Brussels: a Forest of Symbols the Largest Masonic Complex in the World?

Total Page:16

File Type:pdf, Size:1020Kb

Brussels: a Forest of Symbols the Largest Masonic Complex in the World? The Quartier Royal of Brussels: a forest of symbols The largest masonic complex in the world? This study is dedicated to Pascal Pirotte Strength for the undertaking, Wisdom for the execution and Beauty for the ornament. All it takes is for the crowd to enjoy in the vision of the show : to the initiated will not escape, at the same time, its high significance. Goethe about Mozart's The Magic Flute "What are the duties of a Freemason?" - Fleeing vice and practising virtue - How should he practice virtue? - By preferring justice and truth to everything else". Masonic catechism Real secrets are those that continue to be secrets even when they are revealed. I do this in memory of those who were and those who are no longer. Masonry of the Templars (18th century) The Brussels Park or the Perfect Plan? (english version to be continued – 2021.02.23) F ull F rench version Brief presentation In his Bruxelles, Mille ans de mystères, Paul de Saint-Hilaire seems to be the first contemporary author to have considered the layout of the Royal Park of Brussels from a Masonic point of view1. He saw in it a desire to inscribe the Lodge's main tools in the plan of the Park itself. The following tools would thus be discovered: the compass, the square, the chisel, the mallet, the hammer, the perpendicular (or plumb line), the level, the ruler or lever, and the trowel (illustration above). Thirty years later, in his work Bruxelles maçonnique: faux mystères et vrais symboles2, the masonologist Jean van Win categorically rejected this thesis as phantasmagorical. In his rebuttal, Jean van Win focuses on the governor of our lands at the time, Charles de Lorraine. He finds no proof of his belonging to a Lodge in the Austrian Netherlands3. Moreover, his title of Grand Master of the Teutonic Order would have prohibited him de facto from entering Masonry. This is erroneous: Wilhelm Marschall von Biberstein was both a Freemason and a high dignitary of the Teutonic Knights. Just as he was a member of La Vraie et Parfaite Harmonie in Mons (1769). 1 The hyperlinks, underlined in blue, serve as sources and support for my essay. 2 Jean van Win, Bruxelles maçonnique : faux mystères et vrais symboles, Cortext, Marcinelle, 2008 (rééd. Télélivre, 2012). 3 Pierre Chevallier quotes a letter from the Marquis de Tavannes dated 9 October 1738, which proves that Charles de Lorraine was being approached to be "received" in a French Lodge. Les Ducs sous l'Acacia, Slatkine, Genève 1994, pp. 118-119 and 168. Adolphe Cordier evokes Charles de Lorraine in his Histoire de l'Ordre maçonnique (Mons, 1854, facsimile of freemason Jottrand's copy underlined without any subjective comment concerning the prince). Its source would come from the Grande Loge of France. La Défense apologétique des Francs- Maçons (Anonymous, Amsterdam, 1767) states that Charles de Lorraine is a Freemason. Around the years 1770-1780, in the Germanic part of Europe (the Habsburg Empire and future Germany), the Templar Strict Observa nce was at the forefront and was not accountable to the other European Obediences. The Order of the Teutonic Knights had intellectual affinities with the Templar Strict Observance (Stricte Obervance Templière, abbreviation SOT, Strikte Observanz in German), which claimed to be the heir to the Order of the Temple and the chivalric societies. Its rituals were essentially Christian and Trinitarian. It took on an occultist and Gnostic orientation with the development of the Rectified Scottish Rite. The vast majority of Austrian dignitaries posted in Brussels were members of this (see p. 40). In fact, the quarrel that Jean van Win had about whether or not Charles de Lorraine belonged to any Lodge was incidental inasmuch as he was not the direct sponsor of the architect of the Brussels Park, the Frenchman Barnabé Guimard. It was in fact Prince Georges-Adam Starhemberg was at the helm from the very beginning. The main protagonists of the Royal Park of Brussels The patron: Prince of Starhemberg (1724-1807), after having been ambassador to France, returned to Vienna in 1766. Very quickly, the disagreement with Emperor Joseph II forced him to leave for other places. He resumed his career as a diplomat and arrived in Brussels in 1770 with the enviable title of Minister Plenipotentiary (Prime Minister) to the Governor General of the Netherlands, Charles de Lorraine. He succeeded the Count of Cobenzl, who had just died. His good relations with Charles de Lorraine seem to have been constructive, if I may put it that way, since he had his hands free for an ambitious town-planning project. This high dignitary of the Empire was initiated in 1744 in Leipzig in a Lodge which would later