In the company of swans we end our walk through Bruges at the

In the company of swans we end our walk through Bruges at the Ezelpoort
or Donkey Gate, set amidst the greenery of the vest and its canals.
In 1134, a storm ravaged the North Sea and tore out a creek, later to be known as
the Zwin. It extended as far inland as the neighbourhood of Bruges, which at
the time sought an outlet to the sea. A dyke was built and a fishing village grew
by this ‘dam’. In 1180, Philip of Alsace, Count of Flanders, granted city rights to
the village that had become Damme, realizing the maritime advantages of this
little port. Meanwhile, Bruges had dug a canal to Damme, and the town quickly
turned into a dynamic transshipment port. Today an old-fashioned windmill
built in 1867 welcomes you with open arms.
Damme has charm. Not many towns have a dog on their flag, but Damme does.
Damme also has an affair with literature, not only because Jacob van Maerlant
lived here, but because it is known as the birthplace of Tijl Uilenspiegel.
Jacob van Maerlant was a great Flemish poet who lived between 1235 and
1293. He wrote his most important work in Damme and was buried under the
church tower. His tombstone, up until the 17th century, was mistaken for that
of the rebellious Tijl Uilenspiegel, and created so much confusion that it was
finally removed. The clock tower with its added sun dial tops the town hall
which was built in Gothic style between 1464 and 1468, just in time for the
marriage of Charles the Bold to Margaret of York. Their stone figures are among
others that decorate the façade. Two Flemish lions stand watch on the stairways
and an abundance of gargoyles decorate the building.
The oldest part of the church, between the 43 meter high tower and the present
day Church of Our Lady dates back to 1225. An impressive three-faced sculpture
by the Walloon artist Charles Delporte stands in the surrounding gardens.
At the top of the tower one can enjoy a marvelous view of the surroundings, the
city of Bruges and the North Sea. Walking among the ruins of this medieval
church provides a different atmosphere from the others we’ve visited so far.
On one of the garden walls is a sculpture in relief in memory of Tijl Uilenspiegel
or Tyll Owlglass, the famous prankster turned freedom fighter whose adventures
have become the stuff of legends. A book by Charles De Coster is the most renowned
account of them.
With these images we leave you. A visit to the museum dedicated to the memory
of Tijl Uilenspiegel. History and romance bring us full circle from our starting
point at the Zand in Bruges with Nele and Tijl.
© V1.2 - 2007 - HD Studio BVBA - WWW.HDSTUDIO.BE
Not to be sold separately. This booklet is part of the ‘Impressions of Brugge’ DVD.
Welcome to Brugge, the Venice of the North and the most beautiful
city in Flanders.
We start the Serpentine walk at the railway station and make our
way through the Albert Park, we are greeted by King Albert I, king of
Belgium who received a prominent place here as there existed a
strong affinity between the Flemish people and this sovereign. We
also get a glimpse of two of three towers that dominate the Bruges’
skyline, St. Saviour Cathedral and the Church of Our Lady.
A more recent accomplishment in Bruges’ love for architecture and
art can be found on the Zand esplanade. This square is presided over
by a large fountain by the city’s famous sculptor couple Depuydt and
Canestrano. This waterworks sculpture supposedly represents the
four Flemish sister cities, but in fact bears remarkable resemblance
to a detail in Bosch’s painting the Garden of Earthly Desire, where
four female figures and crows represent life and death.
Also represented is Bruges’ connection to the sea with homage paid
to its fishermen and families, images of a past set against the
futuristic lines of the new concert hall.
And on the eastern side, the more dominating composition of
motionless cyclists. This part is of particular interest since it
introduces us to the characters of Nele and Tijl Uilenspiegel, two
legendary figures that we will meet again at the end of our tour
when we visit the quaint town of Damme.
Bruges has 14 churches within its city walls, 13 Catholic and 1 Protestant. Saint Saviour is the only one that has been elevated to the
stature of cathedral. The building has evolved from a pure 9th century Romanesque style to a Gothic structure. Over the years it has
survived four fires and the upheaval of the French Revolution. At
night, when illuminated, it projects a distinctive greenish-blue
glow, very different from all other Bruges buildings. These colours
can be found inside the church, in both its stained-glass windows
and general appearance.
