Onze-Lieve-Vrouwekerk

In the charming town of Oudenaarde, nestled in the Belgian province of East Flanders, stands the remarkable Onze-Lieve-Vrouwekerk, also known as the Church of Our Lady. This early Gothic church, located in the Pamele district, is not just an architectural gem but also a testament to the rich history and cultural heritage of the region. As you wander through its hallowed halls and admire its intricate details, you are transported back in time to an era of grandeur and devotion.

The History of Onze-Lieve-Vrouwekerk

The origins of Onze-Lieve-Vrouwekerk date back to 1110 when the parish was established, according to a document by Bishop Odo of Cambrai. The church's construction began in 1234, under the supervision of Arnold van Binche, the oldest known master builder in Flanders. The initial phase focused on the eastern side, with the choir, ambulatory, and crossing pillars taking shape. Shortly thereafter, the tower and transept were erected, and by the late 13th century, the nave was completed.

Throughout the centuries, the church underwent several modifications and expansions. Notably, in the late 13th and early 14th centuries, the northern transept was renovated to include larger windows. The vaults of the nave and transept were constructed between 1502 and 1516, and in the years 1523-1530, the southern nave was rebuilt with late Gothic side chapels made of Balegem sandstone.

The church also boasts a Renaissance portal added in 1561 to the northern transept. Despite suffering damage during the iconoclasm of the 16th century, the church's interior was restored in the 17th century. A major restoration effort took place between 1877 and 1904, led by architect A. Van Assche, who also added a new sacristy and refurbished the interior.

Exploring the Architectural Marvel

As you approach Onze-Lieve-Vrouwekerk, you are greeted by its imposing façade, characterized by a blend of Tournai limestone and brickwork. The church's layout is a basilica with a three-aisled nave, a projecting transept, and a choir with a five-sided apse and ambulatory. The west gable, flanked by intersecting buttresses, features a pointed arch portal framed by archivolts resting on columns with bud capitals. Above the portal, two lancet windows are set between smaller lancet windows under lancet-shaped blind niches.

The central nave is illuminated by three windows set in round-arched niches, while the side aisles feature pointed arch windows between the buttresses. A striking feature is the octagonal crossing tower, adorned with paired lancet windows and transitioning from a square base to an octagonal upper section via trompes, an architectural element typical of Scheldt Gothic style.

The northern transept, facing the Scheldt River, is more monumental than its southern counterpart. The north façade is flanked by buttresses ending in round turrets, adorned with an arcade on columns. A high, pointed double window with Gothic tracery and a rose window beneath a round arch, dating back to around 1300, dominates the façade. The eastern façade of the northern transept features a pointed triple window and a rose window, along with a pointed arch portal and similar clerestory windows as the nave.

The Interior: A Symphony of Gothic Elegance

Stepping inside Onze-Lieve-Vrouwekerk, you are enveloped by a sense of serenity and awe. The interior is a harmonious blend of stone and light, with pointed arch arcades resting on columns with octagonal bases and leaf capitals. Above the arcades, a triforium with pointed arches made of Tournai stone adds to the Gothic elegance. The space is vaulted with ribbed vaults and pointed transverse arches on columns with cabbage leaf capitals.

The nave's vaults are whitewashed brick, contrasting with the unplastered vaults of the southern side aisle and chapels. The vault ribs of the nave, southern side aisle, and transept are made of sandstone with hard stone bases on columns with bud capitals, while the ribs of the choir and ambulatory are crafted from Tournai stone, except for two restored bays.

The Treasures Within

Onze-Lieve-Vrouwekerk houses an impressive array of art and artifacts that reflect its storied past. One notable piece is a painted triptych depicting the Creation by J. Snellinck, created in 1609 as the main altar piece and now located in the southern chapel of Our Lady of the Scapular. Other significant paintings include the Baptism of Saint Augustine by Saint Ambrose of Milan (1653) and the Discovery of the Cross by Saint Helena by Simon De Pape (1672).

The church also features a collection of wooden statues, including a polychrome statue of the Madonna of the Water or Ter Walle, likely from the 16th century. The choir is adorned with eight statues under canopies by J. Carbon, based on a design by A. Van Assche from 1883. The high altar, with its marble steps, hard stone base, and sandstone retable, was designed by A. Van Assche in the late 19th century.

The Renaissance confessional made of oak dates back to the 17th century, while two neo-Gothic confessionals from the 19th century are crafted from mahogany and oak. The organ, originally built by O. Schyven in 1886, is housed in a case designed by J. Vossaert-Blanchard, following a design by A. Van Assche.

An Enduring Legacy

Onze-Lieve-Vrouwekerk is more than just a church; it is a symbol of enduring faith and resilience. Its walls have witnessed centuries of change, from medieval times to the modern era. As you explore this magnificent edifice, you can't help but feel a deep connection to the generations of worshippers who have walked its aisles and admired its beauty. Whether you are a history enthusiast, an architecture aficionado, or simply a curious traveler, a visit to Onze-Lieve-Vrouwekerk is an unforgettable journey through time and a celebration of the rich cultural heritage of Oudenaarde.