Mediaeval Cranes

 Looks like a possible nest to the left!

I was doing what has become my daily hour’s wandering around the Egg, chiefly along the wonderful, ever-changing canals, when I spotted a couple of swans nearby, off the road and safely behind a fence. I wandered across to take a photograph, wondering about a possible nesting, and then noticed the familiar replica mediaeval crane at the side. [Towards the end of Wulpenstraat.] I have long idly intended to discover more about this crane and mediaeval cranes in general, et voila, here we are, nudged by the swans with time and opportunity afforded by the lock-down.

 Single, early mediaeval crane
working on a roof.

The correct name apparently, is a tread-wheel crane [magna rota] defined as a wooden, human-powered hoisting and lowering device. Used in Roman times originally but after the demise of the Western Roman Empire, the technology fell into disuse only reappearing in France in about 1225, followed by an illuminated depiction in a manuscript, possibly of French origin, dating to 1240. The earliest documentation of cranes in use in navigation are those in Utrecht in 1244, Antwerp in 1263, Brugge in 1288 and Hamburg in 1291.The treadmill was first recorded in England considerably later in 1331.

Mediaeval windlass, still in situ
in roof of Salisbury Cathedral.

 Crane in Brugge
Miniature painting, 1510.
Simon Bening.

The exact process by which the tread-wheel crane was re-introduced in mediaeval times, is not recorded although its appearance on mediaeval building sites is almost certainly linked to the emergence and development of Gothic architecture. Generally, vertical transport was easier and cheaper by cranes than traditional manual methods and typical areas of use were in harbours, mines and, pivotally, in the construction of the towering Gothic cathedrals. However, the traditional tools such as ladders, hods and handbarrows continued alongside the cranes. The process of the re-introduction of the magna rota may have resulted from the technological development of the windlass which has a close structural and mechanical affinity to the crane. Similarly the early crane shared many structural similarities with waterwheels and their labour-saving qualities were probably translated to the idea of a huge crane to lift heavy goods.

Jan van Eyewerve 1551
Painted by Pourbus on occasion
of Eyewerve's marriage to

Jacquemyne Bunck

In Brugge, from the end of the 12th century, the centre of commercial activity was located around the Kraanplein and the Spiegelrei. A huge wooden crane was situated near the Kraanplein from 1290 before which it had been located on the Markt.when the construction of the Waterhalle necessitated its removal. Indeed, the name, Kraanplein, came from the installation of this enormous wooden equipment. It was mounted on a revolving post, like a windmill, and the crane's pulleys were worked by means of two large treadmills operated by children. One can only wonder, horrified at their grim existence. Unbelievably, this monumental crane, installed in 1290 was not dismantled until 1767. During these five hundred years, the Bruggean crane had impressed visitors and was taken as a sign of Brugge's incredible economic success. 

The Eyewerve house
overlooked the Kraanplein.
The crane, important to the
wealth of a merchant,
is pictured in his portrait. 

The Kraanrei grew increasingly crowded by 1787 and Sint Jansbrug was demolished to allow the development of Academieplaats, renamed Jan van Eyckplein in 1844. Between 1793 and 1795 the road up to the Kraanplein was arched and the Kraanbrug demolished, though part of it is preserved underground.

 One can easily see why the splendid
reconstruction was moved from Jan van Eyckplein!

 The replica mediaeval crane, made by students
of the Bruges' V.T.I. in 2002, originally placed in
Jan van Eyckplein and later moved to
Wulpenstraat near Sasplein.

Quiet Corners .....Empty Spaces.

Astridpark en fleur.

Seagulls practising social distancing.

A 'poached' photograph.

Deserted Groenerei,

early one morning ….

Solitary swan at breakfast along the Augustijnenrei.

A barge named for my sister, along the Coupure!

Almond Blossom by Van Gogh.

