10.The Rosary: a symbolic place Rodenbach has - Bruges-la
Transcription
10.The Rosary: a symbolic place Rodenbach has - Bruges-la
10. The Rosary: a symbolic place Rodenbach has located the residence of Hugues Viane in the tourist heart of Bruges: a "large, old house on the Quai du Rosaire, looking posh" equipped with "three old cross"1 and one "reflected in the water." These indices, provided by the author himself, incite to coincide with the "Spanish House" which stands at the corner of Quai du Rosaire (in Dutch, Rozenhoedkaai) and Rue aux Laines (Wollestraat). This is an imposing building built in Gothic style and natural brick, which was an unheard of luxury in the 15th century (ca. 1480). It has two wings perpendicular to the street, in line with each other but separated by a low building, parallel to the road. Like the front facade overlooking the bustling Wollestraat, which is located along the waters of the Rosary is pierced with three mullioned windows and framed with arches niches. The description of "large, old house with three windows and opulent appearance that reflected in the water" applies perfectly to the patrician house of the mayor of the city of Bruges in the 16th century, Don Juan Perez de Malvenda, death almost centennial (1511-1606). It faces the statue of Prague St. John of Nepomuk who was thrown into the Moldau for refusing to betray the secret of the confession of Queen Joan, wife of Wenceslas IV, King of Bohemia. It is in this house in 1584, that Perez Malvenda (or more accurately Maluenda) had hidden in a box of lead bulb of the Holy Blood while the iconoclasts were in control of the city. The box is now in the museum of the basilica. This pious man (he was a member of the Noble Brotherhood of the Holy Blood) occupied, with his wife Madeleine Chantraines, the large house of his brother, the wealthy merchant Jacques Broucqsault, an uncompromising Calvinist who had the presence of mind to leave a city close to being conquered by the Spaniards thirsting for revenge. Indeed, during the Protestant occupation, he had served as alderman, then chief magistrate of Bruges. November 30, 1584, the feast of St. Andrew and the Order of the Golden Fleece, the whole city began cheering to replace the relic in the chapel of the Holy Blood. Today we can see on the front of the arms of Malvenda Perez, "torn quarter gules a tower of gold, two-thirds azure, a fleur de lis argent 2 at the edge of Azure charged with seven shells "(Compostela). In its “Traditions et légendes de la Belgique” (1870), Baron-Reinsberg Düringsfeld recounts the heroic behavior of Perez and confirms that the sacred place was still the object of curiosity or public devotion in the 19th century, the lifetime of Rodenbach: “March 20, 1578, the heretics have been introduced into the city by Jacques Mostaert and his accomplices, several churches were plundered, and Juan Perez de Malvenda, Spanish nobleman, leader of the churchwardens of St. Basil, 1 Georges Rodenbach, Bruges-la-Morte. Présentation par Jean-Pierre Bertrand et Daniel Grojnowski. Flammarion, GF nº 1011, Paris, 1998, p. 52, note c. This basic topographic data is not included in the final version. The transformations of 1906 gave a more neogothic home Quai du Rosaire "reflected in the water." 2 In general, the lily is omnipresent in the ornamentation of the house, which does not necessarily indicate a symbolic commitment. assuming correctly that Chapel of the Holy Blood does point to escape the fury of the enemies, locked the relic in a safe lead and carefully concealed from him, until the Catholic party had the upper hand again. It is said that in the cellar of this house (on the Pont Saint John of Nepomuk, a form very picturesque, with a walled garden, extending vis-à-vis the dock Rosenhoed3), we see even where this treasure was kept.” An inscription written by Guido Gezelle (1830-1899) and sealed in the facade in 1892, the year of the publication of Bruges-la-Morte, is intriguing in itself; it remembers that milestone episode in the history of the city: C.Z.J.C. ZOO OF OBEDEDOM ARKE BORG ZOO'S PEREZ DE MALVENDA ZORG BEWAERDE ONS HEEREN BLOED ALHIER VOOR HAET EN NIJD EN OORLOGSVIER A.D. 1578-1584 Praise the Lord Like Obededom hid the Ark The care of Malvenda Perez allowed In place to preserve the blood of our Lord Of hatred, greed and rage of war Years 1578-1584 of the Lord But for the occasion, Gezelle was wrong: there is the relic that was kept during the year 1584 and not six consecutive years. The text of the unusual large Flemish poet alludes to the village, Obededom, where King David would have temporarily hid the Ark of the Covenant of the Hebrew people before his entry into Jerusalem. Registration is an initiative of the Countess of Savina de Gourcy Serainchamps, the wife of Baron van Caloen who owned another property in Dyver (No. 7) nicknamed "the house with windows of crystal," and Castle Loppem designed by Jean de Bethune and EW Pugin, an English architect that I will discuss later. The house on the Quai du Rosaire, shaded by an immense and ancient willow tree, has long been the property of large families and Bruges van Caloen (Gillès) of de Pélichy. The latter family by a strange coincidence had also saved the Holy Blood during the French Revolution!4 Several of its members were part of the Noble Brotherhood of the Holy Blood and the Order of Christ belong to the Templars. Foundations and the walled garden of the Basilica of Holy Blood, which the relic is closely linked to the plot of the story, bathed in the same waters as the "Venetian palace" of Viane. In 1906 and 1914, inside the house was extensively renovated. The architect has provided the north wall of a curious octagonal turret with spiral staircase. On the rear facade, facing south, the owners have placed a seated Virgin and Child (Seat of Wisdom). An additional argument reinforces my esoteric hypothesis in his 3 Quai du Rosaire. "Rosary" translates "into Dutch by" Rosenkrans "and not" Rozenhoed" which literally means "hat of roses". Basement beams and original flooring are visible from the impasse that leads to the banks of the Rosary. 4 The Pélichy and Rodenbach should know each others : Jean de Pélichy and Constantin Rodenbach were both founding members of the National Congress of Belgium. second great "Bruges" novel '”Le Carillonneur”, Rodenbach situates the home of the main hero in Dyver, probably nr. 7, from the description he gives, and which corresponds to old views: “His old house at Dyver, with its tall blackened facade, leaded windows in wooden frames, a green glass, color channel that is in front [...] 5 But that Perez Malvenda lived there several years before moving to one hundred meters, at the corner of the Rue aux Laines (Wollestraat) and the “Quai du Rosaire”, in the abandoned palace by his brother. The Dyver garden has also served cache to the relic of the Holy Blood! Rodenbach seems fun creating a symbolic treasure hunt in his chosen city. Back side of the Quai du Rosaire. The Gezelle's explicit reference to Ark of the Covenant is particularly welcome in the context of the story of Rodenbach. The Latin "arcana" means a small jewelry box and other valuables. "Arcana" gave the word "ark". This etymology can intermix the symbols of the box, the Holy Blood and hair, the Ark of the Covenant and arcane or secret. The Ark of the Covenant, also called the ark of Yahweh, or the Ark of the Testimony, was a wooden chest covered with gold plates. It was the oldest and most revered of Jewish religious objects. For some commentators, it represents one aspect of the Grail. What about magical properties of the Ark? It defended herself, like the hair that is vindictive and bloody at the end of Bruges-la-Morte, when the "profane fingers"6 of the actress dare to seize it. Rodenbach himself insists on the absolute sanctity of the Holy of Holies that is according to Viane reliquary room, living room lit up like a "chapel". Here are the words he uses to evoke the tragic scene that concludes the story: “She was dead - for not having guessed the mystery and there was something there to which he had to touch under pain of sacrilege. She had reached into it, the vengeful hair, that hair that immediately - for those whose soul is pure and communes with the “Mystère”7 - implied that the minute she would be desecrated, itself become the instrument of death.” That the braid becomes "boa", a snake charmer, to better kill the intruder referes to Aaron's Rod inseparable from the Ark of the Covenant. Or the face of God warns the ungodly: "No one can see my face without dying" (Exodus 33:20). In his study of the almshouses, the Countess Marie Louyse des Garets has recounted, consciously or not, magic and mysticism emanating from the focal place of Bruges-la-Morte: “Slowly ascend the platform of the Rosary, we stop at the entrance of Dyver, with St. John of Nepomuk - the boss of silence in these places is the only bearable companion, here we are at the heart of enchantments. Look right over there, the airlift, while gold, thrown at the entrance of the borough as 5 Le Carillonneur, Passé Présent, Bruxelles, 1987, p. 124. 