The Church of Our Lady (in Dutch,
Onze-Lieve-Vrouwekerk), in Bruges, Belgium, is a large medieval
church dating mainly from the thirteenth, fourteenth and fifteenth
centuries. Its tower, 122.3 meters high, remains the tallest
structure in the city and the second tallest brick tower in the
world (the tallest is the St. Martin church in Landshut, Germany).
The Church of Our Lady of Bruges was built in the thirteenth
century in the place it occupied in the historic center of Bruges a
former Romanesque church. Its architecture is inspired by the not
distant cathedral of Our Lady of Tournai. Between 1270 and 1340 the
122-meter high tower was built, located in the north collateral
nave. Towards the middle of the 15th century, an arrow of 54 meters
of brick height was added to the building.
In the space of
the choir behind the main altar are the tombs of Charles the Bold,
the last Duke of Burgundy of the Valois dynasty, and his daughter,
the Duchess Maria of Burgundy. The golden bronze effigies of both
father and daughter rest as long as they were on polished black
stone slabs. Both are crowned, and Carlos is represented in full
armor and wearing the Order of the Golden Fleece.
The altar
piece of the long chapel in the south aisle houses the church's most
famous artistic treasure, a white marble sculpture, known as the
Madonna of Bruges, created by Michelangelo, circa 1504. It was
probably originally conceived for the Cathedral of Siena, although
it was bought in Italy by two merchants from Bruges, the brothers
Jan and Alexander Mouscron, who, in 1514, donated it to their
present house. The sculpture was recovered twice after being sacked
by foreign occupiers: the French revolutionaries, around 1794, and
the German Nazis in 1944.
The first church on this site, a Carolingian chapel, dates from about
875. In the church's archives, the foundation is dated to the year 741
and attributed to Boniface, but this claim is doubtful, as the oldest
patronymic goes back to his companion Hilarius . According to the
current thesis, the chapel was founded as a daughter church of St
Martin's Church in Sijsele, which in turn was owned by the Dom of
Utrecht. In 1116 the chapel separated from Sijsele and became the main
church of an independent parish. Presumably the building was therefore
rebuilt and expanded under Karel de Goede.
From about 1230, the
construction of the current church was started. The oldest part, the
nave, was built in Tournai stone, in the typical Scheldt Gothic style.
The influence of Scheldt Gothic is also recognizable on the front and
west facade, with the two typical stair turrets and the use of blue
stone. The choir area and apse, built between 1270 and 1280, exude
classic French Gothic, but entirely in brick. In 1370 the northern beech
was built and in 1450 the southern one. Around 1465, the Paradise Portal
was built in Brabant Gothic style.
The tower of the Church of Our
Lady is the tallest building in the city of Bruges. The first tower
collapsed in 1163 and was rebuilt between about 1270 and 1340; the spire
was not added until the 15th century and rebuilt in the 19th century.
The use of brick is typical of the Coastal Gothic style. The church has
five naves. In the middle of the nave, the rood screen, which consists
of three parts, divides the church into two parts: the high choir and
the nave. The apostle statues are from the 17th century.
The church is known, among other things, because Mary of Burgundy is
buried there. During archaeological research in 1979, her remains were
identified. Only the tomb of her father, Karel de Stoute, is present
here. His remains were transferred from France to Bruges by Emperor
Charles V, a grandson of Mary. He was probably buried in the now-defunct
Sint-Donaas Cathedral on the Burg. His corpse was never found. The tombs
are located in the high choir of the church.
Above the high altar
hangs a triptych by the court painter of Margaret of Austria, Bernard
van Orley. It is a passion story with the crucifixion in the middle. At
the foot of the altar, under the tombs, three richly painted tombs have
been uncovered.
The lead coffin in one of the tombs (visible)
contains the bones of Mary who died in Bruges in 1482. An inscription
indicates that the heart of her son Philip the Fair, father of Charles
V, is kept in a separate lead box.
The tomb of Mary and also the
oldest, was designed by Jan Borman. Both monarchs are depicted in a
recumbent position with folded hands, according to medieval custom. With
open eyes they contemplate eternal life. At their feet, lion and dog act
as symbols of masculine strength and feminine fidelity.
The face
of Mary of Burgundy is delicately depicted, modeled after the death
mask. Her crown adorned with jewels, her hands and her lush billowing
cloak are a miniature work of art. The funerary monument is still
completely Gothic in concept and spirit.
The tomb of Charles the
Bold is half a century younger. The elaboration is partly Gothic, partly
Renaissance. The lines are much tighter, but the armor is artfully and
detailed. Both black sarcophagi have commemorative plaques on the front
and on the side walls you can see the enameled family shields of the
ancestors.
Photos of the tombs can be found in the articles
dedicated to Mary of Burgundy and Charles the Bold.
Thirty coats
of arms of knights of the Golden Fleece hang above the choir stalls. The
first shield on the left is that of Charles the Bold, directly opposite
that of his brother-in-law Edward IV of England. The coats of arms
recall the chapter of the Order of the Golden Fleece held in this church
in 1468.
Michelangelo's world-famous work, Madonna and Child, intended for the
Piccolomini altar of Siena Cathedral, is one of the most important works
of art preserved in the Church of Our Lady. It was purchased in Italy by
the Bruges merchant Jan van Moeskroen (Giovanni di Moscerone) and
donated to the church in 1514. The donor's family tomb is located at the
foot of the altar, in front of the statue.
The statue was removed
in 1794 by the French occupiers and in 1944 by the German occupiers, but
could always be returned to Bruges.
Pieter Lanchals (1440-1488) was the bailiff of Bruges who was
beheaded by the citizens of Bruges for his loyalty to Burgundy and to
Maximilian of Austria. His head was exhibited at the Gentpoort. His
funerary monument was partially preserved in the Onze-Lieve-Vrouwekerk.
According to a legend that originated in the 19th century, Emperor
Maximilian I, husband of Mary of Burgundy, ordered the city to maintain
52 long-necked swans for eternity and to let them swim in the canals.