Ithink I will gather some of the photographs  taken during my daily hour-long walks to try to convey the slightly surreal reality that is the current Corona Brugge. I have come to prefer the really early morning wanderings during the past month, probably chiefly because of the eight o’clock morning sun and the even sparser numbers of dog walkers, joggers, cyclist and elderly health freaks like Yours Truly. But there are warnings of a drastic drop in temperature in two days’ time which will almost certainly defer my present attempts to find large pots, needed to transplant up little trees on my terrace, and a bag of compost or three in preparation for the Grande Liberation when the plant market on Wednesdays and Saturdays is again allowed to function. I frequently mutter to myself that there is virtually no difference in Risk between controlled supermarket shopping with the essential social distancing, and the same measures with plants and flowers in an open air market. The latter seems less risky indeed and if re-instated, could start to mitigate against the income-less plight of growers and the plant-less anxiety of terrace- and garden-holders.

Looking up to early shoots, near the Gentpoort.

SO reminiscent of Van Gogh's Almond Blossom.

From my window.

There is an aesthetic feast to be enjoyed, courtesy of this imposed lock-down. Social distancing and self-isolation have many compensations!

Jan van Eyckplein Part 2. Het Tolhuis.

Jan van Eyckplein c 1900.

Looking towards the Spiegelrei.

Opposite the Poortersloge, on Academiestraat, stands the historic Tolhuis, in Jan van Eyckplein.. Originally part of a larger merchant’s house, built in the 1200s, it does, in fact, comprise several parts: the corner house, Het Heilig Graf; Het Pijnderhuisje, the actual Tolhuis and Het Wezelkin.

The Tolhuis itself is the part fronted by the natural stone gable. The original merchant’s house was situated, for obvious commercial advantage, in a developing trading centre in the growing port. Ships entered Brugge via the Langerei and the Spiegelrei so, for traders, it offered the ideal spot for building homes with ample storage facilities. The office of the Tol, the Grote Tol, was housed there from the beginning of the fourteenth century. This toll booth was where an import tax, the Grote Tol, was collected on all goods arriving in Bruges from the region or from international sources. There was also a Kleine Tol, levied at the city gates, on local trade. The amount to pay for the Grote Tol was calculated by weight and thus a toll house always included a weigh house.

Jan van Luxemburg, c 1400.

Napoleon in Brugge.

The first mention of the Tolhuis in surviving accounts, is between 1302 and 1305. It would be then that the original merchant’s house was drastically adapted to suit its new purpose. Het Grote Tol was a royal tax often awarded to a private person, generally highborn like an aristocrat or a prince, as a significant concession for services rendered to the king. Records show that the concession passed, through marriage, to the Van Luxemburg family soon after 1400. In 1549, Charles V permitted the holders of that concession to sell it to the city of Brugge and from then the building was referred to as the Office of the Master of Het Tolhuis. In the modernisation and changes during the Napoleonic occupation between 1794 and 1814 the Grote Tol was abolished and customs duty instituted, with the Tolhuis subsequently occupied by the family of the recipient of those customs duties. The weighing house downstairs remained publicly owned for some time though the main building itself was privately owned. During the nineteenth century the Tolhuis was still known popularly as the Balance de Bruges or the Poids Publique.

Original drawing by architect 

Louis Delacenserie.

In 1876, the City authorities bought back the building to house the Bruges Library and the City architect, Louis
Delacenserie restored the facade and reconstructed the building housing the staircase. In 1889 the ground floor was converted to a fire station. A century later in 1995, the Provincial authorities bought the entire complex, protected as a monument since 1962. Following another thorough restoration and re-design, a number of services were housed there from 2001: the Provincial Library and Archives; the Provincial Information Centre and a Europe Information Point.

Corona Update

Absolutely nothing to report!! Belgium seems to be dealing well with the crisis and lock-down continues, gilded, it must be said, by increasingly warm sun. My walk from 8.30 this morning was the very Heaven. Almost deserted everywhere, I was surrounded with picture-perfect reflections in canals touched early by

Seagulls practising social distancing.

Madonna and Child,

near Beguinage,

one of hundreds in Brugge.

the sunlight; mediaeval buildings standing proud but chiefly unnoticed, certainly by me until this lock-down provided me with the opportunity and perspicacity to notice the gables, the windows, the pale pink bricks and niches filled with statues to Our Lady. This enforced alone-ness is actually bringing me huge favours of time and opportunity to see, really see, the stunning beauties of Brugge.

