Sint-Stevenskerk

Gazing at Sint-Stevenskerk, a peculiar tale unfolds. This isn’t just any church. It’s a testament to a bygone era, a time when monks navigated tunnels beneath the streets. Sint-Stevenskerk, once part of a Minim friars’ monastery, stands at the crossroads of history. Its construction began in 1700, reaching completion in 1715. The design, possibly by Willem de Bruyn, reflects a transition from Baroque flamboyance to Neoclassical restraint. Notice the unfinished tower, a silent witness to plans gone awry. Sint-Stevenskerk’s interior, largely 19th-century, houses treasures like paintings by Jan Cossiers, including “Engelbewaarder” (Guardian Angel) and “Huwelijk van Maria” (Marriage of Mary). A striking white marble altar, originally from Heylissem Abbey, graces the sanctuary. Above, a dome crowns the crossing, its acoustics legendary. The oldest organs in Brussels, dating back to 1680, resonate within these walls. Originally created for the Begijnhofkerk, these instruments found their home here in 1807 after a brief stay in Leuven. Look closely at the walls. Inscriptions in Greek, Latin, and Hebrew, added during the Jubilee year 2000, proclaim words from the Book of Revelation. Sint-Stevenskerk’s history is intertwined with the Minim friars, the last mendicant order to establish themselves in Brussels. Arriving from France in the early 17th century, they built their monastery, partially on land once occupied by brothels, ironically transforming a place of vice into a sanctuary of faith. They even built a tunnel to their brewery across the street, perhaps to avoid the less savory elements of the neighborhood. The monastery, sadly, is no more, demolished in the 20th century to make way for the Athenée Robert Catteau. But Sint-Stevenskerk remains, a resilient echo of the past, inviting us to explore its rich and layered story.