| Saint Bavo's Cathedral | |
|---|---|
Sint Baafskathedraal | |
 West facade | |
 | |
| 51°03′11″N 3°43′37″E / 51.0530°N 3.727°E | |
| Location | Ghent |
| Country | Belgium |
| Denomination | Roman Catholic |
| Website | sintbaafskathedraal.be |
| Architecture | |
| Style | Gothic |
| Years built | 13th–16th centuries |
| Groundbreaking | c. 1274 |
| Specifications | |
| Spire height | 89 metres (292 ft) |
| Bells | 7 |
| Administration | |
| Diocese | Ghent |
| Parish | Saint John the Baptist |
| Clergy | |
| Bishop(s) | Lode Van Hecke |
Saint Bavo's Cathedral, also known as Sint-Baafs Cathedral (Dutch: Sint Baafskathedraal), is a cathedral of the Catholic Church in Ghent, Belgium. The 89-meter-tall Gothic building is the seat of the Diocese of Ghent and is named for Saint Bavo of Ghent. It contains the well-known Ghent Altarpiece.
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Van Eyck, Ghent Altarpiece (1 of 2)
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Saint Bavo’s Cathedral Gent Belgium Amazing place & good vibes. Vlaanderen
Transcription
(music) ("In The Sky With Diamonds" by Scalding Lucy" Beth: We're going to have a look at the Ghent Altarpiece. Steven: It is absolutely breathtaking and it's really complicated. Beth: It is. It's made up of many, many panels. It's a polyptych and those panels are connected by hinges so they open and close. Steven: Which means that we see this set of paintings in two distinct ways. We either see it opened or closed. This is important because I think it would be closed much of the year and opened on peace days as a kind of revelation. Beth: This would have had an elaborate frame. Steven: There's some controversy about actually who painted it. This is generally ascribed to Jan Van Eyck. Some suggest that his brother Herbert may have [done] it. The frame was lost presumably during the iconoclasm, that is the attacks on Catholic art during the Reformation. Beth: And we also know that this painting is much coveted by the Nazis and was actually stored in a salt mine. We're lucky we still have it today. We have at the top some figures with scrolls and books. Those are prophets and sybils who predicted the coming of Christ, the coming of the Messiah. The moment that they predicted is actually unfolding right below them, and that is the scene of the Annunciation where the angel Gabriel is announcing to Mary that she is about to conceive Christ. Steven: Gabriel over on the left panel, Mary, three panels to the right, and then wonderfully empty space, not empty, in fact, this fabulous cityscape and then a kind of still life on the right middle panel, but nevertheless an unoccupied set of spaces that suggest the opportunity for Christ's arrival. Beth: And we have the usual trappings of the Annunciation. The angel Gabriel holds lilies, which are a symbol of Mary's purity, her seamlessness, her virginity. The angel Gabriel announces, and you can actually see words coming out of the angel's mouth in Latin; "Hail Mary, full of grace, blessed art thou among women." Mary on the other side with the dove above her head which represents the Holy Spirit, and words coming out of her mouth. Her reply to the angel Gabriel coming out backwards, right to left instead of left to right, and upside down, "Behold the handmaiden of the Lord." Backwards makes sense, right, because she's speaking back to the angel. It's very interesting that the words are also upside down. Steven: It makes us question who she's speaking to, doesn't it? Beth: Perhaps to God who's looking from above. Steven: Everything in this set of panels is very concrete and absolutely physical, and yet those words, because they're gold, but also because they're not attached to anything physically represented, are wonderfully [effurial] and speak to God. Beth: There is that tension between the writing which is a very medieval thing to do. It reinforces the flatness of the image, and yet there's a tension between that and as you said, the physicality of everything else; a sense of space, the objects that are depicted are incredibly real as the light reflects on them, that cityscape that goes out into a distance where we can see figures, shadows, buildings, birds or that still life on the right where we see the sunlight from the windows beautifully reflected, attention to detail that is very unique to the northern Renaissance. Steven: These artists were miniaturists and that attention to detail comes through even on this large scale, but we don't want to say that this is the kind of naturalism or realism that we would have seen develop at this very time in Italy because it's not. We're seeing a kind of awkward [unintelligible] perspective and the figures themselves look as if they might bump their heads if they actually stood up in this room. Beth: This space seems to rush back and also, we're not seeing an attention to the reality of the human body that we would have seen in the Italian Renaissance. We have a kind of drapery that seems to have a life of its own with lots of angular folds. It almost seems to hide the body underneath. We should say that the altar piece is 11 and a half feet high. It's really large. It's made for a private chapel in Saint Bavo's Cathedral in Ghent that belonged to the patrons who we see below. Steven: So we have four figures or two figures and then two sculptures, but that in and of itself raises a really interesting visual trickery. We take the figures who are dressed in red as real people, and then the sculptures in the middle carved of stone, but of course, this is all paint. Beth: The figures who are represented as sculptures are the two Saint Johns. I think they had particular relevance for the chapel and for the family. It's also interesting to look at the patrons because there's that thing that you always see in the northern Renaissance which is this amazing ability to represent different textures because of course, the artist are using oil paint. So that fur on his collar really seems like fur and his skin really seems like skin of an old man. Steven: And of course, oil paint will have a profound impact on the sense of this painting, but especially when we open it up. (music) ("In The Sky With Diamonds" by Scalding Lucy"
History
The cathedral stands on the site of the former Chapel of St. John the Baptist, which was primarily of wooden construction and was consecrated in 942 by Transmarus, Bishop of Tournai and Noyon. Traces of a later Romanesque structure can be found in the cathedral's crypt.[1] Construction of the Gothic church began around 1274.
