“Broeksele” and the Slaying of the Dragon by Saint Gaugericus

The origins of the Cathedral of St. Michael and St. Gudula and also that of the city of Brussels are shrouded in mystery and falsehood.

On the spot upon the Molenberg (Millberg), there was most likely a small chapel dedicated to Saint Michael. Legend has it that the chapel was built here by the Bishop of Cambrai (in France) Saint Gaugericus (550–619) after he had chased a dragon from its lair in today’s Poppegang (Impasse de la Poupée), just like how the archangel Michael slayed a dragon. The symbol of Saint Michael has thus became synonymous with Brussels as he came to be venerated as the patron saint of the city. Today, Saint Michael is featured around the city and on the city emblem.

Rather absurdly, Saint Gaugericus not only chased away a dragon in Brussels, he also built a church dedicated to himself on an island in the River Zenne.

Concretely, the earliest archeological finds under the Cathedral of St. Michael and St. Gudula can only be traced to later, between 8th and 10th century at the earliest. The chapel soon grew into a parish church as the community around it grew at the end of the 10th century.

This could be the earliest settlement here above the fertile marshlands later called “Warmoesbroek”(Beet Brook) where “broek” in Dutch means “marsh or swamp” rather than a stream. This gave birth to the place name “Broeksele” – “marsh settlement”, which evolved into today’s name of Brussels.

The Coming of Saint Gudula

In 1047, a chapter of twelve canons was founded in this church of Saint Michael by the Count of Leuven Lambert II and his wife Oda of Verdun. The Count also transferred the relics of Saint Gudula of Brabant (646–712) from the Saint Gaugericus’ Church (the one on the island) to this church, which elevated it to the Collegiate church dedicated to both Saint Michael and Saint Gudula, under the patronage of the cathedral of Cambrai.  In 1072, most likely due to a fire, the church was reconsecrated. It was only in 1073 that the church gain full independence with archdeaconry rights over the territory of Brussels.

300 years of construction

The Brabantine Gothic church you see today took around 300 years to complete over three major construction campaigns, progressively built from east to west, from the 13th to the 15th century.

The first important construction campaign in the 13th century. Henrik I, Duke of Brabant, ordered two round towers to be added to the church. In 1226, Henrik II ordered the church to be rebuilt following the Gothic style that grew popular in northern France. The choir was constructed between 1226 and 1276. Progressive construction of the low parts of the choir enclosure and the two eastern choir bays, with the ambulatory, alternating five radiating chapels and the so-called “chapel of the lord of the castle” (northeast transept chapel), behind the Romanesque choir. Then the high parts of the choir enclosure and the two eastern choir bays. Finally, construction of the western choir bay with the corresponding bay of the ambulatory, and the eastern transept walls, after demolition of the Romanesque choir. The whole completed in the course of the third quarter of the 13th century.

Second important construction campaign took place from the end of the 13th to the third quarter of the 14th century. Completion of the southern transept after demolition of parts of the Romanesque transept and the aisle, before the end of the 13th century. Subsequently, reconstruction of the south side of the nave from the transept, while retaining the Romanesque nave and west building, completed around 1345-1346. During this phase, the five eastern columns and arches of the nave, the four eastern bays of the aisle and the five eastern side chapels, the penultimate column of the nave and the corresponding clustered pillar between the two western side chapels were completed. Shortly before 1327, the start of the reconstruction of the northern transept and the same parts of the north side of the nave, together with the high parts of the nave either vaulted or under a temporary roof, completed before 1372. The remaining parts of the Romanesque transept and nave disappeared during this phase.

Third major building campaign in the last quarter of the 14th and 15th centuries. Further completion of the two western bays of the southern aisle and side chapels, completed around 1403. Beginning of the narthex with base of the towers and platform, and completion of the two western bays of the northern aisle and side chapels, completed around 1410. Construction of the baptistery in the armpit of the northern transept and aisle around 1415. Construction of the two missing columns of the central nave, vaulting of the fifth and penultimate bay of the aisles, and completion of the high parts and the vault of the central nave, accompanied by demolition of the Romanesque west building, started after 1415 and completed in 1443. Further construction of the west facade, progressed in 1435 at the height of the central window, and the towers. The south tower was completed in 1451, the north tower in 1475 or 1480. Complete finishing of the last side chapels and possibly the chapel facades in the course of the last quarter of the 15th century.