6 Bruges-la-Morte, Chap. 15. 7 The word "mystery" refers perhaps to the “Magnum Mysterium”, the major work of Jacob Boehme, containing all the mysteries of the Royal Art, or the "Magnum Arcanum" (Great Mystery) of the Egyptian Rite created by Count Cagliostro, too often confined to the role of trickster and manipulator while its rituals are equally interesting so many others of the time. More generally, the Latin word "mysterium" means "mysteries, secret ceremonies in honor of a deity accessible only to initiates." a crescent moon, and see how he manages to leak also golden antlers ... Look at our feet, and the constant shifting miracle water, without moving, took hold of all things in heaven and earth [...] a beautiful p abandoned palace - Palace of Melancholy - it washes bruises [...]8 As I tried to show, the place of literary Bruges-la-Morte is almost certainly the "Spanish house" of Perez de Malvenda. By a strange twist, it housed the headquarters of the Brugge 2002' activities. This association was responsible for providing all its brilliance to the "European Capital of Culture." Today, she was reassigned in typical Belgian food store ("2 Be"). Other times, other manners! But the luxurious interior is surely worth. Conclude this chapter with a view taken from the back deck of the "Palais du Rosaire," Wollestraat 53. Hugues Viane had since his first floor room mystical and stunning views on turrets and enclosed garden of the Chapel of the Holy Blood which is always kept the Grail of Bruges. 8 Marie-Louyse des Garets, Bruges et ses Maisons-dieu, Soledi, Liège, [s.d.], pp.94-95. 11. Khnopff, the "admirable and immortal Master" These paintings are masterpieces! We will notice later. This is the fate of any new art of disconcerting at first, even displeasing. Bruges has a treasure more and a great painter, whose name will live in the future. 9 Georges Rodenbach, The Carillonneur. Before addressing other key of Bruges-la-Morte, it is essential to consider the work of the painter who executed the drawing serving as frontispiece of the novel and whose exegesis is later in the chapter. The Symbolist Fernand Khnopff (1858-1921) shares with Rodenbach a fascination for Bruges where he spent his early childhood. After entering the world of PreRaphaelites in Belgium, he decisively influenced Gustav Klimt by participating in the Vienna Secession of 1898. But at the very beginning of his career, he is the darling of Sar Peladan, who nicknamed him "admirable and immortal Master." Like so many other artists, he will stand out quickly, afraid of the excesses of the Southerner “Sar” Péladan. In manhood, he will follow the public education and rituals inspired by the mystic philosopher Emanuel Swedenborg (1688-1772). The year in Bruges-la-Morte, his brother George, translator of Wagner and intimately connected to Maeterlinck and Rodenbach, as evidenced by dedication of a beautiful Princess Maleine, animated musical part, or column of harmony, of Kumris, consecrated in July 1890, a Lodge of Templar and Martinist inspiration. It took its name from Wales, the country of origin of Perceval, and represented the Belgian branch of the “Groupe indépendant d’Études ésotériques” founded by Papus. This movement will be much later marked by thought and work of René Guénon. The circle had set a goal to take stock of occult knowledge and the Egyptian tradition to contemporary times. His section was applicable to various practical experiences of spiritualism, telepathy, magnetism, numerology, astrology or hypnotisme 10. In the field of numerology, the Lodge made much of the number three, which represented unoriginal perfection by its ability to unite the opposing forces. Highlighting this would have inspired the painter Fernand Khnopff many works, including triptychs entitled “L'isolemen” and “D'autrefois”. This is the central panel which acts as a conciliator with chromatic progression towards blue, the color of spiritual ascent. It is interesting to note that blue mystic and magnetic interpretations, as is the case of lapis lazuli, has occupied a fundamental place in the work of Symbolist painter. Kumris organized exhibitions at the famous Hotel Ravenstein in Brussels 11: 9 Le Carillonneur, Passé Présent, Bruxelles, 1987, p. 265. Khnopff is most certainly the painter Bartholomeus in “Le Carillonneur”. 10 About the Kumris links with Symbolist artists, consult the article by Christel Mahieu published in September 2003 on the site art-memoires.com and called “Jules Dujardin, l'Idealiste (1863-1940): itinéraire d’une désillusion.” The Russian composer Alexander Scriabin (1871-1915), friend of Jean Delville, was also clote to Kumris. 11 The princes of Cleves, lords of Ravenstein, were among the first members of the Knights Order of the Golden Fleece. Edmond Picard organized in Brussels “Les Salons de “Vurgey Francis had given it a ceremonial imitated of spectacular Peladan Salons Rose + Croix, and offered a specific emblem: a Vexille (sic) bearing the name of "Trident of Paracelsus," although a common inverted trident. This Vexille "embroidered two ladies" in red and blue on gold was handed solemnly Sunday, 22 May 1892412, by Brossel, group president, and by Vurgey, the delegation led by the Martinist Order Papus and Mauchel during an official visit to Paris of Martinists of their counterparts in Brussels. On this occasion, Papus and his publisher stayed a week in Belgium13. In Brussels, Papus intellectual duty will be to go file a palm wrought iron offered by Kumris at the monument dedicated to the Rosicrucian alchemist Jean-Baptiste van Helmont (1579-1644) who is in New Grain Market. Before delivering a special diploma of the Order to Charles Buls, Burgomaster esthete and a Freemason of the Belgian capital. Emile Dantinne14, Sar Hieronymus and self-proclaimed follower of the spiritual work of Sar Peladan, summarized the history of the esoteric circle linked to the brothers Khnopff: Peladan was often in Brussels. He organized his Salons de la Rose-Croix, painting exhibitions installed in the beautiful premises of the House of Art, the oldest hotel in Edmond Picard715 Avenue of the Golden Fleece. Several outstanding works by Armand Point, Jean Delville and Dario de Regoyos figured these and other exhibitions. The Belgian friends of Peladan were numerous among the most faithful include Edmond Picard, Raymond Nyst, José Hennebicq, George M. Baltus. The Rosicrucian philosophy in Belgium had found many followers. The Hotel Ravenstein housed the esoteric activities of the Temple and when the Catholic and Rosicrucian Rosicrucian Kabbalistic Stanislas de Guaita parted, the RCC continued to hold its sitting, because there was in Brussels as the Rosicrucians . Only after the death of Sar Hieronymus Peladan that rekindled the torch of the Order and restored it in the direction of the primitive tradition of the true Rosicrucian initiation and discretion. Also in 1892, one year decidedly eventful touching the domain of the occult aesthetic Khnopff runs a frontispiece for a book Peladan, The Panthea, a statue involving symbols or attributes of different deities. This is also the title of a famous treatise of Kabbalah alchemical. On the other hand, Panthea Abraxas is the name of the seal masterful senior dignitaries of the Order of the Temple, which fits perfectly with the megalomaniac ambitions of Peladan. In 1885 already, the Brussels painter had titled one of his works According Josephin Peladan. Vice Supreme, sometimes called Venus renascens. The poet and art critic Emile Verhaeren in Some Notes on the Work of Fernand Khnopff unveiled the meaning of la Toison d'Or” in the eponymous Avenue (de la Toison d'Or) situated close to the first seat of the Lodge Kumris, rue Dejoncker. 12 The period of the definitive edition of Bruges-la-Morte. 13 Marie-Sophie André et Christophe Beaufils, Papus, biographie : La Belle Époque de l’occultisme, Berg International, Paris, 1995, p. 100. 14 Émile Dantinne, L’œuvre et la pensée de Péladan, Dervy, Paris, 1948. 