The Sint-Germanus church, known locally as Sint-Germanuskerk, stands as a monumental testament to the rich historical tapestry of Tienen, Belgium. This Roman Catholic church, with its origins dating back to the 12th century, is more than just a place of worship; it's a beacon of architectural splendor and historical significance. Nestled beside the bustling Veemarkt and Wolmarkt, the Sint-Germanus church invites visitors to step back in time and explore the layers of history embedded within its walls.
While some legends trace the church's origins to the 9th century, based on a purportedly forged charter by Charles the Bald in 872, the more reliable historical narrative places its construction in the early 12th century. This Romanesque church was likely a successor to an earlier church of the same name, founded by the Abbey of Saint-Germain-des-Prés in Paris, though this predecessor may not have stood precisely where the current church does.
In 1189-1190, St. Albert of Leuven transformed the Romanesque church into a collegiate church, dependent on the Diocese of Liège. The church's original structure consisted of three naves with five bays each, separated by columns, a transept, and a low choir flanked by two towers. The baptismal font from this era, dating back to the 12th century, remains a cherished artifact within the church.
The Sint-Germanus church has weathered numerous adversities, undergoing several reconstructions over the centuries. A significant donation from Duke Henry I of Brabant in 1221 facilitated major construction works, including the addition of the western structure in the early 13th century. Despite the church's repeated destruction, parts of the original Romanesque building persisted into the 14th and 15th centuries.
The central nave, reconstructed in the latter half of the 15th century, and the central tower, erected around 1555, bear witness to the church's resilience. The 16th and 17th centuries saw further Gothic-style reconstructions. However, the explosion of a French powder magazine in 1793 inflicted severe damage on the church and the city, leading to the loss of nearly all pre-1793 stained glass windows. Despite these setbacks, the parish survived, even after the French occupiers dissolved the chapter in 1797.
The western structure of the Sint-Germanus church is a striking blend of grey Overlaar quartzite and white Gobertange sandstone, with sculptural elements that echo the original Romanesque design. The central nave, built in the late 15th century, exudes a strict elegance with its sandstone construction. The high transept, rebuilt after a fire in 1536, adds to the church's architectural grandeur.
The church's bell tower houses an original carillon crafted by Antwerp bell-founder Willem Witlockx in 1723. Today, this carillon, comprising 54 bells, ranks among the largest in Belgium. Every Wednesday evening in July and August, the carillon's melodious chimes fill the air, with a dedicated listening area set up in the Apostelenhof for visitors to enjoy this auditory delight.
The Sint-Germanus church boasts 28 stained glass windows, all created post-1866. Most of these windows, designed in a neo-Gothic style, were crafted in the late 19th and early 20th centuries in workshops in Ghent, led by artists such as Jean-Baptiste Bethune, Arthur Verhaegen, and Joseph Casier. The five stained glass windows in the choir, designed by Bethune and Verhaegen, are particularly noteworthy.
Although many gravestones have vanished over the centuries due to destruction, repairs, or renovations, the church still houses several memorials. Notable among these are the epitaph of the Van Ranst family from the 17th century, the epitaph of Pastor Josephus Alphonsus Maria Meulendijks, and a memorial stone commemorating parish members who fell during the First World War.
The church currently features six altars, a significant reduction from the 31 it once housed in the late 17th century. The high altar in the choir, designed by J. B. Bethune and executed between 1877 and 1883, stands as a masterpiece of sculpture, carpentry, and polychromy. Other notable altars include those dedicated to the Holy Sacrament, the Holy Cross, and Saint Barbara, all designed by Pierre Langerock and crafted by B. Van Uytvanck.
The Chapel of Saint Barbara also houses a statue of the saint, created by Van Uytvanck in 1897, and is enclosed by a wrought-iron gate designed by Langerock and crafted by Adolphe Sillen. In the left transept, the altar of Our Lady of the Rosary, made of marbled wood from the late 17th century, and the altar of Saint Anne in the right transept are exquisite examples of baroque artistry.
The monumental oak pulpit, created around 1760 by Petrus Valckx of Mechelen, was originally intended for the Church of Saints Peter and Paul in Mechelen. The base of the pulpit depicts a cave with statues of the saints, while angels and putti adorn the upper section.
The church's confessionals, crafted from oak, reflect the changes in ecclesiastical furnishings over the centuries. Of the five confessionals currently in the church, four are of the closed type, featuring rounded arches and floral motifs. The fifth, located next to the Chapel of Saint Barbara, was made by Henri Maes in 1919 and showcases a neo-Gothic design.
The Chapel of the Holy Cross on the right side of the church features a depiction of the Holy Sepulchre, carved from oak and poplar by Tienen sculptor Andreas Josephus Gilis in 1795-1796. Above the sepulchre hangs a statue of Christ, known as the Christ of the White Women, which was transferred to the church after the closure of the White Women's Monastery in 1797.
The Chapel of the Holy Cross also contains a statue of Saint John the Baptist, carved from limewood by I. Van Ussel of Antwerp in the late 18th century, and a retable depicting the Passion of Christ, designed by Pierre Langerock and crafted by B. Van Uytvanck between 1903 and 1904.
The Chapel of the Holy Sacrament on the left side of the church serves as a winter chapel and provides access to the sacristy. It houses a retable of the Holy Sacrament, created by the same artists as the Holy Cross retable, and a statue of the Pietà, made of polychromed wood.
The church's organ, originally built in 1493 by Daneel Vander Distelen of Leuven, is the oldest known example in the Netherlands. The oak organ case has undergone numerous rebuilds and repairs over the centuries, transforming into a baroque instrument in the late 17th century and a romantic instrument in 1870, thanks to the work of Charles Anneessens of Geraardsbergen. A generous donation from the Tienen Sugar Refinery in the 20th century ensured the organ's preservation and continued use.
In conclusion, the Sint-Germanus church is not just a place of worship; it is a living museum of history, art, and architecture. Its walls and artifacts tell the story of Tienen's past, offering visitors a fascinating glimpse into the region's rich cultural heritage. Whether you're an architecture enthusiast, a history buff, or simply a curious traveler, the Sint-Germanus church is a must-visit destination that promises to leave a lasting impression.
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