become, by merger, Minerve aux Trois Palmes (Minerva with The Three Palms). This Lodge became a member of the Templar Strict Observance in 1766. There is no ambiguity on this subject4. In 1774, he decided to draw up the project for the future Royal Quarter and the Park that was its epicentre, with the blessing of Charles de Lorraine and Chancellor Kaunitz (1711-1794) in Vienna. He surrounded himself with collaborators such as Ange-Charles de Limpens, an eminent member of the Conseil des domaines et finances de Sa Majesté, and the architect Guimard. He left our city in May 1783 to take up the position of First Grand Master of the Court in Vienna. Not without having completed his masterpiece: the Royal Park. It was the landscape gardener Joachim Zinner who drew the first detailed sketch. This plan will be modified many times. And Zinner was soon confined to his role as a landscape artist. To the delight of Starhemberg, Guimard and Godecharle. In Vienna, the Freihaustheater, located on the property of the same Starhemberg, will play Mozart's Masonic opera The Magic Flute 223 times. Mozart was also a member of the SOT. The architect: Barnabé Guimard (1739-1805), born in Amboise, studied at the Royal Academy of Architecture in Paris. Established in Brussels in 1761, he collaborated in the work on the Place Royale and the park of the same name and built the mansions that border them. He also worked on the Tervuren castle, owned by Charles de Lorraine. Thanks to his advanced training, Guimard was able to understand the stakes of the Starhemberg commission. Today, he is 4 Dresden and Leipzig in Saxony were the cradle of the Templar reform. In fact, Minerva zu den Drei Palmen (Minerva with Three Palms, in French at its creation: Minerve aux Trois Palmiers) was the result of the successive union of several Lodges. Starhemberg also attended the Lodge Aux Trois Aigles (Three Eagles, Zu den drei Adlern, 1770). Albert of Saxe-Teschen, successor of Charles de Lorraine, was the protector of this very secret Viennese Lodge. A "Scottish" chapter (side degrees) was even dedicated to him, Albert zum goldenen Helm. V. De Bonardy, controller (financial inspector) of Starhemberg, was the Venerable of the Lodge Les Vrais Amis de la Justice (Great East of Brussels). He had the mails of his Lodge sent to the address of the Prince (information kindly provided by my friend André Kervella). The Prince of Kaunitz, Chancellor of the Empire and Mason, closely followed the development of the Royal Quarter. Starhemberg, his friend and relative, had succeeded him as ambassador to Versailles (1753). Pierre-Yves Beaurepaire, L'espace des francs-maçons. Une sociabilité européenne au XVIIIe siècle, Presses Universitaires de Rennes, 2003. see chap. 4 on Masonry in Saxony. recognised as the author of the master plan, obviously under the orders of his prince. The work on the park was carried out between 1775 and 1783. Was he a Freemason? No one can say. His father would have been a knight of the Order of Saint John of Jerusalem (Malta). The Ornamentalist: the sculptor Gilles-Lambert Godecharle (1750-1835) can boast of a work of an amiable neo-classicism. In a letter dated 6 March 1777 addressed to his Brethren, he expressed his gratitude to the Brussels authorities who approached him to decorate the Brussels Park. He became the official sculptor of the Court of Charles de Lorraine in replacement of his master, the famous Laurent Delvaux, who died in 1778, and also the author of the "terms" or "Hermes" of the Park. After formative and fruitful stays in Paris, Berlin, London and Rome, Godecharle returned to Brussels around 1780 with a sketch of a first monument in his trunk: an obelisk fountain intended to adorn the Park (see and p. 17-18). It is worth mentioning that Godecharle was an affiliated member of Les Vrais Amis de l'Union founded in 1782. This Lodge will adopt very quickly the Rite Fraçais. It had its headquarters in rue de l'Orangerie, the present rue Henri Beyaert, which is located behind the Palais de la Nation, rue de la Loi. Our country seems to have kept links with Minerve aux Trois Palmiers of Starhemberg: Eugène Defacqz, Grand Master of the Grand Orient de Belgique, became a member in 1850. At the same time, the latter was closely following the work of a "park commission" charged with restoring the site's lustre. The dedicatee: Charles de Lorraine (1712-1780) was appointed governor of the Austrian Netherlands from 1744 to 17805. His name is only mentioned at the bottom of this list because he probably only played a "modest and formal"6 role in the layout of the Park and its ornamentation. He relied entirely on Starhemberg. Knight of the Order of the Golden Fleece (until 1761), like his Prime Minister and then Grand Master of the Teutonic Order, he administered with wisdom and bonhomie the populations entrusted to him.
