page_title: Bombardment of Brussels
section_title: Two proposals
hierarchical_section_title: Bombardment of Brussels / Reconstruction / Two proposals
caption_attribution_description: Maisons de la Grand-Place de Bruxelles, d'après F.J. De Rons dessins et aquarelles exécutés de 1729 à 1749. De gauche à droite: Le Marchand d'or, Le Pigeon, La Chaloupe d'or, L'Ange, Joseph et Anne, Le Cerf Volant.
context_page_description: The bombardment of Brussels by troops of Louis XIV of France on August 13, 14 and 15, 1695, and the resulting fire were together the most destructive event in the entire history of Brussels. The Grand Place was destroyed, along with a third of the buildings in the city. The reconstruction of the city centre, effected during subsequent years, profoundly changed the appearance of the city and left numerous traces still visible today.
  The bombardment was part of the Nine Years' War. The French forces hoped that by bombarding, or threatening to bombard Brussels, they would be able to divert Allied troops from the Siege of Namur. The strategy was unsuccessful, and no military gain came of the bombardment, although Louis XIV's reputation suffered for such a barbarous act.
context_section_description: A few months following the bombardment, two opposing visions for the city emerged. The governor, Maximilian II Emanuel, elector of Bavaria, an ambitious and enlightened prince, envisioned using the reconstruction as an opportunity to modify the layout and architectural style of the city. Unlike the numerous transient Spanish nobles which had preceded him in the unprestigious post of Governor of the Spanish Netherlands, Max Emanuel actually became quite involved in the assignment. Backed by Emperor Leopold I, he dreamt of making the Spanish Netherlands his own hereditary state. His plan was to transform the medieval city into a city of the new baroque style, having been influenced by his numerous trips to the imperial court in Vienna, and in his travels to Milan and Turin. Turin in particular was characterized by its logical street layout, with straight avenues offering long, uninterrupted views flanked by buildings of a uniform size. Max Emanuel advised in the reconstruction plans that buildings and streets be built in uniform proportions so as to improve the aesthetics of the city. He also insisted on this point when dealing with the Magistracy, saying "..we strongly hope that some order and uniformity has been observed in the buildings, and ... for the beauty and convenience of the city, that the streets which were formerly too narrow have now been enlarged."
  For the residents of Brussels, however, the priorities were completely different. A rapid reconstruction was vital to allow economic activities to resume and to prevent an exodus of the population. The city's authorities, who had few resources, did not have the means to finance grandiose proposals. No financial aid from Spain or the governor could be expected, as their resources were dedicated to the war effort. The solution thus involved frugality and effectiveness, based on tradition, and the re-use of materials and surviving foundations. The residents and the guilds did not look favourably on the imposition of a new, foreign, architectural style. Local architects and artisans, with their better understanding of locally available materials and needs, still made attractive buildings, although they bore no resemblance to the baroque style. The weakness of the central government and the governor's absence due to the war during the first stages of reconstruction, in addition to the strength of the local upper classes, resulted in the structure of the city being kept largely the same, a situation similar to that after the Great Fire of London in 1666.
  After the outbreak of the War of the Spanish Succession in 1701, Max Emanuel quit his post as governor. Formerly having been allied with Austria and the Holy Roman Empire, he allied Bavaria with France in the conflict. No longer governor, his visions for Brussels were not enacted. What he did build was largely dedicated to symbolizing his power. The first Theatre of La Monnaie was commissioned by him, and designed by Venetian architects. He envisioned rebuilding the Grand Place with a uniform facade, although this would be done on only one of the sides of the square, now the House of the Dukes of Brabant.
caption: Guildhalls on the Grand Place, 1729
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