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Rituele betekenisgeving bij de contrareformatorische kerkbouw: de eerstesteenlegging van de Sint-Pietersabdijkerk in Gent (1629)

Dagmar Germonprez UGent and Anne-Françoise Morel UGent (2011) RELICTA (BRUSSEL). 7. p.121-133
abstract
The deposition of the first stone of St Peter’s abbey church in Ghent (1629) invested the building with a meaning even before its completion by means of several paraphernalia produced in honour of the event. In this article, two main sources were analyzed to reveal a better understanding of the architectural meaning of one of the first domed churches in the Netherlands: a commemorative medal (with preview of the planned facade) and a volume of poetry. Through the interaction of both text and image in these sources, several aspects were connected to each other: Abbot Ioachim Arsenius Schaeyck (1615-1631) is identified with the rebuilding of the church, with Amandus in the combat against Protestantism and with the apostle Peter as the original founder of the abbey (and consequently to the St Peter’s basilica in Rome). The new church is linked to the counter-reformation programme pursued by Rome, to a type of church architecture symbolizing the vitality of Christianity and to God as an actor in its construction. The subtle interplay of the commemorative medal and the anthems provided the spectator a preview of the planned church at the ceremony of the laying of the first stone. This was important as the building could not yet speak for itself and the message of triumph of Catholicism over heresy was a welcome one at the time of reconstruction in 1629. The counter-reformational agenda, depicting the church as a phoenix rising from its ashes after the destruction of the iconoclasms, is clear. This message is also supported by the architecture itself. By appealing to Italian architecture, a connection is made with a type of church typical of the Catholic counteroffensive. However, it is not a case of pure imitation, as the Italian architectural elements are merely applied for the purpose of the alliance that was crafted with a style of architecture signifying Catholic triumph and vitality. Moreover, local components were included in the building of the church as well.
Please use this url to cite or link to this publication:
author
organization
year
type
journalArticle (original)
publication status
published
subject
keyword
History, Rituals, Architecture, Religion
journal title
RELICTA (BRUSSEL)
Relicta (Bruss.)
volume
7
pages
121 - 133
ISSN
1783-6425
language
Dutch
UGent publication?
yes
classification
A2
copyright statement
I have transferred the copyright for this publication to the publisher
VABB id
c:vabb:362638
VABB type
VABB-1
id
1896367
handle
http://hdl.handle.net/1854/LU-1896367
date created
2011-09-01 12:18:07
date last changed
2015-06-17 09:50:04
@article{1896367,
  abstract     = {The deposition of the first stone of St Peter{\textquoteright}s abbey church in Ghent (1629) invested the building with a meaning even before its completion by means of several paraphernalia produced in honour of the event. In this article, two main sources were analyzed to reveal a better understanding of the architectural meaning of one of the first domed churches in the Netherlands: a commemorative medal (with preview of the planned facade) and a volume of poetry. Through the interaction of both text and image in these sources, several aspects were connected to each other: Abbot Ioachim Arsenius Schaeyck (1615-1631) is identified with the rebuilding of the church, with Amandus in the combat against Protestantism and with the apostle Peter as the original founder of the abbey (and consequently to the St Peter{\textquoteright}s basilica in Rome). The new church is linked to the counter-reformation programme pursued by Rome, to a type of church architecture symbolizing the vitality of Christianity and to God as an actor in its construction. The subtle interplay of the commemorative medal and the anthems provided the spectator a preview of the planned church at the ceremony of the laying of the first stone. This was important as the building could not yet speak for itself and the message of triumph of Catholicism over heresy was a welcome one at the time of reconstruction in 1629. The counter-reformational agenda, depicting the church as a phoenix rising from its ashes after the destruction of the iconoclasms, is clear. This message is also supported by the architecture itself. By appealing to Italian architecture, a connection is made with a type of church typical of the Catholic counteroffensive. However, it is not a case of pure imitation, as the Italian architectural elements are merely applied for the purpose of the alliance that was crafted with a style of architecture signifying Catholic triumph and vitality. Moreover, local components were included in the building of the church as well.},
  author       = {Germonprez, Dagmar and Morel, Anne-Fran\c{c}oise},
  issn         = {1783-6425},
  journal      = {RELICTA (BRUSSEL)},
  keyword      = {History,Rituals,Architecture,Religion},
  language     = {dut},
  pages        = {121--133},
  title        = {Rituele betekenisgeving bij de contrareformatorische kerkbouw: de eerstesteenlegging van de Sint-Pietersabdijkerk in Gent (1629)},
  volume       = {7},
  year         = {2011},
}

Chicago
Germonprez, Dagmar, and Anne-Françoise Morel. 2011. “Rituele Betekenisgeving Bij De Contrareformatorische Kerkbouw: De Eerstesteenlegging Van De Sint-Pietersabdijkerk in Gent (1629).” Relicta (brussel) 7: 121–133.
APA
Germonprez, D., & Morel, A.-F. (2011). Rituele betekenisgeving bij de contrareformatorische kerkbouw: de eerstesteenlegging van de Sint-Pietersabdijkerk in Gent (1629). RELICTA (BRUSSEL), 7, 121–133.
Vancouver
1.
Germonprez D, Morel A-F. Rituele betekenisgeving bij de contrareformatorische kerkbouw: de eerstesteenlegging van de Sint-Pietersabdijkerk in Gent (1629). RELICTA (BRUSSEL). 2011;7:121–33.
MLA
Germonprez, Dagmar, and Anne-Françoise Morel. “Rituele Betekenisgeving Bij De Contrareformatorische Kerkbouw: De Eerstesteenlegging Van De Sint-Pietersabdijkerk in Gent (1629).” RELICTA (BRUSSEL) 7 (2011): 121–133. Print.