Table Of Contents

1. What Is Catalan Modernisme?
2. Hospital de Sant Pau
3. Lunch at El Nacional
4. Casa Amatller
5. Museu del Modernisme de Barcelona
6. Els Quatre Gats
7. Drinks at Bar Muy Buenas

What Is Catalan Modernisme?

Before we begin, a quick primer: Modernisme was more than an architectural style. Emerging in the late 19th century, it was a full-blown cultural movement, part design revolution, part political expression. It fused fine art, craftsmanship, and new engineering techniques with a deep sense of Catalan identity. Rooted in nature, mythology, and regional pride, it aimed to create something uniquely Catalan, something the rest of the world hadn’t seen before.

You can spot Modernisme in the wild by its fearless ornamentation. Look for buildings that seem to breathe, facades that ripple and curve like vines or sea creatures, balconies wrapped in twisting wrought iron, and tiles that bloom across surfaces like wildflowers. Stained glass is common, often in jewel-toned mosaics, and so are intricate carvings of animals, saints, or allegorical figures peeking out from columns and cornices. There’s also a distinct play between old and new. Many Modernista architects borrowed from Gothic and Moorish design, including pointed arches, turrets, and elaborate window tracery. But reimagined them with asymmetry and motion. It’s why a single doorway might feel both medieval and wildly futuristic at the same time.

Hospital de Sant Pau

Begin your tour at one of the most extraordinary showcases of Catalan Modernisme: the Hospital de Sant Pau. Often overshadowed by its famous neighbour, the Sagrada Família, this vast complex is a masterwork by architect Lluís Domènech i Montaner, one of the leading figures of the movement. Domènech i Montaner was a historian, professor, and politician, who brought intellectual depth to the movement, grounding it in Catalan identity and cultural pride. His style blends exposed brick, colorful tile, sculptural detail, and ironwork, drawing on medieval and floral motifs while embracing modern materials. Unlike Gaudí’s organic dreamscapes, Domènech’s buildings are symmetrical, luminous, and rooted in function.

One of the most iconic spaces within the Hospital de Sant Pau is the Pavilion of Administration, which greets visitors with an explosion of colour and craftsmanship. Its façade alone is a masterclass in Modernisme: red brick walls trimmed with floral ceramic tiles, carved stone shields, and whimsical gargoyles that nod to Catalan myth. Inside, vaulted ceilings soar above intricate mosaic floors, while stained-glass windows cast shifting colours across sculpted capitals and ornate columns. Every element was designed not just for beauty, but to convey harmony, wellness, and Catalan identity. Look closely and you’ll see symbols of medicine, nature, and regional pride woven throughout the architectural fabric.

Another must-see is the Sant Salvador Pavilion, one of the original patient buildings, which shows how Domènech i Montaner integrated function with artistry. Large arched windows allow natural light to pour into high-ceilinged rooms, a nod to Modernisme’s emphasis on light and air as healing forces. The walls are clad in ceramic tiles, easy to clean, yes, but also decorated with delicate, hand-painted patterns that reflect nature and renewal.

The pavilions are connected by underground tunnels and surrounded by gardens, reinforcing the “garden city” concept that places the patient in a setting of serenity and beauty. It’s here that Modernisme truly reveals itself not as an aesthetic flourish, but as a lived philosophy, where design, health, and culture are inseparably entwined.

Lunch at El Nacional

From the Hospital de Sant Pau, it’s about a 13-minute walk down to the Sagrada Família Metro Station. Take your time, this stretch gives you a few nice glimpses of Gaudí’s towers from a distance. Once you’re there, hop on the L2 metro toward Paral·lel. After just three quick stops, hop off at Passeig de Gràcia. From there, it’s only a short three-minute stroll to El Nacional, where lunch (and maybe a glass of cava) is waiting.

Lunch at El Nacional is more than just a break in your day, it’s a chance to soak in the atmosphere of Modernisme in an unexpected, elegant setting. Housed in a beautifully restored early 20th-century building that once served as a textile factory and garage, the space pays tribute to Catalan design through soaring vaulted ceilings, wrought iron beams, glowing lantern-style lighting, and hand-painted tiles. It’s a dramatic, open hall divided into several distinct dining areas, each with its own character, yet united by a shared sense of craft and beauty.

Here, you can sip cava at the oyster bar, order grilled Iberian pork or seafood paella, or simply linger over a few plates of tapas. The pace is unhurried, the ambiance warm, and the design invites you to look up, lean back, and take it all in.

Casa Amatller

From El Nacional, head southwest along Passatge de Maria Canals until you reach Passeig de Gràcia. Turn right and follow the boulevard for about 200 meters. At Carrer del Consell de Cent, take a quick left, then an immediate right back onto Passeig de Gràcia. Just ahead, you’ll spot Casa Amatller at number 41, right beside its more famous neighbour, Casa Batlló. As you approach Casa Amatller, its striking façade stops you in your tracks; it’s one of the clearest examples of how Catalan Modernism reimagined traditional styles with bold new flair. Architect Josep Puig i Cadafalch blended Gothic revival with northern European influence, most notably seen in the building’s stepped Flemish-style gable, an unusual sight on a street dominated by soft curves and undulating forms.

The lower section of the façade is carved from Montjuïc stone, dense with decorative flourishes: dragons, knights, floral motifs, and playful allegorical figures all emerge from the stone, creating a carved storybook-like character. Above, pastel-toned sgraffito work frames rows of windows with colourful ceramic panels in soft blues and greens, adding a delicate contrast to the heaviness of the stone below. Wrought-iron balconies twist with botanical detailing, while slender columns and elaborate corbels add vertical rhythm to the otherwise horizontal façade.

Built in 1900 for the wealthy chocolatier Antoni Amatller, the interiors still reflect the tastes and rituals of turn-of-the-century Catalan bourgeois life. Dark carved wood, patterned tilework, leaded glass windows, and elaborate ceilings make the rooms feel both grand and intimate. You’ll find photographic darkrooms, dragon-shaped door handles, and stained-glass skylights that change the mood with the sun. Every detail speaks to Puig i Cadafalch’s style, firmly Modernista, but with strong roots in Catalan Gothic tradition. It’s less fantastical than Gaudí, more architectural storytelling.

Downstairs, the café still serves thick Amatller chocolate, just as it did over a century ago.

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Museu del Modernisme de Barcelona

From Casa Amatller, continue southeast along Passeig de Gràcia until you reach Carrer del Consell de Cent. Turn right and walk for about 350 meters. Then, take a left onto Carrer de Balmes. Just a short stroll ahead, you’ll arrive at the Museu del Modernisme de Barcelona. Inside a beautifully restored former textile factory by architect Enric Sagnier, the museum feels intimate from the moment you walk in, more like exploring someone’s private collection than a grand institution.

Spread across two thoughtfully designed floors, the space showcases around 350 pieces from 42 artists. The lower level immerses you in the decorative arts: exquisitely carved wooden furniture, delicate inlaid tables, and ornamental ceramics that once belonged to elegant turn-of-the-century homes. Every object feels personal, handcrafted, practical, and full of personality.

Upstairs, the focus shifts to the iconic names and visual drama of the movement. You’ll find original furniture by Gaudí, pieces from Casa Calvet and Casa Batlló, alongside works by Ramon Casas, Josep Llimona, and other Modernista masters. Vivid stained-glass windows glow like hidden gems, their botanical and symbolic motifs bringing color and light to the compact rooms. The collection is small, but that’s the point. It’s designed for you to take your time, get close, and really see what made this movement more than just a style, it was a way of life.

Els Quatre Gats

For dinner, we are going to make our way from the Museu del Modernisme, along Carrer de Balmes and turn left onto Carrer de Bergara. Head toward Plaça de Catalunya, then turn right onto Av. del Portal de l’Àngel. After about 230 meters, turn left onto Carrer de Montsió, Els 4 Gats will be just ahead on your left. Designed by Puig i Cadafalch and housed in Casa Martí, the building itself is full of architectural nods to Catalonia’s medieval past, filtered through a Modernista lens. Outside, you’ll spot wrought iron balconies, arched windows, stained glass, and sculpted details that blend Gothic revival with artistic flair.

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Inside, the atmosphere is steeped in history. Think warm wood panelling, iron chandeliers, vintage posters, and a layout that once hosted the city’s most creative minds; Picasso, Rusiñol, and Ramon Casas all gathered here. To really savour the experience, start with a glass of Catalan vermut, then go for something classically local: pa amb tomàquet, patatas bravas, or a rich paella negra if you’re hungrier. Prices are slightly higher than average, but part of what you’re paying for is the atmosphere, the opportunity to dine in a place steeped in Modernista history.

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Drinks at Bar Muy Buenas

From Els 4 Gats, our final stop begins with a short walk southwest along Carrer de Montsió. Turn left onto the bustling Av. del Portal de l’Àngel, then continue straight as it becomes Carrer de la Cucurulla and flows into Plaça de la Cucurulla. Keep walking onto Carrer de la Portaferrissa, one of the liveliest pedestrian streets in the city, then take the crosswalk and turn right onto Carrer del Carme. After about 400 meters, you’ll arrive at Bar Muy Buenas, a beautifully restored Modernista gem where we’ll wrap up the day with a well-earned drink and one last dose of old-world charm.

Originally opened in the 1920s, the bar has been lovingly restored to its Modernista roots. But nothing here feels overdone or overly polished. It’s subtle. Confident in its age. The kind of place where details, like the original tiling under your feet or the iron scrollwork above the doorway, feel like part of the conversation. And the drinks? Thoughtfully made, with a soft nod to local ingredients. One standout is the Queen Joan Capri, gin with cucumber, lemon, lime, rosemary-honey, beer, and a little sugar. It’s not trying too hard. Just bright and herbal and quietly surprising. The late-night crowd is a mix of longtime locals and travelers who somehow found the good stuff.

And just like that, we end our walk through the quieter corners of Catalan Modernisme, not with a monument, but a glass in hand, surrounded by soft light and thoughtful details. From grand hospitals to hidden cafés, this tour has been less about checking off sights and more about tuning into a different rhythm of the city, one where art, identity, and everyday life still move together.

Happy Travels, Adventurers!

The post Underrated Modernisme Buildings in Barcelona You Need to See first appeared on The Creative Adventurer.

This self-guided walking tour follows that mosaic trail, from whimsical townhouses to noble palaces, from ornate lampposts to tiled storefronts still open for business. Some of these buildings are famous, postcard-familiar. Others are quietly tucked away, waiting for someone curious enough to notice. As you walk and explore, be sure to pop your head into the myriad peaceful coffee shops and tapas bars that catch your eye, it’s worth a look-see!

Table Of Contents

1. History of the Eixample
2. Design & Layout of Eixample
3. Catalan Modernisme
4. Map of Walking Tour
5. Palau Macaya
6. Casa Manuel Llopis Bofill
7. Casa Jeroni Francesc Granell
8. Casa Lamadrid
9. Casa Josefa Villanueva
10. Casa Jaume Forn
11. Queviures Múrria
12. Palau Ramon Montaner
13. Casa Thomas
14. Casa de les Punxes
15. Casa Comalat
16. Palau del Baró de Quadras
17. Hotel Casa Fuster
18. Block of Discord
19. Casa Ramon Casas
20. La Pedrera (Casa Milà)
21. Casa Vídua Marfà
22. Casa Batlló
23. Casa Amatller
24. Casa Lleó Morera
25. Bancs-Fanals
26. Casa Fargas
27. Casa Dolors Calm
28. Fundació Antoni Tàpies
29. Farmàcia Jordi Bolòs Giralt
30. Casa Queraltó

History of the Eixample

Back in the mid-1800s, Barcelona was suffocating. The whole city was still trapped inside its medieval stone walls, and by 1850, nearly 200,000 people were crammed into that tight space. That meant extreme overcrowding, worse than Paris or London at the time. With barely any air or sanitation, disease spread quickly and life expectancy dropped hard: down to just 36 years for the wealthy, and only 23 for workers! People were desperate for space to breathe, and in 1854, the government finally tore down the old fortifications.

That decision opened the door, literally, for the city to stretch out onto the empty plains beyond. A few years later, in 1859, a Catalan engineer named Ildefons Cerdà stepped in with a bold new vision. He proposed a completely different kind of city: open, geometric, and grounded in ideas about hygiene, equality, and sunlight. Not everyone loved his plan, especially since it was pushed through by the Spanish state, overruling a more decorative design that locals had voted for. But Cerdà’s vision stuck. He called it “urbanization,” and it laid the groundwork for the modern Barcelona we know today. Gridded streets, airy courtyards, big leafy boulevards, it all began with this radical idea to reform the city, one square block at a time.

Design & Layout of Eixample

What made Cerdà’s Eixample so distinctive is its signature grid, clean, rational, and almost obsessively thought-out. The blocks were originally designed as perfect squares, each about 113 meters on each side, separated by broad streets that were 20, 30, or even 60 meters wide. But the real twist? Cerdà shaved off the corners. Every block has a 45-degree chamfer, turning intersections into soft octagons. It wasn’t just for looks. These angled corners let more light and air flow through the city, made it easier for horse-drawn carriages (and later cars) to turn, and opened up visibility at crossings.

At the heart of his plan were two simple but radical ideas: equality and hygiene. He imagined each block as its own little ecosystem, where homes, shops, workshops, and green space all coexisted. No towering elites on one end and cramped slums on the other. Every block would have a central garden or courtyard open to the sky, bringing in fresh air, natural light, and a place for residents to gather. He even got specific about the trees, one every 8 meters, and preferably the hardy plane tree, which could handle the dusty city air. Buildings were originally capped at just 3 or 4 stories, and only meant to line two sides of each block. The rest was meant to breathe. Wide boulevards, open courtyards, and plenty of daylight, his dream was a city that felt equal, spacious, and full of life.

Catalan Modernisme

Cerdà gave Barcelona the bones. But it was the artists and architects of Catalan Modernisme who gave the city its unmistakable flair. Emerging in the late 19th century, right around the time Barcelona’s factories were booming and its bourgeoisie was growing bolder, Modernisme was Catalonia’s answer to Art Nouveau.These architects weren’t interested in following the old academic rulebooks. They wanted to create something original, a new art for a modern Catalonia. Their designs were alive with nature: twisted iron vines, stone flowers frozen mid-bloom, colourful tiles shimmering like butterfly wings. Curves replaced corners. Symmetry gave way to flow. And materials, iron, glass, ceramic, brick, were used not just structurally, but joyfully.

Map of Walking Tour

Palau Macaya

We start our tour at the far eastern quarter of the Exiample, at the Palau Macaya. At first glance, Palau Macaya‘s façade greets you with quiet elegance, soft Montjuïc limestone draped in delicately carved sgraffito, arabesques, and allegorical figures that seem to dance above the windows. It’s a palace wrapped in medieval reverie, yet there’s something so modern about its symmetry and crisp lines. You’ll probably notice the whimsical knight on a bicycle, a small delight hidden in plain sight that somehow captures both nostalgia and a forward-thinking spirit. The façade gently curves with the street, almost bowing to pedestrians, while elegant pilasters and balustrades guide your gaze upward to that graceful roofline.

As you stroll around the block, you start to appreciate how the building plays with light and shadow, the shallow reliefs catching the sunshine just so, creating a tapestry of texture that moves with the day. The wrought-iron balconies peek out like delicate balconies of lace, offering glimpses of the private world within. Even without going inside, you feel the building’s warmth and intelligence: a blend of refinement and innovation, anchored in Catalan identity but open and inviting to the world.

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Casa Manuel Llopis Bofill

Make your way west along the Avenue Diagonal, but make a quick turn down the quiet Carrer de Bailèn towards #113, where you’ll see Casa Manuel Llopis Bofill. One of the most quietly striking aspects of Casa Manuel Llopis Bofill is how it leans, gracefully and unmistakably, into an aesthetic that feels almost distinctly Arabic. Moorish, even. You see it in the arches above the windows, the tiled turrets that crown the corner towers, and the way the whole structure seems more like something from Granada or Córdoba than the heart of Barcelona’s Eixample. There’s something softer, more ornamental at play here. Designed in 1902 by Antoni Maria Gallissà, he was drawing on Islamic art and architecture, not copying, but weaving those influences into the local fabric in a way that feels respectful and original. Despite being damaged during the Spanish Civil War, much of the original detail has been carefully restored.

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Casa Jeroni Francesc Granell

Head over one street, to the Carrer de Girona, where you’ll find two of the most fabulous homes in the Eixample, the first being the Casa Jeroni Francesc Granell. This is the home of architect and stained-glass artist Jeroni Granell and it’s every bit as theatrical as you’d expect. Passing by you might not even notice the details right away, but take a moment to look closely and you’ll be amazed at what you see. A wide central bay window that gently bows out toward the street, draped in floral stucco, framed by soft green sgraffito, and topped with glasswork that seems to glow even on overcast days. Sgraffito is a decorative technique that’s all about revealing beauty through layers, literally. The name comes from the Italian “sgraffiare”, meaning to scratch.

The overall effect is delicate, romantic, almost a little wistful. The curved iron balconies feel like jewelry against the soft exterior, while the vines and blossoms carved into the plaster give it a kind of tender movement, as if the whole building is mid-exhale.

Casa Lamadrid

Just a few doors down, you’ll find the Casa Lamadrid. Casa Lamadrid, built in 1902 by Lluís Domènech i Montaner, is a perfect example of how a building doesn’t need to shout to be heard. Compared to some of Domènech’s more theatrical works, like the Palau de la Música or the Hospital de Sant Pau, this house might seem modest at first. But spend a little time with it, and it begins to reveal its layers. The façade, while relatively restrained, brings together many of the elements that defined the architect’s signature style: sculpted stonework, floral symbolism, and a deep sense of proportion and rhythm.

What makes this building truly sing is the ornamental crown that rises above it al, a sculptural flourish that seems to grow from the structure like ivy from a garden wall. It’s decorated with plant motifs that soften the building’s silhouette and connect it back to the organic inspiration that defines so much of Catalan Modernisme. Right in the center, nestled among the curling foliage, is a Gothic-style coat of arms, adding a heraldic, almost medieval touch. It’s a detail that speaks volumes, not just about the architect’s style, but about the era’s fascination with history, nature, and identity.

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Casa Josefa Villanueva

Take a walk along the Carrer de Valencia, towards Casa Josefa Villanueva, designed by Juli M. Fossas and constructed between 1904 and 1909. A bay window, elegant and slightly theatrical, curves around the chamfered edge of the building like a balcony wrapped in stone lace. It’s one of those features that feels both sculptural and structural at once, like it grew out of the façade rather than being placed on it. What’s especially striking is the way the slender columns beneath the bay seem to echo organic forms. They don’t read like classical pillars. They’re more sinuous, more anatomical. There’s something vaguely skeletal about them, as if they were ribs or bones holding up a delicate skin of glass and stone. It’s subtle, but it gives the whole corner a slightly surreal edge, like nature and architecture are quietly negotiating with each other. In a neighbourhood known for its florid façades and showpiece balconies, this one stands apart, more introspective, more tactile.

Casa Jaume Forn

Tucked into a sunny corner between Carrer de València and Carrer de Roger de Llúria, Casa Jaume Forn is one of those buildings that stops you mid-step, less for its size (though it’s a big one) and more for its presence. Designed originally by Jeroni F. Granell i Manresa and completed later by Domènech i Boada when Jaume Forn became the owner, it stands today as a quiet icon of the Quadrat d’Or, the Eixample’s golden grid of Modernista marvels.

What draws the eye instantly are the stained glass bay windows that wrap around the building’s chamfered corners. They glow with colour and fine detail, even on overcast days, catching the light like jewelry strung across the façade. The leaded panels, most likely crafted by the legendary Taller Rigalt i Granell, are intricate and organic, full of floral flourishes and delicate patterning. They don’t just decorate the building; they transform it. From the street, the glass gives off the feeling of a living canvas, as if the building is watching the city through a lens tinted by art.

Queviures Múrria

Tucked into a busy corner of Carrer de Roger de Llúria, Queviures Múrria looks more like a perfectly preserved film set than a functioning shop. But step inside, and you’ll discover that it’s both. Originally opened in 1898 as a coffee roaster and rolled-wafer maker, this gem of a colmado (traditional grocery) still holds fast to its Modernista soul. The exterior is a feast for the eyes, fire-glazed stained glass signs from the 1920s shimmer above the windows, proudly advertising Anís del Mono and Codorníu in bold, romantic fonts. They’re reproductions of original poster designs by Ramon Casas, and they lend the storefront a theatrical quality, as if time stopped mid-scene.

Inside, the time-travel sensation deepens. The original mahogany cabinetry, old mechanical clock, marble counters, and delicate glass shelving all remain intact, lovingly preserved through generations. Even more special? You might still find Joan Múrria himself behind the counter, offering curated selections of cheeses, smoked fish, conserves, and wine with the kind of pride and care you rarely see in modern retail.

Palau Ramon Montaner

Just off Passeig de Gràcia, where Carrer de Mallorca meets Roger de Llúria, you’ll find one of the few surviving mansions from the Eixample’s early golden age: Palau Ramon de Montaner. It’s a grand, eclectic building with Modernista bones and a distinctly Italianate flair, a rare hybrid that sets it apart from the more organic, nature-drunk facades found elsewhere in the district. Construction began in 1889, shortly after the Universal Exhibition, under the architect Josep Domènech i Estapà, who was originally tasked with designing twin homes for the founders of the Montaner i Simón publishing house. But due to creative disagreements, Estapà left the project midway, and the commission was handed off to his nephew, none other than Lluís Domènech i Montaner, a rising star in the world of Catalan Modernisme. Rather than demolish what his uncle had started, Domènech i Montaner kept the structure intact and turned his attention to reimagining the decoration, both inside and out.

From the outside, it’s the richly adorned ceramic frieze that first catches the eye: a tapestry of glazed tiles, heraldic symbols, and botanical motifs, all shimmering in metallic tones under the deep eaves. The upper façade also bears a mosaic date, 1895, the year the work was completed, surrounded by sculpted flourishes that hint at the sumptuousness waiting behind the doors.

Casa Thomas

Casa Thomas, tucked along Carrer de Mallorca, is one of those buildings that catches your eye slowly, then refuses to let go. Designed in 1895 by Lluís Domènech i Montaner for the printer Josep Thomas, the house originally had just two storeys: a printing workshop on the ground floor and the Thomas family’s residence above. The façade is a symphony of detail. Cool, bluish tones ripple through floral stonework, neo-Gothic arches lift the windows, and if you look closely at the entrance, you’ll find carved reptilian figures crawling through the stone, one of Domènech i Montaner’s signature eccentric touches. His language of architecture is never just form, it’s narrative. Here, nature coils and blooms across the façade like it’s part of a larger, slower story unfolding in stone. Even after Francesc Guàrdia (his son-in-law) added three upper floors in 1912, raising the towers, extending balconies, and threading a gallery across the top, the overall composition holds together in a way that feels balanced, intentional, and still very much in tune with its original soul.

Casa Thomas is often called a compendium of Modernisme, and for good reason: sculpted stone galleries, wrought-iron balconies, delicate floral motifs, neo-Gothic flourishes, it’s all here, coexisting in quiet harmony. Though altered and restored over time (most notably in 1980 by architect Cristian Cirici, who won a National Restoration Award for his work), the spirit of the original design remains. It’s not just a pretty façade. It’s a record of ambition, imagination, and the lasting power of beauty.

Casa de les Punxes

Casa de les Punxes (also known as Casa Terradas) looks like it was plucked from a medieval storybook and dropped right onto Avinguda Diagonal, where it meets Carrer Rosselló and Carrer Bruc. Six sharp towers rise from the brick façade, giving it the nickname “House of Spikes”, and it lives up to the drama. In 1905, Josep Puig i Cadafalch, one of Catalan Modernisme’s greats, was commissioned to build a home for the three Terradas sisters: Àngela, Josefa, and Rosa. Rather than design three separate houses, he created a single structure with a unified façade and individual wings. The result is a Neo-Gothic fortress full of symbolism, invention, and flair.

Look closely and you’ll find more than beauty. Ceramic panels show Saint George slaying the dragon beneath the words, “Patron Saint of Catalonia, give us back our freedom.” Anagrams of the sisters’ initials circle the towers, and zodiac signs appear alongside floral carvings, pomegranates, and grapes. Every detail feels deliberate. Puig i Cadafalch didn’t work alone. He enlisted master artisans, Enric Monserdà, Ballarín, Amigó, and more, to bring the sculpted stone, stained glass, and wrought iron to life. Structurally, it was ahead of its time too: he replaced load-bearing walls with iron columns, creating wide open interiors, a radical move for 1905.

Casa Comalat

Further down the Avenue Diagonal, you’ll come upon the Casa Comalat. A building that feels like a hidden love letter to Gaudí. Designed by Salvador Valeri i Pupurull between 1909 and 1911, it’s one of the most original and playful examples of late Catalan Modernisme. While Gaudí himself had no hand in it, his influence is all over this place, from the flowing lines to the floral motifs to the fantastical surfaces that make the building feel alive. There are two façades, and they couldn’t be more different. The main face, on Avinguda Diagonal, is elegant and symmetrical. Sculpted stone, floral garlands, and a grand wrought iron doorway hint at Valeri’s careful eye for detail. At the top, a green-glazed ceramic turret shaped like a harlequin’s hat peeks out over a crown of sculpted balconies.

But swing around to Carrer de Còrsega, and the building suddenly lets loose. The back façade bulges outward like it’s exhaling, wrapped in undulating wooden galleries and covered in vibrant ceramic mosaics by Lluís Bru i Salelles. The curves here feel less refined and more rebellious, wild parabolic arches, warped lines, and organic forms that call to mind Gaudí’s Casa Batlló or La Pedrera, but with a slightly surreal twist. Commissioned by financier Joan Comalat Aleñà as a private residence, this was Valeri’s attempt to create a home where straight lines barely existed.

Palau del Baró de Quadras

Architect Josep Puig i Cadafalch was commissioned in 1900 to transform a simple residential block on Carrer Rosselló into something spectacular for the Baron of Quadras, now dubbed Palau Baró de Quadras. And wow, did he deliver. He reoriented the entrance toward Avinguda Diagonal, which was quickly becoming one of the city’s most prestigious boulevards. The façade here is a love letter to Northern European palaces: intricately carved stonework, sculpted busts of medieval figures, heraldic shields, and balconies that practically whisper of nobility. Sculptors Eusebi Arnau and Alfons Juyol brought the stone to life.

Since 2013, the palace has housed the Institut Ramon Llull, an organization dedicated to promoting the Catalan language and culture around the world. A point made clear by the large Catalan flag fluttering outside the windows, a bold, unmistakable marker of identity, pride, and purpose in the heart of the Eixample.

Hotel Casa Fuster

At the very top of Passeig de Gràcia, where the avenue opens into the Jardinets de Gràcia, stands a building that whispers instead of shouts. Casa Fuster, built between 1908 and 1911 by the celebrated Lluís Domènech i Montaner, is a masterclass in elegance and restraint. A more subtle take on modernisme. Pale. Poised. And profoundly detailed. It was commissioned by Mariano Fuster, a Mallorcan lawyer, as a gift for his wife, Consol Fabra i Puig. Her initials still appear carved into one of the facades. But this wasn’t some modest love letter. At the time, it was the most expensive private residence in Barcelona, thanks in large part to the lavish use of white marble and other rare materials.

Domènech i Montaner’s trademark elements are easy to spot: nature-inspired floral motifs, trilobed arches, robust columns set on red stone bases, and a central tower-like oriel window that anchors both façades. At the top, a line of French-style garrets adds a surprising and somewhat whimsical finish, something rarely seen in Catalan modernista buildings. For years, the building served a more practical purpose, housing the offices of ENHER, the city’s electric company. Poet Salvador Espriu once lived here too, and today the garden across the street bears his name. In the 1960s, the building nearly disappeared, slated for demolition to make way for a skyscraper. It was only after public outcry that Casa Fuster was saved, restored instead of erased. Today, Hotel Casa Fuster blends modern luxury with the soul of its historic design.

One of its most iconic spaces, the Café Vienès, has been brought back to life, formerly a gathering place for artists and thinkers, now hosting atmospheric jazz nights under original stained glass and carved ceilings.

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Block of Discord

As we make our way down along Passasge de Gràcia, we are entering the Block of Discord (Illa de la Discòrdia in Catalan). It’s one of the most famous and eccentric stretches of architecture in the city. Why the name “Block of Discord”? It’s not about arguments. It’s about artistic rivalry. The name is a playful jab at the visual discord between the wildly different styles of three side-by-side Modernista masterpieces, each designed by a different prominent architect. Think of it like a flamboyant architectural face-off.

Casa Ramon Casas

Ramon Casas, painter, illustrator, and central figure of Catalan Modernisme, wasn’t just a celebrated artist. He was also part of Barcelona’s upper class, and like many of his contemporaries, he wanted to leave a mark on Passeig de Gràcia. In 1898, he commissioned architect Antoni Rovira i Rabassa, son of the notable urban planner Antoni Rovira i Trias, to design a home that would serve both as a residence and a working studio.

Located at number 96 on the promenade, just one building away from Gaudí’s La Pedrera, the Casa Casas-Carbó is a refined example of early Modernista architecture. With a carved stone façade, elegant sculptural details, and distinctive grandstands on the main floor, the building exudes a quiet sophistication. The iron-and-wood entrance door is particularly remarkable, and the decorative elements, ceramic, wrought iron, and sculpted stone, capture the essence of the movement’s love for craftsmanship and nature.

Today, the space has been transformed into the flagship store of Massimo Dutti, but its artistic legacy hasn’t been erased. The renovation carefully respected the building’s heritage, restoring mosaic floors, coffered ceilings, carved woodwork, and the magnificent marble staircase.

La Pedrera (Casa Milà)

La Pedrera, meaning “The Stone Quarry,” officially known as Casa Milà, sits at the corner of Passeig de Gràcia and Carrer de Provença. From the moment you see it, you realize this isn’t just another building. It’s a wave of undulating stone. A living, breathing sculpture that feels more like a mountain than a home. The facade is made entirely of rough, pale limestone. No flat surfaces. No right angles. It moves like fabric caught in a breeze. Windows are scattered irregularly across the stone, each framed with intricate wrought iron that twists and curls like seaweed or vines. These iron balconies, designed by Josep Maria Jujol, feel like nature gone wild in metal.

At street level, the grand entrance arches are massive and organic, almost like the hollowed trunks of ancient trees. Step back and look up, the building doesn’t rise so much as ripple. It looks alive. Like it was carved by water or grown from the earth rather than designed. On the roof, a forest of surreal chimneys and ventilation towers crowns the structure. They look like warriors or guardians sculpted in stone, frozen mid-step. Even from the sidewalk, you can see their otherworldly silhouettes.

Casa Vídua Marfà

One of the architectural highlights along Passeig de Gràcia is Casa Vídua Marfà, designed by architect Manuel Comas i Thos in 1901 and completed in 1905. This richly layered building stands at the corner of Passeig de Gràcia 66 and Carrer València, making the most of the chamfered intersection. Originally built as a residence, it rises five stories high and blends several historical styles, especially Romanesque and Gothic, while incorporating touches of Modernisme on the ground floor and within the staircase.

The building is now protected as a Cultural Asset of Local Interest. Its most eye-catching features include two decorative towers, balconies with vegetal capital columns, and a graceful Gothic-inspired loggia. On the ground level, arches carved in stone hint at Modernista influence, and inside, a grand staircase with stained glass and ironwork leads to what was once the main living space.

The old carriage entrance, accessed via the chamfered corner, is considered one of the most elegant in the area. Above it, a medieval-style gallery with semicircular arches and stained glass lends further distinction to the upper floor.

Commissioned by Emili Marfà i Martigas and his wife Isabel Palau i Vera, the building remained in the family before being repurposed. Today, it houses the Formatic Barna University School of Public Relations and Marketing, along with the School of Communication, Tourism and Business. Visitors are welcome inside, free of charge.

Casa Batlló

The exterior of Casa Batlló is pure fantasy in stone, glass, and ceramic. Designed by Antoni Gaudí and completed in 1906, it stands out even among the showiest buildings of Passeig de Gràcia. The façade ripples like water, undulating across five floors with a skin of colorful trencadís mosaic that shifts from blues to greens to gold, catching the light at different times of day like a living thing.

Its balconies resemble masks or bones, depending on how you look at them. Some say they look like the jaws of sea creatures or fragments of skulls. Others see Venetian masks, with their hollowed eyes and delicate iron railings. The windows on the main floor are especially striking, massive ovals framed in carved stone that curves like melted wax, supported by bone-like columns that seem more organic than architectural.

At the top, the roofline mimics the spine of a dragon, its arched back covered in iridescent ceramic tiles like scales. A small tower rises near one end, capped with a four-armed cross, perhaps the lance that slayed the dragon in the legend of Sant Jordi. This fairytale symbolism is intentional. The entire façade feels like a living storybook, somewhere between a coral reef and a dream.

Casa Amatller

Puig i Cadafalch drew from a mix of architectural traditions to create something deeply personal and symbolic. He reinterpreted Romanesque and Catalan Gothic styles and added a stepped gable that recalls the medieval townhouses of northern Europe. The entire façade is a visual narrative, filled with sculpted details that reference Amatller’s life and passions, from almond branches (a nod to the family name) to figures representing industry, collecting, and the arts.

The building’s uppermost floor, with its unusual and eye-catching gable, was designed to house Amatller’s photography studio. It sits slightly set apart from the rest of the structure due to the chemicals used at the time, but it was also an artistic centerpiece. The staggered cornice, ornate windows, and sculptural frames all reflect Puig i Cadafalch’s attention to asymmetry, texture, and storytelling.

Casa Lleó Morera

Casa Lleó i Morera is one of the great landmarks of Barcelona’s Modernisme movement. Designed by the celebrated architect Lluís Domènech i Montaner, it sits at number 35 on Passeig de Gràcia, right on the corner with Carrer del Consell de Cent. Together with Casa Amatller by Puig i Cadafalch and Casa Batlló by Gaudí, it forms part of the Illa de la Discòrdia, a block known for its clashing architectural styles. Of the three, Casa Lleó i Morera is the only one that received the City of Barcelona’s artistic building award in 1906.

Casa Lleó i Morera represents a collaboration between many of the finest artists and artisans of the era. Sculptor Eusebi Arnau created the expressive stone figures, mosaicists Mario Maragliano and Lluís Brú laid intricate tilework, Antoni Rigalt designed the stained-glass windows, and Gaspar Homar contributed furniture and wood carvings. The result is a unified artistic vision, rich in detail and craftsmanship.

The façade is particularly elaborate. At the corner, a rounded grandstand rises vertically and culminates in a small domed shrine. The ground floor was originally adorned with graceful feminine sculptures that referenced modern technologies of the time, including the telephone and electricity. Some of these elements were lost during mid-century renovations, although a few were salvaged and now appear in the Dalí Theatre-Museum in Figueres.

