View into the Ambulatory of the St. Bravo Church in Haarlem

Saenredam was one of the first Dutch painters to specialise in depicting churches, especially church interiors. His works are based on exact preliminary studies, designed according to the laws of perspective, and provide a precise depiction of the situations that he found. For the painting in Berlin, an interior view of the late Gothic church of Sint Bavo in Haarlem, built between 1370 and 1520, two preliminary drawings exist (Haarlem, Gemeentearchief, and London, Courtauld Institute of Art, Witt
Collection). This basilica, with its nave and two aisles, was also commemorated by Saenredam from other viewpoints. Standing in the transept, the viewer looks east to the south choir ambulatory. The six bays that support the cross-ribbed vaulting are shown with round piers and half-columns. Cool light falls through three tall lancet windows with white glass and Gothic tracery at the top. Saenredam has shifted the arch at the entrance to the ambulatory slightly to the left of the axis of symmetry. It is cropped by the upper edge of the picture, underlining its monumental effect and framing the composition through its position in the foreground.
Cleared of all visual and architectural adornment since becoming a Reformed church in 1578, the whitewashed building generates its effect entirely through its architectural forms and the play of light and shade. This applies particularly to the vaulting zone, where the deep squinches between the crossed ribs produce strong contrasts of dark and light, dissolving the space into abstract geometrical shapes. These are the artistic means that constitute the core of Saenredam’s creative work. Crystalline, graphic clarity and a reduced colour scale with finely nuanced shades of white, grey and yellow, for which gold dust was sometimes used, are characteristic features of his oeuvre. In this way the artist lent simple but at the same time differentiated effects of lighting to church interiors, as if the architecture radiated from within. The only decorative elements are the two memorials, one attached to a pier and one to a half-column, and two gilded candelabra. An organ of dark wood, forming a strong contrast to the bright surfaces of wall, is installed between two bays on the outer wall. On its balustrade, the artist has added his clearly visible signature “P. Saenredam fecit”. To complement this, the date “P[ieter]S[aenredam] A[nno] 1635” can be seen at the foot of a pier in the right-hand corner at the front.
The staffage of figures tells the biblical story of the presentation of Christ in the temple: in the Brouwerskapel (the chapel of the guild of brewers), the high priest waits for the Holy Family. Mary and Joseph follow Simeon, who has the Christ Child on his arm. The prophet Hanna, supported by a stick, emerges from the choir of the church towards the group. By transporting the scene to the church in Haarlem, Saenredam transferred it to the world in which contemporary beholders lived. In formal terms the figures serve to clarify the spatial context, as they indicate parts of the building that lie beyond the space depicted, from which people approach or into which they disappear, like the man in the background who serves this purpose only. In cooperation with Saenredam, these figures were inserted by another artist, whose name is no longer known. This type of collaboration between two specialists was common practice in the Netherlands in the 17th century. Sarah Salomon | 200 Masterpieces of European Painting - Gemäldegalerie Berlin, 2019