Various modifications and extensions continued to take place from the 15th to the 18th century.

• Construction of the first Sacrament Chapel between the two northern radiating chapels in 1436-1438, demolished in 1533.
• Construction of the southern portal in the course of the last quarter of the 15th century, with a roof section completed in 1499, modified in 1538, 1725 and 1819.
• Construction of the so-called “Sauvage Chapel” between the two southern radiating chapels ca. 1518-1522, demolished ca. 1651.
• Construction of the current chapel and sacristy of the Holy Sacrament of Miracle in 1534-1540, on the site of the former north transept and radiating chapels.
• Construction of the chapel and sacristy of Our Lady of Liberation in 1649-1655
• Construction of the Maes chapel on the site of the former Holy Magdalen chapel or «Slabbaertschoor» probably built around 1672-1675.

The Monumental Pulpit from Leuven

The most eye-catching item once you enter Brussels’ Cathedral of St. Michael and St. Gudula has to be the monumental pulpit sculpted by Hendrik Frans Verbrugghen (1654-1725). Towering at 7 metres, this ornate work of art features intricate scenes of Adam and Eve chased from the Garden of Eden and a victorious Virgin Mary with Infant Jesus who had just slayed a serpent.

When he visited the cathedral, French writer Victor Hugo was so moved by the pulpit that he wrote to his wife about it:

“C’est la création tout entière, c’est toute la philosophie, c’est toute la poésie, figurée par un arbre énorme qui porte dans ses rameaux une chaire, dans ses feuillages tout un monde d’oiseaux et d’animaux, à sa base Adam et Eve chassés par l’ange triste et suivis par la mort joyeuse et séparés par la queue du serpent, à son sommet la croix, la Vierge, l’Enfant Jésus et sous le pied de l’enfant la tête du serpent écrasée. Tout ce poème est sculpté et ciselé à plein chêne de la manière la plus forte, la plus tendre et la plus spirituelle.”

Yet the pulpit was not made for the Cathedral of St. Michael and St. Gudula. Commissioned by the rich and powerful Jesuits, its original home was the church of the Jezuïetenklooster (Monastery of the Jesuits) in Leuven. After the order was banned in 1773 by Habsburg Emperor Jozef II, the pulpit was transferred to Brussels.

When you visit the Sint-Michielskerk in Leuven today, you can very well see how this monumental pulpit fits the grandiosity of the Jesuits’ church.

The Twelve Apostles

At the beginning of the 17th century, many churches here in the Netherlands placed rows of apostles on the pillars along the naves. Although many were destroyed over time, only a few were preserved. In Brussels, miraculously, three sets of apostles remained intact, namely in the Cathedral of St. Michael and St. Gudula, in the Onze-Lieve-Vrouw-ter-Kapelle-kerk (Church of Our Lady of the Chapel) and in the Onze-Lieve-Vrouw-ten-Zavel-kerk (Church of Our Lady of the Sablon).

The ones in the Cathedral of St. Michael and St. Gudula were produced by the hands of Brussels sculptor Hieronymus Duquesnoy the Younger (1602–1654).

The Discovery of the old Romanesque church

The foundations and plinth of the west building of the old Romanesque church, which dates back to around 1200, were exposed in 1937 under the current nave during renovation works. Parts of the former west facade, outer walls and pillars of the nave and parts of the transept, which date back to the 11th century, were excavated in 1987-1988. This excavation campaign has been continued in the choir since 1991, during which the crypt of the Romanesque church, preserved up to a height of 2 metres and also dated bacchk to the 11th century, has been exposed so far.

