These are pictures of Brugge, Belgium from September 9, 2000. I made this trip with Becky, a friend of mine who was studying in Europe with me.
Brugge, Belgium
Bruges (Dutch: Brugge) is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium. It is located in the northwest of the country.
The historic city centre is a prominent World Heritage Site of UNESCO. It is egg-shaped and about 430 hectares in size. The area of the whole city amounts to more than 13,840 hectares, including 193.7 hectares off the coast, at Zeebrugge ("Seabruges" in literal translation). The city's total population is 117,073 (1 January 2008), of which around 20,000 live in the historic centre. The metropolitan area, including the outer commuter zone, covers an area of 616 km² and has a total of 255,844 inhabitants as of 1 January 2008.
Along with a few other canal-based northern cities, it is sometimes referred to as "The Venice of the North".
Bruges has a significant economic importance thanks to its port, and is also home to the College of Europe.
The historic city centre is a prominent World Heritage Site of UNESCO. It is egg-shaped and about 430 hectares in size. The area of the whole city amounts to more than 13,840 hectares, including 193.7 hectares off the coast, at Zeebrugge ("Seabruges" in literal translation). The city's total population is 117,073 (1 January 2008), of which around 20,000 live in the historic centre. The metropolitan area, including the outer commuter zone, covers an area of 616 km² and has a total of 255,844 inhabitants as of 1 January 2008.
Along with a few other canal-based northern cities, it is sometimes referred to as "The Venice of the North".
Bruges has a significant economic importance thanks to its port, and is also home to the College of Europe.
History
Very few traces of human activity date from the Pre-Roman Gaul era. The first fortifications were built after Julius Caesar's conquest of the Menapii in the first century BC, to protect the coastal area against pirates. The Franks took over the whole region from the Gallo-Romans around the 4th century and administered it as the Pagus Flandrensis. The Viking incursions of the ninth century prompted Baldwin I, Count of Flanders to reinforce the Roman fortifications; trade soon resumed with England and Scandinavia. It is at around this time that coins appeared for the first time bearing the name Bryggia. This name may stem from the Old Norse Bryggja, meaning "landing stage" or "port", and may have the same origin as Norway’s Bryggen.
Bruges got its city charter on July 27, 1128 and built itself new walls and canals. Since about 1050, gradual silting had caused the city to lose its direct access to the sea. A storm in 1134, however, re-established this access, through the creation of a natural channel at the Zwin. The new sea arm stretched all the way to Damme, a city that became the commercial outpost for Bruges.
With the reawakening of town life in the twelfth century, a wool market, a woollens weaving industry, and the market for cloth all profited from the shelter of city walls, where surpluses could be safely accumulated under the patronage of the counts of Flanders. Bruges was already included in the circuit of the Flemish cloth fairs at the beginning of the thirteenth century. The city's entrepreneurs reached out to make economic colonies of England and Scotland's wool-producing districts. English contacts brought Normandy grain and Gascon wines. Hanseatic ships filled the harbor, which had to be expanded beyond Damme to Sluys to accommodate the new cog-ships. In 1277, the first merchant fleet from Genoa appeared in the port of Bruges, first of the merchant colony that made Bruges the main link to the trade of the Mediterranean. This development opened not only the trade in spices from the Levant, but also advanced commercial and financial techniques and a flood of capital that soon took over the banking of Bruges. The Bourse opened in 1309 and developed into the most sophisticated money market of the Low Countries in the fourteenth century. By the time Venetian galleys first appeared, in 1314, they were latecomers.
