The Rise of the Dutch Republic — Complete (1555-66). John Lothrop Motley
of Contents
CHAPTER I. 1555
Abdication of Charles resolved upon—Brussels in the sixteenth
century—Hall of the palace described—Portraits of prominent
individuals present at the ceremony—Formalities of the abdication—
Universal emotion—Remarks upon the character and career of Charles
—His retirement at Juste.
On the twenty-fifth day of October, 1555, the estates of the Netherlands were assembled in the great hall of the palace at Brussels. They had been summoned to be the witnesses and the guarantees of the abdication which Charles V. had long before resolved upon, and which he was that day to execute. The emperor, like many potentates before and since, was fond of great political spectacles. He knew their influence upon the masses of mankind. Although plain, even to shabbiness, in his own costume, and usually attired in black, no one ever understood better than he how to arrange such exhibitions in a striking and artistic style. We have seen the theatrical and imposing manner in which he quelled the insurrection at Ghent, and nearly crushed the life forever out of that vigorous and turbulent little commonwealth. The closing scene of his long and energetic reign he had now arranged with profound study, and with an accurate knowledge of the manner in which the requisite effects were to be produced. The termination of his own career, the opening of his beloved Philip's, were to be dramatized in a manner worthy the august character of the actors, and the importance of the great stage where they played their parts. The eyes of the whole world were directed upon that day towards Brussels; for an imperial abdication was an event which had not, in the sixteenth century, been staled by custom.
The gay capital of Brabant—of that province which rejoiced in the liberal constitution known by the cheerful title of the "joyful entrance," was worthy to be the scene of the imposing show. Brussels had been a city for more than five centuries, and, at that day, numbered about one hundred thousand inhabitants. Its walls, six miles in circumference, were already two hundred years old. Unlike most Netherland cities, lying usually upon extensive plains, it was built along the sides of an abrupt promontory. A wide expanse of living verdure, cultivated gardens, shady groves, fertile cornfields, flowed round it like a sea. The foot of the town was washed by the little river Senne, while the irregular but picturesque streets rose up the steep sides of the hill like the semicircles and stairways of an amphitheatre. Nearly in the heart of the place rose the audacious and exquisitely embroidered tower of the townhouse, three hundred and sixty-six feet in height, a miracle of needlework in stone, rivalling in its intricate carving the cobweb tracery of that lace which has for centuries been synonymous with the city, and rearing itself above a facade of profusely decorated and brocaded architecture. The crest of the elevation was crowned by the towers of the old ducal palace of Brabant, with its extensive and thickly-wooded park on the left, and by the stately mansions of Orange, Egmont, Aremberg, Culemburg, and other Flemish grandees, on the right.. The great forest of Soignies, dotted with monasteries and convents, swarming with every variety of game, whither the citizens made their summer pilgrimages, and where the nobles chased the wild boar and the stag, extended to within a quarter of a mile of the city walls. The population, as thrifty, as intelligent, as prosperous as that of any city in Europe, was divided into fifty-two guilds of artisans, among which the most important were the armorers, whose suits of mail would turn a musket-ball; the gardeners, upon whose gentler creations incredible sums were annually lavished; and the tapestry-workers, whose gorgeous fabrics were the wonder of the world. Seven principal churches, of which the most striking was that of St. Gudule, with its twin towers, its charming facade, and its magnificently painted windows, adorned the upper part of the city. The number seven was a magic number in Brussels, and was supposed at that epoch, during which astronomy was in its infancy and astrology in its prime, to denote the seven planets which governed all things terrestrial by their aspects and influences. Seven noble families, springing from seven ancient castles, supplied the stock from which the seven senators were selected who composed the upper council of the city. There were seven great squares, seven city gates, and upon the occasion of the present ceremony, it was observed by the lovers of wonderful coincidences, that seven crowned heads would be congregated under a single roof in the liberty-loving city.
The palace where the states-general were upon this occasion convened, had been the residence of the Dukes of Brabant since the days of John the Second, who had built it about the year 1300. It was a spacious and convenient building, but not distinguished for the beauty of its architecture. In front was a large open square, enclosed by an iron railing; in the rear an extensive and beautiful park, filled with forest trees, and containing gardens and labyrinths, fish-ponds and game preserves, fountains and promenades, race-courses and archery grounds. The main entrance to this edifice opened upon a spacious hall, connected with a beautiful and symmetrical chapel. The hall was celebrated for its size, harmonious proportions, and the richness of its decorations. It was the place where the chapters of the famous order of the Golden Fleece were held. Its walls were hung with a magnificent tapestry of Arran, representing the life and achievements of Gideon, the Midianite, and giving particular prominence to the miracle of the "fleece of wool," vouchsafed to that renowned champion, the great patron of the Knights of the Fleece. On the present occasion there were various additional embellishments of flowers and votive garlands. At the western end a spacious platform or stage, with six or seven steps, had been constructed, below which was a range of benches for the deputies of the seventeen provinces. Upon the stage itself there were rows of seats, covered with tapestry, upon the right hand and upon the left. These were respectively to accommodate the knights of the order and the guests of high distinction. In the rear of these were other benches, for the members of the three great councils. In the centre of the stage was a splendid canopy, decorated with the arms of Burgundy, beneath which were placed three gilded arm-chairs.
All the seats upon the platform were vacant, but the benches below, assigned to the deputies of the provinces, were already filled. Numerous representatives from all the states but two—Gelderland and Overyssel—had already taken their places. Grave magistrates, in chain and gown, and executive officers in the splendid civic uniforms for which the Netherlands were celebrated, already filled every seat within the apace allotted. The remainder of the hall was crowded with the more favored portion of the multitude which had been fortunate enough to procure admission to the exhibition. The archers and hallebardiers of the body-guard kept watch at all the doors. The theatre was filled—the audience was eager with expectation—the actors were yet to arrive. As the clock struck three, the hero of the scene appeared. Caesar, as he was always designated in the classic language of the day, entered, leaning on the shoulder of William of Orange. They came from the chapel, and were immediately followed by Philip the Second and Queen Mary of Hungary. The Archduke Maximilian the Duke of Savoy, and other great personages came afterwards, accompanied by a glittering throng of warriors, councillors, governors, and Knights of the Fleece.
Many individuals of existing or future historic celebrity in the Netherlands, whose names are so familiar to the student of the epoch, seemed to have been grouped, as if by premeditated design, upon this imposing platform, where the curtain was to fall forever upon the mightiest emperor since Charlemagne, and where the opening scene of the long and tremendous tragedy of Philip's reign was to be simultaneously enacted. There was the Bishop of Arras, soon to be known throughout Christendom by the more celebrated title of Cardinal Granvelle, the serene and smiling priest whose subtle influence over the destinies of so many individuals then present, and over the fortunes of the whole land, was to be so extensive and so deadly. There was that flower of Flemish chivalry, the lineal descendant of ancient Frisian kings, already distinguished for his bravery in many fields, but not having yet won those two remarkable victories which were soon to make the name of Egmont like the sound of a trumpet throughout the whole country. Tall, magnificent in costume, with dark flowing hair, soft brown eye, smooth cheek, a slight moustache, and features of almost feminine delicacy; such was the gallant and ill-fated Lamoral Egmont. The Count of Horn; too, with bold, sullen face, and fan-shaped