15 Rodenbach had completed his legal training with the tenor of the Brussels Bar Edmond Picard. Mallarmé's Conference on Villiers had been published in the journal « L'Art moderne » led by the Picard. It is in his room "of the Golden Fleece" Maurice Maeterlinck met the actress Georgette Leblanc, the sister of the author of « Arsène Lupin ». this work. A character, perched on the "rock of Peter," to hand half lion, half sphinx, represents the papacy worn and tyrannical and the decay of its dogmas. In the foreground, a shameless Venus, seated on a pedestal covered with cabalistic signs, in the shade rejects a statuette of the Virgin Mary, or rather a black Madonna. The Eternal Feminine is thus given primacy over the official Church 16. Several Khnopff compositions are related to be unambiguous references to the author of Bruges-la-Morte, through the almost obsessive theme of the hair and undulating landscape of Bruges. This myth of the hair, inherent in the symbolist imagination, is perhaps originated in the fetishism of Dante Gabriel Rossetti (18281882): the Pre-Raphaelite had buried his last manuscripts between the hair of his beloved. Later, they had to cut even in the coffin for publication! This theme will inspire quivering Marcel Schwob's new “Lilith” (1891) 17, which is not unlike Brugesla-Morte. Let's review the works most closely related to the universe of the poet of Bruges. In 1888, Fernand Khnopff had a painting in his studio who disappeared and who was entitled “A Beguiling. And my hair was red with his blood ... Georges Rodenbach”. This pastel showed a naked woman whose hair was dyed with the blood of a "crucified poet" according to the testimony of poet Charles Van Lerberghe 18. The English title, which means "a seductive," "a bewitching," is referring to Herodias, one of the favorite characters from Mallarme, or to Mary Magdalene. The theme is very close to “L'Amante du Christ” designed by his fellow Felicien Rops. Not be confirmed. In 1912, Khnopff, nostalgic for the irretrievable loss of Beguiling, would have declined the same theme under the title “Un sortilège”. It adds an Almighty God, protector and Redeemer, which overlooks the crucified' covered face and the goddess in the nude provocative. The set is clearly inspired by the Trinity: the Father, the Son and the Holy Spirit who is feminine in nature. A griffin, a symbolic creature of the Khnopff universe, seems to stand on a column. In Christian iconography, this fabulous animal is a symbol of Christ's two natures, divine and human, which leads to the presence of the temptress. In the solar religions of the Middle East, as Mazdaism or Zoroastrianism, it represents the two fundamental principles, Good and Evil. For the Greeks, to equal, the sphinx, the griffin was the guardian of a treasure, especially that of gold of Hyperborea ... For the symbolists, Bruges is considered as an Ultimate Thulé 19 , that we should by no means amalgamate with sinister ideological extensions that have been fused to the 20th century through the concept of purity? “Du Silence” (1890) corresponds to a plate of Rodenbach published in 1888. It closes the collection of the “Règne du Silence” (1891), a title that evokes the Masonic ritual sentence, "Le Silence règne sur les colonnes", and the silence imposed on Apprentices. John Palou relates that the traditional decoration of a Lodge in the 18th century included "a statue of Silence, as a woman who carries 16 The Emperor Hadrian had built a temple of Venus at the place of the Holy Sepulchre and a statue of Jupiter on Golgotha to erase Christian memories. On Friday, "Holy" or not, is indeed the day dedicated to "Venus" in Roman antiquity. 17 Marcel Schwob, Double cœur, Paul Ollendorf, Paris, 1891. 18 Charles Van Lerberghe : Lettres à Albert Mockel, 1887-1906, Labor, Bruxelles, 1990, p. 73. 19Georges Rodenbach, Œuvres en prose et Œuvres poétiques : tome 2, Le Cri, Bruxelles, 2000, pp. 1293-1294. In a poem of the “Miroir du Ciel natal” (1898), Rodenbach compared Bruges to Thule and seems to evoke the Faithful of Love, a secret society of artists to which Dante belonged. the right index finger on the mouth"; it was placed behind the Secrétaire stall 20, a function closely related to the "secret" as the name suggests. An angel with feminine traits and gloved fingers makes the sign of silence. The photograph of the painter's sister, who served as a layer, shows that her right hand holds a scepter, a symbol of majesty, divining, mage or alchemist rod in order to gather vital fluids. This winged figure equipped with a crook or a caduceus evoke god Hermes-Mercury, which in this case is female, or better yet, angelic and hermaphrodite. Recall that the word "hermaphrodite" is a contraction of Hermes and Aphrodite, the union of Mercury and Venus. Hermes, the messenger of heaven, the interpreter of the divine, the heavenly spirit has the power to sleep (his nickname while "conductor of dreams") or to awaken humanity. He extended Eurydice in the Underworld. He taught Pandora the art of seduction, deception and lies. In Greece, when a heavy silence stood, it was to used to say: "Hermès passe" as they say today "Un ange passe". In Egyptian mythology, the goddess Hathor is called "She who loves silence" and the god Harpocrates, Horus the Younger or the son of Isis the widow, made the sign of silence by placing one finger on his lips. Coincidence or not, the act drafted by the character of Khnopff corresponds essentially to that of the response to the sign named "Du Silence" Secret Master's degree as described by Jean-Marie Ragon in his “Tuileur général de la Francmaçonnerie, Manuel de l’Initié”, published in 1861. Stephane Mallarmé, upon receipt of the plate “Du Silence” from Rodenbach, seems to have understood the title in this sense, while circumscribing its nuanced comment to the strictly literary thema : “Your title, before the open volume, initiated from someone within the meaning of poetry which in fact has only to speak for all that is expressed tacitly and directly to us, and moves the reverie, and this art is, is it not? the supreme, never in the singing, abstract objects, subtle and watched, just the veil of silence under which they seduced us and now permeates the Secret of Signifiance 21.” On another note, the first Egyptian Rite have taken place in Bordeaux. The Mother Lodge of the new Rite, “La Sagesse triomphante”, who claimed back to the time of the pyramids, was created by the Count of Cagliostro on the premises of the very ancient Lodge of “Le Parfait Silence” in Lyon, that could mean the drawing of Khnopff. Especially as extraordinary in itself, these "Egyptian arcana" of the Royal Art was accessible to women in mixed or androgynous perspective. The Master who had guarded the Temple "the index of the left hand on the mouth" and was holding a sword in his right hand which he threatened a sleeping Mercury 22. The word "Silence" was embroidered on the cord of insider (s) and the lock of hair cut (always that hair!) Were also an important symbolic role, from the Egyptian Mysteries23. 20 Jean Palou, La Franc-Maçonnerie, Payot, Paris, 1972, p. 348. 21 François Ruchon, L’Amitié de Stéphane Mallarmé et de Georges Rodenbach, Pierre Cailler éditeur, Genève, 1949, p. 48. 22 Alessandro comte de Cagliostro, La Maçonnerie égyptienne, Éd. Katanyktikon, Athènes, 2000. This ritual is online. The high priest appears in The Magic Flute under the name of Sarastro. He relies in particular the Egyptian goddess Isis, one of correspondences of the Hebrew Shekhinah-Sophia. 23 Marc Haven, Rituel de la Maçonnerie Égyptienne, Édition des Cahiers astrologiques : Les Maîtres de l'Occultisme, vol. XV, Nice, 1947. Finally, the Valentinian Gnosis Silence combines the Pleroma (a Greek term meaning "fullness" or "Grace" or the deployment of the divine in the manifested universe), this heavenly world formed by all the aeons that the follower reach the end of his earthly life. "In the beginning was the SILENCE, Aeon eternal source of the aeons, the Invisible Silence, the unnamed, the ineffable, the ABYSS, the vernacular is called God. "Reminds us of Jules Doinel. In all cases, silence is an invitation to embark on the mystical path by the emancipation of material realities. In Hiram and the Queen of Sheba, Julien Behaeghel connects the theme of silence to that of the androgyne, a central figure in the world of Khnopff: “In the Apocalypse, the time of transmutation is symbolized by a "silence of half an hour." This short time symbolizes the eternal present, this time without duration that represents the transition from man to split the Anthropos, the human results. It is indeed breaking the seventh seal the Lamb (Christ symbol) causes silence. The number seven of the androgynous, of being out of time ...” 24 During his literary debut in Paris, Rodenbach has deliberately placed his imagination under the seal of silence: Bruges-la-Morte itself contains twenty-five occurrences related to the "silence". In 1893, the second Salon Rose+Croix exposes a Fernand Khnopff fascinating composition titled “I lock my door upon myself”, according to one taken from the Christine Rossetti's poem “Who Shall Deliver Me?” Both works bear a strong link between its. She was the sister of Dante Gabriel Rossetti (1828-1882), author of the famous “Beata Beatrix”, a title that is perhaps a pun on Beata Peccatrix, which literally means "Blessed Sinner" , the nickname of Mary Magdalen. English PreRaphaelites were familiar for having visited Bruges, but also through Khnopff who maintained friendly contacts with fellow British Burne-Jones, the two artists vowing a mutual admiration. He probably conceived I lock my door ... sometime in the year 1891 before exposing it to Brussels, at the Salon des XX in February 1892, the month of the publication of serialized narrative Rodenbach. This major work could represent Jane Scott taking possession of the remains of the Viane's Quai du Rosaire, but especially the soul of the deceased wife or Viane himself 25. European painting, the Pre-Raphaelites in particular, had popularized the theme of the mermaid who tries to seduce a man to conquer his soul and become de facto immortal, but, paradoxically, could not live on earth at risk of her life, a theme close to the myth of the fairy Melusine and snake ... Jane Scott. The young woman, copper color hair (the actress who has coloured blond hair shows her true colors at last chapitre 26), spectral and feline, is posing on what looks like a piano covered with a black cloth. Three orange lilies at different stages of Papus and Peladan had both literary projects on Cagliostro. Maeterlinck lamented that he was unjustly underestimated. 