Vleeshuis

Last updated
The Vleeshuis by Jozef Linnig, before 1886 Het Vleeshuis.jpg
The Vleeshuis by Jozef Linnig, before 1886
Vleeshuis in 2023 Vleeshuis 2023.jpg
Vleeshuis in 2023
Carved oak group representing Saint George fighting the dragon (ca. 1514). 0 Saint Georges - Musee Vleeshuis a Anvers 1.JPG
Carved oak group representing Saint George fighting the dragon (ca. 1514).

The Vleeshuis (Butcher's Hall, or literally Meat House) in Antwerp, Belgium, is a former guildhall. It is now a museum located between the Drie Hespenstraat, the Repenstraat and the Vleeshouwersstraat. The slope where the Drie Hespenstraat meets the Burchtgracht used to be known as the Bloedberg or Blood Mountain.

Contents

History

In the Middle Ages, Antwerp was one of the economic centers of Flanders, next to Bruges and Ghent. Because of that, indoor trade markets were founded, one of which was the Vleeshuis. It is not known when the first one was built. The second Vleeshuis was built in 1250 near the castle of Antwerp. [1] It was commissioned by the Duke of Brabant and paid for by the city of Antwerp. [2] A central meat market enabled the city to regulate the meat industry, limiting the number of butchers permitted to sell to 52. [3] The building may have also functioned as a slaughterhouse. [3] In 1290, John I, Duke of Brabant recognized the guild of Antwerp butchers, resulting in butchers' guild being the oldest trade guild in Antwerp. In time, many of the butcher families became wealthy. [3] The Vleeshuis functioned as a commercial center for selling slaughtered animals.

The current structure

By 1500 the building had become too small and very neglected. The Butchers Guild decided to build a new Vleeshuis near the cattle market, where the animals were slaughtered and cut. The new building provided room for 62 butchers, plus meeting rooms and storage. It is probable that the current structure was designed by the architect Herman de Waghemakere and his son Domien de Waghemakere. [4]

The current Late-Gothic building was constructed between 1501 and 1504 and is the third Vleeshuis on the site. [4] It is made of red brick and white sandstone. Though the great hall of its interior bears a resemblance to a church, the stairwell towers and crow-stepped gables make it clear this was intended as a secular institution. [4] The interior is divided into two halves, each with a span of 7.5 metres (24 ft 7 in)—the maximum length of a structural oak beam. The bricks were fired onsite using clay from the Rupel district. The sandstone came from quarries at Balegem; interspersed with the bricks created a brickwork known as "bacon layers." [4] Additional finishes were Gobertange limestone for carvings, bluestone for doorways and staircase, and slate for the roof. [5]

In 1796, during the French occupation, the guilds were abolished, and three years later the building was sold. [3] The butchers eventually repurchased it but operations continued on a smaller scale. The additional space was rented out. The guild eventually sold the building in 1841 to the winemaker Peyrot. [3] Peyrot did not need all the space so he divided the interior into a storage area, and a theatre auditorium, often used by the Liefde en Eendragt . Painters used the studios on the upper floors, including Nicaise de Keyser and Gustave Wappers. [3] Organ builder Joseph Delhaye may have also had a studio in the building. [6]

20th century

In 1899 the Antwerp city council purchased the building for a home for the municipal archives. [6] As it was undergoing restoration by the architect Alexis Van Mechelen, the Provincial Commission for Monument Conservation decided to re-purpose the building as a Museum of Antiquities. [6] (The Museum of Antiquities had been housed in the medieval castle of Het Steen since 1864. [6] ) Renovation was completed and the Vleeshuis opened as a museum in 1913, containing some 80,000 objects. One of the oldest collections in Antwerp, the museum sought to display a broad variety of arts works ranging from antiquity to the present. Its collection included metals, ceramics, iconography, architecture and musical instruments. [6]

Beginning in the 1970s, the musical instruments became a more prominent part of the Vleeshuis collection, in part due to the trend of restoring keyboard instruments so that they would be able to be used in performance. Gradually the museum altered its permanent exhibition to focus on musical instruments. After a brief closure, in 2006 the Vleeshuis reopened as Vleeshuis | Klank van de stad (Vleeshuis | Sound of the City). Currently the museum focuses on sound, music and dance in Antwerp with displays of instruments, music books, music manuscripts, paintings and models, covering the story of minstrels, bell ringers, opera singers, church and domestic music, public concerts and dance after 1800. The lower level houses a reconstruction of a bell foundry and the Van Engelen workshop, a studio for the making of brass instruments. [6] During the summer the Vleeshuis organizes carillon concerts in the Cathedral of Our Lady.

In 2013 the Organ collection Ghysels was allocated to Vleeshuis. [7] The collection is being stored under climate controlled conditions in Kallo until Vleeshuis has been renovated. [8]

See also

Related Research Articles

<span class="mw-page-title-main">Beveren</span> Municipality in Flemish Community, Belgium

Beveren is a municipality in the Belgian province of East Flanders which comprises the towns of Beveren, Doel, Haasdonk, Kallo, Kieldrecht, Melsele, Verrebroek and Vrasene.

<span class="mw-page-title-main">Philip Fruytiers</span> (1610–1666) Flemish Baroque painter and engraver

Philip Fruytiers (1610–1666) was a Flemish Baroque painter and engraver. Until the 1960s, he was especially known for his miniature portraits in watercolor and gouache. Since then, several large canvases signed with the monogram PHF have been ascribed to him. These new findings have led to a renewed appreciation for his contribution to the Antwerp Baroque.