Once inside the church, one’s attention is immediately drawn to the
18th century bronze inner doors and the artistically and technically
splendid organ above. Equally impressive is a sculpture, in somewhat
grand dimensions, of the Creator. From the rood loft it overlooks the
central nave. A series of grand Gobelin tapestries form part of the
church’s rich patrimony of art. 2
In 1440, Pieter Bladelin, a treasurer of the Order of the Golden Fleece
and the Duke of Burgundy’s chamberlain, built himself a house in the
Naaldenstraat or Needle Street. This rather imposing building has an
almost fortified appearance with a large entrance gate above which a
gold-plated niche with the coat-of-arms of Pieter Bladelin dominates.
In addition to its exceptionally charming courtyard, Hof Bladelin is
distinguished by likenesses of subsequent owners that embellish the
inner courtyard walls, among them Clarice Orsini and her husband
Lorenzo de Medici, who subsequently gave the house to his Bruges’
agent and banker Tommaso Portinari.
Nearby, a particular street of interest is the Ezelstraat or Donkey Street
in which are located the homes of the Carmelites. The red entrance and
dark wood carvings are dwarfed by the imposing vertical grandeur of
the church. Two impressive reliefs of St. John the Baptist and St. Joseph
decorate this classic design. Carmelites are by origin reclusive. The
first Carmelites settled on Carmel Mountain in the Holy Land during
the Crusades. It was the silence of this mountain that inspired them
to live an ascetic life. Even today those seeking solitude will find this
place a welcome oasis of silence in the city.Further on is the chapel of
the Carmelite nuns. The addition of a modern sculpture demonstrates
that it has lost its original purpose. It is now a concert hall.
This musical composition with its harp player and tree of cellos seems
to use a window to emerge from within. It is playfully topped by a
pair of conductor’s hands.
Continuing our walk in the Donkey Street, we find a rare example of
a 15th century woodcarving on the outside of a building. The bright
wall houses one of the numerous Madonna statues found throughout
the town. The entrance to this almshouse has a doorneedle depicting
Saint Joos as a pilgrim. It is flanked by the crest of Joos de Bul, one of
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the benefactors of the almshouse.
The Jan van Eyck Square offers an incredible display of architectural
design. Many of these houses with their beautiful façades were once
the heart of Bruges’ commercial center, and for admirers of Georges
Rodenbach, the author of the famous novel ‘Bruges la Morte’, a commemorative plaque can be found on the corner house.
While some of the works of Van Eyck are on exhibition in The Louvre
in Paris and The National Gallery in London, Bruges also has a fine
collection. His famous altarpiece can be found in Gent.Continuing
along the Genthof and the Wednesday Market, we come upon the
statue of Hans Memling. He was of German origin but settled in
Bruges and became a freemaster of the St. Luke’s Guild of artists in
1467. Ten years later, legend has it that he was wounded at the Battle
of Nancy serving as a mercenary soldier under Charles the Bold. At the
base of this statue sits a representation of the Ursula Shrine, his most
famous piece, on display at the St. John’s Hospital.
We continue our walk along the canal in the direction of the Augustines’ bridge and Vlaming bridge, both picturesque photo opportunities. You now make your way to what once was known as the ‘Bourse
Square’.
The opulent Saaihalle, dating from 1399, was formerly the Genoese
trading house. They left Bruges in 1551. In 1578 it belonged to the
guild of ‘Saai’ weavers, saai being a light woolen fabric. Next to it was
the house of the family ‘ter beurze’, house of the purses. It was a tavern
in which many Italian and Catalan merchants stayed. In front of
this house, the merchants talked business and changed money. The
name of the Van der Beurze family, owners of the house, gave birth to
the notion of ‘bourse’, stock exchange, which was adopted in many
languages.
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Recently restored, the impressive main tower can be observed from a
rather unique point of view, as the intricate construction can be illuminated from the inside. We end with the famous oil-painted figure of Charles the Good, depicted as a man of justice, taking and giving.For over 8 centuries Bruges was a center of trade and craftsmanship.
Walking the main street towards Market Square, notice that today’s
shops are still located in the architecturally splendid homes of the
previous traders. Here the bricklayers’ craft and centuries of design in
decorative façades are showcased in a varied palette of colours, textures and lines.
