The Spell of Flanders. Edward Neville Vose

I was welcomed to the country when he arrived after being chosen to be the first King of the Belgians in 1831. The Hotel of the Nobele Rose, near the Grande Place, is said to have been the Palace of the Countess Gertrude of Flanders in 1093, and if so, must be one of the oldest houses in Flanders. The widow of Count Philip of Alsace is also said to have resided here in 1218. More celebrated, in years to come, than any of these incidents, will be the fact that Furnes was for many months of the Great War the headquarters of the brave Belgian army, and the place of residence of Belgium’s heroic King.

      The great annual event at Furnes is the famous Procession, which takes place the third Sunday in July. It dates from 1100 or thereabouts, when, according to the legend, Count Robert of Flanders was on his way back from the Holy Land, bringing with him a piece of the true cross. His voyage across the Mediterranean, through the Straits of Gibraltar and past the stormy Bay of Biscay, was without incident, but as he was nearing home a fearful storm in the English Channel threatened to send his frail bark to the bottom. The waves were running mountain high and all the party expected each moment to be their last when the Count suddenly bethought himself of his holy relic and vowed that, if his life were spared, he would present it to the first church of which he might see the spire.

      Immediately the storm ceased, the wind died down, the sea became as smooth as a mill-pond, and as the happy mariners looked toward the shore of their dear Flanders a ray of sunlight fell upon the tower of Ste. Walburge in Furnes. To this church, therefore, in fulfilment of his vow, Count Robert presented the relic, now doubly precious by reason of this miracle. To commemorate this event the canons of the church organised a procession which took place every year and was marked by various historical representations of the return of Count Robert. About 1650 an act of sacrilege committed by a soldier, who was publicly executed for his crime, led to the procession taking on certain penitential features by way of expiation on the part of the city for this sin. From that time on the procession has included representations, for the most part by peasants dressed up for the parts, of Abraham and the Prophets, the Flight into Egypt, the Visit of the Three Wise Men to the Cradle at Bethlehem, so often painted by the artists of the Flemish school, the Stable and the Birth of Christ, the Court of Herod, Jesus in the Midst of the Doctors, the Penitent Magdalen, the Entry of Christ into Jerusalem, the Feast at Cana, the Garden of Olives, the Betrayal of Judas, and a series of scenes representing the crucifixion, burial and resurrection. Following these tableaux come the penitents, walking masked and barefooted, clad for the most part in brown Capuchin robes, and singing or chanting certain lines in Flemish. Many of the leading actors in the tableaux have “speaking parts,” all of them in Flemish and delivered with varying degrees of histrionic skill to the crowd that lines the streets. The whole performance, apart from its great antiquity, is of interest as being a local and original representation of the Biblical story—a sort of Flemish passion play, less refined and artistic than that of the Swiss peasants of Oberammergau, but none the less conscientious, earnest and sincere.

      At one time Furnes ranked next to Ghent and Bruges among the cities of Flanders in official importance, if not in population and industry, its châtellenie comprising fifty-two villages. In 1297 it was besieged by Robert, the Count of Artois, who fell five years later at the great battle of Courtrai. At Furnes the French arms were successful and the city was captured and sacked, “more than two thousand houses being burned in two days,” according to the contemporary chronicles. Philip the Bold, the first of the Burgundian Dukes to rule over Flanders, rebuilt its fortifications, and the city was deemed worthy under Philip the Good to be designated as the place of residence of the French Dauphin, who subsequently became Louis XI, when that remarkable young man was in exile through his father’s displeasure. It may well have been here that the wiliest and most unscrupulous of all the Kings of France planned that tortuous and secretive policy that—steadily pursued year after year—brought the powerful House of Burgundy low at last and made France one nation instead of two or three.

