The baptismal font and the chandelier in St Peter’s Church
© Rudi Van Beek
The baptismal font and the chandelier in St Peter’s Church
Blacksmith’s secrets
The early 15th century was a turning point for Leuven – for more than one reason. Not only was the university founded in 1425, but the construction of St Peter’s Church also began around that time.
© Rudi Van Beek
The Baptismal font
The baptismal font is fashioned from brass. The first thing that strikes you is its shape: a basin with six lobes, resting on an equal number of stylized lion’s paws. We do not know who the maker was, but he must have been a master of his craft. Just look at the delicate motifs that echo the architecture of the church. The miniature spire, for example, or the fine tracery reminiscent of Gothic lancet windows.
The cover is the only part that is not authentic. The original disappeared in 1798, when the church’s furnishings were auctioned off by the French occupiers. In 1954, the baptismal font received a new, copper cover. It was designed by the Leuven sculptor Joseph Van Uytvanck (his monogram IVU is inscribed on the edge of the cover) and crafted by Devroye Frères: a renowned Brussels workshop that had previously forged crowns and a sceptre for the Sedes Sapientiae statue [also known as Our Lady of Leuven].
The cover is adorned with bronze figurines of six individuals connected to the church or the city. These are: Our Lady with Child, a reference to the Sedes Sapientiae; Peter, the church’s patron saint; Charles Borromeo and Fiere Margriet [Margaret of Louvain ], to whom chapels in the church are dedicated; Albert of Louvain , a mediaeval bishop venerated locally; and John the Baptist, a nod to the baptismal chapel itself.
The cover is suspended from elegant wrought-iron hoist, which was used for raising and lowering.
© Rudi Van Beek
The chandelier
The wrought-iron chandelier dates back to the same era as the baptismal font. It originally came from the chapel of Our Lady of Ginderbuiten. This was a chapel that stood opposite the Tiensepoort, just outside the city walls – hence the name. When the chapel was demolished at the end of the 18th century, the twelve-armed chandelier was moved to St Peter’s Church. It initially hung in the upper chancel, but now you will find it in the baptismal chapel.
A Latin inscription on the underside is said to refer to Quentin Matsys (1465/66–1530). He is believed to have started out as a blacksmith, but to have turned to painting following a romantic escapade. The chandelier, like the gallows from the baptismal font, was long attributed to him. A charming tale, but sadly never proven…
© Rudi Van Beek
Beleef Bouts
Op een boogscheut van M vormt de Sint-Pieterskerk het decor voor een zinnenprikkelende beleving. M neemt je mee in het boeiende verhaal van de gotische kerk en laat je kennismaken met haar kunstschatten: topstukken van Vlaamse Meesters in hun authentieke context.
