The Historical Perspective

The booklet which I saw in the Archives contained a first half of the Dutch, then the French version, of a resume historique of the statues on the Stadhuis. It is interesting and gives the long view though

the interested reader must be aghast at the sheer time scale, and the details, of the twentieth century indecision which seems to have covered half the century. In the second half of the booklet, is a photographic record of some of the work on the statues during the eighties and the subsequent celebration of the finished facade. Beside a photograph of Frank Van Acker is the description, 'motor behind the completion of the new statues' and the conclusion must be that had it not been for his determination for the project to be completed, the prolonged discussions must have continued! He died around four years after the completion; small wonder that the populace placed a splendid sculpture of him in the Vismarkt in gratitude to his effective stewardship.

 

Work on the construction of the Hotel de Ville, the Stadhuis, was begun in 1376 and the Gothic facade was designed to be decorated with statues in the niches provided. Between 1379 and 1386, twenty statues were placed in situ. The careful record shows that in 1423-24, another four were added and eight more in 1434-35. One more statue appeared in 1478 and three more in 1485-95 but after that date, enthusiasm, and perhaps finance, flagged; during the sixteenth century only two more statues were commissioned and one more in 1601-2. The eighteenth century witnessed the arrival of nine more including four in 1786 but alas, in 1792 during the French Revolution, all the statues were taken down and 'thrown into the Grande Place' [the Burg] with only sixteen of these originals saved and stored in the Gruuthuse.
 

Another half century elapsed before the Commission de Restauration was formed to consider a new series of statues. The entire facade was remade between 1852 and 1862, with new statues commissioned from Jozef Geens and Charles Geerts. Sadly the stone used was of mediocre quality again, perhaps because of available finance.

In 1938, architect J. Vierin planned a restoration of the facade but WW2 intervened and the plan was shelved. In 1951, the same J.Vierin proposed a modified plan and his restoration was carried out in 1959-61 using new statues designed to replace those of the nineteenth century. However, [do hope my translation is correct here!] in 1960 artists K. Aubroeck and Van de Voorde were responsible for the design of statues based on the iconic ones before 1792 but the powerful Commission Royale de Monuments et Sites [CRMS] did not approve.

Between 1960 and 1981 there seems to have been an ongoing saga over the statues with the CRMS always prominently involved. In 1962 Arno Brys was put in charge of the project and his suggested drawings and maquettes approved, but 'un peu de temps apres' Monsieur Brys retired with no reason recorded. In 1966 sculptor M.Witdouck had designs for forty five statues initially approved only for the CRMS subsequently to fire him!

A Consultative Commission, established in 1979, judged that copies of the nineteenth century statues would result in a lack of creativity, recommending that an international concours be established to consider the matter. But by September 1980, the redoubtable CRMS had reconvened and decided against the nineteenth century copies, opting for contemporary designs. In July 1981, the Conseil Communal de Bruges selected four sculptors from a long-list of seventeen applicants, to submit designs. The four were Livia Canestraro, Stefaan Depuydt, J. Franck and P. Goetinck. [The first mention of 'our' sculptors.] Unsurprisingly, given the history, the CRMS rejected their latest ideas, preferring to leave the niches empty.
 

 It must have been about this time, that the Mayor, Frank Van Acker, decided to become involved; the strategy adopted suggests a successful politician's negotiating style. In the summer of 1982, two statues, designed by Livia Canestraro and Stefaan Depuydt, were installed in their respective niches and the public reaction awaited. No adverse reaction was forthcoming and the two artists were allowed to proceed. In June 1983, their drawings were favourably received by the CRMS which now only asked for statues to integrate with the historic facade. The Canestraro/Depuydt contract was signed.During 1983, despite a few tremors from the CRMS, the two sculptors received the congratulations of the CRMS on the excellent quality of their work. Between April 1984 and April 1988, statues were created, each deliberated on by the CRMS, and  the waiting niches gradually filled.

The booklet in the Archives shows photographs of the handsome couple, some of their work both finished and in process; then come photographs of Frank Van Acker; Konig Boudewijn and Koningin Fabiola and a group shot of small children gazing adoringly up at the Stadhuis.  It is amusing to note that Stefaan is shown many more times than Livia, in his work garb, in manly chiselling, in presentation to Queen Fabiola while Livia only appears, smiling from a window in a chic beret and fur coat. Though there is one of the happy couple with effigies nearby and another with Livia waiting while Stefaan is introduced to the Queen, for her turn. It is a lovely period document and skilfully sketches in the turbulent history of the 'mediaeval' statues decorating the famous Brugge Stadhuis.