Part 4 (2/2)

_Ph. B._

With the decline of German political and intellectual influence, Gothic was introduced into the country by French architects. In the last years of the twelfth century, Tournai thus became the meeting-place of the two currents, and, owing to its favourable position on the Scheldt and to the material available in the district, dominated the whole religious architecture of Flanders. The period of transition lasted over a century and produced some of the most characteristic religious buildings of the country, in which both the rounded and pointed arches are happily combined. To this period belong St. Jacques and Ste.

Madeleine of Tournai, St. Nicolas and St. Jacques of Ghent and the pretty little church of Pamele, built by Arnold of Binche (near Tournai) between 1238 and 1242, where beside the romanesque turrets of the facade may be found a short central octagonal Gothic tower. The well-known Church of St. Sauveur at Bruges, begun in 1137, belongs to the same period, but brick instead of Tournai stone has been used for its erection. The same feature is found in a good many Gothic churches in maritime Flanders and Holland, which were too distant from the Hainault quarries.

Tournai again, in the choir of its cathedral, furnishes a good example of Belgian early Gothic (thirteenth century), of which the destroyed cathedral of Ypres, St. Martin, was considered the masterpiece. All trace of the round arch has now disappeared and the columns are formed by ma.s.sive pillars.

As the Gothic style develops in its secondary period (late thirteenth and beginning of fourteenth century) the windows increase in size, the pillars are fluted and the tracery of the windows becomes more and more complicated. The best examples of this particular Gothic still in existence are the choir of St. Paul at Liege and Notre Dame of Huy (begun in 1311).

Ill.u.s.tration: BRONZE FONT IN THE CHURCH OF ST. BARTHOLOMEW, LIeGE (1107-1118).

The baptism of Christ.

St. Peter baptising Cornelius.

[_GOTHIC CATHEDRALS_]

The most important and the best preserved Belgian churches belong, however, to the third period of Gothic, when cl.u.s.tered columns replace pillars, tracery becomes flamboyant and spires soar higher and higher above the naves. Brabant is especially rich in fourteenth and fifteenth century churches. Possessing its own quarries, it was independent of Tournai, and can claim an original style altogether free from Hainault or French influence. In this group must be mentioned Notre Dame of Hal; the cathedral of St. Rombaut, in Malines, begun in 1350 and whose flat-roofed tower was only finished in 1452; Ste. Gudule, in Brussels, the oldest of them all, with some parts dating as far back as the thirteenth century, a flamboyant porch and two flat-roofed towers similar to those of St. Rombaut; and, finally, the great cathedral of Antwerp, begun in 1387, with one of the highest towers in Europe and certainly the slenderest, whose various stories mark the transformation of style as they rise to end in a purely Renaissance spire.

Ill.u.s.tration: COLLEGIATE CHURCH OF SAINTE GUDULE, BRUSSELS (THIRTEENTH-FOURTEENTH CENTURY).

_Ph. B._

Most of these romanesque and Gothic churches have no unity of style, owing to the long period covered during their building. From a purely architectural point of view, they lack perhaps the purity of some of their French and German rivals, but they are all the more interesting to the historian and bring him into close contact with the transformation of mind and manners from the Middle Ages to the Renaissance.

In order not to split up our subject we have wandered from the civilization of the Middle Ages into the early Renaissance. Let us now go back to Notre Dame of Tournai, with her five pointed towers, and see what we may learn from her with regard to the intellectual and literary developments of the period. In the same way as the building of its choir, in the early thirteenth century, shows evident traces of French influence, so the use of French, among the upper cla.s.ses and in the literature of the period, becomes more and more predominant.

During the first centuries of the Middle Ages, French influence in Flanders was particularly noticeable in the monasteries. Almost in every monastery Walloon and Flemish monks lived side by side, and it became necessary that their abbots should be able to make themselves understood by both sections of the community. Thierry of St. Trond was chosen by the monks of St. Peter at Ghent ”quoniam Theutonica et Gaulonica lingua expeditus.” Examples abound of bishops, teachers and preachers able to express themselves in Flemish and French. The ”Cantilene of Ste. Eulalie,” the oldest poem written in the French language, was discovered in the monastery of St. Amand together with one of the oldest German writings, the ”Ludwigslied.” The Clunisian influence tended also to spread the use of French in the northern districts.

[_BI-LINGUALISM_]

The same bilingual characteristic may be found among the n.o.bles, who met frequently in the course of their military expeditions or peaceful tournaments. Intermarriages between families belonging to both parts of Lotharingia and Flanders were frequent. Besides, most of the large domains lay across the language frontier. The knowledge of French soon became an essential condition of a good education, and the children of Flemish lords were sent to French abbeys in order to perfect their knowledge of the language. It may be a.s.sumed that, at the end of the eleventh century, the majority of the aristocracy was bilingual. It was one of the reasons which gave the Belgian n.o.bles such a prominent position in the crusades. A contemporary writer, Otto of Friesingen, explains that G.o.dfrey of Bouillon was placed at the head of the crusaders because, ”brought up on the frontier between romanized and Teutonic people, he knew both languages equally well.”