A.B.C,

A.B.C.

Authentic Brugge Coronareport.

Jan van Eyckplein.

A view of the Coupure.

Walking along the Coupure this morning in the sun and enjoying the world as normal, almost, I was

delighted to come across a little mass of violets among the grass on one stretch, having marvelled two days ago at the sight of a little corner of blue hyacinths planted around a curve. These weren’t specifically there to cheer the solitary passer-by under lock-down but simply evidence of an inspired decision by some gardener of the Commune. Whatever! They gladdened the spirit already warmed by the sun and the glint of sky on water.

Hyacinths, to enchant.

Another touch of community-minded actions were to be seen in several notes attached to dustbin bags along Carmersstraat saying in various ways, Dank U to the men who collect the bags. And there are quite a number of white cloths from a recent demonstration of support, still suspended from upstairs windows, as a token of appreciation for health workers in the town. On a personal level I receive a call each day [reduced now from TWO a day] from a young man in my building to check that I am OK and asking if I need anything. One of my friends from the Thursday evening English-speaking club phoned me yesterday afternoon; she told me to go on my terrace [four levels up!] and wave to her as she stood on the corner of the square. We had quite a conversation, via the mobile, in full view of each other. To finish, she took a photograph of me to circulate around the other group members. It was a lovely moment or two for me in what is a solitary life in many ways, at present, though happy enough it must be said.

A recent sunset, seen from my window.

Extended periods of alone-ness increase appreciation 

of natural beauty.

It is quite extraordinary that something about the spirit abroad here and in the UK reminds me strongly of the wartime years [WW2] It is, of course, quite different but I think it is the heightened experience of Being Together in an overwhelmingly strange and dangerous situation, where the similarity of feeling occurs. Certainly, contemporary society is much more highly individualised and individually self-centred than it was in the 1940s but there is also, currently taking place, a rolling wave of concern towards others around us from we fellow travellers. Let us hope at least that some of that communal vigilance remains afterwards as countries, populations, civic societies struggle to cope and connect and construct. As I am awash with alliteration, I should mention ‘capitalism’. Will this Coronavirus change capitalism in some way? Will the constant economic growth which is the essential fuel for capitalism be seriously threatened? Where is Picketty when we need him?!!

Reflections, indeed.

Tolhuis, Jan van Eyckplein.

And now for something completely different. Reflections, in fact. With the extra time and space available now, I stood recently in the nearby Jan van Eyckplein contemplating the built landscape and marvelling anew. Last year around 8 million tourists visited Brugge many of whom undoubtedly finished up in Jan van Eyckplein for a look, a beer and perhaps a meal, but now the, Bruggean silence and emptiness are palpable and delightful to residents though unaffordable for long. This district was a hub of international trade at the turn of the 14^th and 15^th centuries; ships were loaded and unloaded here while, from the tower, merchants could watch their ships arriving. Goods were cleared and checked with customs duties paid, in the Toll House opposite and merchants from around the world formed international clubs in the vicinity which provided accommodation for them and storage for their cargo on the inward or outward journey
.

Poortersloge, Jan van Eyckplein.

The most important building in the square is the Poortersloge which was built by order of the then commercial elite, the Porters of Brugge between 1394 and 1487, who received their trading partners there. It was intended as an important meeting place for the burghers of Brugge and used also by the exclusive club, The White Bear, which organised tournaments and jousts there. The facade of the building houses statues of eminent mediaeval citizens, aldermen, famous masons, painters, mayors of the city, treasury officials, notaries, priests. The legendary first citizen of Brugge, the White Bear, was placed in his niche in 1417, though, as nothing lasts forever, all of the statues were replaced in the 19^th century by sculptors Michael Dhondt, Jules Anthone and Franz Vermeylen.

Het Witte Beer.

Originally in place in 1417.

