第6章

The Claes who died for the liberties of Ghent, and who might in these days be thought a mere ordinary craftsman if the historian omitted to say that he possessed over forty thousand silver marks, obtained by the manufacture of sail-cloth for the all-powerful Venetian navy,--this Claes had a friend in the famous sculptor in wood, Van Huysum of Bruges.The artist had dipped many a time into the purse of the rich craftsman.Some time before the rebellion of the men of Ghent, Van Huysum, grown rich himself, had secretly carved for his friend a wall-decoration in ebony, representing the chief scenes in the life of Van Artevelde,--that brewer of Ghent who, for a brief hour, was King of Flanders.This wall-covering, of which there were no less than sixty panels, contained about fourteen hundred principal figures, and was held to be Van Huysum's masterpiece.The officer appointed to guard the burghers whom Charles V.determined to hang when he re-entered his native town, proposed, it is said, to Van Claes to let him escape if he would give him Van Huysum's great work; but the weaver had already despatched it to Douai.

The parlor, whose walls were entirely panelled with this carving, which Van Huysum, out of regard for the martyr's memory, came to Douai to frame in wood painted in lapis-lazuli with threads of gold, is therefore the most complete work of this master, whose least carvings now sell for nearly their weight in gold.Hanging over the fire-place, Van Claes the martyr, painted by Titian in his robes as president of the Court of Parchons, still seemed the head of the family, who venerated him as their greatest man.The chimney-piece, originally in stone with a very high mantle-shelf, had been made over in marble during the last century; on it now stood an old clock and two candlesticks with five twisted branches, in bad taste, but of solid silver.The four windows were draped by wide curtains of red damask with a flowered black design, lined with white silk; the furniture, covered with the same material, had been renovated in the time of Louis XIV.The floor, evidently modern, was laid in large squares of white wood bordered with strips of oak.The ceiling, formed of many oval panels, in each of which Van Huysum had carved a grotesque mask, had been respected and allowed to keep the brown tones of the native Dutch oak.

In the four corners of this parlor were truncated columns, supporting candelabra exactly like those on the mantle-shelf; and a round table stood in the middle of the room.Along the walls card-tables were symmetrically placed.On two gilded consoles with marble slabs there stood, at the period when this history begins, two glass globes filled with water, in which, above a bed of sand and shells, red and gold and silver fish were swimming about.The room was both brilliant and sombre.The ceiling necessarily absorbed the light and reflected none.

Although on the garden side all was bright and glowing, and the sunshine danced upon the ebony carvings, the windows on the court-yard admitted so little light that the gold threads in the lapis-lazuli scarcely glittered on the opposite wall.This parlor, which could be gorgeous on a fine day, was usually, under the Flemish skies, filled with soft shadows and melancholy russet tones, like those shed by the sun on the tree-tops of the forests in autumn.

It is unnecessary to continue this description of the House of Claes, in other parts of which many scenes of this history will occur: at present, it is enough to make known its general arrangement.