Blogadoodledo!

And now to end the silence on the blog front, self-imposed because of pressure of other activities.

April 27^th operation on left foot with normal walking expected to resume in two to three months. SO now equipped with wheelchair, zimmer and crutches plus huge special protective boot. From an overnighter in hospital, to De Haan, an absolutely charming little seaside town, for revalidatie, or convalescence. The home is in the middle of the delightful Art Deco area of the town and Dunepanne [the home] is super; chic, elegant, with lovely food and staff. So why did I cut and run [metaphorically speaking] six days after arrival instead of staying for the whole fortnight I had booked? 'Twas boredom, dear reader. Fifty residents, all recovering from something, and amiable in the extreme, but fluent Dutch and some

fluent French meant conversation for me was a tad limited though good intentions and interest were there aplenty. Virtually no wi-fi in the bedrooms but centred in the bar, where it was variable, meant I did feel a little frustrated at my inability to send and receive messages though no other resident minded much as only one other appeared to have an Ipad though one younger man homed in on the single computer every morning during his few days there.

So after the compulsory visit to the hospital in Brugge, I came home with a darling ambulance man who waited for me for over an hour and a half at A Z Sint Jan's and then carried up my case and made sure I was home and dry. DO like the health service here; one pays, modestly, then has around three quarters re-imbursed, with quick and efficient medical service. Once home, I tottered around the flat on the zimmer looking and checking, then through to the terrace and it was just the best feeling to be back. I put on a CD and sat lounging, absorbing the sights and sounds both in the flat and outside, on the terrace and in Woensdagmarkt. It was rejuvenating and nourishing neither of which the alternative had been.

A couple of days later, son David arrived to do my bidding!

Always a treat to have the luxury of an adult child alone staying, however lovely the partner. For the last week until three days ago, I was able to go out with him, shopping for stuff for the terrace, going out to lunch, attending a concert, going to the bank, though occasionally felt ridiculous being wheeled around prior to the fumbling and hopping around involved with crutches. I especially enjoyed a day in Damme, about four kilometres up the canal, though we went by car on the road adjacent to the water. First, there was the monthly seasonal Book Fair on Damme market from where I have bought several books in the past few months. Had an interesting chat with one stall holder who had retired from running a large print shop and, loving books, started to sell them to fund the acquisition of his five grand-children's sports gear! Then came the journey to find a restaurant with a space for two; many, most, were booked up it being a Sunday and the weather blissfully inviting. We eventually found a pavement-side place and enjoyed a super meal with a local beer new to me. [Name has escaped due to lack of pre-organisation, that is, I had forgotten to pack the usual pen and little notebook in the excitement of Going Out.]

After lunch to Damme church for an afternoon mandolin orchestra concert, conducted by friend Luc.

We had time to look around the exhibits in the church, a small part of a large exhibition in Damme, before the excellent concert, and I enjoyed again the lovely, haunting faces by Nadine Callebaut whose work I had come across in a previous exhibition in the Belfort last year. Yet another artist whose exquisite paintings are out of my reach, not an existential condition suffered by the likes of Victoria Beckham one assumes. But, c'est la vie Averil!

 

The major exhibition, Madammen in Damme, included works by more than 50 artists exhibited in eleven different locations in what is effectively a pocket-sized village [stunningly beautiful too] and we visited only four as the effort was considerable! But it was enough to judge the range of works from relatively modestly-talented artists to many at the opposite end of the talent continuum. 

After the concert, David manfully pushed me around to several spots looking to find the sculptures of Annie Vanlerberghe after whose work I have lusted for several years! Her sculptures are increasingly in bronze and thus too expensive for me to buy but one can have dreams! 

 

Eventually the gorgeous green space of the garden of Kristoffelhoeve was discovered and I swung my way around Annie's exhibits which did not disappoint. Interestingly, among the desirable bronzes were three terracotta statues and I lingered long, balancing on the crutches, pondering, my nose quivering slightly like the pointer in search of prey. In the end I bought one of the three and felt excited that I had done so, experiencing quite a little burst of personal power as opposed to the comparatively undignified powerlessness of the invalid state!! So this acquisition is not only about art appreciation but also about reasserting my independence, I suppose!

Almost a mini rant.