This penetration of French, not only in Flanders, which was nominally attached to the kingdom of France, but also in Lotharingia and even in Liege, the centre of German influence, is all the more remarkable as it implied no political hegemony, the counts of Flanders being practically independent, at the time, and the other n.o.bles attached to the Empire.

It was not introduced by conquest, as in England in the eleventh century, or through immigration, like German into Bohemia or into the Baltic States. The race of the northern provinces remained relatively pure, and the adoption of a second language by the aristocracy can only be explained by the intimate relations created between Thiois (Flemings) and Walloons owing to political conditions, to diocesan boundaries and social intercourse.

The influence of French was still further increased during the twelfth century, which is the cla.s.sical epoch of French literature in the Middle Ages, and during which trade became so much more active owing to the formation of the Communes. It was not only spoken by nearly all the counts of Flanders and used in their private correspondence, but it became, to a certain extent, the official language when Latin was dispossessed of its monopoly. Its use ceased to be confined to the aristocracy and spread to the bourgeoisie, owing to the frequent intercourse between Flemish and French merchants at the fairs of Champagne. All bills of exchange were written in French, and even the Lombards and the Florentine bankers used it in their transactions. Its knowledge was as necessary, at the time, as a knowledge of English may be to-day to all exporters. As late as 1250, it was the only popular language in which public doc.u.ments were written. It is true that, in Northern Flanders, many Germanic terms are mixed with it, but it exerts practically no influence on the early development of the Flemish language. The linguistic situation in Flanders, during the thirteenth century, is interesting to compare with that existing in England, at the same time, where the imported tongue was progressively absorbed by the native, just as the Normans were absorbed by the Saxons. Again, it is typical of the pacific character of French penetration that when, in the middle of the thirteenth century, Flemish prose, having sufficiently developed, was adopted for public acts, no restriction whatever was placed on this custom. French, however, remained the language used by the counts and by their officers. The doc.u.ments of the period present an extraordinary medley of Latin, French and Flemish texts.

Brabant was not so strongly influenced, partly because the dukes belonged to the old native dynasty and partly because the dukedom entered later into the current of trade intercourse. French was used at court, and a knowledge of it was considered as a necessary accomplishment for a n.o.bleman. But the dukes used Flemish in their relations with their Flemish subjects, and when Latin gradually disappeared, the popular language took its place in public acts.

[_PICARD WRITERS_]

This efflorescence of the French language must be connected with the great prosperity of Walloon Flanders and the development, in Arras, Douai, Lille, Tournai and Valenciennes, of an intense literary movement, including poets, chroniclers and translators endowed with a distinct originality. As late as the thirteenth century these writers, who had adopted the Picard dialect, proclaimed their independence from purely French literature, so that, in their own domain, they play a similar part to that played by the Tournai master-builders in theirs.

The counts of Flanders and Hainault, among them Philip of Alsace, Baldwin V and Baldwin VI, patronized native literature and even attracted to their courts some of the greatest French poets of the period, such as Chretien de Troyes and Gautier d'Epinal. The dukes of Brabant imitated this example and patronized Adenet le Roi, who was considered the most eminent Belgian trouvere. We still possess a few songs composed by Duke Henry III. Nothing can give us a better insight into the intellectual life of some of the n.o.bles of the time than the following lines in which Lambert d'Ardres describes the manifold activities of Baldwin II, Count of Guines (1169-1206). This prince ”surrounded himself with clerks and masters, asked them questions unceasingly and listened to them attentively. But, as he would have liked to know everything and could not remember everything by heart, he ordered Master Landri de Waben to translate for him from the Latin into Romance the Song of Solomon, together with its mystic interpretation, and often had it read aloud to him. He learned, in the same way, the Gospels, accompanied by appropriate sermons, which had been translated, as well as the life of St. Anthony Abbot, by a certain Alfred. He also received from Master G.o.dfrey a great portion of the Physic translated from Latin into Romance. Everyone knows that the venerable Father Simon of Bologna translated for him from the Latin into Romance the book of Solinus on natural history and, in order to obtain a reward for his labour, offered the book to him publicly and read it to him aloud.”

Translations play a most important part in the literature of the time, and it is significant that Belgium, from this point of view, owing no doubt to her duality of language, acted as a pioneer for France. Just as the Walloon provinces were first to discard Latin in public acts and replace it by French, it is among their writers that the first and most notable translators may be found. The tastes of translators and their patrons were very catholic; science, theology, history and poetry proving equally attractive. Another characteristic of French letters in Belgium is the importance given to history. The first historical work written in French is a translation by Nicolas de Senlis of the _Chronicle of Turpin_, made for Yolande, sister of Baldwin V of Hainault. In 1225 a clerk compiled for Roger, castellan of Lille, a series of historical stories, the _Livre des Histoires_, taken from the most various sources, from the creation of the world down to his own time. Soon original works, dealing with local and contemporary events, replaced translations and compilations. Such are the _Story of Hainault_, written for Baldwin of Avesnes, and the rhymed _Chronicle of Tournai_ by Philippe Mousket.

[_ROMANCES_]

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