Recommended publications
  • . . by the Lighthouse Beam . . . by the Lighthouse Beam
    Worshipful Master Gary Mosmeyer - Editor John "Corky" Daut The November 2012 Issue . By The Lighthouse Beam Right Angles, Horizontals and Perpendiculars From Hiram's Lighthouse Newsletter It appears to me that there has been some confu- sion among Masons about the Lights in a Lodge, as relates to the Three Lesser Lights, The Three Great Lights, and The Three Lights, (of the lodge,) and also about the one light above the altar that is turned on when the Three Great Lights are displayed upon the Altar. I will attempt to shed some light on the questions about these lights as relates to a Lodge Room as well as to some of the other “Threes” we find in Freema- sonry. In Freemasonry, we are encouraged to tell our Brothers what we want, and that is Knowledge, in Freemasonry Light means Knowledge. So when we talk about the three Triads of lights that are in a Lodge the symbolism behind the lights is knowledge. The Three Lesser Lights and the Three Lights have often been confused, thinking that the Third Section of the Lecture of the First Degree stating that a Lodge has Three Lights which are situated in the East West and South refer to the Three Lesser Lights, which they do not. In the Webb-Preston work, which much of the ritual of the Grand Lodges of the United States is based it says; the Lights of the Lodge are three, situated in the East, West, and South. There is none in the North be- cause King Solomon’s Temple was situated so far north of the ecliptic that neither the Sun nor Moon at Me- ridian height could dart their rays into the north part of the building.
    [Show full text]
  • Eye of Provide Eye of Providence Eye of Providence
    Eye of Providence The Trinity represented in a Christian version of the Eye of Providence . The Eye of Providence (or the all-seeing eye of God) is a symbol showing an eye often surrounded by rays of light or a glory and usually enclosed by a triangle . It is sometimes interpreted as representing the eye of God watching over humankind (or divine providence ). In the modern era, the most notable depiction o f the eye is the reverse of the Great Seal of the United States , which appears on the United States one-dollar bill . Contents 1 Religious use 2 United States 3 Freemasonry 4 Other uses : 4.1 Coats of arms and seals 4.2 Currency 4.3 Other contexts Religious use Jacopo Pontormo painting year 1525, using the Eye of Providence in a triangle as a symbol of the Christian Trinity . Imagery of an all-seeing eye can be traced back to Egyptian mythology and the Eye of Horus . Buddhist texts like the Mahaparinibbana Sutta also refer to Buddha as the "Eye of the World" (although no imagery is used). It is frequently used to depict the image of God in Caodaism (the doctrines of an Indochinese religion, especially an amalgamation of features from Buddhism, Taoism, Confucianism, and Christianity .) In Medieval and Renaissance European iconography, the Eye (often with the addition of an enclosing triangle) was an explicit image of the C hristian Trinity . Seventeenth-century depictions of the Eye of Providence sometimes show it surrounded by clouds or sunbursts . In United States 1782, the Eye of Providence was adopted as part of the symbolism on the reverse side of the Great Seal of the United States .
