-St. Pierre. LOUVAIN. 22. Route. 143
an Ascension by Mich. Coxcie, and a model and plan by Layens, of
the projected towers of St. Pierre.
The Gothic Church of St. Pierre (PI. 3), opposite the Hotel de
Ville, a noble cruciform structure flanked with chapels, was erected
between 1425—97 on the site of an earlier building. The unfin¬
ished W. tower does not rise beyond the height of the roof.
Interior (sacristan l/2 fr. ; more for a party). The choir is
separated from the nave by an elaborate Jube, or Rood Loft, in the
Flamboyant style, executed in 1490, consisting of three arches
adorned with statuettes, and surmounted by a lofty cross. The Can¬
delabrum is said to 4iavebeen executed by Quentin Massys (p. 106).
Nave. Vestibule inside the principal portal finely carved in
wood, 16th cent.; late Gothic font in copper and handsome cast-
iron bracket attributed to Massys, in the 1st chapel on the N. side;
late Gothic sculptures in the following chapels. The 1st Chapel
on the S. side contains an altar-piece copied from the original of
De Craeyer, which was carried off by the French, and is now at
Marseilles, representing S. Carlo Borromeo administering the
Sacrament to persons sick of the plague. An old winged picture
by Van der Baeren (1594), the Martyrdom of St. Dorothea; statue
of St. Charles, by Ch. Geerts (1855).
The 2nd Chapel (that of the Armourers) contains a curious,
blackened image of Christ, which is regarded with great veneration
in consequence of the legend that it once caught a thief who had
sacrilegiously entered the church. The railing is adorned with
armour and cannon.
The Pulpit, or Chaire de Verite, carved in 1742 by Berge,
representing Peter's Denial on one side, and the Conversion of St.
Paul on the other, is of the tasteless character so common in Bel¬
gian churches. The life-size figures, hewn in solid wood, are
overshadowed by lofty palm-trees, also carved in wood, and the
whole work is covered with brown varnish.
The 3rd Chapel contains-a picture of Memling's school, represent¬
ing the consecration of a cook as bishop, under Gregory V.
Retro-Choir. 5th Chapel: *Dierick Bouts (of Haarlem, born
in 1391, settled at Louvain, and died there in 1479), Martyrdom of
St. Erasmus, a painful subject; in the background the Emperor,
richly attired, with three attendants; the scene is represented in a
carefully executed landscape with blue mountains in the distance;
on the wings, St. Jerome on the 1. and St. Anthony on the r. — 6th
Chapel: De Craeyer, The Holy Trinity. *Bouts, Last Supper,
painted in 1467. This is the central picture of an extensive altar-
piece, the wings of which are preserved in the museum at Berlin
(Feast of the Passover and Elijah in the wilderness), and in the
Pinakothek at Munich (Abraham and Melchisedech, and the Gather¬
ing of manna). The symbolical character of the composition is of
course not observable in the central piece alone.