Bancs-Fanals

Pere Falqués i Urpí, the municipal architect at the time, designed thirty-one of the now-iconic lamp-benches in 1906 to bring both light and artistic flair to the Passeig de Gràcia. Their ornate design was meant to reflect the grandeur and luxury of the surrounding architecture. Made from masonry and decorated in the trencadís mosaic technique so closely tied to Catalan modernism, these benches are topped by elegant wrought iron lampposts crafted by the Ballarín ironworks. With sweeping, whiplike curves, the lamps embody the fluid lines of Art Nouveau.

Though long attributed to Falqués, some still credit Gaudí with their design—likely a reflection of just how seamlessly they blend into the spirit of Modernisme. By the 1980s, many of the original benches had fallen into disrepair and were carefully restored by the city.

Casa Fargas

Casa Fargas, designed by architect Enric Sagnier in 1904, is a refined example of Catalan modernism that stands out for its elegant restraint. Located on Rambla de Catalunya, this residential building was commissioned by Dr. Miquel Fargas, a figure linked to the city’s wood trade, and reflects both the material and cultural richness of the era.

Unlike many of Sagnier’s more ornate creations, Casa Fargas embraces a more subdued style. Its most striking exterior features are the undulating bay windows framed in stone, which evoke a soft French Art Nouveau aesthetic. These windows, especially those on the main floor, are decorated with floral and symbolic carvings that echo the decorative language of Catalan modernism.

Casa Dolors Calm

Located on Rambla de Catalunya, Casa Dolors Calm was originally an existing building that got its full Modernista makeover from the architect Josep Vilaseca i Casanovas, the same mind behind the Arc de Triomf and the vibrant Casa Bruno Cuadros on La Rambla. His redesign gave the building not only its signature façade, but also an artistic flair that once extended to its interiors.

The centerpiece of Casa Dolors Calm is impossible to miss: a dramatic stretch of bay windows framed in exquisite wooden marquetry that dominates the entire main façade. This grandstand runs across five floors and is crafted with intricate cabinetmaking and polychrome stained glass, making it one of the building’s most prized features.

In contrast, the side sections of the façade feel almost secondary, flat in comparison and visually receding behind the vivid central projection. But look again and you’ll notice the scarlet red and sky blue sgraffito work that brightens these surfaces, each floor accented with a wrought iron balcony.

Fundació Antoni Tàpies

The Fundació Antoni Tàpies sits inside one of the earliest Modernista buildings in the Eixample, originally designed by Lluís Domènech i Montaner in the 1880s for the Montaner i Simón publishing house. The façade is a beautiful blend of red brick and iron, marked by graceful arches and narrow windows that stretch vertically across the structure. There’s something both industrial and ornate about it—functional yet undeniably decorative. This balance between practicality and artistic flourish reflects the spirit of Modernisme before Gaudí’s more flamboyant touch took over the city’s architectural scene.

Farmàcia Jordi Bolòs Giralt

The Farmàcia Jordi Bolòs Giralt is a charming example of Catalan Modernisme tucked into a quieter stretch of the Eixample. Its exterior features gracefully curved woodwork, stained glass signage, and a warm, earthy color palette that immediately sets it apart from more utilitarian storefronts. The name of the pharmacy appears not just on a sign but embedded in artistic glass panels above the door, blending beauty with purpose.

Inside, it still functions as a real pharmacy, but it feels more like stepping into a perfectly preserved piece of history. Wooden cabinets with glass-fronted drawers line the walls, filled with classic apothecary jars. A brass-trimmed counter and mirrored shelving reflect soft light, giving the whole space a warm, nostalgic glow. It’s a living museum of everyday life from over a century ago, where the artistry of the past still quietly shapes the present.

Casa Queraltó

Our final stop is Casa Queraltó, and one of those buildings that quietly stops you in your tracks. A grand corner residence, it stretches confidently across the junction of Rambla de Catalunya and Carrer de Mallorca, dressed in a soft pink sgraffito that gives the entire facade a gentle glow. Designed by Josep Plantada Artigas between 1906 and 1907, it channels the spirit of Modernisme with an elegant, restrained hand.

While some of its original flourishes, like the small rooftop temple and decorative pinnacles, have disappeared, the building still holds its own with striking semicircular bay windows framed by delicate arches and slender columns. There’s a lovely rhythm to its facade, a balance of boldness and detail. And for those who enjoy a bit of historical serendipity, this is also the birthplace of Teodoro Moscoso, the future U.S. ambassador and key figure in Puerto Rico’s mid-20th-century economic transformation.

Wandering through the Eixample, it’s easy to get lost in the big names and grand gestures. But it’s buildings like Casa Queraltó that remind you why Modernisme still stirs something in us. The curve of a window, the warmth of pink sgraffito catching the afternoon sun, the way ornament and architecture dance together, none of it shouts, yet all of it lingers. These streets hold more than history; they hold personality, memory, and quiet flair. Keep looking up!

Happy Travels, Adventurers!

The post The Ultimate Self-Guided Walking Tour of Barcelona’s Eixample District first appeared on The Creative Adventurer.

After designing a guided tour of Montmartre for my family, I wanted to create and share this Self-Guided Montmartre Walking Tour for Kids so everyone else can enjoy it as well! This is the perfect guide for families looking to explore this charming neighbourhood in a more playful, memorable way. So come with us and explore the artistic corners of Montmartre!

Table Of Contents

1. Map of Montmartre for Kids
2. History of Montmartre for Kids
3. Le Bateau-Lavoir
4. Wallace Fountains
5. Grab a Hot Chocolate
6. Au Marche de la Butte
7. I Love You Wall
8. Paris Metro
9. Laulhère Berets
10. Maracons
11. Rue Foyatier
12. Sacre Coeur
13. Place du Tertre
14. Maison Rose
15. Lapin Agile
16. Rue de l'Abreuvoir
17. Place Dalida
18. Allée des brouillards
19. Park Suzanne Buisson Square
20. Passe-Muraille
21. Moulin de la Galette
22. À la Mère de Famille
23. Moulin Rouge

Map of Montmartre for Kids

History of Montmartre for Kids

You are standing in Montmartre, a hill wrapped in secrets and touched by the extraordinary. Long before the winding streets and hidden passageways that exist today, Paris was a quiet village, surrounded by dense forests and a twisting river. Over the centuries, kings ruled, knights fought, and clever revolutionaries plotted in the shadows, gradually shaping the grand city we now recognize.

But Montmartre, ah, Montmartre, it has always stood apart. Perched high above the city like a silent guardian, it once bustled with the gentle rhythm of windmills turning in the breeze. Vineyards blanketed the hillside, and villagers began each day by baking fresh bread, the scent of croissants and baguettes drifting down toward the city below.

In the 19th century, a curious transformation unfolded. Artists, dancers, and dreamers flocked to this hilltop haven, filling its quiet streets with colour, music, and revolutionary ideas. Some of the world’s most iconic painters rented tiny studios across the neighbourhood, capturing Montmartre’s enchantment on canvas and preserving its spirit for generations to come.

Le Bateau-Lavoir

Our tour starts in front of #13 Rue Ravignan on Place Emile Goudeau. This building was initially called Le Bateau-Lavoir, which means “The Washhouse Boat” in French. Even though it wasn’t a boat, people thought the old building looked like the floating laundry barges on the river. But here’s the cool part, this was a secret hideout for who is now one of the world’s most famous painters! A strange painter known for his wild shapes and crazy ideas, Pablo Picasso.

This was Picasso’s first studio in Paris, a tiny, rickety old place where he and his friends created amazing art that changed the world. They had no heating, so they’d huddle together in the winter. Imagine painting with gloves on under dim candlelight, the smell of oil paint filling the room until it stank of nothing but! Nonetheless, it was a place where creative people gathered, shared ideas, and made art that changed the world. Picasso even painted one of his most famous artworks here, ‘Les Demoiselles d’Avignon.’

Wallace Fountains

All over Paris, you might spot strange, tall green fountains with four elegant ladies holding something above their heads. These are Wallace Fountains, and they hold a secret, fresh drinking water! Long ago, a kind Englishman named Sir Richard Wallace wanted to help the people of Paris have free, clean water. So, he built these fountains, decorating them with four figures who represent kindness, charity, simplicity, and sobriety (that means staying away from things that aren’t good for you).

Grab a Hot Chocolate

If you’ve begun this tour early in the morning, there’s no better way to start the day than by stopping at one of Montmartre’s charming coffee shops. Many of them also serve rich chocolat chaud, which means hot chocolate, perfect for the kids. But this isn’t just a sweet treat. Hot chocolate has a fascinating past tied to the very history of France, making it a delicious and meaningful way to begin your adventure. When hot chocolate first arrived in France in 1615, it wasn’t sweet at all! A Spanish princess, Anne of Austria, brought the recipe when she married King Louis XIII, but back then, it was bitter and spicy. French chefs soon worked their magic, adding sugar and milk, creating the creamy, delicious treat we love today!

By the time King Louis XIV ruled France, hot chocolate was the ultimate fancy royal drink at the Palace of Versailles. And guess what? The famous queen who lost her head, Marie Antoinette, was obsessed with it! She even had her own special royal chocolate chef to make it just right. Lucky for us, you don’t have to be royalty to enjoy a cup today!

Au Marche de la Butte

Do you see the little grocery store with the bright green exterior? That’s no ordinary shop… it’s the famous Au Marché de la Butte! But why is it famous? Well, if you’ve seen the movie Amélie, you might recognize it! In the film, Amélie, an adventurous and clever girl, comes here to shop while solving little mysteries in her neighbourhood. Just like you’re doing today! The name “Marché de la Butte” means “Market of the Hill” because it sits right here on the slopes of Montmartre, one of the highest places in all of Paris!

Passages des Abbesses

Take a little shortcut down the stairs just behind Au Marche de la Butte, which leads onto the Passage de Abbesses, a narrow pathway built in 1840. It was named to honour Montmartre’s abbesses (female heads of abbeys). Montmartre was once a very tight-knit religious community, and the abbesses controlled much of the land in this area, just like city officials would today.

At the bottom of the stairs, you’ll find the entrance to the Jardin des Abesses. The Jardin des Abbesses is a quiet, leafy retreat just steps from the lively Place des Abbesses. Once part of a convent garden, it pays tribute to the abbesses of the historic Montmartre Abbey. Designed in a medieval herb garden style, it features medicinal plants laid out in neat squares.

I Love You Wall

Around the corner from the Jardin des Abesses, you will spot a huge blue mural covered in words written in over 250 languages! This incredible wall called “Le Mur des Je T’aime” (The I Love You Wall), was created in 2000 as a reminder that love has no borders, no language barriers and always finds a way to bring people together. No matter where you are from or what language you speak, love is something everyone understands.

Paris Metro

Paris has one of the oldest underground train systems in the world? And guess what? Its entrance looks like something straight out of a storybook! Take a look at the green, curvy metal archway nearby. Doesn’t it look like a magical portal with swirling vines? But it’s not leading to a secret world. Look closely at the green sign. What is the long word written across the top?

That’s right, “Métropolitain”! Or just “Métro” for short! This word comes from “metropolis,” which means a big city, because when the Metro first opened in 1900, it was built to connect all the most important places in Paris, just in time for the World’s Fair! Back then, the underground tunnels were a brand-new idea, and today, millions of people ride the Metro every day!

Kozy

It’s time to take a little break to give your feet a rest and there is no better place than inside Kozy. This charming and casual brunch spot is home to some delicious pastries, so order up some croissants to sit and enjoy while we talk about the history of bread in France!

In France, bread is so important that there are even BREAD LAWS! Every village is legally obligated to have at least one bakery, so no one has to suffer a baguette emergency! If a town doesn’t have one, the mayor must find a way to provide fresh bread, even if it means delivering it from a nearby village!

There are also laws on what ingredients are allowed in baguettes. They must be made with only four ingredients; flour, water, salt, and yeast. That means no preservatives! That’s why baguettes here in France taste best when they’re fresh! If a French baker dares to mess with the sacred baguette recipe, adding sneaky ingredients, they could face fines, lose their fancy baker title, or even cause a national bread crisis (mon dieu!). Breaking baguette laws is practically a crime against deliciousness!

Croissant History

Take a good look at the shape of the croissant. It is not just for decoration; its design has a hidden history! Back in 1683, a great battle took place in Vienna, Austria. The Ottoman army surrounded the city and tried to dig secret tunnels to sneak inside at night. But they did not count on the city’s bakers, who were already awake, making bread before sunrise! Hearing strange sounds underground, the bakers warned the soldiers, who stopped the attack just in time. To celebrate, they baked a special crescent-shaped pastry—a shape taken from the Ottoman Empire’s flag. What does the flag remind you of?

But how did the croissant become a French favourite? In 1770, Austrian princess Marie Antoinette married King Louis XVI and moved to France. She left Vienna behind but could not forget her favourite crescent-shaped pastry. Soon, this delicious treat became popular across France, and its name, “croissant,” comes from the French word for “crescent.”

Laulhère Berets

After your little snack, take a look at the shop just down the road, Laulhère, one of the most prestigious beret shops in Paris! The Beret hat has been worn in France for hundreds of years, starting with shepherds in the Pyrenees mountains who used it to stay warm. Over time, it became popular with artists, soldiers, and even movie stars! French kings in the 17th century made the beret an official part of military uniforms, and during World War II, members of the French Resistance wore them to blend in while carrying out secret missions. Many famous painters like Pablo Picasso and Claude Monet wore berets while creating their masterpieces, and today, it is one of the most recognizable symbols of French fashion. You might even spot a stylish Parisian wearing one as you explore!

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Maracons

Grab yourself a little sweet from Christophe Roussel, where you can find one of the most iconic French treats, the macaron. Did you know this delicious little cookie wasn’t always French? In the 1500s, a queen named Catherine de’ Medici travelled from Italy to France to marry a French king. She brought fancy chefs with her, and one of their specialties was a simple almond cookie, crispy on the outside and soft on the inside. The French bakers loved it, and soon, they started making their own versions!

But here’s the twist, the macarons back then didn’t look like the ones we know today! There was no filling, no bright colours, and no delicate flavours. It was just a little cookie… but that was about to change! Fast forward to the 20th century, when clever French bakers had a brilliant idea: what if we combine two cookies with a creamy filling in the middle? And voilà! The macaron we know and love was born! Now, they come in various flavours, from vanilla to wild, unexpected flavours, like Lemon & Basil, Chocolate & Passionfruit, Rose, Lychee & Raspberry. Each bite is an explosion of flavour!

Rue Foyatier

Armed with your sweet treats, let’s get ready for a challenge! Rue Foyatier is no ordinary street. Instead of cars, it is made entirely of 222 steps leading straight up to the Sacré-Cœur Basilica at the top of Montmartre. The street is named after Denis Foyatier, a famous French sculptor. If you need a break, the Montmartre Funicular runs right beside it, taking visitors up in just 90 seconds.

Sacre Coeur

Whether you conquered all 222 steps or took the funicular for a swift escape (clever move!), you now stand at the highest point in Paris. Look around, the city unfolds before you like a giant map, filled with secrets waiting to be discovered. Take a moment to enjoy a well-earned snack with the best view in town.

Why do you think Parisians chose to build such a magnificent church in a spot that requires such a climb to reach? The answer is hidden in a legendary tale. Long ago, a courageous man named Saint Denis lived in Paris. As a bishop, he taught people about kindness and faith, but not everyone welcomed his message. The Roman rulers saw him as a threat, so one day, he was captured and brought to a hill just outside the city to face execution. That very hill is where you are standing now!

The name Montmartre means “Mountain of Martyrs” because Saint Denis was beheaded right here. But this is where the legend takes an astonishing turn. Instead of collapsing after they chopped off his head, Saint-Denis did something unbelievable! He picked up his head and started walking! He travelled for miles, still preaching along the way, before finally stopping at the place where he would be buried. That very spot became the town of Saint-Denis, just outside Paris, where his story is remembered to this day!

Place du Tertre

Just a few steps from Sacre Coeur, you’ll find the Place du Tertre. A long time ago, in the 1100s, Place du Tertre was part of a monastery where monks lived quietly, growing vineyards and baking bread. In French, “Place” refers to a public square where people gather in a town or city. You’ll find this word all over Paris, so it’s good to know!

“Tertre” means “small hill” in French because Montmartre, back then, was still mostly farmland and windmills. But by the 1800s, Montmartre had been transformed; it became a village of artists, full of painters, poets, and musicians looking for inspiration. Place du Tertre quickly became a meeting place for artists, and soon, it was filled with easels, paintbrushes, and creative ideas!

Today, Place du Tertre is one of the most famous squares in Paris, where local artists still set up their easels and paint right before you! Some artists create detailed portraits, while others paint beautiful views of Montmartre, just like the Impressionists did over 100 years ago. A portrait from an artist you love is one of the most wonderful souvenirs you can get in Paris, and I highly recommend it!

Maison Rose

The walk from Place du Tertre to La Maison Rose is a short but scenic stroll through some of Montmartre’s most charming corners. After just a few minutes, you’ll spot La Maison Rose on the corner of Rue de l’Abreuvoir. 100 years ago, Montmartre was not the busy tourist spot you see today. It was a quiet countryside village filled with windmills, vineyards, and artists. Painters, writers, and musicians came here to create their masterpieces and ‘La Maison Rose‘ became a unique gathering place for them.

The café was opened in the early 1900s by Germaine Pichot, who married the Spanish painter Ramon Pichot. But before that, she was a famous model for some of the most important artists of her time, including Pablo Picasso!

Clos Montmartre

Continuing down Rue des Saules, you will spot on your right a hidden vineyard right here in Montmartre. This is the Clos Montmartre. The vineyard you see today was planted in 1930 to help bring back this lost part of Montmartre’s history. Every year, the grapes are harvested and turned into a special Montmartre wine, though only a small amount is made. The money from selling the wine goes to charity, making this vineyard not only historic but also helpful to the community.

Lapin Agile

Across from the vineyard is a tiny, old cabaret with a most unusual sign. This is Cabaret Au Lapin Agile, one of Paris’s most legendary and mischievous spots! This cabaret was built in the 1860s when it was just a small wine tavern where locals, poets, and musicians would gather to tell stories and sing songs.

Back then, it was known by a very different name, “Cabaret des Assassins” (The Cabaret of the Assassins)! The name comes from a painting on the wall that shows famous criminals and outlaws from history. One day, a playful artist named André Gill designed a new sign for the cabaret. You can still spot it on the building today!

This painting features a rabbit wearing a scarf jumping out of a pot. The locals loved the sign so much that they started calling the cabaret “Le Lapin à Gill” (which means “Gill’s Rabbit”). Over time, the name changed to “Lapin Agile,” which in French sounds like “The Agile Rabbit” or “The Dancing Rabbit!“

Rue de l’Abreuvoir

Head back up the hill and turn down the street where you found the Maison Rose. This is the famous Rue de l’Abreuvoir, one of Paris’s oldest streets. First mentioned in 1325 when it was known as “ruelle qui va au but,” meaning “the lane that leads to the end.” The name “Abreuvoir,” adopted in 1843, translates to “watering trough,” reflecting its past role in providing water for animals and residents in Montmartre.

See if you can spot the sundial with a mysterious message at #4 Rue de l’Abreuvoir. Unlike modern clocks, sundials tell time using the sun’s shadow, marking the passing hours as the light moves across its face. But this one is special! It features an inscription: “When you will ring, I will sing.” The “you” in this riddle refers to the bell tower atop Sacré-Cœur, which looms above us. The “I” refers to the rooster painted above the sundial.

Place Dalida

At the base of the hill, you will find a bronze statue of a woman who once ruled the stage with her incredible voice and dazzling presence. She was known by only one name, Dalida. She was one of the first superstar singers, just like today’s biggest pop stars! Born in Egypt in 1933, she moved to France, where she became world-famous for singing in multiple languages, including French, Italian, Arabic, and Spanish. Take a close look at the statue; some parts shine! Legend says that rubbing her chest brings good luck in love, which is why so many visitors have worn it smooth and shiny over time.

Allée des brouillards

From the Buste de Dalida, head west along the Allée des Brouillards and take a moment to enjoy this quiet, hidden alley. Allée des Brouillards means “Alley of the Mists”; doesn’t that sound mysterious? Long ago, this little street was often covered in thick morning fog, making it look like a place where ghosts might lurk! If you are lucky enough to walk along this alley on a foggy day, see if you can spot any ghosts yourself!

Looking over the fence on your left stands a beautiful old mansion called the Château des Brouillards. This grand house, built in the 18th century, has been home to many painters, writers, and dreamers who wanted to escape the city’s noise. One of its most famous residents was Pierre-Auguste Renoir, one of the greatest painters in history! Imagine Renoir walking down this misty alley, dreaming up his next masterpiece.

Park Suzanne Buisson Square

Continue down the stairs onto Place de Casadesus, then turn left and pass through the green gates into Square Suzanne Buisson. In the heart of this peaceful park, you’ll find a curious sight: a stone statue of Saint Denis, the patron saint of Montmartre and Sacré-Cœur. Legend has it he was beheaded, and here he stands, calmly holding his own head in his hands, gazing out over the tranquil greenery that surrounds him.

Passe-Muraille

From the Statue of Saint-Denis, head southwest on Impasse Girardon onto Avenue Junot. Continue east for a short distance, as the street turns into Place Marcel Aymé where you will find Le Passe-Muraille. Long ago, a famous writer wrote a story about a man called Dutilleul, who discovered he had an unbelievable power. He could walk through walls just like a ghost! At first, he used his ability for fun, sneaking into places just to surprise people. But soon, he got a little too bold. He used his talent to trick his boss, sneak into secret places, and even escape from prison! But here’s the twist, one day, just as he was walking through a wall, something went terribly wrong. His powers vanished, leaving him trapped halfway through the stone, stuck forever! That is exactly what you see today, the statue of Le Passe-Muraille, or The Man Who Walked Through Walls.

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Moulin de la Galette

From Le Passe-Muraille, head on Place Marcel Aymé toward Rue Girardon. Turn left onto Rue Girardon, where Le Moulin de la Galette will be on the right. This is the old Moulin de la Galette, one of the last wooden windmills left in Montmartre. A long time ago, in the 1600s, Montmartre was full of farms and windmills. The windmills were used to grind wheat into flour so bakers could make bread. But one family, the Debrays, had a great idea! Instead of just making flour, why not bake something special? So, they started making a delicious dessert called a “galette,” (a type of simple French cake) soon, people from all over Paris would come to Montmartre to taste it. That’s how the windmill got its name: Moulin (windmill) de la Galette (of the cake)!

But the real excitement started in the 1800s, when this windmill became one of the most famous dance halls in Paris. Every Sunday, people from all over the city would come here to dance, eat, and celebrate. Artists like Pierre-Auguste Renoir loved to watch the lively scene, and he even painted one of the most famous paintings of all time, ‘Bal du Moulin de la Galette,’ to capture the fun!

À la Mère de Famille

From Le Moulin de la Galette, head west on Rue Lepic toward Rue Tholozé, then turn left onto Rue Tholozé and take the stairs. Turn right onto Rue des Abbesses, then left back onto Rue Lepic, where À la Mère de Famille will be on the right. À la Mère de Famille means “To the Mother of the Family” in French. because this shop has been making delicious sweets as a family-run business for over 250 years! That’s longer than most buildings in Montmartre have been standing! Inside, you’ll find handmade chocolates, colourful candies, and special French treats like calissons (sweet almond candies) and nougat (a chewy honey and nut treat). Everything here is made using traditional recipes, just like in 1761, when the shop first opened. Back then, people would visit to buy chocolates as a special gift or to enjoy as a rare treat. Today, anyone can step inside and taste a little piece of history!

Moulin Rouge

From À la Mère de Famille, head southwest on Rue Lepic toward Rue Robert Planquette, then turn right onto Place Blanche/Boulevard de Clichy. Continue along Boulevard de Clichy, where the Moulin Rouge will be on the right. Welcome to the most famous cabaret in the world, the Moulin Rouge! With its bright red windmill and glowing lights, this is where Montmartre’s nightlife truly began. But why is this place so special?…

Opened in 1889, the Moulin Rouge quickly became the most thrilling spot in Paris, known for its dazzling Cancan dancers! The Cancan started in the 1830s as a simple line dance, but over time, dancers made it wilder and more daring. By the time the Moulin Rouge opened, it had become a high-energy spectacle, filled with high kicks, twirling skirts, cartwheels, and splits that left audiences amazed! Back then, most women wore long, heavy dresses, so Cancan dancers shocked the crowd by lifting their skirts and revealing their frilly petticoats and stockings. Some thought it was too bold, but that only made it more exciting!”

When we think of the Moulin Rouge, one artist stands out more than any other, Henri de Toulouse-Lautrec! He loved the energy of Montmartre’s nightlife and captured it in his art. Instead of painting kings and grand palaces, he focused on the real people of Montmartre, dancers, singers, performers, and even the lively crowds watching the shows. His bold, colourful posters became famous all over Paris, showing dancers in swirling skirts, high-kicking their legs, and the bright lights of the Moulin Rouge stage. One of his most famous subjects was La Goulue, the queen of the Cancan dance. Toulouse-Lautrec’s artwork helped make the Moulin Rouge legendary, and even today when people imagine Montmartre’s nightlife, they picture his stunning paintings and posters!

As your self-guided adventure ends at the legendary Moulin Rouge, you’ll find yourself stepping into the lively neighbourhood of Pigalle. If you’re looking to grab something to eat, check out the Bouillon Pigalle, a lively, no-frills classic Parisian “bouillon with a bustling, communal vibe and serving up comforting French staples at remarkably low prices.

With its winding lanes, playful stops, and hidden stories, Montmartre becomes a magical playground where kids can explore Paris’s artistic soul at their own pace. I hope you’ve enjoyed our tour. Let me know in the comments if you’ve been to Montmartre and what you enjoyed most with your kids!

Happy Travels, Adventurers!

The post The Ultimate Self-Guided Montmartre Walking Tour for Kids first appeared on The Creative Adventurer.

This tour will take you around some of Prague’s most famous streets and some off-the-beaten-track neighbourhoods. This is one of the most comprehensive guides to Prague’s street signs, and I have done my best to give you some hints at what the signs symbolize and where they can be found in the city! The tour has two parts: the Old Town and Malá Strana (or the Lesser Quarter). Let’s start with our guide to Prague’s Mala Strana House Signs.

Table Of Contents

1. Map of the Malá Strana Lesser Town House Signs Tour
2. History
3. Nerudova Street
4. Úvoz 
5. Vlašská Street 

Map of the Malá Strana Lesser Town House Signs Tour

History

Identifying houses with symbol signage is an antiquated practice that dates back to ancient Egypt. The oldest house sign, made with stone relief, was documented in Ptolemaic Egypt (Giza), dating back to the 3rd century BC. Hundreds of years ago, being able to read was a skill only the nobles or academics possessed. Since most citizens could not read, craftsmen used symbols to identify their businesses so people could find goods and services around town. 

The oldest house signs in Prague date back to the early 14th century. While the first house signs were used to identify occupations, later symbols were created to distinguish the surname of the home’s owner. This system was maintained until 1770 when Bohemia finally adopted the official numbering system. It was one of the last European cities to make the change, thereby preserving so many of these signs for posterity.

The oldest house signs were made of stone and carved with various reliefs. In the baroque age, these signs were made of stucco and plaster. Baroque designs were also painted onto plaster cartouches or tablets and placed onto the facade. Finally, in the later 18th century, the signs were made of metal or wood, more resilient against the elements. These signs were also sometimes hung off the sides of the buildings or placed on boards so that the signs could be more easily replaced should the house be sold off. Because there were only so many different symbols that could be used, sign makers would employ different coloured combinations. This would ensure people could tell the difference between establishments.

The Prague House Sign Numbering System

Prague went through two different numbering systems when the city was enumerated. You can still see both of these numbering systems identified on the front of each house. On each house, two number plates are printed; one on a red plate and the other on a blue plate. The numbers in red are called “descriptive” numbers and date back to 1770. These red numbers seem placed haphazardly as the numbers don’t proceed sequentially from house to house. This is because when the soldiers were designating house numbers, they allocated the next number in the sequence to the newest house built. They did not base the numbers on the following geographic location. So even if your house was far from the previous house on the street, you’d receive the next number in the sequence. 

The blue numbers, however, are instead based on geographic orientation. These were installed when the city was renumbered in the late 19th century. Interestingly, they kept the old red numbering system up despite its confusing nature—another quirky bit of charm which makes Prague such an interesting city.

Maltézské náměsti 3/474, At the Golden Snake

A gold merchant once owned the house of the Golden Snake. Since snakes symbolize transformation, any goldsmith who could turn rock into a beautiful piece of jewellery would have been drawn to the snake’s image. And, of course, it needed to be painted in gold! The house dates back to the Middle Ages, but the current facade is from 1853, designed by František Wolf.

Karmelitská 379/18, House at the Golden Hands

Karmelitská Street was built in the Middle Ages behind the walls of Mala Strana, or “Lesser Town.” The name comes from the Barefoot Carmelite Order, which owned the land. The house at #18 on Karmelitská was once owned by the Thun-Hohenstein family. This noble family has a strong connection with the Masonic order. Many people say that Wolfgang Amadeus Mozart came to Prague because of their influence. The house symbol on the front of the portal to the house depicts a three-handed handshake, giving the place its name, House at the Golden Hands. A three-handed handshake is so strange that many suspect it is a secret handshake. Although I don’t know how “secret” it can be when it’s being revealed right on the front of the building.

Prokopska 10, the Little Black Horse

Prokopská Street was named after the church of St. Procopius, which was founded in the 13th century along this lane. In the 18th century, the church was transformed into a residential house by architect Ignác Jan Nepomuk Palliardi. The home at #10 is known as the Little Black House, or “U černého konička,” and was built in the 16th century. Above the doorway into the home is a little rudimentarily carved horse hopping over a hillside. Horses generally represent a driving force, but black horses represent a more mysterious meaning or shadow self—a very ominous symbol for a household. Today the house serves as a lovely apartment complex.

Dražického nám. 76/12, The Three Ostriches

Located right at the mouth of the Charles Bridge is U tří pštrosů or the Hotel of The Three Ostriches. The original house was built in 1597 as an old medieval public house. Despite the age of the home, the painting on the front of the facade is fantastically preserved! Jan Fux, an exotic feather trader, bought the house in the 16th century.

The Ostriches on the facade represent the gift that he gave to Charles IV for his coronation. In 1714 the building was purchased by Armenian entrepreneur Gorgos Hatalah who opened the city’s first coffee shop in the Three Ostriches.

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Mostecká #4, The House of St. Saviour 

Mostecká Street was an important part of the former Royal Route. The Royal Route was the pathway that the royal procession followed during the King’s coronation. So many houses along the road were own by prominent Czech nobles. The home at #4 was originally two smaller houses built in the gothic period. In the Renaissance, the interiors were joined together, but the exterior still retains two separate facades. 

The one on the right is the House of St. Saviour. This home maintains a baroque appearance. The beautiful house on the right is painted in a gorgeous bright baby blue. Set into the portal above the door is a small niche with the statue of St. Saviour. Surrounding the niche is a frame carved into the form of the acanthus plant. The acanthus is a plant that symbolizes enduring life.

Mostecká #4, At the Bear and Chain

The house on the left is the house At the Bear and Chain. In contrast, the pale yellow building on the left maintains its simpler renaissance facade. On top of the house is a relief of a bear with a golden chain. Legend has it that a rich widow fell in love with a bear tamer, but he died before the two could be wed. The window had the bear made in honour of her lover. She added the golden chain, which represented a golden wedding ring, encircling the bear forever. 

Mostecká #11, At the Black Eagle

This gorgeously decorated baroque exterior hides within a medieval house. The home was made for the court of the Archbishop of Mayence. Rich sculptural decorations and wrought grilles cover the entire facade. Above the second floor’s main windows are two great black eagles, which give the house its name, “At the Black Eagle.” Eagles are an imperial symbol. As the house was made for an archbishop, the title seems fitting. 

On the very top of the exterior is a Baroque statue of St. Florian. St. Florian was an officer in the Roman army in the 3rd century but betrayed his order and freed dozens of enslaved Christians. When caught, he was flayed and drowned with a giant stone tied around his neck. He is the patron saint of firefighters, and his statue is often placed atop houses for protection against fires.

Mostecká #20, At the Three Golden Rings 

This pale house with a fading classical facade displays three golden rings intertwined above the doorway. The three rings seem to form a chainlink. It is said that the symbol for the house At the Three Golden Rings was created by a loving father after these three daughters were married and left the nest. It was a way for him to keep them in his heart forever. But other people suspect that the three rings represented the mystical circle of life: birth, maturity and death. This symbol was often used by the Mother Goddess cult, and perhaps this was where their coven would meet.

Malostranské nám. 4, At the Golden Cluster

Malostranské nám. or “Lesser Town Square,” was the medieval marketplace for Lower Town citizens. Here everything from social events to executions would take place. Opposite the church, on the corner of the building at #4 is a beautiful carving poking out from the stone. It shows the large, swollen face of a man (most likely Baucaus) and below him is a large bunch of golden grapes. Giving the house the name “At the Golden Cluster.” Baucus’s image and the grapes indicate that this building was most likely used as a banquet hall and today serves as a rowdy beer hall.

Tomášská #4, The Golden Stag

Tomášská Street was named after the Church of St. Thomas and the Augustinian monastery, founded in 1285 along this lane. At #4 we find the great house of the Golden Stag. The house was built for moneylender Jan Kašpar Friedrich in 1726. On the front of the house, we see the large sculpture of Saint Hubert. While the sculpture seems normal enough, look twice, and you’ll spot a phantom hand emerging from the belly of the stag. This, as per the story, is how Christ appeared to Saint Hubert while he was hunting in Ardeen’s forest.

Tomášská 12, the Golden Pretzel

In the 17th century, a famous baker Kryštof Krob bought this house and installed this sign on top, which symbolizes the bakers guild, a Golden Pretzel. Pretzels have been used a symbols for bakers since medieval times. In 610, a monk-baker invented the pretzel when he was trying to come up with a reward for children who learned their prayers. He twisted the dough, so it looked like the formation of arms crossing your chest in prayer. He called it “pretiola,” Latin for “little reward.”

Valdštejnská Street 8, House of the Three Storks

Valdštejnská Street was named after a small settlement of Písek people who moved to Prague. In this area is where you’ll find the House of the Three Storks. The house dates back to the 14th century and still contains remains of its Renaissance interior. The storks represent carriers of good news, which was a popular symbol for hospitality. The house was mentioned in a famous poem by writer Nazım Hikmet for his lover, who sadly died. It goes, “We used to meet at the Three Storks Restaurant in Prague. Now I am standing by the road with my eyes shut: You are far from me, the length of one death. You are a distorted image in a broken mirror”. 