With the reawakening of town life in the twelfth century, a wool market, a woollens weaving industry, and the market for cloth all profited from the shelter of city walls, where surpluses could be safely accumulated under the patronage of the counts of Flanders. Bruges was already included in the circuit of the Flemish cloth fairs at the beginning of the thirteenth century. The city's entrepreneurs reached out to make economic colonies of England and Scotland's wool-producing districts. English contacts brought Normandy grain and Gascon wines. Hanseatic ships filled the harbor, which had to be expanded beyond Damme to Sluys to accommodate the new cog-ships. In 1277, the first merchant fleet from Genoa appeared in the port of Bruges, first of the merchant colony that made Bruges the main link to the trade of the Mediterranean. This development opened not only the trade in spices from the Levant, but also advanced commercial and financial techniques and a flood of capital that soon took over the banking of Bruges. The Bourse opened in 1309 and developed into the most sophisticated money market of the Low Countries in the fourteenth century. By the time Venetian galleys first appeared, in 1314, they were latecomers.
Such wealth gave rise to social upheavals, which were for the most part harshly contained. In 1302, however, after the Bruges Matins (the nocturnal massacre of the French garrison in Bruges by the members of the local Flemish militia on 18 May 1302), the population joined forces with the Count of Flanders against the French, culminating in the victory at the Battle of the Golden Spurs, fought near Kortrijk on July 11. The statue of Jan Breydel and Pieter de Coninck, the leaders of the uprising, can still be seen on the Big Market square.
In the 15th century, Philip the Good, duke of Burgundy set up court in Bruges, as well as Brussels and Lille, attracting a number of artists, bankers, and other prominent personalities from all over Europe.
The new Flemish-school, oil-painting techniques gained world renown. The first book in English ever printed was published in Bruges by William Caxton. This is also the time when Edward IV and Richard III of England spent time in exile here. The population swelled to more than 40,000 inhabitants.
In the 15th century, Philip the Good, duke of Burgundy set up court in Bruges, as well as Brussels and Lille, attracting a number of artists, bankers, and other prominent personalities from all over Europe.
The new Flemish-school, oil-painting techniques gained world renown. The first book in English ever printed was published in Bruges by William Caxton. This is also the time when Edward IV and Richard III of England spent time in exile here. The population swelled to more than 40,000 inhabitants.
Starting around 1500, the Zwin channel, which had given the city its prosperity, also started silting. The city soon fell behind Antwerp as the economic flagship of the Low Countries. During the 17th century, the lace industry took off and various efforts to bring back the glorious past were made. During the 1650s the city was the base for the court of Charles II of England and his court in exile [5]. The maritime infrastructure was modernized, and new connections with the sea were built, but without much success. Bruges became impoverished and gradually disappeared from the picture. The symbolist novelist George Rodenbach even made the sleepy city into a character in his novel Bruges-la-Morte meaning "Bruges-the-dead", which was adapted into Erich Wolfgang Korngold's opera, 'Die tote Stadt (The Dead City). In the last half of the 19th century Bruges became one of the world's first tourist destinations attracting wealthy British and French tourists. Only in the second half of the twentieth century has the city started to reclaim some of its past glory. The port of Zeebrugge was built in 1907. The Germans used it for their U-boats in World War I. It was greatly expanded in the 1970s and early 1980s and has become one of Europe's most important and modern ports. International tourism has boomed and new efforts have resulted in Bruges being designated 'European Capital of Culture' in 2002.
Basilica of the Holy Blood
The Basilica of the Holy Blood is a basilica in Bruges, Belgium. Originally built in the 12th Century as a chapel, it was promoted to basilica in 1923. the base of the basilica is Romanesque, its upper floor is Gothic in construction.
The basilica is best known as the repository of a sacred vial said to contain a cloth with blood of Jesus Christ, brought to the city by Crusaders in the 12th or 13th Century. Popular legend asserts that the vial was taken to Bruges during the Second Crusade of CE 1147-1149, but more recent research indicates that the vial probably arrived in Bruges in around 1250 from Constantinople, after that city had been sacked by the army of the Count of Flanders, Baldwin IX during the Fourth Crusade.
The vial is at the center of a well-known annual festival, the "Procession of the Holy Blood". On Ascension Day, residents of the area perform an historical reenactment of the vial's arrival along with enacting other Biblical events.