The Ruckers family were harpsichord and virginal makers from the Southern Netherlands based in Antwerp in the 16th and 17th century. Their influence stretched well into the 18th century, and to the harpsichord revival of the 20th.

Flemish literature is literature from Flanders, historically a region comprising parts of present-day Belgium, France and the Netherlands. Until the early 19th century, this literature was regarded as an integral part of Dutch literature. After Belgium became independent from the Netherlands in 1830, the term Flemish literature acquired a narrower meaning and refers to the Dutch-language literature produced in Belgium. It remains a part of Dutch-language literature.

<span class="mw-page-title-main">Royal Museum of Fine Arts Antwerp</span> Art museum in Antwerp, Belgium

The Royal Museum of Fine Arts Antwerp is a museum in Antwerp, Belgium, founded in 1810, that houses a collection of paintings, sculptures and drawings from the fourteenth to the twentieth centuries. This collection is representative of the artistic production and the taste of art enthusiasts in Antwerp, Belgium and the Northern and Southern Netherlands since the 15th century.

Preservation of meaning in library, archival or museum collections involves understanding spiritual, ritual, or cultural perceptions of value for specific objects, and ensuring these values are maintained and respected. Meaning is something assigned to objects of cultural or spiritual significance based on interpretations and perceived values by user populations, a process known as social construction of an object. When moved to memory institutions such as libraries or museums, these objects of social construction require unique approaches to preservation and maintenance in order to remain relevant as representations of cultural or spiritual societies.

<span class="mw-page-title-main">Jos Van Immerseel</span> Belgian harpsichordist, pianist and conductor

Jos Van Immerseel is a Belgian harpsichordist, pianist and conductor.

This is a timeline of artists, albums, and events in progressive rock and its subgenres. This article contains the timeline for the period 1960–1969.

<span class="mw-page-title-main">Colijn de Coter</span>

Colijn de Coter was an early Netherlandish painter who produced mainly altarpieces. He worked primarily in Brussels and Antwerp. His name was sometimes given as Colijn van Brusele, indicating that he hailed from Brussels or at least that he lived there most of his active life. He also signed several paintings with Coliin de Coter pinxit me in Brabancia Bruselle.

<span class="mw-page-title-main">Gaspar van Eyck</span> Flemish painter

Gaspar or Casper van Eyck was a Flemish painter of marine subjects and sea-fights. He worked in Antwerp and spent some time working in Genoa and Madrid.

<span class="mw-page-title-main">Theodoor van Heil</span> Flemish landscape painter

Theodoor van Heil, was a Flemish landscape painter known for his winter landscapes, city views and scenes of burning cities.

<span class="mw-page-title-main">Nicolaas van Eyck</span> Flemish painter (1617–1679)

Nicolaas van Eyck or Nicolaes van Eyck (1617–1679) was a Flemish painter active in Antwerp in the middle of the 17th century. He is known for his equestrian and battle scenes, landscapes and portraits. He also painted a few civil processions, including parades of the Antwerp civil militia.

The following is a timeline of the history of the municipality of Antwerp, Belgium.

<span class="mw-page-title-main">Fortifications of Antwerp</span>

Antwerp was developed as a fortified city, but very little remains of the 10th century enceinte. Only some remains of the first city wall can be seen near the Vleeshuis museum at the corner of Bloedberg and Burchtgracht, and a replica of a burg (castle) named Steen has been partly rebuilt near the Scheldt-quais during the 19th century. Parts of the canals that protected the city between the 12th and 16th century have been covered and used as a sewage system. Both the 16th century city walls and the 19th century fortifications have been covered up by major infrastructure works during the 19th and 20th century.

<span class="mw-page-title-main">Jan Baptist Bonnecroy</span> Flemish painter

Jan Baptist Bonnecroy or Jean Baptiste Bonnecroy was a Flemish painter and engraver known for his large panoramic city views and marine paintings.

<span class="mw-page-title-main">Palace of the Count of Flanders</span> Palace in Brussels, Belgium

The Palace of the Count of Flanders is a neoclassical palace in Brussels, Belgium. It was originally built between 1776 and 1781 for Countess Brigitte of Tirimont-Templeuve, though it was heavily expanded in the 19th century. Nowadays, it houses the Court of Audit of Belgium.

Hans Nieuwdorp is a Belgian art historian specialized in late medieval sculpture. In 2000, he was appointed director of the Art Museums of the City of Antwerp.

The Organ collection Ghysels is a museum collection of mechanical dance and fairground organs. Since 2010 it is exhibited at the Kijk- en Luisterdepot in Kallo in Beveren, Belgium. It was brought together by Jef Ghysels from Schaerbeek. Great part of the organs operated before the First World War.

<span class="mw-page-title-main">Bourse of Antwerp</span> Financial exchange

The bourse at Antwerp is a building in Antwerp, Belgium, which was first opened in 1531 as the world's first purpose-built commodity exchange. The Royal Exchange in London was modelled on the Antwerp bourse. The bourse has been described as "the mother of all stock exchanges".

References

  1. Vleeshuis 2009, p. 3.
  2. Vleeshuis 2009, p. 4.
  3. 1 2 3 4 5 6 Vleeshuis, p. 4.
  4. 1 2 3 4 Vleeshuis, p. 3.
  5. Vleeshuis, p. 3-4.
  6. 1 2 3 4 5 6 Vleeshuis, p. 5.
  7. G-Geschiedenis, Dansorgels Ghysels, Siebrand Krul, 6 August 2015 (in Dutch)
  8. Kunsterfgoed, De Collectie Ghysels, last visited on 5 November 2018 (in Dutch)

Sources

51°13′22″N4°23′57″E / 51.2227°N 4.3992°E / 51.2227; 4.3992