Must try to let this small entry not descend into a mini rant. Up very early to leave home for 6.15 in exceptionally cold and windy weather. Goal: to reach AZ Sint Janshospitaal by or before 7.00 when I had an appointment. Couldn't begin to understand why it was needed as all the pre-op stuff had been done by the G.P. or on his behalf by a laboratory for which I have just paid. After the ticketed queuing, I had an interview with a young man who was clearly puzzled; he told me several times that my operation was due to take place tomorrow afternoon and I replied that I knew. Eventually he disappeared, with the forms from the Huisarts, the G.P., and my I.D. card. He returned, full of apologies, to say that I wasn't needed; the letter asking me to attend had been an administrative error!! I graciously managed to be philosophical about it, and my missed swim, before plunging, head down into the maelstrom outside. Ten freezing minutes later the No 13 bus arrived and whisked me nearly home enabling me to arrive approximately two hours after leaving, cold and starving.

Just enough time for coffee and toast before I set off to walk to Kardinal Mercierstraat to have my nails done, a Bruggean extravagance I have adopted. Quite a long walk then one hour later, back to the wind and rain, to walk another long distance almost to Gentpoort, to have my hair trimmed and highlighted. All this beauty concentration because it may be two months at least before I will be able to manage the same journeys on foot, and that is an optimistic assessment. The hairdresser is a marvel at cutting and his
partner is great at colouring so all was set fair. And indeed, my hair looks good but there was an unexpected and unusual clash of cultures after the first hour and a half. When the highlighting had been done and the hair washed and conditioned, I sat with wet hair feeling rather cold. Only then did I notice that the salon was empty save for me and another woman suspended backwards over a basin, having her hair washed. It was around 12.45. I asked the shampoo girl where my hairdresser was and she said, unbelievably, 'Now he is eating.'
 

Is it because I have recently visited America, Land of Customer Service, or is it because that situation just couldn't happen in the UK? I said quietly to the girl that the customer's money is what keeps the salon going, so the customer must be looked after. She uncomfortably agreed and disappeared coming back to say he would be with me shortly. In all, I waited just over 20 minutes for him to appear and resume business after a five minute phone call which he received, thus making the wait, 25 minutes! I said nothing, it being politic not to upset the man with the scissors but at the end, he said, 'So you object to my eating?'

'Not at all, I object to waiting for over 20 minutes while you eat.'

'The business of the day is constant, without a break, and I need lunch.'

I won't report the short conversation, not at all heated, but the hairdresser just did not understand my point. If you want a lunch break, build it into the appointments bookings; don't take it in the middle of someone's treatment. The photograph above right, is of a woman who manages to look neither cold nor petulant about waiting around with wet hair; quite glamorous too. It is, sadly, not of me.

Quelle Europe Pour La Nouvelle Generation?

A friend told me of a visit by the Ministre Francais de l'Economie, de l'Industrie et du Numerique to give a lecture to students and other interested people at the Verversdijk campus of the College d'Europe, here in Brugge. Now this sounded interesting and, despite the fact that the two operational languages of the College are French and English, I did not expect a famous French

minister to speak in the language of  Perfidious Albion. I was not disappointed and though my meagre French was insufficient, I gathered enough to understand the gist of what he was saying and, more importantly, I was able to savour the occasion. The Minister in question was Emmanuel Macron and I was initially impressed with the fact that despite an official limousine bearing the Ambassador, he chose to walk from the station; quite a hike actually. He was clearly admired by his chiefly young student audience and had a youthful energy and appearance that commanded attention and respect. De Standaard did an interview with Macron on the train between Brussels and Bruges en route to the lecture [full of interesting-looking stuff which I shall eventually understand.] The interviewer referred to the Minister as 'the hottest kid in town' in Parisian politics! The photo right shows Monsieur Macron speaking to Monsieur le Recteur of the College d'Europe, Jorg Monar.

 

He spoke of the initial promise of a border-free Europe and insisted that it remains a construction economique, socialistique, pratique, a construction which despite its present fragility, is in a profoundly historic moment and must go forward with projects towards 'other tomorrows'. It was quite heady being in an atmosphere wholly supportive of Europe and convinced of the importance of this historic concept. The young audience was so enthusiastic as was M. Macron, about Europe and its future; so refreshing after the daily news from the Leave Europe campaign in the UK. I DO feel European and hope above all that the June vote manages to cling on to common sense and do what's best for the UK while leaving the Conservative Party to continue its internal warfare. Since writing that, President Obama has weighed in heavily today to urge the UK to remain in Europe. Another voice of reason and judgement.

