Churches, cathedrals and basilicas are a dime a dozen in Rome.
Most are beautiful. Some, not so much. Aside from these two differences, what sets many of them apart?
As I was walking down Corso Vittorio Emanuele II, it was getting dark and I had plans to meet a friend for dinner still some distance away. As I glanced at the building I was passing, I noticed that it was the Basilica of Andrea della Valle.
It would have to be a quick visit, but I was willing to walk back to my hotel a little faster or risk being a bit late for dinner with my friend, just to take a quick peak at this basilica.
The Basilica of Andrea della Valle’s origins date back to the Theatines, a religious order founded in the 1524. In 1582, the order was bestowed a palace and a small church with the obligation of building a large church dedicated to St. Andrew, the patron saint of Amalfi. The construction of this church was begun in 1590 and it was the desire of Cardinal Alessandro Peretti for the basilica to have the second largest dome in the city, behind St. Peter’s Basilica.
As the decoration of the basilica was undertaken, the decision of which artist would ornament the grand dome was a difficult one. Two artists were selected due to the inability of the Cardinal and the Pope to choose one over the other, with Dominichino assigned to the apse half dome and Giovanni Lanfranco to the main dome. The beautiful frescoes on the apse half dome leading to the main dome are what stopped me in my tracks when I entered the church. This is what truly sets this church apart from others.
There are exquisite chapels on each side of the basilica with works of art by important sculptors and painters, some, the pupils of masters, Bernini and Michelangelo. In fact, the Strozzi Chapel was probably designed by Michelangelo, although executed by Leone Strozzi. There are many Cardinals buried within these chapels as well as the bishop of Carcassone, France, Annibale Rucellai. The church also houses the tombs and cenotaphs of Popes Pius II and Pius III, the tomb of Giovanni della Casa, author of Il Galateo and the tomb of the martyr Saint Fortunatus in the Chapel of the Madonna della Purita.
It is important to check out the antique wooden crucifix in the Chapel of the Crucifix and the thirty-six stop pipe organ housed in the gallery. Built in 1845, it is still in use and can often be heard on weekday afternoons, when its organist practices.
And that was it.
As quickly as I came, I went.
Was worth being late for dinner? Absolutely!
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For all of my knowledge of the Eternal City, I was surprised that I did not know that this area existed and was surprised by some amazing finds!
The Portico of Ottavia, the Temple of Apollo Sosianus and the Theatre of Marcellus were remarkable discoveries in a city where I thought I had seen the majority of its architectural wealth!
Ascending the stairs, to the Via Montanara, after my visit to the Theatre of Marcellus, I began to walk towards the Piazza di Campitelli. A church on the left caught my attention.
It was still early…yes…I had time!
The church of Santa Maria in Portico in Campitelli is a church hidden on a side street in the Jewish Quarter. Built in the 17th century, on the site of a primitive church that was located here from 523-526, this ancient church was constructed to house an icon of the Virgin Mary, who was said to have miraculously appeared at the the table of a Roman woman who assisted the poor. It was believed that this icon played a major role in stopping a plague and has been carried in procession through the streets ever since.
It was almost dark as I glanced at the facade of the church, all lit up in the cold winter evening. Not positive that the church was indeed open, I tentatively stepped up to the entrance, and glanced around. The interior was a stark contrast to its exterior, dimly lit and no daylight illuminating its few windows. As I stepped inside, however, this obfuscated ambiance led to the mystery of this church…what would I find in the shadows?
My eyes were immediately drawn to the main altar, the berth of the much venerated religious icon that the church is known for. Decorating the sanctuary is an ornate, Bernini inspired altarpiece which captured every bit of my attention trying to decipher and appreciate every gold detail. Though I did not notice it forthwith, my eyes soon settled upon a very small enameled icon of the Blessed Mother and the Child Jesus, enthroned within the particulars of the artistry. This was the icon that Santa Maria in Portico in Campitelli is known for!
