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Posts from the ‘Belgium’ Category

Walraversidje

Close to airport of Osteende, Belgie, lies a proper hidden gem, the Walraversijde archaeological site.

The excavation of the deserted medieval fishing village of Walraversijde started in 1992. Due to the ravaging wars at the beginning of the 16th and 17th century the village had de facto been deserted. Hence, when archaeologist started digging, they were able to uncover a vide variety of material culture, which characterised this fishing community in the Middle Ages. Part of these rich findings have together with inspiration from amongst other sources the painted interiors of the Flemish Primitives resulted in a faithful recreation of four houses anno 1465.

A visit starts with an audio-visual presentation in which the history of the Domain of Raversijde is evoked by means of virtual reality technology. Then follows a walk through the reconstructed medieval landscape, which takes the visitor to four fisherman’s houses: the house of the rich ship-owner, the house of the fisherman’s widow, the house of the fisherman and his family and the fish smokehouse cum bakery.

This is followed by a ‘transitional experience’ where visitors move from a ruin of a village house to an archaeologist’s working space, thus returning to the 21st century. The excavation site is some metres away, exactly on the spot where the four fisherman’s houses were discovered.

The visit to the site ends with an exhibition in the museum buil-ding, where some of the original objects are displayed in their context by means of the latest interactive techniques.

Walraversijde
Already in the 12th century a number of fishermens’ settlements existed along the coast. At that time the larger towns and ports had important fleets and organised off-shore ventures in the new lucrative marine enterprises. Walraversijde seems to have started as nothing but a seasonal mooring place, probably organised by the Counts of Flanders. Here large catches of herring and flatfish were landed and processed – either by drying, smoking or salting, using the local marine salt.

During the 13th and 14th century the built environment consisted of small dispersed groups of houses. Somewhat later the village moved inland and prospered due to the exploitation of the local resources: fish in the sea, peat for the saltworks and part-time labour from the populous inland. However, due to the extensive peat-digging, the dunes started drifting. Further, the coast was hit by the devastating St. Vincentius flood of 1394, which basically left the village in front of the dunes on the beach. Once more it was moved back. Due to the wars in the 16th and 17th century this settlement was eventually deserted, which left a virtual “plum” for the archaeologists.

What surfaced was a picture of a flourishing community with a large group of people, half of whom were away from home for along time. At the top were the Schliepiden, the captains and owners of the fishing vessels. These were manned with up to 20 free fishermen, who brought their own nets and had a share in the profits. These fishing enterprises were highly commercial.

An important precondition for success was access to local knowledge about pilotage or guidance of ships through the estuaries, the location of “good” fishing spots, the tackle and the conservation methods. Later, when fishing on the Doggersbank started, capital and investment in large fishing vessels came from the nearby cities like Oostende.

At that time Walraversijde consisted of around 100 houses, a common “draeyplats” for rope-making, the brewery, the local inn and from around 1435, a chapel. The settlement was quite compact, leaving no room for gardening or small household farming. People lived off the sea and the fish.

Brick was the dominant building materials of the thatched houses. The flooring was either made of bricks or just plain clay covered with sand. If the houses were large (more than a 100 m2) they were usually characterised by brick latrines, brick walls, red painted plastering and coloured glass windows. The heating device was situated against the wall or very close to the wall. Artificial light was made with bronze chandeliers or ceramic oil-lamps. In many houses Spanish lustre wares from Valencia, Màlaga and Sevilla were found, probably stemming from payment for piloting. As is usual for villages close to the shore, the material culture was also marked by income from privateering, wreckages and beach-combing.

All this and much more may be studied at the recreated village and in the museum.

Walraversijde Museum
Nieuwpoortsesteenweg 636,
Oostende, Belgie

At the English wikipedia entrance for Walraversidje, five research articles may be downloaded

Read more about Medieval Fisheries and fishing in ‘Medieval Histories’ 2012  3: 2

Ghent Altarpiece

et closer to van Eyck on the internet

What a beautiful opportunity. Looking at a piece of art like the Ghent Altarpiece can be a real frustration. Every detail seems precious and only people with a photographic memory are actually able to remember the incredible bits and pieces. Sometimes it is even impossible to enjoy the art itself, because it is protected by bulletproof glass or otherwise cordoned off.

Around the world, museum and church curators are slowly catching up and producing exhibitions on the Internet. On of the latest instalments is the reproduction of the Ghent Altarpiece by the brethren van Eyck, the result of an in-depth investigation, which lasted from April 2010 until June 2001. And which has resulted in a plan for a major restoration, which scheduled to begin in the autumn 2012

And suddenly it is possible to see in detail the hairy legs of Adam, the tiny carved prophets on the musical lectionary, the strained faces of the angels trying (probably) to sing polyphonic music, the pelican in the brocade behind the enthroned deity busy “vulning” herself to feed her chicks or the stern faces of the donators, Joos Vijd and Elisabeth Borluut. Joost Vijd was a typical late medieval nobleman turned medieval businessman. Although he lived in Ghent, he owned a manor in Walle, land in Waasmunster as well as fisheries. In Pamael, which he was lord of, he owned a number of houses and tenements. Finally he owned ships and had extensive income from shipping and trading.

Vijd was active in the city’s administration functioned as churchwarden and even served as first alderman. The altarpiece was commisioned for a chapel, whose restoration the couple financed in the parish church of St. John, now St. Bavo cathedral. It was dedicated the same day as Vijd acted as godfather at the christening of Joos, a son of the Duke Philip the Good and his wife Isabella of Portugal. With the donation Joost Vijd secured a daily mass for himself, his wife and his parents. The couple died childless.

The Ghent Altarpiece by van Hubert and Jan van Eyck was completed in 1432. It is a huge polyptych measuring 340 x440 and is unparalleled. It is the largest surviving fifteenth-century altarpiece in Northern Europe with a highly complex iconography and composition. That it survives is in itself a miracle. It is simply the most frequently stolen piece of art in European history. Since its completion in 1432 it was dismembered, forged, smuggled, hidden, sold, censored, attacked, hunted, ransomed and rescued. Today, however, it is exhibited in the Saint Bavo Cathedral in Ghent for which it was originally produced. Though not exhibited in the original location, plans are underway to let it finally rest in the Vijdt chapel in the perambulatory of the church. This is however yet to be decided.

One question which might also be decided, is whether the left buttom panel depicting the just judges, which was stolen in 1934 and presumably never returned, actually is the original and not just a copy made by Jef Vanderveken during WW 2.

 Get close to Ghent Altarpiece