In the subsequent period from the 14th through 16th centuries, nearly continuous expansion projects in the Gothic style were executed on the structure. A new choir, radiating chapels, expansions of the transepts, a chapter house, nave aisles and a single-tower western section were all added.
In 1539, as a result of the rebellion against Charles V, who was baptized in the church, the old Abbey of St. Bavo was dissolved. Its abbot and monks went on to become canons in a Chapter that was attached to what then became the Church of Saint Bavo. When the Diocese of Ghent was founded in 1559, the church became its cathedral. Construction was considered complete on 7 June 1569.
In the summer of 1566, bands of Calvinist iconoclasts visited Catholic churches in the Netherlands, shattering stained-glass windows, smashing statues, and destroying paintings and other artworks they perceived as idolatrous.[2] However, the altarpiece by the Van Eycks was saved.
Interior
Ghent Altarpiece
The cathedral is noted for the Ghent Altarpiece, originally in the Joost Vijd Chapel. It is formally known as the Adoration of the Mystic Lamb after its lower centre panel by Hubert and Jan van Eyck. This work is considered Van Eyck's masterpiece and one of the most important works of the early Northern Renaissance, as well as one of the greatest artistic masterpieces of Belgium.[3] Part of the painting, the lowermost left panel known as The Just Judges, was stolen in 1934 and has not been recovered. It has since been replaced with a facsimile by Jef Van der Veken.
Other religious art
The cathedral is home to the works of other artists of note. It holds the painting Saint Bavo enters the Convent at Ghent by Peter Paul Rubens. There are also works by or after Lucas de Heere, one of which is a View of Gent. Frans Pourbus the Elder painted 14 panels representing the History of Saint Andrew (1572) and a Triptych of Viglius Aytta (1571). Caspar de Crayer is represented by paintings of St Macarius of Gent, The Beheading of Saint John the Baptist and The Martyrdom of Saint Barbara. The church also holds works by Antoon van den Heuvel including the Christ and the Adulterous Woman and the Resurrection of Christ. There are also works by Lucas van Uden and Jan van Cleef.[4]
Local Ghent painter Petrus Norbertus van Reysschoot painted a series of 11 grisailles, which decorate the choir of the cathedral, above the stalls. Five of these panels represent scenes from the Old Testament while the other six episodes from the New Testament. These paintings were placed in the cathedral between 1789 and 1791.[5]
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Interior of the Romanesque Crypt, with frescos of religious figures visible. -
Elaborate stone and marble naves inside the upper church. -
The great organ built in 1935 by Klais is the biggest of the Benelux. -
Saint Bavo enters the Convent at Ghent. -
The washing of the feet by Petrus Norbertus van Reysschoot.
Organs
The cathedral has four organs for use at liturgical celebrations.[6] Most famous is the main organ in the Upper church, the biggest organ in the Benelux. In 1935 Mgr Coppieters commanded that the Klais organ from the world exhibition would be put inside the cathedral. The organ case dates from the 18th century and the complete organ has more than 6000 pipes inside. It has 5 manuals.[7]
Choir
The most impressive part is the high choir with stalls for the members of the Chapter of Saint-Bavon. The episcopal throne is located on the right side with the episcopal arms visible. Highlights of the interior decoration of the choir include the Baroque high altar (1702–1782), in white, black, and red flamed marble, and the tomb monuments of Ghent bishops, including that of Antonius Triest, in white and black marble (1652–1654), a major work of Jerôme Duquesnoy (II). On the right side is the gallery with painted crests of the members of the Order of the Golden Fleece.
