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84 Route 8. TOURNAT. St. Quentin.
also interesting frescoes of scenes from the legend of St. Margaret (12th
cent.; generally covered). — The richly sculptured Rood Loft, which separ-
ates the choir from the nave, executed by Corn. de Vriendt in the Renais-
sance style, with alabaster statues of the Madonna and of SS. Piat and
Eleutherius, the two tutelary saints of Tournai, and marble reliefs from
the Old and New Testament, was erected in 1572. It is surmounted by a
large modern triumphal cross.
The stained glass of the CHorr by Capronnier is modern. The Gothic
reading-desk and brazen candelabrum are of the 45th century. To the
right of the 18th cent. high-altar is the *Shrine of the Virgin (Chasse de
Notre-Dame), a fine Jate-Romanesque work by cholas of Verdun (1205),
with scenes from the life of Christ; to the left is the *Reliquary of St.
Eleutherius, also late-Romanesque (1247), with figures of Christ, Apostles,
and Saints. Both these shrines are unfortunately too high up.
AMBULATORY. In the ist Chapel to the right of the rood-loft is a large
group in wood by Lecreux (p. 8d), representing St. eeehee! overcoming
Satan. In the 2nd Chapel, w hich is adorned with stained glass by Capronnter,
commemorating the Council of 1870, is a large picture by Rubens, Rescue
of souls from Purgatory, a bold composition but freely retouched. —
Behind the high-altar is a large monument of ca. 1800, with the names of
all the bishops and canons of Tournai; in the middle is an old figure of
Bishop Maximilian of Ghent, below are angels by Jérome Duquesnoy (?). —
2nd Chapel to the left of the rood-loft. Gothic tomb of the Cottrel family
(1880). — 6th Chap. Lancelot Blondeel, Scenes from the life of the Virgin.
The Treasury, in the rcoms opening off the ambulatory, includ
crucifix in ivory by J. Duquesnoy (?), an elaborate Byzantine reliquary-cross,
an ivory diptych of the 1ith cent., a fine psalter (14th cent.), and sadly
damaged tapestry by Pierot Feré of Arras (1402), with a representation of the
Plague at Tournai (1092) and scenes from the history of its patron-saints. —
In the passage leading to the Musicians’ Vestry are some interesting *Tombs
by local sculptors, including those of Nic. de Serclin (d. 1341), the jurist,
Jacques Isaac (a. 1401), the goldsmith, Tasse Saveris (d. 1426), and Jehan
dou Bos (d. 1438).
The Fausse Porte, the passage between the Cathedral and the
Episcopal Palace (Evéché) adjoining it on the W., contains the
chapel of the bishops (12th cent.). — In the Place de l’Evéché are
also the Archives (Pl. 4; B, 3) and the Public Library, containing
some valuable early printed works and MSS.
The triangular Granv’ PLacn (Pl. B, 3) in the centre of the
town is embellished with a Statue of the Princess d’ Epinoy (Pl. 16), in
bronze, designed by Dutrieux. The heroic lady is represented in
complete armour, with a battle-axe in her hand (see p. 82).
Built in among the houses on the N.W. side of the Place is
situated the ener of St. Quentin (Pi. B, 3), a remarkably elegant
structure, originally a Romanesque creation of the 12th cent., but
several times rebuilt (entrance at the back, to the left). There are
no aisles, but the nave expands into four apse-like chapels at the
transept. The ambulatory dates from the 16th century. The large
paintings (of little value) in the nave represent the Foundation of
the Order of the Trinitarians for the purpose of ransoming Christian
captives (1198), and the Battle of Lepanto (1571).
Near the W. corner of the Place, at Rue des Meaux 10, stands
the Grange de l’Abbaye St. Martin (now the Oafé des Brasseurs), a
tasteful Renaissance building of 1633. |