the principal buildings of Florence and Venice are the castles or palaces of the princely families, while their pictures represent the type of art that belongs in its nature to a cultivated aristocracy. But in Flanders, everything is in essence commercial. The architecture consists mainly, not of private palaces, but of guilds, town halls, exchanges, belfries: the pictures are the portraits of solid and successful merchants, or the devotional works which a merchant donor presented to the patron saint of his town or business. They are almost overloaded with details of fur, brocade, jewellery, lace, gold, silver, polished brass, glasswork, Oriental carpets, and richly carved furniture. In order to understand Flemish art, therefore, it is necessary to bear in mind at every step that it is the art of a purely commercial people.
Another point which differentiates Flemish painting from the painting of Italy during the same period is the complete absence of any opportunity for the display of frescoes. In the Italian churches, where the walls serve largely for support, and the full southern light makes the size of the windows of less importance, great surfaces were left bare in the nave and aisles, or in the lower part of the choir, crying aloud for decoration at the hands of the fresco-painter. But in the northern Gothic, which aimed above all things at height and the soaring effect, and which almost annihilated the wall, by making its churches consist of rows of vast windows with intervening piers or buttresses, the opportunity for mural decoration occurred but seldom. The climate also destroyed frescoes. Hence the works of pictorial art in Flemish buildings are almost confined to altar-pieces and votive tablets. Again, the great school of painting in early Italy (from Giotto to Perugino) was a school of fresco-painters; but in Flanders no high type of art arose till the discovery of oil-painting. Pictures were usually imported from the Rhine towns. Hence, pictorial art in the Low Countries seems to spring almost full-fledged, instead of being traceable through gradual stages of evolution as in Italy. Most of the best early paintings are small and highly finished; it was only at a comparatively late date, when Antwerp became the leading town, that Italian influence began to produce the larger and coarser canvases of Rubens and his followers.
Very early Flemish art greatly resembles the art of the School of Cologne. Only with Hubert and Jan van Eyck (about 1360-1440) does the distinctively Flemish taste begin to show itself – the taste for delicate and minute workmanship, linked with a peculiar realistic idealism, more dainty than German work, more literal than Italian. It is an art that bases itself upon truth of imitation and perfection of finish: its chief æsthetic beauty is its jewel-like colour and its wealth of decorative adjuncts. The subsequent development of Flemish painting – the painting that pleased a clique of opulent commercial patrons – we shall trace in detail in the various cities.
Whoever wishes to gain a deeper insight into Flemish painting should take in his portmanteau Sir Martin Conway’s “Early Flemish Artists,” a brilliant and masterly work of the first importance, to which this Guide is deeply indebted.
The political history of the country during this flourishing period of the Middle Ages has also stamped itself, though somewhat less deeply, on the character of the towns and of the art evolved in them. The Counts of Flanders, originally mere lords of Bruges and its district, held their dominions of the Kings of France. Their territory included, not only Arras (at first the capital, now included in France) with Bruges, Ghent, Courtrai, Tournay, and Ypres, but also the towns and districts of Valenciennes, Lille, and St. Omer, which are now French. From the time of Baldwin VIII. (1191), however, Arras became a part of France, and Ghent was erected into the capital of Flanders. In the beginning of the 13th century, two women sovereigns ruled in succession; under them, and during the absence of the elective Counts on crusades, the towns rose to be practically burgher republics. Bruges, Ypres, Ghent, and Lille were said to possess each 40,000 looms; and though this is certainly a mediæval exaggeration, yet the Flemish cities at this epoch were at any rate the chief manufacturing and trading centres of northern Europe, while London was still a mere local emporium.
In the 14th century, the cities acquired still greater freedom. The citizens had always claimed the right to elect their Count; and the people of Ghent now made treaties without him on their own account with Edward III. of England. To this age belongs the heroic period of the Van Arteveldes at Ghent, when the burghers became the real rulers of Flanders, as will be more fully described hereafter. In 1384, however, Count Louis III. died, leaving an only daughter, who was married to Philip the Bold of Burgundy; and the wealthy Flemish towns thus passed under the sway of the powerful princes of Dijon. Brabant fell later by inheritance to Philip the Good. It was under the Burgundian dynasty, who often held their court at Ghent, that the arts of the Netherlands attained their first great development. Philip the Good (1419-1467) employed Jan van Eyck as his court painter; and during his reign or just after it the chief works of Flemish art were produced in Bruges, Ghent, Brussels, and Tournai.
Charles the Bold, the last Duke of Burgundy, left one daughter, Mary, who was married to Maximilian, afterwards Emperor. From that date forward the history of the Flemish towns is practically merged in that of the dynasty of Charles V., and finally becomes the story of an unwilling and ever justly rebellious Spanish province. The subsequent vicissitudes of Belgium as an Austrian appanage, a part of Holland, and an independent kingdom, belong to the domain of European history. For the visitor, it is the period of the Burgundian supremacy that really counts in the cities of Belgium.
Yet the one great point for the tourist to bear in mind is really this – that the art of the Flemish towns is essentially the art of a group of burgher communities. It is frankly commercial, neither royal nor aristocratic. In its beginnings it develops a strictly municipal architecture, with a school of painters who aimed at portraiture and sacred panel pictures. After the Reformation had destroyed sacred art in Holland, painting in that part of the Netherlands confined itself to portraits and to somewhat vulgar popular scenes: while in Belgium it was Italianised, or rather Titianised and Veronesed, by Rubens and his followers. But in its best days it was national, local, and sacred or personal.
Take Conway’s “Early Flemish Artists” with you in your portmanteau, and read over in the evening his account of the works you have seen during the day.
ORDER OF THE TOUR
IF possible, visit the cities of Belgium in the order in which they are treated in this Guide: – Bruges first; then Ghent, Brussels, and Antwerp. For this order you will find very good reasons. Bruges is the most antique in tone and the least spoiled of all the Flemish towns; it best exhibits the local peculiarities we have here specially to consider; and it leads up naturally to the other cities. It is true, Memling, the great painter whom we have chiefly to study at Bruges, is later in date than Jan van Eyck, whose principal work (with that of his brother Hubert) is to be seen at Ghent. But historical sequence in this minor matter is somewhat less important than a due apprehension of the general air of an old Flemish town such as those in which the art of the Van Eycks arose; and besides, there is at least one characteristic Van Eyck at Bruges, while there are many Memlings for comparison in other cities.
As a rule, too little time is given by tourists to Bruges and Ghent, and too much to Brussels. I should advise three or four days each to the first-named towns, and a week to the capital.
Those who intend to combine a visit to Holland in the same tour should certainly see Belgium in the order here given first, and then proceed to Rotterdam, the Hague, Haarlem, and Amsterdam. For such a sequence, which is geographically the easiest, is also chronologically natural. Bruges is the most mediæval of all the towns, and has for its principal great artist Memling. Ghent comes next, with the Van Eycks and a few later painters. Brussels represents the end of the Middle Ages, and contains a general metropolitan collection of early and middle Flemish art. Antwerp gives us in particular Quentin Matsys and his contemporaries, as well as Rubens and Van Dyck. And the Dutch towns lead us on through Van Dyck and the later transitionals to Rembrandt, Van der Helst, Frans Hals, and the other mighty masters of Holland. I may add