In the choir is the 1559 painting The Queen of Sheba visits King Solomon by the Flemish artist Lucas de Heere. This allegorical work depicts King Solomon as Philip II of Spain, recognizable by his facial features, receiving gifts from the Queen of Sheba, an allegory of the Low Countries, representing that country donating its riches to the Spanish king in thanks for his prudent government.
In the nave we find an impressive rococo pulpit (1741–1745), made in oak, gilded wood and white and black marble by Laurent Delvaux, with wrought-iron railings by J. Arens. There are also chairs designed by the contemporary designer Maarten Van Severen. The main altar is placed between the nave and the choir.
Treasury and crypt
In the Chapel of the Holiest an important Calvary Triptych is on display. This 15th-century work is attributed to Justus van Gent. Finally, there is a valuable collection of important liturgical plates, reliquaries, and liturgical vessels dating from the 15th century onward. Among the important reliquaries are the head of Saint John the Baptist and of Saint Macarius. The important collection of hand-embroidered and brocaded liturgical ornaments is widely known as one of the most important of the country, some of which are put on display.
Chapter of Saint-Bavo
Still today the chapter is housed inside the cathedral, since its foundation. Members have been important prelates and members of noble houses. Today Jozef De Kesel is one of the honorary canons. The chapters of Haarlem and Ghent are united in friendship. Weekly the canons sing Mass with the bishop.
- Maximilian van de Woestyne de Becelaere, died 1699: nephew of the Marquess of Becelaere
- Jacques Ignace van Parys, died 1702: grandson of Rubens.
- Constant van Crombrugghe
- François III Maria Rubens, died 1720: great-grandson of Rubens.
- Petrus Joseph Triest, founder of the Brothers of Charity
- Thomas-Philip d'Alsace, Cardinal
- Antoon Stillemans, before he was ordained bishop
- Gustaaf Joos, before he was created cardinal
- Jozef De Kesel, honorary Canon
- Lode Aerts, before he was ordained bishop
Burials
- Cornelius Jansen (1510–1576), first Bishop of Ghent (1565–1576)
- Pieter Damant (1530-1609), third Bishop of Ghent (1589-1609)
- Karl vanden Bosch, Bishop of Ghent
- Karel Justinus Calewaert, (1893–1963): 27th Bishop of Ghent (1948–1963)
- Prince Ferdinand de Lobkowitz (1726–1795) Bishop of Ghent, 1779–1795
- Philippus Erardus van der Noot, baroque tomb by Jan Boeksent.
- Jan de Smet, Bishop of Ghent
- Jan-Frans van de Velde (1779–1838), 20th Bishop of Ghent.
- Gerard van Eersel (died 1778), Bishop of Ghent
- Ignace Schetz de Grobbendonk (1625–1680), 11th Bishop of Ghent (1679–1680)
- Michelle of Valois, Duchess of Burgundy
See also
- Bishop of Ghent
- List of Gothic Cathedrals in Europe
- List of tallest structures built before the 20th century
References
- ^ "Building History | Sint-Baafskathedraal Gent". sintbaafskathedraal.be. Retrieved 2020-05-24.
- ^ Kleiner, Fred S. (1 January 2010). Gardner's Art through the Ages: A Concise History of Western Art. Cengage Learning. p. 254. ISBN 9781424069224.
- ^ Kurtz, Michael J. (2006). America and the return of Nazi contraband. Cambridge University Press. p. 24.
- ^ De Inventaris van het Bouwkundig Erfgoed, Sint-Baafskathedraal (ID: 25743) at Inventaris onroerend erfgoed (in Dutch)
- ^ Victor van der Haeghen, Reysschoot, Pierre-Norbert Van in: Biographie nationale de Belgique, Volume 19, p. 235-238 (in French)
- ^ "Organs | Sint-Baafskathedraal Gent". sintbaafskathedraal.be. Retrieved 2020-05-24.
- ^ "Gent Sint-Baafskathedraal". www.andriessenorgelbouw.be. Retrieved 2020-05-24.
External links
| International | |
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| National | |
| Other | |
This page was last edited on 5 April 2024, at 10:55