24 Julien Behaeghel, Hiram et la reine de Saba : un mythe maçonnique, Maison de vie, Paris, 1997, pp. 134-135. 25Georges Rodenbach, Bruges-la-Morte. Présentation par Jean-Pierre Bertrand et Daniel Grojnowski. Flammarion, GF nº 1011, Paris, 1998, p. 105, note a. The manuscript contains a symbolic phrase (Viane is described as charmed and possessed) which is not included in the print version: "The charm of the resemblance was operating. Gradually taking possession began.” Highlighted by the author. 26 Bruges-la-Morte, Chap. 15 : "Then she returned to the window, her hair exposed, attracting the eye with bright flashes of their copper exposed haire. Highlighted by the author. flowering, which may recall the Viane's dead wife - a final portrait shows her "with lilies and bowing"27 -, mark the cleverly arranged canvas. This flower, emblematic of the French monarchy, also in number three in the arms of the Bourbons, is found in other major works Khnopff. Christian mythology, in turn, makes it the symbol of the Trinity. The three lilies were also on the personal seal of the German mystic Jacob Boehme, a follower of the Divine Sophia and whose thinking has greatly influenced many Symbolist writers turned to the occult. Lilies represented for him the heavenly purity, "the magical rapture and the flowered Aaron's rod" 28. In the Song of Songs, the lily is associated with the Bride and her Beloved, King Solomon. In this case, he wrote most often "lis" (and not “lys”) as in Bruges-la-Morte. This is the lilies of the field to red petals, close to the anemone, the favorite flower of Rodenbach, who is mentioned in the Gospel of Matthew (6:26-29). Finally, in alchemical illustrations, flowers allegorise three different processes of the Great Work. I will discuss further this issue. She looks at us with "fixed gaze" (this is the etymology of the word "dragon") exhibiting a double alliance: the Old and the New Covenant between God and Man? In the foreground, a broken chain - the golden chain of the relic of the Holy Blood or insiders dating back to Hermes, the philosopher's stone, the chain of aeons between the world and God, or that the collar of the Fleece Or - is suspended in the air. A window opens on an alley in Bruges where a ghostly figure wanders like that which is the background of Rossetti's Beata Beatrix. This is probably the poet Dante himself. In the composition of the English, Elizabeth Siddal (laudanum to suicide) is holding poppy and the flower the Dove of the Holy Spirit picks is this of hypnotic sleep and that of Demeter. Similarly, the god Hypnos, the twin brother of death, the guardian of the passage between two worlds (life and death, conscious and unconscious) controls the imagined scene by Khnopff: it symbolizes Bruges, the "beautiful asleep, the mothballed holy city. Anyway, on the ancient tombs, Hypnos was the symbol of the Eternal sleep. As for the original Egyptian Rite, he planned to paint a "sleeping Mercury" or Hypnos, at the left of the door of the Temple. Finally, the Martinists resorted to "hypnotic sleep" or "magnetic somnambulism" sessions during their ritual. According Khnopff, sleep was the most perfect thing in existence ... To the right of the table, in the opening of the composition, we guess three concentric circles, almost intangible, which seems to emerge a blurred face. That of his deceased wife replaced by lookalike who struts arrogantly? This type of Trinity chimera is found in the “Isolement” (approx. 1890-1894), the central part of an ambitious triptych which was dispersed after the artist's death. I learned of the scenography “I lock my door ... “, every detail is carefully considered painting is an extension of this passage in Bruges-la-Morte which compares the hair kept in a "broken chain", a symbol taken by Khnopff: “To see constantly, in the grand salon always the same, that hair that she was still, he had placed there on the piano now silent, just lying there, - braid interrupted, broken chain, cable saved from the wreck!”29 The frontispiece of Bruges-la-morte designed by Fernand Khnopff, actually a simple charcoal drawing of a very wake elaborate graphics, could also play a symbolic role. In mercantile and fallen Bruges, Jane Scott - the hair of the deceased young are dark and the wife is not dead in the Flemish town - runaway front porch and 27 Bruges-la-Morte, Chap. 7. 28 Jean-Marc Vivenza, Qui suis-je ? Boehme, Pardès, Grez-sur-Loing, 2005, p.11. 29 Bruges-la-Morte, Chap. 1. passes the Beguine, this "mystical pregnant" according expression of Rodenbach, and lofty towers of the cathedral of Saint-Sauveur and Notre Dame. Is the Lady of the Lake, the fairy Viviane of Arthurian legends? Has it sunk in the waters of Lake of Love? Is the fairy Melusine animal party whose body is hidden under a shroud? 30 Shakespeare himself compared his busy heroine to a sinking siren. The drawing, which is clearly inspired by the Ophelia's Pre-Raphaelite painter John Everett Millais, opposes the front instead of the more mystical Bruges, the Beguine, which "saves" and "custody" as indicated by the inscription placed above the entrance door, which reminds the scholar Paradise and Beatrice of the Divine Comedy. In 1889, Khnopff Rodenbach was honored through the fascinating pastel “Avec Georges Rodenbach. Une ville morte”. The symbolism of this particular work will be discussed in the next chapter. A few years ago, through the personal and decisive intervention of Verhaeren, Khnopff had agreed to draw a frontispiece "Bruges" to introduce “Mon coeur pleure d'autrefois” (1889), a collection of mediocre verses of Gregory Le Roy (1862-1941 ). The plaque was dedicated "To the most dear and most admired master Villiers de l'Isle-Adam", which I related the occult leanings. Close the Lake of Love, a young woman kisses her reflection in a mirror, symbol of the inner life of the mystical experience or the superconscious, as confirmed by her closed eyes. Is the reflection the mind of God, the spotless mirror as described in the Book of Wisdom (7:26)? In this case, the kiss is it that of God himself ... a god who would have a female face? The frame is formed of three concentric circles. Is it the three circles of light, that is to say, the initiatory encounter with the divine, without beginning or end, which appears to Dante in the last canto of the Divine Comedy in relation to the Trinity or the Holy Spirit? In the background, called the bridge of the Vine, the porch and pediment, which indicates the entrance of the convent and mystical space, seem to confirm this targeted interpretation. Especially as St. Elizabeth of Hungary, which protects most often enhanced by the triple crown, thus showing that it is in turn a virgin, a wife and a sister ... The design offered to Gregory Roy takes the foot against the frontispiece of Brugesla-Morte, the first referring to the closed eyelids, won by the inner life, the purity and the transfiguration, the other death and desolation. In both cases, Fernand Khnopff chose the Beguine place of Bruges as its focal setting scène 31. This is merely speculation, but it turns out that the bridge, a symbol of passage to another world, allowing access to the mystical enclosure has three arches, as there are three basic grades of initiation in Western societies . In the traditional symbolism, the bridge arches refers to the spiral staircase: it marks the gradation of knowledge. The pediment of the porch, we find the sentence "Sauve” et “Garde" and the chronogram "1776". If the statement indicates that the King of France Philip the Fair had put the place under his personal protection, the second has mentioned, only for the painter, the year of the death of Baron von Hund (1722-1776), the founder of the chivalric Order of the Strict Templar Observance (SOT). This Obedience was a great success among the aristocratic and artistic elites (Mozart) lands under 30 Robert L. Delevoy, Catherine de Croës et Gisèle Ollinger-Zinque, Fernand Khnopff : 1858-1921 : Sa vie, son œuvre. Catalogue de l'Œuvre. Lebeer Hosmann, Bruxelles, 1987, n° 127. This work appears to have first draft “Le baiser” that illustrates a book of Max Waller, a close friend of Rodenbach (No. 50 of Catalogue). Christ takes the place of the Bruges beguinage. Later, in 1907, Khnopff will draw a “Femme au linceul” near the frontispiece of Bruges-la-Morte. 