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Valdštejnské 20, the Golden Sun

Valdštejnské #20, or the House of the Golden Sun, is now the Comenius Pedagogical Museum dedicated to Czech education history. The building in which they are located is from the Renaissance, built-in 1540. One of the house owners was the guardian of the royal silverware for Rudolf II, Havel Oberšvender. Rudolf was obsessed with alchemy. As such, it is no surprise to see the symbol of the golden sun on the doorway, a famous symbol in alchemy.

Nerudova Street

Nerudova street has perhaps the largest concentration of old house signs in Prague. The street is part of the former Royal Route. Nerudova street was created during the new founding of the Lesser Town under the rule of Přemysl Otakar II. In 1267, it formed the main axis of the western and eastern roads of the Lesser Town. The street gets its name from Czech writer and poet Jan Neruda, who lived in various houses along the street during his time in Prague.

Nerudova 2, At the Black Eagle

The house At the Black Eagle is a hodgepodge of architectural styles. It was initially a gothic house with Renaissance stone portals but now bares a baroque and classical exterior. The facade contains richly painted sgraffito and stucco decorations. The giant black eagle which sits above the doorway has its wings spread wide. On his tail is a small gold caduceus symbol, which marks it as an old pharmacy. The pharmacy was located here as early as the 15th century and still serves the public as a pharmacy to this day!

Nerudova 6, At the Red Eagle 

Eagles are one of the most popular symbols along the street as only a few stops down, we find ourselves at another house which bears the symbol of an eagle. This one is red, and instead of being a carving, it is a fresco painted onto the building. The house At the Red Eagle is a gorgeous example of refined rococo designs from the 18th century. The symbol of the Red Eagle is placed in a small frame, held on either side by two beautiful angels. The eagle sits perched on a tall mound with its wings outstretched, showing off its dominance.

The eagle has been known to be a symbol of regeneration, much like the Phoenix. When these birds reach the end of their lives, they set themselves on fire and are reborn again. Rebirth was an essential part of alchemy and is thought to indicate magic taking place in this house.

Nerudova 12, At the Three Fiddles

This gothic house At the Three Fiddles with a baroque facade was once the home of three families of famous violin makers. The most notorious violin maker who lived and worked here was T. Edlinger. Edlinger was even the founder of Prague’s violin-making school. Unsurprisingly their house symbol is three violins set against a sea of blue and golden stars. 

Nerudova 14, Valkounsky House 

After seeing so many houses with the same symbols, it’s so exciting to discover something new! On the front of this house is a carving of the creature Medusa with a head full of golden snakes! This house was once owned by Knight Bohuchval Valkoun from Adlar from the beginning of the 17th century. Originally it was built in the 16th century, but after the great fire of 1541, it had to be torn down and reconstructed. As mentioned before, snakes are a symbol of transformation and are popular with goldsmiths. A famed goldsmith bought the house in the 18th century, and it was he who added the house symbol of Medusa. After all, the only thing that is more impressive than one golden snake is a head full of them!

Nerudova 16, At the Golden Goblet

In 1705, the famous Italian-Czech architect Jan Blažej Santini Michel bought this house. He called it “U zlaté číše,” which translate into “At the Golden Goblet” after the Goblet which is carved onto the front of the building. Before Santini, master goldsmiths Jan Schumann lived here in 1660. The Golden Chalice is the symbol of the goldsmith’s guild. The Chalice also symbolized the Holy Grail. The holy grail was thought to be a cup that would bring the drinker eternal life and is also known as the Philosopher’s Stone. So many alchemists also use the Chalice as a symbol of their craft.

Nerudova 11, At the Red Lamb

“U Červeného Beránka” or House At the Red Lamb is a neo-baroque house built in the late 1800s. Above the doorway into the house is a large sculpture of a gentle red lamb walking atop a lush mound of green grass. Lambs symbolize innocence and are often associated with Jesus’ sacrifice (i.e., the sacrificial lamb). Red is also a colour that is frequently associated with martyrdom and the blood of Christ. Since the house is dedicated to sacrificing, it is no surprise we also find a painting of the Madonna atop the house’s facade. 

Nerudova 26, At the Golden Eagle

The house At the Golden Eagle is a Renaissance home located in the spot where the old royal moat previously ran through. The house belonged to a family of builders, the Aostalis, from 1549 onwards. These architects were responsible for several royal buildings, including the Ball Games Hall in Hradčany. Unlike the previous eagles we have seen, which have their wings spread wide, this eagle is perched with closed wings. Closed winged eagles are not a very common symbol as an eagle with closed wings symbolizes it being trussed up or bound. Perhaps this is a subtle message from the owner that he was bound up by something and not allowed to spread his wings and be free.

Nerudova 25, The Donkey in the Cradle

The house at #25, called the Donkey in the Cradle, is the former residence of alchemist Edward Kelley. The house is originally a gothic house but with a renaissance and baroque facade. In addition to Kelley, the house was also home to Jan Neruda and his family, who lived and owned a store here before moving up the street. Above the doorway was once a beautiful fresco of the Birth of Jesus, but it has faded badly over time. Today only the donkey and the baby cradle are visible. But the donkey has strong connections to the alchemical world, so it is no surprise that it would find itself in a prominent position on the house of the previous court alchemist. 

The first historical evidence of alchemy was in Egypt, and it is said that God Isis was the first alchemist. In Egpyt, Lucius, a pompous and vain magician, was misusing his magic and accidentally turned himself into a donkey. He toiled for years as an ass and finally succumbed to asking for help by praying to Isis. Isis told him that he could only become human again if he ate a garland of roses during Isis’ holy procession. An act of great submission. He did so, and after transforming back into his human body, Lucious became one of Isis’s most loyal devotees. The story is one of humility and how dangerous alchemy can be if it is not respected.

Nerudova 27, At the Golden Key

Initially, a Renaissance house, the house At the Golden Key, portrays lovely Baroque and Classicist adaptations. The house sign is a richly decorated golden key set in a baroque cartouche that dates back to 1844. Keys are thought to represent enlightenment, and golden keys represent the power that allows someone to be worthy of entering into eternal life. As the philosophers stone was the alchemical discovery that would purportedly restore eternal life, one can only imagine if this house symbol was a clue to the Philosopher’s Stone’s secrets.

Nerudova 28, At the Golden Wheel

The house At the Golden Wheel was an old Renaissance house built where the old moat divided Hradčany and the Prague Castle. The golden wheel on the front of the house dates back to 1624, in the height of the alchemical craze! The symbol of the golden wheel represents a stage in the magnum opus, the process by which lead purportedly could be turned into gold. The wheel symbolizes time, as the cosmos and position of the earth and the sun were of the utmost importance in alchemy. Not only did all the chemical processes need to be done right, but you had to do them at the right time of year for the spells to succeed. 

Nerudova 34, the Golden Horseshoe 

The beautiful renaissance house at #34 is a stunning building. It is painted pale blue with dark blue trimmings. Above the doorway is a cartouche with the portrait of a St. Wenceslas riding a horse. Just below the cartouche is a golden horseshoe hanging off the house, giving the building the name the Golden Horseshoe. The horseshoe itself dates back to 1559. Look closely at the painting, and you’ll notice a real minature golden horseshoe sticking out from the picture. The man in the portrait is handsome and well dressed. As he trots along with his well-groomed horse, we can imagine that this sign might have been an example of early advertising for the blacksmiths who worked on Nerudova. The painting reflected the old Czech saying that “he who had his horse properly shod arrived safely.”

Nerudova 33, Bretfeld Palace

The Bretfeld Palace was originally an old baroque burgher house. The house was owned by Josef of Bretfeld, who was an avid collector and worldly host. He acquired a vast collection of books and paintings to entice people to visit his grand palace, where he held lavish parties and concerts. The court saw guests such as Wolfgang Amadeus Mozart and Giacomo Casanova. To spot the palace, look out for the mint and moss green coloured building with beautiful stucco reliefs on the facade. At the very top of the facade is the house symbol, a relief of St. Nicholas. St. Nicolas is the patron saint of sailors and pawnbrokers. I can imagine it was the pawnbrokers which Bretfeld was partial to as he would frequent their establishments to acquire so many of his treasures.

Nerudova 41, At the Red Lion

At house #41, a painting with a beautiful red lion is set against the red and white baroque facade, which marks the house At the Red Lion. Although the facade was made in 1726, the origins of the house date back to 1608, the date marked in the portal above the entryway. The relief depicts a great red lion rearing up on his hind legs, holding a golden chalice in his hand. The Chalice is thought to contain the elixir of life. The colour red in alchemy indicates the red matter left on the alchemical pot’s bottom after the sublimation step. Sublimation is the third step in creating the philosopher’s stone.

Neurdova 43, At the Green Lobster

One of my favourite house signs, a cheery green lobster, can be found here at #43, the Green Lobster house. Not only is the lobster a very different and surprising creature to see, but I also love the fact it is painted green. It really makes it stand out after seeing so many house signs painted red or gold. The lobster is a symbol of transformation, as crustations shed their skin to grow. Lobsters are a symbol of emotional growth, as we must leave things behind to grow ourselves.

Nerudova 47, the House of Two Suns

The Czech poet Jan Neruda spent much of his life on this street, living inside the house at #47, called the house At the Two Suns. Neruda’s father owned a tobacco shop here from 1845 to 1857. The house was built in the Renaissance but now bears a beautiful pale yellow with stuccos decorative baroque facade. The renaissance portal has still been preserved along with the house sign from the same period. 

The house is named after the relief of the two suns, which are located above the doorway. The suns are painted in gold, and each has a human face carved upon them. The faces look in opposite directions, keeping an eye on the street outside. Below them are the letters “IHS,” which is Jesus’ monogram. Just below the insignia is a flaming heart. In alchemy, the sun represents perfection. Alchemists strived to turn iron into gold. They were obsessed with gold as they felt it was a means of recreating the sun’s brilliance here on earth.

Nerudova 49, At the White swan

At number 49, we find the gothic house At the White Swan. Although the building’s exterior was renovated in the baroque era, the white swan’s stucco relief dates back to 1608. Swans are perhaps one of the most prevalent symbols of purity. In alchemy, black and white represent good and evil, or sinful and pure. The alchemist’s journey of transforming raw, dark material into its pure white form is like the sinner’s journey of corruption to piety. With the latter stage being represented by the beautiful white Swan.

Nerudova 51, the Little Green Stag

The house at #51 Nerudova has a simple jumping stag carved onto the front of the house. Although it is known as the Little Green Stag, the green colour has long since faded off the facade. ‘U Zeleného jelínka’ was a medieval house which was rebuilt in 1819. Although the building doesn’t have the same flash as the rest of the places on the street, it hides within its walls some of the most important structural elements from the medieval period in Prague. 

In alchemy, the final tincture in transforming base metals into gold was often symbolized as a stag. Stags represent masculinity, and unicorns represent femininity. When they meet in the forest, their unity is thought to represent the soul’s final transformation process, aka the last step in creating the philosopher’s stone.

Úvoz 

As we continue along Nerudova street, it swiftly changes into Úvoz street as we start up the hillside’s steeper part. The name ‘Úvoz’ is a modern name for the road, which comes from 1870. Before this street was called Hluboká, and before that, it was known as Strahovská cesta. ‘Úvoz’ translates into ‘Ravine‘ as this part of the street used to be a ravine cut through Lesser Quarter. You’ll find some of the most historic houses and signs along the road as this part of the city was spared from some of the fires that broke out in the rest of Prague.

Úvoz 4, At the Three Red Roses

The incredible house At the Three Red Roses at the start of Úvoz street was a baroque home from the 17th century. Giving the place its name is the large fresco of the Madonna on the front of the house. The fresco is framed in a beautifully carved stucco decoration with three red roses on the bottom. The rose is an essential symbol of the Virgin Mary as one of her holy titles is the Mystic Rose. If you look closely, you’ll notice these roses have no thorns as Mary is often called the “rose without thorns.” Many people believe that roses grew in the garden of Eden but without thorns. Only when Adam and Eve sinned did the roses grow thorns. And yet Mary, who is the most honourable symbol of purity, is still a rose without sin.

Úvoz 6, At the Three Axes

‘U tři seker’ or House At the Three Axes has one of the few original house signs in Prague. The baroque house is covered in wonderfully detailed stucco decorations. In the central cartouche on the front is the house symbol, which has the small axes interwoven. Traditionally axes were a symbol of the carpentry guild as the house was once the court carpenter’s residence. Today the house is occupied by a fantastic cafe.

Úvoz 14, At the Three Red Hearts

The theme of threes continues along the street at house #14, At the Three Red Hearts. This Renaissance townhouse with Baroque and Classical facade has another one of the oldest preserved house signs. The three hearts positioned to make the shape of a triangle has both a secular and spiritual meaning. The spiritual number of three represents the holy trinity; the father, son and holy ghost. The hearts are set against a backdrop that resembles fire, turning the icon into an image of the sacred heart, which burns with divine light. The secular meaning of the three hearts represents indecisive affection, like a love triangle. 

Úvoz 22, At the House of the Mirror

At the House of the Mirror at #22 on the street has a spectacular carving above the portal into the home. The baroque facade was built in 1730 and featured a stunning relief of a Madonna holding her baby Jesus. She is surrounded by a beautiful stucco frame covered in gold fillagree. You might be looking for a mirror on the building, seeing as it is in the name, but you won’t find any. Instead, the mirror is more symbolic. The little baby Jesus is holding in his hand the ‘Scales of Justice.’ This symbolizes that you are meant to see yourself through God’s eyes, like a mirror but live your life by the standards of Jesus.

Úvoz 24, At the Stone Column

This old renaissance house At the Stone Column has a bizarre addition, which gives it its name. In 1697 the house was owned by Czech painter Kristián Luna. Stuck on the side of the house, complete out of place and not incorporated into the structure at all, is a giant stone column with a small statuette of the Virgin Mary on the top of the column. Despite being called “stone,” the column is actually made of stucco with a wooden frame. The column was added to the house in 1706 and is a copy of the Marian column, located in the old town square (although the original was destroyed in 1918).

On either corner of the house are two stone busts. One depicts a woman with the word “luna” or moon underneath. The other is a man with the word “sol” or the sun underneath. Both of the busts face either direction. They are perfectly positioned so that the other is always in shadow when one is in the sunlight.

Vlašská Street 

Vlašská Street is home to various large royal palaces. The area was settled in the 13th century, but it wasn’t until the 16th century when the district began to flourish. A series of wealthy Italians moved into the area and bought up several large land plots for their grand palaces. Soon enough, it was one of the most sought after neighbourhoods in Mala Strana.

Vlašská 26, At the Black Elephant

Dům U Černého slona or House at the Black Elephant is one of the oldest homes on the street, dating back to the 13th-century. The house sign on the front of the medieval facade is beautiful. In the middle ages, elephants were known to imbue moral messages of kindness and devotion. They are also commonly associated with wisdom. Clearly, whoever lived here wanted everyone to know how wise he was. And what a treat it would have been for residents of the street to gaze upon such an exotic creature as they were on their way to the market or just off on a stroll.

Vlašská 24/330, At the Three White Crosses

The build on the corner of the street is a renaissance house with a Classicist 19th-century reconstruction. You can find the house sign between the 1st and 2nd floor, which gives it the name At the Three White Crosses. The symbolism of three crosses symbolizes Calvary. The highest cross in the group represents Jesus’ crucifixion. The other two on either side represent the two thieves that were hung alongside him. Calvary is often used to denote an experience of usually intense mental suffering. 

Vlašska 9/355, At the Three Red Roses

Down a small lane just off Vlasska street is the yellow facade of the house At the Three Red Roses. The house was built in 1612 when it was purchased by the Italian stonemason and sculptor Antonio Brocco. Brocco was responsible for the creation of the Singing Fountain in Queen Anne’s Summer Palace. In Greek and Roman mythology, roses are often linked to Aphrodite, the Goddess of Love. 

Vlašská 2, At the Golden Scales

“U zlaté váhy” or the House of the Golden Scales dates back to the 16th century. The symbol of the house is located above the green doorway. While a symbol for justice might seem out of place at an ordinary residence, a tawdry tale goes along with this symbol. Legend has it that a beautiful young woman was engaged to be wed to one of the wealthy Italians who lived on the lane. He had a bad reputation for cheating on her and would frequently go away on long trips where he could have his dalliances. He never returned after one such trip, but the poor girl waited for him for years until age turned her into an old and undesirable woman. 

When her fiance finally returned, she found he had forgotten all about her. Enraged, the now old woman killed her lover. She returned home and placed the golden scales on her door before killing herself. The scales acted as a kind of suicide note indicating that she felt his death was the just punishment for his crimes and her own death the punishment for her actions as well.

Břetislavova 8/305, At the Golden Axe

At the end of Vlasska street, turn up the street parallel called Břetislavova. At #8 we find the House at the Golden Axe. The house sign on the front of the facade depicts a great double-headed eagle. The eagle is crowned with a golden crown and holds its wings around an orb and sceptre. The original house here was built in 1596 but purchased in 1685 by court painter Christian Schröder. Schröder became an inspector of the royal picture gallery in Prague and, at the same time, an imperial and royal painter. The symbol of the double-headed eagle represents the monarchy, a form of government in which the king and the queen have power over everything.

Břetislavova 307/10, Krejčovská hospoda

This old renaissance townhouse was purchased in 1615 by the Masters of the Tailor’s guild. The terra-cotta baroque exterior dates back to 1723. In the center of the portal into the house is a stucco cartouche with a painting of the Coronation of the Virgin Mary.

This brings us to the end of the tour in Mala Strana. If you didn’t take the tour in the Old Town you can head back across the Vlatava River to the eastern side of town. Feel free to end the tour here and continue to explore the wonders of the Mala Strana and continue the second part of the tour another day! Let me know in the comment what your favourite house sign was or what your house sign would be if you were to have one.

Happy Travels, Adventurers!

Resources:

Pamatkovykatalog | Kralovskacesta | Wiki Commons (imagery)

The post Ultimate Walking Tour of Prague’s Malá Strana Lesser Town House Signs first appeared on The Creative Adventurer.

This tour will take you around some of Prague’s most famous streets and some off-the-beaten-track neighbourhoods. This is one of the most comprehensive guides to Prague’s street signs, and I have done my best to give you some hints at what the signs symbolize and where they can be found in the city! The tour has two parts: the Old Town and Malá Strana (or the Lesser Quarter). Let’s start with our guide to Prague’s Old Town House Signs.

Table Of Contents

1. Map of Prague's Old Town House Signs
2. History
3. House Sign Designs
4. Prague's House Sign System
5. Týnská
6. Celetná Street
7. Staroměstské náměstí
8. Malé náměstí 
9. Karlova Street
10. Husova Street

Map of Prague’s Old Town House Signs

History

Identifying houses with symbol signage is an antiquated practice that dates back to ancient Egypt. The oldest house sign, made with stone relief, was documented in Ptolemaic Egypt (Giza), dating back to the 3rd century BC. Hundreds of years ago, being able to read was a skill only the nobles or academics possessed. Since most citizens could not read, craftsmen used symbols to identify their businesses so people could find goods and services around town. 
The oldest house signs in Prague, a city steeped in history, date back to the early part of the 14th century. These signs, initially used to identify occupations, later evolved to distinguish the surname of the home’s owner. This system remained in place until 1770, when Bohemia finally adopted the official numbering system. Prague’s late adoption of this system preserved many of these signs, providing a tangible link to our past.

House Sign Designs

The oldest house signs were made of stone and carved with various reliefs. In the baroque age, these signs were made of stucco and plaster. Baroque designs were also painted onto plaster cartouches or tablets and placed onto the facade. Finally, in the later 18th century, the signs were made of metal or wood, more resilient against the elements. These signs were also sometimes hung off the sides of the buildings or placed on boards so that the signs could be more easily replaced should the house be sold off. Because there were only so many different symbols that could be used, sign makers would employ different coloured combinations. This would ensure people could tell the difference between establishments.

Prague’s House Sign System

Prague went through two different numbering systems when the city was enumerated. You can still see both of these numbering systems identified on the front of each house. On each house, two number plates are printed; one on a red plate and the other on a blue plate. The numbers in red are called “descriptive” numbers and date back to 1770. These red numbers seem placed haphazardly as the numbers don’t proceed sequentially from house to house. This is because when the soldiers were designating house numbers, they allocated the following number in the sequence to the newest house built. They did not base the numbers on the following geographic location. So even if your house was far from the previous house on the street, you’d receive the following number in the sequence. 

The blue numbers, however, are instead based on geographic orientation. These were installed when the city was renumbered in the late 19th century. Interestingly, they kept the old red numbering system up despite its confusing nature—another quirky bit of charm which makes Prague such an exciting city.

Týnská

Týnská is one of the oldest streets in the Old Town of Prague. It is located behind the Church of Týn, where it derives its name. The road was initially occupied by foreign merchants. Týnská was located close to the nearby customs office, where merchants had to pay fees and taxes for anything imported. This process would often be quite lengthy, so the merchants needed a place to stay while they waited for their taxes to be calculated. And so the street quickly became a hotbed of inns and lodging houses for the merchants.

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Týnská 632/10, The Three Feathers

The Three Feathers at #10 Týnská is one of the oldest in the lane, built in the 13th century. From 1405 until the 1600s, it was used as a brewery. The Three Feathers represented on the house symbol are a reference to the crest of John of Luxembourg. John of Luxembourg was the King of Bohemia in the 14th century. Since the feathers were drawn from the royal crest, we can assume that perhaps the brewery would have been linked to the court and maybe was their official brewer.

Týnská 6, The Golden Ring

In the center of the house at #6 is a giant Golden Ring, installed in the 17th century. But the house had stood here since the 14th century when it operated as a beer hall. The legend around the ring states that one of the old town ghosts dropped it while passing through the street on one of their nightly haunts. When the beer hall owner discovered it, she hung the ring above her door. Rings, as a closed circle symbol, provide mystical protection against evil. Being a beerhall owner in the Middle Ages was undoubtedly dangerous, so a little bit of good luck couldn’t hurt. The legend was so popular that by the 17th century, the new owner dedicated the name of the house and the newly created house sign to the Golden Ring.

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Celetná Street

Before heading into the old town square, we quickly detour over to Celetná Street. Celetná is named after a famous bread baked in this area during the Middle Ages. As bakeries fed the entire town, they became one of the most important places in the city, like our modern-day grocery stores. Whether you were a peasant, priest or prince, everyone came here to get their daily loaf. Celetná Street would find itself at the start of the Royal Route in the 14th century. The Royal Route was the pathway the king’s procession would travel along during the new royal coronations.

Celetná 29, The Golden Angel

Still a hotel to this day, the Golden Angel was built in 1788 as a private hotel. Inside these doors, some of the most illustrious guests in Prague would lie their heads. It hosted Kings and Queens for hundreds of years until it became a public hotel in the 20th century. Mozart and then Bakunin even stayed here! The house symbol features a golden angel holding a cornucopia and laurel wreath in their hands. The angel is known as a messenger of God. The gifts the angel bears in their arms represent God’s rewards for Christians who keep the faith even during hard times. 

Celetná 21, At the Red Eagle

The original house, which once stood here, was built in a high Gothic fashion in the Gothic period. The current house At the Red Eagle was built in 1725 the Classical style. For many years, the house was owned by Charles University. It was here that many of the school’s professors and faculty would have stayed while teaching on campus. Charles University was started by Emperor Charles IV. Perhaps, for this reason, the symbol on the building incorporates the imperial eagles, with the sword and spear in their hands.

Celetná Street 10, At the White Peacock

The house At the White Peacock features a stunning rococo exterior. Each one of their windows is dripping with flowery stucco decorations. The facade’s central focus is a stucco carving featuring a lovely white peacock set against a pale blue backdrop. We cannot study these symbols in Prague without talking about alchemy. The city of Prague was one of the centers of alchemical study during the 16th century. The influence of this magic spread all over town. Many people come to Prague just to explore the alchemical trail. 

Philosopher’s Stone

The creation of the Philosopher’s Stone, a concept not confined to the realms of fiction but deeply rooted in history and alchemy, is a journey that connects us to the past. Also known as the elixir of eternal life, this substance was the ultimate goal of every alchemist. To create the Philosopher’s Stone, one had to navigate through several intriguing stages. The first stage, blackening, involved working with a dark, impure base material.

The second stage, albedo, is the purification process, where an object transforms and becomes white or pure. For alchemists, peacocks represented that method of creation. Peacock feathers look like a rainbow, and in science, white light is created when all the colours of the rainbow combine. Peacocks are also known to represent protection and watchfulness. This is due to their feathers, which appear like an eye. So perhaps the alchemists are telling us that they are still watching us. 

Celetná 8, At the Black Sun

At #8 Celetná, you will find a large early Gothic house with a rather plain baroque facade. But the real star of this house is the stone archway. The large wooden doors are surrounded by a sturdy stone arch. Above the archway is the relief, which gives the place its name, “The ‘Black Sun.” As a symbol, the Black Sun would be coopted by Prague’s nazis hundreds of years later. When it was carved here, I noticed the sign had a different meaning. In the early medieval period, the ‘black sun’ referred to the first stage of the alchemy trail, called the “blackening.” It is interesting to note that the alchemical trail’s first two stages are located beside each other. No houses on this street are dedicated to the different steps, the Citrinitas or Yellow Stage and the final stage, Rubedo or the Red Stage.

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Týnská 3/629, At the Black Elephant

This sizeable gothic hotel, a silent witness to the passage of time, has stood on the corner of the street since the 14th century! Some of their wine cellars still bear the historic gothic vaultings from the original construction. For hundreds of years, the house has been an inn and hotel, a place where history was made and still welcomes guests to Prague today. Legend has it that the Czech King and Roman Emperor Charles IV was born just a few houses down, a fact that would have undoubtedly drawn a crowd of royal guests to the inn.
The hotel saw famous guests like Tycho Brahe, Mr. Vaclav Havel and Mrs. Albright. Much of the house’s original structure, including the historic house sign, has been preserved. A small stone sign with the rudimentary image of an elephant carved upon it marks the property. The elephant is nestled inside a shield topped with a small castle tower. The symbol of an elephant carrying a building is often used as a symbol of wealth.

Staroměstské náměstí

Staroměstské náměstí, or Old Town Square, was first established in the 13th century. It was used as the Old Marketplace for the citizens of Prague. As time passed, the square’s importance grew, eventually transforming the area around it into one of Prague’s most sought-after real estate locations. Some of Prague’s most unbelievable historical buildings surround the Old Town square. Within them are some great examples of House Symbols.

Staroměstské náměstí 605/13, At the Stone Bell

The house At the Stone Bell has one of Prague’s few remaining medieval facades. While many houses might be just as old, many facades have seen multiple renovations over the years. The house was once the palace of King John of Luxemburg and his wife, Eliška Premyslide. When John took power over Prague, he found the old royal palace to be uninhabitable, so he went about creating his new royal palace here in Staroměstské náměstí. While many royal palaces contained a private chapel, this house surprisingly contained two chapels! 

The house sign of the stone bell was installed in 1413. You can see it if you look closely right at the corner of the building. Bells are known to represent the voice of the angels. As the palace had two chapels, one can imagine that the King was a very spiritual man and wanted his house symbol to reflect that. It is also thought that the bell is meant to represent the arrival of King John to Bohemia.

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Staroměstské náměstí 10, Golden Cross House

This gorgeous pale pink building has one of the most fantastical house signs right on the house’s pinnacle. The building has beautiful, rich stucco designs with vines and floral motifs. The heraldic crest of Prague is set into the doorway, a three-towered castle with a soldier’s arm sticking out of the gates. But this is not the symbol we are searching for.

Up top, there is a huge relief set into the triangular tympanum. A shining golden sun with a cross in the middle acts like a beacon above the rest of the Old Town Square buildings. This cross highly resembles the military design of the Star of the Grand Cross of the Iron Cross, the highest military decoration of the Kingdom of Prussia and the German Empire. The Iron Cross went on to be used as military decoration during the Nazi empire, and its use faded after that. 

Staroměstské náměstí 551/17, House at the Stone Lamb

Along Staroměstské náměstí, stop at #551/17, where you’ll find the house At the Stone Lamb. This house is located on what was once the ‘Royal Way.’ The route starts at Republic Square and passes Prague’s most impressive sights, ending at Prague Castle. Many prospective alchemists came to the city of Prague in the hopes of meeting the Emperor. They would often stay in this house, previously a hotel, as its proximity to the royal way was thought to show reverence to the Emperor.

The house that contained the hotel had two names: House At the Stone Lamb and House At the Stone Unicorn. Both titles came from the relief carved on the building’s front between the first and second floors. The carving indeed looks like a lamb, but the single horn on its head would denote a unicorn. No one seemed to have been able to agree on one answer, so it is known interchangeably.

Staroměstské náměstí 550/18, At the Stone Table 

This stunning Romanesque house was rebuilt in the high Baroque style in 1724 and is notable for the incredible stucco decorations around the windows. A huge fresco of St. John the Merciful is on the facade surrounded by a lavish stucco frame. The building was transformed into a literary salon by the Fant sisters. It became a popular spot with Prague’s literary and scientific elite. The name is because of the 15th-century owner, George of Poděbrady, who used it as a foreign exchange office. St. John was a good choice for the house sign as John devoted himself to charitable works and made regular payments to poorhouses.

Staroměstské náměstí 20, At the Golden Unicorn

The pale blue building on the square is called the House at the Golden Unicorn. This is another Romanesque building that was converted into a palace in 1496. Beneath each window, you’ll find a beautiful lily carved into the stone, dating back to its baroque renovation in 1712. In 1781, the building was purchased by W. Ch. Gerle, who opened it up as Prague’s first public reading room. In 1791, Czech composer Bedřich Smetana purchased the building, which turned it into a music school. The house also served as Ludwig van Beethoven’s residence in 1796 when he came to Prague.

Although the house is officially called the “Golden Unicorn,” it has also been called the House at the White Horse and the House at the Red Door. Each one of these names comes from previous house signs, which would have marked the location. Today, the house symbol is a beautiful golden relief of the Madonna, which sits between the windows on the second floor. Unicorns are often associated with virginity, and as the Madonna was a virgin herself, the nickname of the house is no doubt taken from that correlation.

Staroměstské náměstí 24/480, At the Red Fox or Golden Wolf

A few doors down, we find the house At the Golden Fox. The house is also sometimes called the House of the Golden Wolf. The Romanesque structure was rebuilt in the Gothic style, but the current appearance is from the Baroque era. The original sign here was replaced during the Baroque renovations in place of a golden relief of the Virgin Mary. One can only imagine what the previous sign would have looked like, but we know that red foxes symbolize unpredictable change and awareness. Undoubtedly, the owner would have installed the sign during a period of upheaval in Prague’s history, hoping his business would improve for it.

Staroměstské nám 2/3, At the Minute (At the White Lion)

This building is one of the oldest on the square, built in the late gothic style. The most attention-grabbing part of the facade is the rich Mannerist sgrafitto applied like bands around the exterior. The paintings represent Ancient Greek and biblical themes as well as Renaissance legends. A veritable snapshot of the morals of the time. The white stone sculpture of a lion is located on the corner of the building, which gives the house its name. The building was originally the old town hall, fitting as the symbol of the lion, representing justice and military power.

U Radnice 8, The Green Frog

Above the Hotel U Tri Bubnu entrance is a little symbol of a green frog. This marks the house At the Green Frog. This building is part of an extensive series of medieval structures connected to form this large complex opposite the Old Town Square. In the 15th century, a tailor ran his shop out of this house. He was well known for creating fantastical outfits for Bohemian circus performers.

One day, while working on a costume, his maid came in to clean up his studio. She thought she saw a giant green frog and heard the scream of the tailor erupting from the frog’s belly. She ran for help, but they burst out laughing when the town’s guard showed up. It wasn’t a giant frog but the tailor in a green suit. The tailor tried his own acrobatics performance and got his legs stuck behind his head, making him look like a frog while in this giant green costume. The hilarious story spread throughout the town. Instead of being embarrassed, the tailor took on the frog as a symbol of his shop, seeing as he was already getting the free press!

Malé náměstí 

Malé náměstí or the “small courtyard,” is a triangular square located a few steps away from Old Town Square. While small, the court contained several prominent buildings from the Middle Ages that everyone frequented. These included the famous hardware store, a locksmith and a pharmacy. Despite its small stature, this area of town even made it onto the Royal Route.

Malé náměstí 12, The Golden Lily

As a French merchant group settled this area, it’s no surprise we find evidence of their heritage. House #12, called the Golden Lily, was built in the Gothic period but renovated in 1698 in a high baroque style. The fleur-de-lis, or lily, was mentioned as being the house symbol as far back as 1405! This makes it one of the oldest house symbols in Prague. The building was originally the town pharmacy. Since the lily represents purity and fertility, it is an excellent symbol for the pharmacy. This pharmacy supplied medication to the court and the king. This is perhaps why the emblem was coated in gold to make it stand out as the “royal” pharmacy, not to be confused with those “common” pharmacies.

Malé náměstí 13, At the Golden Crown

In the 15th century, the pharmacy moved next door to #13 later. When it did so, it took on the name “At the Golden Crown” and had a huge regal crown emblem to match. The crown’s design resembles the great Bohemian Crown of St. Wenceslas, an iconic Czech jewellery piece. Ironically enough (or perhaps by design), the building currently serves as a fancy jewellery shop. Take a peek inside, as the interior retains some of the antique pharmacy furniture and decor.

Malé náměsti 14/956, At the Little Black Horse

The house near the corner is called the Little Black Horse (although the horse is now painted a beautiful midnight blue). The house dates back to the 16th century when it served as a boarding house. When it was first built, the house was much larger, spread around the corner and contained a 40-horse stable. Having a large stable meant nobles could rest their horse near where they slept and not have to walk long distances between the inn and the stables.

Karlova Street

Karlova Street is a pedestrians-only street that connects a small square to the Charles Bridge. It is named after Charles IV and was an essential part of the Royal route.

Karlova Street 48/455, At the Golden Crown

The house on the street corner, painted terracotta red, is one of two gothic palaces that have since been joined together. The facade bears the late 18th-century reconstruction and classicist style. On the front of the house is the large house symbol of a great golden crown carved in stucco. The house sign is originally from the 16th century. For over 200 years, the house served as a pharmacy.

Karlova 28, At the White Shoe

The House at the White Shoe is an old gothic house with a Renaissance facade. Above each window is a series of three adorable little blooming roses. The house sign on the front depicts an old shoe, which is traditional. This was undoubtedly an old shoemaker or cobbler shop and would have been where many of Karlova’s elite would have come to get their shoes fixed. Back then, owning a pair of shoes was costly, so people would have them fixed up rather than just buy a new pair.

Seminarska 6, At the Black Star

As we walk along Karlova, turn up Seminarska Street for a quick detour. This ancient house at #6 dates back to 1538 and has retained its Gothic and Renaissance appearance. The name “Seminarska” means Seminar Street. This street would have once been where the priestly seminary was, close to the nearby Clementinum. Although the building looks like it is made of large stones, this is merely sgraffito (carved stucco) to give the appearance of a costly stone facade. The Black Star, with eight points, is where the house gets its name. The Black Star symbolizes female deities since the planet Venus (often associated with female gods) has eight-year cycles.  

