{"id":38153,"date":"2021-05-28T19:15:50","date_gmt":"2021-05-28T17:15:50","guid":{"rendered":"http:\/\/topa.be\/olv-kathedraal\/beschrijving\/tenhemelopneming-schut\/"},"modified":"2021-11-20T13:50:07","modified_gmt":"2021-11-20T12:50:07","slug":"tenhemelopneming-schut","status":"publish","type":"page","link":"https:\/\/topa.be\/en\/olv-kathedraal\/beschrijving\/tenhemelopneming-schut\/","title":{"rendered":"OLV Mary\u2019s Assumption (C.Schut)"},"content":{"rendered":"\t\t
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The Our Lady\u2019s Cathedral of Antwerp, a revelation.<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Our Lady\u2019s Assumption (Cornelis Schut)<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Antwerp Cathedral – The crossing lantern (JV)<\/figcaption><\/figure><\/p>\n

Cornelis Schut could not think of a better location for the theme of Our Lady\u2019s Assumption than the highest spot inside the cathedral. The result is that his ceiling painting incites the spectator\u2019s empathy even more than Rubens\u2019s altarpiece of the same subject. When looking up you witness willy-nilly \u2018Mary\u2019s Assumption\u2019, at the risk of a sore neck. This round painting (1648) has a diameter of nearly 6 m (20 ft.) and has been positioned high up at 43.7 m (143 ft.). What is more, the trompe l\u2019oeil pushes Mary\u2019s elevation into infinite Heaven.<\/p>\n

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Antwerp cathedral – The Assumption of Mary (Cornelis Schut) (JV)<\/figcaption><\/figure><\/p>\n

The lower sections with floating angels are the onset of an upward driving movement. They joyfully make music, as the original text in the crossing lantern used to say in large letters: ASSUMPTA EST MARIA IN CAELI, GAUDENT ANGELI (Mary was taken up in Heaven. Angels, rejoice). This sentence was taken from the offertory of the feast of Our Lady\u2019s Assumption. In the centre there is Our Lady, clearly in blue, straight in the heart of this seething crowd of angels. In her dress the stopper for the opening through which it has to be possible to hoist the painting up with ropes has been incorporated nearly invisibly. Finally Mary can expect a warm welcome in Heaven by her son, God the Father and \u2013 barely visible \u2013 the Holy Spirit, in the shape of a dove, in between them. Mary, who has already found her final destination with God in Heaven, receives special attention here because this feast of Our Lady\u2019s Assumption is the feast of the patron of the main church, the town and the diocese. To everybody who visits this place, she points out the final destination of life on Earth: ascending to eternal happiness with God in Heaven.<\/p>\n

We need not be surprised that of all the paintings this one was not purloined by the French conquerors, taking into account the logistic challenge it involved. The high crossing cupola was once the scene of superior liturgical spectacles with matching sounds. Thus at Whitsun in the Baroque period first thunder was imitated and then a stretched tissue was rolled open from which, as in a genuine effect of surprise, a huge cascade of red paper frames tumbled down as if the \u2018tongues of fire\u2019, which once inspired the disciples, also descended onto the worshipers in the church. For the glorious feast of the crowning of Our Lady\u2019s statue on 15 August 1899, with music by Kapellmeister Emile Wambach, a better location could not be found:\u00a0While blasts of trumpets resounded from the high cupola and a choir of angelical sweet children\u2019s voices wove Regina Caeli so divinely through the aisles, cardinal Goossens in a solemn gesture put the consecrated crown with its trickling pearls onto the head of the Mother of God. It was grandiose, like a heavenly event, and a devoted glow of excitement spread below the old vaultings when the majestic orchestra struck up and Our Lady\u2019s statue solemnly rose up a few feet from its plinth.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tThe spatial effect in the interior of a Gothic church<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tThe Raising of the Cross (Peter Paul Rubens)<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Bird's eye view on Antwerp, woodcut by Virgilius Bononiensis, 1565 - detail with the cathedral<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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