Barometers Realm

The mahogany body, deep and rich in tone like nature itself, seems to breathe, reflecting the play of light on its surface. The straight pediment adds a sense of solemnity and completion to the structure, as if highlighting the significance of the moment when we gaze upon this instrument. Yet, the true magic lies in the brass mascarons that adorn it.

The upper and central mascarons feature the “Green Man” or “The Foliate Head,” an ancient symbol embodying rebirth and the cycles of life. His face, covered in leaves, gazes at the viewer with nobility, evoking a sense of eternal renewal, reminding us of how air and wind—ever-changing like life itself—affect every second of our existence. On the lower part of the body, the face of the Gorgon greets us—a symbol of protection, staring directly into the soul. This is not just decoration but a talisman against the evil eye, as if the barometer itself was conceived as a guardian of time and nature, shielding its owner from unseen forces.

A delicate brass niche within the body adds an extra dimension of depth to the barometer, inside of which lies a subtly tinted alcohol thermometer. Its slender form and cool blue hue seem to represent the boundary between knowledge and mystery, between the precision of science and its cold beauty. The scale in degrees Celsius, applied directly to the glass tube of the thermometer, is flawlessly clean and legible.

Yet the centerpiece is undoubtedly the cream-colored enamel dial. Its soft, almost velvety shade contrasts with the metallic elements, creating a sense of warmth and comfort amidst scientific precision. The scale, marked in centimeters of mercury, gently flows across the surface, delicately inscribed with the words “Baromètre holostérique” and the company’s logo—“PNHB.” This instrument doesn’t just capture changes in the air; it serves as a reminder that art can live in every object, no matter how technical it may be.

Optician Vanderbiste on Rue de la Montagne

On the back of the barometer, there’s an elegant brass plaque bearing information about the retailer. The name Vanderbiste is the surname of the shop owner. It refers to engineer-optician Edmond Vanderbiste, whose name became the brand of the firm. In official sources from the late 19th century, he is listed as “Vanderbiste (Edmond), opticien, à Bruxelles, 68, rue de la Montagne,” meaning “Optician E. Vanderbiste, 68 Rue de la Montagne, Brussels.”

The Vanderbiste optics store was located in the center of Brussels at 68 Rue de la Montagne, near the Grand Place. The company proudly stated its founding date: in a 1914 advertisement it is referred to as “VANDERBISTE (fondée en 1840), Optique de précision … 68, rue de la Montagne, Bruxelles,” or “Vanderbiste (founded in 1840), precision optics … Brussels, 68 Rue de la Montagne.” This suggests a long-standing business, likely established in 1840.

By the late 19th and early 20th centuries, the firm was headed by Edmond Vanderbiste, whose name the store bore. At that time, Vanderbiste Opticien had become known as a shop of optique de précision (precision optics). A 1914 advertisement indicates that the store offered eyeglasses and pince-nez at accessible prices (“pince-nez lunettes… depuis 1 fr. 50” – pince-nez and glasses from 1 franc 50 centimes). Such pricing suggests the shop served not only elite or scientific clientele, but the general public as well.

The shop remained in business at least until World War I. Pre-war Brussels publications described Maison Vanderbiste as a well-established optics firm. After the war, the name Vanderbiste appears less frequently, suggesting that the shop may have closed, changed ownership, or rebranded. Nevertheless, around the turn of the century, Vanderbiste Opticien was clearly one of the notable addresses for optical instruments in Brussels.

As both optician and engineer, Vanderbiste offered an exceptionally broad range of items related to optics, precision instruments, and even the emerging electrical innovations of the time. His store sold — and sometimes custom-produced — the following products:

Glasses and pince-nez. The core of the shop’s offerings consisted of corrective lenses, frames, and pince-nez. The 1914 ad emphasized the sale of various types of eyeglasses. Eyeglass cases with his name have survived, showing he provided full sets (frame, lenses, case) to customers.

Opera glasses and lorgnettes. Before the age of cinema, opera glasses were popular. Vanderbiste sold elegant opera glasses; one late 19th-century example has “E. Vanderbiste Opticien - Rue de la Montagne 68 - Bruxelles” engraved around the eyepieces. This jumelle Duchesse, with enameled body and swan scenes, indicates the shop’s ability to supply refined imported goods — likely French-made, rebranded locally.

