The McCook tribune. (McCook, Neb.) 1886-1936, 1886-06-24
A HISTORIC TOWN.
The Old City of Antwerp and It's Mag
nfficent Cathedral.

The New York Post. The first churcf
was built in Antwerp in GAL. The
Norsemen burned the city in 835, ant
when the church was rebuilt this sent
ence was added to its litany: ''Fron
the fury of the Norsemen, good Lord,
deliver us!' The oft repeated prayer
was not answered until 891, when
Lorraine, Bavaria, Saxony and other
districts prosecuted by these vagabonds
united for their determination, and in
Ii day. by a preconcerted massacre,
killed off more than LOG, 600 of them,
and then the Antwerp church substitute
ed a collect for thanksgiving for its
long wall of PRAYER. During the middle
ages, and in the time of Che reforma-
ton, Antwerp displayed remarkable
courage in maintaining the principles
of the new religion, which, however,
was finally put down by the strong
hand. At last, having by turns been
Catholic and Protestant, Dutch and
French, Belgium became independent
in 1880. Her security consists in the
Jealousy of her big neighbors more
than in her useless and expensive MAIN
tenance of an army of 100, 900 men.
1t Is creditable to the Protestant re-
formers of Antwerp that they were not
iconoclasts. A preference for art tri-
umphed over religious prejudices, for
to Catholicism it was conceded Dy them,
as it Is by US, that she is the mother
and the guardian angel of the aesthetic
and the beautiful. This grand cathe-
dral is n of her enduring monuments.
Antiquarians seem to be us much at a
loss for its origin as for that of the city
itself. 1t is generally agreed that it
was begun in 1852, but there is no trace
of the architect who conceived its plan.
The entire uniformity of everything be-
low the belfry of the great tower is
proof that thus far it was the concep-
ton of a single mind. 1t is indeed a
miracle of history that she should have
hidden the name of such a genius in
oblivion. Antwerp cathedral is a
difficult structure to observe, for there
is no point from which may be had a
general coup d'9il, comprised as il is
by narrow streets of high buildings.
You can not get a more intelligent view
of it from artists drawings, made with
due regard for its proportions, than by
travelling around and surveying it I'M
der the eyes,. Two immense towers
ascend in symmetry to the belfries. and
there II OF them terminates, covered
by a roof having the appearance of be-
ing put on merely to shed the rain. At
the same height the architectural plan
of the other likewise comes to an end.
1t Is probable that the original idea was
to finish with square towers, but some
gingerbread artist obtained permission
to pile up the stone in any shape so far
as he could safely go. He or they
for, from the incongruity, doubtless
more than n were engaged in the
finish-succeeded in reaching an al
titude exceeded only by the spires of
S~trasbourg and Cologne. We assembled
to the last of the 622 steps of the spiral
staircase until we squirmed into the
small open space under the cupola, and
and were then well paid for the effort.
The day was pretty clear, so that we
had good views of Brussels, Client,
Malines, Flushing, and the sea.
with a better atmosphere,
there is said to be a radius of. view of
seventy-tive miles. Descending from
our lofty perch, and entering within
cathedral, we find what we can not
take away in drawings or photographs.
These may carry home the monuments
of antiquity and the palaces and streets
Of he present, saving the trouble and
of travel; but the expression
which coloring gives to pictures is not
% be transported across the Atlantic.
You must come to the spot to fix your
gaze upon these masterpieces of ReU-
pens. First and least, you will see the
Assumption" which has often
been so ~unfavorably criticised. But it
be remembered that Rubens in
his case was working for his daily
bread by contract. 1t was painted in
days, for the price of 1,600
$500. Moreover, it can hard
y be considered his work at all. as be-
-ond conception of the idea the minor
letails were executed by his pupils.
SUIT coming to the ascent" and the
Descent from the Cross" the mas /:
er>s hand is visible throughout. 1t is /
admitted that these are his t
.rreatest, his inimitable works. Of the ]
the Descent" is considered to be
he superior. If any conclusion may t
re arrived at from a moneyed valuation, 1
t NAV be inferred that Rubens himself |
stimated the one not much above the 4
ther. His price for the elevation"
vas 2,4O0 forms $4,000, for the DE
1900 foreis (S1.040). We
ould but incline to the belief that as a
representation of profound sadness
he one less esteemed is quite equal to z
he other. The greater value at 4
ached to the Descent" arises from q
ur participation in the feelings of the /
nourners, on whose countenances such t
sadness is evinced; and we g
aay undervalue the artistic merit of
he Elevation" because of our repug- a
ance to the act and our horror at the v
end-like attitude and expression of L
hose engaged in its performance. e
The representation of the descent" S
not be in accordance with facts. t
IS cruc;fixion was performed by nail t
10 the victim to the cross while recum- i
emit on the ground, and then ~elevating t
as seer in the painting, so most nat v
rally the cross itself would afterward n
ave been taken down for the removal. 4
! is beyond belief that a ladder should t
ave been brought into use. 1t is a p
ruel liberty with truth that all have v