Cathedral of Our Lady of Antwerp. Cathedral of Our Lady Major works of art

Belgium, Antwerp, Handschoenmarkt 2000, Antwerpen, Belgium

general information

The Cathedral of Our Lady of Antwerp is dedicated to the Virgin Mary, who is considered the intercessor and patroness of the city. You can see the impressive tower of the cathedral from afar. Its spire rises 123 m above the historical center of the city and is the tallest in the Benelux countries. The beautiful and majestic cathedral building is a real symbol of Antwerp. And if a visit to the central square can be called a walk in the very heart of the city, then looking into the Cathedral of Our Lady of Antwerp, you feel a touch to its soul.

A little history

The first stone was laid in the 14th century, and two centuries later a Gothic cathedral was built on the site of a Romanesque church. The first builder of the temple was the architect Jean-Hamel from Boulogne. However, he was not destined to see his life’s work completed at least a quarter. Craftsmen replaced each other while the cathedral was slowly carved out of stone over the course of 250 years. The cathedral has been restored several times and combines elements of architectural styles such as Gothic, Baroque, Rococo, Renaissance and Neo-Gothic.

The cathedral had to endure quite a few sad historical events. During the period of iconoclasm of the 16th century. stained glass windows, sculptures, tombs and dozens of altars in many Antwerp churches were destroyed. In the 19th century French revolutionaries plundered the cathedral and it was threatened with complete destruction, as a decision was made to demolish the building. However, Napoleon's personal decree saved Notre Dame Cathedral from fatal destruction. Today, only some frescoes and a statue of a marble Madonna from the 14th century have survived from the original decor.

Description of the cathedral

The cathedral is decorated with four amazing paintings by the famous artist Peter Paul Rubens: “The Exaltation of the Cross of the Lord,” “The Assumption of the Blessed Virgin Mary,” “The Descent from the Cross” and “The Resurrection of Christ.” The main altar contains the painting “The Death of Mary” by Abraham Matthiessens. There are also two ancient organs in Antwerp Cathedral. The main organ has been sounding within the walls of the church for more than 130 years. Its length is 10 m, and in height it occupies a space of three floors. Despite the fact that the organ was restored and tuned many times, most of the parts remained original.

Notre Dame Cathedral is a 15-minute walk from Antwerp. You can also get there by public transport by taking tram 3 towards Zwijndrecht or tram 5, which goes to the left bank of the Scheldt River, and getting off at the Green City stop (Groenplaats).

The building was heavily damaged during the fires of 1533, iconoclasm in Western Europe (Iconoclast Revolt in the Netherlands of 1566), as well as from shelling during the French Revolution. Its restoration is currently needed. The cathedral bell tower-beffroy, among many similar monuments, is included in the list of UNESCO World Heritage Sites.

Currently, the Cathedral of Our Lady of Antwerp is the main cathedral of Antwerp, one of the largest churches of the Roman Catholic Church. The cathedral has long been a symbol of the city, a monument of medieval and Gothic culture. In addition, it is the tallest Cathedral in Belgium, having the tallest church tower in the Benelux (123 meters). Its silhouette is visible from afar from anywhere in the city and has long become an integral part of the city landscape. The Church of the Blessed Virgin Mary (the same as the Cathedral of Our Lady of Antwerp) has the status of a cathedral from to the years. and from 1961 to the present.

The bell tower of the Cathedral Tower is one of 56 bell towers in France and Belgium included in the UNESCO World Heritage List ID 943-002. Inside the Cathedral there are two priceless works of Flemish painting of the 17th century, also included in the World Heritage Site: “The Exaltation of the Cross” and “The Descent from the Cross” by Rubens.

The first stone of this Gothic church was laid in the 14th century and only two centuries later the work was completed. Where the cathedral now stands, from until the 12th century there was a small chapel of Our Lady, which acquired the status of a parish church in 1124. During the twelfth century it was replaced by a large Romanesque church (80 meters long and 42 meters wide). Only after excavations carried out in the 80s of the last century [ ], it became clear what the predecessor church looked like, but almost nothing remained of the previous interior.

The last restoration work of the cathedral was carried out from 1993 to 1993. During this time, a lot of work was done to preserve the unique architecture and interior of the building; ultimately, it was possible to preserve its unique appearance.

Today, both organs are maintained by two promising young organists from Sint-Niklaas, Peter Van de Velde and Etienne de Munck.

