I continued walking around the side galeries of the church and admiring the rather valuable artistic pieces it housed.
Vault of the Counts Engelbrecht I and Jan IV and their respective wives. Their patron Saints, St. George, St. Wendelinus, St. John the Baptist and St. Gerome are seen behind them.
Epitaph - Early Renaissance (1528) for Joris van Froen Huysen, chamberlein of Count Hendrik III van Nassau by the German artist Peter Wolfgang van Colen.
Epitaph - Early Renaissance (1536) for Jan van Dendermonde, army commander of Emperor Karel V after the example of the artist Cornelius Florisz from Antwerp.
A copy of one of Bosh's tryptic paintings
Several tomb stones could be seen on the ground of the galleries, most of which had inscriptions on them. The presence of the ones long gone was almost inevitable.
Early Renaissance grave of Frederik van Renesse (1538) and his wife Anna van Hamele van Elderen. The back part of the niche contains some medaillons representing the seven sorrows of Mary.
Epitaph- Early Renaissance (1546) for Claas Vierling, councellor of Count Hendrik III of Nassau, after an example Cornelius Florisz from Antwerp.
The Clothbuyer's Guild mural (underneath on the left) dating back to 1540, which was discovered during the most recent major restoration of the church is said to commemorate the guild, whose altar is believed to have been located at that particular place.
Several other details caught my attention and other deserved still being thoroughly looked at, but we had been inside the church for almost an hour and couldn't afford spending all the available time at one place, so we finally ventured outside, where once more, despite the forecast, the sun was shining brightly and the temperature seemed to have risen.