The older, three-aisled nave, with six bays and square pillars, and the walls of the straight transept arms show a rougher construction of irregular Lede stone blocks. The same applies to the crypt, probably dedicated to Saint Gudula, from the same building campaign, which was located under the high choir. This higher choir, founded on the crypt and probably with the same floor plan, disappeared completely in the 13th century.

Graffiti from the 11th and 13th centuries were found in the latter apse and in the west building, featuring caricatures of people, scribbles, a dog and a rose.

The foundations of the Romanesque church break through a necropolis with tombs dating from the late 8th century to the early 11th century, belonging to the earliest origins of this site!

The discovery of the crypt also unveiled the tomb of Duke Jan II of Brabant (27 September 1275 – 27 October 1312).

Anti-Semitism and the Chapel of the Sacrament of the Miracle

In the chapel where the cathedral museum and treasury now stand used to be known as the Chapel of the Sacrament of the Miracle, until the second world war. In this chapel is a bronze plaque unveiled by Cardinal L.J. Suenens explaining the wrongs of the so-called miracle.

In the 14th century, the situation for Jews in Europe, including Brussels, was rapidly deteriorating. During the plague epidemic of 1348-50, penitent preachers known as flagellants, called for the persecution of Jews. In Brussels, this led to a massacre with more than 600 deaths. On that occasion, there was also a ‘confession’ about the desecration of hosts. The accused was a converted Jew who was close to the Duke. He was said to have been baptized in order to obtain consecrated hosts and send them to the synagogue in Cologne. Three Jews cut them with knives, after which blood welled up. According to chronicler Gilles Li Muisis (1272–1352), the tortured Jew was then convicted and burned.

Again in 1370, the persecution continued.

According to the story, Jonathas, a wealthy Jew from Enghien, convinced his fellow believer Jan van Leuven from Brussels to steal hosts from the Saint Catherine’s Chapel in Sint-Jans-Molenbeek. Jonathas brought the sixteen hosts to his house in Enghien, but was murdered there by unknown persons. His widow saw this as a heavenly punishment and brought the hosts to the Jews of Brussels. In their synagogue, they stabbed the hosts with daggers on Good Friday. However, their hands became covered in blood that miraculously emerged from the profaned hosts. Extremely dismayed, the Jews of Brussels ordered one of them, Catherine, to bring the hosts to the Jews of Cologne. However, Catherine became frightened, took the hosts to the pastor of the Onze-Lieve-Vrouw-ter-Kapelle-kerk (Church of Our Lady of the Chapel), Petrus Van Heede, and confessed what had happened.

The pastor called in the courts. The Jews were arrested and locked up in the Steenpoort. There were six accused: four from Brussels and two from Leuven. They were interrogated, tortured, and sentenced to death. On the day before Ascension Day, May 22, 1370, the condemned were driven around on a cart, including on the Grote Markt and at the Saint Catherine’s Chapel. On every street corner, they were beaten with red-hot pincers. At the Wollendriestoren, they were tied to stakes and burned alive. Their possessions were confiscated by Duke Wenceslaus.

The guilt of the Jews was never proven. The persecution of 1370 put an end to the already scarce presence of Jews in Brabant. While there was no official banishment, Jews avoided the Duchy of Brabant.

Even before the execution, a dispute had arisen between the Collegial Church of St. Michael and St. Gudula and the Onze-Lieve-Vrouw-ter-Kapelle-kerk (Church of Our Lady of the Chapel) over the possession of the “miraculous hosts”. After a complaint by the canons of the collegial church, Robert of Geneva the Bishop of Cambrai, ruled in their favor (charter of June 4, 1370). Ultimately, however, a division of the miraculous hosts was agreed upon.

The bloody hosts (most likely red from mould) increasingly took on the character of a national relic. In 1530, Margaret of Austria permitted the people of Brussels to carry the miraculous hosts in their processions. It would continue to take place every Sunday after 13 July (until 1820)! After a canonical investigation at the request of the Cambrai bishop Pierre d’Ailly, the bleeding of the hosts was recognized as a miracle by the church in 1402. Some time later, new miracles occurred with the host relics. This led Pope Eugene IV to grant indulgences in 1436 for the construction of a chapel of the Sacrament of Miracle in the Collegial Church of St. Michael and St. Gudula in 1530-1542. Habsburg Emperor Charles V and his relatives donated seven stained glass windows depicting the miracle. Four of them have been preserved. The other stained glass windows in the side and transepts would later be donated by King Leopold I and Leopold II.