Cross-shaped temple (also known as basilica) - a type of temple whose plan has an intersection-cross in the form of a transverse nave (transept) between the main nave (fr. nef, from Lat. navis - ship) and in chorus. The moment of connection of the ship (longitudinal nave) with the transept is called a Latin cross, often topped with a rib (rib from the French nervure - vein, rib, fold) or star vault at the intersection of the tower and dome.

The main part of the building was built from 1352 to 1521. Mainly brick and white stone were used in construction. The roof and ceilings were made of durable wood, mainly oak. The first choir was completed in 1415, after which the foundations of both towers were laid at the same time as the ship and the transept. The main nave was completely completed in 1487, although work on the transept was still ongoing until 1495, after which the south tower and crossing remained unfinished for many years. The Dutch architect Rombut II Keldermans also took part in the construction of the cathedral.

Most of the architectural elements of the cathedral are based on the mature, flamboyant “Brabantian Gothic” style and represent a new type within this style. Thus, there are no circular columns using Corinthian capitals, but profiled beam pillars are used without a break between the ribs of the cross vault. In addition, the separation of the arc between the naves and the exceptionally wide aisles and triforium are omitted. Instead, there is a masverk located above the division arches. The cathedral is famous for its impressive façade on the west side, thanks in large part to the elegant and imposing North Tower, which can be seen from anywhere in the city.

Antwerp Cathedral is topped with three towers. The greatest impression is made by the grandiose North Tower of the cathedral, which, in the literal sense of the word, rests on the clouds. The tower is completed by an octagonal superstructure with a light, weightless cross at the top. Somewhere in the middle of the tower the golden dial of the tower clock sparkles. The North Tower, with a height of 123 meters, is the tallest bell tower in the Benelux countries. It was built with funds from the city of Antwerp and is a masterpiece of late Gothic architecture. Its construction was completed in 1518. At the end of the 19th century, the first restoration work was carried out. The tower's bell tower has forty bells and a carillon. A single flight of 515 steps leads to the bell tower in the north tower, but there are also stairs that are accessible only to caretakers. The tower is open to the public every Wednesday from April to September. Tours of the tower are conducted under the close supervision of official tower caretakers. Every fragment of its interior is untouchable and must be protected.

The South Tower is planned to be the same height and symmetrical relative to the North Tower. Its construction was financed by the parish, but due to lack of money, it was never completed. The South Tower remains unfinished; to this day it is half the size of the North Tower and is crowned by a low spire. Either way, neither of the two towers reached the height specified in the plans.

The quaint dome of the lantern tower rises above the middle cross. The tower rises above the transept of the Cathedral and is surrounded by three floors of windows. The purpose of this tower is to illuminate the dark spaces of the huge building, in particular the central nave and choir.

Antwerp Cathedral was repeatedly repaired and refurnished, absorbing the features of new eras. Almost nothing has survived from the original interior. During the iconoclastic uprisings of the Reformation, much of the interior was damaged. Stained glass windows, statues, monuments, dozens of altars, tombs, graves and shrines were desecrated and destroyed by dozens of Calvinists, many paintings and relics were lost forever, all that remained of the original decoration was an image of the Madonna from marble of the 14th century and several ancient frescoes, testifying to the late Gothic structure of the building. Later, the Cathedral was restored in the Baroque style and, a century later, again achieved its former beauty, only in the Neo-Gothic style. The interior of the church has been recreated many times and this is exactly what makes it so special: elements of a variety of styles are intertwined in the church decoration: Gothic, Baroque, Rococo, Brotherhood of the Holy Communion. The front left side of the cathedral has a series of beautiful dark panels containing nine confessionals. Above them are the Twelve Apostles, accompanying twelve female figures. In the domed part of the chapel there is a painting of Divine Grace, after which the church in Antwerp will be named. Some frescoes were restored from the original ones (before the iconoclasm of 1566), others were completely replaced. The cathedral also has several stained glass windows with religious images.

Currently, for a fee, you can visit the interior of the Cathedral and all the works of art in its interior. In the center of Antwerp there are also souvenir shops where you can buy guides and books about the cathedral in several languages ​​(including Russian).

