St. Peter and Paul Church

* Saint Peter and Paul Square, no number. Parish Church of Saint Peter and Paul. Protected as a monument by Royal Decree of 30/12/1960. Westward-oriented neo-Gothic place of worship of basilica type with two large towers to the east and west and a mortuary chapel, known as the Queen Chapel, erected in memory of Louise-Marie of Orléans (1812-1850), the first Belgian queen and mother of Leopold II. Located on the west side of the square and to the east of the *Saint Peter's Tower. Built to replace the earlier church of the same name (15th century - 18th century) which was destroyed in the fire of 1896 and was located to the west of the current one. Constructed as a prestigious "cathedral" on behalf of King Leopold II and designed by architect L. Delacenserie (Bruges) from 1901 to 1905. Here reduced scale of a classical high Gothic cathedral, particularly due to the east towers, which in the original design were 84 m high but were later - probably for financial reasons - brought down to 72 m. Design inspired among others by the "ideal plan" for a cathedral by E. Violet-le-Duc, the neo-Gothic Votivkirche in Vienna (1856-1879, designed by architect Ferstel) regarding the western orientation and compressed proportions (including towers); also based on the neo-Gothic Our Lady Church in Laeken (1854-1872, under the direction of J. Poelaert) regarding the Queen Chapel for Queen Louise-Marie. History. 1901: symbolic first stone laid by Leopold II although the building was already 4 m above the ground. 1904: approval of the design for sculptures of transept pillars according to the design of P. Braecke (Nieuwpoort) and for the façade according to the design of J.B. Van Wint (Antwerp), as well as the design of the Queen Chapel. Modification of the triforium tracery design. 1905: solemn consecration of the church on September 4; approval of the design for confessionals and stained glass windows, including those by J. Dobbelaere (Bruges) and A. Ladon (Ghent). 1907: completion of the towers and surrounding park. 1908: approval of the design for the high altar and organ. 1909: death of architect L. Delacenserie. 1910: approval of stained glass for the Queen Chapel according to the design of A. Ladon. 1914-1918: damage to the church including to stained glass, north portal and wrought iron enclosure of the chapel. 1936: installation of a new wrought iron gate at the entrance of the Queen Chapel by L. Lenoir (Bruges). 1940-1945: further war damage to the church, including to stained glass and organ. 1954: renovation of the organ under the leadership of J. and P. Loncke (Esen). 1960-1975: installation of new stained glass windows by M. Martens (Bruges). 1973: decision for phased restoration under the direction of architect ir. P. Felix (Ostend), further continued in 1981 under the direction of architects' office Felix-Glorieux (Ostend). 1976-1980: restoration of the choir, Queen Chapel, sacristy, and transept. 1983-1991: repair works including to the towers to the east, rose window, spire, platform, and organ; installation of fire protection. From 1999 restoration of flying buttresses, roofs, and windows in the nave and transept. The floor plan unfolds a basilica cross church with monumental façade-wide eastern block of one bay and three eastern portals. Two embedded square towers to the east, north, and south flanked by octagonal corner towers. Three-aisled nave of four bays with octagonal baptistery to the south of the first bay. Slightly jutting transept with equal arms of two bays; portals in the northern and southern transept arms. Choir of two straight bays and one bay with five-sided closure. Storage rooms to the north and south with a sacristy at the south connected diagonally, which has an imbedded octagonal turret on its north side. To the west, six-sided Queen Chapel, adjoining the choir and connected to it by a corridor of three half bays. Building materials: facing of blue hard stone from Moha and Vinalmont alternated with pink sandstone from Andenne. Slate roofing; diamond-shaped pattern on the roof of the nave and baptistery to the southeast. Nave, transept, and choir under lightly bent gable roofs, with an octagonal spire with openwork tip at the crossing; side aisles under mono-pitched roofs. To the south, the sacristy under a hipped roof. Exterior. A sloped terrace in front of the east façade, enclosed by a stone balustrade between pedestals at the height of the entrances; to the north, east, and south serve this as a base for wrought iron lanterns. Eastern block: 3 bays marked by buttresses, whether or not stacked with casements; two façade-wide sections lined by balustrades and cordons, central gable flanked by continuous corner towers with additional bell floors, lantern and openworked stone tip adorned with finials and a cross flower at the top. Central east entrance flanked by two columns on pedestals, upon which originally stood two statues in a neo-Gothic chapel (St. Livinus and St. Stephen). Main portal: coupled arched doors in profiled framing, between which on a colonnet stands a statue of Madonna with child. Three-pass and net tracery in a simply pointed arched portal tympanum whose archivolts feature cross flowers. Flanking buttresses with niches on the left St. Peter and on the right St. Paul. Side portals like the main portal but simpler and with three lights in the portal tympanum. Commemorative stones to the left and right of the main entrance refer to the laying of the first stone, with the inscription: "UNDER THE PONTIFICATE OF LEO XIII, THE REIGN OF LEOPOLD II, WHEN G. WAFFELAERT WAS THE 22ND BISHOP OF BRUGES, COUNT DE SMET DE NAEYER FIRST MINISTER OF THE KING, VAN DEN HEUVEL MINISTER OF JUSTICE, COUNT D'URSEL GOVERNOR OF WEST FLANDERS, UNDER PASTOR-DEAN DECANNIÈRE, MAYOR A. PIETERS, THIS STONE WAS LAID BY THE KING AND QUEEN ON AUGUST 5, 1901 …". Second section marked by a centrally large pointed arched niche with