Cathedral of Sint-Baafs in Gent - Discover this open and welcoming religious building

Cathedral | XII-XVI | Romanesque | Catholic Church

Disabled access Organ Pilgrimage site

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Opening hours

01 January - 31 December
Mon 8.30 - 17.30
Tue 8.30 - 17.30
Wed 8.30 - 17.30
Thu 8.30 - 17.30
Fri 8.30 - 17.30
Sat 8.30 - 17.30
Sun 13.00 - 17.30

Religious offices

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Description

The cathedral of Saint Bavon has been destroyed and rebuilt several times and now consists of different styles, from the Romanesque of the crypt, the flamboyant Gothic of the nave to the Brabant style Gothic of the tower.

The interior is impressive with its numerous columns and three naves. The oldest church of Gent, having been built in the 10th century, it shelters veritable treasures like an 18th century Rococo pulpit in marble, a Romanesque crypt which is the largest in Belgium with 15th and 16th century frescoes, and above all its 22 chapels, the first one being where Charles V was baptised in 1500. The ninth chapel holds “The conversion of Saint Bavon “(16th century) by Rubens. There is also a beautiful, 18th century high altar in marble depicting St Bavon ascending to heaven.

The object that really caps the visit St Bavon is its magnificent polyptych, “The mystic lambs “a 15th century painting by Hubert and Jan Van Eyck made up of 12 oak panels with 8 polychrome volets, painted front and back. It’s a true marvel. If a copy is exhibited in the cathedral, the original is there as well.

The stained glass windows are also worth seeing, but unfortunately they are from the 19th century as the original ones donated by Charles V and Phillip II were destroyed in 1566.

KIKIRPA : Photo-library online

Restoration altarpiece

The St Bavo's cathedral is one of the five monumental churces of Ghent. More information is available at the site of vzw MKGent.

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Remarkable elements

Hubert and Jan Van Eyck, Adoration of the Mystic Lamb, 1432

The altarpiece was commissioned by Joos Vijdt, alderman of Ghent and church warden of the church Sint-Jans (now the Saint-Bavo’s cathedral), and his wife Elisabeth Borluut. They placed the order with the brothers Van Eyck. Hubert Van Eyck (1366-1426) commenced painting the polyptych and his brother Jan Van Eyck (ca. 1390-1441) completed it in 1432. The iconographic theme of the altarpiece can be described as ‘’the exaltation of humans by the sacrifice that Christ, the Lamb of God, made.’’

Pieter Paul Rubens, Entry of Bavo, 1624

The painting is based on the legend of the Holy Bavo, a nobleman from the 7th century who said goodbye to a licentious life and puts himself forward as a new member of the monastery. The convert is welcomed by abbot Floribertus and the Saint Amandus at the threshold of the abbey. The figure of Saint Bavo has a good resemblance to Pieter Paul Rubens himself. This painting is one of the most magnificent decorative pieces of Rubens, the great master of the baroque.

Laurent Delvaux, Pulpit, 1741-1745

The pulpit in the Saint-Bavo’s cathedral is a masterpiece of rococo carving, skillfully chiseled out of Italian white marble and Danish oak. The main group of figures is an allegory that represents the victory of the truth. At the feet of the tree of knowledge, “Time” is seating. He is represented as a giant elder. Awoken from his sleep he is removing his veil whilst looking up to Truth represented in the shape of a young woman. At the feet of the double stairs angelic figures invite us with their gazes and gestures to listen to Gods word that is preached from the pulpit.

Hiëronymus du Quesnoy the younger, Monument of Bishop Antonius Triest, 1652-1654

The marble mausoleum of Monsignor Triest (1654) was chiseled by Jeroom du Quesnoy the Younger, probably after a design of his brother Frans. It is one of the most beautiful mausoleums in Europe. The Holy Virgin Mary and Jesus, seated in an architectural setting after the Italian model, are looking down upon the bishop who is watching the choir. At the bottom two little angels are holding a scroll with an inscription. At the top they are holding the armorial bearings of the bishop and the bishops hat. Antonius Triest was the seventh bishop of Ghent.

Gospel book of Saint Livinus

This precious manuscript written on parchment stems from the eight century. It was brought over from the Saint-Bavo’s abbey to the former Sint-Jans church (now Saint-bavo’s cathedral). The book is bound in red velvet with silver mounting (17th century), previously it was bound in a beautiful 15th century cover. It contains the text of the four gospels in an ancient Latin translation. This manuscript is a special representative of the Carolingian illumination of manuscripts with canonbows and miniatures in Byzantine style among other things. It was probably written in North-France by only one person.

Benedetto da Rovezzano, Four identical candleholders

The master would have made these candleholders for the monument of the memorial grave of cardinal Wolsley. The Tudor roses and the armorial bearings of the English king Henry The Eight adorn the shafts of the candleholders. They were brought from the Tomb House of the Saint-Georges chapel at Windsor to mainland as a consequence of the English civil war. Bishop Triest bought them and had his escutcheon engraved on them. They were placed in the chancel in 1669

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