Seminarska 2, House of the Golden Well

You find the house at the Golden Well just down the road from the Black Star. This house contains the oldest foundations in the Old Town, dating back to the 12th century! Just as the home of the Black Star relates to the female spirit, so does this house. Right in the facade’s centre is a golden star with the Madonna and child’s image in the middle. Once more, this star has eight points. Perhaps this hints at the fact that this entire street was dedicated to female pursuits. Surrounding the star are stucco figures of St. Wenceslas, St. Jan of Nepomuk, St. Roch, St. Sebastian, St. Ignatius of Loyola, St. Francis Xavier and St. Rosalia.

Karlova 18, House at the Golden Snake

The blood-red building on the corner of Karlova and Liliová Street bears a beautiful house number featuring a golden snake with a crown on his head and the figure of a tiny human in his mouth. The ancient symbol of a snake regurgitating man is a symbol of fertility. The house was originally the first cafe in Prague and is still open as a traditional Czech restaurant today.

Karlova Street 20/180, At the Blue Pike

According to a popular legend, the house called At the Blue Pike was one of Prague’s first pubs. The pub was so popular that it was even frequented by Wenceslas IV and his court magician Žito.

Karlova Street 14/183, The Stoned Siren

At #183, we can see the motif of a beautiful mermaid carved into the stone on the corner of the house. The symbol dates to 1439. Mermaids are the embodiment of the sacred feminine. One can imagine that the previous owners may have been involved in businesses for women or employed women. In Greek mythology, a siren is a dangerous creature that enchants sailors with her voice, causing them to be shipwrecked on the shore near their lair. Many people also think the siren story is an allegory for how prostitutes lead men to poverty.

Liliová 5, the Vorechovsky house

Liliová Street was an old pathway used as far back as the early Middle Ages, which connected Vyšehrad (the old royal palace) to the Vltava ford. As such, it was a significant street for traders. Dům U Voříkovských, or the Vorechovsky house, is on the corner of the road. The name of the place comes from the knight Jan Bohuslav Voříkovský of Kundratice, who was the mayor of Prague. The house sign on the front is a beautiful but faded late Renaissance painting of the Escape to Egypt. The story from the Gospel of Matthew details how an angel appeared to Joseph in a dream, telling him to flee to Egypt with Mary and the unborn baby Jesus. The angel warned him that King Herod would seek to kill the child. 

The neighbourhood where the house was constructed in the 14th century was dominated by the Dominicans who lived at the church of St. Anny. Therefore, having a religious symbol above your door would keep you in line with the other neighbours. Below the painting is a little carving of a hand holding a piece of fruit, just on the vault’s apex leading into the house.

Liliová 12/246, At the Golden Hare

At #12 Liliová Street, we find a tiny little house sign. Set against an emerald background is a beautiful little golden rabbit. The house is a lovely example of early Baroque residential architecture. Rabbits and hares have been associated with fertility.

Řetézová 8/245, At the Black Boot

Head back up, Liliova, and cross over to Řetězová Street. At the house at #8, we find an old black boot set against a blood-red background. This house is named At the Black Boot. Unlike the fancy shoe carving we found along Karlova Street, this is an example of a commoner cobbler shop.

Jalovcová 1, At the Three Silver Roses

The old townhome on the corner of the street bears the insignia of three black roses with the words “U tří stříbrných růží” above them, which stands for the house “At the Three Silver Roses.” Originally, the building was two smaller Gothic houses that joined together in 1405, when it became a brewery. In 1806, Václav Kramerius, a Czech publisher, journalist, writer, and one of the most important early figures of the Czech National Revival, bought the house for himself.

Here, he could print and publish books in the Czech language, a first for the city. Despite the name being silver, the colours of the roses are black. Black roses symbolize significant change, perfectly fitting for Kramerius, who wanted to bring change to Prague by using the native Czech language. It has been renovated into a brewery to embrace its historical roots.

Husova Street

Husova Street is named after famed Czech theologian and philosopher Jan Hus. It is said that Hus attended school on the road at No. 71, so the street was named after him.

Husova 12, The Three Standard-Bearers

The house sign at #12 is not easily missed. Unlike the small carvings above doorways, the Three Standard-Bearers’ house sign is a huge marquee splashed across the facade. Three almost lifesized figures are painted onto plaques that stand atop the first floor of the building. These paintings date back to the 19th century. The original building, constructed in 1580, was previously known as the “Three Angels.”  

The legend of these three characters goes back to the 1730s. Three men who were best friends each were conscripted to a different division in the army. They each agreed to meet back here at this spot after the war was over. Two of them came back and waited for the third. When they finally saw him walking down the street, as he approached, the other two discovered that the man was a ghost, killed in battle. The spirit warned the other soldiers of their impending deaths. Thinking this meant they would be killed in action, the soldiers left the army and joined the nearby monastery. But there is no running from death, and the two friends died within the year of a disease which spread inside the Franciscan monastery of Our Lady of the Snows.

Husova 13, House of the Three Ducks

On the corner of Husova and Řetězová, we find one of the original medieval houses. Although the appearance has changed over the years, it maintains its square floor plan. Above the doorway is an embossed house sign with three ducks carved onto it. Ducks symbolize caring, nurturing, comfort, and fertility. 

Husova 15, House of the Blue Grapes

At number 15 on Husova Street, we have this charming baby blue-painted house. The house dates back to 1370 and is one of the oldest places on the road. The current baroque facade dates back to the 1700s. The large house sign on the front gives the building its name, House of the Blue Grapes. The carving is made up of the image of two men carrying a giant bunch of blue grapes. This sculpture was made in the 18th century by famed Czech sculptor Josef Malinský. The two men are thought to be Joshua and Caleb, returning from Eshcol’s valley to the waiting Israelites. The story’s moral is that God keeps his promises if you follow his word.

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Husova 17, House of the Golden Tiger

In the Middle Ages, tigers were thought to represent the cruelty of war. Thus, tigers were not a very popular symbol for house signs as they were almost taboo. But this taboo eventually caught on as a trendy subversion. It became avant-garde for European cafes to use these animals as their house symbols. This cafe first used a black lion as their house sign. It wasn’t until 1713 that it became known as the House of the Golden Tiger and was fitted with the matching symbol. Some of the Czech Republic’s most famous writers, politicians and artists have frequented the Golden Tiger. It became almost a creative workshop for the city and was full of creative energy!

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Husova 18/157, At the Golden Horse

This 15th-century house was rebuilt in the classicist style in 1804 but still displays the beautiful frescoed house sign. The House at the Golden Horse depicts a beautiful golden horse running across a blue and green landscape. Horses are known to symbolize freedom, but this horse most likely was used to indicate a stable where people could store their horses on the way into the city.

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Michalská 13/439, At the White Hare

At house number #13, we find the house At the White Hare. The gothic construction with classicist reconstruction contains a fresco of the rabbit jumping across the plains in a small painting above the doorway. White hares and rabbits were sometimes the symbols of innocence and purity.

Michalská Street 19/436, Iron Gatehouse

Michalská Street was named after the Church of St. Michael the Archangel, built here in the second half of the 12th century. The Iron Gatehouse was built in 1519 and contained a beautiful fresco above the doorway depicting Samson at the Gate of Gaza. This story involves Samson sleeping with a prostitute when visiting the city of Gaza. His enemies planned to surprise him at the city’s inner gates and attack him in the morning. But Samson arose at midnight and destroyed the city’s colossal stone doors in an act to humiliate and oppose the Gaziites. Without city gates, the city was vulnerable to attack. This story from the bible portrays Samson as the flawed hero and is thought to prove that God’s plan is sometimes achieved with all kinds of people, not just the pious.

Kožná 475, The House at the Two Golden Bears

Before turning down Melantrichova, look at the house on the corner of Kožná. The building was constructed in 1567 and is known as the house at the Two Golden Bears. Court architect Bonifaz Wohlmut designed the wonderfully detailed stone portal in the 16th century. The two bears, one light smaller than the other, are said to represent the Great Bear (Ursa Major) and Little Bear (Ursa Minor) constellations.

Beside each of the bears is a knight that kneels beside them, holding a branch in their hands. The man on the left is slightly larger than the man on the left. These two figures represent old age and youth. The branch the older man is holding is beginning to dry out, while the branch in the younger man’s hand was once painted with green paint to show off its new growth. You can read this as an interpretation of the cycle of life. But there is another reading of this house sign, which symbolizes the alchemist’s creation of the elixir of life. Perhaps the young man isn’t ageing at all, but the old man is becoming young again after drinking the elixir of life!

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Melantrichova 11, House of the Five Crowns  

Melantrichova Street was named after the Czech Renaissance printer and publisher Jiří Melantrich, who lived in Prague from 1511 to 1580. The house at #11 is a Gothic structure with a Renaissance facade. Along the front, sandwiched between the second and third-floor windows, are a series of carved crowns, which give the house its name, House of the Five Crowns. Seeing as the crowns are repeated, it is clear that whoever lived in this house wanted their royal status to be at the forefront of every visitor’s mind when they approached.

Rytirska 16, The Blue Rose 

Rytířská Street was one of the medieval streets where jousting tournaments took place as part of the celebrations during the coronation of Charles IV. This tradition would continue for hundreds of years. The street was also used as a large marketplace. The western part of the road was known as the egg market, and the eastern part was known as the goose market. The U Modré růže house, or the Blue Rose, was established here in 1364. The gothic tower, which remains in place, is one of the more unique aspects of the house. Above the original doorway is a carving of a beautiful blue rose in a cartouche. Blue roses are known to symbolize unrequited love or love lost. Perhaps the house owner had the symbol made in honour of a love lost.

Na Můstku 4, Samuel’s House

Stop at house #4 on Na Můstku street. This house, called the Samuel’s House, is an odd shape, with one edge jutting out from the rest. This is because two older homes were joined together to form one building. You’ll find the tremendous baroque house sign at the corner of the join, a sculpture of Samuel anointing David as he becomes king. The 16th-century owner of the home had this installed as his first name was Samuel.

Na Můstku 6/381, At the Two White Pigeons

This beautifully bright white terraced gothic house has the most wonderful oval cartouche displaying the house sign above the front entrance. Two small white pigeons are set against a sky-blue background that give the house its name. Surrounding the insignia is a richly decorated stucco frame set against the baroque facade, dating back to the 1840s. Pigeons are often associated with the Holy Spirit. They are sometimes regarded as a symbol of pure, innocent, and true things. But when we see two pigeons together like this, it symbolizes true love and commitment as pigeons and doves mate for life.

Října 378, The Bee Hive

In medieval times, the house we see at #378 on Října was a series of small homes. Later, in the 16th century, the townhomes were joined to form this large palace. In 1789, a beeswax maker named Nicholas Fischer took ownership of the property and called it the Bee Hive. He remodelled the house in high baroque fashion and added his house symbol to the top, a stunning golden beehive made in stucco. The tiny bees which appear to fly in and out of the hive are incredibly charming. The beehive symbol is strongly connected to the Freemasons as the hive represents the lodge or meeting place for the members. Many people suspect the beeswax business was just a front for the Freemasons.

This brings us to the end of the tour in the Old Town. You can continue the tour of the Mala Strana House signs by heading across the Vlatava River to the western side of town. Feel free to end the tour here and continue exploring the old city’s wonder. And continue the second part of the tour another day! Let me know in the comments what your favourite house sign was or what your house sign would be if you were to have one.

Happy Travels, Adventurers!

Resources

Pamatkovykatalog | Kralovskacesta | Wiki Commons (Images)

The post Ultimate Walking Tour of Prague’s Old Town House Signs first appeared on The Creative Adventurer.

Arm yourself with curiosity and bravery as we embark on this unforgettable journey through Barcelona’s darker side. Whether you are a history enthusiast, an avid ghost hunter, or simply seeking a unique adventure, this self-guided walking tour promises to be an experience that will linger in your memory forever. The shadows await, and the stories beckon…

Disclaimer

The stories you’ll encounter on this tour have been passed down through generations. As new research and modern investigations shed light on the past, these stories may fade from truth to legend, but they always embody the enduring ghost tales that continue to captivate and haunt the city’s ancient streets.

Table Of Contents

1. Map of Self-Guided Walking Tour
2. The Vampire of Barcelona
3. Mercado de La Boqueria
4. Gran Teatre del Liceu
5. Basilica of Santa Maria del Pi
6. La Baixada de Santa Eulalia
   • The 13 Tortures of Santa Eulalia
7. The Alchemist House
8. Plaça de Sant Felip Neri
   • Spanish Civil War
9. Gothic Quarter
10. El Pont Del Bisbe
11. Gargoyles of the Cathedral of Barcelona
12. Cathedral of Barcelona
13. Carrer dels Comtes
    • The Spanish Inquisition
14. Plaça del Rei 
15. Casa del Botxí

Map of Self-Guided Walking Tour

The Vampire of Barcelona

We start our tour in the centre of the eclectic and historically rich district of El Raval. El Raval has always had a reputation for being gritty and edgy. Today, people flock here for the thriving arts scene and trendy boutiques. But at the beginning of the 20th century, this neighbourhood was also where the so-called Vampire of Barcelona prowled the streets. Her real name was Enriqueta Martí, known infamously as the child killer of Barcelona. She once resided just a short distance from where we now stand.

Enriqueta Martí 

Enriqueta Martí was born in a small town just outside Barcelona in 1868. As a young woman, she moved to Barcelona, like all enterprising young women at the time, to seek an independent life. She originally worked as a nanny to a wealthy family in Barcelona. Enriqueta sold herbal remedies out of her apartment as a side job, a skill she had learned from her father, a talented herbalist. But one day, a wealthy young woman died after taking one of Enriqueta’s potions. The family employed her as a Nanny and was shocked by the revelation of her side job. While Enriqueta was never arrested, they fired her on the spot to ensure they kept their name out of the press.

With no money to pay her rent, she began working as a prostitute in a local brothel. Learning the tricks of the trade, Enriqueta eventually opened her own brothel in El Raval in 1909. From her days working as a prostitute, she knew that there was money to be made for some particularly affluent clients in trading with young girls.

The Kidnappings Begin

Dressed as an old beggar woman, Enriqueta would roam the streets in some of the poorest areas of Barcelona, where she would abduct vulnerable girls living on the street and coerce them to work in her brothel. And, while that makes her villain enough, her corruption didn’t end there. Enriqueta began calling herself a witch doctor, creating elixirs which she marketed as a cure for tuberculosis. The tuberculosis epidemic was catastrophic, with no known cure, and people were willing to try anything. And I mean anything. Enriqueta began draining the blood of the children she captured to make tonics and potions that she claimed could cure tuberculosis, which, of course, they did not. Earning her the name “The Vampire of Barcelona.“

El Raval Terrorized

The neighbourhood was terrorized by the disappearance of many young girls. One fateful day in 1912, a little girl named Teresita Guitart Congost was kidnapped. Previously, the police had been lax in searching for missing, impoverished children despite numerous reports. However, public outrage over their passive response prompted them to act, mainly to appease the media. During one search, Teresita was spotted by a passerby while sitting in a window looking at the street. The police had enough sense to investigate, and when they arrived, they were horrified by what they found.

There was a terrible smell throughout the apartment, and when they opened a locked room, they discovered fifty pitchers, jars, and washbowls with preserved human remains inside. Greasy lard, coagulated blood, children’s hair, powdered bones, pots with potions, ointments, and salves made from horrifying ingredients lined the shelves. Investigators searched two of Enriqueta’s previous residences and uncovered false walls hiding more human remains, including the skull of a three-year-old child.

Enriqueta’s Murder

Enriqueta was held in Reina Amàlia jail and attempted suicide while awaiting trial. She was hospitalized and deemed unfit for trial. The public was outraged, wanting to see her executed for her crimes. Rumours circulated that some wealthy clients who purchased her potions knew about the gruesome ingredients involved and were complicit in the crimes. So when Enriqueta was murdered in prison by her cellmates, many believed the killers had been paid off by these wealthy clients to ensure their names were kept out of the press should she ever face the tribunal. Listen closely as we make our way towards the next stop to see if you can hear the ghostly cries of the nameless children who were victims of the Vampire of Barcelona.

Mercado de La Boqueria

Head to La Rambla and stand before the renowned Mercado de La Boqueria. While bustling with tourists daily, it transforms into a haunt for ancient ghosts at night. Today, a vibrant food market, this spot marked the steps to the original Convent of Sant Joseph de Barcelona, where the Barefoot Carmelites peacefully resided until a tragic turn of events.

On July 25th, 1835, several monks awoke to a strange noise from the church. It was the dead of night, and the rest of the order was asleep. Worrying it might be an intruder, they sped towards the church, but when they opened the doors, they were met by a frightful sight. Chanting loudly in the nave was a choir of skeleton monks, seemingly risen from their graves. After they finished their psalms, the living monks lit some candles and guided the spirits back to their tombs in the convent cemetery. Haunted forever by the unholy sight.

St. James’s Night Riots

Only ten days after the incident, the St. James’s Night riots took place on the church’s steps. Revolutionaries burned the monasteries and churches, and many anarchists entered the church and slaughtered all the monks inside. Were the ghostly singers trying to warn the monks of their doom? We will never know for sure. Today, people say that if you listen closely at night, you can still hear the sounds of these ghostly friars singing in front of the market.

Gran Teatre del Liceu

Walking along La Rambla, stop before the Gran Teatre del Liceu. Amazingly, the building in front of you is still standing. Why is that amazing, you might ask? Well, because it is widely rumoured that this is one of the most cursed sights in Barcelona. In the Middle Ages, this is where huge crowds would gather to watch public executions. Anyone who has researched what might cause an area to become cursed or haunted knows that powerful displays of suffering leave a mark on certain locations. And that is certainly the case here.

In the 16th century, a Trinitarian convent was built on the site, the polar opposite of an execution site. The nuns lived here in relative peace for a time, but in 1835, on that same fateful night, as the Saint Joseph Convent was destroyed, this building was also burnt down. Trapping all the nuns inside to suffer an abysmal fate.

Destroyed by Fire

After the riots subsided, the newly cleared spaces on La Ramblas became prime locations for new developments. Entrepreneurs seized the opportunity to construct the Gran Teatre del Liceu, completed in 1847. However, it wasn’t long before the theatre faced a similar destructive fate as the previous convent. Legend has it that the ghosts of the nuns who perished in the fire were upset to find their sanctuary replaced by a theatre, which the church at the time considered a sinful place. These nuns would likely have been displeased with their new ‘landlords’ for desecrating their sacred space.

In 1861, the Liceu Theatre, then Europe’s largest opera house with 3,500 seats, was destroyed by fire. It was rebuilt, but tragedy struck again in 1893 when an anarchist set off two bombs on the season’s opening night, killing twenty people and severely damaging the new stage and seats. The most recent fire occurred in 1994, ignited by a spark that landed on a curtain during routine repairs. It remains unclear whether the ghosts of past tragedies are appeased or if another major fire is imminent…

Basilica of Santa Maria del Pi

Walking east from La Rambla along Carrer del Cardenal Casañas brings you to the tranquil Plaça del Pi, dominated by the imposing Basilica of Santa Maria del Pi with its towering 54-meter spire that attracts ghost hunters. Inaugurated in 1453, the church wasn’t completed until 1497 due to significant construction challenges, including frequently falling bricks and severe financial strains on the architect. Desperate, the architect allegedly struck a deal with the devil, trading his soul for help from the Devil to complete the tower. The architect agreed that the devil could claim his soul upon finishing the 100th step inside the tower. Construction then proceeded without further issues.

However, the architect cunningly halted construction at the 99th step, never completing the tower in his lifetime. He grew old and passed away before the tower could be finished. After his death, his sons continued the work and completed the tower, outsmarting the devil. Enraged at being outwitted, the devil stamped his hoof on the 99th step, leaving a mark to remind all who pass of his presence.

La Baixada de Santa Eulalia

Make your way along the Carrer de L’ave Maria and north Carrer dels Banys Nous, turning right onto La Baixada de Santa Eulalia. This street is named after one of Barcelona’s most revered saints, Santa Eulalia, but its naming stems from a grim chapter in history. It was here that a harrowing event unfolded. In 290 AD, Roman authorities were determined to suppress Christianity at any cost. Eulalia, then just thirteen years old, was known for her stubborn piety. When the governor demanded she renounce her Christian faith, she held firm, unwavering in her devotion. The governor was furious at being disobeyed by a child and sentenced her to thirteen different types of torture, one for each year of her young life.

The 13 Tortures of Santa Eulalia

Santa Eulalia endured thirteen horrific tortures as a punishment for refusing to renounce her Christianity. These tortures included imprisonment, being whipped, tearing off her skin, forced walk on burning embers, mutilation, rubbing her wounds with rough stones, branding with a hot iron, and having boiling oil and molten lead poured over her. Additionally, she was submerged in burning lime, locked in a flea-infested box, rolled down a hill in a barrel lined with sharp objects, and finally, crucified.

Despite enduring horrific tortures, Saint Eulalia remained steadfast, refusing to renounce her faith and affirming her devotion to Christianity until her final moments. Legend has it that her soul ascended to heaven accompanied by white doves upon her death, symbolizing her purity and martyrdom. This street is named after the saint and is reputed to be the location where she was tragically rolled down in a barrel.

The Alchemist House

Turn onto Carrer de Sant Sever and then right onto Calle de l’Arc de Sant Ramon. As you stroll, notice the faint outline of a door on the walls, bricked up long ago, sealing its secrets. This area was once the heart of Barcelona’s Jewish quarter. Here lived a Jewish alchemist and his daughter, known as the most beautiful girl in Barcelona. She secretly dated a handsome Christian knight, hiding the relationship from her father due to his potential disapproval until she was sure of her love.

The Poison Perfume

But the knight wasn’t so noble after all and wanted one thing and one thing alone for the girl. And we all know what that one thing is. The knight was furious when she refused him anything more than a kiss until marriage. After learning of a Jewish Alchemist nearby, the knight sought a lethal potion, claiming it was to seek vengeance for a faithless lover. Despite initial wariness, the alchemist succumbed to the allure of seven gold pieces and brewed a toxic perfume for the knight.

The knight returned the next night, secretly spraying the perfume on a bouquet and pretending to apologize to the girl. When she reached for the bouquet to smell it, she felt dizzy and asked the knight to take her home. When she recounted the incident to her father, he realized his unwitting role. Despite his desperate attempts to save her, she died in his arms. Overwhelmed with grief, the alchemist renounced magic and vanished into the woods, leaving his potions behind. Before he left, he cast a curse on the house’s door to ensure no one ever entered it again. Since then, the building has stood empty, haunted by tragedy.

Plaça de Sant Felip Neri

Walk back to the Calle de Salomó ben Adret and continue north towards the Plaça de Sant Felip Neri. Walking into this square, we are met with the definition of hauntingly beautiful. Beautiful architectural gems surround the leafy courtyard, and the central fountain bubbles in the moonlight. Facing the square is the church of Sant Felip Neri. Constructed in the 18th century, this petite Baroque church stands out from others in the city due to its stone facade riddled with bullet holes. Some are mere punctures, while others have gouged sizable portions from the building. For years, the cause of this damage fueled political speculation, but today, the truth behind the incident has come to light.

Spanish Civil War

Understanding a little about the Spanish Civil War is crucial for any visitor to Spain. From 1936 to 1939, a brutal conflict fueled by political unrest, economic struggles, and social disparities erupted. On July 17th, 1936, right-wing military officers, under General Francisco Franco’s leadership, initiated a coup against the democratically elected Second Spanish Republic. In contrast, the Republicans, comprising Socialists, Communists, and Anarchists, rallied to defend the Republic and advocate for progressive reforms.

The conflict rapidly intensified into a savage and bloody war, drawing support from foreign backers for both factions. It was characterized by fierce battles, atrocities, and devastating aerial bombardments. One particularly notorious event was the bombing of the Basque town of Guernica by German and Italian planes, claiming the lives of hundreds of civilians and serving as the inspiration for Pablo Picasso‘s renowned painting Guernica.

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General Franco declared victory, and on April 1, 1939, he established himself as the head of the Spanish state. Inaugurating a nearly 40-year dictatorship. The Franco regime, known as Francoist Spain, lasted until Franco died in 1975, when Spain transitioned to a constitutional monarchy and began its journey towards democracy. But the scars of the Spanish Civil War and Franco’s dictatorship continue to resonate today, and we can see the visible scars of this war right before our eyes.

The Bombing of Sant Felip Neri

During Franco’s rule, widespread propaganda falsely attributed the church’s damage to anarchist firing squads executing priests in the yard. However, a glance at the walls reveals the holes are too substantial for mere bullets. The truth is that on January 30th, 1938, Franco’s air force dropped a bomb on the city, likely at the very spot you stand. Many sought refuge in places like this church during the war, including a group of children tragically killed when the bomb struck, claiming 30 young lives. Rescuers rushed to save those trapped inside, but another bomb detonated, killing twelve more. A bronze plaque in the square memorializes the victims, evoking a chilling reminder of the dark history etched into these walls.

Gothic Quarter

Follow Carrer de Montjuïc del Bisbe as it winds its way into the heart of Barcelona’s Gothic Quarter, also known as Barri Gòtic in Catalan. This historic neighborhood, Barcelona’s oldest, is a maze of narrow, twisting streets, hiding Roman ruins dating back over 2,000 years to the Roman settlement of “Barcino.” Despite its Roman origins, the neighbourhood is famous for its Gothic architecture, boasting numerous stunning medieval buildings, churches, and cathedrals that adorn the area’s cobblestone streets today.

El Pont Del Bisbe

One of the most photographed attractions in Barcelona’s Gothic Quarter is the stone bridge crossing Carrer del Bisbe. However, this bridge holds a wealth of stories and legends! Despite its Gothic aesthetics, it was actually constructed in 1928 as part of an urban renewal initiative to link the buildings on Carrer del Bisbe Irurita. As you walk beneath the bridge, pause to look at its underside. Concealed, there is a carving depicting a skull impaled by a dagger. Well, at least some believe it’s just a carving…

Others attest that this is a real human skull. The legend says that if the dagger is ever removed from the centre of the head, the Gothic Quarter of Barcelona will collapse. Other rumours state that architect Rubió I Bellver put the skull there to express his anger towards the city planners when they rejected his initial designs. One of the lighter bits of folklore that goes along with this bridge is that if you pass under the bridge and face the skull if you make a wish, it will be fulfilled! Try it for yourself; it can’t hurt to try!

Gargoyles of the Cathedral of Barcelona

Walking towards the enormous Cathedral of Barcelona, we stroll down Calle de Bisbe and quickly stop at the Plaça de Garriga I Bachs. Standing in this small square, look at the walls of the Cathedral on the east side of the court. Take particular interest in the gargoyles carved above the windows along the walls. While gargoyles are a common sight in churches, these particular gargoyles are the subject of ancient legend.

Legend has it that during the annual Corpus Christi celebration in the Middle Ages, groups of witches gathered in the streets surrounding Barcelona Cathedral, shouting and spitting at the processioners. They did this year after year until one day, they were miraculously turned to stone, transformed into petrified monstrous figures. Serving the church for eternity as punishment for their wicked behaviour. When passing by, if it happens to be raining, make sure to glance upward and check if the gargoyles are still unleashing their torrents upon unsuspecting pedestrians.

Cathedral of Barcelona

Head into the Placita de la Seu, where you have a majestic view of the incredible Cathedral of Barcelona spread out before your eyes. Its gothic spires silhouetted in the moonlight. The Cathedral of Barcelona, officially known as the Catedral de la Santa Creu I Santa Eulàlia, is named after the Christian martyr Saint Eulalia, whom we discussed before.

Carrer dels Comtes

Make your way around the north side of the Cathedral, down the Carrer dels Comtes. Stop along the Carrer dels Comtes just before you get to the entrance of the Frederic Marés Museum. On the left side of the alley, emblazed on the wall above the first floor, is an old insignia of the Spanish Inquisition. The insignia features a cross in the center with a sword on the right and an olive branch (a symbol of “justice”) on the left. This mark would have been announced to all those passing by the Tribunal of the Holy Office of the Inquisition, and the cries of the prisoners they held captive within would have echoed throughout the narrow alley. Listen closely to see if you can’t still hear their ghostly echoes today.

The Spanish Inquisition

The Spanish Inquisition was one of the darkest chapters in Spain’s history. The Inquisition was a tribunal established by the Catholic Monarchs, Isabella I of Castile and Ferdinand II of Aragon, in the late 15th century to enforce religious orthodoxy and combat heresy, mainly targeted at Jews, Muslims, and later Protestants. People accused of heresy, blasphemy, or witchcraft were also subjected to interrogations, torture, and public trials.

Before the Inquisition’s arrival, Barcelona was a multicultural and diverse city with a significant Jewish population. However, with the establishment of the Inquisition, many Jews were forced to convert to Christianity or face persecution and expulsion. While the Inquisition’s influence waned over time, its legacy persisted. Fear and suspicion remained deeply ingrained in the city’s psyche, affecting social dynamics and religious practices for years.

Plaça del Rei 

Continue southeast onto Baixada de Santa Clara. It is here you enter the grand courtyard of the Plaça del Rei. The name Plaça del Rei (Place of Kings) comes from its historical role as the residence of the Counts of Barcelona and later the Kings of Aragon. While the exterior is doubtlessly impressive, it hides within it a dark secret. During the Inquisition, the inquisitors sought the destruction of all things Jewish, including even their cemeteries. Look closely, as the stones from the facade are made of old tombstones stolen from Jewish cemeteries in Montjuic. 

Due to its proximity to the prisons, this square also hosted many a public execution and the infamous auto-da-fé. Auto-da-fé was a public tribunal and the final step in the Inquisition process. It consisted of a Catholic Mass, followed by a procession in which the convicted individuals, wearing tunics and pointed hats adorned with symbolic drawings representing their guilt, had their sentences publicly read aloud in the square.

Casa del Botxí

On the square’s northwest corner, a building with an arched wooden door and two small Juliette balconies stands. This was the Casa del botxí, or the Executioner’s Home. From this chilling vantage point, the executioner could have observed his victim being led up the scaffolding before he stepped out to perform his duty. The building, a stark reminder of the square’s grim past, is a testament to the horrors that unfolded here. So much pain and suffering would have been taken out on innocents in this place, and many say that you can still hear whispers and footsteps and even perhaps a shadowy figure darting off into the darkness.

This stop brings us to the end of our tour. Whether you felt a chill as you wandered through the Gothic Quarter or sensed the lingering presence of the past at an abandoned building, I hope this tour enriched your understanding of Barcelona, blending its celebrated culture with its mysterious, lesser-known narratives. As you make your way home, remember to tread softly—you might be walking alongside centuries-old secrets waiting to be rediscovered. 

Happy haunting Adventurers!

The post Barcelona’s Dark Secrets, the Ultimate Haunted Self-Guided Walking Tour first appeared on The Creative Adventurer.

Our previous self-guided walking tour focused primarily on following in the footsteps of Vincent Van Gogh. Van Gogh lived and worked here in Arles, and some of his most prolific works of art were made during his time in his yellow house. Featured in many of his paintings were remnants of the ancient Roman ruins of Arles, as they are hard to miss and truly a part of the fabric of this city. And just like this mesmerized Van Gogh a hundred years ago, they fascinate visitors daily. So join us as we travel back in time, long before Van Gogh, to peek into the Roman and Medieval world of Arles.

Table Of Contents

1. Map of Walking Tour of Ancient Arles
2. History
3. Admission to Historical Sights
4. How To Get To Arles
5. By Train
6. Alyscamps, the Roman Necropolis
7. Tour des Mourgues
8. Théâtre Antique d'Arles
9. Arles Amphitheatre
10. Rue Voltaire
11. Amédée Pichot fountain
12. The Porte de la Cavalerie
13. Quay Marx Dormoy
14. Thermes de Constantin
15. Musée Réattu
16. Place du Forum
17. Van Gogh Café
18. Cryptoporticus 
19. The Obelisk
20. Church of St. Trophime
21. Cloître Saint-Trophime
22. Jardin Des Arts

Map of Walking Tour of Ancient Arles

History

Arles has a rich and storied history that dates back thousands of years. The Ligurians were the first known people to inhabit this area around 800 BC. In the 2nd century BC, Arles came under Roman rule, and the village flourished with the construction of the canal connecting the Mediterranean Sea to the city. The Romans sought to build huge architectural landmarks that included the Arles Amphitheatre and the Roman Theatre, which were built during this period. Both of which we can still see prominently featured in the city today. 

The Roman Era

During the Roman era of Arles, the city became a vital hub for trade due to its strategic location along the Rhône River, which made facilitating commerce and cultural exchange a breeze. As the city grew, it became the centre of arts and culture in the Roman “Provincias,” a Latin phrase which referred to the territories that the Roman Republic controlled. And where the name Provence came from.

Many Emperors frequently were drawn to the city of Arles. And even would use it as a home base during their military campaigns. Emperor Constantine I, especially favoured the city. Under his rule, the Roman Baths were built in Arles to mirror the Baths of Constantine in Rome. His son Constantine II was born in Arles, and his son Emperor Constantine III went on to declare Arles as the capital of Rome when he moved there in 408!

The Fall of Rome

After the fall of the Roman Empire, Arles continued to hold lots of power over the rest of the South of France. It was still a major center for trade and commerce along the Rhone River. But soon, its prominence was eclipsed by the ever-growing port of Marseilles. Since Marseille was located right along the Medieterran, they could accept larger ships from farther away into their ports. And before long, Arles ceased to hold any real political power. 

Admission to Historical Sights

While many of the Roman ruins can be seen, at least in part, from outside the ticketed area, visiting the interior of many of these sights is well worth the admission fee. You get up close and personal. Explore hidden interiors, and even delve below the city to see the internal structure holding it up today.

The best ticket to buy for our self-guided tour is the Pass Avantage. This gives you access to six monuments and four museums. While that might seem like a lot, it’s mainly the monuments we’re focused on, and the museums are simply a bonus. If you are planning to spend more than one day in Arles, this is great as it will allow you more time to check out the additional museums. The ticket is valid for six months, so if you prefer to split this tour into two days, you can take everything at your own pace.

Pass Avantage Price

Adults 19€ | Reduced 16€ | Free for children under 18 accompanied by a parent. You can buy your Pass Avantage at the first stop on our guided tour.

For the most up-to-date opening hours for each stop on the tour, check this handy guide.

If you don’t want to buy the monuments and instead would rather pick and choose only a few different locations to go inside, I’ve included all the individual entry prices in this post.

How To Get To Arles

By Car

Arles is easily reached by car via the N113 and A54 highways from Marseille or D570 via Avignon.

By Train

If you are staying in towns like Nimes, Avignon or Marseille, you can also opt to take the TER train. These trains run very frequently and are often even quicker than driving! But note that most small Provencal villages around Arles don’t have public transit. So, in that case, driving will be the only option.

