Table Of Contents

1. Map of 2-Days in Bruges Itinerary
2. Where to Stay?
3. History of Bruges
4. Day One in Bruges
5. Day Two in Bruges

Map of 2-Days in Bruges Itinerary

Why Spend at Least 48 Hours in Bruges?

Many people visiting Bruges skip staying the night and instead choose to visit either on a day-trip bus tour or a quick stopover on their way through Belgium. But I strongly encourage you to stay at least one night in the city. This way, you can properly experience the atmosphere of this ancient city, both during the day and at night. The town’s true nature comes alive once the heavy loads of day-tripping tourists disappear in the later afternoon. Locals open their doors, and the city feels more than just a postcard but a living piece of history.

Where to Stay?

Budget Option: Hotel Fevery

Hotel Fevery in Bruges is a cozy, family-run retreat just a short walk from the city center. Known for its warm and homely atmosphere, this charming hotel offers comfortable, spotless rooms and a delicious breakfast. Guests appreciate the friendly, attentive staff who go above and beyond to ensure a pleasant stay, making Hotel Fevery a perfect blend of comfort and convenience for a memorable visit to Bruges.

Mid-Range Option: Boutique Hotel Sablon

Boutique Hotel Sablon is a stylish four-star hotel located just five minutes from Grote Markt square. The hotel offers plush suites with freestanding bathtubs and lounge areas. The decor combines modern style with historic elements, featuring contemporary art and a luxurious Living Room bar. It’s a perfect choice for travelers seeking a balance of comfort and elegance without breaking the bank​.

Luxury Option: Hotel De Orangerie

For a more luxurious stay, consider Hotel De Orangerie. This boutique hotel is set in a beautifully restored 15th-century building along the Den Dijver canal. The hotel offers elegant rooms with antique furnishings and modern amenities. Guests can enjoy high tea in the plush dining room or on the terrace by the canal. The hotel’s central location makes it easy to explore Bruges’ top attractions​.

History of Bruges

Bruges is not just a gothic-looking town; it is a gothic town. The streets are still lined with stones older than perhaps even my home country, and even the most ubiquitous family home looks like a gothic paradise. Bruges is a UNESCO-protected city, and as such, historians ensure that everything remains unchanged from its perpetual state of gothic opulence. Any renovations undertaken to protect buildings from the perils of old age are done with lots of research and employ only old materials to fix or repair any damage.

Bruges first established itself as a settlement in the 9th century. Since Bruges was a city settled on the river, connected to the North Sea, it immediately became a hub for international trade. The name Bruges is derived from the word Bryggia, an old Scandinavian word meaning harbour.  Bruges was northwest Europe’s most important trade centre in the Middle Ages. It specialized in Flemish cloth, one of the most essential products in medieval times, as it was used to sew clothing for everyone from villagers to the royal family. Because the cloth market was exploding nationwide, more and more money poured into the city. The overwhelming wealth meant Bruges could build some of Europe’s most impressive pieces of medieval architecture.

The Growth of the City of Bruges

Throughout the 15th and 16th centuries, Bruges fluctuated under an ever-changing economy. While other European cities were able to expand, Bruges remained a small town. It couldn’t keep up with the worldwide growth and eventually lost its position as the leading trade city to Antwerp, with a population that doubled its own. Bruges slowly fell out of the limelight and disappeared from European high society.

In the 1800s, Bruges became the most impoverished city in Belgium as all trade routes into the city had shut. It is perhaps this period of poverty that we have to thank for the preservation of the city’s historic architecture. There was no money for renovations, expansion or modernization. In the mid-19th century, when the tourism industry started to creep outside the major cities into the countryside, people began discovering this untouched town gem. People from all over fell in love with the historic-artistic culture they found here, left untouched by urbanization.

Day One in Bruges

The Grote Markt

The best place to start your tour is in the Grote Markt, which serves as the centre of Bruges. It seems fitting to begin your journey in the area that brought Bruges all its wealth. The first known marketplace was built here in the 10th century. Later, in the 12th century, a wooden market hall was developed to help house fish, cloth imports, and exports. The square turned from a simple shopping area into a meeting place for jousting tournaments, weddings, royal parades and even executions. The square is still used today as a marketplace despite the passage of time.

In 1996, the square was converted into a pedestrian zone where horse-drawn carriages and bicycles were the only modes of transportation allowed. Tourists can wander and gaze up at the buildings around them without fear of being hit by a car. And gaze up, you will!

Bruges Belfy

Looming over Markt Square stands the Belfry Tower atop the infamous Cloth Hall. The Belfry was built in 1240 but needed to be rebuilt in 1280 after a fire ravaged the first building. If the octagonal-shaped top looks slightly unfinished, you’d be correct in thinking so. The tower was once topped with a great spire. There were various spires, but each was the victim of lightning strikes, reducing them all to ash. There is a famous poem by Henry Wadsworth Longfellow which goes, “In the marketplace of Bruges stands the Belfry old and brown; Thrice consumed and thrice rebuilt. Still, it watches o’er the town.”

Bell in the Belfry

In the medieval ages, the Belfry’s bells were the only indicator citizens had to tell the start of the workday, signal for fire, or even begin a festival or event. In the 16th century, a 35-set carillon was installed in the tower. A carillon is a set of bells that could be played using a keyboard below the tower, creating a more musical sound than a few single bells rung from ropes ever could.

You can still climb the 366 steps to the top of the tower, as patrolmen once did, to look out for fires that could have destroyed this incredible city. The view from the top is unequalled and worth the time and effort.

“French” Fries in Bruges

At the bottom of the Belfry Tower is a local French Fry vendor who serves some of the most delicious Belgian fries. There are ongoing disputes over the term “french fries” and its origin. The Belgians insist it was them. The story goes that when American armies were stationed in Belgium, the Flemish military served them one of their favourite (and inexpensive) meals—fried potato strips.

The American army LOVED them and took the recipe back home. They called them french fries since French was the local language in Belgium then, and the Americans assumed they were in France. While the French aren’t known for selling fries on the street, the Belgians have perfected the snack on the go. They serve them alongside mustard and mayonnaise dipping sauce, an oddly delicious side dish that is the perfect thing to eat to keep you going throughout your tour.

While chowing down on your snack, take a moment to study the brightly coloured buildings surrounding that square. Each one is topped with iconic crow-stepped gables, which have become the quintessential characteristic of Bruges. 

Statue of Jan Breydel and Pierter de Conick

Take a seat in the centre of the square, beneath the grand statue of Jan Breydel and Pieter de Coninck. These two men are local heroes known for leading the uprising against the invading French in 1302 and keeping Bruges a part of Belgium.

Provincial Hof

Across from the statue is the Provincial Hof or Provincial Court. The building now houses the government of West Flander and a local post office, but hundreds of years ago, it was home to the largest port in Bruges. Initially built in 1294, it was demolished in 1787 and rebuilt in a neogothic style reminiscent of its original Gothic architecture. One of the most iconic parts of its design is the bright red dormer windows, which pop out of the stone grey roof.

Hendrik and Gustaaf Pickery designed all the interior decorations; intricate stained glass windows and exquisite ironwork cover the rooms like wild vines. The statues and murals within depict scenes of famous personalities from West Flanders and provide a visual history of the building of their great city.

Chocolatier Dumon

Dumon Chocolates are among the most popular souvenirs people bring home from Bruges. Belgium is known worldwide for its chocolate creations, and Dumon has found a way to perfect the art. Established in 1992, this family-run business expanded around Belgium, but their first family-run shop was in Bruges.

As you open the door, you are overwhelmed with melting chocolate’s sweet and slightly bitter scent. The tiny shop is almost no wider than arm’s length but is charmingly cluttered. Chocolates glisten behind glass cabinets, and you can’t help but start to drool. While there are no labels, the kind employees (all family members) will lovingly tell you about all the different kinds of chocolate and prepare a customized box with all your favourites. They speak English in addition to French and Belgian, but if you can’t communicate, you can’t go wrong with anything inside.

Hof Bladelin

Walking past Dumon, along the narrow streets and alleyways, you come upon Hof Bladelin. Hof Bladelin was once an aristocratic mansion, which has now been converted into a home for the elderly and a small museum. The Hof Bladelin was initially built in 1451 as the house of Pieter Bladelin and his wife, Margaret of Vagewierre. Pieter was the counsellor and treasurer for Philip the Good, the Duke of Burgundy.

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At the time, he was one of the wealthiest men in Bruges and wanted to build a house, which reflected his enormous wealth. The Bladelins had no children, and after their death, the house came up for auction in 1472. It was purchased by the Medicis, a powerful Florentine banking family known for coveting the most beautiful pieces of art and architecture from the world’s greatest artists.

The Hof Bladelin has the architectural design of a Gothic castle. The Renaissance courtyard was designed in Italian and added to the building by the Medici family. There are still stone medallion portraits of Lorenzo de Medici and his wife in the courtyard. The ribbed vaulted ceiling in the interiors has some unique corbels adorned with scenes depicting Bladelin’s duties and the life of St. Alphege of Canterbury.

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The Poortersloge

The Poortersloge, or Burgher’s Lodge, is an exemplary model of Gothic architecture in Bruges. It was built at the end of the 14th century and served as a meeting place for the burghers (town or city’s citizens). One can admire its magnificent façade, decorated with stone figures; one is of the legendary bear, Beertje van de Logie, dated 1417. In the past, banquets and festivities were held here; nowadays, the building contains historical documents.

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Cambrius

If you’re feeling peckish, stop off at the Cambrinus pub. The building oozes history. The original pub was built here in 1699, and despite a few updates, much of the place remains the same. When you arrive, the waiter will bring you a book the size of a dictionary with over 400 varieties of beer listed and vivid descriptions in various languages.

There truly is something for everyone. In addition to the best beer list in the country, their traditional Brugian food is also to die for. The rabbit stew is my favourite and will warm you up from the inside out if you are travelling in any of the colder months.

Burg Square

After lunch, make your way over to Burg Square. This square is one of the city’s most stunningly medieval parts. Architectural gems from the Gothic era to the Renaissance and the Neo-Classical Revival surround it from all sides.

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Burg Town Hall

Burg Town Hall, or “Stadhuis,” is the oldest building in the square. It was built in 1376 in a truly Gothic fashion. Standing between the bright red-painted windowsills are statues of men from the Court of Flanders intermingled with biblical figures. Each one looked down at the townspeople below, guiding them in their daily lives.

Sandwiched between the Town Hall is the Palace of the Liberty, which once served as the Old Court House for over 200 years. Its brilliant white painted facade with gold trim is decorated like a cake, with the golden Lady of Justice statue as the cherry on top. 

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Basilica of the Holy Blood

The Basilica of the Holy Blood stands in the corner of the square, tucked away so tightly it almost seems to disappear. This 14th-century church holds one essential item, a vial of “Holy Blood,” believed to be drops of blood and water washed from the body of Christ. 

