Sint-Waldetrudiskerk

In the charming town of Herentals, Belgium, lies a hidden gem of Gothic architecture that beckons history enthusiasts and casual tourists alike – the Sint-Waldetrudiskerk. This Roman Catholic basilica, dedicated to Saint Waltrude of Mons, is a stunning example of Brabantine Gothic style and stands as a testament to the rich historical tapestry of the region. Known locally as the Bovenkerk, this protected monument offers a captivating journey through centuries of architectural evolution and religious devotion.

The Historical Tapestry of Sint-Waldetrudiskerk

The origins of Sint-Waldetrudiskerk trace back to the 14th century, with its construction spanning several centuries, reflecting the transitions in Gothic architectural styles. The church's modest transept and crossing tower embody the austere characteristics of Brabantine High Gothic, while the chancel, attributed to Gillis van den Bossche, showcases the transition to Late Gothic from 1417 to 1449.

The construction of the three-aisled nave in the late Gothic style began in 1453. However, the church's history has not been without its trials. The east chancel deteriorated under the administration of the States General between 1576 and 1584, leading to its bricked-up closure in the early 17th century. The west portal, sealed at the end of the 16th century, was reopened in 1934, restoring a piece of the church's historical fabric.

Notably, the tower underwent reconstruction after a storm in 1606-1607 and saw its spire replaced twice – once after a fire in 1769 and again in 1901 with a needle-shaped pinnacle. The sacristy, added in 1785, and the reopening of the west pointed arch window between 1966 and 1968, further illustrate the church's resilience and continuous evolution.

Architectural Marvels

Sint-Waldetrudiskerk is an east-facing cruciform basilica with a square crossing tower made of Balegem sandstone. The seven-bay nave, low transept with two bays, and three-bay chancel are complemented by side chapels and a sacristy, all covered with slate roofing. The church's rhythmically stepped buttresses, continuous cornices, scaffold holes, and pointed arch windows adorned with Gothic tracery, including trefoil and fish bladder motifs, are architectural delights.

The west gable, crowned with a cross, features two rectangular doors under a pointed arch blind field, a pendant with a three-quarter column, and a crowning tripartite niche housing the statue of the patron saint. A broad multi-light tracery window and a polygonal stair tower on the south side add to its grandeur. The northwest chapel, with its basket arch door in a profiled frame, and the vaults of the nave and chancel, ending on prominent external buttresses, are further highlights.

The square crossing tower, with its spire, scaffold holes, and wall anchors, is complemented by a polygonal stair tower at the northeast corner. The Gothic chancel, with its surrounding balustrade, false triforium with trefoil and quatrefoil motifs, finials, crockets, crucifixes, pointed arch windows, and gargoyles, is a masterpiece of Gothic design.

The Enchanting Interior

Stepping inside Sint-Waldetrudiskerk is akin to entering a time capsule. The partially plastered interior is articulated with pointed arches on columns featuring cabbage leaf capitals or figurative capitals depicting biblical figures such as Adam and Eve, Moses, David, Isaac, Abraham, and Noah. The cross-ribbed vaults with sculpted keystones and the vaulted tower supported by clustered pillars are awe-inspiring.

The chancel, adorned with a false triforium and remnants of 19th-century polychromy, houses an extensive collection of art. Numerous paintings from the 16th to the early 19th centuries, thematically arranged, depict the lives of saints, legends, miracles, scenes from the Old Testament, and the life and Passion of Christ. The Herentals painter dynasty Francken is well-represented with nine works, including triptychs.

Artistic Treasures

Sint-Waldetrudiskerk boasts an impressive array of sculptures from the 15th to the 19th centuries. The Brussels altarpiece by Passier Borreman, circa 1520, depicting the martyrdom of Saints Crispinus and Crispinianus, is particularly noteworthy. The baroque Marian altar, made of marbled wood from the late 17th century, and other altars attributed to J. Verbuecken, are exquisite. The high altar, designed by C. Kenis and executed by A.J. Vasseur in 1778, and the neo-Gothic altar of Saint Joseph from the late 19th century, further enrich the church's artistic heritage.

The choir stalls, created by J. Verbuecken and J. Van Tendelo between 1661 and 1664, feature carvings by P. Verbruggen. The neo-Gothic communion benches with balustrades and columns, crafted by L. Van Ryswyck in 1880, and a marble pulpit designed by R. Lemaire in 1950, are significant additions. Several confessionals from 1651, including a Régence confessional from 1756 by J. Verbuecken, adorned with statues by P. Van Dyck, add to the church's rich interior.

Musical Heritage and Sacred Relics

The Rococo organ case, modeled by A. Van Berckelaer, with carpentry by J. Van Hove and sculptures by J. Brasseur and W. Mavou, houses an organ built by Frederic Jacobus and Ludovicus Franciscus Verbuecken. Restored in 1966-1968 and again in 2003, the organ now features 37 registers on three manuals and a pedal. A Romanesque baptismal font made of Tournai bluestone from the first half of the 13th century, with a copper cover from 1642 by G. Van Opstal, is another highlight.

The south transept is adorned with 15th-century frescoes, and the baptistery gate dates back to the 15th century. The Rococo choir screen from the 18th century, a Renaissance cabinet from the first half of the 16th century, and a reliquary shrine created by J. Spoeden in 1685-1686, including a shrine of Saint Waltrude, add to the church's sacred treasures.

The sacristy, with its classical cabinets and paneling from around 1785, houses a six-armed chandelier from the 17th century. The choir features name lists of the Brotherhood of the Holy Trinity from the first half of the 18th century. A neo-Gothic candlestick (1869-1879) and the tabernacle (1869) by L. Van Ryswyck, along with gravestones from the 15th century in the south transept, further enrich the church's historical and artistic heritage. The stained glass windows, depicting Saint Anthony the Hermit (1588, restored in 1878) in the Anthony Chapel, and other windows from 1878 to 1920, add a vibrant touch of color to the church's interior.

Conclusion

Sint-Waldetrudiskerk is not just a church; it is a living museum of Gothic architecture and religious art. Its walls echo the stories of centuries past, and its art and architecture continue to inspire awe and reverence. Whether you are a history buff, an art lover, or a casual tourist, a visit to Sint-Waldetrudiskerk in Herentals is a journey through time that will leave you with a deep appreciation for the rich cultural heritage of this beautiful Belgian town.