Our plan today is to head to Gent (Ghent, pop 265,086 in 2022), explore the town, and see the van Eycks' Altarpiece. From the Rogierplein, we head to the train station at Brusssel-Noord (north, 1952).
The train brings us to Gent-Sint-Pieters (1912), and we follow the crowd headed north toward the Leie (river), past the imposing Oud Gerechtsgebouw (19th century), to the center of town.
At the center of town is the Sint-Michielshelling (St Michael's Bridge, 20th century). From the eastern embankment, a stone stair takes us up to the level of Sint-Michiel – atop a lamppost, like in Brussel, the archangel is shown slaying a dragon.
To the west is Sint-Michielskerk (Church, 15th century) and to the east is Sint-Niklaaskerk (St Nicholas', 13th century). The Leie continues to the north, separating the Korenlei (corn quay, west) and the Graslei (grass quay, east).
We try the doors of the Sint-Michielskerk, but they are closed til the afternoon. Again, above the door, Sint-Michiel stands over a dying serpent. We walk north along the Korenlei, seemingly safe from large reptiles.
We cross the Lieve (canal) in front of the Oude Vismijn (Old Fish Market, 17th century). The frieze contains relief panels full of lively sea creatures. And over the rusticated gate is Neptunus, with his trident, flanked by 'seahorses' and classical dolphins.
Here on the bridge and in the square are excellent views of the Gravensteen (12th century). We understand that the castle was built by Filips van de Elzas to intimidate the locals rather than invaders – maybe, more show than go.
The barbican feeds directly from the northeast corner of the plaza opposite the Oude Vismijn. By now, it is getting hot, and we hope the thick blocks will offer some protection from the midday sun – they do not. Though picturesque, the spaces of the museum are not air conditioned; the displays of armor and weapons apparently don't require humidity controls.
Climbing up to the battlements at the top of the keep, we find them protected by thick wooden shields, which add to the visual drama, but make photography a little more difficult. Still the views are expansive, with the towers of Sint-Niklaaskerk, the Belfort, and Sint Baafskathedraal forming a stunning skyline above the stepped gables.
Descending from the keep, we can explore the curving, outer curtain walls and their more focused views. The bailey and yard are quite small, with little room for a defensive army and its supplies.
The western and northern walls face the Lieve and are beautifully overgrown with thinning trees and stray grasses. The eastern facade composes beautifully stacked arcades between two round towers. The castle does look the part.
We leave the Gravensteen and set off in search of lunch in the bustling Korenmarkt (wheat market). There are lots of options, but few that offer indoor, air-conditioned seating. The air-con we do find is too weak to overcome the heat; like the castle it may be just for show. We worry that Ghent, like so many places, is ill-prepared for globally warmed, mid-August tourist lunches.
We set off to see the Altarpiece at Sint Baafskathedraal. We find shade along the north side of Sint-Niklaaskerk; behind the church is a small park, set low in the ground. On the high ground is the Poeljemarkt, with its shockingly modern, perforated double shed. At the end of the shed is the Belfort (14th century). Another dragon soars on its spire, unthreatened by saints.
We enter the Sint-Baafsplein and our eyes are immediately drawn to both the central tower of the cathedral and the ornate facade of the building to the north. This is the home of NTGent; the building is the Koninklijke Nederlandse Schouwburg (Royal Dutch Theater, late 19th century). The heroic semi-circular tympanum contains a mosaic of Apollo and the Nine Muses; a bronze female nude balances at the top, holding a lyre. In the cartouche above the tympanum, it says: "Dicht en Toonkunst" (poetry and music); but in the glass by the entrance is nothing so light-hearted:
no soft smart fragile tender human tissue should ever be ripped apart because we differ
Finally, it's time to enter Sint Baafskathedraal (St Bavo's Cathedral, 13th century). St Bavo of Ghent is the patron saint of the city, a seventh century monk who renounced his worldly possessions and gave it all to the needy. He is often depicted with a sword and falcon; in the entry portal, he is to the right of the Salvator Mundi. The third figure must be Johannes de Doper (John the Baptist) with the Lam Gods (Agnus Dei), which is most appropriate as that is the subject of the Altarpiece (De aanbidding van het Lam Gods – Adoration of the Mystic Lamb).