Continuing my investigation of the church, I first glanced upward at the magnificent dome which enhances the main altar and then moved on to the many chapels that line each side of the church. The chapels on the left are that of the Altieri and Capizucchi families, each containing amazing works of art including marble altarpieces, vaulted frescoes, funeral monuments. The second chapel on the left has a notable altarpiece depicting the Glory of Blessed Leonardi whose relic is located here. Saint John Leonardi, lived from 1541 to 1609 and is buried within the church. He was a priest and founder of the Order that still ministers to the church to the present day.
There are chapels on the right displaying paintings and stuccos and a chapel of the relics which allows access to the sacristy containing a portable Byzantine altar with micromosaic images of the Redeemer, the Virgin and St. John the Evangelist.
Other notable features include a Baptistery with two fifteenth century tabernacles, a ciborium and holy oils, monuments to Cardinal Nardi and Cardinal Bartolomeo Pacca and a splendid gold Baroque organ in the gallery.
Though the entire space is not an immense one, I thought that it offered a sense of elegance, a rich history and especially during the darkened evening hours, an air of secrecy. As I investigated each nook and cranny, I eagerly pondered what I would find and reveled in every treasure.
If your itinerary finds you in Rome’s Jewish Quarter, take a few minutes to lay your eyes upon the famous icon displayed above the altar and ask for protection from the Our Lady of Campitelli.
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The Roman Colosseum is a major landmark known throughout the world.
The Jewish Colosseum. Never heard of it…not as it is called and not by its actual name either.
For as many visits as I have had to Rome, this spectacular piece of architecture had never been on my radar, despite walking in the area many times.
The former monument once held 55,000 spectators and is visited by thousands of tourists and bordered by Arch of Constantine and the Roman Forum. It is one of the landmarks that most visitors to Rome aspire to visit, along with the Pantheon, the Vatican, the Trevi Fountain and the Roman Forum.
The Jewish Colosseum, or Theatre of Marcellus, a smaller colosseum, once held 13,000 spectators and is tucked away behind the Altare de Patria. Not many tourists actively seek it out, some merely stumbling upon it while walking a path from the Capitoline Hill area to the river.
Many, however, confuse the two.
Located in the Jewish Quarter of Rome, the Theatre of Marcellus is a bit of an impostor…well, only for those, not in the know! There are actually many differences!
Those of us who are familiar with the original, easily recognize the differences between the two, but it is easy to understand that many who are first-timers to Rome or see pictures of the theater may be easily confused.
The theater, erected in the 1st century BC, was originally conceived by Julius Caesar and then recommenced by Octavian Augustus after Caesar’s death. It was built on the remains of the ancient Circus Flaminius (221 BC) which was used as a marketplace and for assemblies and many porticoes and temples filled the area. At first glance, it appears to be quite similar to the Colosseum, with both being constructed with three floors of arcades, however, only the two-story fragment on the theater has survived the test of time and modern construction. Located in the Jewish Ghetto area of Rome, it has become known as the Jewish Colosseum.
As I walked along the Via del Foro Piscario, examining the Temple of Apollo Sosianus, it was surprising to see this lesser version of the structure that once hosted the mighty gladiator games.
It was impressive to see the Theatre of Marcellus at close range, however, the structure is not open to visitors and I had to be content to walk along its perimeter. As I made my way around the formation, however, I was bewildered to see that the arcades stopped abruptly. Instead of the characteristic network of arches, corridors, tunnels and ramps that form part of the structure, there were smooth walls and modern windows.
As I retraced my steps, to re-examine the facade, I began to notice the two-stories of arcades, not three. There were windows and a modern walls and windows topping the structure. Not at all like the Roman colosseum!
Of course, every city develops over time and some ancient monuments are destroyed or concealed when modernization occurs. The theater, which once hosted live performances, was reconstructed during the Middle Ages. The top tier of seating was removed and the residence of the Orsini was built atop the ruins during the 16th century.
What I was now seeing was the Palazzo Orsini and a series of apartments and behind the theater were more ruins next to the church of San Nicola in Carcere (added to my list of future churches to visit!).
Walking back to the open area and ascending the steps, I was rewarded with remarkable views of not only this impostor Colosseum, but the entire area of relics, including the Portico of Ottavia and the Temple of Apollo Sosianus.
How had I never know this existed?
