After a short break, our group headed to Antwerp for an afternoon visit. The
bus found a parking space in a deserted hall along the Scheldt River.
Red Baron felt as if he were at the Hamburg Landungsbrücken, though the
Antwerp pier had no visitors or large ships. In the background on the right,
you see the castle, Het Steen.
The Margraviate of Antwerp, established around 974, was a border march between
the Holy Roman Empire and, on the opposite bank of the Scheldt, the County of
Flanders, subject to the French king as its feudal lord.
Around 1200, Het Steen (the stone) was part of the city's fortifications, protecting access to the city from the western Scheldt. Most of the castle was demolished in the 19th century. Only the gatehouse remained of a larger castle complex belonging to the Dukes of Brabant. It is thus considered the oldest surviving building in the city of Antwerp.
Heading toward the Grote Markt, we passed the Vleeshuis (meat house) built by the butchers' guild in the late Gothic style around 1500. The red-and-white masonry was deliberately made to resemble speklagen ("bacon layers"). The towers, stepped gable, and the enormous hall were designed to give the rich butchers' guild an imposing presence in the city.
The richly decorated guild halls on the Grote Markt bear witness to the
city's former wealth.
A building with the inscription Bonaparte caught Red Baron's attention. In 1800, Antwerp belonged to France. Napoleon first visited Antwerp in 1803 and called the city "a pistol aimed at the heart of England." He loaded the pistol with two harbor basins, the Bonaparte and Willem docks, which were and still are the core of the modern port.
Antwerp became one of the Empire's most important naval ports and shipbuilding
centers, where warships were built to support the Continental Blockade
Napoleon announced in Berlin after his victory over Prussia. Cut off from
global trade, the city is booming thanks to the arms industry.
And yet, the golden eagle on Antwerp's Renaissance city hall built in
1561-1565 is not l'Aigle Imperial, but the eagle of the Holy Roman
Empire. It faces toward Aachen (Aix-la-Chapelle), the center of the HRE.
The Brabo Fountain (Brabofontein), right in the middle of the Grote Markt in front of Antwerp City Hall, and the severed hand hold the key to explaining the name Antwerpen.
According to legend, a giant named Druon Antigoon lived on the Scheldt. He
controlled shipping and demanded a high toll from every ship. Anyone who could
not or would not pay had to suffer a cruel punishment: Antigoon would cut off
their hand and throw it into the Scheldt.
When the Roman soldier Silvius Brabo passed by, he defeated and killed the giant, cut off Antigoon's hand, and threw it into the Scheldt. The figure at the top of the fountain depicts this moment when Brabo threw the hand. This throwing (werfen in German) gave rise to the popular explanation of the city's name: hand werpen → Antwerpen.
When the Roman soldier Silvius Brabo passed by, he defeated and killed the giant, cut off Antigoon's hand, and threw it into the Scheldt. The figure at the top of the fountain depicts this moment when Brabo threw the hand. This throwing (werfen in German) gave rise to the popular explanation of the city's name: hand werpen → Antwerpen.
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The Antwerp Coat of Arms shows a castle or fortified gate (Het Steen)
in the center and two hands traditionally associated with the Brabo legend. In
fact, the Brabo-Antigoon drama features two hands: the giant's hand and the
hand Brabo severed.
For the city, the hand is a heraldic symbol, part of the founding legend, and
a play on words with Antwerp's name.
On our way to the cathedral, we passed the restaurant Het Elfde Gebot (The Eleventh Commandment) that reads: "Thou shalt drink your beer with respect." Onze Lieve Vrouwe welcomes the guests. The interior of this old residential building resembles a church or an antique museum more than an ordinary pub. Walls, ceilings, and open spaces are densely packed with historic wooden and plaster statues of saints, angels, Mary, and Jesus. Old pulpits, stained-glass windows, crucifixes, and altar fragments complete the decoration.
And there it was: the Onze Lieve Vrouwekathedraal in all its splendor.
The richly decorated main entrance was locked, so we entered through a side entrance and were confronted with a paygate: Adults €12. Red Baron qualified for the 60+ at €10. Even that seemed too much for a quick glance, with the rest of the group impatiently waiting outside in the warm September sun.
Suddenly, the statue of De Buildrager (The Dockworker), bearing the inscription Arbeid Vrijheid (Labor Freedom), confronted us Germans with our past. Initially a symbol of the working class becoming conscious of itself, it also came to stand for regained freedom after WWII. The statue became the memorial for the dockers who kept working under the German V-bomb terror.
When we discovered these Stolpersteine (stumbling blocks) in Antwerp's Jewish quarter during an evening walk, our consciences were deeply troubled.
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