欧宝娱乐

“Dead towns are the Cathedrals of Silence. They, too, have their gargoyles, singular figures, exaggerated, dubious, set in high profile. They stand out from the mass of grey, which takes all it has in the way of character, its twitchings of stagnant life from them. Some have been distorted by solitude, others grimace with a directionless fervour; here there are masks of cherished lust, there faces ceaselessly sculpted and furrowed by mysticism. Human gargoyles, the only figures of interest in this monotonous population.”
― Georges Rodenbach, The Bells of Bruges

“The beauty of sorrow is superior to the beauty of life.”
― Georges Rodenbach, The Bells of Bruges

“Bruges had the air of a ghost town. The high towers, the trees along the canals withdrew, absorbed by the same muslin: impenetrable fog with not a single rift. Even the carillon seemed to have to escape, to force its way out of a prison yard filled with cotton wool to be free in the air, to reach the gables over which, every quarter of an hour, the bells poured, like falling leaves, a melancholy autumn of music.”
― Georges Rodenbach, Hans Cadzand's Vocation & Other Stories

“Ornamentation, festoons, carvings, cartouches, bas-reliefs, countless surprises among the sculptures - and the tones of the facades weathered by time and rain, the pinks of fading twilight, smoky blues, misty greys, a richness of mildew, brickwork ripened by the years, the hues of a ruddy or anaemic complexion.”
― Georges Rodenbach, The Bells of Bruges

“A great melancholy was hanging in the air, giving their love a more languid, more tender feeling. It was like the love one feels before a separation, it was like love in a country where there is a war, in a town where epidemics are raging. A strong love, from feeling close to death. Here death reigned, it was as if the town were the Museum of Death. ("The Dead Town")”
― Georges Rodenbach

“He felt more cheerful, revived by the journey, released from himself and his poor life, uplifted by thoughts of the infinite.”
― Georges Rodenbach, The Bells of Bruges

“The carillon is, after all, the music of the people. Elsewhere, in the glittering capitals, public festivals are celebrated with fireworks, that magical offering that can thrill the very soul. Here, in the meditative land of Flanders, among the damp mists so antagonistic to the brilliance of fire, the carillon takes their place. It is a display of fireworks that one hears: flares, rockets, showers, a thousand sparks of sound which colour the air for visionary eyes alerted by hearing.”
― Georges Rodenbach, The Bells of Bruges

“Was that not the way it ought to be? The beauty of Bruges lay in being dead. From the top of the belfry it appeared completely dead to Borluut. He did not want to go back down ever again. His love for the town was greater, was endless. From now on it was a kind of frenzy, his final sensual pleasure. Constantly climbing high above the world, he started to enjoy death. There is danger in rising too high, into the unbreathable air of the summits. Disdain for the world, for life itself brings its own punishment.”
― Georges Rodenbach, The Bells of Bruges

“What an austere landscape! Borluut was alone, with nothing but the sky and water. No footsteps, apart from his own, marked the immense expanse, the white desert which this ancient outer harbour of Bruges now was.”
― Georges Rodenbach, The Bells of Bruges

“Now Borluut was seeing it from close to. And to its very end, it seemed, from the way the line of the horizon merged into the infinite. It was bare. Not one ship. It ground out a dirge, in a glaucous tone, opaque, uniform. One sensed that all the colours were below, but faded. At the edge, the waves spilling onto the shore made a sound of washerwomen beating sheets of white linen, a whole supply of shrouds for future storms.”
― Georges Rodenbach, The Bells of Bruges

“Once he had reached the top, he looked down on the town at his feet. Such repose, such tranquility, what a lesson in calmness! Seeing it, he was ashamed of his troubled existence. He renounced the love that brought him misery for the love of the town. It took hold of him again, suffusing his entire being as it had done during the first days of the Flemish Movement. How beautiful Bruges still was, seen from above, with its belfries, its pinnacles, its stepped gables like stairs to climb up to the land of dreams, to return to the great days of yesteryear. Among the roofs were canals fanned by the trees, quiet streets with a few women making their way in cloaks, swinging like silent bells. Lethargic peace! The sweetness of renunciation! A queen in exile, the widow of History whose only desire, basically, was to carve her own tomb.”
― Georges Rodenbach, The Bells of Bruges