    [Show full text]
  • Chronologically Lewis Joel D
    Chronologically Lewis Joel D. Heck All notes are done in the present tense of the verb for consistency. Start and end dates of term are those officially listed in the Oxford calendar. An email from Robin Darwall-Smith on 11/26/2008 explains the discrepancies between official term dates and the notes of C. S. Lewis in his diary and letters: “Term officially starts on a Thursday, but then 1st Week (out of 8) starts on the following Sunday (some might say Saturday, but it ought to be Sunday). The week in which the start of term falls is known now as „0th Week‟. I don‟t know how far back that name goes, but I‟d be surprised if it wasn‟t known in Lewis‟s day. The system at the start of term which I knew in the 1980s - and which I guess was there in Lewis‟s time too - was that the undergraduates had to be in residence by the Thursday of 0th Week; the Friday was set aside for start of term Collections (like the ones memorably described in Lewis‟s diary at Univ.!), and for meetings with one‟s tutors. Then after the weekend lectures and tutorials started in earnest on the Monday of 1st Week.” Email from Robin Darwall-Smith on 11/27/2008: “The two starts to the Oxford term actually have names. There‟s the start of term, in midweek, and then the start of „Full Term‟, on the Sunday - and is always Sunday. Lectures and tutorials start up on the following day.
    [Show full text]
  • Renaissance Medals by G· F· Hill and G· Pollard Renaissance Medals from the Samuel H· Kress Collection at the National Gallery of Art
    COMPLETE CATALOGUE OF THE SAMUEL H· KRESS COLLECTION RENAISSANCE MEDALS BY G· F· HILL AND G· POLLARD RENAISSANCE MEDALS FROM THE SAMUEL H· KRESS COLLECTION AT THE NATIONAL GALLERY OF ART BASED ON THE CATALOGUE OF RENAISSANCE MEDALS IN THE GUSTAVE DREYFUS COLLECTION BY G·F·HILL REVISED AND ENLARGED BY GRAHAM POLLARD PUBLISHED BY THE PHAIDON PRESS FOR THE SAMUEL H·KRESS FOUNDATION THE REPRODUCTIONS IN THIS VOLUME ARE FROM NBW PHOTOGRAPHS TAKEN BY BULLATY-LOMBO PHOTOGRAPHERS' NBW YORK CITY ALL RIGHTS RESERVED BY PHAIDON PRESS LTD' LONDON SW 7 PRINTED IN GREAT BRITAIN I967 BY ROBERT MACLEIIOSE & CO. LTD A GLASGOW CONTENTS PREFACE page V11 INTRODUCTORY NOTE page IX CATALOGUE page 3 ILLUSTRATIONS page 133 CONCORDANCES page 273 INDEX OF INSCRIPTIONS page 278 GENERAL INDEX page 293 . INDEX OF PERSONS page 300 INDEX OF ARTISTS page 306 PREFACE HE first and only catalogue of the collection of medals formed by Gustave Dreyfus appeared in I93 I. Its author was Sir George Hill, who had studied the collection in depth when it was still T in Dreyfus' hands in the Boulevard Malesherbes in Paris. In a prefatory note, Hill observed that 'keenly as Gustave Dreyfus appreciated all his beautiful things, he had a particularly soft place in his heart for the Italian medals, and ... he would have agreed with the German critic who declared that the medallic art was par excellence the art of the Renaissance, the expression of the quintessence of the spirit of that age.' The preface continues with the tribute: 'His was perhaps the finest collection that has ever been in the hands of a private collector - the "perhaps" might be omitted, but that it is difficult to range the great collections in a true perspective.' Thanks to the Kress Foundation, the Dreyfus collection of medals was not dispersed, like so many other medallic collections, but is preserved intact in the National Gallery of Art in Washington, where it bears out Hill's claim to be regarded as the finest private collection of medals ever to have been formed.
    [Show full text]
  • An Introduction to the History of the Wallace Collection
    Reprinted from the American Society of Arms Collectors Bulletin 50:2-21 Additional articles available at http://americansocietyofarmscollectors.org/resources/articles/ An Introduction to the History of the Wallace Collection D.A. Edge, B.A. Although the collection of objets d'art at Hertford House bears the name of Sir Richard Wallace, much of it, of course, was inherited from his father the 4th Marquis of Hertford (1). The 4th Marquis, in fact, can be said to have 'founded' the armoury in the Wallace Collection by purchasing a large quantity of oriental arms in the last decade of his life, from 1860 onwards. These were installed in his chateau at Baga- telle in Paris (2) where he lived until his death in 1870. In these acquisitions, the 4th Marquis was following the prevailing fashion for 'orientalism,' which was linked with the Romantic movement which swept through France (and, indeed, Europe) in the middle and later part of the 19th century. Wealthy and cultured men created oriental rooms or displays in their great houses, hanging the walls with By the very nature of its formation, such an armoury Eastern arms, armour, paintings and tapestries, to conjure would tend not to contain the earlier, plainer and (to our up the spirit and mystery of the East. As well as oriental modern eyes, perhaps) finer pieces. The Wallace Collection arms and armour, therefore, the 4th Marquis collected is fortunate, however, in possessing at least one early blade paintings of Eastern subjects (such as this by Vernet) (3), the quality of which is probably unrivalled anywhere in the and a vast and varied assortment of oriental bric-a-brac, world.