31The Romanian-born poet Anne de Noailles, a relative of Georges Rodenbach, wrote “La Domination” (Calmann-Levy, Paris, 1905). The hero of this novel says: "Do not you see that the Beguine is throughout the whole city? " Germanic influence, which Flanders was incorporated into the Austrian Netherlands. On May 31 of that year, the Scottish Executive Boards of the SOT, causing the Rectified Scottish Regime, had spent with the Grand Orient of France a treaty of alliance and union. Thus, from their respective emergence, the Grand Orient of France and the Rectified Scottish Regime, of inspiration and chivalrous Templars, were if not friends, at least objective allies. The year 1776 also saw the emergence of the Order of the Rose Cross of Gold Old system significantly forwardoperative alchemy, theurgy and mysticism, but also the sleep of “Perfecte Egalité”, the only Lodge Bruges which several members participated in the Board of the city. This vantage point could provide the opportunity to make their mark on an emblematic spot : “the beguinage princier” 32. But not necessarily. This may in this case a simple recovery by an esoteric group of artists. Recall that the brother of Fernand Khnopff, and probably the painter himself, was part of the Lodge Kumris both templar and Martinist. It is possible that Péladan himself has claimed the spiritual heritage of the SOT. Historically, the beguinage is dedicated to St. Elizabeth of Hungary (1207-1231) who reigned over Thuringia. The Order of the Teutonic Knights especially revered in Marburg where he had transferred his relics. The Thuringian court, populated for scholars, had taken under his protection Wolfram von Eschenbach, the Grail's continuator of of Bruges Chretien de Troyes in a more airtight and more pagan conception called “Parzival”. It attaches importance to the son of Parzival, Lohengrin, the Knight of the Swan, this ubiquitous mythical bird on Lake Amour33. “Mon coeur pleure d'autrefois” by the crossing of the third circle symbolizes therefore the proximity of the sacerdotal initiation: in this case, a woman. The "princely" Vine Beguine would serve as Holy of Holies, as mystical Temple, "walled garden" of the Song of Songs (4:12). Of paradise protected by a "lake of love". Is the vine not the blood of the earth, the blood of Christ himself, or Grail, as shown in pétroglyphie cathedrals? Rodenbach has written that "the Beguines are the sisters of the Holy Spirit"34. In his posthumous story, “L'Arbre”, the poet clearly associates Joos Neele' love and to the Song of Songs35. The word "song" (“Cantique”) appears five times in Bruges-la-Morte. On the other hand, the vines symbolize fertility and the royal lineage of the princes of Judah, of Christ himself. Note that the test of the mirror, put forward in the design of Khnopff, is introduced in 1778 in the ritual of Masonry Lyon, birthplace of the Christian Rectified Scottish Regime clearly, a Rite influenced by the SOT under the action of enterprising Willermoz (17301824) ...36 Marie-Louyse des Garets related that the sisters of Lake of Love since the 15th century wore a narrow strip of embroidered red hidden under their cap, with the inscriptions from the Scriptures: "Veni sponsa Christi" and "Esto Fidelis unto death" . The first quote, incomplete, is a Psalm: "Come, thou Bride of Christ, 32 “La Parfaite Egalité” applied "Christian"rituals sent by the Marquis de Gages. See the Acts of a symposium held at the ULB (2000) edited by Alain Dierkens under the title Le marquis de Gages (1739-1787) : La franc-maçonnerie dans les Pays-Bas Autrichiens. Text in online. 33 This subject has been extensively developed by Paul St. Hilaire in Bruges, le Temple et le Graal, Sympomed-Edimed, Bruxelles, 1993, chap. 2. 34 Georges Rodenbach, Œuvres en prose et Œuvres poétiques : tome 2, Le Cri, Bruxelles, 2000, p. 1123. 35 Georges Rodenbach, L’Arbre, Éditions du Boucher, Paris, p. 5. Text online. 36 A drawing of Fernand Khnopff, similar to the theme, is titled “La Conscience” (1905). It is enhanced with a caption written by the artist: "Consciousness: a reflection of yourself but more beautiful. " accepts the crown that the Lord has prepared for you, for eternity." The second, which is also truncated, comes from the Apocalypse (2:10) and means: "Be faithful unto death, and I give thee a crown of life." 37 Under the porch, the visitor finds these words of Isaiah (5:4) and other Bible verses:" What could I do to my vineyard, that I have not done? "The works of Rodenbach and Khnopff, centered Bruges, the fallen Jerusalem, they do not decline to infinity the main award of Masonry chivalric Rectified Scottish Regime: Sic transit gloria mundi (" Thus passes the glory of the world ")? Is this a nod to the world of Khnopff? In Bruges-la-Morte, Rodenbach draws attention to the pastel portraits (the term appears four times), a special technique which excelled his friend, that dot the shrine room of the deceased: “[...] The center of a panel, a large pastel whose shimmering glass alternately hid and revealed, in a intermittente silhouette 38.” Similarly, the writer puts his hero, Hugues Viane, during his daily walk conceived as a ritual, the Mill Bridge (“Pont du Moulin”), where still stands today the stately Khnopff childhood home at the corner of the Langestraat. Finally, in his novel “Le Carillonneur”, Rodenbach has undoubtedly taken as inspiration by Bartholomeus, the painter of "the life of things" and "priest of an Art-Religion." We recognize the features of Khnopff in this description: “His black beard is bushy tapered stiff thin and pale, he offered one of these profiles fever burned a monk adoration39.” The Brussels artist had architectural designs and religious practices revealing his mystical world. The configuration of his studio in the “Avenue des Courses” in Brussels, which he had drawn up plans to detail, a personal interpretation seems theurgic operations observed in the assemblies of Elected Coens and Martinists: “The layout of rooms, their décor, colors, everything had been carefully crafted by the master. The visitor, after passing two halls with white and gold, was presented to the painter who stood at a selected location of the workshop or in the middle of a painted circle on the ground and from another who, ceiling, hosted as its motto "I have nothing but myself"40 (“On n'a que soi”). Such an alchemical garden, the remains of the Master, a white villa surrounded by a rose garden and accented with his monogram, was crowned with a statue of Aphrodite, the consort of Hermes. The enigmatic facade bore the inscription "Past Futur41", an award to mark the immortality of his work timeless. At the heart of his studio, the artist had represented his ceiling zodiac sign, the constellation Virgo. Hardware, formed outside the "Vesica Piscis" of the Pythagoreans and esoteric 37 Marie-Louyse des Garets, Bruges et ses Maisons-dieu, Soledi, Liège, [s.d.]. 38 Bruges-la-Morte, Chap. 7. Georges Rodenbach, Bruges-la-Morte. Présentation par Jean-Pierre Bertrand et Daniel Grojnowski. Flammarion, GF nº 1011, Paris, 1998, p. 53, note a. The manuscript stated that the wife had a "pastel complexion". 39 Le Carillonneur, Passé Présent, Bruxelles, 1987, p. 82. 40 This unusual currency probably means that the artist has only himself, his world, facing the manifestation of the divine and the sacred. It is therefore a mystical creed and not egotic as has often written. 41 "Future" is also the title of a Khnopff bust depicting a young crowned with laurel woman. Christians42. This symbol, which the central form resembles of almond or mandorla, expresses the geometrical description of square roots and harmonic proportions according to the teachings of the Golden Number of School of Pythagoras, or the sacred marriage, female gender, or matrix, as a source of life and even Christ himself. The guest did not fail to notice a little home altar decorated with a head of Hypnos, a medallion that seemed include the icon of a Madonna and Child and griffins, the emblem of the hidden treasure, the struggle of light and shadow, of Christ Himself or the Holy Grail in some cases. The mythical animal is taken on the family crest of Khnopff. Anecdotally, the painter was married briefly. It is said that the unfortunate wife was housed several hundred meters of the workshop, designed as a temple, and that access was forbidden her! Was the sacred place playing a role equivalent to the shrine room at the Quai du Rosaire subtracted under Jane? In the immediate vicinity two other painters idealistic lived at the same time, Ciamberlani Albert (1864-1956) at 27 Boulevard de la Cambre - Art Nouveau door of the destroyed building, a work by Paul Hankar, is at the Museum of Orsay – and Jules Dujardin at 22 Avenue des Courses, almost opposite the Khnopff