Further up we encounter a square in honour of Simon Stevin, a Flemish mathematician. In 1586 Stevin published a small pamphlet,
“The Tenth”, in which he presented an account of decimal fractions
and their daily use. Though he did not invent decimal fractions he
established the use of decimals in day-to-day mathematics.
The most identified structure in old Bruges is the 83 meter high Belfry, which over the years developed a three foot lean to the east.
Those who climb its 366 steps will be rewarded with the best views
of the city. You reach the carillon’s machine room and drum after
mounting the 333rd step. The belfry’s automatic mechanism consists
of a massive copper cylinder, called a drum. It is the largest in existence, weighing 9000 kg. Adjustable steel pins can be inserted in the
openings so that in the course of rotation they come into contact with
the steel staves and levers which operate the bell-clappers.
3
Originally built of wood at the beginning of the 13th century, it was hit
by lightening twice and burned a third time over a period of 500 years.
It inspired the American poet Henry Wadsworth Longfellow to write a
lengthy verse from which we quote: In the market place of Bruges stands
the belfry old and brown; thrice consumed and thrice rebuilded still it
watches o’er the town. Four corner turrets were added as lookout points
and designed in late Gothic style.The four-faced clock is visible from every
direction in Bruges and plays a tune every quarter of an hour. It’s mechanism is located on the same floor as the carillon drum.
The Halles, together with the Belfry, served for many years as a market
place. On the second stage in a fortified room, protected from the outside
by the Virgin Mary and on the inside by ironworks, sits a wooden chest
with 9 locks. Behind a double grill were kept the priceless Privileges of
the City, also known as the Rights of the Citizens.The town statutes were
announced from the balcony of the Belfry and earned the name of ‘Orders
of the Halles’. 1302 was a turning point for Flanders. What ended as The
Battle of the Golden Spurs in Kortrijk, began in Bruges as a revolt against
French occupation. Under the leadership of Jan Breydel and Pieter de Coninck, a Flemish militia butchered the occupying French garrison on Friday the 18 of May, 1302.
This monument depicts this famous
battle. In the early morning hours, the
militia went from door to door, killing the French who could not repeat
the password ‘Shield and Friend’.
The French returned to Flanders to
avenge this atrocity. A united Flemish front met their arrival on a riverbank in Kortrijk . The elite French
cavalry found themselves stuck in
the mud and were slaughtered, their
spurs taken as trophies.
On the east side of the Market Square
is the Provincial Court. Up until
1787, this was the site of the Cloth or
Water Halles, a complex built over a
canal as an extension to the Halles of
the Belfry which had become too
small for the increased trade. Barges
would set out from this point laden
with Flemish cloth and return with4
foreign goods.
We, however, turn to the left and cross the bridge, passing one of the old
watchtowers and continuing toward two of the four remaining city
gates, ‘Gent Gate’ or Gentpoort and ‘Cross Gate’ or Kruispoort. Originally
the town had nine gates. They were part of a 6,800 meter fortification
constructed in the late 13th and early 14th centuries, all in reference
to the Flemish French conflict we referred to earlier. The town also
had a series of stilt windmills. On a map of 1562 by Marcus Gerards,
25 mills are marked on the ramparts. Four of which can still be seen
today. The most spectacular of these is the St. Janshuismolen which is
still active and can be visited and seen in full operation during the
summer months.
One of the more remarkable points of interest in Bruges is the Jerusalem
Church. It is located in a quiet residential area not far from the
windmills. It is a Catholic church crowned with a bell tower of rather
oriental appearance. The church was built by the Adornes family. By
origin a Genoese trading and banking family, some of the descendants
of the Adornes family, that by marriage to Flemish nobility had
settled in Bruges, made pilgrimages to Jerusalem. The plans for the
church are based on those of the old Church of the Holy Sepulcher in
Jerusalem.
This magnificent square dominated by the statue of Jan van Eyck, one
of Bruges’ greatest painters, is located at the end of a canal called the
Spiegelrei, the ‘Mirror Canal’. We can see the Porter’s Lodge, the Old
Toll House and the Pijndershuis. The Porters’ Lodge at present serves
as the Royal Archives, but was at the time a gathering place and relaxation centre for well-to-do Bruges burghers, porters and foreign
merchants. From a niche in the façade the little Bear-of-Bruges, one of
the oldest and most prominent inhabitants of the city, looks down on
the street. The building dates from the 15th century and has a richly
decorated spire.
