Gezicht op de Sint-Jan Baptist ten Begijnhofkerk, te Brussel 1727 - 1734

Jacobus Harrewijn made this print of the Begijnhofkerk in Brussels sometime between 1660 and 1732. We see the church and its surroundings from a bird’s-eye perspective, a visual strategy popular at the time for conveying a sense of order and control. What’s most striking is the way the print combines an idealized image of the church with a more realistic depiction of the city. The church is framed by an ornate cartouche, almost like a portrait, with a key identifying important architectural features. This elevated view contrasts with the broader cityscape, filled with bustling streets, houses, and gardens. Brussels, in this period, was part of the Spanish Netherlands, a region with strong Catholic institutions. The Begijnhofkerk, central to a community of religious women, played a significant role in the city’s spiritual life. Prints like these functioned as both records and affirmations of institutional power. Historians study such images alongside maps, civic records, and religious documents to fully understand the complex interplay of church, city, and society.