More than a hundred years later, when the Stuart dynasty was a thing of the past and George III. was seated on the throne of England, the Rue Haute saw the arrival of some travellers who were very different from the roystering Cavaliers and frail beauties who had made it gay in the days of the Merry Monarch. The English Jesuits of St. Omer, when expelled from their college, came to Bruges in August, 1762, and took up their abode in the House of the Seven Towers, where they found 'nothing but naked walls and empty chambers.' A miserable place it must have been. 'In one room a rough table of planks had been set up, and the famished travellers were rejoiced at the sight of three roast legs of mutton set on the primitive table. Knives, forks, and plates there were none. A Flemish servant divided the food with his pocket-knife. A farthing candle gave a Rembrandt-like effect to the scene. The boys slept that night on mattresses laid on the floor of one of the big empty rooms of the house. The first days at Bruges were cheerless enough.'[*] The religious houses, however, came to the rescue. Flemish monks and the nuns of the English convent helped the pilgrims, and the Jesuits soon established themselves at Bruges, where they remained in peace for a few years, till the Austrian Government drove them out. The same fate overtook the inmates of many monasteries and convents at Bruges in the reign of Joseph II., whose reforming zeal led to that revolt of the Austrian Netherlands which was the prelude to the invasion of Flanders by the army of the French Revolution.
[Footnote *: Robinson, _Bruges, an Historical Sketch_, p. 291.]
After the conquest of Belgium by the French it looked as if all the churches in Bruges were doomed. The Chapel of St. Basil was laid in ruins. The Church of St. Donatian, which had stood since the days of Baldwin Bras-de-Fer, was pulled down and disappeared entirely. Notre Dame, St. Sauveur, and other places of worship, narrowly escaped destruction; and it was not till the middle of the nineteenth century that the town recovered, in some measure, from these disasters.
Bruges has doubtless shared in the general prosperity which has spread over the country since Belgium became an independent kingdom after the revolution of 1830, but its progress has been slow. It has never lost its old-world associations; and the names of the streets and squares, and the traditions connected with numberless houses which a stranger might pass without notice, are all so many links with the past. There is the Rue Espagnole, for example, where a vegetable market is held every Wednesday. This was the quarter where the Spanish merchants lived and did their business. There used to be a tall, dark, and, in fact, very dirty-looking old house in this street known by the Spanish name of the 'Casa Negra.' It was pulled down a few years ago; but lower down, at the foot of the street, the great cellars in which the Spaniards stored their goods remain; and on the Quai Espagnol was the Spanish Consulate, now a large dwelling-house. A few steps from the Quai Espagnol is the Place des Orientaux (Oosterlingen Plaats), where a minaret of tawny brick rises above the gables of what was once the Consulate of Smyrna, and on the north side of which, in the brave days of old, stood the splendid Maison des Orientaux, the headquarters of the Hanseatic League in Bruges, the finest house in Flanders, with turrets and soaring spire, and marvellous façade, and rooms inside all ablaze with gilding. The glory has departed; two modern dwelling-houses have taken the place of this commercial palace; but it must surely be a very dull imagination on which the sight of this spot, now so tranquil and commonplace, but once the centre of such important transactions, makes no impression. From the Place des Orientaux it is only a few minutes' stroll to the Rue Cour de Gand and the dark brown wooden front of the small house, now a lace shop, which tradition says was one of Memlinc's homes in Bruges, where we can fancy him, laboriously and with loving care, putting the last minute touches to some immortal painting.