I guess I am not alone, but more people should seek out this special area of Rome, rich in history and architecure.
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So, while in Rome, when a friend asked me to rent a car and drive to some nearby cities, I was tempted. Very tempted.
Problem was, I had promised my cousin that I would seek out some special rosaries in Vatican City that he had asked me to purchase!
What to do? What to do?
Always striving to keep my promises and pleased to have such an important errand for the day, I headed out into the beautiful afternoon in search of the religious treasures he was seeking. After many religious shops and several texts, I finally found what he was requesting, made the purchases and then walked out past St. Peter’s Basilica.
Not really having a plan for the rest of the afternoon, of which I still had much time, I headed toward the Tiber River and walked southeast, soaking up the warm sun, which was casting its brilliant rays on the swift moving waters. As I neared Tiber Island, I decided to take a left away from my original trek, not really sure where my path was leading.
Striding up the Via del Portico d’Ottavia an area of the city I had never transited, I encountered a large tour group standing in front of the facade of a lofty ruined structure. Not sure what I was viewing, I made my way down the ramp to study the signage and learned that what I was standing in front of was the Portico of Octavia, an ancient structure built by Augustus in the name of his sister, Octavia Minor after 27 BC. The structure was used as a fish market until the end of the 19th century and the colonnaded walks enclosed the temples of Jupiter Stator and Juno Regina as well as a library.
The church of Sant’Angelo in Pescheria is built into the ruins and as I made my way across the walkway, I entered this religious temple.
Famous for the ruined portico as its narthex, the church was originally dedicated to St. Paul and then later, St. Michael. Rebuilt during the Middle ages, the church was used as the headquarters for the Confraternity of Fishmongers. A reconstruction on the right hand aisle, for their use, resulted in the Chapel of St. Andrew, the patron saint of fisherman. Interestingly enough, the fishmongers became dissatisfied with their small chapel and built their own church next door, Sant’Andrea dei Pescivendoli, which is now deconsecrated. The chapel is one of the treasures of the church and decorated in gilded stucco and frescoed panels. The panels on the ceiling show events in the life of St. Andrew and fish are featured throughout. The panels flanking the altar, date back to 1598, and feature St. Francis of Assisi on the left and St. Francis of Rome on the right. You can also spot the Contrafraternity’s shield on the marble floor which features a deer, a pair of geese and a large sturgeon.
The left side aisle was once dedicated to Our Lady of Graces but is now graced by a modern crucifix decorated with a bronze sculpture. The altar contains an opening which allows a glimpse of the relics of the martyrs Cyrus and John of Alexandria which were brought from the church of Santa Passera in the 14th century. On the altar, you can also find the relics of the martyred Saint Symphorosa and her comanions.
As I turned to face the rear of the church, I was confronted with the gallery which houses the original organ installed in the 18th century. It is not in very good condition and therefore, unplayable.
The church now used by the Communita Maria, a Marian lay worshiping community, is often frequented by those visiting the ruins of the Portico. The front door is often not open, as it was on my visit, however, you can use the walkway to the left of the portico. This passes through to the Via Sant’Angelo in Pescheria, a dead-end street, where you can find the most commonly used entrance to the church on the right. This was the doorway that I exited and I made my way around to the front of the portico once again.
Heading down to the Via del Foro Pescario, I marveled at the ruins that littered the sides of the ancient street. On the right, I encountered the remains of the Temple of Apollo Medicus Sosianus, the Roman temple dedicated to Apollo, whose full name is derived from its final rebuilder, Gaius Sosianus. Some may recognize Sosianus as the person responsible for placing Herod on the throne of Jerusalem.
I gazed up at the only parts remaining of the temple, three columns that form the front right-hand corner of the temple, which was restored in 353 BC and 179 BC. The temple originally displayed six columns on the front, two at the side and seven more attached to the inner chamber wall. The chamber was once decorated with colored marbled and contained a large collection of marble statues, all relating to Apollo. Several relics from the temple can be seen in the Central Montemartini Museum.
Though I knew that I was near Palatine Hill and the Capitoline Museums, areas I was familiar with, I was struck that I had never encountered this little slice of history.