The church itself is a lovely Gothic thing, with perhaps more heft and less laciness than its southern cousins (possibly because the infill is brick rather than stone). There are brilliant stained glass in the side chapels and in the clerestory above the ambulatory; above the aisles, the clerestory contains patterned glass.
The pulpit is an incredible, writhing Rococo mass of white marble and dark wood (Laurent Delvaux, 18th century). At the top, a group of cherubs pulls on a gold cross wrapped in heavy fringed fabric. From the back, a cherub feeds an apple to a golden serpent, thus we recognize the Boom van de kennis (tree of knowledge). So, Original Sin (serpent and apple) is counterpointed with Redemption (the Cross).
Large angels guard the pulpit steps at each side. The central figures are allegorical: Time (male, awakened by horn) unveiling Truth (female, receiving a wreath). The writing on her book says (translation from Visitors Guide, Patrick De Rynck, OKV):
Awake from your sleep and rise from the dead. Christ will enlighten you.
At the end of the Epistle aisle is a small, low chapel which is not included in the tour catalog or any online web resource. It is filled with small cards of Dank Aan (thanks) to the Heilig Hart (sacred heart) and Onze Lieve Heer (our dear Lord), all around the painted figures of the Deposition – which seem to be set in an old fireplace. Though not recognized by the art or tourist crowd, this little chapel is clearly popular with the local believers.
Also on the Epistle side is a heroic Baroque figure of Sint Paulus throwing the viper into the flames, and on the Evangelist side, is Sint Petrus, holding the keys (Karel van Pouke, 18th century).
The church includes a remarkable cycle of stained glass, culminating in the panels behind the main altar, which echo the entry portal and depict the Holy Family, St Maria (and Child) and Sanct Ioseph, and to their right is St Ioannes and to their left is Sact Bavo. High above, in the center of the rosette, is the Salvator Mundi with the alpha and omega.
While the 'church' is free and open, the Altarpiece is not. It is kept in a chapel in the ambulatory and we must check our bags at the lockers by the ticket office on the Evangelist side of the chancel. The standard cost is 16€ and includes an 'augmented reality experience'; we choose the 12,5€ option without the goggles.
Past the ticket office, there is an elevator and stair tower which is built on the side of the Gothic structure. This takes us up to the first ambulatory chapel, called the 'Rubens Chapel' in the guide. Here we find the 'Bekering van de H Bavo' (Conversion of St Bavo, Peter Paul Rubens, 1623-24), a monumental Baroque image of the Saint renouncing his aristocratic life (upper landing), and his belongings being given to the poor (bottom stairs). There is a dynamic, diagonal sweep up and to the left, with dramatic lighting to match. Appropriately, St Bavo's head centers the semi-circular arch of the frame.
De aanbidding van het Lam Gods (Adoration of the Mystic Lamb, Ghent Altarpiece, Hubert & Jan van Eyck, 15th century) is in the Chapel of the Blessed Sacrament (directly behind the chancel, top image); in the stained glass on the left we see the Last Supper scene and Christ with the Holy Grail.
The Altarpiece is unexpectedly tall, and housed in an enormous, protective glass case, lit from within to help reduce reflections. The 'open' view contains twelve panels, four (two-by-two) on each wing, three in the upper register of the center, and the single panel in the lower register (this is the actual 'Adoration').
'Adam' and 'Eva' stand in tight niches in the upper left and right; these are the 'scandalously human' nude images that we know from our art history classes: Adam's hairy legs and Eva's swollen belly. As we saw in Padova, with the Cappella degli Scrovegni and the Southern Renaissance, the Altarpiece acts as a marker for the transition from the Medieval to the Northern Renaissance – real people, truthful expressions, un-idealized representations.
Above each niche is a small quarter-circle tympanum that illustrate, in grisaille, the story of Cain and Abel (the first offspring of Adam and Eve). Next to them are hosts of finely dressed angels singing (left, with image of St Michael in the music stand) and playing instruments (right, in ermine-trimmed robes). The three central figures are Mary (reading), a resplendent Almighty God (blessing) with jeweled robe and scepter, and John the Baptist (gesturing to the others).
Oddly, they are clothed in blue, red, and green (RGB) and thus represent the digital base colors which combine to make all the other colors.