    [Show full text]
  • List of Freemasons from Wikipedia, the Free Encyclopedia Jump To: Navigation , Search
    List of Freemasons From Wikipedia, the free encyclopedia Jump to: navigation , search Part of a series on Masonic youth organizations Freemasonry DeMolay • A.J.E.F. • Job's Daughters International Order of the Rainbow for Girls Core articles Views of Masonry Freemasonry • Grand Lodge • Masonic • Lodge • Anti-Masonry • Anti-Masonic Party • Masonic Lodge Officers • Grand Master • Prince Hall Anti-Freemason Exhibition • Freemasonry • Regular Masonic jurisdictions • Opposition to Freemasonry within • Christianity • Continental Freemasonry Suppression of Freemasonry • History Masonic conspiracy theories • History of Freemasonry • Liberté chérie • Papal ban of Freemasonry • Taxil hoax • Masonic manuscripts • People and places Masonic bodies Masonic Temple • James Anderson • Masonic Albert Mackey • Albert Pike • Prince Hall • Masonic bodies • York Rite • Order of Mark Master John the Evangelist • John the Baptist • Masons • Holy Royal Arch • Royal Arch Masonry • William Schaw • Elizabeth Aldworth • List of Cryptic Masonry • Knights Templar • Red Cross of Freemasons • Lodge Mother Kilwinning • Constantine • Freemasons' Hall, London • House of the Temple • Scottish Rite • Knight Kadosh • The Shrine • Royal Solomon's Temple • Detroit Masonic Temple • List of Order of Jesters • Tall Cedars of Lebanon • The Grotto • Masonic buildings Societas Rosicruciana • Grand College of Rites • Other related articles Swedish Rite • Order of St. Thomas of Acon • Royal Great Architect of the Universe • Square and Compasses Order of Scotland • Order of Knight Masons • Research • Pigpen cipher • Lodge • Corks Eye of Providence • Hiram Abiff • Masonic groups for women Sprig of Acacia • Masonic Landmarks • Women and Freemasonry • Order of the Amaranth • Pike's Morals and Dogma • Propaganda Due • Dermott's Order of the Eastern Star • Co-Freemasonry • DeMolay • Ahiman Rezon • A.J.E.F.
    [Show full text]
  • Brussels for Kids Thematickit
    brussels for kids thematic kit SPEND QUALITY TIME WITH YOUR FAMILY IN A QUALITY DESTINATION. BRUSSELS’ MUSEUMS AND ATTRACTIONS BOAST A WHOLE HOST OF CHILD-FRIENDLY ACTIVITIES THAT MAKE CULTURE FUN. THE SIGHTS AND SOUNDS OF BRUSSELS ARE ACCESSIBLE TO ALL THANKS TO DISCOVERY TRAILS, STORYTELLING, WORKSHOPS, AND MUCH MORE. THROUGHOUT THE YEAR, THE REGION PUTS ON EVENTS DEVISED ESPECIALLY FOR CHILDREN. BORED IN BRUSSELS? IT’S JUST NOT POSSIBLE! 1. CALENDAR OF EVENTS 03 2. CULTURE 10 3. CINEMA OUTINGS WITH CHILDREN 19 4. EDUCATIONAL FARMS 20 5. PLAYGROUNDS 21 6. BOOKSHOPS 22 7. FAMILY-FRIENDLY RESTAURANTS AND BARS 24 8. PUBLICATIONS 28 9. USEFUL LINKS 29 10. SHOPPING 30 11. CONTACTS 32 WWW.VISITBRUSSELS.BE 1. CALENDAR OF EVENTS THERE IS ALWAYS SOMETHING GOING ON FOR YOU AND YOUR KIDS... JANUARY LA NUIT DU CONTE Brussels’ Nuit du Conte is a series of more than 15 storytelling events on themes ranging from the Oriental to the slightly cheeky, from the traditional to the wacky. Some are told to a musical background and others in sign language... a night that invites you to enter the realm of dreams and to treat yourself to the wonderment of stories, shows and music that will see you alright until next winter. Storytelling events are in French only. www.conteursenbalade.be FEBRUARY ANIMA FESTIVAL A highlight of Belgium’s annual animated film scene since 1982, Anima is an enchanted universe where one colourful discovery follows the next in quick succession. Anima not only organises projections but also exhibitions, concerts and workshops for children.