But back to last Monday and the College. I picked up a  leaflet listing College of Europe Alumni 'Holding High Positions' including students from the 1950s onward. Glancing idly through the pages I was quite excited to find names I knew. Some, not unexpected: Nick Clegg, Leader of the Liberal Democrats , Deputy Prime Minister 2010-2015; Member of the European Parliament 1999-2004 and M.P from May 2015. Others, less so: Simon Hughes, M.P. since May 2010; President of the Liberal Democrats 2004-2008; Stephen Kinnock, M.P. for Aberavon since May 2015; Director, Head of Europe and Central Asia of the World Economic Forum, 2009-2012; Director of the British Council in St Petersburg 2005-2008.

I had had no idea of Stephen Kinnock's so far illustrious career with little mention in the British media of his name until it was as the spouse of the then Danish Prime Minister, Helle Thorning-Schmidt. But then, Neil Kinnock was never the darling of the right wing press; difficult to imagine the successful son of a Conservative Prime Minister being ignored by the newspapers!

And from the sublime to the absolutely perfect 70th birthday party! Just back from happy hours spent in a super tall house in one of the 'ordinary' streets of Brugge where front doors open directly from the pavement on to often quite splendid period interiors. 'Twas in such that about fifteen chiefly English women gathered this afternoon to celebrate a 70th birthday; all there meet every week in a central hotel for a coffee and chat and of course, friendships develop or strengthen. The happy birthday girl, looking much younger than her seventy years, greeted us all with bubbly served by the lady of the house masquerading as a cinema ice cream seller. Eventually, up to the erstwhile attic space, now kitted out handsomely as a tiny cinema to see Alan Bennett's The Lady In The Van. Wonderful film, deeply comfortable chairs including five formerly the property of King Baudouin, complete with discreet crest on the back. Then down two flights of stairs to have tea and cake. Great fun and a birthday celebrated in style!

 

De Ronde Van Vlanderen

A lovely sunny day developed for the start of the 100th Ronde Van Vlanderen last Sunday 3rd April and the historic Markt seemed totally full of bikes, supporters, spectators and of course, cyclists. Excitement was palpable, amplified by the accordion music and perhaps a guitar plus occasional strident singing launched from the temporary stage; all overlaid by the continuous, good-humoured, noisy commentary. The Ronde is a highly-regarded gruelling cycle race for professionals, starting in Brugge and finishing in Oudenaarde, 259 kilometres away. Between the two, in addition to the daunting distance, are three major hurdles to clear. The first is Koppenberg, a steeply cobbled climb; the second is the 2,200 kilometre ascent up Oude Kwaremont, the longest, paved climb in Belgium, and the third and most challenging is Paterburg, described as an absolute killer! That, too, is a steep, narrow, cobbled incline of 360 metres with the maximum gradient of 20.3%!

Cyclists were introduced and rode in single file across the temporary stage and gangway, approaching

via Steenstraat which was also lined with spectators; I could tell when it was a local favourite who swept by from the sudden activity on Smart-phone cameras and loud partisan cheers from onlookers. Knowing nothing and understanding nothing from the commentary did not prevent me from enjoying the spectacle and especially, the happy, involved atmosphere. Cafes and restaurants in the Markt overflowed and many spectators carried their own beer supply! Children were hoisted aloft shoulders to see and cheer local favourites and the sheer good-natured presence and commitment of the thousands there, was intoxicating and life-enhancing. A tonic indeed after the atrocities in Brussels and that anti-life message.

The Ronde was one hugely public, very important occasion in Brugge and indeed, in Belgium. Another

much quieter, more private procedure had occurred during the week before Easter. Frank Deleu, Carilloneur of Bruges, worked for hours with Paul Van den Abele, to do the biennial task of changing the music of the automatic carillon which plays every quarter of an hour. From the picture one can guess at the huge effort and amount of time needed to achieve this. Frank says the drum can be compared to a huge music box with pins that lift up hammers on the outside of the bells. The drum system pictured is from 1748 and is the biggest in the world still in action; it weighs 9 tons and there are 30,500 holes in which to programme the pins. What a work of genius is man!

The music for the next two years, chosen by Frank, features two WW1 songs from 1918: 'Till we meet again' and 'After the war is over '. Every quarter of an hour, past the hour, will come the Prologo from 'L'Orfeo' by Claudio Monteverdi. In 2017 it will be 450 years since Monteverdi was born. [Sacred moment!] Every half hour, Henri Kowalski's 'It Etait Un Fois' will be played; Kowalski died in 1916. And every quarter before the hour, will come 'Bouree 11' from 'Cello Suite no. 4 in Es by Johann Sebastian Bach. Frank asks, 'Why this? Because Bach is Bach!'

