Vanished towers and chimes of Flanders Part 2

From my room in the small hotel de Buda, just beneath the old gray tower of St. Rombauld in this ancient town of Malines, I have listened by day and night to the music of these bells, which sounded so exquisite to me that I can still recall them. The poet has beautifully expressed the idea of the bell music of Flanders thus, "The Wind that sweeps over her campagnas and fertile levels is full of broken melodious whispers"

(Haweis).

Certainly these chimes of bells playing thus by day and night, day in, day out, year after year, must exercise a most potent influence upon the imagination and life of the people.

The Flemish peasant is born, grows up, lives his life out, and finally is laid away to the music of these ancient bells.

[Ill.u.s.tration: The Old Porte Marechale: Bruges]

When I came away from Malines and reached Antwerp, I lodged in the Place Verte, as near to the chimes as I could get. My student days being over, I found that I had a strange sense of loss, as if I had lost a dear and valued friend, for the sound of the bells had become really a part of my daily existence.

Victor Hugo, who traveled through Flanders in 1837, stopped for a time in Malines, and was so impressed with the carillon that he is said to have written there the following lines by moonlight with a diamond upon the window-pane in his room:

"J'aime le carillon dans tes cites Antiques, O vieux pays, gardien de tes moeurs domestiques, n.o.ble Flandre, ou le Nord se rechauffe engourdi Au soleil de Castille et s'accouple au Midi.

Le carillon, c'est l'heure inattendue et folle Que l'oeil croit voir, vetue en danseuse espagnole Apparaitre soudain par le trou vif et clair Que ferait, en s'ouvrant, une porte de l'air."

It was not until the seventeenth century that Flanders began to place these wondrous collections of bells in her great towers, which seem to have been built for them. Thus came the carillons of Malines, Bruges, Ghent, Antwerp, Louvain, and Tournai. Of these, Antwerp possessed the greatest in number, sixty-five bells. Malines came next with forty-four, then Bruges with forty, and a great bourdon or ba.s.s bell; then Tournai and Louvain with forty, and finally Ghent with thirty-nine.

In ancient times these carillons were played by hand on a keyboard, called a _clavecin_. In the belfry at Bruges, in a dusty old chamber with a leaden floor, I found a very old _clavecin_. It was simply a rude keyboard much like that of a primitive kind of organ, presenting a number of jutting handles, something like rolling pins, each of which was attached to a wire operating the hammer, in the bell chamber overhead, which strikes the rim of the bells. There was an old red, leather-covered bench before this machine on which the performer sat, and it must have been a task requiring considerable strength and agility so to smite each of these pins with his gloved fist, his knees and each of his feet (on the foot board) that the hammers above would fall on the rims of the different bells.

From my room in the old "Panier d'or" in the market-place on many nights have I watched the tower against the dim sky, and seen the light of the "_veilleur_," shining in the topmost window, where he keeps watch over the sleeping town, and sounds two strokes upon a small bell after each quarter is struck, to show that he is on watch. And so pa.s.sed the time in this peaceful land until that fatal day in August, 1914.

Dixmude

Dixmude

There is no longer a Grand' Place at Dixmude. Of the town, the great squat church of St. Martin, and the quaint town hall adjoining it, now not one stone remains upon another. The old mossy walls and bastion are level with the soil, and even the course of the small sluggishly flowing river Yser is changed by the ruin that chokes it.

I found it to be a melancholy, faded-out kind of place in 1910, when I last saw it. I came down from Antwerp especially to see old St.

Martin's, which enshrined a most wondrous _Jube_, or altar screen, and a chime of bells from the workshop of the Van den Gheyns. There was likewise on the Grand' Place, a fine old prison of the fourteenth century, its windows all closed with rusty iron bars, most of which were loose in the stones. I tried them, to the manifest indignation of the solitary gendarme, who saw me from a distance across the Grand' Place and hurried over to place me under arrest. I had to show him not only my pa.s.sport but my letter of credit and my sketch book before he would believe that I was what I claimed to be, a curious American, and something of an antiquary. But it was the sketch book that won him, for he told me that he had a son studying painting in Antwerp at the academy. So we smoked together on a bench over the bridge of the "Pape Gaei" and he related the story of his life, while I made a sketch of the silent, gra.s.s-grown Grand' Place and the squat tower of old St.

Martin's, and the Town Hall beside it.

While we sat there on the bench only two people crossed the square, that same square that witnessed the entry of Charles the Fifth amid the silk-and velvet-clad n.o.bles and burghers, and the members of the great and powerful guilds, which he regarded and treated with such respect. In those days the town had a population of thirty thousand or more. On this day my friend the gendarme told me that there were about eleven hundred in the town. Of this eleven hundred I saw twelve market people, the _custode_ of the church of St. Martin; ditto that of the Town Hall; the gendarme; one baby in the arms of a crippled girl, and two gaunt cats.