The basilica is best known as the repository of a sacred vial said to contain a cloth with blood of Jesus Christ, brought to the city by Crusaders in the 12th or 13th Century. Popular legend asserts that the vial was taken to Bruges during the Second Crusade of CE 1147-1149, but more recent research indicates that the vial probably arrived in Bruges in around 1250 from Constantinople, after that city had been sacked by the army of the Count of Flanders, Baldwin IX during the Fourth Crusade.
The vial is at the center of a well-known annual festival, the "Procession of the Holy Blood". On Ascension Day, residents of the area perform an historical reenactment of the vial's arrival along with enacting other Biblical events.
Grote Markt
The Grote Markt ("Market Square") of Bruges is located in the heart of the city and covers an area of about 1 hectare. Some historical highlights around the square include the 12th-centure belfry and the Provincial Court (originally the Waterhall, which is 1787 was demolished and replaced by a classicist building that from 1850 served as provincial court and after a fire in 1878 was rebuilt in a neo-Gothic style in 1887. In the center of the market stands the statue of Jan Breydel and Pieter de Coninck.
In 1995 the Market was completely renovated. Parking in the square was removed and the area became mostly traffic-free, thus being more celebration friendly. The renovated Market was reopened in 1996 with a concert by Helmut Lotti.
In 1995 the Market was completely renovated. Parking in the square was removed and the area became mostly traffic-free, thus being more celebration friendly. The renovated Market was reopened in 1996 with a concert by Helmut Lotti.
The Belfry
The belfry of Bruges, or Belfort, is a medieval bell tower in the historical center of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other danger. A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83-meter-high building, which leans about a meter to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
The building is a central feature of the 2008 film In Bruges.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
The building is a central feature of the 2008 film In Bruges.
The belfry was added to the main market square around 1240, when Bruges was prospering as an important center of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 to 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic style was added to the rooftop in 1822.
A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges," refers to the building's checkered history:
In the market-place of Bruges stands the belfry old and brown;
Thrice consumed and thrice rebuilded, still it watches o'er the town.
The octagonal upper stage of the belfry was added between 1483 to 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic style was added to the rooftop in 1822.
A poem by Henry Wadsworth Longfellow, titled "The Belfry of Bruges," refers to the building's checkered history:
In the market-place of Bruges stands the belfry old and brown;
Thrice consumed and thrice rebuilded, still it watches o'er the town.
The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour.
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carilloneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, twenty-six of which are still in use. Today the bells number 47, together weighing about 27.5 tonnes.
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carilloneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, twenty-six of which are still in use. Today the bells number 47, together weighing about 27.5 tonnes.
View of Brugge from the Belfry
Church of Our Lady
The Church of Our Lady (Dutch: Onze-Lieve-Vrouwekerk) in Bruges, Belgium, dates mainly from the 13th, 14th and 15th centuries.
Its tower, at 122,3 meters in height, remains the tallest structure in the city and the second tallest brickwork tower in the world (the tallest being the St. Martin's Church in Landshut, Germany).
In the choir space behind the high altar are the tombs of Charles the Bold, last Valois Duke of Burgundy, and his daughter, the duchess Mary. The gilded bronze effigies of both father and daughter repose at full length on polished slabs of black stone. Both are crowned, and Charles is represented in full armor and wearing the decoration of the Order of the Golden Fleece.
The altarpiece of the large chapel in the southern aisle enshrines the most celebrated art treasure of the church—a white marble sculpture of the Madonna and Child created by Michelangelo around 1504. Probably meant originally for the Siena Cathedral, it was purchased in Italy by two Brugean merchants, the brothers Jan and Alexander Mouscron, and in 1514 donated to its present home. The sculpture was twice recovered after being looted by foreign occupiers—French revolutionaries circa 1794 and Nazi Germans in 1944.
View from the Rozenhoedkaai
A lady weaving lace.
Town Hall on the burg
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