The sound of the carillon is familiar to Bruggelingen and indeed to residents of many other little Belgian towns and villages which have their own Belfort. To English ears, it is charming and joyful, reminiscent of musical boxes fashionable a century ago and so unlike the glorious music of church bells in England, also beloved of many. Until I had watched Frank Deleu playing the carillon in his eyrie, I had had no notion of the physical hard work and manual dexterity needed as well as the musical knowledge and the artistry required.

The belfry is a famous landmark in Brugge and was added to the market square around 1240 when Brugge was prospering as an important centre of the Flemish cloth industry. After a devastating fire in 1280 when all the Brugge archives were lost, the tower was largely re-built. The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a short-lived wooden spire, soon reduced to ashes and subsequently replaced by another which lasted for two and a half centuries till lost in another fire in 1741. The Gothic stone parapet was added in 1822.

The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour. The carillon appeared in the 16^th century after which the bells could be played by means of a hand keyboard. The first record of the employment of a carilloneur was in the 1604 accounts and his duties were to play songs during Sundays, holidays and market days. So Frank Deleu is the latest in a long line of proud carilloneurs
in a city which holds them in high esteem.

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.

Almost hidden art history

I must continue last week's little introduction to some of the modern statuary in Brugge. The item on the sculpture at 't Zand by Stefaan Depuydt and Livia Canestrato promised to reveal a little more of their artistic activities. Surprisingly, there are at least three other examples of their work in Brugge; one is particularly famous here, beloved of tourists and other lovers. It is Les Amoureuses in the Burg; again a monumental work in bronze showing a couple of absorbed lovers embracing, beneath the canopy of trees resident there. It stands on a column on the back of which is positioned a bronze frog; legend has it that visitors to the town must kiss the frog if they wish to return and this ritual is often to be seen being honoured by hopeful tourists. The lines of the sculpture flow and its fluidity together with the self absorption of the lovers, portray youth and mutual passion. This probably dates also from the late eighties and I heard today that that too might be about to be banished to some Other Place.

They were also responsible for 'The Ode to Music' over the entrance door of the Joseph Rylandtzaal

in Ezelstraat, a hall I used to know well when it was one of the venues for the coffee concerts each week morning in the MA Festival. It seems little used nowadays but it is a most beautiful space in which to listen to music. And also the charming 'Bouquet of Flowers for Frank Van Acker', a former mayor, situated on the Djiver was the work of the same couple. Frank Van Acker [1929-1992] was a famous mayor of Brugge and Minister of State too. A bronze head of Van Acker stands aloft a column in the Vismarkt, sculpted by Fernand Vanderplancke and its central presence testified, no doubt, to his enduring popularity. 

'Our' two sculptors were prolific and their creative works have adorned the public face of Brugge for at least thirty years so that it is a shock to discover so little about their lives and philosophy! The more so now that I have  learned that the numerous statues adorning the façade of the City Hall, de Stadhuis, are their work. Yes, I mean those gorgeous 'mediaeval statues!

The Stadhuis van Brugge was built in the Gothic style beginning in 1376 and originally completed in 1421 under the leadership of engineer Jan Roegiers. Its flamboyant opulence underlined the economic and political power of the city at that time. The statuary has perforce been renewed many times over the centuries though some fine
original examples remain in the Gruuthuus museum. To look at the façade of this beautiful building now, as millions of tourists do, is to witness an early Mediaeval miracle of construction and decoration. But, because my interest was kindled by this blog, today I have been to the Archives in the Burg to see what I could find. And what delight it was there to have
access to a booklet presumably produced in the late 1980s entitled:

Brugge Burg: Stefaan Depuydt and Livia Canestraro 

It has many black and white photographs in it and is first, a resume of the history of the Stadhuis, and secondly, a picture book of the sculpting and installation and celebration of the new statues on the facade during the eighties. The detail is enough to outline the centuries-old dilemma with the statues on the façade but the information for the last fifty years is riveting and one little phrase in the book gives a clue as to why the resolution of years of indecision and non-cooperation came about. There is a photograph of Frank Van Acker, the famous Mayor of Brugge mentioned above, at the official installation of the new statues decorating the Stadhuis in 1988, labelling him as 'the motor behind the completion of the new statues.' Now I understand one reason at least behind the memorial Bouquet of Flowers for Frank Van Acker, on the Dijver, created by Stefaan and Livia, the two sculptors. It was he who had cut through the Gordian knot and brought half a century of indecision and stalemate to an end. And the ensuing competition to choose four sculptors from a long list of seventeen, had awarded the huge task of creating forty eight 'mediaeval' statues for the long-vacant niches on the façade of the six hundred year old Stadhuis, to Stefaan Depuydt and Livia Canestraro! Neat. Here, below, is the bronze head of Frank Van Acker, [1929-1992] sculpted by Fernand Vanderplancke, and placed in the Vismarkt. He died about four years after the triumphant ceremony to celebrate the installation of the statues in the niches which had languished, empty, for so long.
 

