Begijnhofkerk

Step into a serene oasis of history and architecture at the Begijnhofkerk in Hoogstraten, Belgium. This Roman Catholic church, officially dedicated to Saint John the Evangelist and Saint Begga, stands as a testament to the baroque artistry and the rich spiritual heritage of the Beguine community. Nestled within the tranquil confines of the Hoogstraten Beguinage in the province of Antwerp, the Begijnhofkerk invites visitors to explore its storied past and marvel at its architectural splendor.

The History of Begijnhofkerk

The origins of the Begijnhofkerk trace back to the late 14th century. In 1381, the Beguine community erected a chapel dedicated to the Virgin Mary, their patroness. This chapel was built on the site of a pre-existing place of worship, and remnants of this early structure can still be seen in the current church's nave. The surrounding area also hosted a cemetery from this period, adding to the historical depth of the site.

Significant changes began in the mid-17th century. Around 1640, a new choir with two central and side aisles was constructed, likely replacing the existing choir. By 1672, the decision was made to significantly expand the church. This ambitious project unfolded in two phases. The first phase, from 1679 to 1682, saw the western side temporarily sealed with a provisional gable. The second phase, from 1685 to 1687, involved the demolition of the old church and the completion of the current façade. The consecration of the church by Monsignor van Beughem took place on August 10, 1687, marking a new chapter in its history.

Throughout the 19th century, the church underwent numerous repairs to its windows, roof, and façade. The structure suffered extensive damage during the bombings of 1944-1945 but was meticulously restored in 1949. A comprehensive exterior restoration, including the stained glass windows, was carried out between 1998 and 1999 by architects Van Boxel, Hectors, and Van Laer.

Exploring the Architecture

The Begijnhofkerk is a freestanding baroque basilica oriented towards the east. Its design features a three-aisled layout with a five-bay nave, a single-bay choir, and a three-part choir closure. A semi-circular stair tower is located to the north, between the choir and the nave. The sacristy and a storage room flank the choir on either side.

The church's exterior is a striking blend of brick construction with sandstone and bluestone structural elements. The nave and choir are topped with a gabled roof, while the side aisles feature a lean-to roof with dormer windows. A two-part, hexagonal roof turret with openwork lanterns under a dome and a slender spire accentuates the building.

The façade is a masterpiece of baroque design, divided into three sections with three gables. The central gable is flanked by wings with curved upper sections and is crowned with a three-part finial adorned with a cross and decorative vases. Horizontal cornices and vertical pilasters, both Doric and Ionic, articulate the façade's structure. A monumental bluestone round-arched portal, designed by J. Stillman from Hainaut, serves as the main entrance. This portal is adorned with a cornice supported by rusticated Doric half-columns, culminating in a richly framed round-arched niche housing a 15th-century wooden statue of the Virgin Mary with Child.

The interior is equally impressive, with a whitewashed, plastered space featuring a two-part elevation. Round-arched arcades with sandstone architraves rest on Doric columns of white natural stone. The nave and choir vaults are cross-ribbed with sandstone ribs, separated by coffered belt arches supported by projecting consoles with volutes. The choir apse features a similar belt arch vault.

Art and Furnishings

The Begijnhofkerk boasts an array of artistic treasures. The choir houses four blind niches with paintings of Western Church Fathers by J. van Reesbroeck, circa 1700, and a depiction of Our Lady of Salette by B. Cloet from 1853. Painted Stations of the Cross from the 19th century line the walls.

Sculptures include a 15th-century painted wooden Madonna, a 16th-century wooden crucifix, and various 17th to 19th-century statues of saints. Notable pieces include a terracotta statue of Saint Liborius from the 18th century and several polychromed wooden statues from the 19th and 20th centuries. The church also houses several 18th-century reliquaries.

The stained glass windows are a highlight, with four windows in the choir by Joannes Loos from 1681, restored by J.F. Pluys in 1843. Additional windows in the side aisles date from 1908 and 1912, with post-World War II restorations by P. Crickx.

The baroque furnishings include a high altar by Jan Claudius De Cock from 1717, with a sculpture group of the Holy Trinity and statues of Saint Joseph and Saint Anna. The altar painting of the Last Supper by Peter Sperwer dates from the same year. The side altars, dedicated to the Virgin Mary and Saint Catherine of Alexandria, feature statues and paintings from the 17th and 19th centuries.

The church's oak communion rail dates from the late 17th century, and the pulpit by Theodoor Verhaegen from the early 18th century is a work of art in itself. The wooden confessionals in the side aisles also date from the late 17th century.

The organ, housed in a Louis-seize style wooden case by Alexander Nuten from 1770, was built by J.J. Delhaye in 1833, incorporating parts of an earlier organ by J.R. Tits from the late 18th century. It features 12 registers on a single manual with an attached pedal.

In conclusion, the Begijnhofkerk in Hoogstraten is not just a place of worship but a living museum of baroque art and architecture. Its serene atmosphere, rich history, and artistic treasures make it a must-visit for anyone interested in the cultural heritage of Belgium.