The interior of the Cathedral includes what is considered to be the best works of the famous Flemish artist Peter Paul Rubens: the monumental paintings “The Exaltation of the Holy Cross”, “The Assumption of the Blessed Virgin Mary” and “The Resurrection of Christ” - they were written specifically for the Antwerp Cathedral. The painting “The Descent from the Cross”, which forms the basis of the triptych of the same name, painted by Rubens in 1612 after his return from Italy, stands out with particular drama and expression. At the back of the main altar is a painting of The Death of Marie by local master Abraham Matthiessen.

Triptych. Wood, oil; Dimensions: 4.60 m x 3.40 m for the central panel and 4.60 m x 1.50 m for the side panels. The composition was written for the main altar of the ancient church of St. Volburg. Transferred to the cathedral in 1816.

Triptych. The basis is a monumental canvas of the same name. The middle panel was completed in 1612, the side panels added later. Dimensions: middle panel 4.21 m x 3.11 m, two side panels 4.21 m x 1.53 m. This is one of the most famous paintings by the master and one of the greatest masterpieces of Baroque painting. Written by order of the Order of Musketeers, whose patron is Saint Christopher (he was also depicted by the artist on the left edge of the composition).

These two works were removed from the Cathedral and taken to France by Napoleon, but were returned to the temple in the 19th century.

Triptych, smaller in size than others. Dimensions: central panel 1.38 × 1.98 m and two side panels 1.38 × 0.40 m. By order of the Moretus Plantin family (notable people of Antwerp at that time), the composition included an epitaph for Jan and Martin - two members of this family . The named persons are also depicted by the author on the side panel of the triptych.

Canvas, oil. Dimensions: 4.90 x 3.25 m. The canvas was used as a replacement for the old chancel wall, removed in 1581.

"Death of Mary" or "Assumption of the Virgin Mary" (Mary is the patroness of the cathedral). Painting at the back of the church behind the altar. Monumental canvas (5 m x 3.25 m) from a series dedicated to the Virgin Mary (“Assumption of the Blessed Virgin Mary” by Rubens [over the altar] and “Assumption of Our Lady” in the dome [Cornelius Schut]).

Five marble reliefs were purchased from the Christie's auction house in London, while at the same time, 2 more fragments were purchased from the province of Antwerp itself. The sixth and last part of the relief was returned to the Cathedral in 1996.

The cathedral is one of the most important attractions of the city, as well as a favorite attraction for tourists. About 320,000 people visit it annually, but this is a dire necessity since the costs of maintaining the cathedral amount to 1.5 million euros per year, subject to partial recoupment from the money paid by tourists for visiting.

Onze-Lieve-Vrouwekathedraal
Antwerpen

In order to see the masterpieces of Rubens, which were created upon his return from Italy and then amazed the whole of Antwerp, and then everyone who had the opportunity, having arrived in the city, to see them, it is necessary to head along the wide Meir to the Antwerp Cathedral. In the Cathedral of Our Lady there are four altar paintings: the famous “Hoisting of the Cross” and “Descent from the Cross”, “The Flagellation of Christ” and “The Assumption of the Virgin”. Both of the first above-mentioned paintings are huge triptychs located in the transept of the cathedral on both sides, adjacent to the choir.

Raising of the cross

All three parts of the altar composition “The Raising of the Cross” (1609-1610) covered by the unity of the plot, which gives it special integrity and grandeur. With few characters, Rubens achieves the impression of a large crowd, a mass stage. This happens because all the characters are extremely active, striking with pathetic gestures and the fullness of the emotional content of a separate image. The entire composition is permeated with stormy, rapid movement. By placing large figures close in the foreground, Rubens wanted to create the complete illusion of an event taking place before the viewer's eyes. It seems that the figure of the executioner, with his back turned to the viewer, enters real space. The cross with the crucified Christ raised diagonally should also go beyond the picture plane. Thus, Rubens sought to influence the imagination, requiring the viewer to have extremely active perception, to quickly enter into the emotional structure of the work. In the tension of the forms of human bodies, proportions and drawing, an echo of the study of the works of Michelangelo is felt. Before us is a heroic scene when, in suffering and torment, a person, testing his courage and will, emerges as a winner. Undoubtedly, this solution to the image was influenced by the artist’s stoic beliefs. The spiritual power of Christ opposes and asserts itself in contrast to the brute physical power of the executioners, blind instruments in the hands of Providence. Human passions are simultaneously coupled with the stormy state of nature. This deep, inextricable connection between man and the world, the intertwining of destinies and at the same time the incessant struggle will become one of the leitmotifs of the artist’s work.