Jan van Eyck, of which no record of his birth date exists, died in
Bruges in 1441. He has been credited with perfecting the technique
of painting in oils.Annually, on the 15th of August, the Procession
of Our Lady of the Blind passes here. It recalls a cow made during a
battle between Flanders & France in 1304. The more richly decorated
buildings are the Pijndershouse and the old Toll House.They are yet
another reminder of the busy trade which was once carried out here.
In 1477, the Lords of Luxembourg used to exact a toll on the ship’s
cargoes which passed through the hands of the ‘pijnders’ or dockers,
a company of men who had sworn an oath to accurately register all
handled goods.
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Most houses date from the 17th and 18th century. Some houses were
built in 19th century Neo-gothic style, while in the southern part there
are still some dating back to the 15th and 16th century. In the central
garden, covered with large poplar trees, one can find more peace and
quiet than in the sometimes busy streets of Bruges. In early spring it offers an unforgettable sight when thousands of yellow daffodils colour
the scene.In 1937, the ‘Vineyard’ Beguinage became a monastery for
the Benedictine sisters who continue to live here to this day.
Exiting the Beguinage through its Southern gate, we have a rear view
of the chapel and the canal. At the junction between the canal and
what is called the Minnewater or ‘Lake of Love’, is the Lock House.
This charming building was the residence of the lock master who
regulated the flow of water into the canals from the adjoining lake
and inland rivers.
We cannot miss the statue in honour of Maurits Sabbe, frontman of
the Flemish movement and writer of classic novels about this area.
He lived from 1873 to 1938.
The new Provincial Court flies the provincial flag. The emblems of
Bruges, Oostende, Kortrijk and Ieper represent the province’s major
cities. ‘Union makes force’, the country’s motto, is accentuated by Saint
Michael slaying a dragon.
Under an umbrella of shade trees stands this romantic statue called
‘The Kiss’. The frog detail at the base of the sculpture adds a humorous
tone as the bride seems to have found her frog-prince. The sculpture
was created by the same artist couple who designed the fountain statue at the Zand.
The beautiful square called the Burg is a showcase of different architectural styles. Let us begin with the Old City Clerk’s Office in 16th
century Flemish Renaissance style. Over the centuries the building
has been the Town Clerk’s Office, police headquarters and the Justice
of the Peace’s Office. Now it houses the Municipal
Archives. The building was completed in 1537.
Inside, in what is called the Aldermen’s Hall we
find a 16th century monumental chimneypiece
in pure Renaissance style. It was erected in honour of Emperor Charles V, who was reigning at the
time, hence his central position with the imperial
sword and the imperial apple in his hand.
As of today, the Lock House is a private residence and gateway to what
is called the Minnewater. It is often translated into English as the
‘Lake of Love’, however, the old Flemish word ‘minne’ can have two
meanings, ‘to love’ or ‘in the middle’. It is more probable that ‘in the
middle’ was it’s etymological origin ... for more romantic reasons,
it has become
the
‘Lake of Love’.
From the bridge
at the southern end,
a beautiful view of
Minnewater Castle and the
symmetrical design of the Lock
House are revealed.
On the side panel to the left
are Maximilian of Austria
and Mary of Burgundy, his
paternal grandparents. On
his right are Ferdinand of
Aragon and Isabella of
Castile, his maternal
grandparents.
This bridge was part of the larger
fortification walls and canals of
the city, also called the ‘Vests’.
Turning right takes us back to
Albert Park and the railway
station. Along the way one can
find a statue of Pickery, the man
who designed the statue of Hans
Memling.
The alabaster four part
frieze that decorates the
mantelpiece depicts scenes
from a story in the book of
Daniel about justice being
served. This makes it an
appropriate piece in a room
where tribunals took
place.
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5
It was the Bruges Renaissance artist and architect Lanceloot Blondeel
who oversaw the work on this masterpiece of which the 5 statues and
alabaster Suzannah reliefs were carved by Guyot de Beaugrant. The
fine wood carvings show the family tree of Charles V.