Where to Park

One of the best spots to park, where there are lots of spaces, and it’s very central, is at the Parking du Centre. Along the Rue Emile Fassin. I’ve made sure to mark that on the map. Parking costs 2€ an hour. There is also a public washroom kiosk outside this parking lot. But remember, these require a 0.20€ coin to get use. I always make sure to carry some coins as often “public” doesn’t mean “free” in Provence.

How Long is the Walking Tour

I would recommend spending an entire day in Arles. There is much to see and do besides the stops mentioned here on this tour. You’ll want to stop for food, and there are great shopping opportunities all along the colourful and quaint streets. As mentioned above, if you are staying in Arles, you can also split this tour up at your leisure. This means less walking all at once, and it will be a slightly more relaxed few days.

Alyscamps, the Roman Necropolis

Our journey back hundreds of years to ancient Arles begins on the city’s edge. Along what was once the ancient Roman road to Aurelia. Here hides a great Roman cemetery dating back to the 4th century AD. Behind the tall iron gate and under rows of poplar trees, we find the archaic Alyscamps, a Roman Necropolis. 

“Alyscamps” is a corruption of the original Latin name Elisii Camp. In English, we call this the Elysian Fields, which in Greek mythology refers to the afterlife paradise for heroic and virtuous souls. 

History of the Alyscamps

During the Roman Empire, burials were not allowed within the city limits. Therefore, it was commonplace for the roadways leading into cities to be lined with tombs and mausoleums. The cemetery followed the Roman practice of inhumation. Inhumation dates back at least to the Middle Paleolithic period. The oldest form of inhumation was done by hollowing out a trench in the ground and covering the body with rocks and dirt.

But for the Romans, buried their deceased in the ground inside stone tombs or sarcophagi. The burial ground accommodated various social classes, from common citizens to prominent figures of the time. This included everyone from military officers to merchants. Strolling down the main road, you can still see hundreds of these old sarcophagi and tombs lining the ancient Roman road. Stop to look at some of the details which can still be seen on these tombs, which are almost over 2000 years old.

The Saints of the Alyscamp

With the spread of Christianity, the Alyscamps gained even greater significance. This was largely because Saint Genesius was buried here after his beheading and subsequent martyrdom. Saint Trophimus, the first Bishop of Arles, was also buried here. With these high-profile burials, people from all over the country started to want to have the honour of being buried here. The Rhone River became somewhat of a burial highway. Families had their loved ones shipped on boats in from all over Europe to be buried in such a distinguished cemetery. And tombs had to be stacked three layers deep to accommodate the influx.

The Decline of Alyscamps

But in 1152, Saint Trophimus’ relics were moved to the Arles cathedral. This was the start of the end for the Alyscamps. Having lost its most important “resident,” its popularity dried up. And within a hundred years, the site was abandoned, and the tombs were systematically looted. Sarcophagi were given as gifts to distinguished visitors of the city. And many of the gravestones were dismantled to use as building materials. Some sarcophagi were even used as water troughs for cattle.

Van Gogh’s Alyscamps

But the Alyscamps never lost its natural beauty. And during the 19th century, the locals started to use it as a public park. Here they could stroll and remark on the ancient graves still present in the rubble. It was a favourite spot for Van Gogh when he lived in Arles. He even made a point to bring his fellow painting partner Paul Gaughin to the Alyscamps. Here each one made their own interpretation of the site’s picturesque and evocative atmosphere. To learn more about Van Gogh’s time in Arles, read our dedicated Van Gogh-ian Self-Guided Tour of Arles.

The Eglise Saint Honorat

Saint Honorat was Archbishop of Arles in the 3rd century. When he died in 429 AD, his tomb became a prominent pilgrimage site for the early Christians. In the mid-11th century, a Romanesque church was built inside Les Alyscamps and named after him. Much of the old church has fallen into ruins, but the east and west aisles still survive today. As well as the massive lantern tower that dominated the skyline inside.

The building has almost entirely been left to the elements, and yet there are so many aspects of the original architecture that you can study inside. It’s a forgotten treasure, and even without being covered in stained glass and lavish ornamentation, there is such an earnest beauty to this church.

Individual Entry Price for Les Alyscamps: 5€

Tour des Mourgues

Walk northwest along Avenue des Alyscamps. On the northwest corner of Boulevard Emile Combes, you’ll see a great stone wall called the Tour des Mourgues. The Mourgues Tower is the most well-preserved of the circular towers that flanked the city’s defensive ramparts. The tower gets its name from the nearby monastery founded by Bishop Césaire in the 6th century. The monastery was the primary residence of nuns (called morgues in Latin.) Initially, The tower was circular but modified in the 14th to this more octagonal appearance.

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Théâtre Antique d’Arles

Walk along Mnt Vauban street, turning up the Rue de la Calade as it curves around the back of the iconic Roman Theatre. Built in the 1st century BC, this well-preserved theatre was built to accommodate up to 8,000 spectators! The theatre was constructed during the reign of Emperor Augustus. Unlike the Colosseum or Roam Amphitheatre, which were the centre of gladiatorial events, this building served as a venue for various theatrical performances. Much lighter and less violent entertainment for the Roman public to enjoy.

History of the Roman Theatre of Arles

The theatre’s design resembles a Roman amphitheatre which has been cut in half. Rows and rows of tiered seating are wrapped around the stage in a semi-circular shape. The structure is built into the side of a hill, maximizing its acoustics and providing excellent views of the stage from all angles. Originally, the would have been a wooden roof and a large rear wall at the back of the stage. Today, only the orchestra section, seating rows, and two large Corinthian columns survive. Little more than a few pieces of rubble remain of the once impressive rear wall, which would have acted as a theatrical backdrop for the actors.

As a Roman citizen of Provence, you could attend everything from theatrical plays, musical performances, poetry readings, and political and religious gatherings here in the Roman Theatre. Just as theatre is today, this place would have been essential to the town’s social and cultural life.

Like many other ancient Roman structures, the theatre gradually disappeared during the Middle Ages. Over the centuries, parts of the theatre were repurposed for other constructions. The ruins were later rediscovered and excavated during the 19th and 20th centuries.

Today, this theatre is still used for the very same purpose it once was, to host musical and theatrical events. When we visited, they were performing a soundcheck for the concert later that evening. The scaffolding of the lighting rig carefully places around the stone outline of the old stage. It is so nice to see these sites still in use today, rather than simply being a relic of a bygone era.\

Individual Entry Price for Roman Theatre of Arles: 9€

Arles Amphitheatre

Make your way back onto the Rue de la Calade onto the Rue Porte de Laure, which wraps around the giant arches of the majestic Arles Amphitheatre. The Arles Amphitheatre dates back to 90 AD. The Arena was primarily used for hosting various public spectacles and gladiatorial games. This enormous Arena could hold an estimated 20,000 spectators.

Gladiatorial Events

Gladiatorial contests were a central part of Roman entertainment. These events served to entertain and satisfy the masses while also reinforcing the power and authority of the Roman Empire. These battles were thrilling and often brutal spectacles in the Roman amphitheatre. 

Gladiators in Arles were typically slaves, prisoners of war, or condemned criminals who were forced to fight to the death for the audience’s amusement. These fighters were trained in specialized gladiator schools, known as ludi, where they honed their combat skills and developed signature fighting techniques.

The spectacles in Arles included various forms of combat, such as one-on-one duels, group battles, and even confrontations with wild animals like lions and bears. The contests were often organized and sponsored by wealthy individuals or the Roman government to gain popularity and political influence.

As social attitudes changed, the demand for such violent spectacles waned. And by the 5th century AD, the tradition of gladiatorial games in Arles began to fade, and the amphitheatre was eventually repurposed for other activities. 

Amphitheatre in the Middle Ages

After the fall of the Roman Empire, the theatre’s purpose shifted. In the Middle Ages, it was transformed into a fortress to protect the inhabitants of Arles. Four towers were added to either side of the fortress to keep a lookout over the city. Houses, stables, and workshops were built right into the arches of the arena. It was indeed a town within a town, with a square where the arena once stood. There was even a chapel inside. If you look closely at the walls when you enter, you can still see holes where different structural supports were installed to build two-story houses inside the archways.

Arena Layout

Entering this elliptical-shaped amphitheatre, you can really appreciate how this is a masterpiece of Roman engineering and architecture. It measures about 136 meters long and 109 meters wide, and its exterior reaches a height of around 21 meters.

The structure consists of two levels of arches, a grand entrance, and a complex system of corridors, galleries, and staircases that allow easy access for spectators. You can access almost all these areas today with your entry ticket. Allowing you to really get a feel of the entirety of the arena.

The Interior

While the main attractions were gladiatorial contests, other events included mock sea battles, animal hunts, and public executions. Climb to the top of the Arena for the most incredible panoramic views of the city and the surrounding countryside.

Bullfighting

In the 19th century, efforts were made to restore and protect this iconic structure. But instead of hosting Gladitorial events, it was repurposed into a bullfighting arena. Bullfighting in Provence is known as “Course Camarguaise.” It differs from the well-known Spanish-style bullfighting in that the bull is not killed in the theatre. Moreover, the focus is on the agility and daring of the participants rather than inflicting harm on the animal.

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During Course Camarguaise, agile and skilled participants, known as “raseteurs,” attempt to remove small tassels or rosettes attached to the bull’s horns. The raseteurs use a claw-shaped hook called a “raset” to try to grab them. The objective is to demonstrate their bravery and deftness in evading the charging bull while trying to collect as many rosettes as possible. All the while dressed in spectacular costumes that sparkle and shine in the sun and impress a captive audience. Van Gogh himself loved to frequent these events and even captured a vibrant scene in the arena of spectators viewing the bullfighting games.

Individual Entry Price Arles Amphitheatre: 9€

Rue Voltaire

After finishing touring the Amphitheatre, take a walk away along the Rue Voltaire. But sure to look back down the street towards the Amphitheatre as I loved this framed view of it.

The Rue Voltaire is an adorable cobblestone street flanked on all sides by charming shops, crawling ivy, and those classical Provencal brightly painted window shutters. This is the perfect place to grab a bit to eat, as the people-watching opportunities along this road are unmatched. 

Bistrot le Mistral is a great choice for a hyper-local French menu that changes daily. Don’t let the handwritten chalkboard menu scare you away. Chalkboards are the best indication that the food is fresh, as it signals the dishes change with the season or, indeed, with the daily whims of the chef! For such artistic French plating, the prices are very affordable. A must-check out while you’re in town

Amédée Pichot fountain

Returning to the road, stop to admire the incredible Amédée Pichot fountain, found at the intersection of Rue Amédée Pichot and Rue Voltaire. This elegant fountain and accompanying mosaic were built in honour of the 19th-century journalist and writer Amédée Pichot. The installation was a love letter from Pierre-Amédée Pichot to his father. When his father was alive, he purchased a monumental painting from French artist Paul Balze at his salon in Paris. The painting was an allegory of poetry inspired by a painting by Raffaello. Before Amédée Pichot died, he wanted to gift the painting to the people of the city of Arles. So they could enjoy its beauty instead of the painting being cooped up inside his house. But the city couldn’t find an appropriate location, and his dream was abandoned.

After his father died, Pierre-Amédée Pichot was driven to accomplish the goal that his father had abandoned. On a recent visit to Paris, he was inspired by the fountain outside the Place Saint Michel, which stood on the exterior of a large wall. Pierre managed to buy the house on the corner along Rue Voltaire to use its prominent exterior to build this monument. But you can’t simply hang a painting outside in the elements. So instead, he had a great reproduction artist reproduce the painting on enamel ceramic tiles. Now the painting is preserved in enamel and hanging in such a place of honour. Drawing the eyes of all those who pass it by.

The Porte de la Cavalerie

At the end of the Rue Voltaire stands the great Porte de la Cavalerie, also known as the Cavalry Gate. This ancient Roman gate was where people would have entered the city for the first time along the long road to Arles. The enormous, crumbling, stone defensive walls date back to the 3rd century AD. Sturdy stone towers on either side of the arched opening are called the “barbicans.” They were designed to reinforce the gate’s defensive capabilities, allowing guards and soldiers to monitor and defend the entrance effectively.

Quay Marx Dormoy

Walk through the gates and turn west along the Quay Marx Dormoy, which curves around the famous Rhone River. René Marx Dormoy was a French politician. During his tenure as mayor, he played a significant role in French politics and administration, advocating for social reforms and progressive urban development. Dormoy’s commitment to public service and contributions left a lasting impact on the communities he served, and he is given pride of place here in Arles with such a picturesque pathway named after him.

Wander along the riverside walk for a few minutes. Gazing out at the exquisite landscape which wraps around the river. The Rhône River holds immense historical importance to Arles, shaping its identity and playing a pivotal role in its development over the centuries. During the Roman Empire, the river connected Arles to the rest of the Empire. With goods being both imported and exported from this thoroughfare.

Post-Roman Empire, the river continued as a vital trade route connecting the city to the Mediterranean Sea. Goods, such as agricultural produce, textiles, and luxury items, passed through this waterway. Today, the river is no longer a busy port, with huge freight ships landing in Marseille. But you’ll be able to watch dozens of River Cruise boats gently floating on the water, taking in the sights of this majestic waterway.

Starry Night Over the Rhône

One of the most prolific reasons people view this part of the river is to study the inspiration for Vincent Van Gogh’s famous paintings, Starry Night Over the Rhône. His home in Arles, the Yellow House, was just around the corner, and it was right here where he came to immortalize the river forever.

The painting features a starry night sky filled with a vibrant and swirling mix of blues and yellows. The brushstrokes are bold and expressive, making the scene almost turbulent. The stars appear to twinkle and dance across the canvas. Hidden in the bottom right corner, we can see a couple taking a leisurely stroll along the riverbank. Just like we are doing today!

Thermes de Constantin

A small staircase leads you down away from the Quay towards the Rue du Grand Prieuré. As you make your way down, you are met with a large curved brick wall. This is the exterior of the great Thermes de Constantin. The Thermes de Constantin, also known as the Baths of Constantine, is an ancient Roman bath house.

Built in the 4th century AD, the Thermes de Constantin was named in honour of the Roman Emperor Constantine the Great. When we hear the word “bath” today, we think of a small, plastic or enamel tub meant for one person. But during the Roman Empire, public baths were an enormous structure where dozens, if not hundreds, of people could come together. Bathing back then was not just to maintain your personal hygiene, but it was also great. For Romans, bathhouses were a social and cultural center where people from all walks of life would gather, relax, and socialize.

Using a Roman Bath House

Roman baths were grand, impressive structures. Stepping inside, you can walk around the space on raised platforms to really appreciate the grandeur of the building. While most of the decoration has been lost to time, imagine for yourself as you walk through the now-barren interior with stunning mosaic decorations and intricate marble sculptures. These were all meant to showcase the opulence and grandeur of Rome. The walls would have been adorned with frescoes depicting scenes from mythology, everyday life, and the glories of the Roman Empire.

Visitors would enter through an imposing entrance hall known as the frigidarium, which led to a series of interconnected rooms offering different temperature baths. These rooms included the tepidarium (warm room) and the caldarium (hot room), equipped with underfloor heating systems known as hypocausts. You can still see several of these underfloor heating systems today; look for the signs that point it out.

Roman baths were not only for physical relaxation but also hubs for intellectual and cultural exchange. Philosophical discussions, debates, and other social interactions would occur within these spaces.

Individual Entry Price Roman Baths: 5€

Musée Réattu

Leaving the Roman Baths, you can opt to visit the Musée Réattu just down the street. Entry to the Musée Réattu is included in the Pass Avantage. If you’re not an avid art fan, you can skip this stop. But the museum is very small, so even if you just want to peek inside to see a few pieces, you won’t spend very much time inside.

The Musée Réattu is housed in a former 15th-century priory. Exploring some of the historic parts of the building is one of the best reasons to stop here. The museum primarily showcases the world of Jacques Réattu, an influential French artist who was born in Arles. Réattu’s artistic journey took him from his hometown to the vibrant Paris art scene. It was in Paris that he gained recognition for his exceptional painting. But he never forgot about his beloved home of Arles. While Van Gogh might be the biggest name to have worked in Arles, Réattu is the homegrown pride of the city.

Réattu’s artistic repertoire encompassed various subjects, from historical and mythological themes. His works often exhibited a harmonious blend of classicism and romanticism, with a keen attention to detail and a deep understanding of human emotions.

Picasso’s Arlesienne

Also included in the museum’s collection is a series of eight portraits painted by Picasso of his muse Jacqueline Roque, dressed as an Arlesienne. The term “Arlesienne” was often used to describe the traditional costume worn by women in the Arles region in the 19th century. This traditional dress typically includes a white or light-coloured blouse, a full black skirt, and an elaborate, intricately embroidered black velvet bodice. The outfit is completed with a headdress adorned with ribbons and flowers, which vary depending on the occasion. The Arlesienne has become an enduring symbol of Provencal and was also frequently painted by Gaugin and Van Gogh.

Individual Entry Price Roman Baths: 8€

Place du Forum

From the museum, let’s meander down toward the Place du Forum. Turn left onto Rue Dominique Maisto, then right onto Rue du Sauvage, leading into Rue de la Place. The Place du Forum is a picturesque, vibrant square steeped in history and surrounded by charming cafes and shops.

The Place du Forum is named after the Roman Forum that once stood a few blocks away. Today, remnants of the ancient Roman city can still be seen embedded into the walls of the square. Look closely at the building on the corner, now the Nord-Pinus Hotel. You can see it embedded in the hotel are two Roman Corinthian columns. These tall columns once supported a Roman temple that occupied this space. 

A Corinthian column can be recognized immediately by its elaborate capitals decorated in acanthus leaves arranged in a spiral pattern, surrounding a central bell-shaped element called the “abacus.” 

Van Gogh Café

At the heart of the Place du Forum stands the iconic Le Cafe La Nuit. Better known as the Van Gogh Café. This café features a bright yellow facade, believed to be the same café that inspired Van Gogh’s famous artwork, “Café Terrace at Night.”

While the cafe might stand in the same spot as the original cafe from the painting, the ownership has changed hands many times. And today, the cafe sadly has a poor reupitation as a tourist trap. If you want to stop for an aperitif, consider L’Apostrophe Restaurant two doors down instead. If you can snag a spot outside, you have a beautiful view of the Yellow Cafe without the tourist trap prices and poor-quality food and service. After all this walking, you’ll definitely have deserved a sweet aperitif.

Cryptoporticus 

Continue your journey towards the Cryptoporticus of the Roman Forum. This spot is just a few blocks from the Place du Forum. You must enter the old Town Hall of Arles to get inside. Once inside, you’ll find the entrance to the underground passageway. 

The Cryptoportiques d’Arles, also known as the Arles Cryptoporticus, dates back to the 1st century BC. These underground vaults were constructed to serve various functions, including supporting the enormous Roman Forum above. The Cryptoportiques consist of a network of underground galleries and corridors. These galleries are supported by a series of arches and pillars, characteristic of Roman architectural engineering. The ceilings of the passageways are vaulted, allowing for the even distribution of weight and enhancing the structure’s stability. Walking around in the dark, you feel like you’ve entered a labyrinth, and perhaps a minotaur lurks around the next corner…

The walls and pillars of the Cryptoportiques were made using locally sourced stone, primarily limestone and sandstone. The choice of these durable materials contributed to the fact that this part of Roman Arles has been so pristinely preserved today. Since the temperature was much cooler in these underground passages, the Cryptoportiques were also employed as storage space.

Individual Entry Price Roman Baths: 5€

The Obelisk

After returning to street level, head out the doors from the city hall, which leads onto the Place de la République, the heart of the historic city center. Standing in the centre of the square is the monumental Obélisque d’Arles. The Obélisque d’Arles is one of the oldest surviving Roman obelisks in France. Standing approximately 15 meters (about 49 feet) in height. The Obelisk is made of reddish-pink granite, not native to France. This means that the Obelisk would have been brought in as far as Asian Minor in the region of Troy.

This majestic Obelisk dates back to the 4th century AD, although when it was first installed in the city, it stood in the centre of the Roman circus. A Roman circus, also known as “circus maximus” in Latin, was a large, elongated, and open-air venue used primarily for chariot racing, one of ancient Rome’s most popular and thrilling forms of entertainment. 

When the Roman circus was demolished, the Obelisk collapsed or was knocked down. Breaking it into two different parts. It wasn’t until 1389 that the Obelisk was discovered and brought into the Amphitheatre to be displayed. In 1676, Louis XIV decreed it should be moved into the town square. And four engravings dedicated to the glory of Louis XIV were added. The decorative base was added in the 19th century, along with the fountain’s basin and surrounding bronze lion head water spouts.

Church of St. Trophime

On the east side of the town square stands the great Church of St. Trophime.  While the majority of the church we see today was completed in the 12th century, such an extraordinary structure took time to complete, and there are elements from the 11th century and even earlier still to be found throughout.

The church is named for Saint Trophimus, one of the early Christian saints and the first bishop of Arles. Originally the church was named Saint Stephen, but in 972, the relics of Saint Trophimus were reinterred, and the church was renamed in his honour.

Its exterior facade, adorned with exquisite Romanesque carvings, is a magnificent example of medieval artistry and storytelling through art. Back in the medieval era, peasants were barely literate. Communicating these religious ideas and stories through art and imagery was paramount.

The Portal

The elaborate portal, known as the “Portal of the Last Judgment,” is the doorway through which visitors have entered the church for hundreds of years. For our purposes on this tour of Roman art and architecture in Arles, you should note how the archway leading into the church is reminiscent of a Roman triumphal arch.

The Tympanum

In the semi-circle above the doorway is the tympanum. Here we can see the image of Christ, seated, holding the Bible on his knees. On either side of him are found animals representing the four evangelists. The winged lion for Saint Mark, an angel for Saint Matthew, an eagle for Saint John and a winged bull for Saint Luke. Surrounding the archivolt (a moulding that frames the arch) is a choir of angels with vivid expressions; you can hear them singing.

Lintels and Pilasters

The lintel, the band of stone that runs under the tympanum, depicts the souls of the dead in a The souls on the left are dressed in fine garb procession bound for judgement. The souls on the left (the righteous) march towards the centre, led by an angel with outstretched wings towards the twelve apostles. They are seated in the centre, holding a book on their knees, ready for judgment. On the right, we have the souls of the damned, who have been turned away as they walk naked and chained toward their doom.

The pilasters that support the lintel are also very interesting, and it’s worth studying the intricate carvings on their base. Evil beasts and monsters torment the souls of the damned. And the huge face of Samson’s slain lion is almost wrapped around the base of the column. These tormented scenes are contrasted above, with the column capitals covered in various decorative elements like acanthus leaves, foliage, and vegetal motifs, almost like they depict heaven and hell throughout this imagery.

Outer Frieze

A frieze behind the pilasters depicts the major saints of the Church, including Saint Stephen and Saint Trophime. You can spot Saint Trophime on the left dressed in his episcopal costume holding a curved cane, a Crozier, in his hand. He is also seen being crowned two angles.

If you look closely, there is a secondary frieze above the apostles which illustrates the childhood of Christ. Starting with the Annunciation made to Mary, the dream of Joseph into the Massacre of the Innocents and the Flight to Egypt and finally, the Nativity.

Interior

Entry into the church’s interior is free, but the St. Trophime Cloisers, located next door, require an admission fee. Thankfully if you purchased the Pass Avantage, this is included in your pass. We will explore the cloisters after briefly walking through the church’s interior.

Aubusson Tapestries

Entering the church, we can tell right away that this is a romanesque construction. The columns are thick and rudimentary. Lacking the lightness of many later gothic churches. There is a heavy atmosphere inside. The stoney interior of the church is lacking in carved decorations. Several side chapels were rebuilt during the Gothic periods, as these are doubtlessly the most elaborate designs inside the church. To add some interest to the austere church, tapestries were hung on the blank walls. These date back to the 17th century and illustrate scenes from the life of the Virgin Mary.

Early Christian sarcophagi

Throughout the church, see if you can spot the three early Christian sarcophagi that were brought to the church from their original resting place in Les Alsycamps. Unlike the remaining tombs in Les Alsycamps, these sarcophagi are covered in complicated and precise carvings. They almost appear architectural in their design, comprising arches, pilasters and niches that frame tiny figures representing various biblical stories. The earliest of these tombs dates to the 4th century, although they only made this church their resting place in the 19th century.

Chapel of Saint-Genès

Make a point to stop at the chapel of Saint-Genès to the north of the transept. This is where one of the old sarcophagi is held and where you can find a beautiful white marble statue of the Virgin Mary. This statue was originally placed in the Saint-Honorat-des-Alyscamps and is a great example of the beautiful decorations that would have once adorned the church we saw at the start of this tour.

Reliquary chapel

My favourite part of the church is the reliquary chapel. Hidden behind a filagree wrought-iron gate, under a blue-painted ceiling with stars dotting the sky, are dozens of golden reliquaries. A reliquary is a container to house and display relics, which are objects or remains believed to have a special connection to a saint or religious figure. These reliquaries are stunning works of art all on their own. The most important of these reliquaries is that of Saint Trophimus, patron of the church. But you can also see reliquary for Saint Stephen, Saint Anne, and even the Mother of Mary.

Cloître Saint-Trophime

Exiting the church, walk back onto the square and pass through the Palais de l’Archevêché. This leads you into an interior courtyard where you’ll find the entrance to the Cloître Saint-Trophime. Initially, the church would have been connected to these cloisters, but since the cloisters now require a ticketed entry, this side entrance was constructed to filter guests into the building here. Walking through this courtyard, be sure to admire the exquisite vantage point you have here to gaze up at the old Romanesque church tower.

History of Cloître Saint-Trophime

The Cloître Saint-Trophime was built during the 12th and 13th centuries. It served as the monastery’s private quarters for the canons of Saint-Trophime. It was a place for them to gather for prayer, contemplation, and meditation. Providing a quiet and peaceful sanctuary away from the hustle and bustle of daily life. Surrounding the cloisters are a dormitory, refectory and dining hall were also built where the canons could continue their private life outside the church. But just as these buildings were being constructed, the Counts of Provence moved from Arles to Aix and much of the wealth that the city had been used to dissipated.

Another big hit to the continued construction of the Cloisters was in 1348 when the Black Death came to Provence, vastly reducing the population of almost every infected. When the canons filled the cloister, these buildings became granaries and storehouses for food. As such, when you visit the dormitory, refectory and dining hall interiors, you’ll notice a difference in the style of these buildings.

The highlight of the cloister is its exquisite arcades adorned with elaborately sculpted capitals. These capitals depict various biblical scenes and religious figures. Each is intricately carved with meticulous detail.

Interior Courtyard

West Gallery

You enter through the gallery’s west portions into a space built around 1375. The southern and western galleries, built later in the construction of the cloisters, are Gothic, whereas the north and east galleries are Romasnaques.

The images on the columns here are devoted to religious figures and scenes popular in Provence. You” find the story of Samson slaying the lion, the stoning of St. Stephen, Mary Magdalene kissing Christ’s feet and the Coronation of the Virgin.

North Gallery

Each section of the cloisters is divided into the north, south, east and west galleries. The North Gallery’s main themes you can keep your eyes looking to spot as you stroll through the cloister. This is the resurrection of Christ and the glorification of the patron saints of the city, Saint Trophime and Saint Stephen.

Saint Trophime

To find Saint Trophime, head to the northwest corner of the cloisters. He stands with his right palm facing the viewer while the left holds onto his curved crook, although the top of the cane has since been broken off and lost to history. On his right and left, respectively, are Saint Peter and Saint John. Saint Peter sent Saint Trophime to Gaul, now modern-day France, to evangelize the people there and become Archbishop of Arles.

Above the doorways, you can make out the coat of arms carved onto the lintel. This image represents the coat of arms of Arles. You can see an eagle with spread wings wide; this symbolized the Holy Roman Emperor, who at the time ruled Arles.

Eastern Gallery

The eastern gallery columns focus on the passion of Christ. Throughout the carvings, you can see the Christ being flogged bare-chested while tied to a column. Judas is also widely represented here, carrying the purse of coins given to Judas in exchange for his betrayal and that fateful kiss. We also can spot scenes from the last supper.

South Gallery

The south gallery features columns telling how Saint Trophime became a saint. You can see depictions of St. Trophime and Christ himself blessing the Alyscamps, the miracles they performed, and even how they brought a knight back to life! See if you can spot the scene of falsely accursed men being hanged on the gibbet who were saved by Saint Trophime. And faced with this miracle, King Charlemagne was forced to set them free.

Be sure to take a walk inside the old stone dormitory building. Despite being completely empty, it’s worth entering to admire the ethereal glow of the tiny yet intricately painted, stained glass window that cast a golden glow into the room.

Heading to the second level, you can walk around the upper deck, which wraps around the lower level’s courtyard. From this vantage point, you have a stunning view of the cloisters below and an exquisite view of the old Romanesque Bell tower of the adjoining church.

Individual Entry Price the Cloisters: 6€

Jardin Des Arts

The cloisters are where we end the historical walking tour of Arles. But if you’re in search of the perfect on-theme place to enjoy a final meal in Arles, make your way to the Jardin Des Arts restaurant. This restaurant is located inside a 13th-century cloister. The Order of the Trinitarians founded their church here in 1198. And built a beautiful cloister and gardens where they lived and worked.

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During the Revolution, the property was abandoned and partially destroyed. All that remained was the nave and some parts of the old cloister galleries. Thanks to the restaurant’s efforts, many remaining spaces have been restored and transformed into stunning restaurants. You can eat inside below the old vaults or outside on their charming outdoor terrace, where you can relax amongst the beautiful greenery. The menu features some classic French dishes, but if you’ve never tried Daube, this is a wonderful place to try this Provencal classic.

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As you drive back to your home base or enjoy your dinner on the terrace, I hope you reflect on the wonderful journey we have taken into the ancient past of Arles. Hopefully, this tour allowed you to imagine yourself in the fascinating world of gladiators, emperors, and Roman antiquities. And that you leave Arles with a new sense of appreciation for all the people of this city who have helped preserve their past for generations to come.

Happy Travels, Adventurers

The post The Ultimate Self-Guided Historical Walking Tour of Ancient Arles first appeared on The Creative Adventurer.

But with so many things to see and do and doubtlessly little time to do it in, making an itinerary can be overwhelming. That’s why I’ve created this fantastic one-day itinerary for bibliophiles to explore the best of Literary London. It will take you across the city to explore a mixture of locations novels inspired beautiful book shops, literary homes, writer’s haunts and more. With just one day in the city, you can still pack in plenty of literary sights and experiences. So come with me now on this extraordinary book lover’s guide to London!

Table Of Contents

1. Map of Walking Tour
2. 8:00 am: Discover Platform 9 3/4 in King's Cross Station
3. 9:00 am: Breakfast at The Betjeman Arms
4. 10:00 am: Discover Treasure inside the British Library
   • British Library Collection
5. 11:00 am: Garden Walk through Bloomsbury
6. The Foundling Museum
7. 11:30 am Uncover Secrets inside the Charles Dickens Museum
8. 12:30 pm: Luncheon at The Lamb
9. 1:30 pm The London Review Bookshop
10. 2:30 pm Walk Through Seven Dials
11. 3:00 pm Cecil Court
12. 4:00 pm Sherlock Holmes Pub
13. 4:30 pm Great Scotland Yard
14. 5:00 pm Crossing the Thames River
15. 6:00 pm: Admire the Theatrics at Shakespeare's Globe
16. 9:00 pm Drinks at The George Inn

Map of Walking Tour

8:00 am: Discover Platform 9 3/4 in King’s Cross Station

Start your tour inside King’s Cross Station. Visiting Kings Cross is essential for any book lover visiting London. And as an added bonus, King Cross is a central hub for the underground. Making it an easy journey wherever you are based in London. Almost everyone who has read (or even heard of the Harry Potter series) knows how important the setting of this train station is in the book.

King Cross station served as the setting for Platform 9¾, the magical platform where Hogwarts students catch the Hogwarts Express. Inside King Cross station is a replica of Platform 9¾ outside the Harry Potter Shop Gift Shop. Here you can take your photo with a disappearing trolley headed straight into the wall. Just like in the book!

Getting here extra early is key as the queue to get your photo taken can get over an hour long. But, if you prefer to avoid tourists, simply walking around the station is a dream for book lovers. Exploring the train station places you right inside this iconic setting. I love grabbing a coffee from any nearby cafe and watching commuters rushing about the busy station.

9:00 am: Breakfast at The Betjeman Arms

If you prefer to grab a full sit-down breakfast, they have over the Betjeman Arms. The Betjeman Arms is a charming and cozy pub inside the neighbouring St. Pancras International Station. The pub was named after the famous poet Sir John Betjeman. Betjeman was a passionate advocate for preserving the city’s historic Victorian architecture. And even had a hand in helping to save St Pancras railway station from demolition. The pub’s decor and atmosphere pay homage to his love of Victorian design. If you can book a reservation in advance, ask for a table on the Euston Terrace overlooking King’s Cross.

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The menu at the Betjeman Arms offers a selection of traditional British food. If you’ve never had a full English breakfast, this is where to do it! It comes with beer & treacle smoked bacon, Cumberland sausages, fried egg, roasted tomato, chestnut mushrooms, hash browns, and baked beans. At
£13.50 it’s a pretty reasonable price for a huge breakie.

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10:00 am: Discover Treasure inside the British Library

After breakfast, it’s time to head to the British Library! The British Library is located along Euston Street, just a minute down the road from the Betjeman Arms. Many people don’t know that the British Library isn’t just a place for reading and borrowing books. The building contains a little museum that exhibits “Treasures of the British Library.” This collection features some of the most remarkable books, manuscripts, and historical documents. The main exhibit hall is free to enter, but there are new exhibitions throughout the year that you can visit by buying a ticket.

British Library Collection

Highlights of the British Library Collection include the original manuscripts of Jane Austen‘s novels, first editions of Shakespeare’s plays, handwritten lyrics by The Beatles and a Gutenberg Bible. One of my favourite parts of the exhibition is the gorgeous illuminated manuscripts, religious texts, and detailed medieval maps. All are gilded in 24-carat gold and brilliantly coloured hand-painted illustrations. It’s amazing to see how vibrant they still are even after hundreds of years. Original sketches by Mervyn Peake, the author of Gormenghast, sit behind glass. I adored this book as a teenager. And seeing the sketches, Peake dreamed up for his characters was wildly exciting and nostalgic.

But most impressively, it is here where you can view the original Magna Carta. The Magna Carta is an enormous document signed by King John of England in 1215. It is considered one of the most important legal documents in history. It established that everyone, including the King, is subject to the law. Seeing it in person and the King’s giant wax seal, almost the size of a dinner plate, was amazingly impressive.