The miracle story became part of the Counter-Reformation propaganda. This was done, among others, by the Archdukes of the Netherlands Albrecht and Isabella, who had themselves buried in the chapel. In 1670, ten large triumphal arches were erected to stage the legend. In 1720, the Brussels canon Pierre de Cafmeyer published a bilingual work on the miracle: “Hooghweirdighe historie van het alder-heylighste Sacrament van Mirakel” (Vénérable Histoire du très Saint-Sacrament de Miracle). His book contained 20 engravings after existing paintings about the miracle. The Brussels studio of Van der Borght made six tapestries (1770-1785).

In the now-disappeared street Stuiversstraat, was a chapel called Salazarkapel. The original chapel was built by Gillis Van den Berghe in 1436 as part of his imposing mansion int he corner of Stuiversstraat and the Twaalfapostelenstraat. On the facade of this chapel, was a direct reference to the bloody hosts: a chalice with hosts and crossed daggers. Between 1735 and 1785, the chapel took on the new neo-classical appearance and the bas-relief was removed. But this chapel remains today as the Verrijzeniskapel (Resurrection Chapel), also known as the Europakapel. It was moved to the Van Maerlantstraat and serves as the library of the European Commission.

In 1967, the Jewish community of Belgium asked the head of the archdiocese of Mechelen-Brussels, Cardinal Suenens, to remove the images of Jews in the stained glass and paintings in the Cathedral who were accused of dishonouring the holy hosts. The cardinal refused. However, in 1977, a bronze plaque was placed in the cathedral admitting the “tendentious nature” of the accusation.

Today, the chalice that used to hold the “miraculous hosts” still stands but contains nothing.

The Great Restoration Project

The Cathedral of St. Michael and St. Gudula is really what you see is what you get. The cathedral has very much retained most of its appearance and size since the 15th century despite the waves of turmoil the city has experienced.

But for such an old building, the cathedral had to undergo a major restoration campaign from 1825 to 1900.

At the beginning of the 20th century, the 17th-18th century outbuildings and adjoining structures like houses were demolished. General restoration started under the direction of architect Tilman-François Suys in 1839, starting with the western facade and towers, which were completed in 1844. Installation of 68 niche statues (saints and Brabant sovereigns) in limestone by sculptors F. Dumortier, A.J. Feyens, Mandreau, E. Marchant, P. Puyenbroeck and J.-L. Van Geel. Restoration campaign continued from west to east after 1844, starting with the southern aisle, also including the installation of niche statues. Choir section at least started in 1860 under the direction of architect H. Raeymaeckers, at least from 1869 under the direction of architect L. De Curte, completed in 1879. The high choir, the Chapel of Our Lady, the Chapel of the Holy Sacrament and the ambulatory were tackled in succession.

The monumental staircase complex of the west facade, started from 1843, executed to a design by architect F. Coppens in 1860-1861. The construction of the north portal to a design by architect L. De Curte from 1879, executed in 1881-1888. The liberation of the eastern side, restoration of the former sacristies of the Chapel of Our Lady and the Chapel of the Holy Sacrament and of the Maes Chapel, and construction of a new sacristy, under the direction of architect J. Caluwaers in 1905-1908.

The Gothic Staircase

The monumental gothic staircase which you see today in front of the cathedral was designed by Pieter Paul Merckx. It was only placed there in 1702–1707.

Originally, the staircase was built against the city walls to provide access to the promenade on the stretch between the Lakensepoort and the Schaerbeeksepoort.

The Cathedral of St. Michael and St. Gudula only became a cathedral in February 1962. In fact, it is a co-cathedral, sharing the status with Mechelen for the Archbishopric of Mechelen–Brussels.

