by Philip. In 1495 he had been married to Juana of Castille, daughter of his father's allies, Ferdinand and Isabella. Through a series of deaths in the family, Juana became, in 1500, heiress to the throne of Spain. From this moment Philip's line of conduct changed, and the interests of the Low Countries were sacrificed to his dynastic ambitions. This brought about a reconciliation with Maximilian, who had at last succeeded in enlisting his son's support. On the death of Isabella, in 1504, Philip took the t.i.tle of King of Castille in order to forestall the intrigues of his father-in-law, Ferdinand. With a view of securing the support of England, which had been somewhat estranged owing to the new policy followed by Philip, the latter concluded in 1506 a new treaty of commerce, very unsatisfactory from the Belgian point of view, and which was therefore called by the people the "Intercursus Malus." The new King of Spain died the same year, in Burgos, having lost a great deal of the popularity which he had so largely enjoyed during the first part of his reign.

The crisis which followed was not so severe as that of 1477, but was very similar to it. While protesting his friends.h.i.+p for the young Prince Charles of Luxemburg, then only six years old, Louis XII won the support of Erard de la Marck, Bishop of Liege, and endeavoured to influence the towns in order to exclude Maximilian from the Regency.

Under the threat of French ambition, the States General, however, took the same line as after the death of Charles the Bold and sent a deputation to Germany. The Emperor chose his daughter, Margaret of Austria, aunt of Charles, to govern the Low Countries. This princess had not forgotten the affront she had suffered during her youth: when first affianced to Charles VIII she had been abducted by the French and subsequently restored to her father. Her hostility was, however, directed far more against the Valois than against France. Widow of Philibert of Savoy, she was the type of the great princess of the Renaissance, and combined an intense interest in Art and Letters with great diplomatic ac.u.men. During the twenty-three years that she governed Belgium, she remained a foreigner to the people. She did not know either Flemish or German, and her culture as well as her surroundings remained entirely French. Devoted to her nephew, her first aim was to further his dynastic interests, but, being very independent of her father, whose Austrian policy she succeeded in checking several times, she was intelligent enough to realize that Charles's interests were also, at the time, those of the Netherlands. Her rule therefore struck a balance between the Hapsburg and the dynastic tendencies.

Living a secluded life in her palace of Malines, and taking no part in the festivities so dear to the heart of the people, she governed the Netherlands without sympathy, but with enough wisdom for her ability to be recognized, on several occasions, both by the people and the n.o.bility.

This was soon made apparent during the first year of her governance.

She had to contend with the suspicions of the Belgian n.o.bles, headed by Guillaume de Croy, Lord of Chievres, whom Philip had appointed governor on leaving the country. The people of Ghent again became restive, while, owing to the intrigues of Louis XII, Robert de la Marck and the Duke of Gelder caused serious trouble in Luxemburg and in the North.

The States General, on their side, clamoured for peace. While ordering the tax to be levied for war, in spite of the opposition of the States, Margaret managed to conclude with France the treaty of Cambrai. This caused great satisfaction all over the country. Chievres was recalled to the court, where he acted as tutor to the prince. Again, in 1513, Margaret, who had been one of the princ.i.p.al agents in the League against France, which, besides the Emperor, included the Pope, the King of Aragon and the King of England, succeeded in maintaining the neutrality of the Low Countries, which, though benefiting from the allies' victory at Guinegate and from the taking of Tournai, had not to suffer from the military operations.

The opposition between Chievres and the gouvernante was nevertheless constant. It had been embittered by a project of marriage between Charles and Princess Mary of England, which Margaret furthered for dynastic reasons, and which Chievres opposed for fear of alienating France. The reconciliation which took place in 1514 between Louis XII and Henry VIII, and the marriage which followed between the French king and the English king's sister, Mary, were therefore a great disappointment to Margaret. Chievres followed his advantage by estranging Maximilian from his daughter and by urging the States General to demand the emanc.i.p.ation of Charles, which was finally granted by the Emperor for a money consideration. Margaret, who had been kept in ignorance of these intrigues, though deeply hurt in her pride, could do nothing but accept the accomplished fact.

[_OF CHARLES V_]

The accession of Charles, which took place on January 5, 1515, was a triumph for Chievres. The situation was exactly similar to that which prevailed when Philip the Handsome came into power. The youth of the prince, who, like his father, had received a Belgian education and was ignorant of German and Spanish, his veneration for Chievres and his friends.h.i.+p for his Belgian counsellors, brought about a return to a purely national policy, to the exclusion of any dynastic tendencies.

All foreigners were excluded from the Council, the confidants of Margaret and Maximilian became suspect, and a rapprochement was brought about with Francis I of France. A new commercial treaty was signed with Henry VIII, favouring, at the same time, relations with England.

This policy was not altered when, in 1516, through the death of Ferdinand and owing to the disability of Juana to succeed him, Charles took the t.i.tle of King of Spain. Instead of countering Francis I's intrigues and his claims to the kingdom of Naples by military measures, Charles, still bent on maintaining peace with France, negotiated the treaty of Noyon, and succeeded in persuading Maximilian to agree to this treaty, in spite of the opposition of England. A few months later, the young king and his Belgian courtiers left for Spain (1517), Charles having meanwhile consented to become a candidate for the Empire.

Ill.u.s.tration: CHARLES V.

From a contemporary engraving.