Behind its dark, richly decorated facade hides an even more ornamental interior. The interior houses two chapels, each opposite the other. The upper chapel is the crown jewel of West Flanders in high Gothic style. From floor to ceiling, there are darkly painted murals depicting the Holy Trinity and various scenes of the journey of the Holy Blood Relic to Bruges. Vividly painted stained glass windows provide the only natural light inside the chapel. Little modern lighting has been installed inside to ensure the murals don’t fade with time.

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Heilig-Bloedbasiliek

The Holy Blood relic is embedded in a rock-crystal vial and placed inside a glass cylinder framed with two golden crowns. It is only shown to the public on certain days of the week, so check the schedule if you’re making a pilgrimage just to see it. It is housed inside a silver tabernacle with a picture of the Lamb of God on the front when it is not displayed. In recent years, the validity of the vial has come under question, and investigations have shown that it was nothing more than a Byzantine perfume bottle from Constantinople. But to those who believe, no amount of science can deter them.

The lower chapel is a simple Romanesque church from the 12th century, the last Romanesque church in all of West Flanders. This chapel has been virtually unchanged since it was first built. The two chapels are connected, but a large brick staircase was built in 1533 in the Renaissance style, which was subsequently destroyed during the French WWII occupation but rebuilt in the 19th century.

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Vismarkt

Across the bridge from Burg Square is the Vismarkt, or old Fish Market. The fish market was once located in Markt Square, but the smell of the fish was so intense that people around the square complained, so it was moved further east. The covered stone arcade was built in 1821. The market is only open from Wednesday to Saturday in the early morning, but you can visit the iconic stone structure any time of the day.

Dijver Canal

From the Fish Market, walk west along the Dijver Canal. The canal’s passageway from the fish market to Nieuwstraat is a classical view of Bruges you must see for yourself. Various restaurants along the canal are reasonably touristy but provide one of Bruges’s most beautiful scenes. If you just want to hop into one of their patios for a drink, I think the overpriced beer is well worth the view.

De Garre

To end your first day in Bruges, head to De Garre bar, nestled in a tiny alleyway. De Garre is a hidden gem in Bruges renowned for its exceptional house beer, the Tripel van De Garre. This robust and flavorful tripel, brewed exclusively for the pub, is a must-try for any beer enthusiast. The cozy and intimate atmosphere of De Garre, combined with its rich wooden decor, offers a perfect setting to enjoy this unique brew. The pub also serves a variety of other Belgian beers, making it an ideal spot to unwind and savour the local beer culture after a day of exploring the city​.

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Day Two in Bruges

Groeninge Museum

To start our second day in Bruges, we will head to the famous Groeninge Museum. The Groeninge Museum is an essential stop on your tour of Bruges as it gives you an introduction to Brugian art across six centuries. 

The Primitive Flemish style of painting is featured throughout the walls of museums. Flemish art isn’t classically considered exceedingly masterful since it sometimes seems slightly grotesque, raw, and explicit. Flemish painters always tried to emulate their Italian counterparts to achieve a dynamic perspective, but they didn’t have the technical skills to realize these effects. The result is images that appear almost warped but whose expressions are so genuine they leave a lasting impression on the people who view them. 

Arents House Courtyard

Across from the Groeninge Museum, you’ll find the Arents House. Arents House was once an ancient manor belonging to the noble Arents family. It now hosts an extensive collection of paintings by the British artist Frank Brangwyn. While it might be worth a visit on a more extended tour to Bruges, today, we are merely exploring its courtyard. The small yard between the two medieval houses is the perfect place to stop and pause. Listen to the sounds of cobblestones underfoot.

The trickle of water flows down the canal. From Arents Court, you have one of the most splendid views of the Church of Our Lady’s tower. If you’re lucky, you’ll hear the church bell rings across the street and the soft crowing of birds perched above. Four exciting sculptures by artist Rik Poot surround the courtyard, representing the “Four Apocalyptic Knights,” which are a great compliment to the artistic surroundings.

Bonifacius Bridge

Before heading to the Church of Our Lady, you’ll pass across the Bonifacius Bridge. Despite only dating from 1910, it is one of the most beautiful bridges in Bruges. The tightly interlaced cobblestones are red brick archways that provide the perfect frame for the church towers behind them. Standing on the bridge, you can watch tourists paddle up and down the canal.

The Church of Our Lady of Bruges

All of the churches in Bruges are enormous. They seem to tower over the tiny houses below. The Church of Our Lady’s tower is over 122 meters high, the highest point in Bruges and the world’s second tallest brickwork tower. Because the church took over two centuries to build, it combines various evolutions of Gothic architecture with a Baroque interior.

While the interior might not be as grand as its exterior, it is still worth poking your head inside. The central organ is small but opulent, hiding behind the high altar screen. A few dozen simple chairs provide seating for the small but dedicated congregation. The altar screen is unique both in colouring and design. Its white and green coloured marble are highlighted with splashes of gold leafing. Along the nave are columns dotted with reliefs of various influential saints. A sizeable wooden pulpit stands at attention on the right side of the nave; dozens of beautifully carved cherubs hang off the sides, clinging to books with golden scriptures written for the people below to read.

Tombs of Bruges Royalty

Behind the high altar is the resting place of two of Bruges’ most famous residents. The golden tombs of Charles the Bold and the Duchess Mary of Burgundy lie in quiet repose beneath a beautiful tryptic. The elaborately designed tombs are worth looking at, so don’t miss touring the back half of the church.

The crown jewel of this church is the white marble sculpture of the Madonna and Child, created by Michelangelo in 1504. Over the years, the statue has been stolen by foreign invaders, but those dedicated to preserving its place in Bruges have always managed to bring it back home. Although this sculpture doesn’t have the same impact as his Pieta in Rome, the sadness on Madonna’s face reflects her knowledge that this little boy will grow up only to die for the sins of his people.

Gruuthuse Hof

Away from the Church of Our Lady is the Gruuthuse Hof, a small but historic house adorably sandwiched between two major streets. Now a restaurant, the Gruuthuse Hof is one of the oldest residences in Bruges. While in one of the prime locations for tourists, the restaurant keeps a simple, traditional menu catering to locals and tourists alike. With only 28 seats inside and 12 on the patio, the place remains intimate despite its popularity over the eras. If you can find a table, it’s worth stopping in for the featured meal of the day.

St. Salvator’s Cathedral

Up from the Gruuthuse Hof is St. Salvator’s Cathedral. It is the oldest parish church in Bruges, with parts dating back to the 10th century. But the original design was much less grandiose than the current incarnation. In 1834, after Belgium’s independence, St. Salvator’s was given the status of a cathedral, and the meagre church had to be extensively renovated to match its new high status as a cathedral. 

The architect of the new cathedral was William Chantrell, an English architect greatly influenced by the resurgence of Neo-Romanesque architecture. Neo-Romanesque buildings feature thick walls, round arches, sturdy pillars, barrel vaults, large towers, and decorative arcades. This church stands out because most of Bruges is so powerfully Gothic.

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St. Salvator’s Cathedral Interior

The neo-Gothic interior of the church is relatively plain but is accented with stunning embroidered tapestries from the 18th century. These antiquated works of art were made in Brussels by Jasper van der Borcht and feature astounding scenes from the Bible, all created with needles and thread.

To the left of the nave, the pulpit is a stunning example of Louis XVI’s designs. Louis XVI’s design was predominantly produced in France and exemplified the last phase of Rococo design. The style focused on natural forms and dramatic embellishments.

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Old St. John’s Hospital

Walking back down Mariastraat, we come upon Old St. John’s Hospital, now the Memling Museum. Before becoming a museum, it was used as a hospital for the sick and dying, administered by nuns and priests. Inside are many relics and six paintings by a 15th-century painter and Bruges resident, Hans Memling. One of the highlights inside is the Shrine to St. Ursula. Carved into a gilded wooden reliquary in the shape of the church are six panels which tell the story of St. Ursula’s sainthood, painted by Memling himself. The work was commissioned by the Hospital of St. John and is one of the most exquisite pieces of religious art I’ve seen close up. The three-dimensional details and rich colours are remarkable. 

De Vos Almshouse

Further south, away from the central part of the city, we will come across the “De Vos Almshouse.” This small grouping of little white houses, facing a lush green herb and flower garden, once housed the poor, widows and the elderly. The houses were purchased by a wealthy Brugian merchant who loved his city and wanted to give back to the less fortunate.

Each home was donated to a specific guild (mason’s guild, blacksmith, coopers, etc.) and would provide housing for members of that guild when they became too old to work, fell ill or lost their jobs. You might notice how none of the houses have windows facing the street – this was because, at the time of their construction, a tax was improvised for any street-facing window.

Beguinage

Before our final destination, stop into the Beguinage’ De Wijngaard’ or Vineyard. This grouping of white houses with terracotta roofs is one of Bruges’s most peaceful places to rest your weary feet. So far from the town centre, this site is little toured by day-tripping tourists.

Since 1245, the Bruges beguine sisterhood has lived here, and in 1937, it became a monastery for the Benedictine sisters. To enter the Beguinage, you first pass through a large arched entrance gate built in 1776. Inside, you find houses dating from the 15th to 19th centuries.

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The Minnewater

The Minnewater, or Lake of Love, is one of the most beloved retreats for the remaining residents of Bruges. Swans float up and down the picturesque canals, and lovers roam under the densely forested pathways, arm in arm.

Poertorenpark

Poertorenpark, or Gunpowder Tower Park, is a serene spot near the picturesque Lake of Love in Bruges. The park features a striking round tower, historically used to store gunpowder, which reminds of the city’s medieval past. Surrounded by lush greenery and peaceful walking paths, Poertorenpark offers a tranquil escape from the bustling city center. Visitors can enjoy a leisurely stroll, relax on the benches, and take in the scenic views of the tower and the surrounding landscape, making it an ideal location for a quiet afternoon​.

Huisbrouwerij De Halve Maan

To end your last day in Bruges, head to Huisbrouwerij De Halve Maan. This historic brewery is known for its rich brewing tradition, which dates back to 1856. This family-run brewery has produced some of Belgium’s most beloved beers for generations, including the renowned Brugse Zot and Straffe Hendrik. Visitors to De Halve Maan can enjoy guided tours that offer insights into the brewing process, the brewery’s history, and the unique beer pipeline that runs under the streets of Bruges, transporting beer from the brewery to the bottling plant outside the city.

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The tour concludes with a tasting session, allowing guests to savour the distinct flavours of De Halve Maan’s craft beers while enjoying panoramic views of Bruges from the brewery’s terrace. The best way to soak in the last scenic views of the city.

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Bruges is a stunning city with a unique history, culture, and beauty blend. With the help of this 2-day itinerary, you can make the most of your time in Bruges and experience all this charming city has to offer. From exploring the stunning architecture and picturesque canals to sampling delicious Belgian chocolates and local beers, there’s something for everyone in Bruges.

