act of piercing the side of Christ (thus drawing the Blood), with the Holy Women and St. John in attendance; on the wings, the Way to Calvary, and the Resurrection.
Between the windows is a curious chronological picture of the late 15th century, representing the History of Our Lady in the usual stages, with other episodes. To the R. of it, a painting of the 15th century shows Count Theodoric receiving the Holy Blood from his brother-in-law, Baldwin, King of Jerusalem, and the bringing of the Holy Blood to Bruges.
On the right wall there is a famous *triptych by Gerard David (the finest work here), representing the Deposition in the Tomb, with the Maries, St. John, Nicodemus, and an attendant holding a dish to contain the Holy Blood, which is also seen conspicuously flowing from the wounds; the left wing shows the Magdalen with Cleophas; the right wing, the preservation of the Crown of Thorns by Joseph of Arimathea. The portrait character of the faces is admirable: stand long and study this fine work.
The original designs for the windows of the Chapel are preserved in a glass case by the window; behind which are fragments of early coloured glass; conspicuous among them, St. Barbara with her tower.
On the exit wall is a fine piece of late Flemish tapestry, representing the bringing of the body of St. Augustine to Pavia, with side figures of San Frediano of Lucca and Sant’ Ercolano of Perugia – executed, no doubt, for an Italian patron.
The Chapel itself, which we next enter, is gorgeously decorated in polychrome, recently restored. The stained glass windows, containing portraits of the Burgundian Princes from the beginning of the dynasty down to Maria Theresa and Francis I., were executed in 1845 from earlier designs. The large window facing the High Altar is modern. It represents appropriately the history of the Passion, the origin of the Sacred Blood, its Transference to Bruges, and the figures of the Flemish Crusaders engaged in its transport. At the summit of the window, notice the frequent and fitting symbol of the pelican feeding its young with its own blood.
In the little side chapel to the R., separated from the main building by an arcade of three arches, is the tabernacle or canopy from which the Sacred Blood is exhibited weekly. To the right is hung a Crown of Thorns. Notice, also, the Crown of Thorns held by the angel at the top of the steps. The window to the L. (modern) represents St. Longinus, the centurion who pierced the side of Christ, and St. Veronica, displaying her napkin which she gave to the Saviour to wipe his face on the way to Calvary, and which retained ever after the impress of the Divine Countenance. Almost all the other objects in the chapel bear reference, more or less direct, to the Holy Blood. Observe particularly in the main chapel the handsome modern High Altar with its coloured reliefs of scenes of the Passion. Such scenes as the Paschal Lamb on its base, with the Hebrew smearing the lintel of the door, are of course symbolical.
The Lower Chapel, to which we are next conducted, is a fine specimen of late Romanesque architecture. It was built by Theodoric in 1150. Its solid short pillars and round arches contrast with the lighter and later Gothic of the upper building. The space above the door of the eastern of the two chapels which face the entrance, is occupied by an interesting mediæval relief representing a baptism with a dove descending. Notice as you pass out, from the Place outside, the two beautiful turrets at the west end of the main chapel.
To the left of the Hôtel de Ville stands the ornate and much gilded Renaissance building known as the *Maison de l’Ancien Greffe, originally the municipal record office, but now employed as a police-court. It bears the date 1537, and has been recently restored and profusely covered with gold decoration. Over the main doorway is the Lion of Flanders; on the architrave of the first floor are heads of Counts and Countesses; and the building is surmounted by a figure of Justice, with Moses and Aaron and emblematical statues. Note the Golden Fleece and other symbols. The interior is uninteresting.
