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The cathedral’s dainty and unusual spire was built over about 100 years from the mid 1400s onward. As it rises to its pinnacle at 123 m (404 feet) it shows increasingly daring Gothic style. The only other comparable spire is that of the Hôtel de Ville in Brussels, of a similar date.

The interior is bright, light and uplifting, largely by virtue of its scale, the expanse of glass, and the simple, soaring space that rises to the rib vaults. Unusually, the columns of the aisle have no capitals, so bend seamlessly to form Gothic arches, creating a serene effect.

This triptych, and the equally impressive Descent from the Cross on the other side of the nave, secured Rubens’ reputation in Antwerp. The central and right-hand panels display the dynamic energy that was Rubens’ hallmark. The left-hand panel shows the grief of Christ’s companions.

Elaborately carved oak pulpits are a feature of many Belgian churches. The subject of this one, the propagation of the faith in the “four” continents, is tackled with extraordinary ambition – a riot of birds, trees, textile swags, angels, saints and symbolic figures.

The cathedral was once bright with murals, but over time they fell away or were overpainted. Restoration has revealed patches of the originals.

In the late 19th century, the cathedral was rescued from neglect by massive restoration. In some cases this was overzealous, but the effort to recreate a medieval effect in some of the chapels behind the choir is admirable. Albert de Vriendt’s fine triptych shows the “Eyckian” revival at its best.

A fair amount of the cathedral’s original stained glass has survived. This is the oldest window, dating from 1503. It depicts Philip the Handsome and Joanna of Castile, with their patron saints behind them.

From outside, the dome looks like a tiered black onion. Inside, its logic is clear: the glass tiers let in light to illuminate the Assumption of the Virgin (1647), Cornelis Schut’s impressive ceiling painting. The effect is of looking straight up into the heavens.

This exceptional little wooden statue has been a focus of devotion since the 16th century, and has a changing wardrobe of robes and crowns.

This impressive instrument is housed in a magnificent 17th-century case created by three leading sculptors of the day.