Happy Travels, Adventurers!

The post How to Spend the Perfect 48 Hours in Bruges, Best 2-Day Itinerary [UPDATED 2024] first appeared on The Creative Adventurer.

Truthful, this isn’t my favourite part of town. I’m not a luxury gal, I’m definitely more hipster than heiress. But after avoiding the area I finally made the effort to check it out and was amazed at what I found! There are some really incredible gems out here if you know where to look. But even I was wrapped up in the spell that is Polanco.

Leaning in Exploring Luxury

I made it a point to check out some of the luxury shopping and suddenly I understood, at least partially, what all the fuss was about. As someone who usually just buys her perfume at Lush, I was blown away by a hedonistic shopping experience at Xinu! I even came out with my first ever luxury perfume purchase! One of the greatest parts about a trip to Mexico City is that because you’ll eat at so many low-priced restaurants, you can afford that one-time splurge. We also made a point to get reservations at Pujol. This was my first time eating at a Michelin Star restaurant. It was a once-in-a-lifetime experience and one I will never forget! 

So if you’re like me and you’re looking to check out Polanco, but step past more than just the fancy shops, come with me on our Self Guided Tour of the luscious tree-lined street of Polanco! And not to worry! Polanco has more than just 5-star restaurants. There is also plenty of cheap eats, free entertainment and incredible sights found along the way.

Table Of Contents

1. Location & Access
2. History
3. Where to Stay?
4. Walking Tour
6. Avenue Horacio
7. Plaza Uruguay
8. Av. Isaac Newton
9. Parque Lincoln
10. Tianguis Parque Lincoln
11. El Moro
12. Cafebrería El Péndulo
13. Pasaje Polanco
14. Avenida Presidente Masaryk
15. La Casa del Pastor
16. Shopping in Polanco
17. Americas Park
18. St. Augustine Parish
19. TANE Instagram Wall
20. El Turix
21. Iglesia de San Ignacio de Loyola
22. El Palacio de Hierro Polanco
23. Soumaya Museum
24. Dining in Polanco
25. Autocinema Coyote

Location & Access

Polanco is located north of Paseo de la Reforma and just south of Avenida Ejercito Nacional. To the east and west Polanco sandwiches between Avenida Mariano Escobedo and Boulevard Manuel Avila Camacho. You can always easily Uber in and out of Polanco but if you want to take the subway to Metro Polanco. The Metro Polanco station is located right beside our first stop on the tour!

History

The Name ‘Polanco’

Long before the Spanish arrived, what is now known as “Mexico City” was first the Aztec capital of Tenochtitlan. During those fertile years, a great river passed through what is now Avenue Campos Elisios in Polanco. In the 16th century, after the conquest, the land here was gifted to Hernán Cortés by the King of Spain. Cortes took control and named the river after the Spanish Jesuit Juan Alfonso de Polanco. The Polanco family were considered almost royalty and were highly regarded members of the board of King of Spain. A majority of the family members travelled to Mexico City as newly created “officers of the Crown”. This is where we get the name of the neighbourhood today. Sadly, the river was lost when the Spanish drained the valley to make more room for expansion. But the name lives on.

Polanco Farms

As time went on, the land became occupied by farmers. It was primarily used to plant mulberry trees and breed silkworms. The 16th-century Hacienda de Los Morales, one of the largest Polanco farmsteads, was established. We can even visit the old homestead today as it is still standing on the neighbourhood’s west side. It is now occupied by an incredible restaurant where you can dine inside a piece of history.

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20th Century

The area really only came into being as we know it today in the 1930s. The rural farmland was redeveloped by the enterprising Aleman family. They foresaw the need for further residential expansion in the city. Soon, Polanco was covered in large mansions with pristine tree-lined streets.

During this time, various foreign communities also began migrating to this area of town. As it was brand new they were able to establish little community circles, Even today you can find vibrant Jewish, Spanish, German and Lebanese pockets inside Polanco. Polanco is where the majority of the city’s working synagogues can still be found.

Spanish Revival Polanco

The most popular architectural style for these new mansions was Californian colonial or Spanish Revival style. These houses are easily identifiable by their curved arches, white stucco walls, terracotta roof tiles, wrought iron work railings and window grilles, and fantastical courtyards with expansive arcades. You’ll see many examples of this along Campos Elíseos, Avenida Jules Verne and Champs Elysées.

Introduction of Modernism

Later on in the 1950s, we saw the explosion of functionalist style defined by functional building materials and low levels of ornamentations. Many buildings are nothing more than concrete slabs, steel sheets, and exposed wood beams. We can see examples of this with buildings like the National Conservatory of Music, the Franco-Mexican Lyceum, and the Spanish Hospital.

The Population Boom

The boom of population expansion in Polanco didn’t occur until after the 1960s. After the previously elite neighbourhoods of Roma and Condesa began to open up to lower-class families with the introduction of rent-controlled apartments, the upper class of those barrios were looking for greener pastures. Although there was still some free real estate, the solution to the large influx of people was to introduction luxury high-rise residential buildings. These were first introduced in the west end where large wide multi-lanes streets were built around these huge multi-storey apartments.

Mid-Century Modern

But my favourite aspect of Polanco’s architecture is the rise of mid-century design. In anticipation of the 1968 Olympics in Mexico City there were many new hotels built to accommodate the influx of visitors. During this time the cult of personalities would soon return to the streets of Polanco. Most notable is the Camino Real Polanco Hotel. This hotel became an icon of the Mexican Modernism movement. This style featured geometric shapes, bright, bold colours, sloping low-rise structures reminiscent of Aztec, pre-hispanic structures. While the Camino Real was the first of this kind of design, years later, the experimentation of Mexican Modernism would continue in buildings like the Museo Jumex, Sala de Arte Publico Siqueiros, Luis Barragán’s Casa Barragán, Juan O’Gorman’s Diego Rivera and Frida Kahlo’s Studio House and the Universidad Nacional Autónoma de México (UNAM) Campus.

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Where to Stay?

Camino Real Polanco Mexico $$

The Camino Real Polanco is a beautiful hotel/museum designed by renowned architect Ricardo Legorreta. The space opened its doors to the public on July 25th, 1968. It was famous for combining modern features with shapes reminiscent of pre-hispanic pyramids when it opened. Elements from these merge to create an architectural masterpiece! There is something so nostalgic about the 60’s decor, which is so atmospheric. Plus, as it is not a high-end luxury hotel, the rooms come at a reasonable price for the area! If you have a little more cash to spend, book one suite as the retro decor is incredible. The view out towards the best architectural features of the hotel is wonderfully highlighted.

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Orchid House Polanco $$$

Nothing feels more like Mexican royalty than a stay at the Orchid House Polanco. The Orchid House provides visitors with the exquisite feeling of being at home with the comforts of a hotel. Hidden away inside a 100-year-old mansion, the hotel is filled with blue and coloured stained glass, antique barro floors hand-painted with images of Don Quijote and Shakespeare. There are also neoclassic mouldings and rich, traditional antique pink cantera stone. Each room is exquisitely designed and features textiles and handmade decorations from local artisan communities.

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Walking Tour

To start the perfect morning in Polanco, you must head over to is owned and operated by Chef Enrique Olvera. Olvera is infamous in the Mexico City food scene as he is also the chef who put Pujol on the map! But unlike Pujol, which is hard to get reservations at and costs a pretty penny, Eno is far more accessible for the everyday traveller.

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At Eno, you can try a traditional Mexican breakfast, like a plate of the classic Chillaques Verde for only cost $7 US! Their daily selection of pan dulce (sweet bread) is incredible! At only $3 a piece, it’s worth ordering a few for the table to share.

Avenue Horacio

From here, let’s take a walk down Avenue Horacio towards our next stop. Avenue Horacio is a perfect example of residential life in Polanco. Tall and orderly, minimalist and functionalist buildings line either side of wide, tree-lined avenues. But unlike the rougher charm that avenues in Condesa or Roma have, Polanco’s avenues are pristine. American-esque evergreen trees tower over the tiled pathways.

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Plaza Uruguay

Before turning south, make a quick stop inside Plaza Uruguay. Marking the entrance to the park is a large statue of General Jose Artigas. General Jose Artigas fought in the Latin American Wars of Independence. He battled against the Spanish Empire and is considered a national treasure here in Mexico City. The park is a beautiful example of the green spaces introduced into Colonia in the 20th century. In the centre of the Plaza is a mammoth concrete sculpture. Water cascades down off the sides of the brutalist-inspired fountain which is surprisingly intriguing despite its simplistic design.

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Av. Isaac Newton

The next block over is the street named after physicist Isaac Newton. Head along this street towards the southwest. As we’ve noted before in the Historic Centre, Mexico City has an amazing collection of street names. Each neighbourhood has a different theme. In upper-class Polanco, many of the streets are named after famous authors, sciences and philosophers. You’ll find the authors like Oscar Wilde, Julio Verne, Dickens, and Hans Christian Andersen. Poets like Moliere, Tennyson, Dumas, and Edgar Allen Poe. They’ve honoured scientists like Galileo, Aristoteles and Newton all with their own streets. And finally, there are the philosophers Plato, Hegel, and Socrates.

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Parque Lincoln

Av. Isaac Newton ends at the corner of the great Parque Lincoln. While many large mansions in Polanco already had private gardens, Parque Lincoln was the first public park. This allowed all residents to feel at ease outside.

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Although naming the park after an American president might seem odd, Lincoln was very well-loved by Mexicans. Lincoln opposed the US invasion of Mexico during the 1840s and from that moment won over the Mexicans. The large statue of Lincoln, made by Augustus Saint-Gaudens, stands in the park’s center. It was a gift to the city of Mexico by US president Lyndon B. Johnson when he visited Mexico City in 1966.

The park was inaugurated in 1938 by President Lázaro Cárdenas. Back then it was called Parque de Polanco or Parque del Palomar. A Polmar is a “dovecote” or house for pigeons or doves. Originally, the famous Parque Lincoln Clock Tower was a simple dovecote where the city’s dove population would come to roost.

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Tianguis Parque Lincoln

If you find yourself in town on a Saturday, you’ll find the park awash with fuschia-coloured tarps. These can be spotted a mile away and mark the Tianguis Parque Lincoln or Lincoln Park flea market. Everything from flowers to ceramics and handicrafts can be found here! Everything from quesadillas, sopes, gorditas, pozole, carnitas, chilaquiles, fresh fruit and more can all be found here under the tents. The neighbourhood is a bit more upmarket, so while the food and goods aren’t as cheap as elsewhere the quality is also higher.

Sculptures

In addition to the statue of Lincoln, the park is filled with incredible sculptures. These outdoor works of art feature famous activists like Nelson Mandela and Martin Luther King Jr. Other sculptures are much more subjective and ask the viewer to interpret. My favourite is the woman intertwined in a root swirling around a city. Each tendril burst out of the ground.

