{"id":53463,"date":"2021-08-22T13:52:37","date_gmt":"2021-08-22T11:52:37","guid":{"rendered":"http:\/\/topa.be\/spk-a-proper-high-altar\/"},"modified":"2021-11-07T13:08:59","modified_gmt":"2021-11-07T12:08:59","slug":"hoofdaltaar","status":"publish","type":"page","link":"https:\/\/topa.be\/en\/sint-pauluskerk\/beschrijving\/hoogkoor\/hoofdaltaar\/","title":{"rendered":"SPK A proper high altar"},"content":{"rendered":"\t\t
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Saint Paul\u2019s, the Antwerp Dominican church, a revelation<\/h2>\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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No convent church without a choir<\/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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A proper high altar<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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The high altar, engraving after a drawing by Peter II Verbruggen, ca. 1670 \u00a9 Museum Plantin-Moretus\/Prentenkabinet Antwerpen<\/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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History<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u2018\u201cSaint Dominic\u2019s vision\u201d by Rubens, ca. 1618-\u201920.<\/figcaption><\/figure><\/p>\n

The eye catcher of the entire church, but originally only of the choir, is the triumphant high altar (1670), which closes off the apse like a gigantic screen.<\/p>\n

On the former high altar\u00a0\u201cSaint Dominic\u2019s vision\u201d<\/em><\/strong>\u00a0by\u00a0Rubens<\/strong>\u00a0figured, which can be dated stylistically ca. 1618-1620. Dominic is said to have had a vision in which he saw himself and his friend Francis of Assisi protect the sinful world against the wrath of Jesus. In line with the three worst sins man can be tempted by \u2013 pride, lust and greed \u2013 Jesus shoots as many lightnings. Upon this Mary tries to calm Him down. She proposes two loyal servants to Him, who can convert the world: Saint Dominic and Saint Francis. By this altarpiece the attention of the Dominicans in the choir stalls was permanently drawn to their mission: to follow the footsteps of the founder of their order by mediating the Saviour\u2019s divine mercy for humanity.<\/p>\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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The marble portico altar<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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St. Paul’s – the marble portico altar<\/figcaption><\/figure><\/p>\n

The Dominican and former prior Marius Ambrosius Capello, bishop of Antwerp, wanted to bequeath to his convent an unforgettable present: the marble portico altar, up high in the sanctuary. The then prime cost of 80,000 guilders is the equivalent of no less than 3.8 million Euros today. The colossus, designed by Ambrosius\u2019 private \u00a0chaplain Frans Van Sterbeeck, was executed by father and son Peter Verbruggen, and consecrated by the Maecenas-bishop in 1670.<\/p>\n

Gigantic marble pillars, with a diameter of about 63.5 cm (= 2 ft) and a weight of about 4,500 kg carry an immense broken fronton with two curling shells.<\/p>\n

In the central niche\u00a0Paul<\/strong>, the apostle, is honoured with his title \u2018doctor gentium\u2019, the teacher of the gentiles. With a sword and a book in his hand he shows that he is prepared to die a martyr for the preaching of the word of God: Jesus\u2019 gospel. The two open books by his side may refer to the books of the Old Testament, which he no longer regards as God\u2019s final word, but only as a prelude to the New Testament. With an almost imploring gesture he looks at his audience sternly. Above the niche four small angels come flying in to offer him the attributes of divine reward for martyrdom: a laurel wreath and a palm.<\/p>\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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The Dominican and former prior Marius Ambrosius Capello, bishop of Antwerp, wanted to bequeath to his convent an unforgettable present: the marble portico altar, up high in the sanctuary. The then prime cost of 80,000 guilders is the equivalent of no less than 3.8 million Euros today. The colossus, designed by Ambrosius\u2019 private \u00a0chaplain Frans Van Sterbeeck, was executed by father and son Peter Verbruggen, and consecrated by the Maecenas-bishop in 1670.<\/p>\n

Gigantic marble pillars, with a diameter of about 63.5 cm (= 2 ft) and a weight of about 4,500 kg carry an immense broken fronton with two curling shells.<\/p>\n

In the central niche\u00a0Paul<\/strong>, the apostle, is honoured with his title \u2018doctor gentium\u2019, the teacher of the gentiles. With a sword and a book in his hand he shows that he is prepared to die a martyr for the preaching of the word of God: Jesus\u2019 gospel. The two open books by his side may refer to the books of the Old Testament, which he no longer regards as God\u2019s final word, but only as a prelude to the New Testament. With an almost imploring gesture he looks at his audience sternly. Above the niche four small angels come flying in to offer him the attributes of divine reward for martyrdom: a laurel wreath and a palm.<\/p>\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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The white marble busts of the four Western Church Fathers enliven the black marble altar base, because they are symbolic of the theological brainwork that wants to connect faith with reason. From left to right:\u00a0Jerome<\/strong>, the penitent, with the trumpet of the Last Judgment;\u00a0Ambrose<\/strong>\u00a0of Milan with the beehive of (honey-sweet) eloquence; in the centre pope\u00a0Gregory<\/strong>\u00a0with the allegoric dove of the Holy Spirit, which inspires at teaching;\u00a0Augustine<\/strong>\u00a0with the flaming heart. They share \u2018the honour\u00a0of the altars\u2019 with Saint Thomas Aquinas, the famous Dominican theologian and \u2018Doctor of the Church\u2019 since 1567, on the extreme right.<\/p>\n