The metal fire back is attributed to Peter Pourbus. The entire work
was paid for with taxes, inheritances and fines from convicts.
Outside, the façade of the Liberty of Bruges is richly decorated with
gold-plated reliefs, statues and colourful miniature busts. Of particular interest is the heraldic composition. While lions often appear in
armorial symbols, the bear does not.
When one was killed by Count Baldwin on
this very spot, he decided to build his first
castle or burg, hence the name of the square.
The most imposing building of course is
Town Hall, built in the typical Gothic style
of Bruges. While the first stone was laid
in 1376, the shields and 49 prominent
figures in niches are of a more recent
nature. The ones on display today were
created in 1989 and replaced the disintegrating ones of sandstone sculpted
at the beginning of the 20th century.
And even those replaced the originals
demolished in the aftermath of the
French Revolution. One can only
imagine how this building must
have looked originally decorated
in a colour palette imagined by
the greats like Jan van Eyck.
For more than 600 years, the
city of Bruges has been governed
from this building.
On the first floor of Town
Hall one must visit the lavishly decorated Gothic Hall
with frescoes that contribute greatly to the solemn
atmosphere of this room
in which very different
periods and styles cohabit.
6
A walk around the back of the complex shows us how the hospital
must have expanded over time. During the 13th and 14th centuries,
more halls and sick-bays were added to the complex. Three very
distinctive sections are obvious. Not all sick people were accepted. In
Bruges, there were other institutions for lepers and insane people. The
back entrance is a beautiful Romanesque archway with the likeness of
St. John, the patron Saint of the sick, injured and suffering.
Another institution involved in helping the less fortunate were the
almshouses. Beginning in the 13th century, the rich in Bruges built
godshuizen (houses of God, or almshouses) as refuges for widows and
the poor. The moneybags weren’t being entirely altruistic, since the
residents had to pray for their benefactors’ souls twice a day in the
chapel that was an integral part of an almshouse’s facilities. Close to
the St. John’s Hospital are the houses of St. Joseph, 17th century, and De
Meulenaere, 1613.
Another fine example is the De Vos Almshouse, from 1713, at the corner of Noordstraat and Wijngaardstraat, near the Beguinage. The
pretty courtyard garden here is surrounded by a chapel and eight
original houses, now converted to six, which are owned by the city and
occupied by seniors. Admission is not permitted, but you can view the
complex from over a low wall out front.
The green foliage and grassy canal banks are typical of the area known
as the ‘Vineyard Square’. Here Canada geese and Bruges’ swans live in
harmony under the watchful tower of Saint Saviour Cathedral. This
spot is also known as Bruges’ onehorsepower pitstop, where the animals
get fueled up at the fountain and occasionally get a new set of tires.
While the entrance gate to the Beguinage bears the date 1776, it was
founded in 1245 by the countess of Flanders, Margaretha of Constantinople, daughter of Count Baldwin who conquered Constantinople
(now Istanbul) during the Crusades. In 1299, Philip the Beautiful of
France raised it to the stature of Princely Beguinage, thereby withdrawing it from the influence of the town Magistrate. Over the centuries, this tranquil town within a town housed female followers of a
mystical movement reactionary to the growing material and formal
aspirations of the regular clergy. These ‘beguines’ lived like regular
nuns, but never made the same binding vows that nuns normally
make. The largest and most impressive house is situated in the left
corner behind the garden. It was here that the ‘grand-dame’ or ‘grandmistress’ lived. It was she who ruled over the Beguinage. She was very
often a girl who joined the community from a rich and noble family.
15
This monument was erected in honour of Guido Gezelle, Bruges’ most
famous poet whose love of nature, championing of the Flemish cause,
and intense feeling for religion are evident in his poems.
Spectacular is the arch vaulted oak ceiling, dating from the late 19th
century. At the junction of each of the ribs are keystones, medallions
depicting scenes from the New Testament.
Along the canal, which was part of the earliest fortification of the
town, stands St. John’s Hospital. Since the 12th century it has served
not only as a hospital but also as a lodging for travelers. Bruges, and
more specifically St. John’s Hospital, in the 16th century during the
transition period between the Middle Ages and the Renaissance, is
the setting for the world famous book ‘l’Oeuvre au Noir’ by Marguerite
Yourcenar, the first female member of the French Academy of
Literature. The book retraces the life story of Zenon; doctor, alchemist
and philosopher.