Aviary

Hidden away inside the park, inside a beehive-shaped building, is the Parque Lincoln Aviary. The Aviary was originally built in 1938. Although it closed down for almost four decades, it has since come back into fashion. Entry inside is only $10 pesos (US 50 cents)! If you have kids, this is a great option to entertain them. Inside you’ll find over 20 different species of birds. There are peacocks, parakeets, sparrows, pigeons and, of course, even parrots—all leaving in harmony.

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Nelson Mandela Cultural Space

Across from the Aviary, you’ll see another white stucco building, this is the Nelson Mandela Cultural Space. Inside, music and dance classes are offered to people of all ages. Stop outside the windows to see if you can hear any guitars or violins being played. Listen carefully as you walk by as on quiet days the music echoes throughout the park.

Clock Tower

One of the most iconic images of Parque Lincoln is the clock tower that rises out above the trees. The Torre del Reloj or Clock Tower today is used as a public art gallery. But it is only open when they have a current exhibition on or not. Worth poking your head inside just to see.

Across the street, make a brief stop to see the incredible home at the intersection of Luis Urbina and Alejandro Dumas. Here you’ll find one of the finest examples of Colonial Californian design. The house was built for the lottery magnate Elias Henaine and designed by architect Eduardo Fuhrken Meneses. So many of these “Mexican” looking buildings were made for immigrants. Helaine, who was Lebanese, request this type of style as a means to “fit in” to her new home country.

Park of Mirrors

Another nickname for Parque Lincoln is “Park of Mirrors.” The names comes from the two famous reflecting pools on either side of Calle Julio Verne. Especially on the weekends, these reflecting pools are a popular spot where you’ll find model ship collectors. They come from all over to place their boats in the water for the viewing pleasure of the surrounding public.

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El Moro

Head north along with Calle Julio Verne. These three little islands across from the park, where traffic swerves around, are home to some of the chicest cafes and restaurants in Polanco. And many of them are pretty well priced for such a high-end area. Boicot Café is my fave coffee chain in CDMX and worth checking out if you need a caffeine pick me up! But the main reason to make your way around the central circuit is to check out the Polanco branch of Churrería El Moro.

The original Churrería El Moro, in the Centro Histórico, is the oldest churro restaurant in Mexico City, established in 1935. A Spanish immigrant was shocked upon moving to Mexico City that there weren’t any churro shops in town. So he started his own little churro cart he wheeled around. The treat caught on immediately and it didn’t take long for him to buy a permanent location where he opened his first shop. Since then the company has only grown with locations all over Mexico City.

Hot Chocolate Dip

The only way to eat a churro from El Moro is with a cup of hot chocolate. You take that hot piece of fried cinnamon dough and dip it right into the hot cocoa. El Moro has four types of hot chocolates; Mexican (traditional and light ), French (with vanilla), Spanish (sweet and thick) and Special (bitter). On the other hand, hot chocolate is as old as Mexico itself. The drinking of chocolate can be traced back to Aztec times and was often referred to as “the drink of the gods.” The churro and hot chocolate as the culinary interpretation of the blending of these two cultures.

Cafebrería El Péndulo

Make a quick detour east along Calle Virgilio and up Calle Alejandro Dumas towards the Polanco branch of Cafebrería El Péndulo. Cafebrería El Péndulo is my favourite book store chain in Mexico City. They have locations in Condesa, Roma and San Angel. If you spot one, you know this is a great place to rest your feet. There is no disputing that their Polanco location is the absolute penultimate in architecture and design. This store is famous for being one of the most popular Instagram locations in the city.

The towering bookshelves are framed by these long-hanging plants. Making you feel like you’ve entered a greenhouse that is growing books. The swirling wooden staircase with bright teal banisters frames the entire bookshop. The entire place just feels cozy, modern and vibrant all at once. The roof of the building is made of semi-opaque glass. This allows natural light to pour into the main gallery creating the ideal space for reading.

Cafeteria

The reason these stores are called “Cafebrerías,” is that each one comes complete with a small cafe. Couches and chairs dot the entire second floor where you can sit for hours, enjoying watching people peruse the book selection while enjoying a lovely coffee. I often Uber up to Polanco just to sit and enjoy a coffee inside El Péndulo. They have a great selection of English books. Therefore, I am never strong enough not to leave without a new book in hand. Something always calls my name.

Pasaje Polanco

Jump back across the street and pop and enter into the Pasaje Polanco. The Pasaje Polanco, originally named the Pasaje Comercial, is an open-air shopping centre. The ground floor is littered with chic tiendas (boutiques) and above this, there are residential apartments. Even if you have no interest in shopping, this building is an architectural wonder. It’s stunning but has a surprisingly complicated history.

Colonial Californian Architecture

The complex was opened in 1939 and designed by Francisco J. Serrano in what we now call Colonial Californian style. Serrano was the first to define the Colonial Californian architectural style. He frequently travelled to Los Angeles to purchase films for a movie theatre he owned in Mexico. Everywhere he looked in Los Angeles, he saw a style called Spanish Colonial Revival. This style featured red-tiled roofs, arched passageways, iron-grille windows, Talavera tiles, and white stucco. But anyone looking at this can clearly see the Mexican influence. But by referring to it as “Spanish,” it held a more European cache to Americans who looked down on Mexico. Calling it Spanish Colonial design erased the true influence that Mexican art and architecture always held in America. 

This style would define the Californian architecture of the 1920s. It was so popular that a few years later, it was adopted here in Mexico City. But instead of drawing from their history, they took on the naming convention of ‘Colonial Californian’ architecture. And continued to be inspired by the more watered-down version of their past. The blueprint of these Californian buildings was fairly standardized. They consisted of the elements mentioned above and also featured a large interior courtyard. This courtyard was where shops would be installed on the ground level. While above, apartments would be built that would look out onto the semi-private courtyard below. Today, everyone has to admit the architecture is absolutely beautiful. But it’s a fascinating history to see how Mexican designs became Americanized. And then returned back to Mexico but as a shadow of their former self.

Avenida Presidente Masaryk

Exit visa Avenida Presidente Masaryk and make sure to take a second look back at the facade of the Pasaje Polanco as it’s truly spectacular from this vantage point. Avenida Presidente Masaryk is home to some of the country’s most prestigious and expensive restaurants and boutiques. It is considered the most exclusive avenue in Latin America, the Mexican version of ‘Rodeo Drive‘.

The Avenida Presidente Masaryk, is named after a Czech president Tomáš Masaryk. Tomáš Masaryk was the first president of Czechoslovakia when it became an independent country. Mexicans deeply revered countries that became independent as they themselves know the power that comes with independence. But the other reason Presidente Masaryk is admired in Polanco is due to the large Jewish community that lived here. Masaryk was a staunch defender of the Jewish people in Czechoslovakia. A statue of President Masaryk was donated by Prague in 2000 and installed along the street bearing his name. The same statue can also be found outside Prague Castle. Linking the two countries forever.

La Casa del Pastor

If you’re hungry and aren’t looking to spend a fortune, head to La Casa del Pastor. This little taco restaurant sits in one most exclusive areas in the city. And yet at around 40 pesos/taco (US $2) it’s very reasonably priced! You fill out a little paper sheet and tick off how many of each taco you’d like to get. There is such a huge selection of options here. The tacos pastor are their specialty. But you can also try Pollo (chicken), bistec (steak), Costilla (rib), lomito adobado (marinated tenderloin), chorizo, vegetarian and more! Honestly, when you see a menu this deep, you know the quality can’t be the best, but you really can’t beat the locations.

Don’t fill up too much as we’ll pass by another popular taco spot later. But in case you just want to sit and enjoy the view this place won’t break the bank! Get a spot on the patio if you can and you’ll really get your money’s worth.

Shopping in Polanco

From here, you can continue west along Av. Pdte. Masaryk where our tour continues, or you can take a break to do some shopping. I am working on the entire post of my favourite shops in Polanco that aren’t just international luxury brands. But in the meantime, if you’re looking for unique shops to check out, you can head east to Uriarte Talavera Polanco. Uriarte Talavera Polanco has some of the best ceramic tiles from Puebla, Mexico. The shop was established in 1824 and features classic designs and modern takes on the world-class pottery made in Puebla.

As mentioned before, Xinú Perfumes is the most incredible perfume shop. One of the most transformative experiences I’ve ever had. And on top of that, the staff were incredibly kind. There was no pressure to buy of the judgement of your financial status when you walked in. Something I’ve definitely experienced in high-end stores like Louis Vuitton, Cartier or Dolce & Gabbana found in Polanco. Xinú’s philosophy is that it appeals to our olfactory memory. Their perfumes were all unlike anything I had smelled before, and so rich even a tiny whiff transcended me into another realm. It’s well worth the price tag but honestly pretty reasonable when it comes to high-end perfume.

IKAL is a beautifully curated store featuring burgeoning designers’ contemporary design objects and clothes. Lots of modern and handmade pieces to be found here and even if the price tag is pretty steep, you feel inspired just browsing.

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Americas Park

If shopping isn’t your thing, head north along Alfredo de Musset towards Parque America. Parque America or American Park is a shady and vibrant park where the community comes out to play. Many people are out skateboarding, doing martial arts in the square or just relaxing with ice cream on one of the many comfortable benches. Locals mill about walking their dogs and chatting with each other about the latest gossip.

In the park, you’ll find a statue of Paul P. Harris. Harri was an American lawyer from Chicago, Illinois. He founded the club that became the humanitarian organization Rotary International in 1905. The park is another spectacular sight during the Jacaranda season which the purple trees bloom encircling the park in a colourful ring.

St. Augustine Parish

Towering above the conifer trees and leafy palms is the arched roof of the Church of San Agustín. This church is such a unique architectural wonder. It was designed by Leonardo Noriega and engineer Juan Valero Capetillo in 1949. The church’s facade features this monumental stone front. Most notable for the six hollow arches framing the pinnacle. The concave dome above the entrance to the church is adorned with reliefs. They feature images of the first seven Augustinians who arrived in America.

TANE Instagram Wall

Head back or continue to walk west along Avenida Presidente Masaryk. Here is where you can peek into the windows of some of the most expensive and exclusive stores in all of Mexico City. Hermes, Louis Vuitton, Montblanc, Rolex, Cartier and more. The windows displays here are always stupendous, so don’t be shy about taking a look. But one of the most photographed places in all of Mexico City has got to the be outside Tane. This jewellery store’s bright pink-painted facade also features a wall of fence cacti. Framed within the cacti is a vibrant neon sign which screams, “Mexico Mi Amor” or Mexico My Love. Almost everyone who passes by loves to get a snap in front of it! And honestly, who can blame them?