house ! Ciamberlani participated in the decoration of “L'Etoile” of the Brussels Grand Place, a house rebuilt under the leadership of Mayor Charles Buls and whose masonic symbolism is obvious. On the other hand, in the year 191043, Fernand Khnopff assiduously frequented the Church of New Jerusalem in Ixelles. Many aspects of the cosmogony of the mystic philosopher Emanuel Swedenborg, whose book is titled The essential heavenly Jerusalem or the spiritual world, agree with the theme that runs twice Bruges-laMorte: “There are at "heaven" an ideal soul, Seraphita, which coincides with a higher degree Seraphitus land and that it "likes", he applies all his lifetime here on earth to find, which he seeks to prove himself worthy. But we situions in an optical androgynous Platonic flatly: there is no sharp break followed by a desire to reconstruct the primordial unity, given there are two stages, different, it is to merge with a conscious, lucid, rational catharsis which the engine is called Love 44. In the last years of his life, Khnopff continues to pay homage to the mystical and sacred character of the Feminine Principle. The “Catalogue raisonné” of his work shows two untitled drawings one of which depicts a woman carrying a lamb on his shoulders, Rosicrucian symbol par excellence, the other a veiled lady who embraces Christ on the forehead like a master towards his disciple. We discover, always the same period (1917-1918), a young girl crowned with laurel and a pencil and charcoal illustration entitled to St John, chap. XVI. 20. The legend takes a Johannine phrase of verse that celebrates the Holy Spirit or Spirit of Truth: "You will 42 The Vesica Pisces is even clearer in “L'offrande” (1891). 43 Around 1900, Khnopff had frequented the Swedenborgian circle animated by Sir William Blake Richmond, a descendant of the famous visionary painter William Blake. He recounted in detail his religious experience in an article published in Bulletins of the Class of Fine Arts (1915-1918), Royal Academy of Belgium, Brussels, 1916. This lecture was delivered March 2, 1916. More recently, the text has been reproduced in full in Bulletins de la Classe des Beaux-Arts (1915-1918), Académie Royale de Belgique, Bruxelles, 1916. This lecture was delivered March 2, 1916. More recently, the text has been reproduced in full in Fernand Khnopff : 1858-1921, Ministère de la Communauté française, Bruxelles, 1980, pp. 223-224. 44 Jean Servier, Dictionnaire de l’ésotérisme, PUF, Paris, 1998. Highlighted by the author. be sorrowful, but your sorrow will turn into joy." In 1919, Joan of Arc in armor and winged posing in front of a triple circle, a subject probably related to the 1918 victory. Finally, the ultimate pastel (1920), which revives the elegance of the heyday of the Symbolist painter, is a winged woman's face, hovering over the waters like a dove, a divine45 Sophia, or the Hebrew Shekhinah yet "the Spirit of God," or spirit of Elohim, "which fertilizes the waters of Chaos," as it is written in Genesis. With the disappearance of his colleague occurred in 1921, Jean Delville who will write a biographical sketch published in “L'Annuaire de l'Académie”46. To conclude, I mention here a detail that is far from trivial since it seems to confirm the above: to 1888-1889, the time of the frontispiece of the Péladan novel Istar, appears the signature stylized sketch of the painter . His monogram, initials F and K, is inscribed in a circle. This will quickly take the final shape of a flower or cranberry Trinity, a rose or a shamrock, the letters forming in turn a Latin cross, a Johannine tau, a cross of Anjou (called Lorraine) and a low uppercase "m". Should we not see a claw of the Master of the Rosicrucian symbol before his "conversion" to metaphysical thought of Swedenborg? 45 Robert L. Delevoy, Catherine de Croës et Gisèle Ollinger-Zinque, Fernand Khnopff : 1858-1921 : Sa vie, son œuvre. Catalogue de l'Œuvre. Lebeer Hosmann, Bruxelles, 1987. Those discussed in this paragraph are respectively the numbers 589, 591, 600, 610, 611 and 624. 46Text in online on site academieroyale.be 12. The Dead If you want a woman who is beautiful, rich, pleasant, Then take only Wisdom, it's all for you 47. But so far, no researcher seems to have paid increasing attention to the central character of Bruges-la-Morte (if one makes abstraction of the role assigned to the city which is anyway the double ), namely the deceased wife, the only one not to be named. This anomaly of the novel gives it a supernatural character: indeed, the sacred name of the supreme deity is indescribable, ineffable, mainly in the Egyptian and Jewish religions. Similarly, according to Wolfram von Eschenbach, the author of Parzival, the Grail is a stone whose name has no translation. Assigned to it a metaphor: "Lapis Exiliis", the "stone of exile" or "fallen stone from heaven" according to commentators. Rodenbach, in turn, suggests that the couple is childless, which could suggest a mystical marriage, and burial of the wife is in another city, far from Bruges. Viane is the only one who knows the name of his dead wife and the sacred place of his tomb, which gives him a place of Elected in the city. Is the relic of the hair tantamount to "the invisible angel" outside the couple created by the unique strength of their love, under the doctrine of Swedenborg recovery by Balzac in his new Seraphita? Theologians have not waited for the ambiguous success of Da Vinci Code to address the controversial figure of Madeleine. Because multiple, polymorphous and elusive, she is an archetype. In medieval thought, this is the model of divine love, but also of the Church as a symbol of bringing people together in forgiveness. Madeleine embodies humanity and repentant sinner who was redeemed by Christ's sacrifice. The Carthusians, Cistercians and Carmelites of St. Bernard himself, but especially the Dominicans, who had made the patron of the Order in 1297, had booked a role in their devotions. The Pope had personally instructed them to develop the worship and to protect its relics in the Sainte-Baume in Provence. The Dominicans, in full 19th century, once more attract the attention of the faithful on the character of Madeleine. Among them, Father Lacordaire (1802-1861), who considered the Sainte-Baume as the third largest tomb in Christendom, and who devoted his life to the end to the reoccupation of the abandoned dominicain convent. The translation in the crypt of St. Maximin Mary Magdalene' relics, placed in a golden reliquary, was held in the splendor in 1860, a year before the death of the great preacher. It should be mentioned in particular the name of Father John Joseph Lataste (1832-1869), founder of the mission of Our Lady of Bethany. The Jesuits, which Rodenbach followed the teaching at Ghent, held also her an unwavering worship. Béguines 48 communities, admired by the poet, and the Rhenish and Flemish mystics, rediscovered and translated by Maeterlinck, evoked her consistently in their Psalms : her hermit's life in the Sainte-Baume was the epitome of mystique contemplation 49and love. We know that the author of Bruges47Angelus Silesius, Le Voyageur chérubinique, Rivages Poche, Paris, 2004, p. 253. 48 Marguerite Porete has devoted some beautiful poems. She was burnt alive ... 49The reader is referred to Article Noli me tangere. Marie Madeleine, Marie d'Oignies et les pénitentes du XIIIe siècle. Dans Mélanges de l'École française de Rome. Moyen Âge, Temps modernes T. 104, N°1. 1992. la-Morte had the Convent of the Vine §“Béguinage de la Vigne”), this "mystical vast enclosure," the landmark site of Bruges, comparable to the walled garden, a symbol of the Beloved of the Song of Songs. Canon Hoornaert, historian and archaeologist in his spare time, which saved the place of final decommissioning, related a curious legend in his own way which would explain the word "Beguine" 50: “Once upon a time, in an unknown and distant time where princesses founded monasteries, a very pious queen named Beatrice. This queen had two daughters, one named Ghiselgune who had no taste for marriage, the other Nazarena, a widow. Taken together, they decided to withdraw from the world and live as nuns.” The first syllable of their respective name forms "Be-ghi-na" and who is at the origin of the word "Beguine" (“Béguinage”). This explanation is absurd, unless the man of the Church has sought to draw attention on Beatrice, Dante's mystical lover, and Nazarena, evoking perhaps Madeleine, the widow of the Nazarene. This strange name would be that the feminization of Nazarenus, or Jesus, as indicated by the inscription INRI, Iesus Nazarenus Rex Iudaeorum. According to some authors, it should also hear instead of the Nazarene Nazarite, "nazir" meaning "consecrated or separated in favor of the deity." Which sums up the vocation of a beguinage cut for the secular world. The conventual institution was under the special protection of the Order of Preachers or Bruges Dominicans, as I said before. I reassure you