Descent from the Cross

Another great monumental work by Rubens, “The Descent from the Cross” (1610-1614) filled with high tragic pathos. In the deep darkness of the night that covers heaven and earth, at an hour when only a stripe of blood-red dawn is visible at the edge of the horizon, in mournful silence the holy wives and disciples remove the body of their crucified teacher from the cross. Exhausted by suffering, but beautiful even in death, it glides limply along the dazzling white shroud, carefully supported by the loving hands of its disciples. Death robbed him of life, but not of greatness. The image of the deceased Christ became for Rubens the embodiment of heroic courage in the face of death, self-sacrifice and love for people, who, in turn, give him praise. The deceased is mourned by students and friends. In their noble grief there is a stoic understanding of the high meaning and significance of the tragedy that has occurred and therefore their grief does not spill out in despair. On the contrary, all feelings are extremely restrained. Particularly memorable is the one who took upon himself the entire weight of his teacher’s body and did not bend under it, but as if mournfully presenting the hero to the viewer.

The art of Flanders has never known such organic freedom of plastic solutions, such a powerful expressive language of forms, such a fusion of monumentality and life truth.

The composition strictly combines elements of static and movement. The diagonal of the compositional structure is balanced by the vertical of the cross and the figure of John. All movements are directed towards the center, towards the light-filled figure of Christ, forming a complete rhythmic unity of a multi-figure group. The picture sounds like a solemn requiem for a fallen hero. It embodies all the artist’s admiration for the spiritual greatness of man.

Cathedral of Our Lady of Antwerp (Dutch: Onze-Lieve-Vrouwekathedraal) is a Roman Catholic parish church in Antwerp. Belongs to the diocese of Antwerp. Notre Dame Cathedral was founded in 1352, and although the first stage was completed in 1521, the construction of the cathedral is still considered "unfinished". Designed in the Gothic style by architects Jean and Peter Hamel. Contains a number of significant works by the famous Baroque artist Peter Paul Rubens, as well as paintings by such artists as Otto van Veen, Jacob de Backer and Martin de Vos.
The building was heavily damaged during the fires of 1434 and 1533, iconoclasm in Western Europe (Iconoclast Revolt in the Netherlands of 1566), as well as from shelling during the French Revolution. Its restoration is currently needed. The cathedral bell tower-beffroy, among many similar monuments, is included in the list of UNESCO World Heritage Sites.

Currently, the Cathedral of Our Lady of Antwerp is the main cathedral of Antwerp, one of the largest churches of the Roman Catholic Church. The cathedral has long been a symbol of the city, a monument of medieval and Gothic culture. It is the tallest cathedral in Belgium and also has the tallest church tower in the Benelux (123 meters). Its silhouette is visible from afar from anywhere in the city and has long become an integral part of the city landscape. The Church of the Blessed Virgin Mary (the same as the Cathedral of Our Lady of Antwerp) had the status of a cathedral from 1559 to 1803. and from 1961 to the present.

The bell tower of the cathedral tower is one of 56 bell towers in France and Belgium included in the UNESCO World Heritage List ID 943-002. Inside the cathedral there are two priceless works of Flemish painting of the 17th century, also included in the World Heritage Site: “The Exaltation of the Cross” and “The Descent from the Cross” by Rubens.

Story
The foundation stone of this Gothic church was laid in the 14th century, and only two centuries later the work was completed. Where the cathedral now stands, from the 9th to the 12th centuries there was a small chapel of the Mother of God, which acquired the status of a parish church in 1124. During the twelfth century it was replaced by a large Romanesque church (80 meters long and 42 meters wide). Only after excavations carried out in the 80s of the last century[clarify], it became clear what the predecessor church looked like. However, almost nothing remains of the original interior.

In 1352, construction began on a new cathedral, which was destined to become the largest Gothic church in Belgium, as well as the largest Gothic church in the Netherlands. The first builder of the temple was master Jean Hamel from Boulogne. The architect devoted forty years of his life to this building, but died without seeing the cathedral even a quarter completed, and bequeathed his work to his son Peter. The builders replaced each other one after another - Jean Tuck, master Evrard, Herman van Wagemaker, his son Dominic. The cathedral was built slowly, unhurriedly, absorbing the features of new eras.

