At the beginning of the nineteenth century, after vicissitudes which are of no interest to our present purpose, the family of Claes was represented at Douai in the person of Monsieur Balthazar Claes-Molina, Comte de Nourho, who preferred to be called simply Balthazar Claes.Of the immense fortune amassed by his ancestors, who had kept in motion over a thousand looms, there remained to him some fifteen thousand francs a year from landed property in the arrondissement of Douai, and the house in the rue de Paris, whose furniture in itself was a fortune.As to the family possessions in Leon, they had been in litigation between the Molinas of Douai and the branch of the family which remained in Spain.The Molinas of Leon won the domain and assumed the title of Comtes de Nourho, though the Claes alone had a legal right to it.But the pride of a Belgian burgher was superior to the haughty arrogance of Castile: after the civil rights were instituted, Balthazar Claes cast aside the ragged robes of his Spanish nobility for his more illustrious descent from the Ghent martyr.
The patriotic sentiment was so strongly developed in the families exiled under Charles V.that, to the very close of the eighteenth century, the Claes remained faithful to the manners and customs and traditions of their ancestors.They married into none but the purest burgher families, and required a certain number of aldermen and burgomasters in the pedigree of every bride-elect before admitting her to the family.They sought their wives in Bruges or Ghent, in Liege or in Holland; so that the time-honored domestic customs might be perpetuated around their hearthstones.This social group became more and more restricted, until, at the close of the last century, it mustered only some seven or eight families of the parliamentary nobility, whose manners and flowing robes of office and magisterial gravity (partly Spanish) harmonized well with the habits of their life.
The inhabitants of Douai held the family in a religious esteem that was well-nigh superstition.The sturdy honesty, the untainted loyalty of the Claes, their unfailing decorum of manners and conduct, made them the objects of a reverence which found expression in the name,--the House of Claes.The whole spirit of ancient Flanders breathed in that mansion, which afforded to the lovers of burgher antiquities a type of the modest houses which the wealthy craftsmen of the Middle Ages constructed for their homes.
The chief ornament of the facade was an oaken door, in two sections, studded with nails driven in the pattern of a quineunx, in the centre of which the Claes pride had carved a pair of shuttles.The recess of the doorway, which was built of freestone, was topped by a pointed arch bearing a little shrine surmounted by a cross, in which was a statuette of Sainte-Genevieve plying her distaff.Though time had left its mark upon the delicate workmanship of portal and shrine, the extreme care taken of it by the servants of the house allowed the passers-by to note all its details.
The casing of the door, formed by fluted pilasters, was dark gray in color, and so highly polished that it shone as if varnished.On either side of the doorway, on the ground-floor, were two windows, which resembled all the other windows of the house.The casing of white stone ended below the sill in a richly carved shell, and rose above the window in an arch, supported at its apex by the head-piece of a cross, which divided the glass sashes in four unequal parts; for the transversal bar, placed at the height of that in a Latin cross, made the lower sashes of the window nearly double the height of the upper, the latter rounding at the sides into the arch.The coping of the arch was ornamented with three rows of brick, placed one above the other, the bricks alternately projecting or retreating to the depth of an inch, giving the effect of a Greek moulding.The glass panes, which were small and diamond-shaped, were set in very slender leading, painted red.The walls of the house, of brick jointed with white mortar, were braced at regular distances, and at the angles of the house, by stone courses.
The first floor was pierced by five windows, the second by three, while the attic had only one large circular opening in five divisions, surrounded by a freestone moulding and placed in the centre of the triangular pediment defined by the gable-roof, like the rose-window of a cathedral.At the peak was a vane in the shape of a weaver's shuttle threaded with flax.Both sides of the large triangular pediment which formed the wall of the gable were dentelled squarely into something like steps, as low down as the string-course of the upper floor, where the rain from the roof fell to right and left of the house through the jaws of a fantastic gargoyle.A freestone foundation projected like a step at the base of the house; and on either side of the entrance, between the two windows, was a trap-door, clamped by heavy iron bands, through which the cellars were entered,--a last vestige of ancient usages.
From the time the house was built, this facade had been carefully cleaned twice a year.If a little mortar fell from between the bricks, the crack was instantly filled up.The sashes, the sills, the copings, were dusted oftener than the most precious sculptures in the Louvre.
The front of the house bore no signs of decay; notwithstanding the deepened color which age had given to the bricks, it was as well preserved as a choice old picture, or some rare book cherished by an amateur, which would be ever new were it not for the blistering of our climate and the effect of gases, whose pernicious breath threatens our own health.