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and Legendary Art, and Legends of the Madonna (London, Longmans). For works of Italian art, both in Italy and elsewhere, Kugler’s Italian Schools of Painting is an invaluable vade-mecum. These books should be carried about by everybody everywhere. Other works of special and local importance will occasionally be noticed under each particular city, church, or museum.

      I cannot venture to hope that handbooks containing such a mass of facts as these will be wholly free from errors and misstatements, above all in early editions. I can only beg those who may detect any such to point them out, without unnecessary harshness, to the author, care of the publisher, and if possible to assign reasons for any dissentient opinion.

GRANT ALLEN

      HOW TO USE THESE GUIDEBOOKS

      THE portions of this book intended to be read at leisure at home, before proceeding to explore each town or monument, are enclosed in brackets [thus]. The portion relating to each principal object should be quietly read and digested before a visit, and referred to again afterwards. The portion to be read on the spot is made as brief as possible, and is printed in large legible type, so as to be easily read in the dim light of churches, chapels, and galleries. The key-note words are printed in bold type, to catch the eye. Where objects are numbered, the numbers used are always those of the latest official catalogues.

      Baedeker’s Guides are so printed that each principal portion can be detached entire from the volume. The traveller who uses Baedeker is advised to carry in his pocket one such portion, referring to the place he is then visiting, together with the plan of the town, while carrying this book in his hand. These Guides do not profess to supply practical information.

      Individual works of merit are distinguished by an asterisk (*); those of very exceptional interest and merit have two asterisks. Nothing is noticed in this book which does not seem to the writer worthy of attention.

      See little at a time, and see it thoroughly. Never attempt to “do” any place or any monument. By following strictly the order in which objects are noticed in this book, you will gain a conception of the historical evolution of the town which you cannot obtain if you go about looking at churches and palaces hap-hazard. The order is arranged, not quite chronologically, but on a definite plan, which greatly facilitates comprehension of the subject.

      ORIGINS OF THE BELGIAN TOWNS

      THE somewhat heterogeneous country which we now call Belgium formed part of Gaul under the Roman Empire. But though rich and commercial even then, it seems to have been relatively little Romanised; and in the beginning of the 5th century it was overrun by the Salic Franks, on their way towards Laon, Soissons, and Paris. When civilization began to creep northward again in the 9th century through the districts barbarised by the Teutonic invasion, it was the Frankish Charlemagne (Karl the Great) who introduced Roman arts afresh into the Upper and Lower Rhinelands. The Rhine from Basle to Cologne was naturally the region most influenced by this new Roman revival; but as Charlemagne had his chief seat at Aix-la-Chapelle (Aachen), near the modern Belgian frontier, the western Frankish provinces were also included in the sphere of his improvements. When the kingdom of the Franks began to divide more or less definitely into the Empire and France, the Flemish region formed nominally part of the Neustrian and, later, of the French dominions. From a very early date, however, it was practically almost independent, and it became so even in name during its later stages. But Brabant (with Brussels) remained a portion of the Empire.

      The Rhine constituted the great central waterway of mediæval Europe; the Flemish towns were its ports and its manufacturing centres. They filled in the 13th and 14th centuries much the same place that Liverpool, Glasgow, Manchester, and Birmingham fill in the 20th. Many causes contributed to this result. Flanders, half independent under its own Counts, occupied a middle position, geographically and politically, between France and the Empire; it was comparatively free from the disastrous wars which desolated both these countries, and in particular (see under Ghent) it largely escaped the long smouldering quarrel between French and English which so long retarded the development of the former. Its commercial towns, again, were not exposed on the open sea to the attacks of pirates or hostile fleets, but were safely ensconced in inland flats, reached by rivers or canals, almost inaccessible to maritime enemies. Similar conditions elsewhere early ensured peace and prosperity for Venice. The canal system of Holland and Belgium began to be developed as early as the 12th century (at first for drainage), and was one leading cause of the commercial importance of the Flemish cities in the 14th. In so flat a country, locks are all but unnecessary. The two towns which earliest rose to greatness in the Belgian area were thus Bruges and Ghent; they possessed in the highest degree the combined advantages of easy access to the sea and comparative inland security. Bruges, in particular, was one of the chief stations of the Hanseatic League, which formed an essentially commercial alliance for the mutual protection of the northern trading centres. By the 14th century Bruges had thus become in the north what Venice was in the south, the capital of commerce. Trading companies from all the surrounding countries had their “factories” in the town, and every European king or prince of importance kept a resident minister accredited to the merchant Republic.

      Some comprehension of the mercantile condition of Europe in general during the Middle Ages is necessary in order to understand the early importance and wealth of the Flemish cities. Southern Europe, and in particular Italy, was then still the seat of all higher civilization, more especially of the trade in manufactured articles and objects of luxury. Florence, Venice, and Genoa ranked as the polished and learned cities of the world. Further east, again, Constantinople still remained in the hands of the Greek emperors, or, during the Crusades, of their Latin rivals. A brisk trade existed viâ the Mediterranean between Europe and India or the nearer East. This double stream of traffic ran along two main routes – one, by the Rhine, from Lombardy and Rome; the other, by sea, from Venice, Genoa, Florence, Constantinople, the Levant, and India. On the other hand, France was still but a half civilized country, with few manufactures and little external trade; while England was an exporter of raw produce, chiefly wool, like Australia in our own time. The Hanseatic merchants of Cologne held the trade of London; those of Wisby and Lübeck governed that of the Baltic; Bruges, as head of the Hansa, was in close connection with all of these, as well as with Hull, York, Novgorod, and Bergen. The position of the Flemish towns in the 14th century was thus not wholly unlike that of New York, Philadelphia, and Boston at the present day; they stood as intermediaries between the older civilized countries, like Italy or the Greek empire, and the newer producers of raw material, like England, North Germany, and the Baltic towns.

      The local manufactures of Flanders consisted chiefly of woollen goods and linens; the imports included Italian luxuries, Spanish figs and raisins, Egyptian dates, Oriental silks, English wool, cattle, and metals, Rhenish wines, and Baltic furs, skins, and walrus tusks.

      In the early 16th century, when navigation had assumed new conditions, and trade was largely diverted to the Atlantic, Antwerp, the port of the Schelde, superseded the towns on the inland network. As Venice sank, Antwerp rose.

      The art that grew up in the Flemish cities during their epoch of continuous commercial development bears on its very face the visible impress of its mercantile origin. France is essentially a monarchical country, and it is centralized in Paris; everything in old French art is therefore regal and lordly. The Italian towns were oligarchies of nobles; so 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

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