      The quaint old Grande Place of Furnes, while smaller than that of Dixmude, is equally picturesque. On one side is the old Meat Market, dating from the first quarter of the seventeenth century; and hard by is the Maison des Espagnols, or House of the Spaniards, formerly used as a town-hall and erected in the thirteenth century. The present Hotel de Ville also faces the Place and is well worth a visit, although none of its rooms are sufficiently notable to merit a detailed description. The ancient Châtellenie, now used as Court House, was begun in 1612—the year the Hotel de Ville was finished—and is chiefly memorable as the meeting-place of the Spanish Inquisition. This body held its sessions in the antechamber on the first floor and not in the main hall, which is decorated by a mural painting by de Vriendt representing Philip the Fair swearing to observe the rights and privileges of the city. The establishment of the Inquisition by his namesake and grandson, Philip II, affords a ghastly commentary on the manner in which that monarch kept the similar pledges with which he began his reign. Another fine old edifice on the Grande Place is the Belfry, square for half its height, then octagonal, and finally surmounted by a bulbous spire, heavy and clumsy, but none the less exceedingly quaint and picturesque. Not a few of the ancient houses around the Place and in the adjacent streets were sufficiently mediæval to have merited a visit had our stay in this fine old Flemish town been longer; but, so far as we could learn, none possessed any particular historical interest.

      Besides Ste. Walburge, already mentioned—which was evidently planned to be a cathedral, but of which only the choir was ever completed—Furnes possesses the church of St. Nicholas, which has a noble square tower, also unfinished. Both churches are disappointing within, although the former is, no doubt, of great interest to architects as an example of the ogival style, while the latter is Gothic and dates from the fourteenth century. The choir stalls in St. Walburge are notable examples of the Flemish woodcarvers’ art, although far less ancient than the church itself.

      If the time of your stay is midsummer, as it will be if you come to Furnes to see the Procession, do not go away without a day on the dunes at Coxyde. This beach is less well known, as yet, than those at Ostende, Heyst and Blankenburghe farther to the east but it is increasing in popularity very rapidly. A land company, with head offices at Brussels, is engaged in erecting summer houses among the dunes which look too American in architecture and manner of construction for this country where houses are generally built as if intended to last a thousand years. A little chemin de fer vicinal runs from Furnes to Coxyde. In addition to the splendid beach and the dunes, which have a dreary grandeur that is always fascinating, the shrimp fishermen, or pecheurs de crevettes, will make the short trip well worth while.

      These weather-beaten men, with their rough oilskin hats and suits, are the modern representatives of an ancient Flemish industry—shrimp fishing having been carried on along these coasts literally from time immemorial. They are very picturesque, both while at work on horseback dragging in their nets, and while lounging along the shore, pipe in mouth. Jean Delvin has a fine painting representing them in the Museum at Ghent, while one of the most powerful of Meunier’s statues is devoted to the same subject.

      CHAPTER VI

      NIEUPORT AND THE YSER CANAL

      When the war is over, and the era of commemoration begins, Belgium, if she is free, should erect at Nieuport, close to the great locks that mark the outlet of the Yser Canal—or at some point along the canal where the fighting was the fiercest—a monument higher than that at Leipzig where the Germans recall their victory over Napoleon, higher than the great lion that guards the field of Waterloo. At its summit should stand a heroic-sized figure in imperishable bronze of a Belgian infantryman, one of the round-capped “demons” whose indomitable will and unwavering courage held this last bit of Belgian soil against overpowering numbers for days. It was here that Germany’s magnificent rush from Antwerp to the Channel ports was stopped, and it was the last remnant of the little Belgian army that, turning on its foe like a lion at bay, hurled back every assault until the little Yser Canal ran red and until, at last, the great reinforcing hosts of the allies came.

      The little straggling town of Nieuport, peaceful and sleepy as it looked last summer, is not a stranger to battles and sieges. In the time of William the Conqueror Lombartzyde, now a little hamlet on the chemin de fer vicinal behind the dunes from Nieuport to Ostende, was the shipping port of this region, but great storms filled the harbour with sand and the citizens