St. (Sint) Salvator Cathedral, the main church of the Bruges, is one of the few buildings in Bruges that have survived the onslaught of the ages without damage. Nevertheless, it has undergone some changes and renovations. This church was not originally built to be a cathedral; it was granted the status in the 19th century. Since the 10th century the Sint-Salvator was a common parish church. At that time the Sint-Donaaskathedraal (St. Donatian's Cathedral), which was located at the very heart of Bruges, opposite of the town hall, was the central religious building of the city. At the end of the 18th century the French occupiers of Bruges threw out the bishop of Bruges and destroyed the Sint-Donaaskathedraal, which was his residence.
In 1834, shortly after Belgium's independence in 1830, a new bishop was installed in Bruges and the Sint-Salvator church obtained the status of cathedral. However, the building's external image did not resemble a cathedral. It was much smaller and less imposing than the nearby Onze-Lieve-Vrouwekerk and had to be adapted to its new role. Building a higher and more impressive tower was one of the viable options.
The roof of the cathedral collapsed in a fire in 1839. Robert Chantrell, an English architect, famous for his neo-Gothic restorations of English churches, was asked to restore to Sint-Salvator its former glory. At the same time he was authorized to make a project for a higher tower, in order to make it taller than that of the Onze-Lieve-Vrouwekerk. The oldest surviving part, dated from the 12th century, formed the base of the mighty tower. Instead of adding a neo-Gothic part to the tower, Chantrell chose a very personal Romanesque design. After completion there was a lot of criticism and the royal commission for monuments, without authorization by Chantrell, had placed a small peak on top of the tower, because the original design was deemed too flat. The Neo-Romanesque west tower is fortress-like 99 meters high.
The Sint-Salvator Cathedral's 101-meter-long interior contains some noteworthy furnishings. It currently houses many works of art that were originally stored in its destroyed predecessor, the Sint-Donaaskathedraal. The wall-carpets that can be seen when entering the church were manufactured in Brussels by Jasper van der Borcht in 1731. These were commissioned by bishop Hendrik van Susteren for Sint-Donaaskathedraal. Sint-Salvator also has the original paintings that served as models for the wall-carpets, which make quite a unique combination. In the choir the original 16th century podium can still be admired.References:
The Arch of Constantine is situated between the Colosseum and the Palatine Hill. It was erected by the Roman Senate to commemorate Constantine I's victory over Maxentius at the Battle of Milvian Bridge in 312. Dedicated in 315, it is the largest Roman triumphal arch. The arch spans the Via triumphalis, the way taken by the emperors when they entered the city in triumph.
Though dedicated to Constantine, much of the decorative material incorporated earlier work from the time of the emperors Trajan (98-117), Hadrian (117-138) and Marcus Aurelius (161-180), and is thus a collage. The last of the existing triumphal arches in Rome, it is also the only one to make extensive use of spolia, reusing several major reliefs from 2nd century imperial monuments, which give a striking and famous stylistic contrast to the sculpture newly created for the arch.
The arch is 21 m high, 25.9 m wide and 7.4 m deep. Above the archways is placed the attic, composed of brickwork reveted (faced) with marble. A staircase within the arch is entered from a door at some height from the ground, on the west side, facing the Palatine Hill. The general design with a main part structured by detached columns and an attic with the main inscription above is modelled after the example of the Arch of Septimius Severus on the Roman Forum.