“In Bruges he had carried out a work which was anonymous and brought no glory, but was seen as admirable once it had been understood. He was the embalmer of the town. Being dead, it would have decomposed, disintegrated. He had mummified it in the bandages of its inert waters, its regular columns of smoke, with the gilding and polychrome decoration on the facades like gold and unguents on nails and teeth; and the lily of Memling across the corpse, like the ancient lotus on the virgins of Egypt. It was thanks to him that the town stood triumphant and beautiful in the adornment of death. In that garb it would be eternal, no less than the mummies themselves, eternally in funeral finery, which has nothing sad about it, since it has transformed death into a work of art.”
― Georges Rodenbach, The Bells of Bruges

“As he made his way back to his home on the Dijver, along the canals, beside the calm waters, Borluut felt his regret, his remorse at having divulged his worries grow at the sight of the noble swans, sealed-in snow, which, prisoners of the canals, prey to the rain, the sadness of the bells, the shadow of the gables, have the modesty to remain silent and only complain, with a voice that is almost human, when they are about to die...”
― Georges Rodenbach, The Bells of Bruges

“It could be said that Borluut was in love with the town.

But we only have one heart for all our loves, consequently his love was somewhat like the affection one feels for a woman, the devotion one entertains for a work of art, for a religion. He loved Bruges for its beauty and, like a lover, he would have loved it the more, the more beautiful it was. His passion had nothing to do with the local patriotism which unites those living in a town through habits, shared tastes, alliances, parochial pride. On the contrary, Borluut was almost solitary, kept himself apart, mingled little with the slow-witted inhabitants. Even out in the streets he scarcely saw the passers-by. As a solitary wanderer, he began to favour the canals, the weeping trees, the tunnel bridges, the bells he could sense in the air, the old walls of the old districts. Instead of living beings, his interest focused on things. The town took on a personality, became almost human. He loved It, wished to embellish it, to adorn its beauty, a beauty mysterious in its sadness. And, above all, so unostentatious. Other towns are showy, amassing palaces, terraced gardens, fine geometrical monuments. Here everything was muted, nuanced. Storiated architecture, facades like reliquaries, stepped gables, trefoil doors and windows, ridges crowned with finials, mouldings, gargoyles, bas-reliefs - incessant surprises making the town into a kind of complex landscape of stone.

It was a mixture of Gothic and Renaissance, that sinuous transition which suddenly draws out forms that are too rigid and too bare in supple, flowing lines. It was if an unexpected spring had sprouted on the walls, as if they had been transubstantiated by a dream - all at once there were faces and bunches of flowers on them.

This blossoming on the facades had lasted until the present, blackened by the ravages of time, abiding but already blurred.”
― Georges Rodenbach, The Bells of Bruges

“Is that not what makes it great?' he retorted to his friend. 'Its beauty resides in its silence, and its glory in now only belonging to a few priests and poor people, that is to say to those who are purest because they have renounced the world. Its higher destiny is to be something which has outlived its time.”
― Georges Rodenbach, The Bells of Bruges

“Even phantoms don鈥檛 inhabit Bruges any more. It鈥檚 as though the living are the ghouls now, the zombies. It鈥檚 so uncannily empty, silent, lifeless鈥�”
― Cathy Dobson, The Devil's Missal

“Derri猫re chaque fen锚tre de fa莽ade d'immeuble ancien, j'imagine des int茅rieurs tamis茅s, des salons intimes, des univers feutr茅s o霉 茅voluent des individus solitaires, dont j'esquisse les traits et que je mets en sc猫ne dans mes toiles.
Je suis peintre et Bruges est mon th茅芒tre.”
― Lou Le Duaux, 8 nouvelles 茅rotiques in茅dites