And as I turned to the right, my bearings were even more disconcerted.
The colosseum was here?
To be continued…
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Portico di Ottavia
Address: Via del Portico d’Ottavia, 29, 00186 Rome
The canal water was still, from the lack of boat traffic, as I stood along the banks of Bruges canals. I realized how much it reminded me of Amsterdam and a little of Venice. In fact, Bruges shares the title of “Venice of the North” with its neighbor, Amsterdam.
The city, which originated on the banks of the river Reie, can trace its origins back to the days of the Vikings. Officially becoming a city in 1128, the city’s medieval center, lined with historic buildings, has been designated a UNESCO World Heritage Site and attracts thousands of tourists each year.
While many of its main attractions are located in the city center, it is highly recommended to take a boat ride or stroll along the canals which were once part of Bruges’ old ramparts and city walls. From this starting point, you can venture into many of the city’s neighborhoods and less beaten paths.
Because our visit to Bruges was in January, the canal tour boats were parked for the winter season, lending to the serenity of the quieter streets of Bruges. For those who want to stroll along the canals, you can start and Zand Square and finish at the Bonifacius bridge near the Church of Our Lady, which takes you past some of the most romantic bridges of the city.
Since our time in Bruges was limited and the boats were not running, it was up to our feet to carry us throughout the city. We opted not take this particular canal walk, instead strolling along the canals when our route around the city put us there. Electing to take the quieter streets, we reveled in the beautiful styles and decoration of the homes, churches and businesses.
We encountered artwork both on the streets and in windows and there was always beer and chocolate!
Though you can take a tour with a qualified guide, you can also bike throughout the city, take a City Tour in a mini bus or even take a horse-drawn carriage. Whatever you choose, be it guided or on your own time, you will not be disappointed.
Bruges is one city that you will never forget!
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Address: Boats can be boarded at one of the five landings, Michielssens and Huidenvettersplein, Coudenys and Rozenhoedkaai, De Meulemeester and Wollestraat, Gruuthuse and Nieuwstraat, Stael and Katelijnestraat
Hours: 1000-1800, daily
Admission: Adults, €10,00, Children (ages 4-11), €6,00, (ages 3 and under), free, Bruges residents, €9,00
There is a statue on Prague’s Charles Bridge of Saint Johannes van Nepomuk (St. John of Nepomuk) that I have walked past many times and often rubbed the plaque at the bottom for good luck.
Everyone needs a little luck and I wouldn’t want the bridge to crumble beneath my feet, plunging me to my death into the Vltava River, right?
It is widely known that Saint Johannes van Nepomuk, a priest, was drowned in the Vltava River on the orders of Wenceslaus IV, King of the Romans and King of Bohemia. He is considered the first martyr and a protector from floods and drowning.
What I was not aware was that there are other statues of Saint Johannes van Nepomuk throughout the world including,
Monument on Cathedral Island, at the Church of the Holy Cross, Wroclaw, Poland
St. John of Nepomuk Statue in Buchach, Ukraine
Statue of St. John of Nepomuk in Divina, Slovakia
Saint Nepomuk on the Schwarzen Bridge in Loningen, Germany
Statue of St. John of Nepomuk in churchyard of the cathedral, Passau, Germany
Statue of St. John of Nepomuk in churchyard of the cathedral, Passau, Germany
Roadside figure of St. John of Nepomuk, Buchach, Ukraine
Statue on bridge of St. John Nepomuk, Wurzburg, Bavaria, Germany
When I had planned our route through Bruges, I had noticed a monument marked on my Google map as a point of interest on the Wollestraat Bridge. We had stopped to take a couple of pictures of the statue, dodging a tour guide and their group, but continued on our journey that day. It wasn’t until later when someone asked if we had seen the famous statue on the bridge that I realized it was an important landmark in Bruges.
This statue of the Saint was designed by Flemish sculptor Pieter Pepers in 1767 and appears, like most others, with a halo of five stars, which commemorate the stars that hovered over the Vltava River on the night of his murder and which are said to symbolize the five letters of the Latin word “tacet” which means silent. He is adorned in priestly robes and carries a large crucifix to which he has set his gaze upon.
