In the heart of Wavre, Belgium, stands the église Saint-Jean-Baptiste de Wavre, a stunning example of late Gothic architecture that has been a silent witness to the town's tumultuous history. Known locally as the Sint-Jan-Baptistkerk, this 15th-century church is not only a place of worship but also a monument of historical significance, having been classified as a heritage site in Wallonia since 1937.
The origins of the église Saint-Jean-Baptiste de Wavre can be traced back to an earlier church on the same site, first mentioned in records dating to 1086. This earlier structure met a tragic end in 1489 when a catastrophic fire ravaged Wavre, claiming the lives of half the town's population and reducing the church to ashes. The current Gothic edifice arose from these ashes towards the end of the 15th century, embodying the resilience and determination of the local community.
The church's tower has undergone several transformations over the centuries. Around 1560, it was crowned with an ornate lantern topped by a bulb and a smaller lantern. However, in 1631, architect Jacques Franquart elevated the tower further, adding a spire that soared nearly 80 meters high. This spire, unfortunately, succumbed to another devastating fire in 1695, which also destroyed parts of the church and many surrounding homes. The chancel was rebuilt in 1718, showcasing a blend of Gothic and later architectural styles.
On June 18, 1815, the church found itself in the crossfire of the Battle of Wavre, a significant engagement during the Napoleonic Wars. A French cannonball remains embedded in one of the pillars of the right aisle, serving as a poignant reminder of the church's endurance through conflict.
The église Saint-Jean-Baptiste de Wavre is distinguished by its extensive use of ferruginous sandstone, a material sourced from local quarries in Limal and Ottenburg. This gives the church its warm, characteristic hue, contrasting beautifully with the white limestone used in the tower's construction.
The imposing tower, which forms the church's facade, is an architectural marvel in itself. Built from alternating layers of red brick and white limestone, the tower's base is reinforced with ferruginous sandstone. This robust structure is further strengthened by powerful buttresses that taper as they ascend. The west facade of the tower features a magnificent limestone porch, with each upper level adorned with pairs of ogival windows, except the topmost level, which boasts two circular oculi above the clock. The date 1617 is inscribed between the windows of the first floor, marking a significant moment in the tower's history.
The church's grand porch is a striking example of Gothic design, featuring a vast ogival archway carved from white limestone. This archway is adorned with seven intricately sculpted archivolts, adding to its grandeur. The porch also includes a lower, flattened arch doorway topped by a large window filled with modern stained glass, creating a stunning focal point.
In contrast to the tower, the nave, transept, and choir are constructed entirely from ferruginous sandstone, lending the structure its distinctive, warm coloration. These sections of the church are punctuated by large ogival windows fitted with modern stained glass, allowing natural light to flood the interior. The north and south facades are supported by standard buttresses, while the choir, north chapel, and sacristy feature unique, shorter buttresses capped with Gothic ornamentation.
Stepping inside the église Saint-Jean-Baptiste de Wavre, visitors are greeted by a striking contrast between the cream-painted walls and the stone columns, arches, and vault ribs crafted from ferruginous sandstone and white limestone. This interplay of colors creates a visually stunning, almost polychromatic effect.
The nave is characterized by a ribbed vault with limestone ribs, supported by large ferruginous sandstone columns with octagonal bases. The pointed arches resting on these columns are composed of alternating sandstone and limestone blocks, arranged in an intriguingly irregular pattern.
The transept's double arch, separating it from the nave, mirrors the irregular alternation of sandstone and limestone blocks. However, the triumphal arch leading to the choir is made entirely of sandstone, as are the arches dividing the transept's crossing from its north and south arms. An interesting asymmetry is found in the vault ribs: those in the north arm are sandstone, while those in the nave, crossing, and south arm are limestone.
Rebuilt in 1718, the choir is a later addition to the church, reflecting a different architectural period. The window frames and vault ribs here are made from gray limestone, imparting a cooler tone compared to the warmer materials used in the nave and transept.
The church's tower houses a remarkable carillon, inaugurated in 1954 with 49 bells cast by Marcel Michiels Jr. of Tournai. A 50th bell, added in 2003, honors Dean Albert Pirson, King Albert II, and Wavre's first carillonneur, Albert Boon. The carillon originally featured an electromechanical system with perforated metal bands, replaced by a fully electronic system in 1986. Public concerts are held twice weekly during the town's markets on Wednesdays and Saturdays from 11 AM to 12 PM, filling the air with melodious tunes.
The église Saint-Jean-Baptiste de Wavre still bears the scars of the Battle of Wavre, with a French cannonball embedded in a pillar of the right aisle, about four meters above the ground. This poignant relic is accompanied by a plaque inscribed in Latin, commemorating the church's endurance through the ages.
In conclusion, the église Saint-Jean-Baptiste de Wavre is not just a place of worship but a testament to the resilience and history of Wavre. Its architectural splendor, historical significance, and cultural heritage make it a must-visit landmark for anyone exploring this charming Belgian town.
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