El Turix

Our second taco stop of the day is at El Turix. Winding down a little side street, this unassuming, practically standing-room-only restaurant is a hidden gem of the neighbourhood. El Turix specializes in cochinita pibil, a taco variation that comes from the Yucatán Peninsula. Cochinita pibil is made from a fatty slab of pork shoulder that has been slow-cooked until it just falls apart. It is marinated in achiote paste which lends a peppery flavour to the meat. The meat is also marinated with oranges to give it a sweet accompaniment to the slightly bitter achiote. Even after cooking, the pork is left to soak in the marinade juices. This gives you a slightly messy taco, but you’ll eat it up so quick you will barely notice! Tacos are only $18 pesos (less than US $1), so you can load up!

Iglesia de San Ignacio de Loyola

Head back up to Avenida Presidente Masaryk and continue north along Avenue Moliere. On the left side of the road, hidden behind a startlingly large, stark white wall, is the San Ignacio de Loyola Church. Turn just around the corner of Avenue Horacio, and suddenly the modernist church reveals itself to you. The church was completed in 1961 by famed architect Juan Sordo. Its sharp triangular structure is covered in handmade yellow ceramics. In the sunlight it shines like gold in the light of day.

If the church is open, be sure to step inside the Jesuit temple. Walking inside the incredible stained glass window bathes the atrium in rainbows of light. The metal gables that hold up the roof create this intricate web of metal above your head. It is truly one of the unique churches in the city and a little secret many people don’t even know if there.

El Palacio de Hierro Polanco

Another modernist architectural marvel of Polanco is El Palacio de Hierro. Located just across the street from the church. El Palacio de Hierro has been open since 1891, but their original flagship store is located in the Historic Centre. But their history dates back even further. In 1850 Frenchman Victor Gassier moved to Mexico City and opened Las Fábricas de Francia, or the Factories of France. The shop sold the best of french fashions imported from Europe.

El Palacio de Hierro History

Gassier joined forces with Alexander Reynaud in the 1890s to build Mexico City’s first upscale department store. They were inspired by Le Bon Marché in Paris, Saks Fifth Avenue in New York and Harrods in London. The name “El Palacio de Hierro” means the Iron Palace. It was given this nickname after opening since the department store was the first iron and steel structure to be built in Mexico City. People would pass by during its contribution in awe of the modern building materials. The company took advantage of the publicity by renaming the company El Palacio de Hierro.

The Move to Polanco

Eventually, the store outgrew its location in the Historical Centre. The company wanted to aim not only to expand but bring in more expensive stores to serve a different type of clientele. In 2016 to spent US$300 million to build the new El Palacio de Hierro here in Polanco. The shopping mall is spread out over 55,200 square metres and is the largest department store in Latin America!

Soumaya Museum

Continue north and turn west along Ejército Nacional Mexicano. This busy street is replete with Jacaranda trees come to the springtime! Turn up north along F. C. de Cuernavaca, where you have a spectacular view of the Soumaya Museum as you approach. The Museo Soumaya is one of my favourite types of museums. It is not controlled and operated by the government but instead features one man’s private collection. 

Carlos Slim Helú

Carlos Slim Helú is a Mexican telecommunications magnate. From 2010 to 2013 he was ranked by the Forbes business magazine as the richest person in the world! He is even the largest single shareholder of The New York Times. As such, the man can afford a lot of really, really high-valued art. 

Slim named the ‘Soumaya Museum‘ after his wife, Soumaya Domit, who died in 1999. Carlos wanted to share his art with the public. Instead of just keeping it to himself. The collection was so important to his wife and sharing it with the world felt like a way to keep her alive.

But Carlos wanted to give access to these incredible works of art to everyone, no matter their class or financial status. Therefore, the museum is FREE to enter. And not just on Sundays, like some of the other city museums, but EVERY DAY. 

Architecture

The museum is located inside the Plaza Carso. It is also considered one of the most attractive modern architectural structures in all of Mexico City. Designed by Mexican architect Fernando Romero but engineered by famed architect Frank Gehry. Those who know Frank Gehry‘s work, you can almost identify the building straight away. There are so many iconic elements in the design. The building seems to be twisting itself straight out of the ground. Over 16,000 hexagonal aluminum tiles were used to cover the exterior. To hold up all these tiles, an exoskeleton was built with 28 vertical curved steel columns and seven beams encircling the structure. This design was inspired by offshore oil rigs. Not surprisingly, the building cost almost $800 million to build. A testament to Slim’s enormous fortune that he could afford such a construction.

Interior

The museum contains over 66,000 pieces of art valued at over 700 million dollars! The collection features art from all different periods and artists all over the world. There are religious relics, European masters, Mexican artists, and even the largest collection of pre-Hispanic and colonial-era coins. I adore personal collections since they truly tell a story about the owner. What Slim and his wife were drawn to, what they were passionate about.

And what they wanted to see upon their walls or in their home. The collection features the largest group of sculptures by Auguste Rodin outside France. Slim’s wife loved Rodin more than any other artist, and their collection is a testament to this love.

When you enter the building, you pass through a narrow entryway into the building that soars up around you, like entering through the pin of a needle. You walk inside into this giant wide open space. Since the building has no window, you are led up to the top level in this spiral. Every one of the six different floors has a unique shape. Walking through the galleries, you almost feel like the art is closing in on you as you reach the top, where suddenly you step into this sun-drenched gallery. The rooftop is made with glass, so sunlight casts itself down into the gallery during the day.

Dining in Polanco

To end your evening in Polanco, you need to book yourself an incredible meal. Now don’t get me wrong, there are plenty of fine dining restaurants in Polanco that will be a real splurge, but you can also opt for something much more affordable if you want. You don’t need to splash out. But if you’re looking for a once-in-a-lifetime meal, this is the place to have it!

Pujol $$$$

Pujol is by far the most popular restaurant, not just in Polanco but in all of Mexico City. In 2021 it moved up to #9 on the list of the World’s Best Restaurants! Chef Enrique Olvera created Pujol in 2000 and almost right away wowed the culinary world. His aim was to showcase Mexican cusine and the country’s rich history. Reservations are tough to get, so try to plan your visit about three-four months in advance.

Pujol History

Today chef Jesús Durón has taken over for Olvera but has continued to refine the incredible flavours and come up with new culinary adventures. The menu’s aim was to take traditional dishes and transform them into the modern era. The most famous of their dishes are their Mole Madre and Mole Nuevo. ‘Mole’ comes from the Nahuatl word ‘mōlli’ meaning “sauce,” and has traditionally been used in Mexican cuisine for centuries. Pujol’s mole features a dark “mother mole” which has been aged for around 2,500 days. The mother mole is served within a ring of the “new mole” with a side of tortillas you use to taste the mole all on its own to really appreciate and experience the flavour. The traditional tasting menu costs around $2000 MXN ($100 USD) without alcohol.

Taco Omakase Meal

When we visited Pujol, we booked a seat for their taco-omakase experience. Omakase means “chef’s favourites” in Japanese and features a rotating 10-course featuring truly experimental takes on the conventional idea of a taco. The entire meal takes place inside their incredible glass dining room, which looks out to their natural gardens, where they grow many of the ingredients for the menu. The whole course was over 3-hours long and was more of an experience than a meal. Taco Omakase Menu costs around $3000 MXN per person ($147 USD) and includes alcohol pairings.

Quintonil $$$$

If you don’t manage to get reservations at Pujol, another incredible dining experience can be found at Quintonil. Quintonil was opened by Chef Jorge Vallejo, who started off at Pujol, where he made a name for himself. Quintonil takes the concept of showcasing Mexican flavours and turns the dishes on their head. Most of the ingredients on the menu are harvested literally 30 meters from where you’re sitting. They do offer a tasting menu with over 10-courses. This will cost you $3,280 MXN ($160 US) or with the alcohol pairing $5,235 MXN ($255). But if this is too expensive, you can also order from their a-la-carte menu with dishes ranging from $200-$500 pesos.

El Bajío $

If you’re still looking to enjoy a traditional Mexican meal but can’t spend upwards of $100 per person, El Bajío is a fantastic choice. El Bajío was founded in 1972 by Raúl Ramírez Degollado and Alfonso Hurtado Morellón who brought traditional Mexican cuisine from Veracruz to Mexico City. They have a huge patio and a large, airy interior decorated with traditional Mexican arts and crafts. The portions are enormous, and the atmosphere feels like dining inside a big family kitchen. Dishes here cost around $165 MXN ($9 USD). And there is even a surprisingly exciting kid menu to choose from, making it such a great place to come as a family.

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Autocinema Coyote

While many people will love to spend an evening in Polanco at chic bars like Gin Gin and Limantour Polanco, I prefer something a little different. In the north end of Polanco, behind a rather unseemly looking fence, is one of the coolest retro gems of the city; the Autocinema Coyote. Since 2011, the Autocinema Coyote has been the only drive-in movie theatre in Mexico City. But in addition to cars, there is also a little outdoor seating area where visitors without vehicles can spread out and enjoy a movie under the stars and enjoy a classic drive-in experience.

Autocinema Coyote plays everything from new releases to cult classics well into the evening. Sometimes when they show the old classics, people will show up in costumes and even perform along with the show! It’s such a great atmosphere. Check their website for the latest showings and which times are playing the films with English Audio, otherwise it’s usually dubbed in Spanish.

I hope you enjoyed this walking tour of the upscale streets of Polanco, Mexico City’s most exclusive neighbourhood. Let me know in the comments where your favourite stop was. Or if you have any particular stops you always make in this part of town!

Happy Travels, Adventurers

References

El Universal | LA Times

The post Self Guided Walking Tour of the Upscale Streets of Polanco: The City’s Most Exclusive Neighborhood first appeared on The Creative Adventurer.

Table Of Contents

1. Mårten Trotzigs Gränd
2. Black Friar Tombstone
   • Svartbrödraklostret
3. #23 Baggensgatan
   • Magnus Ahlström
   • Underground Excavations
4. #14 Kindstugatan
   • Lieutenant Storm
5. Stockholm Bloodbath
6. #20 Stortorget
7. Tjuvakällaren
8. Siskeburen 
9. #24 Västerlånggatan
   • Ghost Cat
10. Stockholm Royal Palace
11. Storkyrkobrinken
12. Bonde Palace
13. Riddarholmen
14. Stockholm Cityterminalen
15. Nya smedjegården
16. Rosenkammaren
17. Stora Barnhuset 
18. Schefflerska Palace
    • The Death of Knigge
    • Gustaf Sandström
19. The Käpplinge Murders
20. Brunkebergstorg
21. van der Nootska Palace
    • Mermaid Melusina
    • Jean Jahnsson
22. Stockholm's Bysättningshäkte
23. Kolerakyrkogården
24. Galgbacken
25. Skogskyrkogården
    • Sculptures in the Park
26. Happy Travels Adventures!
    • References

This guide is laid in geographic order. You can easily explore each location in one long walking tour or split the visit up into the various neighbourhoods and/or districts around Stockholm.