11:00 am: Garden Walk through Bloomsbury

After you’ve had your fill with historical manuscripts, it’s time to walk over to the Charles Dickens Museum in Bloomsbury. It’s only a 15-minute walk from Euston Street. The path takes you through the peaceful St. George’s Gardens, Brunswick Square Gardens, and the old Foundling Hospital.

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The Foundling Museum

The Foundling Museum in London is dedicated to the history of the 18th-century Foundling Hospital. One of the first charities established in England to care for abandoned children. Writer Charles Dickens often used the institution and its children as inspiration for his fictional work. Since he lived so close by, he was also a great supporter of the Hospital. He even rented a pew in the Hospital Chapel through which he could make donations to support the hospital’s efforts. His stage play, No Thoroughfare, featured a main character called Walter Wilding, who was raised in the Hospital’s care. Dickens himself led a life that could have resulted in him being cared for by this kind of organization. And he never forgot it. And never took that for granted.

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11:30 am Uncover Secrets inside the Charles Dickens Museum

The Charles Dickens Museum is set inside the original Dickens family home at #48 Doughty Street. Dickens and his first wife lived here from 1837 to 1839. Stepping inside, you find the Dickens home almost as if they had just stepped out the front door. Visitors can explore the house’s many rooms, restored to their original 19th-century appearance. And get a sense of what life was like for Dickens and his family.

The collection includes many artifacts related to Dickens’s life and writing. Including manuscripts, letters, and personal items. You can even explore Dickens’ home office, which has been carefully preserved. His old writing desk and chair still sit as if waiting for him to return. It was here he penned some of his most famous works, including “Oliver Twist” and “Nicholas Nickleby.”

12:30 pm: Luncheon at The Lamb

For lunch, head to The Lamb, a historic pub just four minutes east of the museum, on Guildford Place. The Lamb Pub was originally built in the 1720s as a coaching inn for travellers. And its location near the British Museum made it a popular spot for scholars and academics. As a local to the area, Charles Dickens was known to frequent the pub. Perhaps coming here after a long day of writing to relax and unwind.

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In the late 18th century, the pub became a hub for political radicals and intellectuals. This included members of the Bloomsbury Group. They were a circle of writers, artists, and thinkers whose members were made up of Virginia Woolf, E.M. Forster, and John Maynard Keynes. The group often met at the Lamb to discuss their ideas and hold literary salons.

Today, the Lamb Pub is a popular neighbourhood watering hole and a beloved piece of Bloomsbury’s rich cultural heritage. Its walls are adorned with historical artifacts and memorabilia, providing a glimpse into its storied past. And mementos of the many important figures passing through its doors. The pub serves traditional British fare and has a cozy, old-world atmosphere. You’ve got to have beer-battered fish with triple-cooked chips, pea puree and tartare sauce to complete this British experience.

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1:30 pm The London Review Bookshop

Don’t overeat because you want to save some room for dessert! Walk along Great Ormond Street and Bloomsbury Square to the London Review Bookshop. Yes, that’s right, dessert inside a bookshop! The dream of dreams. The London Review Book is also home to a Cake Shop inside their charming and cozy interior. This delightful café is the perfect place to escape from the hustle and bustle of the city and enjoy a delicious sweet treat.

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Upon entering the café, visitors are greeted with the scent of freshly baked cakes and pastries. And the warm and welcoming atmosphere invites them to stay awhile. The London Review Cake Shop menu features an array of delectable treats, ranging from classic sponge cakes to more exotic delights like cardamom and rosewater cake. Find a great book to buy and sit outside in their courtyard with a delicious slice of cake. It’s the perfect way to spend a quiet afternoon.

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2:30 pm Walk Through Seven Dials

After you’re done, take a walk 15-minutes south along Monmouth Street. I know there is a tube station nearby but you’d only be taking it one-stop. And trust me, the walk is a great opportunity to see the historic neighbourhood of Seven Dials. The Seven Dials area gets its name from the distinctive layout of seven intersecting streets, which converge around a central pillar. The area has a rich literary history, home to many famous writers and poets. Charles Dickens, in particular, had a strong connection to the Seven Dials. He used it as a setting for several of his novels, including “Sketches by Boz” and “Oliver Twist.“

3:00 pm Cecil Court

Make your way onto Cecil Court. Cecil Court is a narrow, pedestrian-only street called the “Booksellers’ Row.” Here is where you’ll find a variety of independent bookshops that line the cobblestone alley. The area dates back to the 17th century, and the original shopfronts are set inside quaint Victorian-era buildings.

Cecil Court is where one can easily spend hours browsing the shelves, discovering rare and unusual titles. The bookshops in Cecil Court are staffed by knowledgeable and passionate booksellers who are always happy to recommend titles or offer insights into the area’s history. Shopping here is almost like going inside tiny museums. Their collections a treat to simply browse through.

4:00 pm Sherlock Holmes Pub

Before heading across the river, let’s quickly stop for a pint inside the Sherlock Holmes Pub. Walking along Charing Cross Road towards the Strand, where you’ll find the Sherlock Holmes Pub on Northumberland Street. The Sherlock Holmes Pub is a hot spot for fans of Sir Arthur Conan Doyle‘s famous detective. The pub is spread over two floors, with the ground floor serving as the main bar area, while the upper floor is a restaurant. And mini exhibition hall.

The upstairs is home to a small recreation of Holmes’ famous Baker Street flat, which includes some rare memorabilia. But throughout the pub, you’ll find Victorian decor, wood panelling, and Sherlockiana. Even if you just want to pop in for a pint, you can check out the upstairs area without booking a reservation for dinner. Tell them you just want a look, and they’ll happily let you inside.

4:30 pm Great Scotland Yard

Crossing Northumberland street, jet over to neighbouring Great Scotland Yard. The street’s name derives from the 17th century when the area was home to the royal residence of visiting Scottish kings and queens. Effectively the Scottish Embassy. But perhaps the most famous literary connection to Great Scotland Yard is the fact that it was the location of the original headquarters of the Metropolitan Police Service. Established here in 1829. And who is the most famous British detective who would have worked out of Scotland Yard? You guessed it, Sir Arthur Conan Doyle’s Sherlock Holmes would have called this place home were he not, in fact, a fictional character.

5:00 pm Crossing the Thames River

Our final destination is at Shakespeare’s Globe Theatre which can be found across the River Thames along the Southbank. To get there, you can take the tube from Embankment underground station on the Circle or District Line, three stops to Mansion House station. Then just walk across Southwark Bridge to Shakespeare’s Globe.

But if you’re looking for a more fun and scenic way to get to the Globe, consider taking a boat! Embankment Pier is just a few minutes from Great Scotland Yard, where you can hop on the Thames Clipper. This isn’t a “River Cruise” or “Boat Cruise” but a public transport service along the water.

Tickets

You can use contactless payment with your Oyster card to buy a single ticket. Using your Oyster card, a single ticket to Bankside station will cost £5.20. If you have the Uber app installed on your phone, you can buy tickets directly through their app. If you don’t have either not to worry, you can buy tickets at the ticket office or ticket machines inside the station. These tickets cost £5.70, so you do save some money if you have the app or use an Oyster card. While £5 is more expensive than riding the tube, the 10-minute ride along the Thames river is an amazing way to see the city skyline and riverside buildings.

6:00 pm: Admire the Theatrics at Shakespeare’s Globe

The most famous of all British writers is doubtlessly William Shakespeare! And ending your day here at Shakespeare’s Globe in Southwark feels like a perfect epilogue to your storied visit to London. Shakespeare’s Globe Theatre is a reconstruction of the original Globe Theatre, built in 1599. The original Globe was the primary performance venue for William Shakespeare’s plays. The modern reconstruction was opened in 1997 after more than two decades of planning and construction. The construction of the new Globe took so long because they wanted to use historic equipment and techniques in remaking the historic landmark. The few modern additions were a state-of-the-art sprinkler system to ensure the thatch roof didn’t burn down, destroying the building again.

The result is an incredibly faithful reconstruction of the original theatre. Giving visitors a glimpse into the theatrical world of Shakespeare’s time. The theatre is an open-air venue with a circular stage surrounded by seating for the audience. The stage is uncovered, and performances occur in natural light during the day, just as they would have done in the 16th and 17th centuries.

But there are also night performances under modern flood lighting. While I loved the experience of seeing a play in the day without the use of modern technology, it didn’t feel atmospheric. There is something more immersive about the evening performance, where the rest of the theatre seems to disappear, and you can focus on the actors in front of you.

Tickets to the Globe Theatre

You can even purchase a standing-room ticket in the “Yard’, just like the poorest London citizens would have bought in the 16th century to ensure they got to see the latest Shakespearean production. There are also seated tickets in the lower, middle or upper galleries. Tickets in the Yard start at only £5.00, and seated tickets start at £25. I would advise you to go for the seated tickets after a long day of pounding the pavement around London. Relax and enjoy a production of one of Shakespeare’s most famous plays in this historic landmark.

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9:00 pm Drinks at The George Inn

If you have any energy left, you can head to the George Inn for a late-night pint of beer! This historic pub is just 10 minutes from the Globe and dates back to the 17th century! It is the only surviving galleried coaching inn in London. It was named ‘Shakespeare’s Local,’ as the George Inn was a popular gathering place for actors and playwrights from the Globe during the Elizabethan era. Including Shakespeare himself!

In the 19th century, Charles Dickens referred to the George Inn in his novel “Little Dorrit,” describing it as a place where characters would gather for a drink and discuss their trials and tribulations. Today, the pub has indoor and outdoor seating area, making it one of my favourite spots to come in the summertime to enjoy a beer under the warm night sky. It really is the perfect spot to finish a gorgeous day exploring London literary history.

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And that’s a wrap, book lovers! We hope this one-day literary tour of London has inspired you to explore more of the city’s rich literary history and immerse yourself in its vibrant book culture. There are dozen of other amazing bookshops and libraries to discover if you have more time in this incredible city! So go out, and explore, but don’t forget to bring a good book!

Happy Travels, Adventurers.

The post The Ultimate Literary Tour of London: A Biblophile’s Dream One-Day Itinerary first appeared on The Creative Adventurer.

Day One – The Highlights

St. Mark’s Square

The best place to start your tour is standing in the centre of the Piazza San Marco or St. Mark’s Square. Arrive here as early as you can bear. There is something truly magical about being here as the sun rises on the square. You’ll see the beautiful rose-gold sunlight begin to kiss the cobblestone and bricks around you. The sun seems to bring the square to life as cafe owners begin taking out their chairs and pigeons flock around gawking tourists (but don’t feed them, this is now illegal in Venice!)

Standing in the centre of the square, in front of the Basilica, you can turn around 360 degrees and see one spectacular scene on top of another. In this one small area, you’ll find the St Mark’s Basilica, the great Campanile (Belltower), the Procuratie, the Piazzetta, Doge’s Palace, Bridge of Sighs and Torre dell’ Orologio. There is rarely a time when you’ll visit the square when they aren’t some form of construction or renovation going on. With all these historic sights in one place, there is bound to be something falling apart and needing repair. Try to look past that and don’t like it ruin your experience.

Saint Mark

The square is named after the patron saint of Venice, Saint Mark. In 828, a relic of St. Mark was stolen from Alexandria and brought back to Venice by La Serenissima‘s great naval fleet. The Venetian Doge, awed by the acquisition of this precious relic, adopted Saint Mark as the new patron of Venice (whose honour had previously been given to Saint Theodore).

A city with a saintly relic immediately rose in power and prestige. Relics were the first tourist attraction of the medieval world. Pilgrims would come from all over the world to pray at the churches who preserved these relics. Pilgrims, much as tourists today, needed food and shelter and therefore brought lots of money into the city.

Piazza San Marco

A grand church to house the precious artifact began to be built in 836. The church and the nearby Doge’s palace were, even back then, the highlight of the city for visitors. And a great square was needed to further showcase the opulence the Doge wanted to project. In 1172 orchards were demolished surrounding this area and the Piazza San Marco was built. It’s been rumoured that upon visiting St. Mark’s square for the first time, Napoleon himself degreed that it was, “the drawing room of Europe“.

The Procuratie

The simplistic and yet elegant buildings along the north and south sides of the square are called the Procuratie. The Procuratie is most identifiable by its stunning arcade that wraps around this side of the square. The arcade features Byzantine arches, which are distinct for their tall and narrow structure.

The Procuratie buildings are actually three connected structures that once served as the offices of the Venetian Republic, also called La Serenissima. Today they house the Correr Museum, the Museum of the Risorgimento, and the Archeological Museum. Each one of these is an incredible place to visit but the Correr Museum is my favourite with their collection of art detailing the histories of the city of Venice.

The Lion of Venice

Throughout St. Mark’s square you’ll see various Lions of Venice, adorning doorways, columns and facades. The Lion of Venice is usually seen with his paw upon a bible as he is not just any lion, but St. Mark’s Lion. St. Mark was often referred to as a lion since he would preach the word of the lord so powerfully it almost seemed like a roar. Legend tells that St. Mark was travelling through Europe when he arrived in Venice and an angel spoke to him and told him that this place would be where his body would come to rest for eternity. His remains were originally interred in Alexandra but moved to Venice where the church was built to honour them.

Caffe Florian

Now housed inside one of the old Procuratie buildings is perhaps the most sumptuous cafes in Venice, or perhaps Europe itself. Although this cafe is by no means cheap, it’s a splurge that I think is worth it for the incredible interiors and history to be found within. The Caffe Florian was founded in 1720 and has served patrons like Charles Dickens and Lord Byron. There is a 6 euro cover charge to even enter the cafe, but along with getting to enjoy the lavish interiors, you’ll also be treated to a live orchestra which plays throughout the cafe. Palacial red velvet couches and chairs are spread out across the huge cafe, dotted throughout various antechambers. Each room is covered in ornate paintings, large Murano glass mirrors, gold foiled frames and intricate painting plastered to the ceiling.

To save a bit of money here, go right to the bar and order your food or drinks there. Although you won’t get a seat, the bar menu is vastly cheaper than the table service. An espresso at the bar will run you €5 but again, you’re here for the atmosphere. If you’d rather save your coin you can give this a miss for sure. Instead grab a coffee on your way in towards St. Mark’s square from any local cafe, to enjoy while you peruse the sights.

The Campanile

Standing guard in the centre of the square is the 323ft tall Campanile or Belltower. The low-level buildings throughout Venice are in stark contrast to the towering Campanile. Its little head pokes out at you no matter where you seem to end up in Venice. While the original tower was built in 1514, the current one is a reconstruction from 1912 after it’s collapse in 1902. It’s an incredible thing to imagine that such a tall structure could survive for so long-standing atop the shifting waters. But it wasn’t water which proved to be the biggest enemy of the tower, it was lighting. Lightning struck the tower multiple times over the years causing enormous fires and severe internal damage to the structure.

The tall base of the tower is designed with a fluted shaft that reaches up towards the belfry. Along one corner, one each side of the tower, are stacked arched windows looking out over the square. Inside the belfry are five large bells. Each one was used to call the people of Venice to attention. The bells have their own distinctive name and special significance. The Renghiera bell announced executions; the Mezza Terza would declare that a session of the Senate was taking place; the Nona sounded the midday hour; the Trottiera was used to assemble the Maggiore Consiglio and the Marangona, the largest of the bells, rang to mark the beginning and end of the working day.  

The Tower’s Crown

Above the arches of the belfry is another level of brickwork decorated with various sculptures on either side. On one side you’ll see the Lion of St. Mark and on the other the female representation of Venice, in the shape of the lady Justice. The golden weathervane which crowns the tower is the angel Gabriel, reaching out towards the citizens below.

Torre Dell’Orologio

Turn to the north-east corner of the square, and look up at the bright blue and gold details decorating the Torre Dell’Orologio. The morning light, the sunlight simply glints off the golden dial. The clock was built in the 15th century when mechanical clocks were a symbol of wealth and power. The clock faces out towards the water so that any foreign ships would be able to see it from the canals as they past through.

Atop the tower containing the clock, you can see two small bronze figures who carry large hammers in their hand which move upon the hour to strike the bell. One of the figures is a young man and the other an old man to symbolize the passage of time. Once more we see the image of the Lion of Venice above the clock, set against a blue sky of golden stars. Below the lion is the figure of the Virgin Mary with the baby Jesus wrapped in her arms. On either side of her are two blue panels with the time represented in roman numerals on the left and in Arabic numerals on the right, as was traditional at the time when the Byzantine influences were ripe throughout Italy.

The Zodiac Symbols on the Clock

The most impressive feature of the clock is the blue and gold engraved clock face with fantastically detailed signs of the zodiac encircling it. The large dial on the clock is set with the huge face of the sun. The dial, emblazed with the image of the sun, revolves around the zodiac signs and rather than showing the time, it marks the date. In the centre is a small gold orb representing the sun and below it, a smaller orb representing the phases of the moon.

St Mark’s Basilica

St. Mark’s Basilica is famously one of the most precious Byzantine treasures of the time. Within it, preserved by time, are so many aspects of history, art culture and faith. The most notable element of the design of the church are the powerful domes that are set against the sky. The bulb-shaped domes with their finials lanterns give the church that middle eastern appearance and character which defined the Byzantine period.

The exterior of St. Mark’s Basilica can be studied by its three distinctive areas; the lower level, upper level and the domes. The lower level mosaics are all scenes from the life of Saint Mark, for whom the church derives its name. In the central arch where the enormous doorway is located there is the largest mosaic which depicts the Last Judgment. The original mosaic would have been made in the 13th century but this current incarnation from the 19th-century. The portals which lead into the church are stacked with various colours of marble, creating a foreshortening perspective effect. Like you are being pulled into the church.

Mosaics of St. Mark’s Basilica

On either side of the central portal, the mosaics each depict the life of St. Mark. The first one on the left is the only one on the façade still surviving from the 13th century. The lunettes above the first floor depict the life of Christ. The lower level features dozens of marble columns. These rich columns are decorated in sumptuous vegetal motifs.

The Bronze Horses

The upper-level balcony, above the main entrance, also features four bronze horses. There are the Horses of Saint Mark-Lysippos and were stolen from Constantinople in 1252. The ones outside the church today are actually replicas of the original horses, as the originals were suffering terribly from the elements. They were brought inside the church museum in order to preserve them for years to come. The original bronze horses date all the way back to classical antiquity. It is rumoured that perhaps they once were positioned pulling an emperors chariot atop the Arch of Trajan in Rome. The Horses were one of the many trophies collected during the Crusades.

Above the horses, the ogee arch is decorated with blue glass and golden stars. In fro of this starry sky is the gilded winged lion, the symbol of Venice. Above the great lion, standing brightly against the blue sky, are Saint Mark and his six angels.

Entering St. Mark’s Basilica

If you are interested in going inside the Basilica, be warned the queue can get very long. But if you want to save yourself a bit of time you can book a timed entry ticket online that only costs €6.00. Well worth it, in my opinion, to be sure you are the first one in the door, leaving the rest of your day completely open.

If you don’t buy your ticket in advance, you will have to line up. The wait time is, on average, about 45 minutes but the earlier you arrive in the morning, the less of a line you’ll run into. When we arrived, early in the day, the line moved swiftly and we barely had to wait at all. But of course, this depends on the time of year you visit.

Interior Mosaics

Upon entering the church the first thing you’ll notice is the overwhelming amount of golden mosaics covering the floor, all the way up to the domed ceiling. There are over 85,000 square feet of mosaics in St. Mark’s Basilica. The light reflects off the surface of the glass and depending on the time of the day, the light changes the effect and the appearance of the interior. So depending on when you visit you might get a different experience from someone else. So much gold was used in its construction of the church that the residents of Venice would call it the Chizea d’Oro or, the Gold Church.

Because the Basilica was built during the Byzantine age, and architectural methods weren’t as advanced as they are now, you’ll notice large thick walls, hundreds of columns and the heavy use of marble. They needed only the strongest of materials to help keep the multi-domed ceiling standing.

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Inside the church are the treasures of the fourth crusade on the holy land. During the 4th-century crusade, Venice deemed itself the holiest place on earth. And therefore all the treasures the crusading armies found were brought to Venice. One such treasure is the Pala d’Oro. The Pala d’Oro is decorated with 1,300 pearls, 300 emeralds, 300 sapphires, 400 garnets, 100 amethysts, plus rubies and topazes. A glittering masterpiece.

Porta Della Carta

Coming back out of the church, into St Mark’s square, be sure to take a moment to study the Porta della Carta on the side of the church. In 1442 this was the ceremonial entrance to the church was built to connect the church to the Doge’s Palace. The doorway is dripping in gothic ornamentation, with two tall, thin pinnacles flanking either side of the statue of the Doge Francesco Foscari. The Doge is seen kneeling before the Lion of Saint Mark. Below each pinnacle is are statues of cardinal virtues.  

Doge’s Palace

A Venetian Doge is something that many of you may not have heard of before. A Doge is pretty much like an English Duke, they served as the leader of the Republic of Venice from 726 to 1797. The Doge would rule over Venice from his seat of power inside the incredible Doge’s Palace. Today the building serves a public museum.

The building itself is a wonder to behold. Despite the enormity of the upper structure, it looks almost weightless as it is supported by the delicate pink Verona marble columns. The columns are decorated with a lacy pattern, making them look even more fragile. The top of the building is adorned with spiked merlons and looks like frosted meringue atop a cake.

Walk through the arcade and study the individual capitals of the columns on the right side.

Piazzetta 

Past the Basilica, walking south towards the water, you can find the Piazzetta. The Piazzetta is the smaller square to the south. In the middle of the square are two large two columns, made in red marble. Between these two columns is where death sentences were announced during the medieval ages.

At the top of the columns are two statues, each depicting one of the patron saints of Venice; St Mark and St Theodore, on the left and right respectively if you’re facing the water. St. Mark is depicted as the winged lion of Venice and St. Theodore can be seen standing atop, of all things, a crocodile. In his hand, he also holds a spear which we can assume he used to slay the giant crocodile. Saint Theodore is more commonly known for slaying a dragon, not a crocodile, but perhaps the Venetians artists of the time who made this carving had little knowledge of what a real dragon looked like, so instead, they simply carved the next best thing, a crocodile.

The Bridge of Sighs

Walk around the Doge’s Palace until you turn to face the Bridge of Sighs. The bridge of sighs created to join the interrogation rooms of the Doge’s Palace to the prison across the canal. If you were found guilty by the Serenissima you were set to the prison, but upon crossing the bridge, were allowed to look out at Venice one last time. Two small, square windows on the bridge allowed prisoners this one moment of reflection, before facing their possible lifetime of imprisonment. The bridge’s windows are covered in a tightly knit wrought iron bars, so no one could escape.

Day Two – Exploring the Hidden Canals

Palazzo Contarini del Bovolo

Continue heading north until you reach the Palazzo Contarini del Bovolo. This small palazzo has become an iconic viewpoint in Venice. The palazzo’s incredible, honeycomb-like spiral staircase, with a fantastic balcony at the top, provides one of the most amazing views across the city, and over St. Mark’s square. The staircase is called the “Scala Contarini del Bovolo” or “or the snail”.

Built in the 15th century for the wealthy Contarini family, the house became instantly notable for its unique outer staircase. In 1952 Orson Welles also fell in love with the house and even featured it in his film adaptation of Shakespeare’s Othello. The Palazzo was closed for many years but in 2016 it opened up its doors to the public. For three euros you can climb the stairs to the top and get a snap of the great landscape.

Explore the Side Canals

Make your way through this small island, heading north and slightly eastward. I don’t want to give you exact directions since exploring and getting lost in these small, neighbourhood streets is half the fun. You’ll discover amazing balconies pouring over with brightly coloured flowers. You might uncover a few secrets, etched into the walls of the alleyways. Or even discover your new favourite pastry shop. While there are some specific sights to see in Venice, exploring these side streets is a joy unto its own.

The Grand Canal

Continue walking north along the Corte Theatro, through one of the darkest brick tunnels, until you emerge out into the bright light of the Grand Canal. As this is the first time we are really faced with the view of the Grand Canal, I suppose we should talk a little bit about this ever so important waterway. The Grand Canal essentially splits the city of Venice into two. While the original waterway which ran through here was no doubt much narrower, the ancient river is thought to be a branch of the Brenta. Ancient Venetian fishermen were once the only ones who lived here, in simple stilt houses.

It wasn’t until the 9th century when the Doge moved his palace into the more protected area of what would become St Mark’s square, that the canal was widened. The canal needed to be larger in order to make room for the large ships needed for the construction of the palace. The canal became less of a fishing spot and more like a ritzy main street. Wealthy families began buying up property and building their huge manors along the Grand Canal.

History of the Grand Canal

The grand canal was the entryway into the city and the Venetian Republic wanted every building lining it to demonstrate the city’s power, wealth and artistic sensibilities. Like a parade of the best architecture Europe had to offer. This huge canal is now flanked by 170 illustrious buildings, which are from as early as the 13th century to the 18th century.

Rialto Bridge

Continue along with the Riva del Ferro, walking along the edge of the Grand Canal. Emerging from the last arcade you’ll be greeted almost immediately by the sight of the bright white stone of the Rialto bridge. The Rialto Bridge is the most famous of all of Venice’s canal bridges. It is also the oldest of the four major bridges which connect the various districts of Venice. The original wooden bridge installed here was built here in 1173. Back then it went by the name Ponte Della Moneta, which means “money bridge“. The reason for this was that on one side of the canal once stood the largest mint in Venice. People would flood into their area and across the bridge at all hours of the day to deposit and take out their cash!

The old wooden bridge was split down the center and could be raised on either side, to allow for tall ships to enter into these narrow canals. This was of the utmost importance especially when the Rialto Market opened, as boats would come in in mass to deliver fresh fruits, vegetables and fish. But as time past, the wooden bridge just wasn’t up to snuff though. After years and years of wear, riots, fires and crowds eventually it collapsed.

New Rialto Bridge

The new Rialto bridge design was completed in 1551. The architect who designed it did away with the raised wooden design and instead favoured stone as it was more durable and could last the test of time. Since the stone bridge couldn’t be raised, he needed to ensure that the two inclined ramps would be tall enough to accommodate the galley ships that needed to pass through. The result is this grand archway which looks like a gilded enclosure around a picturesque living portrait. The stone structure also featured a covered portico on top with rows of shops on either side. The addition of shops here meant that their rent could help pay for the maintenance of the bridge going forward. Between the inclined set of porticos is a large arch, like the crown atop this stunning structure.

While the bridge has become somewhat of a tourist trap, with stores selling souvenirs lining the entire walkway, early in the morning when they are all closed, this bridge still keeps its magic. There are these two little nooks on the bottom of the bridge, where you can sit right under it, besides the water. This is one of the most amazing places to watch boats and gondolas float by with stacks of fruits and vegetables coming into the market as dawn casts itself on the city. The top of the bridge is also one of the most iconic spots for pictures in Venice.

Mercado di Rialto

Now that you’ve been introduced to the look of the city, it’s time to meet the people of Venice. And there is no better place to get a peek into the real lives of the residence of Venice than to head to the Rialto Market! The Rialto Market is one of the last remaining fresh food markets in the city and as such, is a bustling place for locals to come and buy their food for the day. The outdoor portion of the market is where you’ll find seasonal fruits and vegetables. If you’re looking for a snack there is nothing more refreshing than a basket of freshly picked fruits!

But the Rialto Market is much more than just a place to get some of the best food in the city! It is also a place of great historical value. Of all the rich bankers and traders who lived in the region, the most famous were the Rivoalto family. The Rivoalto traders were one of the first families to come into the lagoon to set up a trading post. They picked this location because it was situated along the bend of the lagoon. This meant it was located on higher ground and therefore was spared from some of the floodings that other parts of the island experienced. The first known market took place here in 1097. Because the family didn’t have to constantly rebuild themselves, the Rivoaltos grew in prominence and wealth over time, eventually having the very spot named after them.

Pescheria

Opposite the green awning of the outdoor market is the neo-gothic fish hall, or Pescheria, built in the early 1900s. Outside the red brick building there is still to this day a marble plaque which you should study before heading inside. This plaque denotes the different types of fish which were allowed to be legally sold here when the marketplace was first built. Certain fishes were protected from overfishing and therefore there was a limit to the amount any one person could buy.

The fish hall is a soaring building with richly ornamented arches surrounding the exterior. Inside the columns continue throughout the interior, making a simple stone building feel rich and illustrious. Fresh fish has long been one of the most important resources in Venice. Right outside their door, this amazing product is caught daily. It can’t get much more local than that!

Buying food at the Market

The market place was facing the chance of being shut down a few years ago, due to a possible canal expansion for cruise ships. Thankfully the citizens were able to convince the city to stop this and the market was saved. But as more and more people choose to shop at larger grocery stores off the island markets like this always face the chance of being closed. So if you’re going to visit, be sure you buy at least a little something. We bought some fresh raspberries and cherries and they were absolutely delicious!

Basilica dei Frari

But probably what brings most people to San Polo is the Basilica dei Frari or Santa Maria Gloriosa dei Frari. But most people just call it the “Frari” for short. The church is the beating heart of this neighbourhood. In 1231 the Doge Jacopo Tiepolo donated some land to the Franciscans. The original church he had built was small and as the Franscians rose to power, they demolished it in exchange for a larger, more impressive design. The current version was built in the 14th-century in high Venetian Gothic style.

At the back of the church is the great campanile, which is the second tallest tower in the city, after San Marco’s tower. The bell tower was built in 1396 and still stands today! The unassuming facade might fool you into thinking at first blush this church isn’t very important. But in actuality, it is perhaps one of the most significant churches in the city.

Titian Paintings in Venice

Many Doges were buried here under the watchful eye of masterful works of art by the painter Titian. Titian, who was a Venetian himself, painted the great altarpiece inside the church. The Assumption of the Virgin by Titian is one of the first things your eye is drawn towards as you enter the church. It sits behind the high altar, lit by the glow of the stained glass windows behind it. This piece is perhaps the best example of Titan’s masterful work. Setting the standard for Venetian art during the Renaissance.

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Entry into the Church

There is a small fee to enter the church (€ 3,00) but it is more than worth it to gaze upon the painting the Assumption of the Virgin in situ. When I first saw this painting in person, it was a moment of awe for me. Some paintings, like the Mona Lisa perhaps, don’t live up to the hype. But this one is even more grandiose and firey in person than it was on any page or screen.

Titian died of the plague at the age of 94 and a memorial to his life and death stands inside the great basilica. The monument is gigantic! A version of the Assumption painting is carved into the stone behind an image of the painter crowed with a laurel wreath. On either side of the artist are two figures which represent the universal nature and the genius of knowledge. The other four figures are Painting, Sculpture, Graphic Art and Architecture.

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Dorsoduro District

The Dorsoduro district is located on the bottom of the Venetian islands. This area borders the Grand Canal as well as the Venetian Lagoon, making it a prime spot for traders to live. While it’s not as flashy as the other districts, think of this as the blue-collar neighbourhood, I still find it to be one of the most charming areas in Venice. Dorsoduro lacks the pretensions of the other neighbourhood. Since it’s home to Venice’s Ca’ Foscari University you’ll also find the new blood of Venetian society, its students, who liven up the streets with modern music, food and entertainment.

Ponte dei Pugni

Continuing south, we’ll be going to pass over the Ponte dei Pugni. I love the view from this bridge. If you look towards the west you can see the bell tower from the church of Santa Maria del Carmelo. On either side of the bridge are a pair of footsteps marked on the corner. This marked the beginning of where the great fight between Venice’s two rival family factions took place in 1705. Thereafter, many more fights took place here. Opponents would stand on either side of the bridge, where the footsteps are now marked. Originally, there were no railings on this bridge, so when the two opponents would fight, the first one to fall off the bridge and into the water as the loser.

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Cantine del Vino già Schiavi

By this time, we are approaching the evening, but its not time for dinner just yet. Oh no, first we must have aperitif! And one of the best places to get it in Dorsoduro is Cantine del Vino già Schiavi. This bar sells Cicchetti (small snacks) which include Venetian classics like crostini topped with salt cod and wild garlic, pistachio cream or alioli with flower petals. Grab an Aperol spritz to drink while standing at the bar to feel very much like a local.

Calle Nuova Sant’Agnese

Head northeast until you reach the Calle Nuova Sant’Agnese. This narrow street is filled with shops. Being so far away from the touristy areas, these stores are known to seel authentic Venetian goods but at reasonable prices. In addition to the tourist shops, you’ll also find unique boutiques which are a great way to support local businesses.

Basilica di Santa Maria Della Salute

If you’re still feeling up for it, continue walking through Dorsoduro, eastwards, until you reach the Basilica di Santa Maria Della Salute. This stunning white marble church is not only a sight to see, but where you can get a great view of Saint Mark’s square, where we first started the tour.

In 1630 Venice was being ravaged by the plague and there was no signs of it stopping. At the time, one of the ways people thought you could stop the plague was by making an offering to god and pray he would send deliverance to the city. So, the Republic of Venice built the church to Our Lady of Health as a last resort. Eventually, the plague period past and the city was able to start rebuilding itself. Nearly a third of the population of Venice died during the plague. Those that survived would remember that harrowing experience forever. Since the church was made in honour of stopping the plague, most of the art and symbolism you’ll find throughout the church in some way refers to death or the plague, making it a very uniquely themed church. 

The Dome of Basilica di Santa Maria Della Salute

The church is most notable for its humongous white dome which dominates the sky. The dome, which almost seems to defy gravity, became a symbol of inspiration for artists in the city. To support the huge dome and enormous marble church, 1,000,000 wooden piles were used to hold up the floating building. At the apex of the central pediment stands a statue of the Virgin Mary, looking out of the city. The group of figures in the scene is stunningly theatrical and it really looks like a moment frozen in time.

If you choose to come inside be sure to check out the statuary group at the high altar. This stone scene depicts depicting The Queen of Heaven expelling the Plague and was crafted in 1670. 

Zattere

To finish the evening, walk down south towards the far end of the island. The stone promenade which flanks the water’s edge is called the Zattere. Zattere in Italian means rafts. In the 16th century timber would arrive in the city on large rafts. Timber was not only used to constructed the walls of grand palazzos and houses in Venice, it was literally the ground on which the houses were built on. So timber was one of the most important imports in the city. Timber was also used to make gondolas up until the 18th century. Suffice to say, the city was literally built around the timber industry and therefore its importance is not to be ignored. The earliest parts of the Zattere date as far back as 1520! Today the wide promenade is a great place to watch the sunset against the waters of the canals.

Trattoria San Basilio

If you’re feeling like you would like to dine somewhere close to your accommodation there are Vaporetto stops all along the Fondamenta Zattere. But if you’re looking for something special along the water’s edge, but away from the touristy hub, you should check out Trattoria San Basilio.

This down to earth restaurant is located inside the corner of one of the older buildings in the Zattere. It barely looks like a restaurant at all except for the awning and few tables and chairs out front. But don’t let its modesty fool you, here you’ll find a relaxing atmosphere, friendly staff, and best of all, traditional Venetian cuisine. Their seafood spaghetti with mussels, clams and squids, tastes so fresh you’d swear the food jumped right onto your plate straight from the water. Try to get a spot outside to enjoy the sunset or the boats as they drive past into the moonlight.