Spyglasses and long-range visual tubes. Like many opticians of the time, Vanderbiste likely sold telescopes and early binoculars for outdoor use. While direct references are scarce, by analogy with other opticians, the presence of telescopes and marine scopes is very likely.

Barometers, thermometers, and meteorological devices. Vanderbiste offered weather instruments, notably barometers, probably ordered from French manufacturers. Moreover, Edmond Vanderbiste invented combined devices: at the 1900 Paris World’s Fair he exhibited a “wind indicator panel with indoor barometer” and “panel showing relative humidity with psychrometric table.” In other words, he designed wall-mounted weather stations that combined barometer, wind vane indicator, and hygrometer for monitoring indoor climate.

Microscopes. His product range included microscopes, notably portable models. Early 20th-century pocket microscopes survive in wooden cases bearing labels like “E. Vanderbiste, opticien, Bruxelles,” proving that the shop traded in scientific instruments — likely imported from France or Germany and rebranded locally.

Scientific and drawing instruments. Vanderbiste also supplied precision instruments for engineers: drafting sets, compasses, measurement tools. An antique lot included a set of instruments (compasses, drawing tools, slide rule from around 1900) bearing several dealer stamps, including E. Vanderbiste in Brussels.

Electrical and medical devices. A distinctive trait of Edmond Vanderbiste was his fascination with electricity — the cutting-edge technology of his time. He called himself not only opticien, but also électricien. In the 1880s, the shop offered electric bells (sonneries électriques), small electric motors, and even medical electrotherapy devices. For instance, he invented and manufactured an induction apparatus for medical use. This confirms that Vanderbiste personally designed and produced electromechanical instruments, combining optics with electrical engineering. He also exhibited a “thermoscope électrique,” likely an early heat-triggered alarm or fire detection device.

In sum, Vanderbiste Optique offered a remarkably wide assortment: from simple eyeglasses and spyglasses to complex scientific devices and home weather stations. The shop embodied the multifaceted nature of late 19th-century scientific retail, where an optician was often also a watchmaker, mechanic, and inventor, catering to both the public and professionals.

Vanderbiste enjoyed a strong reputation and actively participated in international exhibitions, a key mark of status in the late 19th century. Edmond Vanderbiste presented his inventions and products at numerous major expos and received awards:

By the early 1880s, he was already known as an inventor. At the 1881 International Electricity Exhibition in Paris (Exposition internationale d’électricité), he displayed several devices: “Sonneries électriques” (electric bells), “Moteur électrique” (electric motor), and “Tableau indicateur des vents. Thermoscope électrique” (wind indicator panel and electric thermoscope). This range showed his technical ingenuity. French sources note he received medals — likely a silver medal at the 1878/79 Paris Exhibition, and a vermeil (gilt silver) medal at a subsequent expo — recognizing the quality and innovation of his instruments.

He also took part in specialized fairs. At the 1884 London Health Exhibition, his climate instruments may have drawn attention for their relevance to hygiene (temperature and humidity control being vital for health). Sources mention he received an award there, confirming the success of his participation.

The pinnacle of his international recognition came at the 1900 Paris Exposition Universelle. The exhibition catalogue lists Vanderbiste in the scientific instruments section with the aforementioned weather panels — his own designs for domestic use. The fact that he was selected to exhibit at Expo 1900 attests to the competitiveness of his firm, alongside Europe’s top manufacturers. He may also have received an honorary diploma or medal for these innovations (while exact records are elusive, even being admitted was a distinction).

In the context of its time, Vanderbiste Optique represented a typical late-19th-century scientific and technical emporium. On one hand, it met the public’s needs for everyday instruments like eyeglasses and home barometers; on the other, it advanced new technologies (electrical devices) and supported scholars and enthusiasts with scientific tools. Exhibition participation and awards solidified its reputation as a forward-thinking and trustworthy company. One could say that Vanderbiste played a role in democratizing science in Brussels: his barometers and psychrometers brought weather observation into homes, his glasses improved vision, and his electric devices introduced the marvels of modernity to a curious public.