The list of activities and users of the venerable Poortersloge over the centuries, is fascinating. After the reign of the Company of the White Bear passed, it was transformed into a fencing hall; then used by the Rhetoricians of the Holy Ghost. From 1719 to 1890 the distinguished Academy of Painting and Drawing graced the premises and gave its name to the street outside, Academiestraat. From this Academy is marked the beginning of the city’s important collection of art. Eventually, the Chamber of Commerce took over the use of the building. In fact, the original building was lost to fire on 30 January 1755 but was relatively quickly rebuilt. The premises were restored between 1899 and 1903 when an early nineteenth century annexe was removed; it was then used by the State Archives from 1910 for around a century when purpose-built accommodation was provided elsewhere for the overcrowded archival collection. Six hundred years after its construction, it has been decided to house modern art exhibitions in the Poortersloge after tentative plans were scrapped for a Maritime Museum in this venerable building.

Coronavirus; Thoughts Thereon

UK

17 year old homeless boy.

Shelter, the homeless support organisation estimates that the number of people sleeping rough on the streets, has risen 165% since 2010. That year marks the transition from centre-left Labour to centre-right Conservatives, in power. The huge financial shock in 2008 prompted the Tories to embark on policies that radically cut State spending. Austerity became the over-arching message and practice.

The national books needed to balance and billions of pounds were taken from the Social Security system. Over the past ten years or so, the Social Security system has been so severely compromised that it is unable to give anything like the necessary level of financial support to those in severe need. Local authorities have received significant funding reductions from central Government and the inevitable result has been an exponential increase in homelessness and food bank usage all, apparently, without raising significant protest from the wider population. And now, the pandemic is attacking the already-inadequate safety nets. Panic-buying is leaving supermarkets to limit what people may buy, and to have less surplus food to donate, and thus their generosity towards food banks is reduced. But many poorest families now rely on food banks for their daily bread.

Rishi Sunak

In the meantime, while the rest of us walk two metres apart and self-isolate, these measures are not available to the homeless crammed into temporary shelters with inadequate, shared washing and sleeping facilities. And that’s if they are lucky. Without even temporary night shelters, the truly homeless are isolated while exposed both to the elements and to food shortages more severe than usual. And in the daytime, deserted streets offer scant pickings for anyone begging. Homelessness, at the best of times, looks frightening but in this new Corona-period, terrifying. Has Rishi Sunak, the Chancellor, with all his splendid financial support measures for many, many sections of society, offered anything for the homeless? I ask because I do not know. In Brugge, one never sees begging; I believe that anyone who tries, is swiftly removed by the police and taken I know not where.

For people here in Brugge, life on a reduced scale goes on neventfully unless, that is, someone, somehow, picks up the virus. I walk for an hour each day and in the morning, the streets are totally deserted; in the afternoon, at least along the canals, there are plenty of solo and duo walkers, some with dogs; some with children; some with both. We all obey the two metre rule; the latest tweak to that rule being that walkers must not stop to sit or rest, presumably, unless desperate. So there was more than one reason I didn’t go to the Markt this morning to sit on one end of a bench to listen to Wim Berthelot, the town carillonneur, giving an hour’s concert, the other being the biting cold wind.

A friend rang and we agreed that we were pretty happy all told because we are lucky with nice flats and plenty to do in the house, that plus the joys of Facetime and reasonable health! Keeping positive and busy is the thing, we agreed. That’s rather like a rich man advising, ‘Keep on with the caviare; it helps!’

The deserted Groenerei at about 9.30 this morning [29/03/20]

A Miracle of Survival: Jan Van Eyck Part 2.

 The majestic Ghent Altarpiece.

The van Eyck Ghent Altarpiece is acknowledged as one of the world’s greatest works of art; it was commissioned from Hubert van Eyck in the 1420s but largely unfinished at his death in 1642. The creation was passed to the sole care of his brother, Jan, who had been hugely involved in the project from the start, though he was described as ‘the second best in the art’ with Hubert, ‘greater than anyone.’ No painting by Hubert remains to support that claim but Jan’s work on the altarpiece, completed in 1432, virtually re-defined art and became immediately famous. His extraordinary creation portrayed the first realistic interior; the first genuine landscape; the first proper city-scape; the first natural nudes; the first authentic Renaissance portraits. The sophistication of his oil painting was stunning, using thin, almost transparent glazes to provide depth and astonishing degrees of light. Close inspection of the Altarpiece reveals van Eyck’s extraordinary skill in rendering tiny detail and it may be that at the beginning of his career in art, he developed this special miniaturist skill in his work illustrating manuscripts and Books of Hours.