immediately: it will not be talking about a hidden ancestry of Christ, let alone a "sacred mystery". However, it is not impossible that the rulers who presided over the destinies of France, the Eldest Daughter of the Church have thought exploit the character of Madeleine as the wife of Jesus, the religious and political interest consisting to strengthen the divine character of the monarchy by the tie of blood of Christ. In the same vein, the minute ritual of coronation at Reims made King of France the terrestrial equivalent of the Savior. As Madeleine had anointed the Lord to Bethany, the Church spent the monarch with the Holy Chrism and Holy Ampulla sent by the Holy Spirit at the baptism of Clovis. It was not doing much for the designated heir of the House of David, although Louis XI, with some hidden agenda, had passed from the authority as king of Jerusalem to his descendants! The Bourbons ascended the throne with Henry IV, venerated especially her. Was it ever since Gaston de Foix had married Madeleine of France, daughter of Charles VII, opening access to the Bourbons to the supreme power? Can not tell. Or that a woman, Joan of Arc, "messenger of God" and devotee of the saint of Provence, had freed France from English domination? During the reign of Louis XIII, Cardinal Berulle wrote a sum entitled “L'élévation sur Sainte Madeleine” for the king's sister, Henrietta of England. Based on the justification of Grace, the book acknowledges that Madeleine is comparable to anyone because it is "chosen among the most chosen" to receive the grace that can only be granted to it. In 1645, an anonymous angevin pilgrim wrote in “Les Sacrez Parfums de Saincte Marie Magdeleine sur la France” : this country owes a special obligation because she introduced it to the true god and that her preaching has allowed it to be called “le Royaume Très Chrestien et ses Roys honorez du tiltre de Roys par excellence et Fils Aisnés de l’Église"51. In the 18th century, the link with the Provencal holy is still noticeable: Louis XV decided to build the church of the Madeleine in Paris, in the axis of the Palais Bourbon ..., the current pp. 209-268. Essay is online. 50 Chanoine Hoornaert, Ce que c’est qu’un béguinage, Desclée de Brouwer, ParisBruxelles, 1921 ; du même auteur, Le béguinage de Bruges. Son histoire, sa règle, sa vie, Desclée de Brouwer, Paris-Bruxelles, 1930. 51 Article d'Yves Giraud, Une somme magdalénienne à l'époque de Louis XIII publié dans l'ouvrage Alain Montandon et al., Marie-Madeleine, figure mythique dans la littérature et les arts, Presses Universitaires Blaise Pascal, Clermont-Ferrand, 1999, pp. 207-214. National Assembly. The sanctuary will be delivered to the cult in 1842 and consecrated by Archbishop Affre three years later, the prelate who would be cited by reference in Brugesla-Morte. In the same parish, at the Restoration, Louis XVIII had erected an expiatory chapel honoring the memory of his brother and his sister, Louis XVI and Marie Antoinette, the exact location of the ancient cemetery of the Madeleine, where the remains were buried pell-mell after their execution and then recovered thanks to the presence of signs willows and cypresses. In early 1888, coinciding with the arrival of Rodenbach in Paris, the Legitimists had managed to unite the various factions of monarchists around popular General Boulanger to regain power: the partisans of the Bourbons, and even the Orleanist Bonapartists had more than a common enemy, the Republic 52. But frightened by the prospect of civil war, Boulanger that had generated so much hope fled to Brussels 53. September 30, 1891, the candidate dictator committed suicide on the grave of his mistress, the Countess of Bonnemain, who had died shortly because consumptive. Since his exile in the Belgian capital, he lived in the nostalgia of its former political glory and continued to love the deceased. The General had engraved on the tomb of his unfortunate companion these touching words: "Margaret, soon." Note this curious detail that is not unlike the theme of Bruges-la-Morte: the portrait of Margaret, found on him when the fatal act, was placed in the coffin, and a lock of her mistress hair that the exile set in a pocket near his heart. Since ancient times, the lock of hair represented the most precious tokens of love. Did Georges Rodenbach limit the concept, an unassailable point of view of doctrine and dogma, to a mediator Marie between God and Humanity seeking redemption? It's possible. The fact is that his friend Fernand Khnopff runs a frontispiece in 1888 intended to illustrate a Péladan novel, “Avec Joséphin Péladan. Istar.” Following year, title will serve as a layer to his pastel dedicated to the poet of Bruges: “Avec Georges Rodenbach. Une ville morte”, creating a deep and clear link between both paintings and both writers through Khnopff. The composition, which presents itself as a riddle, seems emblematic of Brugesla-Morte. For this reason I dwell at greater length. The subject is a silhouette with angular features, abundant hair raised in a bun. She has a nostalgic and languishing look on a royal crown, perhaps that of Solomon. The character in front of a balustrade similar to that bounded past the Quai du Rosaire. The turret of the Holy Blood emerges slowly from the mist on the left side. The golden crown, wavering, based on a tabernacle that a cherub protects with its wings. This ensures more than likely on the Ark of the Covenant itself or on the foundation stone was hidden under the Ark in Solomon's Temple. In this context, the crown would announce the coming of the heavenly Jerusalem. That of achieving the Great Work, the victory of spirit over matter. Or the Supreme diadem of Kabbalah, which dominates the Tree of the Sephiroth of the Kabalists, the ornament of glory of Wisdom. Kether, as it is called, it is the Father, the living God, the cause of all causes, the origin of all origins. The pastel, the crown is discreetly topped by a statue ... a haloed female, sitting in a posture both hieratic and casual (his legs are crossed like the blade “The World” of the Tarot), it emerges as a fountain of youth. It would include the Queen of Heaven, the Sophia, Divine Wisdom often confused with Madeleine of Gnosis, or Seat of Wisdom, linked to the cult of Black Virgin. These are related to the Beloved of the Song of Songs, the goddesses Isis and Ishtar, the Babylonian androgynous goddess (the the most archaic statues represent her with a thin beard) highlighted by Peladan and Khnopff. Ishtar, goddess of life and death, fertility and sacred marriage, the cousin of double-faced Astarte, Aphrodite or the Queen of Sheba. The main character of the scene, meanwhile, would be the primordial Androgyne, the 52The dove of the prestigious Order of the Holy Spirit, created by Henry III and confirmed by Henry IV, is on the crest of Péladan Rose + Croix was Legitimist (see Chapter 8). In Christian iconography, Mary Magdalene is often associated with the Holy Spirit. 53 Là-Bas by Joris-Karl Huysmans ends with the election of General Boulanger. original Beauty. Face with square chin and slightly marked female chest, clumsily drawn, even unrealistic, say clearly the asexual character Khnopff's pastel dedicated to Rodenbach. It could also represents Adam Kadmon which preceded the fall in the matter and time, the creation of man likr God's image. Androgyny, via Kabbalah and writings of German mystic Jacob Boehme, is first in the heart of the Christian Enlightenment in his desire to return to lost unity54: “Adam was naked, and yet he was invested with the greatest splendor, he was dressed in paradise. It was a beautiful picture, clear clear, neither male nor female, but both together, like a virile virgin.” To conclude, I quote Julien Behaeghel which seems to provide the kabbalistic key of this seminal work that inaugurates the artistic and favorite thematics of the poet who in 1889 set out to conquer a masterpiece devoted to Bruges, built fot the elite of mankind. A city that will ensure for Rodenbach a portion of immortality: “Wisdom is obviously not of this world, at best can we move toward that light, buried deep in our darkness. Wisdom is divine, she is a goddess and is the supreme goal of all initiation. Looking good in the third column of the tree of Sephiroth, we see that Wisdom (Hokmah) leaves the absolute light (Kether-Crown) to give Eternity (Netzach) to men through of Beauty (Tepheret) but also by compassion (hesed) and compassion is simply sharing the pain. Wisdom shared our pain before we share his Eternity 55. But back to Christ's Beloved. Jacqueline Kelen in his fascinating “Marie-Madeleine ou la beauté de Dieu”56 emphasizes capital situation of Madeleine in Western iconography. She has well highlighted her polymorphism character: “This appears plural and moving, these divergent paths confuse many. Who is she, Magdalene? A rich courtesan, a grieving daughter, a goddess who walks masked, a lover, a repentant sinner, an insider, a saint recognized by the Church? ... Everyone follows his penchant and eventually get confused by these multiple images. Mary Magdalene escaped. You can not capture more than bright light.” By the multiplicity of its interpretations and its strong erotic charge, the disciple, or the Beloved of Jesus, was under the stencil art in the 19th century. Maeterlinck, Rodenbach's protégé, underpins my hypothesis that the dead wife is an evocation (sometimes discrete and sometimes supported) of Mary Magdalene . The author of “Pelleas et Melisande” wore her in high esteem. On the occasion of the publication (1913) and the staging of “MarieMagdeleine” at the Theatre du Chatelet, who had just been crowned the Nobel Prize for Literature (1911) entrust, without concern for the well predictable sarcasm of the rightthinking, she represented to him "the most admirable about that is in any literature: the Magdalene' struggle to save man she loves ..." And to conclude on a personal conviction: "If I felt more talent This would be the only subject that I would try. But I do not feel the required force .57 " 54Peladan talked about this in two trials: “L'Androgyne/La Gynandre (1891), a year before publication of Bruges-la-Morte, and “On the Androgyne” (1910). 