The commissioner could not resist immortalizing himself in this monument, although in a relatively modest way. There are also a few biographical references of his, referring to his religious development: as a baptized Christian, as a religious with three vows, as an enthroned bishop.<\/p>\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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Marius looks in through the bars of the prison<\/figcaption><\/figure><\/p>\n

Nearly invisible details on Gregory\u2019s cope allude to Capello\u2019s baptismal name, because two tableaus in \u2018embroidery\u2019 refer to Saint Marius, a Persian who came to Rome in the third or fourth century. Just like the honourable Quirinus he was concerned about the Christian prisoners. Marius looks into the prison through the barred window (scene on the left). Afterwards Marius sought contact with Christians, attracted by their singing of psalms. Out of fear for the police they open the door for him only hesitatingly (scene on the right). The same \u2018embroidered medallion\u2019 is to be seen on the cope the white marble bishop Capello is wearing on his tomb in Our Lady\u2019s Cathedral (Artus II Quellinus, after 1676).<\/em><\/p>\n

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For fear of the police, the Christians only cautiously open the door for Marius<\/figcaption><\/figure><\/p>\n

Because Capello received the name Ambrosius as a monastic name when entering the order, after the Dominican beatified Ambrosius Sansedonius, Ambrose of Milan was also his patron saint. This was a rewarding occasion to eternalize Capello\u2019s portrait as the Church Father\u2019s face.<\/em><\/p>\n

Between the statue of Saint Paul and the altar painting bishop Capello\u2019s coat of arms is prominently present.<\/em><\/p>\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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Stimulated by the example of the Jesuits nearby (the present Charles Borromeo\u2019s Church), the Dominicans also provided their Baroque portico altar with a system that allowed them to change altarpieces, albeit with only two paintings. These were put at both sides of a long vertical axle, with their backs against each other. Besides the Rubens mentioned\u00a0The Martyrdom of St Paul<\/em>\u00a0by Theodoor Boeyermans (ca. 1670) could be admired. In 1794 both paintings were requisitioned by the French occupiers and transferred to Paris. In 1811 Napoleon gave them to regional museums. After the Battle of Waterloo this was a nice alibi for the French not to consider them as part of the collection of paintings the Louvre had to repatriate. This explains why Rubens\u2019\u00a0Saint Dominic<\/em>\u00a0is now the eye-catcher of the Lyon Mus\u00e9e des Beaux Arts, and Boeyermans\u2019\u00a0Saint Paul<\/em>\u00a0is in Aix-en-Provence, now in Ste Marie Madeleine Church.<\/p>\n

In substitution for these masterpieces Cornelis Cels painted\u00a0The descent from the cross<\/em><\/strong>, which is however quite academically cool, in 1807. Could the mechanism to change paintings be reinstalled \u00a0to include a second painting, a more contemporary creation? But then this new painting will also have to measure 5.55m x 3.72m (= 18ft 2\u00bdin x 12ft 2\u00bdin)!<\/p>\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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The martyrdom of Saint Paul, Theodore Boeyermans, ca. 1670<\/figcaption><\/figure><\/p>\n

Around\u00a01670<\/strong>,\u00a0for the second painting,\u00a0The martyrdom of Saint Paul,<\/em>\u00a0Theodoor Boeyermans<\/strong>\u00a0was completely inspired by Rubens, who had treated this theme for the Rood Klooster near Brussels. Paul is partly kneeling \u00a0on a hill, his eyes upward to Heaven, awaiting the fatal gash that will make his head roll. At Paul\u2019s request Plautilla is coming to blindfold him, following the Legenda Aurea by Dominican De Voragine. The lookers-on on the hill flank, soldiers and Christians, help to constitute the diagonal (upward) axle leading to the spot of the execution. Angels already bring the laurel wreath and the palm of Paul\u2019s Heavenly victory.<\/p>\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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St Paul’s – stained glass windows high choir<\/figcaption><\/figure><\/p>\n

The white marble\u00a0antependium<\/strong>\u00a0(Jan Baptist de Cuyper, 1845) contains an extraordinary representation of Eucharistic Christ: Jesus\u2019 real presence in the Eucharist.<\/p>\n

In the 17th<\/sup>\u00a0century stained-glass artist Abraham Van Diepenbeeck got the commission to represent\u00a0the story of patron saint Paul<\/strong>\u00a0in the ten windows at either sides of the choir.<\/p>\n

The four\u00a0stained-glass<\/strong>\u00a0windows we can now see behind the high altar (H. Leenen, 1967) are a reminder of saints that were popular in the former parish church, Saint Walpurgis:\u00a0Saint Eloy, Saint Catherine of Alexandria, Saint Amandus and Saint Walpugis<\/strong>.<\/p>\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\tNo convent church without a choir<\/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
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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 choir stalls (Jean de Jupploye?, ca. 1632-1638)<\/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
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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\tFurther decoration of the choir: Funeral monuments, statues of saints and the former choir screen<\/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
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The scientific justification of the data concerning the sanctuary of the Antwerp Saint Paul\u2019s church can be found<\/strong>HERE<\/a>.
\n<\/strong>It is basically written in Dutch, but using the translate button you can ask for an instant translation in English<\/em>
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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\tFloor plan and legend<\/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 Chapel of the Holy Sacrament and of the Sweet Name of Jesus<\/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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