What we learned was that the original statue was replaced in 1811.
Why?
It was thrown in to the Dyver Canal in 1795!
Seems that Saint Nepomuk can’t stay off of bridges or out of the river!
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He just doesn’t like visiting them as a tourist. In fact, he feels like it’s an intrusion and a bit disrespectful.
Good Catholic guilt.
On the other hand, there is me. Raised as a Catholic and no stranger to my own religion’s institutions, there is a great admiration for architectural elements, decorative features and their history of all churches. As I walk through and examine each interior, I always think of others. Everyone should see this! I guess my love for spreading how remarkable these temples are, outweighs my Catholic guilt. Imagining that my blog posts and pictures might inspire one person to venture into a church out of curiosity, might inspire them to stay…for good…no matter the religion.
While in Bruges, there were many churches that I would have loved to investigate. I knew that getting my husband to see one church during our short visit was probable. Two…slim. Three…not going to happen, especially when there was so many other things to see.
Having already visited the Basilica of the Holy Blood, I stared wistfully at each church that we passed, wondering what lay inside. As we made our way through the main square, in the waning light, we stopped inside a few chocolaterias, searching for decadent souvenirs.
As we headed in the direction of the train station, I spied the tower of Saint Salvator Cathedral (Sint-Salvatorskathedraal) ahead on the right. Realizing that it was the end of the day, I consoled myself with the knowledge that it was probably already closed.
Surprisingly, as I stopped to take a picture of the exterior, my husband suggested that we see if it was still open…
It was!
Saint Salvator’s, the main church of the city, was originally built during the 10th century as a parish church in the shadow of St. Donatian’s Cathedral. St. Donatian’s was located opposite the city hall and was the religious heart of the community, but was destroyed by fire in 1116. A new church was constructed in 1127 and a century later, the lengthy construction of the present church was begun only to be destroyed by the French occupiers of Bruges in the 18th century.
After Belgium obtained its independence in 1830, Saint Salvator was given the status of cathedral and became the main church of the Catholic population. Because of its smaller size, however, renovations were required to elevate it to its higher status and one of the main features is its tall tower dating from the 12th century which outshines the nearby Onze-Lieve-Vrouwekerk, the Church of Our Lady.
Entering the cathedral, we made our way throughout the ornate interior, noting some of the exquisite furnishings. There are many works of art originally stored in Saint Donatian’s cathedral and original paintings that the wall carpets (that can be viewed at the entrance) were modeled on and originally commissioned for Saint Donatian’s.
Some of its other treasures include its organ which was completed in 1719 and expanded and rebuilt three times in the 20th century. In the choir, the original 16th century podium can be regarded as well as a baroque fence made by Artus Quellinus the Younger.
Inside the cathedral’s south transept, there is the church Treasury which displays jewelry, reliquaries and objects used in religious services, however, in the interest of time, we were unable to visit. Before our exit, however, we did take note in the front of the church, the medieval tombs that were unearthed during renovations during 1989-1993. These 14th century tombs are covered in plexiglass and brightly painted in the style that was typical of Flanders in that period.
Medieval Tombs
As we stepped out into the evening to make our way back to the train station, I glanced back at the soaring tower of the church. With all that we had seen in the city, being able to sneak in a visit to the Cathedral was icing on the cake!
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Hours: Monday-Friday, 1000-1300 and 1400-1730. Saturday, 1000-1300 and 1400-1530. Sunday, 1130-1200 and 1400-1700. January 1, May 21, December 24-25, 1000-1300.
Burg Square in Bruges is certainly on any tourists’ agenda with its spectacularly adorned buildings that circumscribe the plaza. In the 9th century, Burg Square became the base of operations for the Count of Flanders and the buildings were occupied by the courts of law for nearly 200 years. Here, you can still find the 14th century City Hall, the old Court of Justice built in the Renaissance style and the Basilica of the Holy Blood.
City Hall
Palace of Justice
Statue in Burg Square
Did someone say Basilica?
If I had to choose only one church to visit in Bruges, it was definitely going to be this one that features one of the most holy relics…that of Jesus Christ’s blood.
