The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution

This dissertation is an investigation of the hundreds of sacred sculptures that were installed in the most public places in Antwerp from their medieval origins to the end of the eighteenth century. The chronology, which is established in the accompanying catalog, makes clear that this process of ornamenting the city was a nearly continuous one. At the same time, it was always evolving in ways that paralleled the development of the city itself. This chronology brings to light many patterns that were based on longstanding traditions as well as many shifts and discontinuations that corresponded to both local and international events. These include Antwerp's sudden rise to the status of a world market, its subsequent fall, and its gradual recovery as a bastion of Counter Reformation Catholicism.;This investigation was guided by the following questions that have been raised by current scholarship. What are the particular characteristics of local religion in Antwerp and how did it change from the Middle Ages to the late Counter Reformation period? Where was the sacred located within the city limits and how are they distinguished with sacred sculpture? And finally given the early modern emphasis on public spectacle and the fact that these sculptures and civic rituals manifested in the same places, what is the exact relationship between these two coexisting phenomena?;Ritual and architectural theory are used to frame the most important discoveries because their emphasis on the specificity of its site and the larger cultural context greatly enrich our understanding of their importance. Rituals such as consecration ceremonies, pilgrimages, processions and Joyous Entries highlight the relationship between civic monuments and their users. From the sixteenth century on, the ancient and renaissance architectural treatises that became very popular in Antwerp also address the relevant issues of city planning and ornamentation. Over time, the patrons of individual sculptures represented every different type of organization in the city and each one contributed to the ever-evolving expression of civic identity.