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Manufacturer
Pieter PourbusPeriod and date
16de eeuwMASTERPIECE
It is no coincidence that Jan van Eyewerve and Jacquemyne Buuck chose a view of Crane Square (Kraanplein) and the Crane Bridge (Kraanbrug) as a backdrop for their marriage portrait. Not only did they own at least one building on this street and could therefore really enjoy this view, but it also showed that this couple’s ambitions lay in (wine) trading. Together, the St John’s Bridge, the Crane (Kraanplein), and the Waterhalle formed the main commercial axis of Bruges. Tolls were levied on the St John’s Bridge, while the ‘Craene’ or crane was an essential element in the multifunctional city of Bruges. The crane relieved the Waterhalle, which formed the terminus of the waterway and was located less than 200 metres from this square (not visible on the painting). At the Waterhalle, goods were loaded and stored for further distribution throughout the city. Heavy cargo could not be unloaded here, however. That was done with the crane on Crane Square. This remarkable machine with a windmill-based mechanism was driven by the power of strong young men, the so-called ‘Craene children’. It could lift large weights, such as barrels of wine and beer, and so was a real asset for the trading city. The crane was installed in 1290. Damme also had a crane, which was mentioned in sources as early as 1269. Given the great importance of the cranes for trade, Bruges and Damme conspired to prevent Sluis from also building one in 1323. After all, that would have undermined the unique position of both cities.
Manufacturer
Pieter Pourbus (schilder)Period and date
16de eeuw