The lower left panel, 'Iusti Iudices' (The Just Judges), is the only one that is not original; it was stolen in 1934. This copy is by the 'forger' Jef Van den Veken (1939). Next is 'Cristi Milites' (Soldiers of Christ), with armor and banners all beautifully rendered. The lower right panels show the 'Hermite Sci' (Holy Hermits) 'Pegrini Sci' (Holy Pilgrims).
The Adoration panel features the Agnus Dei, shown quite small, with Its blood pouring from a wound into a chalice, symbolizing the sacrifice of Christ. The Lamb is in a grassy landscape with white wildflowers, on a bright red altar, surrounded by fourteen angels holding the symbols of the Via Crucis and two thurifers. The scene is illuminated from above by the Holy Spirit, and the meadow glistens with spray from the Fountain of Life, bubbling just below the altar.
Behind this to the left are saints and martyrs (male), and to the right are female martyrs (holding palm fronds). Just to the left of the Fountain are Old Testament prophets who foretold the coming of Christ, and to the right are the Apostles (white robes, dirty feet) along with other saints and important members of the clergy.
On the backsides of the wings incorporate four panels on each side, the upper panels include framed lunettes (the inner ones come together to form one arched shaped). In these lunettes are prophets from antiquity: from left to right, Zechariah, Erythraean Sibyl, Cumaean Sibyl, and Micah. They are identified by their prophecies, flowing and floating in ribbons of text.
The main panels, when closed, show The Annunciation. The Archangel Gabriel, on the left, announces to the Virgin "Ave gratia plena"; the Virgin replies (in rotated text), "Ecce ancilla domini". The four pieces are unified by the geometry of its properly constructed interior perspective, with a view of Ghent in the window. Below this are four matching Gothic alcoves with: the portrait of Joos Vijd (patron), the statue of 'Iohes Bap' (St John the Baptist, with the Agnus Dei, grisaille), the statue of 'Iohes Ewan' (St John the Evangelist, with a chalice of snakes, grisaille), and the portrait of Lysbette Borluut (patroness).
Altogether, the scale, the brilliant colors, and the fascinating details – all handled with amazing delicacy and in a surprisingly fresh and authentic state of conservation – combine to create a singular, powerful piece.
The Bishop's Chapel is next door, with an impressive set of bronze doors, and a beautiful nautical scene in the stained glass. Next to that is the Vijd Chapel, last of the five chapels around the apse, where the Altarpiece was originally installed – now there is a video display showing the conservation process along with the tombs of Joos and Lysbette.
From this side, we enter the chancel, where we get a close look at the main altar (St Bavo rising on a cloud in a stream of golden light, Verbruggnhen, 18th century) and the choir stalls.
Having taken the elevator up, we take the stairs down to the crypt and realize that the stair tower provides intimate views of the back of the stained glass. When we arrive in the crypt, the air is finally cool, and we linger here.
The other visitors on this level are all wearing the AR goggles. It seems strange as they stare at things we cannot see, and we walk into spaces that no one else enters.
Several of the lower vaults contain wonderfully faded frescos and decorative elements; everything is theatrically uplit. There are a few enjoyably macabre objects, such as the polished silver reliquary for a piece of St John the Baptist's skull and black tomb covers with cartoonish silhouettes of their occupants.
Before the exit, extra panels for the Altarpiece are on display. They show 'Adam' and 'Eva' with clothing (Victor Lagye in 1865, the two original panels were sold in 1861). A local legend says the Emperor Joseph II found the nude images offensive and demanded they be removed; these appeared with the Altarpiece until 1920.
The tour catalog further outlines a long history of disassembly, sales, thefts, recoveries, and bad restorations – including a famous chapter involving the Monuments Men during World War II. And, in addition to the 'Just Judges', another element missing from the Altarpiece is the predella, a long strip of square panels that would have formed a base and depicted scenes of Purgatory.
Back outside, the late-afternoon heat is draining. We stop into the Oud Postgebouw (post office, early 20th century), which is (gratefully!) air-conditioned. The drinks at the cafe there are watered-down and over-priced, but we could not be happier to have them.
Rejuvenated, we make our way back to the train station and Brussels.
Back in Brussels, things are finally starting to cool off and we go for a stroll through the architecture. After dinner we go in search of the manneken pis; though not dressed in costume, there are flowery offerings in front.
We finish the night in the Grote Markt (Grand Place), which is alluringly lit for the night.
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