Mårten Trotzigs Gränd

Stockholm’s old town, or Gamla Stan, is a great place to start your tour. This part of the city dates back to the 13th century and still contains many 17th and 18th century buildings. The streets are dense with history and ancient spirits. Make your way along Västerlånggatan to the iron gated entrance to Mårten Trotzigs Gränd. This narrow alley, thick with graffiti, looks from afar like nothing special. But entering the lane at night, you’ll notice how dangerous and eerie this cramped walkway really is. The path has 36 steep steps, which spread only 35 inches wall to wall, making it the narrowest alley in Stockholm.

The stairs were named after merchant Mårten Trotzig. Trotzig owned several properties around the area and he commisionned the staircase in order to be able to better access them. He was a copper and iron merchant and one of the richest men in Stockholm. But with such a large purse of gold, came those who would try to steal it. And in 1617, he was beaten to death in nearby Kopparberg. His untoward death perhaps cursed the staircase, and these stairs would become the scene of many deaths to come.

Famously people would be robbed at the top of the stairs after exiting nearby brothels. The stairs were a prime location for thieves as the drunkards would be struck on the head and then pushed down the stairs. This allowed the thieves to get away with murder as the fall looked like what killed the men and would disguise the killing blow. Therefore there would be no one to suspect foul play. After pushing the victim down the stairs, the thieves would run away into the darkness of the night.

Often the women at the brothels were accomplices to these murders, identifying particularly rich patrons to the criminals outside. After a rash of these deaths, the authorities finally started to catch on and patrolled the area around the stairs. Eventually, the jig was up. Although the stairs are no longer the location of robbery and muder, there is still a spooky atmosphere here, which seems to boil up with the spirits once killed on these stairs.

Black Friar Tombstone

At the top of the Mårten Trotzigs Gränd, head east along Prästgatan and turn north up Södra Benickebrinken until you reach Svartmangatan. Stockholm’s old Black Friars’ Monastery was once located on the west side of Svartmangatan. Look out for the black iron door along Benickebrinken street. This rather unassuming entrance leads to the ancient vaults of the old Black Friar Brotherhood Monastery. Visitors can still visit the catacombs by private guided tour with the Medieval Museum in Stockholm. 

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Svartbrödraklostret

The Black Friars’ Monastery or Svartbrödraklostret was built in 1336. They were named the “black friars” due to their attire, which featured black, hooded robes. Despite the order being funded by the previous King Magnus IV in 1337, the new Swedish King Gustav Vasa, who reigned in 1528, wanted them out. By order of the King, the monastery was demolished in 1547. 

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Hundreds of years later, in 1930, when the St. Nikolai school was being erected, construction workers unknowingly dug up the bones of the monks who had been buried here for over 500 years. The construction workers were so shocked when they uncovered this gruesome discovery that they hurriedly moved all the bones into one mass graves, without another thought. But shortly after doing so, the construction workers reported having terrible visions and hearing voices down in the vaults. When they would follow the cries, they found them to be echoing from the mass grave. Most workers were scared right off and didn’t return. Clearly, they wanted to be returned to their original resting place.

The one tombstone which marks the spot is engraved with the text, “Here are the remains of Swedish Dominican monks in the Old Town. They were found at the foundation excavation of the St. Nikolai school’s new building in 1932. Rest in peace.” But it doesn’t sound like they are at peace at all. Still to this day, people have been known to hear their sorrowful cries, echoing through the vaults.

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#23 Baggensgatan

Following in the footsteps of the Black Friars, make your way to Baggensgatan. The lower part of Baggensgatan leads to the Black Friars’ Monastery entrance, and many of the friars lived along this narrow street. Walk along Baggensgatan until you come to number 23. This house looks pretty unassuming, but the history behind these walls is rich with ghoulish tales. Building number 23 was located right about the vaults of the old Black Friars’ Monastery. After Gustav destroyed the monastery, legend had it that the friars had hidden all their earthly treasures inside the vaults. Before the destruction, they had hidden the entrance to these catacombs so no one except those in the brotherhood could find them. After hundreds of years, this was in the hopes that they could return to power and recover their riches.

Magnus Ahlström

In 1762 the building was bought by captain Magnus Ahlström. The house went by the name Ahlströms jungfrubur or “the Maiden Cage of Ahlström.” If the name didn’t give it away, it was indeed a brothel. He described the house as a “virtual temple of Venus with space for the priestesses on all three floors.” The brothel was such a popular spot on the street that the stone stairs leading into the house are more worn down from foot traffic than any others along the road.

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But Ahlström’s penchant for the darker side of the law didn’t stop here. He was obsessed with the rumours around the hidden treasure and brought this building for that very reason. Ahlström hired a group of miners to dig down and down into the foundations of his house to access the hidden friar tunnels. He placed armed guards at the entrances to tunnels to prevent the miners from escaping with the treasure for themselves.

Underground Excavations

After weeks of unsuccessful excavations, he came down to find the miners had disappeared even though the guards had never seen anyone leave the tunnels. They searched the tunnels for weeks, but no sign of the miner was found. Still, to this day, residences Baggensgatan say they can hear the sound of pick axes digging long into the night. Perhaps the Friars cursed the treasure. Any of those who weren’t worthy of retrieving it would be sentenced to forever searching for it, even in death.

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#14 Kindstugatan

In the medieval period in Stockholm, swordfights were among the most popular ways to resolve disagreements amongst the menfolk. Usually, these duels ended without too much bloodshed, but on the night of August 12th, 1674 poet Lasse Lucidor wasn’t that lucky. In fact, his nickname was “the unlucky one.” Lucidor had gotten into a fight with the bartender of the basement pub, which once resided here.

Lieutenant Storm

The bartender refused to serve the poet until he paid the rest of his tab, knowing all too well that he didn’t have the coin to afford even what he had already drunk. Hoping to break up the fighting, Lieutenant Storm approached the drunk poet in the hopes of simply asking him to leave without a skirmish. But thinking the Lieutenant meant to harm him, Lucidor drew his sword, not a smart move since he was a lover, not a fighter. Lucidor swung widely at the Lieutenant, but only managed to give him a scratch on the arm.

Now filled with rage at this seemingly mad writer, Storm stabbed him through the heart, a fitting end for a poet. He was buried in an unmarked grave in Maria Magdalena graveyard, a common practice for those too unfortunate to have a tombstone of their own. But those buried in unmarked graves are often unsatisfied with their existence being so poorly remembered. These unnamed spirits haunt the spots where they met their untimely end and walking along Kindstugatan see if you can hear the sorrowful poet’s death wails as he morns for his soul into eternity.

Stockholm Bloodbath

Walk west until you reach the main square in Gamla Stan, Stortorget. Stortorget in Swedish means “the Grand Square.” Surrounding the square are some of the most regal and colourful 17th and 18th-century buildings. In the middle ages, this intersection was the Times Square of the period. While the cobblestoned square is as charming as can be, this ancient part of town is also home to one of the most notorious bloody crimes of Stockholm’s history; the Stockholm Bloodbath of 1520. 

The Stockholm Bloodbath was the real-life inspiration for Game of Thrones “Red Wedding.” When Danish King Kristian II invaded Sweden and took the throne, he needed to cleanse the court of anyone who opposed him. 92 members of the nobility were brought to the main square in Gamla Stan. There, they were accused of treason and were beheaded and hanged one by one. Onlookers said there was so much blood it soaked the ground for months and flooded the entirety of Stortorget. The executions were such a long process, they occurred over three days from November 7th to November 9th, 1520. Now, in November, residences have reported seeing the blood still flowing in the square, lit by the moonlight, it disappears the second someone tries to touch it. 

#20 Stortorget

One of the buildings nearby, which is painted red, contains 92 white stones, surrounding the window panes. Each stone represents the soul of one of the Swedish nobles who perished during the Bloodbath. Legend says that if these stones are removed, that soul of that person will rise from the dead and haunts the streets of Stockholm.

Tjuvakällaren

Where the Nobel Musem now stands was once the spot where you’d find the old Rådstugan or Stockholm Town Hall. The town hall stood here from 1471 to 1772. Inside is where you would find the Siskeburen or detention centre and the Tjuvakällaren or thief’s cellar. The Tjuvakällaren was located in the depths of the medieval basement. The basement was a disgusting place, where the sewage from the rest of the city would collect and was never cleaned. Prisoners were chained to massive logs, beaten and tortured. Some would be pressed up against the walls, which were known to get so cold that the prisoners would freeze onto them.

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Siskeburen 

The Siskeburen was located on the first floor of the town hall and was a much less brutal place for prisoners who awaited their fate. The name comes from the Swedish word for “cage,” as the chambers used to keep the prisons looked like tiny cages. Often one of the more common people you’d find here were women waiting to receive their punishments for infidelity. The church at the time controlled who married who as a means for regulating their power, ensuring families were marrying “their own kind.” This resulted in many unhappy marriages, and therefore adultery was pretty common, but can you blame them? Women accused of cheating would be stripped naked and forced to walk with stones strapped to their backs to the gates of the city. There, they would be banished and could never return. 

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In front of the Siskeburen, you could find the Copper Matte or “pole of shame.” The pole was topped with a copper sculpture of a man wielding a large crop of rice. This statue was meant to warn citizens to follow the rules as disobeying would result in harsh punishments. It stood here from 1603 to 1776. The word “matte” comes from the name of the mayor at the time, Mathias Trost, who was a strict ruler and who the statue was also modelled after. You can now find the Copper Matte statue on display inside the Stockholm City Museum. 

#24 Västerlånggatan

Västerlånggatan, in the middle of the busy tourist neighbourhood of Gamla Stan, is home to the chic little shop Iris Hantverk located at #23 Västerlånggatan. But above the doorway into the store is an old stone frieze with a rather fascinating story behind it. The legend goes that one day a ship’s captain was lost at sea. The captain was tossed overboard when he was saved by a beautiful water sorceress. She brought the captain down to her castle under the waves where she nursed him back to health. In exchange for returning the captain to his ship and his safe return home, she gave the captain a letter to deliver immediately upon his return to Stockholm. The letter was addressed to Mr. Måns at #23 Västerlånggatan. 

Ghost Cat

But when the captain returned to Stockholm, he forgot all about the message. He spent the majority of his day focused selfishly on unloading his ship’s cargo. When he finally got around to posting the letter, the homeowners told him that the only person named Mr. Måns at that address was a cat. Puzzled but thinking he should still deliver the letter, he went to find the cat.

Once he placed the letter in front of Mr. Måns, the cat began to cry and then proceeded to scratch the captain to death. After attacking the man, the cat sorrowfully jumped out the window where onlookers saw him turn to stone. You can still see Mr. Måns on the frieze above the doorway at #23 Västerlånggatan. No one will ever know what was written in that letter since it was written in a language no one could understand, so we are only left to wonder what kind of sorcery cursed the poor cat.