 



 

 

 

I found the details of the history of the statues so interesting that I copied down most of it to record in this blog, albeit, in the interests of the sanity of the occasional reader, in next week's edition. Fortunately for me, half of the written information was in Dutch, alas, still Double to me, but half was duplicated in pretty simple French which saved my lardon, as it were. I fear it may slightly bore but it is worth reading to witness the extraordinary time scale of civic disagreements! I won't include every detail; promise!

 

In Search of Statues

The same unseasonal weather as in the UK has swept Brugge this Easter, though with still quite a lot of sun. No chance of seeing my family, the seasonal pursuit here and elsewhere; one branch is in California and the rest took off on Good Friday en masse to go ski-ing in Chamonix where they should be having a great time, I hope. It is a heart-warming thought, that of happy families, doing what they love, together. It warms my heart even though, and because, I am not with them; ski-ing is the Very Last Activity I would enjoy. While wandering around Brugge looking at the statuary is exactly to my taste!

 

So, once the idea had filtered into consciousness, I set off, wandelen,  to photograph some of the statues here; the trigger, in fact, has been the news that the Burgemeester and his henchman, in a continuing attempt to update the image of Brugge from gorgeous historical mediaeval town to thrusting modern metropolis, have decided to modernise 't Zand, the huge space at the other end of Steenstraat and Zuidzandstraat from the Markt. It is already graced by the Very Modern Concertgebouw whose design is generally reviled by the townspeople though music lovers speak highly of its wonderful acoustics. I am in both camps as it happens. I love going to concerts there and think Brugge so lucky to have such a serious space for performances of various sorts. However, its design is only OK and I write that after fourteen years of trying to like it; it was built in celebration of, and tribute to, the 2002 honour of Brugge being the European City of Culture. The last time Eric, my husband, and I visited Brugge on our annual pilgrimage to the Early Music Festival in August 2000, he had spluttered with rage when we saw the emerging building. The effrontery was so powerful that he wouldn't go back to 't Zand during our stay! But, see, above, for yourselves but I should add, in fairness, that the building has received architectural accolades.

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Back to 't Zand. Part of the plan for modernisation and renewal is the removal of the huge group of statuary in the centre; this is loved for its daylight focus and sparkling jets, and its night-time light and fountains; a meeting place for many and a magnet for tourists. Apparently no decision has been made as to where its new home is to be; suggestions are requested. One couldn't make it up! The statuary is rather monumental and is of course, symbolic, but perhaps, not beautiful. The following information has been gleaned from Erik who is in my Thursday evening English group; he specialises in guided tours in English and is, to boot, keen on history. What synchronicity for me.
 

 

At the centre of the square, the largest space in Brugge, is a multi-headed fountain with four groups of statues, created by Stefaan Depuydt and Livia Canestrano in 1985-86. The four female swimmers represent the four Flemish cities of Ieper, Gent, Brugge and Kortrijk; the cloth symbolising the wealth of those cities while the crows symbolise life after death in perhaps a nod to the R.C. Church. The fishermen refer to the economical activity of the harbour of Zeebrugge and the historic bond with the sea always enjoyed by Brugge; a lock testifies to the perpetual fight against the water, to keep it under control and the plough stands for agriculture with a tribute to the Flemish polder landscape. The splendid cyclists represent tourism, the life blood of the city, and included are Tijl Uilengspiegel and Nele, Flemish folk heroes. In its entirety, the huge group exudes the solidity of continuity, shared values and Flemish pride in its inheritance.
 

Mr Google knows everything according to the solemn pronouncement of my five year old grand-daughter but alas, he can't provide me with any biographical detail of the local artists responsible for this important structure [and other public pieces of statuary in the city]. Stefaan Depuydt and Livia Canestraro must be quite important; they created a statue in Monte Carlo to Princess Grace aka Grace Kelly but details have I none!

More next time on the other Depuydt and Canestraro statues in Brugge. In fact, discovering more about the statuary here is an absorbing pastime in itself. I am sensitised now and quiver with the eagerness of the Red Setter when it spots possible prey in the distance!