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Everyone likes to make an entrance.
In 1634, construction began on strong city walls which were to protect the city of San Juan from enemy attacks. Completion of the twenty foot thick masonry walls took 148 years and six gates (puertas) were constructed to allow access through the walls into the city. Each of the gates was protected by a sentry box (garita) to shelter the guards and the entryways were secured at night with no access until morning.
The San Juan Gate (Puerta de San Juan) was the formal entrance to the city and was the point of entry where Spanish dignitaries arrived. After access was granted, these dignitaries, made their way up the cobblestone streets, to Catedral San Juan Bautista (also known as San Juan Cathedral), to thank God for their safe voyage.
The other five gates spaced throughout the three-mile wall were used to transport materials and supplies and also to allow for everyday traffic. Today, only Puerta de San Juan, and inestimable landmark, is accessible to tourists and is a must-see in the historic city. Located southwest of Castillo San Felipe del Morro, the gate is continually open and after passing through, panoramic views of San Juan Bay, the busiest ocean port in the Caribbean, Isla de Cabras (Goat Island) and a small Spanish fort, El Canuelo, across the channel can be appreciated. The path, through the gate, leads to Paseo del Morro, the National Recreation Trail which skirts the coast, following the city walls (La Muralla) from the gate to the notable citadel.
As you approach the gate, you will notice an inscription, Benedictus qui venit in nomine Domini. The verse comes from The Sanctus, “Holy”, a Latin hymn from Catholic liturgy and means, “Blessed is he who comes in the name of the Lord”.
As I made my way through the gate, I made a stop to inspect the sentry box on the coastal side of the wall. Following Paseo del Morro’s flawlessly paved path, I marveled at the waves sometimes pounding the shore on one side and the ancient wall on the other, repeatedly marked with garitas. At the end of my one and a half mile trek, I suddenly realized that the path ended. Many people will tell you that you should retrace your steps back to the San Juan Gate, however, along with a German family, I found an entrance to the grounds of El Morro fort, a remarkable structure that was next on my list.
And the story of the fortified city continues…
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San Juan Gate
- https://sanjuanpuertorico.com/la-puerta-de-san-juan-san-juan-gate/
- Address: Cll Caleta De San Juan, San Juan, 00901, Puerto Rico
- Hours: Open 24 hours
- Admission: Free
- Getting There: From the Cathedral, follow Caleta de San Juan westward.
We noticed that our cruise itinerary included a stop in San Juan. Speaking with my travel representative, I was told at the time of booking that while Puerto Rico was still recovering, they were anticipating being able to accept tourists and cruise ships by the time of our arrival.
Although a few buildings were still boarded up, I was pleasantly surprised to find that the most of the Spanish colonial buildings in Old Town appeared to be in good shape and open for business, their colorful architecture standing strong with Puerto Rican flags proudly flying in the morning breeze.
Checking out our rooms, as we boarded the ship, we discovered nothing more than we had anticipated. Our boys’ room was outfitted with two twin beds plus a third pull-down bed from the ceiling and our room was rearranged into a king bed. Happy to find it clean and neat, we were thrilled to meet steward, Alexis, who did a wonderful job at accommodating two of our children’s late sleeping habits in his attempts to clean the room daily. He and the entire staff always had a smile and treated us with amazing towel animals!
Initially, our time was spent exploring the ship, discovering where the things that interested us were located and attempting to enjoy some relaxation. It was nice to see the ship decked out for the Christmas holiday and we even added to the spirit of things by bringing our own Christmas trees, stockings and door decorations.
Gym/Spa The gym area was well equipped and was not extremely busy when I visited. I did notice some classes that were offered, however, by the second morning, all spots had been signed for and only waiting lists were available. A walking track was also available on the upper deck, however, most people on this level did not seem to pay attention to the fact that some were trying to exercise, pulling chairs onto or walking aimlessly on the track. The Spa was located just before the gym and though we did not utilize any of their services, the waiting area seemed to be quite busy.
Communication One of the challenging parts of being on a cruise is that you can’t use your cell phone to check in with your party…until now. Carnival developed a great app, Carnival Hub, for this purpose. After downloading the app, everyone can sign up and pay $5, for the entire trip, to use the app’s messaging system. After working out, it was awesome to just send a message to my husband to find where they were hanging out, instead of wandering aimlessly, hoping to find them. The other plus about this app is that there is no checking the paper schedules each day. Although they did still deliver these to your room (a huge waste of paper), I would imagine that the app will one day eliminate the paper schedules. At any time of the day, you could check the app for the planned activities and even see what meals were being served and where. The app also offered maps of the ship and access to your on board sail and sign purchases so that you could monitor them regularly instead of at the end of your cruise. Way to go Carnival!
