The Kloosterkerk (or Cloister Church) was originally a monastery first built for the Dominicans in The Hague in 1397. A thriving new center of arts was established in The Hague by the Court of Albrecht of Bavaria (1336–1404) and his second wife Margaret of Cleves. Some known artistic products to have been produced in this period are an important illuminated manuscript, the Hours of Margaret of Cleves commissioned between 1395-1400, and the visually similar Biblia pauperum.

In 1420 a fire raged through the monastery, but serious renovations are not recorded until the church's southern transept was added in the beginning of the 16th century. The church was expanded around 1540 with an enlarged aisle and side chapels. The center barrel vaulted aisle is 20 meters high and 11.5 meters wide. The worship space became a pilgrimage church, where people could visit and pass through, while services were being held in the central aisle or nave. At this time the church was also dedicated to St. Vincent, a Valencian Dominican missionary who was canonized in 1455.

The church was stripped of Catholic decorations during the beeldenstorm (iconoclasm of 1566). A number of monks lived on for a few more years, but in 1574 the last few monks left. After being abandoned for 12 years, the church had deteriorated and some suggested to tear it down. In 1588 a cavalry company seeking shelter settled in the former church. The following year the church and choir were made into a cannon foundry for the States of Holland and West Friesland. The choir was used as a foundry and the church served as a munition store with the two walled off from each other. On November 3, 1690, the ammunition stored in the church exploded leaving only one wall of the monastery remaining. The monastery then temporarily served as a hospital. In 1583 most of the monastery was demolished, though the church remained.

A part of the building became a church again in 1617 after remonstrants had successfully 'squatted' it. In 1620 a mechanical clock was added to the tower, made by Huyck Hopcoper. For the centuries to follow the church was used for Dutch reformist worship with the pulpit standing against the north wall. Throughout the 17th century, the burial of people in the church brought money and numerous hatchments. Most walls and columns were covered with hatchments, with the graves predominantly in the choir.

Rosettes in the ceiling are attributed to Gerhard Jansen (1868–1956). Other furnishings include a pulpit of oak with Flemish carvings, circa 1700. Carvings on the pulpit show the Four Evangelists. Stained glass windows throughout the church are attributed to Lou Asperslagh (1893–1949). The first liturgical service of the Dutch Reformed Church was held in the Kloosterkerk in 1911 and an impending demolition avoided in 1912. For the next two years the dilapidated church building was restored. Subsequent improvements include restoration of furniture brought from the former Duinoord Kloosterkerk; and the wall between the nave and choir was removed. In 1966 an organ by Danish organ builder Marcussen was installed.

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Founded: 1397
Category: Religious sites in Netherlands

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George On tour (2 years ago)
The Kloosterkerk is a church on the Lange Voorhout in The Hague, Netherlands. The church and its accompanying monastery were first built in 1397. The church is known today as the church where Beatrix of the Netherlands occasionally attends services
Halcyon Flowers (2 years ago)
Googled for English church near me but found the Good Friday service entirely in Dutch. The choir was wonderful though. They sang in Latin. A good start to the Easter weekend.
tamilew329 (3 years ago)
The Kloosterkerk is one of the emblematic buildings in The Hague and is a must see. This church is a protestant community that worships here each Sunday. The community is also involved in artistic initiatives, periodically offering photo and art exhibitions. They also hold choir and organ concerts. The multi-church mid week service takes place here every first and third Wednesday at 12:45. Music is played by church musicians or other invitees during the lunch pause moment. The church is open to the public on Monumenten Dag and they offer interesting activities such as learning Gregorian chant techniques. Worth a visit even if only to admire the vaulted ceiling and the stained glass windows with the twelve apostles.
徐慧民 (3 years ago)
很有質感的教堂
Henk sjoel liefhebber. V/d Broek (3 years ago)
weet niet zo veel over de klooster kerk.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.