    [Show full text]
  • Heredom, Volumes 1–26, 1992–2018 Prepared by S
    Combined Index Heredom, Volumes 1–26, 1992–2018 Prepared by S. Brent Morris, 33°, G\C\ Numbers 29°. See Kt of St Andrew Sprengseysen (1788) 9:259 1°. See Entered Apprentice Degree 30°. See Kt Kadosh Abi, Abif, Abiff. See Hiram Abif. 2°. See Fellow Craft Degree 31°. See Inspector Inquisitor Abiathar, priest of Israel 25:448, 450, 3°. See Master Mason Degree 32°. See Master of the Royal Secret 456 4°. See Secret Master Degree 33°. See Inspector General, 33° Abiram (Abhiram, Abyram), password, 5°. See Perfect Master Degree (Sacred 43°, Sup Coun. See Forty-third Degree, Elect of Pérignan 2:93 Fire, NMJ) Sup Coun Abiram (Abhiram, Abyram, Akirop), 6°. See Confidential Secretary Degree assassin of Hiram Abif 1:69; (Master of the Brazen Serpent, A 72–74; 2:90, 92, 95n5; 3:38, 43, 45; NMJ) A and G, letters, interlaced 3:29, 33, 36; 4:113, 118; 6:153, 164; 25:492; 26:230, 7°. See Provost and Judge Degree 26:251 232. See also “Masonic Assassina- 8°. See Intendant of the Building Degree “A’ The Airts The Wind Can Blaw, Of,” tion of Akirop” (David and Solomon, NMJ) R. Burns 26:62 assassination of by Joabert 12:58, 60 9°. See Élu of the Nine Degree (Master Aachen Cathedral, Eye of Providence killed in cave under burning bush of the Temple, NMJ) 20:187 3:40 10,000 Famous Freemasons, W. Denslow AAONMS. See Shriners meaning and variations of name (1957) 23:115 Aaron (brother of Moses) 1:79n; 2:95n5; 3:46; 4:119 10°.
    [Show full text]
  • Eighteenth-Century Sculpture and Its Interpretation
    Eighteenth-century Sculpture and its Interpretation Malcolm Baker University of Edinburgh PhD (by Research Publications) 2003 Eighteenth-century sculpture and its interpretation Publications by Malcolm Baker submitted for Degree of Ph.D by Research Publications The following publications are submitted for the above degree: 1. Figured in Marble. The Making and Viewing of Eighteenth-century Sculpture, London and Los Angeles, 2000. (65,431 words) 2. Roubiliac and The Eighteenth-century Monument. Sculpture as Theatre, New Haven and London, 1995, 207-273, 382-387. (23,337 words) (The text submitted by the candidate forms part of a collaborative work by David Bindman and Malcolm Baker; the volume is made up of several distinct authorial contributions and the responsibility of each author for different parts is clearly stated in the publication.) 3. They are accompanied by a Critical Review (10, 956 words) (Total word length: 99, 724 words.) Appendix I: Catalogue of Roubiliac's Funerary Monuments, forming Part III of Roubiliac and the Eighteenth-century Monument, 275-359 Appendix II: A list of ten related articles. 1 and 2, along with the Critical Review, were written solely by me. The text included under Appendix I was written almost entirely by me but incorporates some material provided by David Bindman and Tessa Murdoch. The articles listed in Appendix II were written solely by me, except for one article of which I was the principal author, the co-authors being Alastair Laing and Colin Harrison. I also declare that none of the above mentioned writings have been submitted for any other degree or professional qualification.