Actually consisting of two churches, dedicated to Our Lady and to Saint Basil, the structure, located in the corner of Burg Square, dates back to the 12th century when it was the chapel of the residence of the Count of Flanders.
As we stood in the square, I was dumbfounded by the resplendent architecture rising boastfully before us. Finally turning our attention to the flamboyant staircase that leads to the upper basilica, we excitedly climbed to the apex and tried the door, anxious to see what lay inside. Frustrated, we found the door to be locked. Searching out the signboard, we discovered that the basilica is closed during the mid-day hours.
Returning later, we once again ascended the steps to the entryway and thankfully, found the door unlocked and we entered the topmost of the two chapels that make up the Basilica.
Decorated in the neo-Gothic style, we discovered it to be dimly lit but exceptionally ornamented. My eyes were first drawn to the beautifully colored stain glass windows and then the altar, which disappointingly, was under renovation, its view consumed by scaffolding. Nevertheless, I thought it to be quite breathtaking. My attention was then drawn to the side chapel where a priest was standing behind an altar. A line had formed at the rear of the church leading to the altar and on it, I realized was the relic of the Holy Blood of Jesus Christ.
This sacred relic is said to be the blood of Jesus Christ on a cloth that was used to wipe his body by Joseph of Arimathea after the Crucifixion. The relic was given to the Count of Flanders, Diederik van de Elzas, by the King of Jerusalem after the Second Crusade. The Count took the relic from the Holy Land to Bruges, arriving on April 7, 1150 and placed it in the chapel. The relic is preserved in a rock crystal vial which is placed in a small glass cylinder capped with a golden crown at each end. The relic is kept in an imposing silver tabernacle with a sculpture of the Lamb of God.
Because we were not sure of the proper protocol, we sat for a few moments and observed the actions of the other visitors. Finally, we stepped up onto the altar, deposited an offering and laid our eyes on the sacred artifact. Our veneration was short and sweet and we walked away with our belief in the validity of the object.
Taking one last look around, we made our way to the Museum which houses the treasury. There are many interesting objects on display that are tied to the history of the chapel or the relic including the Shrine of the Precious Blood, golden statues representing Christ the Savior, The Virgin, St. Donatian and St. Basil and a small silver crown which belonged to Mary of Burgundy. Paintings include the Scenes of the Life of St. Barbara (around 1480) by the Master of the Barbara Legend, The Burial of Christ (1519), a triptych attributed to the Master of the Precious Blood, Christ Bearing the Cross, another triptych, His Being Speared and His Resurrection (16th century) and two panels painted in 1556 by Peter Pourbus entitled the 31 Members of the Noble Brotherhood of the Holy Blood. There are also six medallions carved in oak which represent scenes of Christ’s life, and a large tapestry which dates back to 1637 that depicts the transfer of the relics of St. Augustine from Africa to Sardinia.
Museum/TreasuryMuseum/Treasury
Making our way back down the staircase, we found the second part of the church, the Romanesque Chapel of St. Basil. It was such a contrast, stepping inside this chapel, as it couldn’t be more different than what we had just visited. While the Chapel of the Holy Blood was ornate and blossoming with color, the Chapel of St. Basil was very austere and dark. The only Romanesque church in West Flanders, it dates back to the first half of the 12th century. Established by Derrick, Count of Alsace, it was dedicated to St. Basil the Great and constructed to house his relic brought from Caesarea during the Crusades. This relic, along with the relic of Charles the Good, can be found at the left of the choir in the chapel of Saint Yves. The chapel is small and feels extremely closed in with its low vaulted ceiling and brick archways, but there is something extremely important in the right aisle. A wooden statue of the Madonna and Child dates back to 1306 and is the central focus of the procession along with the relic of the Holy Blood, held each year during on Ascension Day in the city. During the procession, the bishop of Bruges carries the relic of the Holy Blood through the streets, accompanied by the Madonna and Child statue and costumed residents dramatizing biblical scenes. Two additional statues, Jesus on the Cold Stone and the Pieta are also carried in the procession. This cavalcade dates back to 1291 and still follows the route established in 1578 when it was changed due to the religious wars.