 Iconoclasts demolishing a large wooden cross.

 Scene from the Great Iconoclasm 1566.

Michael Prodger suggests, in his New Statesman article [14-20 Feb. 2020 to which I am indebted], the price of being, almost immediately from its creation, the most famous painting in the world, meant that it became the most focused on, the most desired and the most stolen. In 1566, during Ghent’s ’Great Iconoclasm’, a Calvinist mob broke into St Bavo’s Cathedral in Ghent, to destroy it. The far-sighted Cathedral clergy had earlier winched it, panel by panel, [24 in all] into the bell tower out of sight of the iconoclasts. A further 18 years were to elapse before it was removed from its eventual hiding place in the Town Hall, and returned to its rightful position in the Cathedral.

 Holy Roman Emperor, Joseph 11.

Extraordinarily, the Holy Roman Emperor, Joseph 11, visited Ghent in 1781 and took exception to the nakedness of Adam and Eve who were removed elsewhere. In 1794, French revolutionary soldiers stole the Mystic Lamb panel and took it to Paris where it remained in the Louvre until 18 years after the Battle of Waterloo (1815). At about the same time, the Ghent diocese which was bankrupt, pawned the side panels for around £240, from where, unredeemed, they were bought by an English collector, Edward Solly, for £4000, who promptly re-sold them on to the King of Prussia, Friedrich Wilhelm 11. The panels were sliced in half, in Berlin, to enable simultaneous viewing and remained there until after WW1 when Germany was obliged to return them to Ghent under the terms of the Treaty of Versailles. During the selected panels’ absence, in Sint Baafskathedral, the remaining panels managed to survive a fire in 1822 though one was split from side to side!

Fire in 1822.

During WW1, the Altarpiece was dismantled and bricked behind walls in two Ghent houses to hide it from the advancing Germans who were shown a letter stating that the treasure had been sent to England. However, in 1942 Hitler pounced and the Ghent Altarpiece was carried off to be hidden in the Altausee salt mine, protected with explosives against any attempt by the Allies to reclaim it. Hitler was accumulating great art for an intended prestigious Fuhrer Museum in Linz and he was determined that the advancing Soviets should not claim ‘his’ art collection. At the end of the war, it was repatriated though with the final flourish of extraordinary had weather which necessitated the rescuing aeroplane making an emergency landing in a small military outpost before eventually reaching home, first, briefly, in Brussels, and finally in Ghent, in its rightful place.

 Art treasures stored in the
 Altausee Salt Mine
during WW2.

 1934

Between the two World Wars, in 1934, thieves broke into the Cathedral and removed the bottom left segment showing John the Baptist on one side and the Last Judgement on the reverse. They left a note saying: 'Taken from Germany by the Treaty of Versailles’. They were seen leaving the Cathedral by another man robbing a nearby cheese shop! The thieves, meanwhile, sawed the panel in two and left the John the Baptist section in the left luggage area of Ghent station as proof of their possession while demanding one million Belgian francs for the return of the missing side of the panel. The ransom was never paid and police enquiries centred on a stockbroker, Arsene Goedertier who worked as a volunteer at the Cathedral. He never confessed but after his death, copies of the 12 ransom notes sent and a 13th, never sent, were found in his home. Sadly, the missing section has never been located despite police investigating a variety of rumours and suggestions over the last hundred years. However, this loss in no way demeans the majority of the original work of art and part of it is on view at the once-in-a-lifetime exhibition, An Optical Revolution at MSK Ghent after undergoing extensive and skilled renovation since 2012. The main panels remain on view in St Bavo’s Cathedral in Ghent.

Squashing The Sombrero

 Would you choose this man as national leader in an emergency?

 Only if This Man was the alternative.