At the beginning, according to the plan, the structure should have been crowned with two towers of equal height, but the plan was not allowed to come true for the reasons described below. In 1521 the new Church of Our Lady was ready. The construction of the southern tower only reached the third tier. The construction of the temple was completed after almost 170 years of work. However, the cathedral took much longer to build than indicated. Construction work on the building was carried out over two hundred and fifty years - from 1352 to 1616, and to this day it is considered unfinished.
On the night of October 5-6, 1533, the new temple was severely damaged by a fire that destroyed most of the building. Therefore, the completion of the second tower was carried out with a delay, which later led to its delay, as it turned out, forever - it is half the size of the northern one, and it is crowned with a low spire.

In addition, the church became the cathedral of the Diocese of Antwerp only in 1559, but lost this status from 1801 (after the Concordat of 1801 or Napoleon's Concordat) and was only restored to it again from 1961. During the Iconoclasm of August 20, 1566 (at the beginning of the Eighty Years' War), Protestants destroyed most of the cathedral's interior. Later, in 1581, during the Protestant administration, many churches in Antwerp were subject to confiscation of property. These measures did not bypass the main cathedral. Many artistic treasures have been destroyed, removed or sold. The power of the Roman Catholic Church was restored again in 1585 with the fall of Antwerp.
In 1794, French revolutionaries, who captured the area, plundered the Cathedral of Notre Dame Antwerp and caused serious damage to it. Around 1798, the French administration intended to demolish the building, but this idea was canceled by a decree of Napoleon himself. Throughout its history, the cathedral suffered many disasters, but after each blow, it was able to be restored. In 1816, a number of important works of art that had been stolen from it earlier were returned to the cathedral from Paris, including three masterpieces by Rubens. Throughout the 19th century, the temple was completely restored and updated.

The last restoration work of the cathedral was carried out from 1965 to 1993. During this time, a lot of work has been done to preserve the unique architecture and interior of the building. Ultimately, it was possible to preserve its unique appearance.
Musical chronicle of the cathedral

At the beginning of the 15th century, the cathedral choir began to actively develop its musical life, and, as a consequence, the importance of the cathedral in the history of music soon increased. One of the most important composers of the 15th century, Johannes Ockeghem, served as vicar of the cathedral in 1443, a position then held by another future famous Dutch composer, Jacob Obrecht, from 1492 to 1497. The most famous organists of the cathedral were Henry Bredemers (1493-1501), who later became the teacher of the children of Philip the Fair, as well as the famous English composer John Bull (1615-1628), who fled to Flanders, escaping justice in his country. It is also known that he worked as the cathedral's organist until his death. Many other lesser-known but locally significant composers, such as Jacobus Barbirey and Andreas Peverneg, also worked at the cathedral.

Organs
Antwerp Cathedral has two main organs. The main organ of the Schyven-orgel has been in the service of the cathedral for more than 130 years. It was acquired with the generous donation of Mrs. Maria Eugenia Kempener, after her death on February 20, 1878, who bequeathed the sum of 150,000 francs to the cathedral. On May 18, 1889, an agreement was signed with the Brussels company Schyven Walcker & Cie (later the organ was named after the manufacturer) for the construction and installation of the organ. Work on the organ was completed and already in October 1891 it was used for church services. The organ is 10 meters long and occupies a space of three floors. It consists of 90 registers. Throughout its history, the organ has been tuned and restored several times, but most of its parts are still original. In 1986, its last thorough cleaning and major restoration work took place. For Antwerp Cathedral, Schyven-orgel is one of the instruments of the first order. In addition, there is a new organ built in the neo-baroque style by Metzler from Switzerland (1993).

Today, both organs are maintained by two promising young organists from Sint-Niklaas, Peter Van de Velde and Etienne de Munck.

Antwerp Cathedral Choir
The choir of the Cathedral of Our Lady of Antwerp (Antwerps Kathedraalkoor (AKK)) dates back to 1382. Over the hundreds of years of the cathedral's history, the choir existed and developed, without suspending its activities even during times of war. In 1927 the choir revived this tradition and in its present form exists as the Antwerp Cathedral Boys' Choir or the Antwerp Cathedral Choir of Notre Dame. Since 1971 it has also been an adult choir. In 1985, a girls' choir was founded.

