Saint Bavo's Cathedral, Ghent

About

Saint Bavo's Cathedral, also known as Sint-Baafs Cathedral (Dutch: Sint Baafskathedraal), is a Roman Catholic cathedral in Ghent, Belgium. The 89-metre-tall (292 ft) 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, also called the Adoration of the Mystic Lamb.

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. 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 St. 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, including St. Bavo, shattering stained-glass windows, smashing statues, and destroying paintings and other artworks they perceived as idolatrous. However, the altarpiece by the Van Eycks was saved.

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 Jérôme Duquesnoy the Younger. 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.

Elaborate stone and marble naves inside the upper church

High choir of the cathedral, in the upper church

The Queen of Sheba visits King Solomon by Lucas de Heere

Epitaph of Ferdinand De Brunswyck-Luneburg

Four identical candlesticks by Benedetto da Rovezzano

In the nave there is 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.

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.

Interior of the Romanesque crypt, with frescos of religious figures visible

The remaining part of Michelle of Valois ' tomb

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 Jérôme Duquesnoy the Younger. 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.

Elaborate stone and marble naves inside the upper church

High choir of the cathedral, in the upper church