Saint Gummery

The St. Gummarus church is a chapter church because it was linked to a chapter of canons. These had their seats in the chancel. The parishioners were seated in the nave. Between nave and chancel was an organ loft for members of the choir and the organ. There was also a platform with a pulpit. From afar the organ loft in late gothic style resembles a mass of stone lace. On closer inspection we detect 16 Stations of the Cross, patron saint St. Gummaris, the evangelists and the church Fathers.

Admired since the late 15th century, this clear window, lit by the midday sun, shows the coronation of the Virgin by the Holy Trinity. A blue and white cloud medallion surrounds the grisaille scene, echoing the style of Flemish Primitives like Van der Weyden and Bouts. Restored in the 19th century by J.-B. Capronnier, it also bears a verse from the Song of Solomon: “Come from Lebanon, my bride, and be crowned.”

Yearly the 800kg heavy St. Gummarus shrine is carried in procession through the streets of Lier by the Society of Bearers. It normally rests in the chancel, and the relics of the saint are kept in the altar devoted to St. Gummarus. On four sides of the silver shrine scenes from the legends of St. Gummarus are depicted. On the top is a silver tree. The shrine was made in the 17th century by silversmith Wierick Somers II.

Before leaving on his pilgrimage to the Holy Land, Joris Colibrant commissioned this triptych, though he died on the journey and never saw it. His grandson, Goossen Van der Weyden, illustrated the seven joys and sorrows of the Virgin Mary: the Annunciation on the left panel, the marriage of Mary and Joseph in the center, and Jesus’ presentation in the temple on the right, adding symbolic depth beyond mere realism.

On this finely woven cloth the front and back of the dead body of Christ are painted. It looks as if Christ was lying on the cloth which was then folded over his head. The original Shroud is three times larger than this copy but has been severely damaged by fire. The name of the maker remains a mystery. The cloth was the property of Margaretha of Austria and her chevalier d’honneur donated it to an abbey in Lier. After many years the copy was finally shown to the parishioners.

Like many late 16th century artists, Maarten De Vos traveled to Italy and absorbed Renaissance ideas. In his Last Supper, he introduces classical columns and mythological motifs reflecting this revival. The scene highlights Christ’s human suffering and the apostles’ growing indifference, foreshadowing His moral agony in the Garden of Olives.