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Phew, well that brings us to the end of this tour! Hopefully, if you packed this all into one day you found things along the way to return to tomorrow to investigate further! Let me know which neighbourhood was your favourite or what you’re most looking forward to visiting!

Happy Travels Adventurers!

The post Escape to Venice: Your Ultimate Guide to the Perfect 48 Hours in the Floating City – Steal This Itinerary Today! first appeared on The Creative Adventurer.

Because of its age and relatively slow progress towards revitalization, the Bowery is home to the city’s most diverse collection of architectural streetscapes. You can see building styles from Georgian, Federal, Greek Revival, Italianate, Victorian, Neo Grec, Queen Anne, Beaux Arts, and Art Deco all in one place! So if you’re a history, crime or architecture buff, this Walking Tour of the Bowery is just for you! The ghosts we will discuss along the way are not just paranormal but also the memories of the rich past found along Satan’s Highway. So come with us as we discover the secrets hidden along the Bowery.

Guided Tour of the Bowery

1. About the Tour
2. Map of the Walking Tour
3. History of the Bowery
4. St. Mark's Church in-the-Bowery
5. Cooper Union
6. McSorley's Old Ale House
7. Columbia Hall
8. Merchant's House Museum
9. Germania Fire Insurance Building
10. Tenement Housing
11. The Bowery Hotel
12. Bouwerie Lane Theatre
13. il Buco Restaurant
14. #31 Bond Street
15. #21 Bleecker Street
16. Bleecker Street & Bowery
17. CBGB
18. McGurk's Salon
19. The Houston Bowery Mural
20. Sammy's Bowery Follies
21. #222 Bowery
22. The Bowery Mission
23. The Bowery House Hotel
24. Alabama Flophouse
25. #210 Bowery
26. Germania Bank Building
27. The Bowery Ballroom
28. Sohotel
29. Bowery Savings Bank
30. #139 Hester Street
31. #129 Mulberry Street
32. Citizens Savings Bank
33. Bull's Head Tavern
34. Bowery Theatre
35. #40-42 Bowery
36. #18 Bowery
37. Doyers Street
38. Five Points

About the Tour

This Walking Tour of the Bowery will take about two hours to walk at a leisurely pace. We will be covering just over 1.6 miles throughout the tour. Be sure to wear really comfortable walking shoes. Throughout the tour we will talk about the history of the neighbourhood, the ghosts which haunt the streets and the many stories that make this district a rich tapestry of cultures and curiosities. The ghoulish nature of the tour makes it a great one to take during the spooky Halloween season!

Although the Bowery has changed a lot over the past 20 years, the area is still one I would advise avoiding late at night. The best time to do this tour is in the late afternoon and early evening before everything gets too dark.

Map of the Walking Tour

History of the Bowery

One thing that makes the Bowery such a captivating place to visit is that this one long stretch of roadway seems to encapsulate everything that is so iconic about New York City. The Bowery boasts historic architecture, fierce stories of the criminal underbelly, upscale hotels, and tales of the ghosts that haunt part of town. While the Bowery was once Hell’s Highway, today is a sophisticated neighbourhood popular with hipsters. But it hasn’t yet lost all of its gritty charm and historical destinations.

Boundaries of the Bowery

The boundaries of the Bowery start at Astor Place and extend south to Chatham Square. The road stretches across the Lower East Side, through Chinatown, the East Village and Little Italy. But long before European colonizers arrived on these shores, the Bowery was a simple dirt pathway. The lane was created by the indigenous Lenape people who initially settled here. The Lenape carved out the road to better provide access for their people to the fishing posts along the East River.

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After the Dutch invaded, they stole the land from the Lenape people but kept the roadway as it proved extremely useful. The Dutch renamed the street; Bowery Lane. The word “Bowery“ comes from the Dutch word bouwerie, which meant “farm.” In the neighbourhood’s early days of Dutch colonization, they plotted farmland adjacent to Bowery Lane. This allowed farmers to transport their goods easily out of town as well as bring in much-needed supplies.

The Oldest African-American Neighbourhood in America

When the Dutch arrived, they came with kidnapped and enslaved men and women from Africa. The Dutch West India Company was, in fact, the first country to start the African slave trade. But in 1645, the same company that tore Africans from their homeland granted them parcels of land in the Bowery. They also named them “freed enslaved peoples.”

But it wasn’t out of guilt or a sense of morality that they did this. The Dutch hoped that the freed enslaved people would help tame the wilderness around Bowery Lane. Not only this, but they hoped they would build houses that would act as a barrier along the East River. The Dutch were afraid of an uprising from the Indigenous people or an invasion from the British and were using these homes as their first line of defence. But, no matter the reasoning, this move resulted in the Bowery becoming home to the first African-American neighbourhood in America.

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Bowery Slaughterhouses

As the population grew around the Bowery, the rural farmland transformed into the beginnings of a small urban village. Public slaughterhouses were the first major businesses to call the neighbourhood home. The land towards the southern tip of the Bowery held the Collect Pond. This huge water source spread across 48 acres and was the primary source of fresh water for this part of the city. The slaughterhouses took advantage of this access as a means to drain off their stinking waste. Slowly poisoning the water for the residents. It was only a matter of time before what was once a charming water feature became a foul-smelling pit. With no choice but to drain the pond, the slaughterhouses and butchers had to move further west into what is now the Meat Packing District. 

With the pond drained, and the land on which it once stood filled, the Bowery’s population was not only expanding but changing. The northern parts of the district began to change. What was once primarily a lower-class neighbourhood became land for the aristocracy. The elite of New York were after large plots of land where they could build expansive mansions and lavish apartments. The narrow Bowery lane was widened into a broad avenue to service these new upper-class establishments. Elegant buildings started to pop up on either side of the street. Many thought this was the Bowery’s boom era and the street would go onto rival Fifth Avenue. Alas, this was not to be the path forward for the Bowery.

The El Train

The fate of the Bowery changed with the construction of the El Train or the Elevated Railway. With a city like New York facing such rapid expansion, transit became one of the most important pieces of infrastructure to tackle. Immigrants lived in the city’s outer edges, like the Bowery. But, for work, they needed to travel far to the centre of Manhattan. Horse-drawn rail cars could only carry so many people. And the new invention of the omnibus was taking up precious space on what were now crowded roadways. So the idea was to take transit off the streets and raise it above. Onto elevated rails.

Railroad tracks were built above the streets, and one of the first lines to be built was the Third Avenue Elevated Rail in 1878. This rail line ran almost the entire length of the Bowery. And while access to transit sounds like a good idea for an up-and-coming neighbourhood, it became the catalyst for the Bowery’s descent into debauchery.

The dark iron rails that held the tracks essentially cut out the sun. Making the underbelly of the El tracks a good spot for shadowy deeds to take place. The middle-class businesses starting to populate the streets suddenly found themselves under a constant barrage of soot and grease from the trains above. No woman on her way to the dressmaker wanted to find herself covered in grease upon exiting the building. Not to mention the noise. All the upper-class customers fled, forcing the only decent businesses left on the Bowery to close. 

Into the Hell’s Gate

Property values were in the toilet! But with so many vacant buildings, low-class establishments took this as their opportunity to move in. Brothels, gambling halls, theatres, wild concert venues, beer gardens, pawn shops, and flophouses all started to call the Bowery home. No longer was the character of the street that of a district on the rise. Instead, gangs ruled the streets and the slums crept into the once well-to-do buildings. Prostitution, alcoholism and homelessness were rampant problems across the Bowery. And the streets were undoubtedly one of the most dangerous places to find yourself in New York City in the 19th century.

Theodore Roosevelt visited the area in 1913. After his visit, he stated; “The Bowery is one of the great highways of humanity, a highway of seething life, of varied interest, of fun, of work, of sordid and terrible tragedy; and it is haunted by demons as evil as any that stalk through the pages of the “Inferno.” This quote would lend itself to Bowery getting the nickname “Hell’s Gate.“

Transformation of Skid Row

The Bowery remained New York City’s “Skid Row” until the 1970s. But in the 70s, New York City displaced the multitudes of homeless people who had found themselves clustered in this neighbourhood. This, along with demolishing the El train elevated railway, would bring about a new era for the Bowery. The 1990s would see gentrification begin to creep in. Today, the historic buildings are surrounded by high-rise condos, luxury apartment complexes and even a Whole Foods grocery store. Proof that as quickly as a neighbourhood can change for the worse, it can change for the better.

St. Mark’s Church in-the-Bowery

The first stop on our Walking Tour of the Bowery is at the old St. Mark’s Church in-the-Bowery. It is on this spot that the development of the neighbourhood truly began. At the intersection of 2nd and 10th Street, walk north until you see the giant silhouette of a church in the distance. As you approach, keep your ears peeled for the sounds of an old church bell ringing in the distance.

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Petrus Stuyvesant

The church marks the site where Petrus (Peter) Stuyvesant first built his home when he landed on the shores of what was then a new colony in 1652. Stuyvesant was the first governor of the then-named New Amsterdam. Stuyvesant has been a great Dutch soldier. But during a battle against the Spanish, he was badly wounded and lost his leg. It was amputated and replaced with a wooden prosthetic, giving him the nickname “Peg Leg Pete.” Because he could no longer fight, he was selected by the Dutch West India Company to go to New York. There he would serve as governor over one of their new colonies.

After his accident, Stuyvesant was a melancholy man and being sent away surely didn’t help things. But he was also a religious man. Even away from home he wanted to create a place where he felt a connection to his homeland. And he did this through the construction of a church, a place that brought him much peace. Stuyvesant had purchased this specific property for his dwelling because it was located far away from the hustle and bustle of the “big city.” Back then remember, the Bowery was a small parcel of farmland. But throughout his time as governor, Stuyvesant watched the area grow. And transform. Much to his dismay, his once peaceful neighbourhood would soon be riddled with townhouses and noisy pedestrians.

Despite all this, Stuyvesant stayed put in his new home. When he died, he was buried beneath his chapel. In 1793 the original chapel was sold off but the community built an even more impressive Episcopal church in its place in 1795. The same one which stands here today.

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The Ghost of St. Mark’s Church in-the-Bowery

But soon after building the new and improved church, people started noticing strange occurrences happening inside. One day, the villagers were awoken by the tolling of the church bell. This would usually not be a strange noise, but this bell was ringing in the middle of the night. And it wouldn’t stop!

Everyone raced to the church to see what was the matter. But when they arrived, they found the door to the bell tower locked shut from the inside. When they finally broke down the door, the noise stopped. But the room was empty. And they looked up to find the bell’s rope had been cut. The only reachable part of the rope was way too far above the ground for anyone human to reach. Everyone was perplexed as to how the bell had been rung at all, let alone for hours.

The townsfolk searched the church for clues. Finally, they found the torn part of the rope lying atop Peter Stuyvesant‘s crypt. And as they were all standing around the crypt in silent horror, they heard the sound of Stuyvesant’s wooden leg echoing throughout the halls of the church. Today many people report still hearing the ghostly footsteps of Stuyvesant’s wooden leg throughout the church. Still watching over his new colony.

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The Body Snatchers

Another interesting story from the churchyard was that of the theft of Alexander Turney Stewart body! When he died in April 1876, Alexander Turney Stewart was America’s third-richest man. Stewart made his fortune as a retailer. He was a hugely popular figure in the city, and his funeral was packed with the cream of the crop. Writers, politicians, lawyers and more all came out to St. Mark’s Church on the Bowery to pay their respects.

In October, six months after Stewart’s burial, the church sexton noticed that stone doors to the Stewart family vault had been disturbed. When he looked inside, he noticed several vault slabs moved, but the tombs were still in place. The sexton was immediately suspicious, with fears of so-called “resurrection men” on the rise who were known to steal corpses. The sexton made sure to hire a night watchmen just in case the people who broke in tried to do it again.

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Resurrection Men

In the 1780s, grave robbing was on the rise. Originally grave robbing was mainly done for doctors to get their hands on “fresh” dead bodies. They used these to practice their trade and other medical experiments. But in the 1870s, the sensation of grave robbing was often done in search of ransom. Even Abraham Lincoln’s body was the victim of an attempted robbery! Although thankfully, that was thwarted. But it was not uncommon for the bodies of wealthy men to fetch a handsome price. Once the ransom was paid, the bodies would be returned.

The Theft of A. T. Stewart’s Body

Unfortunately, the night watchmen the sexton had hired failed at his one duty. And on the morning of November 7th, the sexton discovered the body of A. T. Stewart had been removed from his vault. Police arrived on the scene and were horrified by the brown blotches they found around the area. These were immediately identified as “pieces” of Stewart himself. Stewart had been dead for more than eight months and would have been in a terrible state of decomposition. So when the criminals left with the body, they left bits of the body trailing behind… But the trail went cold, and the police had no leads.

Media Sensation

The newspapers ate up this media sensation. A reward of $25,000 was offered to the public for any information leading to the thief’s capture. Hundreds of letters poured in with theories, but none proved to provide any actual leads. In 1879 the attorneys for Stewart received a letter from Canada claiming to be the robbers. When the lawyers asked for proof, they provided several silver pieces of Stewart’s missing nameplate, also taken during the robbery. The lawyers tried negotiating with the thieves, but something must have scared them off. Perhaps it was all the talk of the robbery is all the papers. Either way, they never wrote to the family again.

Walling’s Confession

A very contested private memoir by the residing police chief Walling claimed that he was in communication with the real thieves. And he claimed to have negotiated with the criminals. With the help of Stewart’s wife, they met up at midnight on an abandoned pathway outside the Hudson Valley. The masked men arrived on horseback with a velvet coffin cloth taken from the tomb. And a bag of bones they claimed were Stewart’s.

The masked men handed them over in exchange for the money and rode off into the night. Walling claims the bones were taken back by Stewart’s wife. In 1885, they were laid in the Cathedral of the Incarnation, where Stewart’s wife was also buried. But many have refuted this claim as gossip and a way for Walling to make a few bucks on his memoir.

No one will ever know the truth, but many people have claimed that the cemetery is haunted by the ghost of Stewart himself. Stewart is known to roam angrily around the church, furious about being torn from his grave. Many say if you smell something awful, like the piece of his body that was trailed behind, that is a sign Stewart is just around the corner. Whatever the case, stories like this prove there is something truly cursed about the Bowery.

Cooper Union

Head west along the aptly named Stuyvesant Street towards Astor Place. On Astor Place and Cooper Square you’ll find a gorgeous Italiane brownstone that stands out amongst the glass towers surrounding it. This is the old Cooper Union Foundation Building. The Cooper Union Foundation Building was named after American Industrialist Peter Cooper. Cooper invented rolled-iron beams which provided a dramatically more powerful support system in engineering buildings. And these new beams were first implemented inside the Cooper Union Foundation Building.

The Cooper Union Foundation Building was also revolutionary as it featured the world’s first elevator shaft. The shaft itself was built into the design of the building despite the actual elevator not even yet being invented! It was Cooper’s dream for the building to house an educational institute, open and accessible to all. Regardless of their financial situation or social status. Cooper was a workingman’s son who had less than a year of formal schooling and yet he wnt on to become a famous industrialist and inventor. And he wanted these same opportunities to be open to young people across the country. To discover and develope their talents. And the Bowery was filled with such people!

When the institute was opened, it held night classes for adult education in applied sciences and architectural drawing. During the day, the school was open for women. They could attend classes on such subjects as photography, telegraphy, typewriting and shorthand.

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Abraham Lincoln at the Cooper Union

On February 27th, 1860, Abraham Lincoln came to the Cooper Union’s Great Hall to deliver a speech that would cement itself in the history books. And propel him toward the presidency. A New York writer said of the address, “No man ever before made such an impression on his first appeal to a New York audience.” Abolitionists had been centralized in this part of the Bowery for years. This was the perfect spot for Lincoln to find like-minded people to speak to. Since then, the Great Hall has served as a platform for historic addresses by American Presidents Grant, Cleveland, Taft, Theodore Roosevelt, Woodrow Wilson, and Bill Clinton. Today it remains an architectural gem and historic artifact.

McSorley’s Old Ale House

Walk south along 3rd Avenue until you reach East 7th Street. Walk west along east 7th Street until you come to #15, where you’ll find the historic McSorley’s Old Ale House. McSorley’s is Manhattan’s oldest continuously run tavern! You definitely need to make a point to stop here. McSorley’s Old Ale House was opened in 1854 by Irish immigrant John McSorley. And one of the most unique aspects of the tavern is that they still to this day only sell two traditional drinks; a light ale and a dark ale. But at only $5.50-per-drink you won’t mind the lack of choice.

The bar is also of important historic significance as it was here, that President Abraham Lincoln came for drink after speaking at the Cooper Union. The chair hanging above the bar was the one that Abraham Lincoln himself sat in when he came in for a drink. 

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Ghosts of McSorely’s

Walking inside is like stepping back in time. The dark wooden interior is plastered with paintings and photographs from the past. When John McSorely opened the pub, he also kept his horses in the back. Today remnants of those stables are also hung all over the walls. See if you can count all the horseshoes. As the bar was famed for Lincoln’s attendance, they also have several pieces of ephemera from his presidency, including a framed newspaper announcing his death and the wanted poster for John Wilkes Booth. Another famous person who visited the bar was Harry Houdini. And the handcuffs he once used in his show are hung up here on the wall!

But lurking in the shadows, amongst the displays, are the ghosts of the tavern’s past. One of their frequent ghosts seems to have an affinity with the bar cats that lounge around. Bar staff have frequently seen their cats arching their backs and nuzzling into invisible hands. They are also reports of disembodied noises late at night. Perhaps some of their patrons have simply never left.

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Columbia Hall

Walking back to 3rd Avenue/Cooper Square, make your way to #32 Cooper Square, where you’d once have found the old Columbia Hall. In the 1890s, the Bowery was known as the center of queer nightlife in New York City. People of different races, social statuses, and backgrounds all congregated in the Bowery, resulting in a more tolerant attitude towards a variety of then-named “social outcasts.”

Columbia Hall was opened in 1890 by James or Biff Ellison. Ellison was a well-known gangster within the Five Points (more on that later) and opened this establishment as a brothel for gay men. There was a large bar and beer garden on the first floor, and the upper levels served as bedrooms and apartments.

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A Vibrant Gay Community in the Bowery

Brothels were rampant in the Bowery. And this one was no different than all the other salons, save for the fact the prostitutes were men. But not all men who came to this part of the Bowery were there to purchase sex; some simply felt this part of town was a safe space for them. Columbia Hall acted as a community centre for gay men in the 1890s. Many men came here to drink and gamble and never bothered to solicit. They simply enjoyed the familiar company.

The first club for transgender people opened here on the floor above the bar. Inside, transwomen could come and dress as themselves without fear of what anyone else would think. They were among friends. Columbia Hall was also home to some of the first drag acts in the city. “The Bowery Queen,” was one such drag performer who made a name for herself and opened the door for many others to follow.

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Paresis Hall

Despite many in the Bowery looking the other way, there were many a religious protest against the tavern’s operation. Homophobic groups called the building “Paresis Hall.” Paresis was a condition which caused brain inflammation and sometimes insanity, usually brought on by syphilis. Syphilis was a disease many incorrectly thought only gay men carried. And nicknaming the building after the disease was another way the religious zealots could attack the character of those who would visit. “Paresis Hall” couldn’t escape public condemnation forever. And after only nine years of operation, it closed down in 1899. Today, the building remains a memory to one of the first gay communities in New York City.

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Merchant’s House Museum

Walk north one block and turn west down East 4th street. At #29 East 4th Street stands an old brick mansion which was once home to wealthy merchant Seabury Tredwell. Tredwell built his home here in 1832. The regal manor starkly contrasts with the Bowery’s gritty nature. But a great example of the kinds of houses that were being built in the area before the El Train drove the neighbourhood into a downward spiral. Despite its age, if you walked inside, you’d find almost the entire house unchanged. This is because the house is now a city-owned museum, the Merchant’s House Museum.

The Merchant’s House Museum‘s aim is to present to the public the personal lives of an upper-class family living in New York in the 19th century. The house preserves incredible examples of surviving architecture from the period as well as hundreds of personal objects, furniture and photographs from the Tredwell family. If you have an opportunity to visit the museum, it is a real contrast to the lives of the

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Gertrude Tredwell

Supposedly, one descendant, in particular, doesn’t like when you touch her things. This would be the Tredwell’s youngest daughter, Gertrude. Gertrude was a spinster who lived out her entire Iife inside the house. She was born in 1840 and died in 1933. Gertrude had seven siblings, two brothers and five sisters. While the rest of her family grew up and had families of their own, Gertrude remained alone. Gertrude had one real chance at love, but sadly, the affair was broken up by her Episcopalian father. He refused to let Gertrude marry a poor Irishman. Gertrude’s sad fate supposedly inspired Henry James‘ novel Washington Square Park. The book is about a woman whose father attempts to thwart her romance with another man.

In her lonely spinsterhood, she developed an angry and eccentric personality. She seemed to care only for the house, with nothing else left in her own life to care for. She was constantly obsessing with ensuring the house maintained its elegance, despite falling into financial ruin.

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The Ghost of Tredwell Manor

After Gertrude’s death, the house was passed down to her cousin. The house was set to be foreclosed, and all the contents sold off to pay their debts. But Gertrude’s intrepid cousin had another idea. She was able to sell the house and all its contents to the city. The city was amazed by the preservation of the house and all its memorabilia inside. All they had to do was slap a few plaques on the walls and charge admission, and the museum was up and running.

Since becoming a museum, the staff have seen the ghostly figure of Gertrude herself roaming the halls. She loves nothing more than making loud, irritating noises whenever “her” objects are moved. See if you can spot her in the window, peering down on the street. She is often seen looking out, watching over her beloved home.

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Germania Fire Insurance Building

Head back to Cooper street, where Cooper streets officially become the Bowery at the intersection of East 4th Street. At #357 Bowery, we can find the exterior facade of the old Germania Fire Insurance Building. One of the most iconic aspects of this building is the haphazard-looking stacks of iron staircases piled up on the facade of the brick building. The Germania Fire Insurance Building was built in 1870 by prominent German-American architect Carl Pfeiffer. In the 1870s, fires were one of the most common causes of destruction in New York City. The dense urban environment meant that if one house caught fire, it would quickly spread throughout the block. So ensuring your properties against fire was BIG business.

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Little Germany

The Germania Fire Insurance Company represented the growing number of German immigrants who came to New York in the 19th century. Back then, Division Street, east of the Bowery, was called “Little Germany” or Kleindeutschland. By 1840, over 20,000 German immigrants were living in this part of town.

When the Germania Fire Insurance company was building their new corporate office, they wanted to make it in the centre of Little Germany. And while all the official architectural plans stated the building was for business use only, they had always secretly planned to use the building for some tenement housing.

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Germania Fire Insurance Building Architecture

One of the aspects of the building that makes it so ingenious is the mansard roof and dormer windows. In the 19th century, New York companies were taxed for every additional floor added to a building. But a clever loophole was invented by architects in the creation of the mansard roof. The mansard roof is characterized by two slopes on every side of the roof. The lower slope being considerably steeper than the upper. When you add dormer windows, the mansard roof provides a spacious and economical attic storey. Essentially a livable space, but listed as an attic, that wouldn’t fall under taxable laws.

Tenement Housing

In 1870, the city census found seven families living inside the building. Each of these families would typically be made up of at least ten people. Tenement flats were also called “railroad flats” because the long, narrow apartments were linked together like the cars of a train. This resulted in windowless apartments. Without windows, the apartments were also without access to fresh air. This, combined with the cramped spaces, led them to become wrought with diseases.

Eventually, things got so bad that the Tenement House Act of 1901 was passed. It mandated strict enforcement inside buildings like these to ensure tenants had air and light and access to running water.

PS General Slocum

As we walk down the block toward our next stop, let’s take a moment to consider why, despite the growing German immigrant population in the 19th century, this part of town now lacks almost any memory of their presence. What caused this exodus of German immigrants from the Bowery? The answer might surprise you. And it surrounds the story of the city’s worst maritime disaster: the PS General Slocum Fire.

The PS General Slocum was a sidewheel passenger steamboat built in 1891. Over the years, it took passengers to and from Manhattan, across the East River, towards Brooklyn and Long Island. But the owners were reckless and didn’t keep up with its maintenance or address rising safety concerns. On June 15, 1904, the boat was carrying 1,342 members of St. Mark’s Evangelical Lutheran Church. The members took a yearly excursion to a park on Long Island, where they hosted a celebratory church picnic. Almost all of the church members were German American immigrants from Little Germany. And most were women and children. The men unable to attend as they had to stay behind to work.

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The Fire Breaks Out

Shortly after departure, a fire started in the Lamp Room. Perhaps caused by a dropped match. The moment the fire broke out, the boat was cruising through the hauntingly named “Hell’s Gate” along the East River. Coincidence or curse? You decide.

The lamp room was filled with straw, oily rags, and lamp oil. A perfect environment for a fire to be fueled and grow out of control in mere minutes. A 12-year-old boy spotted the fire, and tried to warn the captain. But the captain tossed him aside, not believing the boy and not wanting to cause a delay. It took staff just over ten minutes to realize the full extent of the fire. And by then, it was too late.

Beaching on North Brother Island

The boat was sinking quickly and the captain tried steering it towards North Brother Island. In the hopes people could jump off and swim to shore. But safety standards hadn’t been met for some time on the old paddlewheel. Women who grabbed nearby life preservers found that they fell apart in their hands. Having rotted away with neglect. Mothers took any lifejackets still intact and strapped them to their children. But when they tossed their children into the water to escape the inferno, they watched in horror as they sunk like rocks. The lifejackets proving completely useless.

Most of these immigrants didn’t know how to swim. This, combined with their heavy wool clothing that absorbed water like mad, made it almost impossible for anyone to escape. Even if they were only a few meters from shore. Twenty minutes after the fire had first broken out, the flames had engulfed the vessel. As the fire burned, it weakened the overloaded starboard section of the hurricane deck. The deck collapsed, killing the 100-500 people who were still stuck on the deck.

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Victims of the PC Slocum Fire

1,021 people either burned to death or drowned in the disaster. When survivors returned to their homes in Little Germany, the street was deadly silent. Entire families had died, leaving the streets a ghost town. Some men who had lost their entire families wandered aimlessly around the empty streets of Kleindeutschland. The survivors couldn’t handle the trauma left by this silence, and most moved uptown to escape the memories left there.

The Bowery Hotel

Our next stop is past East 3rd Street at the fanciful Bowery Hotel. The Bowery Hotel is today one of the most luxurious hotels in the city. It’s often the top choice for visiting celebrities of all sorts. But back in 1875, the building was originaly designed for the Dry Dock Savings Bank. Back then, the Bowery was still in its period of middle-class growth. And with that speculation that the area would rival 5th Avenue, wealthy enterprises were scooping up real estate all over the Bowery.

The building’s design plans were stunningly impressive. And the bank looked more like a regal castle looming over the rest of the street. The Dry Dock Savings Bank was open here until 1992, when the bank went bust. The building was sold off in 2000, and the new owners went about transforming it into the modern-day Bowery Hotel.

Ghosts of the Bowery Hotel

Back when the building was a bank, no one stayed overnight. But once it was converted into a hotel, nightly sightings of ghosts were commonplace here. Accounts of strange occurrences from almost day one of its inceptions as a hotel was reported. The most common sighting is located inside the elevator. Around 1 am, the elevator is known to erratically move up and down, despite no buttons being pressed.

Guests have also seen a ghostly woman sitting inside their hotel room when they enter late at night. Only to disappear moments later. Then there are the bar ghosts, who angrily knock drinks out of people’s hands. But not all are as vengeful, some spirits love nothing more than chatting up the customers. Perhaps just looking for someone to talk to.

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New York Marble Cemetery

But why would this hotel be home to so many spirits? The reason lies behind where the building was constructed. Long before the bank was built, this land was used to house the New York Marble Cemetery. The cemetery was built in 1830 as the first non-sectarian cemetery in New York. The cemetery was unlike many others being built at the time, as there were no gravestones, only marble vaults. Bodies were being buried deep underground. The reason for this was the horrible outbreak of yellow fever. It was thought that by burying bodies deep underground and sealing the tombs, would help prevent the spread of the disease. Over 2000 bodies were buried in the Marble Cemetery. While the eastern parts of the New York Marble Cemetery can still be visited today, the graves on the western end were lost below the newly constructed Dry Dock Savings Bank.

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Bouwerie Lane Theatre

A few doors down, at #330 Bowery, standing tall and elegant on the corner, we find the old Bouwerie Lane Theatre. The building was initially constructed in 1879 as the Atlantic Savings Bank. It was designed in a French Second Empire style by Henry Engelbert. And despite looking like it has been carved out of stone, the building is a rare example of cast iron employed to appear as raw material.

When the Atlantic Savings Bank collapsed, the burgeoning German community purchased the building and opened the German Exchange Bank. With the downfall of the Bowery, the German bank closed its doors as well. It wasn’t until the 1960s that the building was converted into an off-Broadway theatre named the Bouwerie Lane Theatre. The theatre remained open for 30 years but closed in 2006. Today it is a memory of the past. The upper floors have been turned into a private mansion-apartment, and the ground levels are used for retail.

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il Buco Restaurant

Let’s make a quick detour east along Bond Street to #47 Bond which still houses il Buco Restaurant to this day. This part of New York in the 1840s was better known as the Red Light District. And like any good Red Light District, it was frequented by many lonely writers. And among them was none other than famed horror writer Edgar Allan Poe. Poe had first discovered the restaurant because his good friend Marie lived in the apartments above #47 Bond Street. Poe would frequently come by to visit Marie when his wife was sick. Searching for solace and comfort in the arms of another woman. But he also found comfort in the tavern below.

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Down in the basement cellar was hidden away popular speakeasy. This dark and eerie 200-year-old cellar went on to inspire the setting for Poe’s novel, The Cask of Amontillado. His novel wasn’t set in New York but rather in an unnamed city in Italy. The story of the Cask of Amontillado is all about a man taking revenge. The “hero” of the story believes one of his best friends had wronged him. So, to take his revenge, he entombs the ex-friend in a basement cellar, just like the one inside il Buco.

In real life, Poe was constantly fighting with his literary rivals. And perhaps The Cask of Amontillado was a way for Poe to release some pent-up anger. Owners of the current restaurant claim that the ghost of Edgar Allan Poe still comes back to the cellar from time to time. Staff often find half-empty yet sealed bottles of wine in the basement cellar. As if a ghostly apparition came back to have another glass for the road.

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#31 Bond Street

A few doors down, at #31 Bond Street, is an old brick apartment complex. The building is stunning, with gorgeous multicoloured brickwork, various arched and square windows and, the best part, a series of detailed stone friezes decorating the facade. In the 1850s, the building was owned by a wealthy dentist named Harvey Burdell. Burnell was murdered right here, in this very building. But long after his death, his name would still be plastered on the cover of newspapers due to the torrid nature of the crime.

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Harvey Burdell & Emma Cunningham

Burnell owned the entire building. He used the lower levels as his office space and primary residence, and the rest he rented out. Unfortunately for him, in the summer of 1855, a woman named Emma Cunningham moved into #31 Bond Street as one of his tenants. Burnell fell quickly for the widowed Cunningham. All those who witnessed the goings on inside the townhouse said that Cunningham acted like she was already Burnell’s wife. Despite the two only dating for a short period of time. She hired his maids, ordered around the workers, made him meals and brought them down to his suite. She would even dine with him on certain occasions.

The Murder of Dr. Burnell

But this was not a happy relationship as the neighbours frequently reported hearing shouting matches between the go. The arguments seemed to constantly surround the marriage proposal that Cunningham was expecting from Burnell. One which he never “officially” would give. The rumours surrounding their relationship were lush. Some claimed that she had fallen pregnant with his baby, but he forced her to have an abortion. Others argued that Burnell himself performed the abortion right here in his office.

Whatever the clashes between the two, it all came to a head on January 31st, 1857. Burnell’s body was discovered in his home office. He had been strangled and brutally stabbed 15 times. Almost as soon as his body arrived at the coroner’s office, Emma Cunningham arrived, claiming that she was his wife. And the sole inheritor of his $100,000 fortune and the new owner of #31 Bond Street.

The Trial of Emma Cunningham

Emma was not at the crime scene, and police had yet to inform her of her death. But she seemed to already know what happened. Raising immediate suspicions. Police arrested her, but it was her trial that would spin the media into a frenzy. So many allegations about her were almost too juicy not to have been an invention of the newspapers themselves. Neighbours claimed she was sleeping with her fellow border John J. Eckel. They even reported that Cunningham was forcing her daughter into sleeping with other men in the building.

During the trial, Cunningham claimed to be pregnant with Burnell’s baby, but many suspected she was stuffing her dresses. After nine months, she showed up at trial with a baby in tow. But it was later revealed to have been another woman’s baby, and Cunningham was never pregnant. Instead, she had purchased the child for $1,000. Bought from a poor woman she found living in squalor in the Bowery.

Emma Goes Free

Despite revealing these fictions, Burnell’s attorney Mr. Clinton, couldn’t convince a jury of Cunningham’s guilt. There was no physical evidence linking her to the crime. Cunningham was acquitted after only two hours of jury deliberation. But she was guilty to the public, who had been following along with all the details of the crime and case in the newspaper. And the public had just seen this woman get away with murder.

Cunningham was left penniless after Burnell’s death. But instead of receiving his fortunes, she was forced by public pressure to flee the city. The case of Harvey Burdell’s murder remains officially “unsolved,” and it is perhaps for this reason that the ghost of Burdell is thought to still haunt this building today.

#21 Bleecker Street

Walk one block south along Lafayette Street, then west on Bleeker to make your way back to Bowery Street. If you’re hungry, be sure to stop at Levain Bakery along Lafayette Street, as they sell some of the best baked goods in town! This little stretch of the Bowery is home to some beautiful examples of Federal-style row houses. They are virtually untouched by the ages and are a gorgeous example of what these side streets would have looked like in the heyday of the Bowery. 

Bleecker Street & Bowery

Make a stop at the corner of Bleecker Street and Bowery. It was here, in 1905, on these darkened streets, that Thomas “Eat ‘Em Up Jack” McManus, the toughest man in New York, was murdered. McManus had a burgeoning career as a boxer. This prizefighting drew the eye of Paul Kelly, leader of the notorious Five Point Gang. Kelly employed McManus as a bouncer for his various criminal establishments. This included our next stop, McGurk’s Suicide Hall.

McManus earned the name “Eat ‘Em Up Jack” by using those fisticuffs to almost literally “eat through” any rowdy customers that came through the doors. His face was reportedly a thing to see as it was covered in welts and scars, and almost all his front teeth were missing. But every new wound only seemed to make him grow stronger.