Stockholm Royal Palace

Stockholm’s Royal Palace is home to more than one of the city’s famed ghosts. The first is the White Lady or Vita Frun. But unless you have some Swedish royal blood flowing through your veins, you probably won’t spot her. The White Lady is known to only appear to members of the royal family, warning them of a royal’s imminent death. She is said to wear a long white dress, a veil covering her face, wit dark gloves covering her ghoulish hands. In those hands, she clutches a large key ring which she uses to get into all 1,403 rooms inside the castle. She has appeared to both King Oscar II, Princess Eugenie, Princess Margaret and Queen Silvia. Even those not in the royal family have been known to hear that unforgettable ghostly clinking of keys as she glides throughout the hallways of the darkened castle.

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The other of the palace’s ghosts in the old Gray Man or Grå manner. The Grey man is reportedly the ghost of Stockholm’s founding father Birger Jarl. Birger Jarl is said to appear in front of the new rulers every time they take the throne. Birger Jarl originally built his fortress on the very same spot where the Palace is located today. One can only wonder if he haunts the castle, ensuring that the rulers of his kingdom are truly worthy.

Storkyrkobrinken

Storkyrkobrinken was once better known as Helvetesgränd or “Alley of Hell.” This area was located north of the main church and, therefore, “the northern side of the damned.” It was a street that frequently saw criminal activity and was rampant with suicides. The city’s executioners were known to live on this very street, ensuring it’s dark history for the ages. Swedish executioners were given their own apartments, but this luxury came at a high price. All executioners were men who were themselves condemned to death. In exchange for a period of freedom, they served as executioner, a job otherwise too gruesome to find willing applicants. The men were marked to guarantee everyone knew who they were. Both their ears were cut off, and they were branded with the city’s crest. 

Their employment would only end when another prisoner took their place. This new prisoner, also sentenced to death, would come to the executioner’s apartments and murder the previous executioner. But what a life to lead, knowing that your days were numbered and that death lurked in the very room you lived in. The apartment was destroyed in the 18th century, but the dark mark of their residence still resides in the area.

Bonde Palace

Just outside Bonde Palace is where Hans Axel von Fersen was beaten to death, in 1810. Hans Axel von Fersen had served both King Gustav III and his son King Gustav IV. But when Gustav III died, his son was exiled, and Christian August of Augustenburg was put on the throne. Fersen was frequently heard opposing this election as his support directly lay with Gustav IV. When Christian August died shortly after his coronation, Fersen was suspected of foul play. The 1800s weren’t a time for philosophical investigation, and Fersen was attacked by an angry mob and lynched outside Bond palace. Fersen was always loyal to the realm, and his ghost is still thought to haunt these streets in search of revenge.

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Riddarholmen

Riddarholmen Church is located on its own island just west of Gamla Stan. It was once a former medieval abbey built in the late-13th century for the Greyfriars. Since the church was always one the grandest in the city, it has long been the site for royal burials. One of these royal families was the Torstensson family, whose vault is known to be one of the most haunted spots in the city. 

At night, employees have been known to hear banging and knocking coming from inside the tombs. There also have been rumours of footsteps and heavy breathing coming from the other graves. Almost as if they are clamouring to get out.

Stockholm Cityterminalen

Head over to the Stockholm Cityterminalen, where you have access to a myriad of different train lines. Standing on these platforms, unusually late at night when there aren’t too many people on the platform, you might get the chance to spot the elusive “ghost train.” This silver-coloured train is known to stop at various stations along the track. But be warned, do not get on. This train isn’t headed anywhere the living wants to visit.

The train goes by the name the ‘Silver Arrow‘ or ‘Silverpilen’ due to the aluminum exterior. This ghost train is thought to carry the souls of the dead to an abandoned station in the middle of the forest. This station, known as Kymlinge, does, in fact, exist. It was built in the 70s to service rural parts of Stockholm, but construction was abandoned after it was deemed unnecessary. Today, residents warn visitors to be wary of getting on any train that looks like the silver arrow as the living will get stuck in an infinite loop as the train is meant only for those already dead.

Nya smedjegården

The Nya smedjegården, also known as the New Blacksmiths’ Yard, was one of Stockholms’ most notorious prisons. It operated between 1636 and 1896. The building once stood on the corner of Drottninggatan and Barnhusgatan, which is now a seemingly perfect residential area. But gaze into the past, behind every corner store and apartment building, and you’ll find a dark history.

The Nya smedjegården prison was built to contain the overflow from the dungeons of the old royal castle, Tre Kronor. Prisoners brought here were made to work in the smithy as part of their punishment. Back then, there was no distinction made between crimes, which meant that men, women, big thieves and first-time criminals were mixed. Making it an extraordinarily dangerous place to be for all those incarcerated.

Rosenkammaren

But the most shocking part of the Nya smedjegården was the Rosenkammaren or Rose Chamber. Despite the flowery name, this room was better known as the torture chamber. It was often filled knee-deep with freezing cold water. Prisoners were chained from the ceiling and suspended into the icy pools. It wasn’t until 1772 that torture was abolished by Gustav III, and the torture chamber was destroyed.

Stora Barnhuset 

But the dark nature of the building had been imprinted on the earth, and even after the prison changed hands, the wicked spirits which haunted location stayed on. In 1624 the prison also served as a children’s workhouse and orphanage called the Stora Barnhuset or “Great Children’s Home.” But it was anything but great for those poor souls trapped there. The workhouse was poorly run, and abuse was rampant. In 1770 there was a great scandal that revealed that staff kept the children half-starved and sold the food donated by the state. The mortality rate was extremely high, and hundreds of little children met their mournful end here. 

Gustav III was extremely sympathetic to the horrible conditions these children were living in. He decreed that children placed in the orphanage would only be there temporarily until a foster home could be found. From 1785 onward, children didn’t spend their entire lives within these haunted walls. Instead, they stayed there only for a couple of months before a permanent home could be found. The orphanage itself was finally closed in 1922, but the tormented spirits of both the prison and the orphanage remain.

Schefflerska Palace

Walking along Drottninggatan, you’ll reach Schefflerska Palace locked away from the public behind a set of tall, teal gates. Since the Palace is closed to visitors, this is the best way to get a look at this spooky manor. The palace has been so notorious haunted that it even goes by the name “Spökslottet,” which in Swedish means “haunted house.”

The Schefflerska Palace was built by a wealthy merchant in 1690. Almost as soon as it was made, it was proclaimed as being haunted. Guests who visited the house would report hearing strange music coming from unoccupied rooms. Windows and mirrors were also known to break no reason. People thought one of the reasons the house was so haunted was that owner Jacob von Balthasar Knigge, was reportedly a devil worshipper. Beneath the palace, they said he kept skeletons, buried treasure, and the victims of his devilish rituals. 

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The Death of Knigge

Although officially Knigge died in bed in 1796, legend has it that on that night neighbours saw him getting into a black carriage with flames which spurted forth when they took off. The carriage was being driven by a massive black creature with horns and a tail. It carried him into the night, never to be seen again. His body is said to be buried at the Adolf Fredrik cemetery, but until someone can dig it up to see if he’s really there, the legend lives on.

Gustaf Sandström

Long after his death, strange things continued to happen inside the palace. In 1879 Gustaf Sandström, a famous opera singer, was a guest in the home. That night, for reasons no one could comprehend, he committed suicide. Later a young couple was murdered in the same room and their bodies hidden behind a bricked-up wall. They were only discovered years later, too late to look for a suspect.

A priest was finally brought to the palace to investigate the strange occurrences. While trying to exorcist the demons, he felt an ominous, invisible presence enter the room. He was thrown out a glass window by the unseen entity. Although he survived, he never returned as the darkness which possessed the house was too strong. The area around the palace is known as Spökparken or ‘the Ghost Park.’ With the city seemingly getting on board with officially labelling the area as being “ghostly,” it’s hard to see this as just a legend.

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The Käpplinge Murders

In 1389 the tensions between the Germans (who supported Albert, King of Sweden) and the Swedes (who helped Margaret I of Denmark) were brought to a boiling point. On June 14th, 1389, German soldiers and merchants gathered in Gamla Stan and read a list of who they deemed traitors aloud in the square. Once the traitors were gathered up, they were put on a boat and sent over to Käpplingeholmen (now Blasieholmen). There, inside a large barn, they were burned alive. Walking along this street at night in the winter, you’ll often find fire barrels lit to keep the populace warm. However, the Käpplinge ghosts don’t take too kindly to this, and people have been known to still hear their angry screams on cold winter nights.

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Brunkebergstorg

Brunkebergstorg is a square in the Norrmalm district in Stockholm’s inner city. The square was once lined with fashionable shops in the 19th century, but early in the 20th century, it became Norrmalm’s commercial center. That being said, 500 years ago, this square served a much darker purpose. This was one of the central locations for public executions in Stockholm. One of the most gruesome ones was the murderer of King Eric XIV‘s secretary Martin Olai Helsingius. Martin Olai Helsingius had pleaded with the king to pardon his predecessor, Jöran Persson, who had been accused of the looting of Svartsjö Palace in 1597. Eric was appalled that his new secretary was trying to protect the acts of a known criminal and Martin was sentenced to death for treason.

But Martins’s punishment was more severe than even Persson’s (who had actually committed a crime). Martin’s ears were nailed to the gallows, and after he was hanged, he was taken down just in time to keep him alive. His body was then set upon the breaking wheel, where he was tortured. Finally, after hours of terrible suffering, he was beheaded. His body nailed to a stake in the square where the public could observe him as a horrendous warning for others who would oppose the king.

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van der Nootska Palace

In the middle of the hipster neighbourhood of Södermalm, you’ll find one of the most impressive event venues in the city, van der Nootska Palace. The palace was built in 1674 and is named after its builder, Dutchman Thomas van der Noot. The manor house served as a private residence for several wealthy families over the years and, throughout that time, gathered its fair share of ghosts. 

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Mermaid Melusina

The ghost of mermaid Melusina is known to take a bath here every single Sunday night. As the legend goes, Melusina was once the king’s daughter. When she was born, she was cursed by a wicked witch. The curse turned the beautiful princess into a mermaid once a week until she gave birth to eleven children. The princess married a noble duke and hid her transformation by hiding inside the bathroom every Sunday night. She gave birth to ten children before her husband discovered her terrible secret. 

Ashamed of her appearance and her husband’s disgust, she fled, threw the pipes under the bathtub, where she would remain a mermaid forever. Still, to this day, she emerges to the surface to bathe in the van der Nootska Palace. Evidence of this ghost can be found in the architecture of the house. On the exterior, you can see a series of carvings of mermaid’s faces. 

Jean Jahnsson

The other ghost who lives in the palace goes by the name “the jeweller’s wife.” Jean Jahnsson was a wealthy jeweller who owned the manor in the 20th century. But Jean Jahnsson was a torrid adulterer and kept several lovers on the side. It was only a matter of time until his wife discovered his immoral behaviour. When she died, she still carried that grief and anger with her into death, and her raging ghost latched itself to the palace. Her spirit is often spotted furiously, stomping around the castle in search of Jahnssonand with one of his dalliances.