archivolts; large rose window above pointed arch windows with three-pass tracery. Side bays with blind windows; inscribed stone tracery in pointed arched niches under simple gables. Nave and side aisles. Characteristic combination of supporting and enclosing elements cf. Gothic in neo-Gothic execution. Rhythm through buttresses connected by balustrades and adjoining flying buttresses. Pointed arched two, three, and four lights with nearly uniform tracery; more elaborated six lights in the transept gable ends. Under spire crowned baptistery to the southeast. Accentuated north and south portals with pointed arch door in profiled framing and simple tracery in the arch field under gable with cross flower. Southern sacristy broken through by gables between which stone tips covered with finials and cross flowers; access with Tudor arch door in profiled framing above which is a niche with a statue of Madonna and child. Connected to southern transept and choir by storage space with flat covering finished with battlements; rectangular window openings with three-pass tracery. Crowned with a stone tip small turret. Queen Chapel Connected to the choir by a Tudor arch bridge above which a covered pointed arched gallery under a gable roof. Base with smooth stone surface on the west side, originally intended to be fitted with a bas-relief with inscription. Between cut buttresses lavish decoration including openwork gables, water spouts, statue niches, and pinnacles; three lights and five-pass tracery. Statues by J.B. Van Wint, depicting canonized queens. Stone dome with lantern under an openwork tip containing a bronze royal crown. Interior. Advanced neo-Gothic design with integration of modern techniques, including steel beams in the main and side aisles connected by a truss. Previously dark church interior due to, among others, darkly colored stained glass windows. Plastered interior finish with imitation of natural stone. Nave and transept with threefold elevations; pointed arched arcade with bundled pillars on an octagonal stone base. Triforium with two lights under three-pass arcade above which is a light aisle with four lights. Adjoining arches with foliage capital (in portal with animal figures) that support brick cross vaults; stone ribs provided with flower-shaped keystones. Choir with twofold elevation; at the bottom and top pointed arched two lights; centrally above one light with five-pass tracery. Adjoining to the choir access to the Queen Chapel with double staircase in platform form; aisle vaulted by means of wooden pointed stone vault. Chapel: marble colonnettes with foliage capital support star-shaped ribbed vault on pendentives. Originally planned but not executed mosaic cladding and angel motifs. Floor in marble mosaic; tubular heating behind copper grille. Furniture. Sculpture. Natural stone statues of the Evangelists (1901-1905) at crossing pillars designed by P. Braecke. Polychrome stone statues of St. Peter and St. Paul above the entrance to the Queen Chapel (ca. 1936). White stone Stations of the Cross in bas-relief designed by J. Gerrits (Antwerp). Quite sober neo-Gothic church furniture designed by L. Delacenserie. Originally service altar of which tabernacle cabinet (1913) finished according to the design of architect J. Viérin (Bruges), copper ornaments by J. Wilmotte (Liège); further finishing by P. Peeters (Antwerp). Later service altar made of oak from the first quarter of the 18th century, part of former communion rail from the Capuchin church, now set up in the first left bay of the nave. Side altars designed by Baeys (and P. Peeters?). Oak choir stalls designed by Baeys. Communion rails of stone and marble from Echaillon according to the design of J. Gerrits (Antwerp) (1905). Pulpit executed by P. Peeters signed at the base of the pulpit, made of marble from Ancy and blue hard stone. Oak confessionals (1904) executed by P. Dewispelaere (Bruges). Organ from 1907 according to the design of P. Schijven (Brussels); damaged in World War II and renovated in 1954 under the leadership of J. and P. Loncke (Esen). Commemorative plaque in base mentions musician Léandre Vilain, organist from 1890 to 1940. Copper baptismal font from the first quarter of the 20th century. Copper candlesticks by J. Wilmotte. In the northern transept arm: large engraved copper plate (1925) in white stone framing with relief decoration according to the design of P. Dewispelaere in memory of war victims. Stained glass windows designed by Michel Martens; figurative-abstract execution depicting apostles, historical figures, and local saints, scenes from the Old and New Testament and from the past of Ostend. In southern transept among others depiction of the Belgian royals and Queen Louise-Marie. Queen Chapel. Wrought iron enclosure from 1936 according to the design of L. Lenoir. Tomb (1855-1859) from the old St. Peter's Church signed according to the design of Charles-August Fraikin (Schaerbeek) made of white Carrara marble on a base of green veined marble. Triangular composition with the queen receiving psalm and crown of immortality from the hands of an angel, and a seated woman symbolizing the mourning city of Ostend. Stained glass windows with kingship as a theme and depiction of Christ. SECTION ROHM WEST FLANDERS, Cell Monuments and Landscapes, Archive numbers DW000227 and W/00477. ARCHIVE A.M.L.-VIOE IN BRUSSELS, Plans Fund Royal Commission for Monuments and Landscapes, province of West Flanders, Ostend, Saint Peter and Paul Church. DE MAEYER J. (ed.), The St. Lucas Schools and Neo-Gothicism. 1862-1914, Leuven, 1988, pp. 51-52. DUFLOU V., The Saint Peter and Paul Church, in The Guides Circle, 30, 1992, 3, pp. 2-16. ROOSE-MEIER B.; VERSCHRAEGEN H., Photo repository of the furniture of Belgian places of worship, Canton Ostend I, Brussels, 1977, pp. 26-30. VAN CLEVEN J.-VAN TYGHEM F., Neo-Gothicism in Belgium, Tielt, 1994, pp. 140-141.

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