41. SOUTH NAVE AISLE, BAY 6

In Bay 6 we have a window with a further depiction of the Stolen Sacred Host story, and another open confessional. I am curious that so much of the architecture of this Cathedral relates to the Legend of the Stolen Sacrament. Did it really happen? A fairly detailed account of the event is given here.      [Photo1 Credit: Wikimedia Harmonia Amanda]       INDEX

42. SOUTH NAVE AISLE, BAYS 5 – 1

Standing back from the South wall we get this overview of the next five bays with their windows, and chapels below.    In the foreground at right there is another set of steps down to the crypt.

43. SOUTH AISLE, BAY 5

Moving along to Bay 5 we come to another window in the Legend series, and the last of the six open confessionals. The windows are magnificent in their extraordinary detail. It was customary for windows like this to be donated by royalty or noble families. It allowed for the display of the family coat of arms, and advertised the family’s wealth and power. This confessional differs from the previous ones in that there are no angels beside the doorway.   [Photo1 Credit: Wikimedia Maxifred]

44. SOUTH AISLE, BAY 4

Bay 4 ... . Pictured here is the critical event in the Legend – the desecration of the Host. •• At right, and below the window, is this array of seven squares in the shape of an elongated cross. Each square depicts the same figure, which perhaps by association at first looks like a crucified form, but the squares have a burnished finish suggesting fire, so perhaps the theme is martyrdom. An unsightly collection of chairs reminds us of storage problems shared by many cathedrals! •• At right is a strange sculpture of Christ by sculptor Charle Delporte.   [Photo1 Credit: Wikimedia Harmonia Amanda]

45. SOUTH AISLE, BAY 3

Under the window in Bay 3 there are three dramatic framed paintings in gold and white, of undetermined meaning. In front are several displays of small Cathedral items.   [Photo1 Credit: Wikimedia Aw58]

46. SOUTH AISLE, BAY 2

A further window in Bay 2 depicts the Legend. The chapel below is set up more formally to acknowledge the corner statue of St Anthony of Padua (1195 – 1231), who was a Portuguese Catholic priest. He was a friar of the Franciscan Order. He was born and raised in a rich family in Lisbon. Anthony was canonised as a saint on 30 May 1232, less than a year after his death. He is considered a patron saint of lost or stolen items. He is famous for the legend of the Christ Child appearing to him near the end of his life. •• On the wall is a tapestry called Angoisse du Monde (The Fear of the World) by N. de Montalembert.    [Photo1 Credit: Wikimedia Maxifred ; Photo3 Credit: Wikimedia Joseolgon]

47. SOUTH AISLE, BAY 1

We have now reached the Western end of the South nave aisle, and the last of the Legend of the Stolen Sacrament series of windows. This is a more public area with a Cathedral plan on the wall at left, photographs of various events on the wall before us, and a door to the South tower staircase at right.   [Photo Credit: Wikimedia Jola Sik]

48. CROSSING

We return to the front of the nave, and stand before the crossing. We look more closely at this shortly, but notice the double-sided lectern at right. It has detailed carving on its support with a ring of cherubs around the top. Also, looking up we see on either side of the choir arch, rows of small triforium arches, and above, some transept clerestory windows.

49. TRANSEPTS: CLERESTORY WINDOWS

Although there is space for two clerestory windows on the East wall of both transepts, the outer position on both sides is blank. The remaining two windows each have three pairs of lancets depicting six saints, but they are too far away to identify.

50. SOUTH TRANSEPT

We turn to the South transept which runs off the crossing to our right. The Eastern (left) wall of the transept leads through to the large Our Lady of Redemption Chapel. Ahead of us is a very large window with three tapestries hanging below and a War Memorial at lower left. There is another window on the right wall, and large triptych.

51. CORNER OF SOUTH TRANSEPT

This view shows some of the transept detail more clearly. The doors on the South wall lead to a Cathedral exit, but also give access to the Cathedral shop.

52. CRUCIFIXION TRIPTYCH

The large and impressive crucifixion triptych was painted by Michel [Michiel] van Coxie (1499 – 1592). He was a Flemish painter of altarpieces and portraits, a draughtsman and a designer of stained-glass windows, tapestries and prints. He worked for patrons in the principal cities of Flanders. He became the court painter to successively Emperor Charles V and King Philip II of Spain. From left the panels show Simon the Cyrene bearing the Cross, a crucifixion scene, and the Descent from the Cross.

53. TAPESTRIES

Three tapestries hang below the South window of the South transept. They are all quite different in design, but each features the Virgin Mary. [Photo Credit: Pieter van Everdingen]

54. SOUTH TRANSEPT WINDOWS

The main South transept window by Jean Haek was completed in 1538 and is based on a drawing by Orley. It features King Louis of Hungary with his patron Saint Louis and his wife Queen Mary who just happens to be the sister of Charles V. The Virgin Mary and her Infant are the Queen’s patrons. •• The smaller window at right illustrates the parable of the Good Samaritan (Luke 10:25–37).

55. WAR MEMORIAL AND SHOP VIEW

Below the South Window is a WWI Memorial with a title Pro Patria. The view through the open doors gives a glimpse of the Cathedral shop beyond.

56. WAR MEMORIAL

The War Memorial is a bas-relief monument for the fallen of the First World War. It was created in 1924 by Amédée Hamoir. The central motif is three veiled women, who are from left Resignation, Pity, and Pain. The frame is made of black marble with some motifs and text letters slightly raised and gilded. The names of the fallen are mentioned on the left and right in gilded letters.

57. ST GUDULA

Leaving the South transept, we return to the crossing. In the Southeast corner is a golden statue of St Gudula – the work of M. de Beule (1912). Gudula was the daughter of Count Witger and St. Amalberga, and was educated by St. Gertrude of Nivelles. She lived at the family castle of Morzelles until Gertrude died. She then dedicated herself to God in 664. Gudula was known for her great charity. •• To the extreme left of the first of the views above, we see a different gold statue on the opposite Northwest corner of the crossing. We go there shortly ... . [Photo2 Credit: Wikimedia VitVit]

58. CROSSING AND CATHEDRA

There is a large octagonal platform at the crossing, with a solid stone altar. This altar, marked the end of the restoration work at the Cathedral. It was consecrated by Cardinal Danneels on Ascension Day, 1st June 2000. The altar was cut by the sculptor, Michel Smolders, in the Avins quarry east of Huy. The three-ton monolith is made of light granite. •• Following the liturgical reforms of the Second Vatican Council, this became the main altar. •• To the right is the simple cathedra, or bishop’s throne. The word ‘cathedra’ is Latin for seat or throne, and this is where the Cathedral itself actually gets its name – the Church where the bishop’s throne is located.    INDEX

59. CHRIST FIGURE

We move across to the statue seen before. This figure is called ‘Christ in Ascension’ (1968) and is in beaten copper, It was created by Camille Colruyt (1908-73), and installed in the Cathedral in 1990.    

60. NORTH TRANSEPT CRUCIFIX

Just along on the West side of the North transept is a three piece crucifixion carving. It is the standard ‘rood’ configuration, with Christ on the Cross at centre, his mother Mary at left, and St John the Evangelist at right. Just to the right of this the entry to the baptistry which we looked at earlier.

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