It is also the national cathedral of Belgium, where royal weddings and state funerals are held.

Brussels, the Dragon’s Lair

Legend has it that Saint Gaugericus chased a dragon from its lair (possibly slayed it) and thus freed the people of Brussels in order for them to thrive and grow into a real city. The dragon’s lair was supposed in a street now known as the “Poppegang” (Impasse de la Poupée) – Puppet Alley, a name which it now takes only after 4 May 1853.

Before that, this was known as the “Draeckenganck” or “Draeckstraetien” – Dragon Alley – since the 18th century. Where does this name come from? There was a house in the 17th century known as “den Cleijnen Draeck” – the small dragon, after which another house was built known as “Den Eyseren Draeck” – the Iron Dragon where an iron dragon was hanging from its facade. To link this alley to Saint Gaugericus is a bit of a stretch.

Sources:

Vannieuwenhuyze, B. (2011) “Brussel, de Ontwikkeling van een middeleeuwse stedelijke ruimte.” Amsterdam: Amsterdam University Press.
Henne, A. Wauters, A. (1845) “Histoire de la ville de Bruxelles. Volume I-III” Brussels: Librairie Encyclopédique de Périchon.
https://nl.wikipedia.org/wiki/Kathedraal_van_Sint-Michiel_en_Sint-Goedele https://en.wikipedia.org/wiki/Cathedral_of_St._Michael_and_St._Gudula https://fr.wikipedia.org/wiki/Cath%C3%A9drale_Saints-Michel-et-Gudule_de_Bruxelles https://monument.heritage.brussels/nl/buildings/30595 https://historiek.net/sint-michiel-in-het-brusselse-straatbeeld/8150/ https://www.bruzz.be/videoreeks/midden-de-middeleeuwen/video-midden-de-middeleeuwen-10-de-oudste-ruimte-van-de https://www.srab.be/St-Michel-et-Gudule2.html https://www.cathedralisbruxellensis.be/nl/geschiedenis/ https://fr.wikipedia.org/wiki/Impasse_de_la_Poup%C3%A9e https://www.kikirpa.be/nl/erfgoedobjecten/de-preekstoel-van-de-kathedraal-van-brussel https://www.cathedralisbruxellensis.be/nl/geschiedenis/ https://nl.wikipedia.org/wiki/Sacrament_van_Mirakel https://fr.wikipedia.org/wiki/Impasse_de_la_Poup%C3%A9e

1. Unknown. (1468) “Miniature of Margaret of York praying in front of the Saint Gudula church of Brussels” KBR (image)
2. Unknown. (1480) “Master of the View of Saint Gudula – The Preaching of Saint Gaugericus” Musée du Louvre (image)
3. Unknown. (1600-1699) “De collegiale kerk van Sint-Michiel en Sint-Goedele” Broodhuis (image)
4. Puteanus, Erycius. (1646) “Bruxella, incomparabili exemplo septenaria” (image)
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6. Sanderus, Anthonius (1726-1727) “Basilica Bruxellensis SS.Micheaelis et Gudulae” Chorographia Sacra Brabantiae (image)
7. Martin, Andreas. (before 1762) “De Sint-Michielskerk” Museum NBB (image)
8. De Doncker, V., Bertauts, V.,  Géruzet, J. (1850-circa 1852) “Buitenaanzicht van de Kathedraal van Sint-Michiel en Sint-Goedele tijdens de uitvaartdienst van Hare Majesteit de Koningin” Musea Brugge (image)
9. Hendrickx, Bertauts, V.,  Géruzet, J. (1850-circa 1852) “Binnenaanzicht van de kerk van Sint-Michiel en Sint-Goedele tijdens de uitvaartdienst van Hare Majesteit de Koningin” Musea Brugge (image)
10. Stroobant, François. (1857) “Portail latéral de l’église de Sainte Gudule à Bruxelles” (image)
11. Unknown. (1885-1900) “De façade van de Sint-Michiel-en-Sint-Goedelekathedraal in Brussel” Rijksmuseum (image)