Taking in the beautiful countryside scenery, you will soon find yourself encountering the ruins of Rosslyn Castle, a sharp contrast to the well-preserved chapel that we had just visited.
A French influenced two story home stands to the left of the courtyard, also built by William Sinclair, when he extended the castle between 1582 and 1597. Though the home is still in good condition, it is not accessible to the public.
As we descended a path near the start of the bridge, we walked beneath the remaining castle walls toward the river’s edge. Here, gardens once prospered and provided food for those who resided in the castle. The river gurgled and wound its way through the forest and we walked over the footbridge to take a closer look. We learned later that there is a scenic river walk from the ruins of the Roslin Gunpowder Mills, through what used to be a carpet factory and cottages, across the North Esk, around the castle, below the chapel via Gardener’s Brae and to Hawthornden and beyond.
Taking the short walk on our return back to the bus stop, we stopped for a few moments to pay our respect at the Rosslyn Cemetery.
While out at Rosslyn Chapel, make time to explore the forgotten ruin, an important part of Scotland’s and the Sinclair family history.
A most breathtaking structure, its architecture is considered to be amongst the finest in the country. Construction began on the chapel, formerly known as the Collegiate Chapel of St. Matthew, in 1456, by William Sinclair, the First Earl of Caithness for worship by the Sinclair family. After the Scottish Reformation in 1560, Roman Catholic worship in the chapel ended. It was then closed to public worship until 1861, and then opened again according to the rites of the Scottish Episcopal Church.
Circling the church, we admired and photographed the carvings on all of the chapel’s outer walls. Though some are harder to distinguish than others, it was easy to pick out a fox running off with a goose (with the farmer’s wife close behind) on the north wall and faces carved into the window arches along with animals such as a stag and a ram. The west wall shows how the chapel was originally intended to be a much bigger building with doorways, which would have led to a nave (now blocked) and other features not normally found on exterior walls (as this was not planned to be one).
Eight Nordic dragons ring the base of an ornate pillar and more than 110 carvings of pagan deities known as Green Men can be found throughout the chapel. These human faces are surrounded by greenery, often growing out of their mouths. One arch depicts figures waltzing with their future skeletons and a double humped camel and bunches of maize can be spotted, both not found in Scotland. Stories from both the New Testament and the Old Testament are illustrated as well as 213 cubes protruding from pillars and arches with patterns on them. It is speculated that these patterns may have meaning, some thinking it is a musical score. Though there is much conjecture about the carvings and their meanings, not much is known as several fires at the nearby Rosslyn Castle consumed much of the St. Clair family’s archives and documentation on the chapel.
Originally planned in a cruciform shape, the chapel stands on fourteen pillars. The three pillars at the east end of the chapel, the Journeyman Pillar, the Master Pillar and the Apprentice Pillar all date from the Georgian period. The most interesting of the three, the Apprentice Pillar has a most intriguing legend attached to it. The master mason had decided the pillar to be too difficult to carve and had departed to Italy to study with other masons. His apprentice, however, decided to carve the pillar in his absence. When the master mason returned and saw the outstanding work, he killed the apprentice with his mallet. The wounded head of the apprentice was then carved into one capital of the pillar and his weeping mother was carved into another.
Descending into the sacristy, we were aware that it is also known as the crypt, though not the actual burial vault that lies underneath the chapel where several generations of Sinclairs rest. The actual crypt was once accessible from a descending stair at the rear of the building, however, it was sealed shut many years ago. Legends have resulted from the knowledge of this sealed crypt, many believing that it was a front for a more extensive subterranean vault which may have contained the reputed Templar treasure. In 1837, when the 2nd Earl of Rosslyn passed away, his wish was to be buried in the original vault. Though searches were conducted for many days, no entrance was found and he was buried beside his wife in the Lady Chapel.
The chapel, still owned by descendants of its founder, Sir William St. Clair is now guided by a trust that oversees the site. It is this trust that forbids the photography within the building. Several books are for sale within the gift shop offering a look at the unique interior published by the trust. Though photography is banned, other tourists were also spotted sneaking photos throughout their visit. After inquiring about the organ, we were allowed to photograph the area as this was not part of the original building.
