In the heart of the Belgian city of Sint-Truiden stands the awe-inspiring Onze-Lieve-Vrouwekerk, also known as the Church of Our Lady of the Assumption. This magnificent structure, with its blend of Gothic and Neo-Gothic architecture, is not just a testament to the city's rich history but also a beacon of its cultural heritage. As the main parish church of Sint-Truiden, it holds a significant place in the hearts of the locals and is a must-visit for anyone exploring the region.
The story of Onze-Lieve-Vrouwekerk is a tale of resilience and transformation. The current church is the third to occupy this site, with the first dating back to the 11th century. This initial church, constructed under the guidance of Abbot Adelardus II of Sint-Trudo Abbey, was tragically destroyed by fire in 1086. The second church emerged shortly after, with the first mention of it recorded in 1107. Until 1133, it was the sole parish church of the city, after which the rights were shared with the Sint-Gangulfuskerk.
In 1399, the church was elevated to the status of a collegiate church by the Prince-Bishop of Liège, Jan van Beieren, incorporating twelve secular canons appointed by the abbots of Sint-Truiden. This significant change spurred a Gothic transformation of the then largely Romanesque building. The spacious chancel, dating from the early 14th century, was designed to accommodate the canons in their choir stalls. The nave and aisles were completed in the 15th century, and in 1542, the Onze-Lieve-Vrouwekapel was added by the abbey's decree.
The original tower, built between 1504 and 1556, collapsed in 1668. Due to a lack of funds, it was not rebuilt, and instead, a roof turret was installed to house the church bells. The current Neo-Gothic tower, complete with two stair turrets, was constructed between 1847 and 1852 by the Ghent architect Lodewijk Roelandt, based on an earlier design by architect J. Gerard. This project required the church to be shortened by one bay. Extensive restorations between 1848 and 1864 introduced Neo-Gothic ornaments to the exterior, and the Gothic tracery of the windows was added. The portals date from 1878, and the original sacristy was replaced by the current, smaller one in 1912. The most recent restoration took place from 1970 to 1972 under the supervision of architect P. Van Mechelen.
Today, Onze-Lieve-Vrouwekerk serves as a parish church within the Diocese of Hasselt and is open to the public during the day. The treasury is accessible free of charge, offering a glimpse into the church's rich history and artistic heritage.
The white sandstone west façade of Onze-Lieve-Vrouwekerk, with its towering spire, dominates the eastern part of the Grote Markt. The Neo-Gothic tower, with its four stages and octagonal lantern crowned by a needle spire covered in slate, is a striking feature. The tower stages are adorned with openwork, arch friezes, profiled pointed arch windows, and a rose window. Flanking the tower are two stair turrets and two buttresses. The portals in the west, north, and south façades are Neo-Gothic, pointed arch, and made of sandstone. A fourth portal is located in the north wall.
The Gothic nave is constructed of brick on a limestone plinth. The gable roof, with small dormers and a roof turret with a pear-shaped spire, is supported by flying buttresses and buttresses. The side aisles have lean-to roofs covered in slate. The northern and southern transept arms are both buttressed, with Neo-Gothic pinnacles and extensively restored pointed arch windows.
The late Gothic brick Onze-Lieve-Vrouwekapel, an extension of the third bay of the northern aisle, projects outward from the rest of the building. The Gothic chancel is also made of brick and features high pointed arch windows.
The interior of Onze-Lieve-Vrouwekerk is a treasure trove of historical and artistic significance. The church consists of a three-aisled nave of four bays, a transept of one bay, and a chancel of one bay with a three-sided closure. The entrance is located on the ground floor of the tower, which is vaulted with a ribbed cross vault on corner consoles. The interior is partly white-plastered, with unpainted natural stone pillars. The capital-less, bundled pillars support ribbed cross vaults between pointed arch-shaped girdle arches. The ribs in the side aisles, also with ribbed cross vaults, are supported by sculpted corbels. The last two bays of the side aisles and the transept arms have a star vault, with keystones decorated with angel heads.
The Onze-Lieve-Vrouwekapel is separated from the church by a wrought-iron gate and features a plastered and painted interior in a relatively dark Neo-Gothic style. The chancel, with a radial vault, is decorated similarly. The triumphal arch displays a wall painting of the Last Judgment, painted by Johannes Van den Eynde in 1626 and restored in 1862. A 16th-century polychrome wooden triumphal cross hangs in the nave.
Other notable sculptures include a polychrome wooden statue of Madonna with Child and inkwell (late 14th century) and numerous late Gothic sculptures from around 1500, including an oak statue of Christ on the Cross (late 15th century), polychrome wooden statues of Christ on the Cold Stone (early 16th century), Christ in the Tomb (16th century), St. Anne with the Virgin and Child (circa 1500), Madonna with Child on a crescent moon (late 16th century), and statues of St. Barbara and St. Margaret of Antioch (circa 1500).
From the Baroque period, there is a polychrome wooden statue of Madonna with Child attributed to the Sint-Truiden-born sculptor Artus Quellinus the Younger (late 17th century), white-painted wooden statues of St. Paul and St. Simon (17th century), a polychrome wooden statue of St. Odilia (circa 1700), St. Hubert, and St. Joseph with Child (early 18th century), and wooden statues of Madonna with Child, St. Lambert, and St. Trudo (19th century).
Noteworthy furnishings include the side altar of St. Lucia (early 18th century), two oak confessionals in Louis XV style, the oak pulpit (1773), the Neo-Gothic choir stalls, and the copper baptismal font (circa 1860). The church also houses several tombstones from the 16th and 17th centuries.
The crypt, accessible via the sacristy, houses an exquisite church treasure, including several very old art objects. Many items in the treasury originate from the former abbey of Sint-Truiden. Highlights include the reliquaries of St. Trudo and St. Eucherius, several reliquary busts, a dozen silver apostle statues, various gilded silver monstrances, and numerous other liturgical objects and vestments.
In conclusion, Onze-Lieve-Vrouwekerk is not just a place of worship but a living museum that offers a deep dive into the rich tapestry of Sint-Truiden's history and artistry. Its architectural splendor, historical artifacts, and spiritual significance make it an unmissable destination for anyone visiting this charming Belgian city.
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