    [Show full text]
  • Austrian Cartography and Cartographers
    The Napoleon Series Maps and Mapmakers of the Napoleonic Wars: Austrian Cartography and Cartographers By: Richard Tennant Joseph Jean François, Count de Ferraris1 (Lunéville, April 20, 1726 – Vienna, April 1, 1814) was an Austrian general and cartographer. Between 1771 and 1778, Ferraris was commissioned by the Empress Maria Theresa of Austria and Emperor Joseph II to create a detailed Carte-de-Cabinet of the Austrian Netherlands. The maps were made on a scale 1:11,520 and formed a collection of 275 hand-coloured and hand-drawn maps 0,90 × 1,50 m each. These were accompanied by twelve volumes of handwritten commentaries relating to topics of economic and military interest (rivers, bridges, forests, possibilities for military camps, etc.) Three originals of the maps remain. One is in the Kriegsarchiv in Vienna, one is in the Rijksarchief in The Hague and the third one remains in the Royal Library of Belgium in Brussels. The maps held in Brussels were the maps destined for Prince Charles Alexander of Lorraine, the Governor of the Austrian Netherlands, and were transferred to Belgium by Austria in 1922 as part of the World War I reparations. In 1777 and 1778, Ferraris issued a reduced version of the Cabinet Maps with a scale of 1:86,400 in 25 maps, issued for commercial sale (‘Carte Marchande’). The Ferraris maps were used to great extent during the military operations of the French Revolutionary Wars and during the Napoleonic Wars. Joseph Dirwaldt (sometimes Dirwald) Very little is recorded about his life other that he was the main cartographer with the famous Austrian cartographer and publishing house of Tranquillo Mollo in the beginning of the 19th century.
    [Show full text]
  • Ferraris,The Legend
    Published as: De Coene, K., Ongena, T., Stragier, F., Vervust, S., Bracke, W. & De Maeyer, P. (2012). Ferraris, the legend. The Cartographic Journal , vol. 49 (1), pp. 30-42. FERRARIS , THE LEGEND Karen De Coene, Thérèse Ongena 1, Frederic Stragier, Soetkin Vervust, Wouter Bracke, Philippe De Maeyer Department of Geography, Ghent University, Gent, Belgium Email: [email protected] [email protected] [email protected] (Department of Biology, Ecosystem Management Research Group, University of Antwerp) [email protected] [email protected] (Prints and Maps, Royal Library of Belgium) [email protected] ABSTRACT At the end of the 18th century, a large-scale map of the Austrian Netherlands and the Prince-Bishopric of Liège was manufactured, covering more or less the current territory of Belgium. The work for this Carte de Cabinet was carried out by artillerists under the guidance of count Joseph de Ferraris, who was commissioned for the task by the Habsburg government. At the time that the map was designed, no modern legend was included. This report tries to fill that gap by presenting a legend that was constructed more systematically than any of its predecessors. It is based on the structure of the legend of the Topographic Map of Belgium and the CORINE land cover map , making it an easy-to-use tool for modern researchers. The problems encountered during the development of the legend are described, and the link between the Carte de Cabinet and 18 th -century French cartography as well as with cartographic manuals is also discussed. INTRODUCTION In the last quarter of the eighteenth century, an important chapter in Belgian map making was about to be written.
    [Show full text]
  • Sales Guide 2019 English Version © M
    EN Sales Guide 2019 English version © M. Vanhulst The visit.brussels online sales guide is accessible to all, but is first and foremost aimed at professionals from the travel industry, namely tour operators, travel agents, coach companies and group organisers. It provides a complete overview of all activities and attractions in our city. These are then divided into specific themes which best represent Brussels, e.g. Art Nouveau, comics, heritage, etc. Each activity or attraction is explained in a file containing valuable information such as rates, contact details, languages in which the activity or attraction is provided, and much more. These files will allow travel professionals to take immediate action, should they wish to suggest an activity or attraction to their clients. The entire purpose of the sales guide is to advertise the tremendous potential of Brussels and boost creativity with travel professionals in order for them to perk up, enhance or change their offer whilst making them and their clients eager to discover and get a better idea of the city. Equally important, the sales guide limits research and hence lightens the workload considerably. In addition, the visit.brussels online sales guide obviously contains information on upcoming events, accommodation providers, coach parking details, visit.brussels contact information and other relevant data. We trust this unique tool will benefit all travel professionals worldwide and encourage them to choose Brussels as their preferred destination. Rest assured that we will keep on
    [Show full text]