55 Julien Behaeghel, L'Apprenti Maçon et le monde des symboles, La Maison de Vie, Fuveau, 2000, p. 168 et fig. 38. Beauty is in the center of the Tree of Life of Kabbalah. 56 Jacqueline Kelen, Marie-Madeleine ou la beauté de Dieu, La Renaissance du Livre, Bruxelles, 2003. Highlighted by the Author. 57 Maxime Benoit-Jeannin, Georgette Leblanc : 1869-1941 : biographie, Le Cri, Bruxelles, 1998, p. 332. Thanks to a laudatory article of Octave Mirbeau, a personal friend of Georges Rodenbach, dedicated to “Princess Maleine” (1889) 58 and published in the headlines of Figaro, Maurice Maeterlinck has enjoyed early in his career of international renown. However, it is that Maleine in Walloon regional languages of Belgium, means ... Madeleine. In English, the title of the play leads “Princess Madeleine”, then that term, in Victorian times, was of a negative connotation because it means "repentant harlot." Maeterlinck's topic is bound only by referring to the character of the Gospels, with the central role of the tower "between heaven and earth (Act I, Scene IV), with emphasis on the hair, etc.. The Maleine's mother called Godelive, "the beloved of God." Finally, the court of his father King Marcellus turned into a convent. As in Bruges-la-morte, the number fifteen, repeated several times, appears in the age of the princess ... The drama is inspired by an eponymous tale by the Brothers Grimm. Anecdotally, Rodenbach himself had been baptized at Tournai in the church of St. Mary Magdalene which has a high reredos altar composed of carved wood and polychrome panels retracing the eventful life of the disciple of Christ. This short biographical page of the writer's nostalgic childhood could establish an emotional bond with the recluse in Provence. He was also intimately connected to Frédéric Mistral (1830-1914), author of the famous “Calendau dedicated” to the Basilica of St. Maximin where the relics of the saint. Rodenbach quote extensively Mistral at a conference in the Netherlands. Moreover, in a letter to his friend Verhaeren dated 1894 he mentions the possibility of a thermal cure at Aix. Probably Aix-en-Provence, the land of Mary Magdalen. It is known that the poet's widow and son spent long seasons in their villa at Sanary-sur-Mer, a seaside resort on the “Côte d'Azur” located a few tens of kilometers from the Sainte-Baume. Recognize however that this is as biographical clues scattered and not irrefutable and decisive that would confirm a definite intention on the part of the novelist. Rodenbach, Maeterlinck and Khnopff fit perfectly into the spiritual power of the PreRaphaelite school. Dante Gabriel Rossetti, John William Waterhouse or Frederick Sandys had made of the fascinating character of Madeleine a favorite subject, not without ambiguity on the traditional role of women in turn temptress and redemptive. In their iconography, the British have regularly associated her with the Holy Grail and the Arthurian cycle. For their part, the continental artists of the second half of 19th century evangelical exploit extensively this for less sulfur vein, at least in those days: the Belgian Alfred Stevens, a close friend of Rodenbach, including Mary Magdalene (1887) is recently at the Museum of Fine Arts in Ghent, the "firefighter" painter Jean Beraud (1849-1936), author of “Madeleine chez le Pharisien” who finds himself weeping in the middle of a banquet of bourgeois Parisian. Of feasts enhanced with the presence of the philosopher Ernest Renan in the unusual role of Simon the Pharisee, with the napkin around the neck. One who had insisted on the human side of Christ's person in his “Vie de Jésus”. Like the novel Huysmans “Là-Bas”, published the same year, the canvas Beraud caused a huge scandal in the second Salon de “la Societe Nationale des Beaux-Arts” in Paris which took place in early 1891. Indeed, the critics and the public attention had immediately recognized in the voluptuous body of Mary Magdalene, the famous courtesan Liane de Pougy and in the character of Christ the socialist columnist Albert Duc-Quercy. Among the Pharisees the Radical deputy Georges Clemenceau sat on a chair himself in front of the composition. The author of “La Dame aux Camelias”, Alexandre Dumas' son was also among te group of Pharisees, that is to say hypocrites and self-righteous in the modern sense of the term 59. The theme illustrated by Béraud still agrees with the current Pre-Raphaelite and religious 58 The text is online. This allows you to search by keyword. 59Article de Gilbert Croué, Marie-Madeleine : du voile au dévoilé publié dans l'ouvrage Alain Montandon et al., Marie-Madeleine, figure mythique dans la littérature et les arts, Presses Universitaires Blaise Pascal, Clermont-Ferrand, 1999, pp. 265-275. conceptions of Rodenbach who wrote, without publishing it, “Le Livre de Jésus”, imagining the return of a disillusioned "social" Christ into a contemporary city. We find the Holy Magdalene with “Madeleine ou la Douleur” (1869) by Paul Cezanne, a native of the city of Aix-en-Provence, and “La Résurrection de Lazare” by Vincent Van Gogh. More unexpectedly, the pantheist Rodin, who was very intimate in Rodenbach, who had lost faith long ago carved ... painted “Le Christ et Marie-Madeleine” (1892-1894). This is his only work in "erotic-Catholic"character Dutch Jan Toorop, a close friend of the poet of Bruges drew “Les Trois Mariées” or “Les Trois Fiancées” : a forest of hair and veils moves the hands of Crucified Jesus (1893). The saint has even inspired Jules Massenet opera, entitled “Mary Magdalene, the sacred Drama” (1873) and St. Mary Magdalene (1885) with Vincent d'Indy. This composer was close to Peladan one of the few privileged to be able to enter the studio of Fernand Khnopff located in Saint-Gilles Saint-Bernard, nr. 1. For correspondence's Magdalene with the Brussels painter, it is necessary to mention here a sensual and lascivious “Marie-Madeleine dans la grotte” (1880-1890), Khnopff's Master of Paris Jules Joseph Lefebvre (1836-1912), a scandalous work by its "pornographic" according to the standards of the time. But let's look at the etymological sense of Madeleine. In Aramaic, the language spoken by Jesus, "Magdalene" is the notion of tower, "migdal" meaning "tower." More precisely a tower for preserving fish. This translation is very ancient, since St. Jerome, a Father of the Church, who defended this etymology from 412. He even gave a value of onomastic predestination by his ardent faith, Madeleine recalled the citadel of the Psalms, the towers of Zion or of David60. Should we see a coincidence in the conclusion of the perfect writer of Bruges-la-Morte which contains a repeat of "tower" in six words only, an unusual heaviness for French Rodenbach? : “[...] We read that those who also experience the presence and influence of the City, the contagion feel better water nearby, in their turn, the shade of tall towers lying on texte 61. To illustrate the rapid spread of this myth of the tower, probably Magdalene original, the Christian commentators imagined that Christ's tomb had been carved into a rock ... like a tower! Note that the formula "There is a tower on top of life" (“Rien qu'une tour au-dessus de la vie”) returns to obsessively in “Le Carillonneur”(1897). The physiognomist esthete will be struck by the resemblance that unites the character of the Khnopff androgynous staging in honor of his friend Rodenbach and imaginary portrait of Mary Magdalene (Mary Magdalene), designed by Burne-Jones three years earlier ... 60 Élisabeth Pinto-Mathieu, Marie-Madeleine dans la littérature du Moyen Âge, Beauchesne, Paris, 1997, p. 12. 61 Bruges-la-Morte, “Avertissement”. Highlighted by the author. The term "text" seems to have aG ospel value in the narrative (see Chapter 15).