Saint Waltrude’s Church

Passier Borreman (1470-1537)

Altarpiece of Saint Crispin and Saint Crispinian

Retabel van de heilige Crispinus en de heilige Crispinianus van Passier Borreman (detail)

KIK-IRPA

Kerkplein, Herentals

Looking for a really eye-catching example? The Brabant-Gothic Waldetrudiskerk in Herentals, with its 14th-century tower, is sure to enchant you. The interior also includes magnificent works of art, such as the altarpiece by master carver Passier Borreman. Remember to stop by and admire his detailed figurines.

Saint Waltrude’s Church

Saint Waltrude’s Church, commonly referred to as the ‘the Upper Church’ is a Brabant Gothic cross basilica constructed in white stone. It is richly adorned with parapets, gargoyles, niches and turrets. The position of the tower between chancel and nave is quite striking. This tower, the only witness to the original 14th century church, seems to be sinking into the nave. The church contains an unusual number of remarkable art treasures due to the guilds, crafts and fraternities having an altar there.

Altarpiece of Saint Crispin and Saint Crispinian

This altarpiece which dates back to 1515-1525 is the church’s most valuable asset. The Brussels carver Passier Borreman fashioned it for the shoemakers and tanners guild. It depicts the martyrdom of their patron saints, two brothers from Roman times. Presumably, and contrary to tradition, the altarpiece was never polychromed. It is one of the rare signed altarpieces: Borreman carved his name on two of the figurines.

Ornate wooden altarpiece featuring intricate religious carvings with detailed biblical scenes, framed by Gothic arches and crowned with crosses.

KIK-IRPA

The Annunciation of the Angel Gabriel to Mary – attributed to Theodoor van Loon (c. 1582-1649)

This beautiful 17th-century work can be found in the south choir aisle. The Royal Institute for Cultural Heritage restored it in 1981. You can recognize the stylistic characteristics of van Loon. The Baroque painter stayed in Italy twice, from 1602 to 1608 and from 1628 to 1629. This explains why the influence of Caravaggio is so present in his work. Van Loon emphasizes intense emotions through the use of light-dark contrasts. He also focused strongly on the incidence of light, making the figures appear almost three-dimensional. What is so characteristic of Theodoor van Loon’s style here is the detailing of his characters’ clothing and the almost tangible movement in their postures. He loved theatrical compositions. Mary is the most prominent figure in the painting. She radiates friendly receptiveness. The robes of the winged angel Gabriel are particularly striking. They are painted in such detail that you can almost touch them. Be sure to take a look at the cat's eyes: can you see that it is following you?