Heath chapel

Chapel of Our Lady of Seven Woes or Heath Chapel, protected monument by Royal Decree of 9.12.1971 and its surroundings formed by the adjacent plots planted with beech trees as a landscape.
Pilgrimage chapel planted in the middle of the Heide district at a crossroads of roads on the former Oude Heerweg from Ghent to Antwerp, about 2 km northeast of the parish church of Waasmunster. Until the beginning of the 20th century, the district had only sparse buildings, but this wooded heathland has evolved into a residential residential area where the immediate vicinity of the Heidekapel is now the center of a tourist and gastronomic attraction. Between the parish church of Our Lady and the Heath Chapel, there used to be 5 chapels along the route of the bypass of Our Lady of 7 Woes. The Heidekapel used to be the resting place or third station of this old also so-called Heikewipommegang; now the ommegang has seven state chapels (see also under Molenstraat without number, first state chapel of the ommegang of Our Lady of Seven Woes).
There are no precise data that give a definite answer about the origin of the first Heath Chapel. On the one hand, the history of the Heidekapel is related to the annual procession that traditionally takes place in Waasmunster on 25 March, feast day of the Annunciation. In 1351, Philip d'Arbois, bishop of Tournai, instituted the ommegang during his stay at Roosenberg Abbey in Waasmunster. To this fact, authors link the suspicion that a chapel already existed on the Heath. The promotion of the devotion to Our Lady of Seven Woes in the 15th century may also have led to the founding of the chapel. Perhaps it was initially a tree chapel, before an actual small prayer place dedicated to Our Lady of the Heathen was built. According to some sources (including De Potter and Broeckaert) the oldest part of the Heidekapel dates from the end of the 15th century, other authors place this Gothic construction in the 16th century. During the religious turmoil in 1578, this chapel may also have been destroyed and subsequently restored. It is certain that in 1641 the Ghent bishop A. Triest granted permission to the bailiff of Sombeke to renovate the dilapidated chapel of Our Lady of the Heathen and enlarge it into a larger Marian chapel. The façade was modified (dated 1641). Half of the works were paid for by Mr. van Sombeke. On May 2, 1643, bishop Triest dedicated the altar to Our Lady always Virgin. One of the many foundations to the chapel was the donation of the land around the Heidekapel (28.04.1644). The growing influx of pilgrims necessitated an enlargement of the chapel. Bishop Philippus van der Noot gave permission for this on 24.03.1710. The hexagonal enlargement that has since contained the choir was then realized. In 1778, a sacristy was added against the south choir side by order of the parish priest. At the end of World War II (1940-45), the stained glass windows of the Heidekapel were particularly affected by war damage; restored by Cesar van Hevele (Ghent). The necessary repair works according to restoration plans drawn up in 1978 by architect Fernand Weyers (Sint-Niklaas), were carried out in 1980-81.
North-south facing single-aisled chapel in baking and sandstone construction situated in a beautiful landscape setting and striking by a special silhouette resulting from a succession of building volumes and the picturesque baroque-tinted façade. Front part consisting of an almost square nave of two bays under slate gable roof; is followed by the higher and wider hexagonal central building (choir in the end), capped by a slate tent roof topped by an elegant wooden roof with iron tower cross. Leaning against the back of the choir is the low rectangular sacristy under a half-hipped roof (slates). Anchored gable on shoulder pieces, horizontally articulated by three drip moldings and topped by an iron top cross. Dated 1641 on central facing stone: placed between the three framed oculi above the chapel door. This wide two-part round arch door is framed with imposts and drip molding. The door arch bears the inscription: "Consolatrix Afflictorum/ Ora pro nobis" while on the keystone the following "IHS/ MAR/ ANNA" refer to Jesus, Mary and Anna. Beautiful door on handles and with iron fittings. On the door broker the year of construction is repeated with the inscription "ANNO/ 1641". Door lights with balusters, interior shutters, an iron sacrificial slot and light grid. A small framed statue niche above the door is partly hidden behind a large statue of Our Lady of Seven Woes of polychrome wood (16th century) placed in front of it on console. This striking element is further accentuated by the wooden roof above with slate gable roof and decoratively carved wooden windboards. In both side facades, the two front bays are illuminated by a pointed arch window in profiled sandstone framing, under the roof overhang with roof sole on decorative wooden consoles. The central building (1710) shows, in contrast to the previous part of the chapel, a sandstone plinth, ditto corner tiles and a delineating profiled roof frame on tooth moulding (painted grey). Equipped with arched windows (four) in sandstone frames enriched with ears, drips, drip molding and a keystone ornamented with scrollwork and drop motif. Sacristy door on the west side in a renewed frame whose keystone shows the same decoration. Flanked at plinth height by two weathered facing bricks, left with still partly legible inscription: "I.F D.C??". Beveled façade corners.
Plastered and painted chapel interior with grey-painted window frames. A basket-arched wide arch on imposts separates the front part of the chapel under barrel vault from the central building; The six-part beam vault shows profiled ribs on rounded consoles. Two low wide wall niches in the front half of the central part, possibly formerly in function of confessionals. Wooden rood screen with staircase (18th century).
Mobilair: Modest neoclassical portico altar (19th century) of painted / marbled wood with flaming heart motif. Equipped in niche with upholstered statue (steel doll) of Our Lady of Seven Woes. Hanging wooden pulpit (third quarter of the 18th century) on the cockpit depicting the evangelists, back panel with Our Lady of Seven Woes. Banister with statuette of seated lion with coat of arms Waasmunster; Pelican figurine disappeared. Framed neo-Gothic Stations of the Cross (1890) painted on driven copper.
Series of four neo-Gothic, coloured stained glass windows representing the Seven Sorrows of Mary (19th century ?), restored in 1940-45 by Cesar Van Hevele.

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