The Boys' Choir and Girls' Choir sing together or alternately almost every Sunday at 10:30 am at Antwerp Cathedral Diocese Masses and also regularly give outdoor holiday concerts. Every July, both choirs tour abroad.

Reviews from contemporaries
At the beginning of the 16th century, the construction of the Cathedral of Our Lady of Antwerp was finally completed, and its majestic silhouette with a bizarre tower in the Flamboyant Gothic style reigned over the city. The wondrous ringing of the forty bells of Antwerp Cathedral and its height amazed contemporaries. At one time, Charles V, Holy Roman Emperor, was amazed at the magnificence of the cathedral's spire, even believing that it should be encased in glass. Napoleon compared the cathedral spire to Brabant lace.
Architecture
The Cathedral of Our Lady of Antwerp is a classic Gothic cruciform church and is a seven-nave basilica crossed by a transept.

A cruciform church, also known as a basilica, is a type of church whose plan has an intersection-cross in the form of a transverse nave (transept) between the main nave (French nef, from Latin navis - ship) and the choir. The moment of connection of the ship (longitudinal nave) with the transept is called a Latin cross, often topped with a rib (rib from the French nervure - vein, rib, fold) or a star vault at the intersection of the tower and dome.

The main part of the building was built from 1352 to 1521. Mainly brick and white stone were used in construction. The roof and ceilings were made of durable wood, mainly oak. The first choir was completed in 1415. After this, the foundations of both towers were laid at the same time as the ship and the transept. The entire main nave was completed in 1487, although work on the transept was still ongoing until 1495. After this, the south tower and crossing remained unfinished for many years. The Dutch architect Rombut II Keldermans also took part in the construction of the cathedral.

Most of the architectural elements of the cathedral are based on the mature, flamboyant “Brabantian Gothic” style, and represent a new type within this style. Thus, there are no circular columns using Corinthian capitals, but profiled beam pillars are used without a break between the ribs of the cross vault. In addition, the separation of the arc between the naves and the exceptionally wide aisles and triforium were omitted. Instead, there is a mask located above the division arches. The cathedral is famous for its impressive façade on the west side, thanks in large part to the elegant and imposing North Tower, which can be seen from anywhere in the city.

Towers
Antwerp Cathedral is topped with three towers. The greatest impression is made by the grandiose North Tower of the cathedral, which literally rests on the clouds. The tower is completed by an octagonal superstructure with a light, weightless cross at the top. Somewhere in the middle of the tower the golden dial of the tower clock sparkles. The North Tower, with a height of 123 meters, is the tallest bell tower in the Benelux countries. It was built with funds from the city of Antwerp and is a masterpiece of late Gothic architecture. Its construction was completed in 1518. At the end of the 19th century, the first restoration work was carried out. The tower's bell tower has forty bells and a carillon. A single flight of 515 steps leads to the bell tower in the north tower, but there are also stairs that are accessible only to caretakers. The tower is open to the public every Wednesday from April to September. Tours of the tower are conducted under the close supervision of official tower caretakers. Every fragment of its interior is untouchable and must be protected.

The south tower was planned to be the same height and symmetrical relative to the north tower. Its construction was financed by the parish, but due to lack of money, it was never completed. The south tower remains unfinished, to this day it is half the size of the north one, and is crowned by a low spire. Either way, neither of the two towers reached the height specified in the plans.

The quaint dome of the lantern tower rises above the middle cross. The tower rises above the transept of the cathedral and is surrounded by three floors of windows. The purpose of this tower is to illuminate the dark spaces of the huge building, in particular the central nave and choir.

Interior
Antwerp Cathedral was repeatedly repaired and refurnished, absorbing the features of new eras. Almost nothing has survived from the original interior. During the iconoclastic uprisings of the Reformation, much of the interior was damaged. Stained glass windows, statues, monuments, dozens of altars, shrines, graves and shrines were desecrated and destroyed by dozens of Calvinists. Many paintings and relics were lost forever. All that remains of the original decoration is a 14th-century marble image of the Madonna and a few ancient frescoes, testifying to the late Gothic structure of the building. Later, the cathedral was restored in the Baroque style and a century later it again achieved its former beauty, only in the neo-Gothic style. The interior of the church has been recreated many times and this is exactly what makes it so special: elements of a variety of styles are intertwined in the church decoration: Gothic, Baroque, Rococo, Renaissance and Neo-Gothic.