The great docks to which merchantmen from all parts of the earth came in ships in the sixteenth and seventeenth centuries had now vanished, and long green gra.s.s waved in the meadows where the channel had been.

[Ill.u.s.tration: The Ancient Place: Dixmude]

The ancient corporations and brotherhood, formerly of such power and renown, had likewise long since vanished, and nought remained but here and there on the silent, gra.s.s-grown streets gray, ancient palaces with barred and shuttered windows. The very names of those who once dwelt there could be found only in the musty archives in Bruges or Brussels. A small _estaminet_ across the bridge bore the sign "In den Pape Gaei,"

and to this I fared and wrote my notes, while the crippled girl carrying the baby seated herself where she could watch me, and then lapsed into a sort of trance, with wide open eyes which evidently saw not.

In company with a large, black, savage-looking dog which traveled side-ways regarding me threateningly, I thought, and gloweringly refused my offers of friendship, I crossed the Grand' Place to the Hotel de Ville, or Town Hall, the door of which stood open. Inside, no living soul responded to my knock. The rooms were rather bare of furniture, many of them of n.o.ble proportions, and a few desks and chairs showed that they were used by the town officers, wherever they were.

St. Martin's was closed, and I skirted its walls, hoping to find somewhere a door unfastened that I might enter and see the great _Jube_ or altar screen. In a small, evil-smelling alley-way, where there was a patch of green gra.s.s, I saw low down in the wall a grated window, which I fancied must be at the back of the altar. I got down on my knees and, parting the gra.s.s which grew there rankly, I put my face in against the iron bars that closed it. For a moment I could see nothing, then when my eyes became accustomed to the light I saw a tall candle burning on an iron ring on the wall; then a heavy black cross beside it, and finally a figure in some sort of heavy dark robe kneeling prostrate before it, only the tightly clasped white hands gleaming in the dim candle light; almost holding my breath I withdrew my head, feeling that I was almost committing sacrilege. Unfortunately for me, I dislodged some loose mortar, and I heard this rattle noisily into the chamber below. Then I fled as rapidly as I could down the dim alley-way to the silent sunlit Grand' Place. Here I found the verger, and he admitted me to the great old church, in return for a one-franc piece, and brought me a rush-bottom chair to a choice spot before the wondrous _Jube_, where I made my drawing.

[Ill.u.s.tration: The Great Jube, or Altar Screen: Dixmude]

In the silence of the great gray old church I labored over the exquisite Gothic detail, all unmindful of the pa.s.sing time, when all at once I became conscious that a small green door beside the right hand low _retable_ was moving outward. I ceased working and watched it; then the solitary candle before the statue of the Virgin guttered and flared up; then the small door opened wide and forth came an old man in a priest's ca.s.sock, with a staff in his hand. The small, green, baize-covered door closed noiselessly; the old man slowly opened the gate before the altar and came down the step toward me. Without a word he walked behind my chair and peered over my shoulder at the drawing I was making of the great _Jube_.

He tapped the floor with his staff, placed it under his arm, sought his pocket somewhere beneath his ca.s.sock, from which he produced a snuff box. From this he took a generous pinch, and a moment later was blowing vigorously that note of satisfaction that only a devotee of the powder can render an effective adjunct of emotion.

"Bien faite, M'sieur," he exclaimed at length, wiping his eyes on a rather suspicious looking handkerchief. "T-r-r-r-r-es bien faite! J'vous fais mes compliments." "Admirable! You have certainly rendered the spirit of our great and wondrous altar screen."

A little later we pa.s.sed out of the old church through a side door leading into a small green enclosure, now gloomy in the shade of the old stone walls. At one end was a tangle of briar, and here were some old graves, each with a tinsel wreath or two on the iron cross. And presiding over these was the limp figure of a one-legged man on two crutches, who saluted us. We pa.s.sed along to the end of the inclosure, where lay a chance beam of sunshine like a bar of dusty gold against the rich green gra.s.s.

"Oui, M'sieur," said the priest, as if continuing a sentence he was running over in his mind. "Ca.s.se! Pauvre Pierre, un peu ca.s.se, le pauvre bonhomme, but then, he's good for several years yet; cracked he is, but only cracked like a good old basin, and (in the idiom) he'll still hold well his bowl of soup."

He laughed at his wit, became grave, then shook out another laugh.