Though the bridge, which has accommodated only pedestrians and cyclists since 2003, is high enough for the many low-profiled sightseeing boats to pass without opening, the bridge is opened throughout the day for other river traffic. In 1994, the bridge’s opening was automated, however, prior to that time, a bridge keeper was responsible for opening the bridge several times a day by hand.
During the era of Amsterdamse School, architects in the Netherlands were experimenting with new forms and developing remarkable designs, which included red brick motifs and elegant, curved facades. These architects were often involved with municipal projects, many commissioned by Amsterdam’s local government, producing avant-garde residential and public buildings. Aside from the well known, Het Schip and the Olympic Stadium, the architects worked on civic and utilitarian amenities including bridges, postboxes and yes, public toilets.
Though a small example of the Amsterdamse School’s ideals, the City Hall Urinal captures its essence with its curved western wall and modern statue, fist raised in the air, created by Hildo Krop, one of Amsterdam’s most prominent sculptors. Definitely a must see for architecture aficionados!
Setting out on my bike and riding along the canals, I passed throngs of tourists out enjoying a sunny break in the otherwise rainy afternoon. Searching for the Biblical Museum, I eyed each of the canal houses until finally finding the correct one and parked my bike. Trying the door, I discovered it to be locked.
The Suasso collection is disbursed throughout the Cromhout Museum, mainly on the second level, and is interspersed with the family’s prized collections. The home itself is also worth inspection as it gives a glimpse into the way of life that the families of this time period were accustomed.
When visitors to the Cromhout family arrived, they were received in the Antechamber, where a cabinet of curiosities, its drawers and cabinets filled with extraordinary natural phenomena, exotic items and unique hand-made artifacts, was located. The guests were then allowed into the Grand Salon, where parties were held and guests were entertained. The family’s art collection, a symbol of their status, was highlighted during a stroll around the first floor.
Artist Jacob de Wit, then young and relatively unheard of, was commissioned to paint the ceiling of the Cromhouthuis in 1718, one of his first ceiling pieces. The grand work of art depicts twelve Olympic gods, surrounded by personifications of the seasons, the points of the compass and the zodiac.
Two kitchens are also located in the home, one small and one large. The large, used for cooking since construction, was located in the basement so that temperatures remained cool and food stayed fresher for longer periods of time. The small kitchen, older than the rest of the home, was incorporated into the construction from a smaller house on the property. The red and green tiles were sourced from the Swedish island of Öland in the Baltic Sea.
In the rear of the property, the Cromhouthuis garden, is worth stepping out for a look, especially during a nice Dutch day. Although once longer than it is today, the design is one of order and symmetry and quite beautiful during the spring.
Since the Biblical Museum is also located on the premises, many biblical references were added to the garden’s design by landscape architect Jan Van Der Horst who incorporated an 18th century geometric pattern into the design and decorated the garden with plants and trees featured in the bible. The pools with stepping stones are a reference to the crossing of the Red Sea and the sculpture by Martie Van Der Loo represents the Apocalypse.
Since 1975, the upper floors of the Comhouthuis have housed the Biblical Museum. Having expected to find rows upon rows of dusty books, I instead found a light airy space consisting of biblical models, antiquities, archaeological finds and first edition bibles.
Adjacent rooms exhibit models of temples including a famous model of the Tabernacle, commissioned by the founder of the museum, Rev Leendert Schouten. This 19th century reconstruction uses materials mentioned in the Bible, including goat’s wool imported from Syria for the awning and sand from the Sinai desert.
Egyptian antiquities are also displayed including artifacts collected by Schouten in the 19th century. Inscribed stone slabs, funerary figurines, canopic jars (for mummified remains), scarabs, statues of the gods and a sarcophagus were intended to be laid out around the Tabernacle to give visitors an impression of the religious life of the ancient Egyptians. The most impressive item is a complete mummy of a young woman. Other unique items include oil lamps, clay tablets, earthenware, shards of pottery and coins.
Be sure to climb up to the loft area to observe varying photographic presentations.
Though my intentions were to only visit the Biblical Museum, I must admit that visiting the Cromhouthuis and its exhibition on the Soussa collection were the highlight of the my outing. Though probably not a museum that I would have picked out of a guidebook, it was a wonderful way to spend a drizzly afternoon and learn about the illustrious history of the Netherlands and their .