St. Basil’sSt. Basil’s
Having seen pictures of the religious procession, it reminded me of the processions I witnessed last year in Guatemala, yet more festive, and I made a mental note to mark my calendar for the next year’s events.
Both chapels contain many treasures, but the sacred relic is truly the treasure of Bruges.
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If spending time outdoors while visiting Bruges is more interesting than fighting other tourists for space in a museum or a crowded bar, there is much to keep you busy.
Spectacular architecture fills the city at every turn but if you are looking for a lovely place to stroll, exercise or even enjoy a picnic, head over to the eastern side of Bruges.
Aware that Belgium has a rich mill history dating back to the 16th century when twenty-three windmills graced the city, I was anxious to set aside some time during our visit to see the four mills that dot the city’s landscape and once produced the flour needed for the daily diet of the urban population.
Heading from the city center, it took us about fifteen minutes to reach the first windmill, located near the Kruispoort gate, which is quite fascinating in itself. The Kruispoort was completed in 1304 and rebuilt a short time later in 1366. It was destroyed in 1382 when Philip van Artevelde captured the city with the Ghent militia. The gate was reconstructed in 1400 with the two heavy towers and a narrow passage being preserved. It should be noted that this was the location where the Scottish soldiers crossed into Bruges during the city’s liberation during World War 2.
The Kruispoort gate is one of four remaining gates to the city. The others, Gentpoort (on the eastern side), Ezelpoort (dating back to 1369) and Smedenpoort (dating back to 1368) are all worth a visit when walking the entire circuit around the city. The Dampoort, probably the most noteworthy due to its massive size (a complex of three interconnected gates), was demolished in 1871, but a part of one of the round towers is still visible.
Ezelpoort, located on Ezelstraat on the crossing of Ezelstraat and the Gulden-Vlieslaan
Gentpoort, located on Gentpoortstraat on the crossing of the Gentpoorstraat, Boninvest and Gentpoortvest
Smedenpoort (The Blacksmith’s Gate), located at the end of Smedenstraat on the crossing of the Smedenstraat and Buiten Boninvest
After walking through the Kruispoort, we began our walk along the ramparts and the canal to examine each of the windmills.
The first we encountered was Bonne Chiere also known as Staakmolen or Post Mill. Originally built in 1844 and then rebuilt at its current location in its same architectural style, this mill was never used for grinding grain. It is not open for visitors, however, you can walk right up to the structure for excellent views.
Sint-Janshuismill was located a short walk away. Built in 1770, this is the only mill standing on its original location and the only one open to the public. The wooden flour mill is still in operation.
A little further, we encountered Nieuwe Papegaai. Originally built in 1790 as an oil mill called the Hoge Seinemolen, this mill was moved to its current location in 1970. Similar to the other mills, this one has one a quirky piece of art perched on its roof…a parrot!
Finally, we reached the fourth and final windmill, Koeleweimolen, also known as the Coelewey Mill which was used for grinding corn. This mill was transported from Meulebeke where it was constructed in 1765.
Although it would have been nice to walk the entire circuit around the city to see the other gates, time was not on our side. It was fascinating, however, to witness some of historical construction outside of the city center and the picturesque scenes along the canal.
Besides, who doesn’t love a windmill?
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With a location near the North Sea, how could you not expect to get the freshest seafood in Bruges?
The Vismarkt, also known as the Fish Market, is centrally located near Burg Square and is the place to purchase the freshest fish and seafood in the city. The current location, dating back to 1821, was erected following the townspeople’s request to move it from Market Square, where the smell was overwhelming. The building was constructed, per Napoleon’s order to the city mayor to modernize public facilities, and still remains in excellent condition.
Though it would have been nice to see the market in action, we visited on a Monday, one of the two days the market is closed. The covered arcade usually bustles with fishmongers hawking their catch and sometimes artists and artisans displaying their creations. If you have to pick a day to visit, however, Friday nights, during summer, offer live concerts and open-air tapas bars with fish based snacks.
For those interested in the history of the city and hoping to get something for dinner, combine it with a walk along the scenic canal and a photo op with the bust of former mayor Frank Van Acker.
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