The E. side of the square is formed by the Palais de Justice, which stands on the site of an old palace of the Counts of Flanders, presented by Philippe le Beau to the Liberty of Bruges, and employed by them as their town hall of the Buitenpoorters, or inhabitants of the district outside the gate, known as the Franc de Bruges. The Renaissance building, erected between 1520 and 1608, was burnt down and replaced in the 18th century by the very uninteresting existing building. Parts of the old palace, however, were preserved, one room in which should be visited for the sake of its magnificent **chimney-piece. In order to see it, enter the quadrangle: the porter’s room faces you as you enter; inquire there for the key; admission, 50 c. per person. The concierge conducts you to the Court-Room, belonging to the original building. Almost the entire side of the room is occupied by a splendid Renaissance chimney-piece, executed in 1529, after designs by Lancelot Blondeel of Bruges (a painter whose works are frequent in the town), and Guyot de Beaugrant of Malines, for the Council of the Liberty of Bruges, in honour of Charles V., as a memorial of the Treaty of Cambrai, in 1526. (This was the treaty concluded after the battle of Pavia, by which François Ier of France was compelled to acknowledge the independence of Flanders. Some of the figures in the background are allusive to the victory.) The lower part, or chimney-piece proper, is of black marble. The upper portion is of carved oak. The marble part has four bas-reliefs in white alabaster by Guyot de Beaugrant, representing the History of Susannah, a mere excuse for the nude: (1) Susannah and the Elders at the Bath; (2) Susannah dragged by the Elders before the Judge; (3) Daniel before the Judge exculpating Susannah; (4) The Stoning of the Elders. The genii at the corners are also by Beaugrant. The whole is in the pagan taste of the Renaissance. The upper portion in oak contains in the centre a statue of Charles V., represented in his capacity as Count of Flanders (as shown by the arms on his cuirass): the other figures represent his descent and the cumulation of sovereignties in his person. On the throne behind Charles (ill seen) are busts of Philippe le Beau, his father, through whom he inherited the Burgundian dominions, and Johanna (the Mad) of Spain, his mother, through whom he inherited the united Peninsula. The statues L. and R. are those of his actual royal predecessors. The figures to the L. are his paternal grandfather, the Emperor Maximilian, from whom he derived his German territories, and his paternal grandmother, *Mary of Burgundy, who brought into the family Flanders, Burgundy, etc. Mary is represented with a hawk on her wrist, as she was killed at twenty-five by a fall from her horse while out hawking. (We shall see her tomb later at Notre-Dame.) The figures on the R. are those of Ferdinand of Aragon and Isabella of Castile, the maternal grandfather and grandmother of Charles, from whom he inherited the two portions of his Spanish dominions. The medallions at the back represent the personages most concerned in the Treaty of Cambrai, and the Victory of Pavia which rendered it possible. (De Lannoy, the conqueror, to whom François gave up his sword, and Margaret of Austria.) The tapestry which surrounds the hall is modern; it was manufactured at Ingelmünster after the pattern of a few old fragments found in the cellars of the ancient building. The mediocre painting on the wall depicts a sitting of the court of the Liberty of Bruges in this room (1659).
The N. side of the square is now occupied by a small Place planted with trees. Originally, however, the old cathedral of Bruges occupied this site. It was dedicated to St. Donatian, the patron of the city, whose relics were preserved in it; but it was barbarously destroyed by the French Revolutionary army in 1799, and the works of art which it contained were dispersed or ruined. Figures of St. Donatian occur accordingly in many paintings at Bruges. Jan van Eyck was buried in this cathedral, and a statue has been erected to him under the trees in the little Place. In order, therefore, mentally to complete the picture of the Place du Bourg in the 16th century, we must imagine not only the Hôtel de Ville, the Chapelle du Saint Sang, and the Ancien Greffe in something approaching their existing condition, but also the stately cathedral and the original Renaissance building of the Franc de Bruges filling in the remainder.
An archway spans the space between the Ancien Greffe and the Hôtel de Ville. Take the narrow street which dives beneath it, looking back as you pass at the archway with its inscription of S.P.Q.B. (for Senatus Populusque Brugensis). The street then leads across a bridge over the river Reye or principal