The twelve stone consoles on which the vaults rest were built in the
14th century. The subject matter for these sculptured reliefs is very
different from that of a vault. They represent the twelve months of
the year with scenes of rural life. Each month can be identified by its
attributes. February for example is represented by a peasant gathering
wood.
Now no longer a hospital but a museum to its history, its entrance is
a detailed tympanum portraying the Virgin Mary at her death and
during her coronation. The museum houses works by Hans Memling
who was once a patient at the hospital. The paintings were not
bequeathed but were purchased. The bill of sale was found in the
archives.
Tradition has it that the relic
of the Holy Blood was brought to
Bruges during the second crusade, having been venerated in
Constantinople.
A side entrance brings us to a beautiful inner courtyard where a
peaceful statue waits. Until 1634, the hospital was run by two orders of
monks and nuns. The nuns continued to carry out their duties until
1977. The sisters took care of the daily organization of the sickbay and
kitchen, whereas the brothers were responsible for the administration
of the entire complex. Each group lived in a separate part of the
hospital, both were not necessarily14of a religious background.
The decorated consoles of the four elements date from the 16th century. The iconography used to represent them is traditional as it borrows from allegorical figures of pagan divinities.
The Neo-gothic frescoes that surround you date from the 19th century
and are masterpieces of the style. They recount events in the history of
Bruges. To highlight a few of them, we recognize the ceremony of the
founding of the Order of The Golden Fleece, by Philip the Good in 1430;
Thierry d’Alsace in crusader’s clothing depositing the precious relic of
The Holy Blood at the chapel of Saint Basil in 1150; the ceremony of the
laying of the town halls first foundation stone by Louis of Male; a visit
by the town’s magistrate to Jan van Eyck’s studio; Jacob van Maerlant,
the father of Flemish poetry and the inauguration of the new Zwin
canal. If you look carefully you can make out on the far right the two
brothers De Vriendt, the artists of the frescoes, Albrecht with beard
and Juliaan with Moustache.This set of frescoes is surmounted by
a frieze with floral and heraldic
ornamentation, the coat of arms
being those of the corporations of
Brugge.
7
The date 1633 is inscribed in this vaulted entry to the ground chapel
which is further decorated with the crests of the masons and the
chandlers and many gold-plated statues. Thierry of Alsace, here
holding the sword, founded the St. Basil’s chapel in 1150, which is
the lower of two chapels, one built over the other.
On the more recent Gothic façade we see Mary of Burgundy. The
stairway designed by Lanceloot Blondeel in 1553 replacing the original wooden one, was destroyed during the French occupation. What
we see now, referred to as the ‘Steeghere’ was completed in 1839.
We ascend the stairs into the upper chapel where now the relic of
the Holy Blood is kept. This chapel’s most remarkable feature is its
stained-glass.
This fresco depicts the mystery of the cross, where Christ shed his
blood. The large window at the back of the chapel portrays the last
days of Christ, and at the bottom, the handing over of the relic of the
Holy Blood by the King of Jerusalem to Thierry of Alsace, and in Bruges
by the Abbott of St. Bertin to the chaplain in front of the Romanesque
chapel of St.Basil.
The tranquility of this enclosed garden between the Gruuthuse Palace
and Our Lady Church will inevitably be interrupted by the
announcement that ‘Here you will find the smallest Gothic window
in Bruges’. This fact is a standard item on any canal tour passing
under the Bonifacio bridge. Having crossed the bridge, you find yourself
in what is called the Arentshof, with more splendid views of
Gruuthuse and the Church of Our Lady. This area is now the setting
for a series of bronze sculptures by the artist Rik Poot, who in 1987
created this superb interpretation of the Four Horsemen of the
Apocalypse.
Notably, among the statues we find two remaining but moved columns
of what was once the Water Halles on the Market Square.
The four horsemen were traditionally named Pestilence, War, Famine
and Death; however, this is slightly at odds with the conventional
interpretation of the Bible, which actually only directly names the
fourth, ‘Death’.