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Eat ‘Em Up Jack

One night, while working inside Kelly’s Little Naples Café, a rival gang member named Chic Tricker entered the club. Chic Tricker was a member of the Monk Eastman gang. After one too many drinks, he started violently insulting one of the showgirls. McManus threw him out of the bar and even had to draw his pistol after a fight ensued. McManus fired a few shots, but Tricker got away with only a bruised ego. But Tricker wasn’t one to hold grudges lightly. And he swore to get his revenge.

A few days later, Trick’s fellow gang member Sardinia Frank attacked McManus right here on the corner of Bleeker and Bowery. Frank hid a gas pipe wrapped in newspaper and dealt a lethal blow to the top of McManus’ head. The entire ordeal started a colossal battle between the two gangs, each one trying to get revenge other the other. Resulting in blood being spread all across the Bowery. So if you see a big burly spectre of a man lurking in the shadows, you might have spotted the ghost of Eat ‘Em Up Jack himself.

CBGB

At #315 Bowery you’ll find a small memory dedicated to the famous CBGB club which once stood here. CBGB was a legendary punk rock club opened in 1973 by Hilly Kristal. It made the history book as the birthplace of punk rock. Bands like the Ramones, Patti Smith, Talking Heads, Blondie, Joan Jett, Lou Reed, AC/DC, Green Day, Guns’ n Roses and Pearl Jam all graced the stage. You weren’t truly punk rock until you’d played at CBGB.

Sadly, the club closed in 2006 after Hilly lost his battle with cancer. Patti Smith closed the club with its penultimate concert on October 15, 2006. Funnily enough, for a punk rock club that was repulsed by the mainstream, its doors now house (of all things) a John Varvatos clothing store. But if you walk right up to the front windows and look down at the cement below, you can still make out the words “CGBG ’73” etched into the ground. A lasting memory of the music made within these walls.

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McGurk’s Salon

In the 1970s, a highly controversial effort was made to “disperse” the homeless population in the Bowery. Afterwards, the neighbourhood found itself slowly going through a process of revitalization and gentrification. And while many of the historic buildings along the Bowery were preserved, others met the eventual fate of demolition. And it is at one of these new developments, we find ourselves today searching for a ghost from the Bowery’s past.

#295 Bowery

The rather dull glass condominium at #295 Bowery street stands atop the remains of the once-infamous McGurk’s Salon. Back in the 1900s, McGurk’s Salon was a tavern more aptly known by the public as McGurk’s “Suicide Hall.” The building was originaly built in 1863 and originally served as housing for soldiers returning from the Civil War. Most of these men suffered greatly in the war and returned horribly changed men. The salon on the first floor served the seedy clientele the neighbourhood was starting to fill with. But as seedy as the clients were, the staff were no better. Bartenders frequently filled drinks with chloral hydrate. This would cause patrons to pass out, so the staff could easily steal whatever money was left in their wallets. Further taking advance of these poor men.

Suicide Hall

With so many veterans in this part of town, there was also a high demand for prostitution. The owner of McGruk’s saw this as an opportunity for money-making and opened a large brothel above the salon. Life was rough for the women who worked at McGurk’s Salon. In 1899 alone, there were six suicides in the building and seven failed attempts. Most of these were by women jumping from the upper floors of the building. Others took carbolic acid, a popular elixir of death during the Victorian era. All these deaths lead to the public nicknaming the salon the “Suicide Hall.”

McGurk’s Saloon Ghosts

While the salon itself may have disappeared, replaced by newer, flashier modern buildings, the ghosts of the salon remain. Look up as you pass by, as you might see the jumping ghosts that haunt the building. There is also the ghost of Annie Moore, a local prostitute that worked inside Suicide Hall. Annie was brutally murdered in a way newspapers referred to as a “Ripper Style” murder. Her throat was slashed, and her body was mutilated.

Police did little to find her killer. But there was one man that locals thought had to be her killer. He was known as “Old Scratch” and was a frequent customer at McGurk’s. He would sit at the bar and chat with anyone who would give him the time of day about the details of Annie’s murder. Details so specific, not mentioned in the paper, that everyone had to assume he was her killer. But no one ever followed up on the rumours, and her death remained “unsolved.” To this day, her ghost has been known to roam the streets outside McGurk’s. Perhaps waiting for Old Scratch to return and seek her revenge.

The Houston Bowery Mural

Just around the corner, down Houston Street, is an artistic landmark of the neighbourhood; the Houston Bowery Mural. In 2006, real estate developer Tony Goldman invited contemporary artists from around the world to put their artwork on display outside his building. Over the years, the street art on the wall changes with the seasons. With something new gracing the wall every few months. Adding a vibrant new work of art for locals and tourists alike to admire as they pass by.

Sammy’s Bowery Follies

Passed Houston Street, along the Bowery, beside the awning of what is now a swanky plant-based restaurant is where, in the 1930s, you’d have found a dingy dive bar named Sammy’s Bowery Follies. The legendary club was named after the owner Sammy Fuchs. Fuchs opened the bar on the Bowery to serve the thirsty vagrants that frequented the many missions and flophouses along this stretch of slums. Generally, his clientele was down on their luck, homeless, broke and often running from the law. Characters aplenty!

But in the 1940s, Sammy’s became somewhat of a tourist destination. A shock to hear, I know. What on earth would a tourist want to come here for? To the epicentre of the so-called “Bowery Bums”? Well, it was for those very characters that frequented the tavern. The upper classes of New York City were tired of their dreary, squeaky-clean, and personality-less neighbourhood cocktail bars. So they would come down to the Bowery to gawk at the lower classes. Like they were watching a play, live theatre on the streets.

The Gay 90s Cabaret

While the idea of the rich getting pleasure and entertainment from others’ misfortune is beyond offensive, Fuchs saw it as an opportunity. He transformed his club into somewhat of a cabaret. Sammy built a literal stage inside and hired vaudeville preforms to further exaggerate the rampant rumours about the dangerous ol’ Bowery. He themed the restaurants after the “Gay 90s” (that’s 1890s for you young people).

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Busloads of tourists would arrive from New York, Britain and beyond to watch the singers belt out show tunes and act out comedic skits. You could have a drink with a “sailor” in a damp leather saloon booth and hear all about his torrid stories. Most of which were clearly fabricated for the entertainment of the visitors. When Sammy died in 1969, the bar closed its doors, and it remains empty to this day. A black iron gate is the only thing making this historic destination along the Bowery.

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#222 Bowery

At #222 Bowery is the last remaining YMCA branch that dates back to the 1880s. The Young Men’s Institute (as it was called back then) was a community space where young men of the Bowery could come to seek physical, intellectual, and spiritual health. The building was designed by Bradford L. Gilbert in high Queen Ann style. The iconic recessed metal-enframed windows, painted a stunning dark green, have beautiful wreath boughs hanging from below as decorations. The windows are separated by giant pilasters with ornate cornices on top. At the top of the singular dormer window, you can see the old terra-cotta carving with the date “1884” engraved on the building.

A fantastical building that was meant to draw in curious young men from the Bowery. Inside, they would find a gymnasium, bowling alley, library, entertainment hall, and even rooftop garden! The idea being if these men were inside having fun, they were off the streets, not causing trouble.

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William S. Burroughs Bunker

In 1932 the YMCA moved out of the neighbourhood, and the building became a residential space for artists. The converted open-plan apartments attracted artists from all over the city. Mark Rothko, Andy Warhol, Allan Ginsberg and Roy Lichtenstein were all frequent guests and visitors to the old YMCA. But it was in 1974 that famed writer William S. Burroughs moved in. He lived here for almost ten years and called the space his “bunker.” No doubt his time spent in the Bowery during those vice-ridden days influenced his works and his formation of the Beat Generation.

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The Bowery Mission

Across the street from the old YMCA is another gorgeous architectural wonder, the Bowery Mission. You can spot the building from a mile away by its iconic red entry doors. As the Bowery was becoming more and more of a health hazard for the city, it was essential to set up assistance for those living in these terrible conditions. Gangs, so-called “degraded women,” and drunkards roamed the street with abundance. With nowhere to go, they often got into fights, and violence ran rampant across the bloody mile. Back then, the Bowery was commonly referred to as “Skid Row” or “Street of No Return.”

Formation of the Mission

In 1876, the Bowery Mission was built at #227 Bowery Street by architect William Jose. The building was designed in an English-inspired Tudor-Revival style. Built to resemble a traditional British Inn. Perhaps harkening back to memories of the heyday of the British Empire for many immigrants. The gorgeous curved keystones above the green-painted windows are my favourite part of the building’s facade. Inside, there is even a medieval English-inspired chapel with a beautiful two-storey organ. This church was of particular importance. You might have noticed that aside from the church at the start of this tour, not a single religious institute can be found along the Bowery. This was because most people thought the community was lost and beyond redemption. But the people at the Bowery Mission thought otherwise.

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But the most impressive part of the building, which still stands today, iare the stained glass windows above the first-floor entrance. The windows depict the parabole of the prodigal son. The inscription below reads: “When he came to himself, he said I will arrive and go to my father. He saw him and had compassion. My son was dead and is alive again.” The windows were meant to be so beautiful that they would attract the eyes of those outsiders and make them curious enough to want to come inside to see what the Mission was all about. To encourage these unfortunates to get off the street and seek help.

The Mission’s Mission

The Mission has provided food, shelter, clothing, job opportunities, medical assistance and rehabilitation for millions of men for over 140 years. It had to expand into the next-door Federal-style townhouse in 1830 as the need was assistance was so great. The Mission’s breadline was one of the most famous images of the Bowery after the great depression. 2,000 breakfasts were served every morning. A Bowery Mission breakfast consisted of a large bread roll and a cup of coffee. Despite the fortunes of the Bowery changing drastically over the last 100 years, the Mission continues to service the unhoused people in the Lower East Side to this day.

The Bowery House Hotel

At #220 Bowery are the now-shuttered windows of the Bowery House Hotel. But long before it was the Bowery House Hotel, it was better known as the Prince Hotel, built in 1927. The Prince Hotel was originally created as temporary lodging for embattled soldiers returning from World War II. The rooms here were tiny, bunks stacked together to fit as many as 12 men into one room.

This was originaly thought not to be an issue, as it was, after all, only meant to be a temporary stopping point for these men before they got their lives together and moved out. But for many men who returned from war, shattered and shaken, they would never leave. They were seduced by the Bowery and its den of sin. They could drown their sorrows in the taverns and get their needs met by the working girls in the brothels. Skid Row was the last stop on the road for many of these poor soldiers, and today, there are reports that their heartbroken ghosts remain. Haunted by the memories, still trying to rid themselves of their past along the streets of the Bowery.

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Alabama Flophouse

One of the iconic establishments across the Bowery in the late 19th century were the so-called “flophouses.” A flophouse was a place that offered very low-cost lodging and provided simply a space to sleep and minimal amenities. By 1890, there were approximately 9,000 homeless men, and some women, living in the Bowery. Most were alcoholics and gambling addicts who could easily find their vices met on the Bowery. With the expansion of the El Train, the light was further blocked out above the Bowery. Therefore, any business trying to work in the literal darkness could get away with murder. Or, at the very least, with other sinful immoralities.

One of the longest-run flophouses in the Bowery was the Alabama House. The flophouse was opened in 1889 and was amazingly designed by architect James E. Ware. Even today, you can appreciate the unbelievable architecture incorporated into the multi-purpose five-story building. Romanesque and Queen Anne elements like terra cotta friezes, ornamental cornices, rounded bullnose brick corners and unique pilaster capitals all decorate the exterior of the building. The facade’s beauty a harsh contrast to the awful living conditions inside.

Flophouses

“Flophouses” were named as such because accommodation was little more than a person-sized piece of wood on the ground where someone could literally “flop” down for the night. Usually, these “beds” cost about five cents but were little more than a wooden stand above the ground. You were lucky to get a dirty piece of cloth to use as your blanket. The five-cent cost of your stay is also why this kind of establishment was called “a dime house.”

Crime in the Flophouse

But the clientele at these places left much to be desired. Over the years, the Alabama Flophouse would see police raids repeatedly, with many of their patrons being tramped off to jail. A meagre house painter was murdered by fellow lodgers Emma and William Wilson. The pair tricked him into following Emma down a dark alley thinking she was a woman of the night. Instead, they stabbed and robbed him for the little he had, which was probably little more than the five cents he carried to pay for his bed. Lodgers Carl Williams, Herman Kas and David Weinberg were all arrested for burglary. And during prohibition, Fred Anderson was caught bootlegging gallons of coloured alcohol he made inside the Alabama Flophouse bathroom. No doubt, if this building could talk, the stories it would tell.

By 1967, the owners of Alabama converted the old flophouse into rental spaces for artists. Today the apartments are still for rent, and while they have been upgraded with modern-day conveniences, they still feature some of the iconic original architecture inside. One can only imagine how expensive these apartments now cost to rent. A shocking transformation from their previous life as dime house ruins.

#210 Bowery

On our way to the next location, make a quick stop outside #210 Bowery Street. Amazingly, the building has been transformed into a sleek, black-painted high-end condominium. But in the 19th century, this house served as one of the many Dime Museums in New York.

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Dime Museums were designed as centers for entertainment for the working class. Unlike the upper classes museums filled with fine art, these “museums” exhibited sensational freak shows. But dime museums were often just a front, and deep within the bowels of the building, you’d find hidden brothels and gambling dens. Here at #210 Bowery, police performed a historic raid in 1883. Inside, they found a gambling den with girls as young as 12 working in the back. An example of the rabid evil that occurred here every day, hidden away behind beautiful facades.

Germania Bank Building

At #190 Bowery stands the unique chamfered corner of the Germania Bank Building. An icon of the neighbourhood. The old bank was built here in 1898, the third location for the Germania Bank, established in 1869 by a group of local German businessmen. As a growing institution, they employed famed German-born architect Marc Eidlitz to build this monument to Beaux-Arts architecture. The granite and brick facade feature rough stonework, an arched entry flanked by Tuscan columns and elaborate copper decorative eaves. While the building remains pretty much as it stood a hundred years ago, sadly, it has remained derelict, covered in graffiti. Awaiting its next life, most likely a condominium space.

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The Bowery Ballroom

Just off of the Bowery, east along Delancey Street, you’ll find one of the city’s most historic music venues: the Bowery Ballroom. Despite not being the most modern venue in the city, it certainly had a cult status and playing here adds a certain cache to your repertoire!

Long before the Bowery Ballroom was a glint in the eye of the musicians, the original building was created in 1929 to house a high-end shoe store and haberdashery. But when the great depression hit and Wall Street crashed, the store quickly went out of business and shuttered its doors. With no one clamouring to renovate the space, now located in the slums of the Bowery, the building was left vacant until 1998.

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The Transformation of the Bowery Ballroom

Michael Swier, the co-founder of the famous newspaper the Village Voice and LA Weekly, bought up the property with an ingenious vision for it. He wanted to create a new music venue that didn’t just sound great but looked great as well. They spent a fortune to ensure the sound quality was perfect. And the new owners went to great lengths to preserve the historic parts of the building. Including the 84-year-old bronze rails. Once used by factory workers, the rails now served as the balcony on the second floor. With a capacity of 575 people, shows here are an intimate affair. If you have the chance to see a concert here when you’re in town, you certainly won’t be disappointed!

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Sohotel

Located on the corner of Bowery and Broome Street, you can spot the neon lights of the Sohotel. This hotel is the oldest hotel on the entire strip, opened in 1805! And throughout the over 200 years of its operation, it has had almost as many names. It was first the Military and Civic Hotel, then the Westchester. Then it became the Occidental, going on to be called the Pioneer. Now, it is known only as the Sohotel. Despite all the different names, the hotel itself hasn’t changed much in appearance over the years.

Hauntings inside the Sohotel

And any building with such a long life along the Bowery comes with its fair share of ghosts. The first occurrence that many believe started the slew of hauntings was the rash suicide of John P. Mount. Mount was a dry goods buyer for the Crawford & Simpson company. He had been a loyal employee for 20 years, so it was the shock of his life when he was unexpectantly fired. Mount was reportedly a very impulsive person and must have been thoroughly distraught after losing his job.

He checked into the hotel, and only a few minutes after leaving the front desk, the sound of a pistol firing was heard from his room in #103. People who stay on that floor report feeling cold even when the heat is on. And the lights are known to go on and off by themselves late at night. Perhaps the ghost of poor John Mount is visiting the hotel once more.

Bowery Savings Bank

Continuing along, be sure to take a moment to study the grand exterior of the old Bowery Savings Bank at #130 Bowery Street. The Bowery Savings Bank opened its headquarters here in 1834. It chose this spot as its new command post back when the Bowery was considered one of the most illustrious new neighbourhoods in town. It was on the cusp of middle-class status, just as the El train was being built. Before they knew the grim reality that the El train would carry along its tracks.

Stanford White, a notable architect who also designed the famous Washington Square Park arch, built the Bowery Savings Bank. Although the idea of using classical Roman-style Corinthian columns for the bank’s exterior seems commonplace now, this initial design would set the trend for banks to use this style for years to come!

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#139 Hester Street

One block south, make a quick stop east along Hester Street. At #139 Hester Street was where the beginnings of one of New York’s most elaborate jailbreak stories would occur. On September 29, 1892, carpenter Frank G. Paulsen was visited late at night by a familiar face. Frank W. Roehl had met Paulsen a few times in the local salons. And as German immigrants, they got along swiftly. But Paulsen was confused by the late-night visit, as the two weren’t that close. Soon after arriving, neighbours reported hearing screams. When next-door neighbour William Burns arrived on the scene, he was horrified to find the mutilated body of Paulsen lying on the floor. He appeared to have been hatched up with an axe.

When the police arrived, they found that Paulsen was missing his two gold watches that all his neighbours knew he never took off. Soon after, there were reports of a very drunk German man causing a scene in one of the local bars, who was also trying to peddle a few gold watches. When the police found Roehl, he was drunk out of his mind. And when they searched his body, they found a bloody axe in his coat pocket. 

Escape from Sing Sing

Roehl was tried for the murder, and when he was promptly found guilty, he was sent off to Sing Sing Prison, better known as the “House of Death.” Roehl was a marble worker and had been previously sent to Sing Sing, but not as a prisoner. But as an employee. He was sent to work on various stonework inside the prison. As such, he knew the prison’s layout well.

With the help of his new roommate, a notorious murderer, the two plotted their escape. Roehl knew of an escape hatch on the roof, and thanks to some hurricane-like weather conditions, the two managed to escape into the night, as they could not be seen by the tower’s watchmen.

The Discovery of Roehl’s Body

A warrant for their arrest was put out along with a hefty finder’s fee. One morning, while bringing in his lines on the Hudson river, fisherman Frederick Cronk noticed a body floating in his net, wearing Sing Sing’s iconic prisoner’s uniforms. Knowing about the reward, he immediately called the police. When they brought the body out of the water, they found it was none other than Frank Roehl. But he hadn’t drowned. Instead, he was found with a bullet hole in his head.

Days later, his roommate’s body also washed up on shore with a similar bullet wound in the head. Police could only determine it must have been a murder-suicide that brought about the untimely end of these two murderers. Despite being convicted of Paulsen’s murder, Roehl never completed his sentence, and it is perhaps for this reason that the tortured ghost of Paulsen is known to haunt the streets of Hester Street today.

#129 Mulberry Street

From here, let’s walk west along Hester Street towards Mulberry Street. In the 18th century, Mulberry Street was called “Mulberry Bend” as the road bent to veer around the Collect Pond’s wetlands. The name came from the fact that the area was once home to a large patch of mulberry trees that lined the land. But don’t let the idea of a tree-lined street confuse you, this part of town epitomized the worst of the city’s slums. The little lane also went by the name “Slaughterhouse Street,” as it was here where the slaughterhouse of Nicholas Bayard was located. 

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Rent here was cheap, and slumlords leased out overcrowded tenement houses to the vulnerable new immigrants who arrived in the city. Throngs of people lined the roads, and vendors crowded the narrow streets. Many of these new immigrants were of Italian heritage. In the 19th century, the area quickly became the heart of Manhattan’s Little Italy. And later in the 20th century, this area of town was one of the best places to run into members of New York’s Italian Mafia.

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Mulberry’s Mafia

The mafia was obsessed with preserving family and history, so it seems fitting that they would make their home along Mulberry streets. Some prominent mafia families have lived in homes here since the 1890s. And many of the businesses that line the streets were mafia owned. And the ones that weren’t were definitely under their thumb. Some were even required to pay a monthly stipend to get protection from the mob.

“Crazy Joe” Gallo 

In 1972, the notorious mob boss “Crazy Joe” Gallo was gunned down inside Umberto’s Clam House. Gallo was here with his family, celebrating his 43rd birthday. And it would surely be a birthday to remember. Four gunmen entered the dining room during the seafood course and shot twenty rounds into Gallo. To protect his family, Gallo stumbled after the gunmen, mortally wounded into the street and collapsed. And it was right here, beneath our feet, outside the restaurant, that he died. His ghost is still known to haunt the restaurant, perhaps upset he never got to finish that birthday dinner.

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Citizens Savings Bank

Heading back to the Bowery, make your way to the old Citizens Savings Bank on the corner of Canal Street and the Bowery. From here, you can look across Canal Street towards the grand arched entrance to the Manhattan street bridge. The best view of the Beaux-Arts style Citizens Savings Bank is along the Bowery. From here, you can best appreciate the giant arched windows that were once on either side of the bank. Back in the day, these would have let a tremendous amount of light into the building and stepping inside would have been a heavenly experience.

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The stonework was carved in a classic style with Doric columns and pilasters. This classical design was meant to give investors a sense of stability. On the top of the facade is a large, wreathed clock. Sitting atop the clock is a great eagle, flanked on either side by two seated figures. The one on the left is a Native American, and on the right, we see a sailor. Today, in keeping with its heritage, the building is occupied by a new branch of HSBC.

Bull’s Head Tavern

At #50 Bowery Street, we can find the swanky Hotel 50 Bowery, but if we take ourselves back to 1750, it was here that we would have found the old Bull’s Head Tavern. The tavern had long been nothing more than a barn for the cattle market, a literal stock market for local slaughterhouses. There was also a dog and bear fighting pit out back. And the smoky, dimly lit tavern grew around these seedy dens as a place for men to drink and gamble.

But, in November 1783, the Bull’s Head Tavern would enter the history books as it was here that General George Washington established his temporary headquarters on Evacuation Day. After the war, the tavern was converted into a butcher shop for Henry Astor to sell meat from the many slaughterhouses in the area. But when the slaughterhouses closed down, so did Astor’s shop, and the original building was lost to time. But history remembers its importance.

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Bowery Theatre

At #46 Bowery Street, you can now find Joe’s Shanghai restaurant. But for over 80 years, this was the spot where you could have found the old Bowery Theatre. The original building was named New York Theatre and was designed in an opulent Neoclassical design. The theatre seated over 3,500 people making it the biggest theatre in the United States. It was a superior beauty and home to ballets, operas, and high dramas. Sadly, just two years after opening, the theatre burnt down in 1828. 

When it reopened, it was no longer home to the European types of theatre that the middle and upper classes demanded. Instead, to match the changing nature of the Bowery, it was the place to go and see American nativist productions. These populist plays featured blood and guts melodramas which were popular with the rowdy masses. This also included the first production of racist blackface minstrel shows like the debut of “Jumping Jim Crow.” But it wasn’t just modern-day viewers that looked down on these types of productions; the ghosts of the theatre were clearly in opposition to the new productions. The theatre burned down four times in 17 years. Fires were a massive problem in New York, but four fires in a relatively short time was unheard of. Almost as if the building was cursed.

#40-42 Bowery

Just a few doors down, hidden behind the yellow and white restaurant awnings, are the old brick buildings, which once held the gang headquarters of the Bowery Boys. In the 1850s, these two buildings were the most feared place in town as they served as the rebellious clubhouse for the local gang members.

The Bowery Boys

The Bowery Boys were a nativist, anti-Catholic, and anti-Irish criminal gang. The gang was initially formed as a group of volunteer firemen. These men led relative law-abiding lives serving as tradesmen, mechanics and butchers. Back then, firefighting was a great way to make some money on the side. There were no central city-wide firefighters. Instead, local communities had rogue groups of firefighters. And it was the first group on the scene to put out the fire that got paid. So often, there was fierce competition to be the first on the scene. And with so many fires in the city, this was big money. This was when the firefighters turned gang members, as violence would often break out and deep-rooted rivalries were formed.

Bowery Boys Theatre

The location of their clubhouse next door to the Bowery Theatre was not happenstance. The Bowery Boys loved the theatre and spent almost all their free time inside. They were such famous attendees that often, plays put on inside the theatre were shows about Bowery Boys themselves. Which always got a massive reaction from the audience. Being working men, the Bowery Boys led a slightly more affluent lifestyle, indulging in entertainment. Despite still being defined as lower-class, the Bowery Boys thought their social status in the city was far and away above those of Irish immigrants who lived in the slum of the Five Points. To them, the slums of the Bowery were almost high living.

Dead Rabbits Riot

The Dead Rabbits were their biggest rival, an Irish Gang living inside the notorious Five Points slums. On July 4th, 1857, the Dead Rabbits attacked Bowery Boys Clubhouse. There were more than 1,000 men fought who fought in the riot that broke out. Firearms, clubs, bricks, bats, and stones were used in the attacks. The battle lasted for two days. And the police could do nothing to stop it. The rest of the city took advantage of the police being otherwise occupied, and looting took place across the Bowery.

The official reports claim only eight people were killed, but many think that fellow gang members were carried off by their friends before police arrived and buried in secret. So that the rival gangs would never know how many on the other side were lost. The Bowery Boys kept their clubhouse until the late 19th century when social reform tore apart the Bowery and the Five Points. With the removal and dismantling of the slums, the gang battles of the Five Points armies disappeared.

#18 Bowery

At the corner of Bowery and Pell Street, you can see the fabulous red brick exterior of #18 Bowery. Also called the Edward Mooney House. This is one of the oldest, if not the oldest, row houses in New York, dating back to 1785. Edward Mooney was a wealthy butcher who died in the house in 1800. After his death, the house passed hands many times, serving as a brothel, tavern, general store, restaurant and pool hall. The house still goes by his name despite Mooney not residing here for over 200 years. But perhaps he still remains, his ghost watching over the house in his name to this day.

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Doyers Street

Just down one block is the entrance to Doyers Street. Doyers Street is this seemingly charming winding pedestrian street home to Nom Wah Tea Parlor, the oldest dim sum restaurant in the city! And definitely worth checking out if you’re hungry!

But in the 19th and 20th centuries, Doyer’s Street had a much different atmosphere. The dark, almost hidden away lane was called the “Bloody Angle” and “Murder Alley” by the police officers who patrolled the streets. It was a favoured spot for gang violence, as underground tunnels could be used to escape after any altercations on the street above. 

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The Bloody Angle

During the 19th century, this part of Chinatown was ruled by two rival gangs. And their clashes would often prove to have deadly results. #5 Doyers Street was the original site of the first Chinese language theatre in New York City. In 1905 a fight broke out between members of the Hip Sing Tong gang and the On Leong Tong gang. The shootout inside the theatre resulted in the deaths of three people. According to police, more people have died violently along the Bloody Angle than at any other intersection in America! But don’t let that worry you; the area is much safer after police crackdowns in the 1990s and today’s gentrification of Chinatown.

But it was not just gang violence that haunted these streets. The old tenement houses on Doyers Street were subjected to multiple fires over the years. In 1910, four tenants died, and five were injured when fire swept through the buildings at #15 and #17 Doyers. Years later, in 1939, another fire broke out in the same building, killing seven people. So many deaths in such a small part of town have resulted in this being reported as one of the most haunted streets in the Bowery.

Five Points

Perhaps the most famous area of the Bowery is located just at the bottom tip, where you find the old stomping ground once known only as; the Five Points. The Five Points neighbourhood was originally located at the Orange, Anthony and Cross street intersection. The spot at which they met created five “points,” hence the name. Today you can find Columbus Park standing at the place where you’d have once found the old Five Points slums. Back in the 1800s, this place would have been the roughest area of New York City. Police only dared to venture into this part of town in large groups, as they feared the gangs which ran rampant throughout the small enclave.

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Collect Pond Townhouses

The area had previously been home to the large Collect Pond. But due to the slaughterhouses that would pour their discarded filth into the pond, the wastewater quickly became contaminated and was a severe pollution problem and environmental health hazard. The pond was filled in to quickly solve the problem. But the job was done poorly. The land quickly became unstable and released methane gas from the buried contamination below. Mosquitoes bred in the contaminated standing water, and diseases spread like wildfire.

Despite all this, there was a growing need for housing, so rickety brick and wood houses were built atop the uneven ground. The houses were unstable and would start to lean and sag at all angles. The only people who could imagine wanting to live here were people that could afford nothing else. Immigrants and the poor were preyed upon by greedy landowners to lease these truly uninhabitable houses. Unemployment, prostitution and violent crimes were the highest in this part of town than anywhere else along the Bowery.

Coulthard’s Brewery

For residents, the only way to deal with these horrible living conditions was to drink their days away. Hence the centre point of the neighbourhood became Coulthard’s Brewery, built on Cross Street in 1792. In the early 19th century, the old Brewery was converted into a tenement and boarding house. Originally, 221 people lived in just 35 tiny apartments. Even the cellars of the old Brewery were used to house tenants. But as more people poured into the Five Points, desperate for inexpensive housing, the landowners simply crowded more and more people inside. At one point, there were over 1,000 men, women and children living inside.

According to historian Herbert Asbury, demolition crews found human bones in the cellars and within the walls. In these cramped rooms, infectious diseases, such as cholera, tuberculosis, typhus, malaria and yellow fever, plagued the residents. Many of New York City’s worst epidemics originated in Five Points. Landlords often tried to hide these dead bodies to not be prosecuted by police due to their gross negligence inside and the overcrowding.

Murder Alley

Across the street from the brewery, homes was an aptly named, “Murder Alley.” In the 1850s, there was at least one murder a day here, for over 15 years! Famously, Charles Dickens visited the Five Points on a trip to New York and was horrified by what he saw.

“This is the place: these narrow ways, diverging to the right and left, and reeking everywhere of dirt and filth. . . . Debauchery has made the very houses prematurely old. See how the rotting beams are tumbling down, and how the patched and broken windows seem to scowl dimly, like eyes that have been hurt in drunken frays.”

Charles Dickens

Five Point Gangs

To make matters worse, the area was also home to many of New York’s most violent gangs. They went by names such as the Plug Uglies, Mulberry Men, Kerryonians, the Forty Thieves, the Shirt Tails, and the Chichester’s. In addition to the Dead Rabbits and the Bowery Boys, we heard about before. Joining a gang was a good way to seek protection while also putting yourself in harm’s way.

It’s important to note that originally the idea behind these gangs was not a violent one. Instead, it was a way in which people sought out a community. Irish, Germany, American and Scots wanted to preserve their culture amongst like-minded people. They also found this communal group a means of discussing the crime, poverty and exploitation they often faced. But these gangs hated each other, and large groups of men, incensed by their poor lot in life, can only sit at a boiling point for so long before it all boils over.

Social Reform

After the riots of 1857, the city knew something had to be done about the Five Points slum. So in 1887, the large portion of old tenements at the heart of the Five Points were destroyed. In their place, Columbus Park was built. Today, many people come to the old site of the Five Points after its history came back into the media landscape with Martin Scorsese‘s film Gangs of New York. But the real history of this place is far more interesting and truly an example of the kind of place the Bowery once was. The pretty green trees and playful basketball courts inside Columbus Park are a far cry from the once terrible slums that made this part of town so notorious.

The Five Points is the last stop on our Walking Tour of the Bowery. I hope you’ve enjoyed this thorough guide to one of the most interesting parts of New York City that so many people leave undiscovered. Let me know in the comments what your favourite part of the tour was or what new finds you uncovered along the way!

Happy Travels, Adventurers.

References:

buff, Michael is a New York City history, Amateur Genealogist, a member of the New York law enforcement community His NYC roots go back to 1820 on Water Street, and the Vinegar Hill section in Brooklyn. “1892 Hester Street Homicide.” Lower East Side History Project, December 27, 2017. https://www.leshp.org/blog/hester-street-homicide/. “Daytonian in Manhattan.” Accessed October 24, 2022. https://daytoninmanhattan.blogspot.com/. Atlas Obscura. “Edward Mooney House.” Accessed September 27, 2022. http://www.atlasobscura.com/places/edward-mooney-house. “Ephemeral New York | Chronicling an Ever-Changing City through Faded and Forgotten Artifacts.” Accessed October 24, 2022. https://ephemeralnewyork.wordpress.com/. “Hauntings at The Bowery Hotel – NY Ghosts,” January 3, 2016. https://nyghosts.com/the-bowery-hotel/. Inside Edition. “Is the ‘Most Violent Street in America’ Haunted?,” October 26, 2019. https://www.insideedition.com/is-the-most-violent-street-in-america-haunted-56716. The New York Times. “JOHN P. MOUNT A SUICIDE; He Shoots Himself in a Bowery Hotel, Leaving a Note for His Wife. WORRIED BY BUSINESS AFFAIRS For Twenty Years Connected With the Dry Goods House of Simpson, Crawford & Simpson — The Act Attributed to a Sudden Impulse.,” September 23, 1897, sec. Archives. https://www.nytimes.com/1897/09/23/archives/john-p-mount-a-suicide-he-shoots-himself-in-a-bowery-hotel-leaving.html. Lii, Jane H. “NEIGHBORHOOD REPORT: CHINATOWN; On Pell Street, Only Memories Of a Violent Past.” The New York Times, June 12, 1994, sec. New York. https://www.nytimes.com/1994/06/12/nyregion/neighborhood-report-chinatown-on-pell-street-only-memories-of-a-violent-past.html. Magazine, Smithsonian, and Angela Serratore. “The Desperate Would-Be Housewife of New York.” Smithsonian Magazine. Accessed September 27, 2022. https://www.smithsonianmag.com/history/the-desperate-would-be-housewife-of-new-york-140748/. onno. “Did You Know This About the Bowery?” Bowery Alliance of Neighbors (blog), June 12, 2016. https://www.boweryalliance.org/did-you-know-this-about-the-bowery/. Sachs, Andrea. “A Cheap Stay, with a Bit of History, in Manhattan.” The Seattle Times, January 21, 2012. https://www.seattletimes.com/life/travel/a-cheap-stay-with-a-bit-of-history-in-manhattan/. The Bowery Boys: New York City History. “The Bowery Boys: New York City History -.” Accessed October 24, 2022. https://www.boweryboyshistory.com/. Infamous New York. “The Death of Eat Em Up Jack McManus,” December 29, 2013. https://infamousnewyork.com/2013/12/28/the-death-of-eat-em-up-jack-mcmanus/. The Bowery Boys: New York City History. “The Murder on Bond Street: Who Killed Dr. Burdell?,” November 16, 2018. https://www.boweryboyshistory.com/2018/11/the-murder-on-bond-street-who-killed-dr-burdell.html. N.d.

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