This collection of manuscripts contains extremely rare copies of the theatrical works written and/or translated into Dutch by father Guilliam Caudron Sr. (1584-1639) and son Guilliam Caudron Jr. (1607-1692), both members of the Saint Catherine’s chamber of rhetoric in Aalst and known as Willem Caudron, during the course of the 17th century.
The manuscript of Karel Miry is preserved at the Ghent Conservatory. It is titled: ‘De Vlaamsche Leeuw – Nationaal gezang voor Drie stemmen zonder begeleiding (The Flemish Lion – National Song for Three Voices a cappella’. Miry signed it with the note: ‘words by H. van Peene / Music by K. Miry.’ Noteworthy are the numerous corrections, especially on the first page. The music differs from other versions with a simpler, less dotted rhythm. This work is undated, but in the top left corner, beneath the strikethroughs, the date ‘1870.71’ can be discerned, with the note ‘Boys’ above it. In this case, the manuscript could be Miry’s arrangement for a boys’ choir during the school year 1870–1871. The library of the Ghent Conservatory also holds another autograph of ‘De Vlaamse Leeuw’: an orchestral arrangement
This prayer book, as indicated by the inscription on folio 2, was in the possession of Laureins van den Haute (died in 1604), guardian and benefactor of the Wenemaersgodshuis in Ghent, in 1574. At that time, Van den Haute was serving as a chamberlain to Jacob Fugger in Augsburg. In 1581, Joris Hoefnagel created six miniatures for Van den Haute in Munich, which were bound in quires among the prayers: a blessing Christ (folio 8), a Calvary scene (folio 12v), the Nativity of Christ with the initials GE and HF (folio 16v), Saint Lawrence with the monogram GHF and the year 1581 (folio 20v), the Resurrection (folio 24v), and the coat of arms with the initials and motto of Laureins van den Haute ‘en Dieu gist mon espoir’ (in God lies my hope) (folio 75). The miniatures are accompanied by emblems, inscriptions and decorative elements characteristic of Joris Hoefnagel. It is presumed that Laureins van den Haute met the artist in Bavaria, where he stayed for a commission. In total, six so-called ‘codices’ by Joris Hoefnagel have been preserved. With this term, specialist Thea Vignau refers to publications in bound book form with varying content, which include miniatures by Hoefnagel. The drawings in Laurens van den Haute’s prayer book are the earliest dated miniatures on parchment in bound book form by this artist and are also in a very good state of preservation, giving them benchmark value within his body of work. Joris Hoefnagel was already celebrated in his own time for his exceptional skill as a miniaturist and is considered an important pioneer in the genre. His work on parchment is globally dispersed and rarely preserved in Flanders, which also gives this album its benchmark value. For instance, the Print Room of the Plantin-Moretus Museum houses a loose-leaf Composition with butterflies, caterpillars and an owl, or Allegory for Abraham Ortelius (inv. PK.OT.00535), which is already recognised as a masterpiece. Finally, the prayer book holds special value for the collective memory as a testament to the patronage of the Ghent native Laureins van den Haute, who commissioned the miniatures from Hoefnagel.
The war diary of Virginie Loveling is a rare first-person account from a female author. Loveling was a highly esteemed writer who, as early as 1892, was the laureate of the Five-Yearly Prize for Dutch Literature and was also knighted in the Order of Orange-Nassau. As a grande dame of Flemish literature, Loveling began her diary on 29 July 1914, a rigorous endeavour she maintained until 2 December 1918. During the occupation, this was a completely illegal activity, and one that was 'perilous to her person'. The challenging preservation conditions, where 'signatures' had to be hidden because no one was allowed to know she was working on this, have left their marks on the manuscript. Due to the war conditions, Virginie Loveling also used any paper she could get her hands on to jot down her myriad of impressions. As a literary figure, she continued to refine the text, leading to a variety of additions, resulting in numerous small papers that were sewn or glued on. This process was repeated and intensified when she began to prepare parts of the diary for publication after the war, which also led to confusing renumbering of sections. All this makes this unique manuscript an exceptional artifact with many challenges in its preservation and especially in its digitisation. The content is not autobiographical, but rather a testimony of the war years in the main town of the Etappengebiet under German occupation. The diary provides an exceptionally rich account of the human relations and daily survival during wartime in Ghent and its surroundings. The war diary holds artistic value as a pinnacle in the oeuvre of Virginie Loveling. As a lasting indictment of the madness of war, it remains, in a sense, sadly relevant for new generations.
These exceptionally well-preserved burgher books contain the registration of the city’s burghers. Only these burghers were fully protected by the rights and privileges associated with the city. The oldest burgher book of Oudenaarde includes entries dating back to 1276. In the oldest preserved burgher book of Pamele, the earliest entries are from 1319. This is unique for Flanders (for example, Ghent and Bruges have burgher books starting from the 15th century, Geraardsbergen from 1396, and Kortrijk from 1398). The burgher books of Oudenaarde provide insight into the development of a city from the end of the 13th century, thus a century earlier than other cities. Researchers find data to analyse population flows or migration and to determine the rhythm of population growth for a period that is not or scarcely documented for other cities. These burgher books therefore have a benchmark value. They also offer insight into the functioning of a small Flemish city, where the role of outer burghers, who lived in the surrounding countryside, was proportionally much larger than in the larger cities, such as Ghent and Bruges.
The register of the Brotherhood of St. Rumbold’s Parish in Mechelen, with its patron saint Rumoldus/Rombout, contains a wealth of pertinent information for historical research related to the fraternity phenomenon, including members, statutes, and regulations. As a result, it possesses significant historical value and a special importance for the collective memory. What makes this register unique is its exquisite and extensive embellishments. It holds high artistic value due to the inclusion of various exceptionally refined and colorful miniatures and pen decorations. This accounts for the rarity of the register
This collection comprises one hymn, one chanson, sketches and drafts for six chansons, and one instrumental composition without text. These compositional sketches by Flemish polyphonists are an extraordinary rarity. The folios offer us a glimpse over the shoulder of an anonymous copyist/composer, providing insight into the creative process. These documents reveal that the composer envisioned a comprehensive concept, with the musical parts being developed not only sequentially but also concurrently. At one point, a semi-score is even employed. Despite its poor condition and the careless handwriting, this document is of immeasurable scientific value for understanding the composition process. Additionally, it marks the introduction of the new Parisian chanson into the Low Countries, signifying an important cultural transition.
Canadian poplar in the garden of the Schoolmuseum, Ghent. The Canadian poplar still stands in the museum's garden and is now more than 100 years old.