We exit the area of the
Burg through the passage
of ‘Blind Donkey Street’
where once stood the south
gate to the town. A relief
indicates where the gate
once was and the hinge can
still be seen. Crossing the
bridge and looking back,
the dates on two façades
get our attention.
This canal area is known
as the Groenerei. It is a
stretch of canal usually
visited by boat but we
recommend you take the
time to walk it, only then
you will have time to note
the splendid roof tops and
superb architecture of the
area.
8
13
Nearby is the Church of Our Lady. The Gruuthuse family had its own
chapel within the church, connected by a walkway to their palace.
The Church Of Our Lady contains some impressive pieces of art.
Probably the best known is a piece by Michelangelo, Madonna and
Child, the only piece to leave Italy during his lifetime.
Built entirely of brick between the years 1210 and 1549, and laid out
in five aisles resembling a Latin cross, the Church of Our Lady ranks
in its majesty with the Belfry and St. Saviour Cathedral.
Other points of interest in the church are the tombs of Charles the Bold
and Maria of Burgundy who rest side by side within the choir room,
unique in that they are not husband and wife but father and
daughter.
In front of the tombs stands a triptych by Barend van Orley, still alive
with color.
A lion representing the warrior-like image of Charles the Bold sits at
the foot of this richly decorated mausoleum type tomb, while for
Maria of Burgundy, a much more serene aura surrounds her tomb. A
dog symbolizing fidelity rests at her feet.
Also notice the bronze bust of a beloved mayor of Bruges and Minister
of State of Belgium who sits watch over probably one of the most picturesque views in all of Bruges.
Continuing from the Blind Donkey Street bridge, we pass the fish market and carry on to the Tanner’s Square. The square’s central column
is a reminder of its former importance. Now this quaint little center
of stalls and restaurants might be a place to take a break and maybe
sample a beer or purchase a piece of local art.
Here at number ten was the former headquarters of the Tanner’s guild. A stone plaque commemorates the inauguration of the building in
1630 and its more recent restoration in 1912.
The canal side of the house makes part of what
is certainly the most picture-perfect corners in
Bruges. Bruges was a town of artisans organized
in guilds. It was this union of trades people that
made possible the construction of these splendid
buildings.
A place that reflects upon all the romantic elements of Bruges is the ‘Rosary Wharf’. With the
Belfry as a backdrop, this beautiful section of canal is the one photo opportunity that nobody can
afford to miss. While this is for many the starting point of a leisurely trip on the canals, the
more literary among us might be reminded of
the setting of Georges Rodenbach’s famous novel,
‘Bruges la Morte’. Have a closer look at the house
behind the tree overlooking the canal, as it probably provided the inspiration for the home of the
main character, Hugues Viane.
Halfway along the wharf is the St. Jans Nepomucenus bridge, with a statue dedicated to this
Saint from Bruges who was also the Archbishop of
Prague. In 1393, he became a martyr, having refused to betray the secrets of the confession. He was later
thrown into the river Moldau.
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Reflecting in the canal and standing 122 meters high, the Church of
Our Lady overlooks the Dijver.
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The etymology of the name
‘Dijver’ is interesting. Long ago,
this area was an island covered
with oak trees and a natural
spring.Deivo means holy water
in Celtic, so over 2000 years ago
this was a place of worship. A
street name and the remnants
of an abbey make reference to
the oaks in the area.
At the end of the Dijver we
find the Palace of Gruuthuse,
which now serves as a museum.
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A magnificent heraldic relief sits above the entrance gate. Reliefs in
the side wall portray battle scenes. The Lords of Gruuthuse who once
lived here, had sole right of sale on all the ‘gruut’ in Bruges. Gruut was
a blend of dried plants used to spice beer before the introduction of
hops. Unicorns hold the family shield decorated with the collar of the
Golden Fleece, an order of knighthood founded by Philip III the Good,
Duke of Burgundy, at Bruges in Flanders in 1430.
On the inner courtyard we can see the building which was once the
stables, with its arches and castle like design. Across from it stands
the ‘Gruut House’ palace. The family motto: ‘Plus est en vous’ or ‘More
is within you’ is a good representation of the Gruuthuse approach to
trade, diplomacy and combat.
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