Although not a fan of Boris, I often admire his penchant for colourful language. Yesterday, Friday 13th he described the UK Government’s plan of action for coping with Covid 19 as Squashing the Sombrero to explain intentions to flatten the curve of the graph of sufferers so that it might delay and spread out the rate of infections over several months to help the NHS cope with the volume of demand. The phrase, ‘herd immunity’ has been bandied about but I think that can only be achieved, normally, when [depending on the illness] between 60% and 95% of the population has been vaccinated. But as there is, as yet, no vaccine available, herd immunity can only be achieved, presumably, by letting the Coronavirus rampage through the population with an attendant frightening numbers of deaths, especially among the frail and elderly. Not sure if this assumption is totally correct but, if it right, then Boris & Co. are wrong, but then, I am grateful that I am not responsible for decision-making at Government level. Boris constantly refers to the medical advice he is following but there are political elements at work here too, although Boris only emphasised, ‘community’; ‘neighbours’ and ‘national togetherness’ and these are new words for Boris.

Prof. Chris Whitty, Chief Medical Adviser.

At Boris’s press conference, along with his medical and scientific advisers, they explained the intention to flatten the curve and gave the following information; schools would be closed as a last resort; major sporting events might be cancelled though this would not greatly affect the spread of the disease but could free up police for other duties; elderly to stay at home, eventually might be for up to 13-14 weeks; quarantine for a sufferer plus his family, for up to two weeks; mild symptoms will no longer be tested; lock-down does not work. By the following day, some of these decisions had been pre-empted by, for instance, the F.A. cancelling some notable events. The Government appeared to be slightly catching up though this was as nothing compared to the confused and chaotic leadership from the White House. America has mishandled

Sir Patrick Vallance, Chief Scientific Adviser.

Coronavirus testing partly because there is no adequate public health system with free access to testing in times of emergency. partly because there are insufficient testing kits. Undocumented immigrants may also be disinclined to seek tests in case ICE picks them up. But to have a President whose main eye is on the national economic health as it affects his likely re-election plans, and frequently is not shy of issuing false information about any topic, is frightening and confusing.

Belgium has taken the European lock-down route. All restaurants, cafes and bars are closed; non-food shops must be closed all weekends; museums and schools closed; boat rides no longer available; swimming pools closed; hotel kitchens and dining rooms closed; the Belfort closed. This morning, Sunday 15^th March, I called in at both Martin’s Hotels to discover one will be closing to consolidate the scant number of guests, and any group meeting on Hotel premises is banned.

The one bright spark this morning was to see that the Saturday market on ‘t Zand was open which must mean the Wednesday little market will follow. Great. Attendance at the market this morning, though, looked slight.

 Rozenhoedkaai, normally crammed with tourists; empty
when I walked through earlier.

No longer permitted to swim at the Crowne Plaza Hotel this morning I went for a lovely sunny canal-side walk for an hour and observed an almost surreal silence and emptiness at 9.00 a.m. throughout Brugge centre. It was lovely, calm, empty; one had opportunity and space to observe buildings, squares, Flemish gables and statues. It felt abnormal of course and it underlined the implicit message that without tourists, Brugge cannot survive long. Public servants like Town Hall staff, teachers etc will be paid I imagine, but what about the shop assistants, waiters, chefs, guides to the City? Surely there will be a global recession later this year. And nowhere to hide.

Yesterday I went to double-check at the hotel that the pool there is closed; it is closed but only to non-residents. I argued for Honorary Guest status as I have swum there most mornings for five years; denied! But Reception made me what was described as a great offer; one night’s stay with two swims and a breakfast, for 139 euros. I am already a member of the Fitness Club and pay a yearly subscription for that privilege, so 70 euros a swim extra seemed a little excessive! I went immediately to the hotel restaurant for a beer, which turned out to be My Last Beer there for some time; the waiter explained that all kitchen staff and waiters were laid off from Saturday evening. So there will be no breakfast [or other meals] for guests who will, perhaps, simply have to explore the city for a supermarket!! The waiter was despondent but hoping to receive perhaps 60% of his normal pay.

 Dr. Anthony Fauci, Trump's Truth-Teller;
Director of the National Institute of Allergy and Infectious
Diseases and Centre for Disease Control.

 Squashing the Sombrero.