Inside, the cathedral is filled with light and amazes with its vastness and emptiness. This impression persists even when during solemn services it is filled to capacity - no mass of people seems to be able to fill it. The interior of the Antwerp Cathedral is strict and solemn. The paintings of the dome were done in 1647 by master Cornelius Schut. The archbishop's chair in a magnificent baroque style was made by the sculptor Van der Voort in 1713. It is decorated with abundant carvings: trees, birds, numerous figures, ornaments. Stained glass windows depicting biblical scenes look as luxurious as the decoration of the altars.

The main entrance to the cathedral is marked by a mighty, slender portal. It is decorated with a complex, three-tiered relief of the Last Judgment. In front of the cathedral there is a scene with the Ark of the Covenant. The altar itself is made in the late Rococo style; opposite it is a fresco of the Brotherhood of the Holy Communion. The front left side of the cathedral has a series of beautiful dark panels containing nine confessionals. Above them are the Twelve Apostles accompanying twelve female figures. In the domed part of the chapel there is a painting of the Divine Grace, after which the church in Antwerp will be named. Some frescoes were restored from the original ones (before the iconoclasm of 1566), others were completely replaced. The cathedral also has several stained glass windows with religious images.

Charles V, Holy Roman Emperor noted that the spire should be framed in glass. Napoleon compared the cathedral spire to Brabant lace. The largest bell in the tower requires 16 ringers to operate. The western entrance is furnished with statues of the missionary St. Willibroda. It is believed that he could have been in Antwerp in the 17th century.

The cathedral is surrounded by numerous chapels in which Antwerp citizens, bishops, and statesmen are buried. Here is the marble sarcophagus of Bishop Ambrosio Marius Capello, the bronze tombstone of Isabella of Bourbon, the wife of the Burgundian Duke Charles the Bold. On the territory of the cathedral there is also a stele richly decorated with sculptures and a tabernacle in the shape of the Ark of the Covenant.

Currently, for a fee, you can visit the interior of the cathedral and all the works of art in its interior. In the center of Antwerp there are also souvenir shops where you can buy guides and books about the cathedral in several languages ​​(including Russian).

Major works of art
The interior of the cathedral includes what is considered to be the best works of the famous Flemish artist Peter Paul Rubens: the monumental paintings “The Exaltation of the Cross of the Lord,” “The Assumption of the Blessed Virgin Mary” and “The Resurrection of Christ.” They were written specifically for Antwerp Cathedral. The painting “The Descent from the Cross”, which forms the basis of the triptych of the same name, painted by Rubens in 1612 after his return from Italy, stands out with particular drama and expression. At the back of the main altar is a painting of The Death of Marie by local master Abraham Matthiessen.

Notre Dame Cathedral was built between 1352 and 1521 as one of the tallest buildings in the world. The majestic structure still dominates the city's skyline. Magnificent paintings by Rubens decorate this masterpiece of architectural thought from the inside.

History of Antwerp Cathedral

Dating from 1352, it is one of the finest Gothic buildings in Europe. Becoming a cathedral in 1559, the church replaced a Romanesque sanctuary from the twelfth century. The last traces of this church were destroyed in 1481. The overall design of Antwerp Cathedral is attributed to Jean Appelmann, also known as Jean Hamel de Boulogne, although construction was led by De Wagemaker. A nineteenth-century monument at the foot of the south spire was erected in honor of this architect. The choir and nave were built between 1352 and 1411. The west gable was built later, between 1422 and 1474.

Cathedral interior

The wide central nave is flanked by three aisles on each side, creating a huge interior space with 48 pillars in each aisle. The cathedral is 117 meters long and 65 meters wide at its widest point. In 1566 and again in 1581, the cathedral's interior was heavily damaged by Calvinists during iconoclastic raids. In the eighteenth century, the French even threatened to completely destroy the building. Fortunately, the city architect was able to prevent these plans. During the French occupation, most of the interior was sold off.

Despite all the looting, some significant art treasures still survived. Most notable are three large paintings by Rubens: the Descent from the Cross (1612), the Elevation of the Cross (1610) and the Triptych of the Resurrection (1612). Inside there are also altars, confessions, statues, pulpits and many other interesting objects. The main relic preserved in the Middle Ages is the bronze tomb of Isabella Bourbon. The cathedral also has thirty-four huge stained glass windows.