"See," he added, pointing to the ground all about us strewn with morsels of tile; "the roof cracks, but it still holds," he added, pointing upwards at the old tower of St. Martin's. "And now, M'sieur, I shall take you to my house; _tenez_, figure to yourself," and he laid a fine, richly veined, strong old hand upon my arm with a charming gesture. "I have been here twenty-five years; I bought all the antique furniture of my predecessor. I said to myself, 'Yes, I shall buy the furniture for five hundred francs, and then, later I shall sell to a wealthy amateur for one thousand francs, perhaps in a year or two.' Twenty-five years ago, and I have it yet. And now it creaks and creaks and snaps in the night. We all creak and creak thus as we grow old; ah, you should hear my wardrobes. 'Elles ca.s.sent les dos,' and I lie in my warm bed in the winter nights and listen to my antiques groan and complain. Poor old things, they belonged to the 'Empire' Period; no wonder they groan.

[Ill.u.s.tration: The Fish Market: Dixmude]

"And when my friend the notaire comes to play chess with me, you should see him eye my antiques, ah, so covetously; I see him, but I never let on. Such a collection of antiques as we all are, M'sieur." Then he became serious, and lifting his cane he pointed to a gravestone at one side, "My old servant lies there, M'sieur; we are all old here now, but still we do not die. Alas! we never die. There is plenty of room here for us, but we die hard. See, myotis, heliotrope, hare bells, and mignonette, a bed of perfume, and there lies my old servant. A restless old soul she was, and she took such a long time to die. She was eighty-five when she finally made up her mind."

I had a cup of wine with the old man in his small _salle a manger_. His house was indeed a mine of wealth for the antiquary and collector, more like a shop than a house. I lingered with him for nearly an hour, telling him of the great world lying beyond Dixmude, of London and Paris, and of New York and some of its wonders, of which I fancied he was rather sceptical. And then I came away, after shaking hands with him at his doorstep in the dim alley-way, with the bar of golden sunlight shining at the entrance to the Grand' Place and the noise of the rooks cawing on the roof.

"_Au revoir_, M'sieur le Peintre, _et bon voyage_, and remember, 'Ask, and it shall be given, seek and you shall find,'" and with these cryptic words, he stood with uplifted hands, a smile irradiating his fine ascetic face glowing like that of a saint. Behind the faded black of his old _soutane_ I could see his treasures of blue china and ancient cabinets, and a chance light illumined a mirror behind his head, and aureoled him like unto one of the saints behind the great "Jube," and thus I left him.

And now Dixmude is in formless heaps of ashes and burnt timbers. Hardly one stone now remains upon another. There is no longer a Grand'

Place--and the very course of the river Yser is changed.

Ypres

Ypres

Ypres as a town grew out of a rude sort of stronghold built, says M.

Vereeke in his "Histoire Militaire d'Ypres," in the year 900, on a small island in the river Yperlee. It was in the shape of a triangle with a tower on each corner, and was known to the inhabitants as the "Castle of the three Turrets."

Its establishment was followed by a collection of small huts on the banks of the stream, built by those who craved the protection of the fortress. They built a rampart of earth and a wide ditch to defend it, and to this they added from time to time until the works became so extensive that a town sprang into being, which from its strategic position on the borders of France soon became of great importance in the wars that constantly occurred. Probably no other Flemish town has seen its defenses so altered and enlarged as Ypres has between the primitive days when the crusading Thierry d'Alsace planted hedges of live thorns to strengthen the towers, and the formation of the great works of Vauban. We have been so accustomed to regarding the Fleming as a sluggish boor, that it comes in the nature of a surprise when we read of the part these burghers, these weavers and spinners, took in the great events that distinguished Flemish history. "In July, 1302, a contingent of twelve hundred chosen men, five hundred of them clothed in scarlet and the rest in black, were set to watch the town and castle of Courtrai, and the old Roman Broel bridge, during the battle of the 'Golden Spurs,' and the following year saw the celebration of the establishment of the confraternity of the Archers of St. Sebastian, which still existed in Ypres when I was there in 1910. This was the last survivor of the famed, armed societies of archers which flourished in the Middle Ages. Seven hundred of these men of Ypres embarked in the Flemish ships which so hara.s.sed the French fleet in the great naval engagement of June, 1340."

Forty years later five thousand men of Ypres fought upon the battlefield with the French, on that momentous day which witnessed the death of Philip Van Artevelde and the triumph of Leliarts. Later, when the Allies laid siege to the town, defended by Leliarts and Louis of Maele, it was maintained by a force of ten thousand men, and on June 8, 1383, these were joined by seventeen thousand English and twenty thousand Flemings, these latter from Bruges and Ghent.

At this time the gateways were the only part of the fortifications built of stone. The ramparts were of earth, planted with thorn bushes and interlaced with beams. Outside were additional works of wooden posts and stockades, behind the d.y.k.e, which was also palisaded. The English, believing that the town would not strongly resist their numbers, tried to carry it by a.s.sault. They were easily repulsed, to their great astonishment, with great losses.

At last they built three great wooden towers on wheels filled with soldiers, which they pushed up to the walls, but the valiant garrison swarmed upon these towers, set fire to them, and either killed or captured those who manned them.