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Stockholm’s Bysättningshäkte

One of the city’s most popular modern restaurants, Häktet, hides behind its slick bar and contemporary cuisine, a sinister secret. This building was once Stockholm’s Debtor’s Cottage, known as Stockholm’s Bysättningshäkte. The Bysättningshäkte operated from 1782-1872. Back in the 1700s, it was literally illegal to be unemployed. If you didn’t contribute to society, the authorities were allowed to throw you in jail. Orphans, anyone who was sick or disabled, were also thrown in these debtors cottages. Since they didn’t pay taxes, they were “in debt” to the city. 

These captives were forced into labour to repay their debt. Women were forced to spin thread from the moment they got up in the morning to the time they went to bed. Men were required to extract paint from the sap of trees, which was used to dye fabrics. There was little food to go around, and there was often violent misconduct, resulting in many inmates’ deaths. Still, since these people were seen as unfavourable by the city, their deaths were often overlooked. While you can dine on horse tartare and steamed cod here at Häktet, listen carefully to see if you can hear the shrieks of starving ghosts who are still heard rattling the bars of their cages.

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Kolerakyrkogården

We are now heading out of the city to explore remoter locations on the tour. If you’d prefer to end your walk inside the city center, you can do so now. But from Bysättningshäkte, its only a 21-minute train ride (on line 13,14,17 or 18) to the Kolerakyrkogården. The Kolerakyrkogården or the Cholera Cemetery is located in the southern part of Stockholm. This cemetery was the main burial ground for victims of the 19th-century cholera epidemic. Many residences of nearby Södermalm died of the easily transmittable disease. Horse-drawn carts piled high with corpses carried the dead from the inner city, up to the cemetery. Up to 16 coffins were then placed in each grave. In total 3,665 people died in the first outbreak from August 27th to October 17th, 1834. 

The city was hit again in 1853, which resulted in about 3,000 more deaths in just a few weeks. The Kolerakyrkogården was filled to bursting with these bodies, some of which weren’t even identified when placed into mass graves. Such a place of mass sorrow is bound to have its fair share of forlorn spirits. People who visit the graveyard today have been known to hear disembodied voices echoing across the otherwise quiet green fields.

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Galgbacken

Located just a 10-minute walk away from the Kolerakyrkogården, you can find the Galgbacken or Gallows hill. This spot, now marked by a historical sign, indicates the last public execution site in Stockholm was located. The gallows hill was used as early as 1689, and the last public hanging took place in 1818. After its destruction, the memories of the dark history were lost to the sands of time. It wasn’t until 1930 when new a block of houses was being built that construction workers uncovered a series of skeletal remains.

When it was in use, inmates from the nearby inner-city prisons would be brought here. What made this gallows different, was that the prisoners were brought here and allowed to enter the Källaren Hamburg cellar, for one last drink before they were hanged or beheaded. 

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Skogskyrkogården

The Skogskyrkogården or Woodland Cemetery is one of a few dozen cemeteries marked as UNESCO world heritage sites. Unlike some cemeteries created out of the need for mass burials, this cemetery was well planned, and some of the world’s best architects were employed to build an impressive design. An international competition was held in 1915 for the plan of the new cemetery in Enskede. The winning architects modelled the cemetery’s layout on German forest cemeteries. These ancient graveyards provided an extraordinary tranquil environment surrounded by the beauty of the natural world.

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Sculptures in the Park

Throughout the park, you’ll discover stunning sculptures by Carl Milles. These were created to be integrated into the rest cemetery’s layout of peaceful paths and gentle rolling hills. 

At one point, this old cemetery was a popular spot for those suffering from homelessness. They would come here to camp at night, but after some time, people noticed they had stopped camping here altogether. Many of them mentioned hearing voices at night, and seeing pale beings appear and then disappear as quickly as they could blink. See if you can spot one for yourself.

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Hopefully, you enjoyed the tour and aren’t took scared to go to bed tonight! Let me know the spookiest place you’ve ever been to while travelling or what you’re most looking forward to exploring in Stockholm!

Happy Travels Adventures!

References

Wikipedia | City of Stockholm Archives | Stockholm Gamla Stan

The post The Most Haunted and Spooky Places to Visit in Stockholm first appeared on The Creative Adventurer.

Guide to Murano

1. History of Glass in Murano
2. Practical Information
3. Map of Murano
4. Panficio Marcato
5. Murano Glass Museum
6. Basilica of Saint Mary and Saint Donatus
7. Fratelli Tosi Showroom
8. Church of Santa Maria degli Angeli
9. Palazzo da Mula
10. Church of Saint Peter Martyr
11. Campo Santo Stefano
12. Barovier & Toso
13. Guarnieri Glass Factory
14. Former Church Santa Chiara Murano
15. Gino Mazzuccato
16. Murano Lighthouse

History of Glass in Murano

When Venice was first built, the city had a great need for glass mosaics. Inspired by Byzantine art and architecture mosaics, the grand Basilica of San Marco wanted its own mosaic cathedral of glass. A church covered floor to ceiling in glasswork to dazzle anyone who entered. This enormous endeavour required millions and millions of pieces of glass to complete. Glass blowing was a dangerous business, especially inside a cramped island-like town like Venice. The furnaces could get up to 15,000 degrees Celcius. With houses being so close, a fire that got out of control could spell disaster for the city. Not only that, the dozens of burning furnaces meant the temperature in the city would rise greatly when they were in production.

So, in the 12th century, they moved the glassworkers over to the islands of Murano. There, they were able to build larger studios with huge furnaces that multiple companies could share. But there was another reason for the move. This was to ensure the secrets of the great Murano glass didn’t get out! Glass artists were practically locked away on the island. The Serenissima (Venetian Republic) needed to ensure no one else could just easily visit without being noticed. Spies were prevalent, and glasswork was a lucrative business. By keeping everyone together, the government felt they could better control their movements and who they spoke to about what! Who knew pretty things could be such a sinister business?

Glass Guilds

On the islands, glassworkers were organized into different guilds. Each guild had a kind of union that oversaw their living conditions and day-to-day work. Businesses to support the workers began to grow around the area. These artisans needed to be fed and entertained. Keeping them happy was of the utmost importance to ensure they didn’t run off to another country. Many original families who started their businesses in Murano are still there. While some new modern techniques have been employed today, many of the original ways of doing things remain unchanged. Stepping onto the island truly is like stepping back in time.

Practical Information

How to get there

From the north edge of the main island of Venice, a Vaporetto only takes 23 minutes to reach Murano Island. Take lines 4.1 and 4.2 from the Fondamente Nove dock. If you want to get to Murano from the Santa Lucia Railroad Station, take Line 3 directly to Murano. This trip takes just short of half an hour. Wherever you come into the city, get off at the Murano Museo Vaporetto stop. This dock is located right near our first stop on tour.

Cost of Transport

If you already have a multi-day travel card for the public transport system in Venice, you can simply scan your card and jump on the boat. If you haven’t purchased a travel card, you can buy a one-way ticket for €7,50. But I HIGHLY recommend the travel card if you’re planning on doing any kind of sightseeing.

When to Visit

Murano is a beautiful place to visit almost the entire year. But in August, many factories closed for the summer holidays. If you can avoid travelling during this time, you should, as many spots, even in Venice, will be closed for the August holidays. If August is your only option for travel, be sure to call or check the websites to double-check if they have any special summer hours or opening times. Or make alternative plans so you aren’t caught off guard when you arrive to find a “closed” sign on the door.

“Free” Factory Tours

Don’t take a “free boat and factory tour” from the mainland or your hotel. Often these tours will tote “free” transport to and from Murano. And they all offer another “free” factory tour. But often these tours aren’t free at all. Once you arrive at the shop, the salesmen put immense pressure on you to buy something. Many guilt you into buying by referencing how they gave you a free trip to Murano, and you basically “owed” them.

Usually, the company mentions these are “special discount prices.” Still, repeatedly, they are anything but and are huge rip-offs. After buying the pieces, they’ll quickly whisk you off back to the island, so you don’t have time to shop around and compare their inflated prices. I truly hate these scams since the price of the boat to Murano is so cheap, and it’s incredibly easy to do it on your own.

Shopping for Murano Glass

Murano glass isn’t cheap, and that’s because of the quality. This glass isn’t mass-produced in China. It comes from artisans who have a long history of using these same hand-blown techniques as the previous generations. So you’re paying not only for the craftsmanship but also for the history. If you’ve had your heart set on picking up a piece for your home, there are some things to keep in mind.

Don’ts

Don’t feel pressured into buying anything. The larger workshops will have so many people moving inside the shop after the demonstration that if you leave without buying anything, you won’t be noticed. While the smaller artisan shops give more personalized tours, these are often not free. Therefore you’ve already paid for their time, so you don’t need to feel like you have to buy something. Not everyone who comes to the island has the same budget. Don’t feel you have to miss out on exploring Murano if you don’t plan to buy anything.

Don’t listen to hawkers! These salesmen lure you into their shops with gimmicks and alluring “discount prices.” Most of the time, these guys try to upsell you a cheap glass from Chine sold at high prices. I always avoid anyone screaming at me as a general rule.

Dos

Always look for the sticker “Vetro Murano Artistico “! If you buy something, always be sure it has this sticker on the window or on the glasswork itself. This trademark decal is given to sellers authorized as authentic Murano glass makers.

Tips When Buying Murano Glass

• Small, less notable shops will be much cheaper than the brand-name ones. Just like Gucci will cost more for a simple shirt than picking it up at Walmart or Tesco.
• The number of colours used in the piece will also change the cost. Threading more coloured bands into the glass will be a much more intensive and timely process. The fewer colours, the cheaper the piece. Some pieces also contain bands of gold leaf that will create a stunning effect but obviously increase the cost. Transparent glass is always cheaper than more opaque glass. Opaque glass requires more manual manipulation so if you’re looking for a cheaper piece, look for something clearer.
• Size is pretty obvious; the larger the piece, the most expensive it will be. I found a few pairs of earrings that were perfect for me to buy. They were the perfect thing to commemorate the experience and didn’t cost me an arm and a leg.

Map of Murano

Panficio Marcato

Upon deboarding the boat, head to the west along the canal for a few minutes. Head into Panficio Marcato to grab a coffee and pastry. No perfect day in Italy can start without breakfast and a cup of delicious espresso. A cute little mom-and-pop pastry shop is in this old, red building with adorable green awnings. Take the espresso and pastry, or sit by the water and enjoy watching morning commuters go about their day.

Murano Glass Museum

After being properly caffeinated, head back east towards the Murano Glass Museum. Visiting the museum first is a good idea to help get away from the crowds and gives you a primer on how these amazing works of art are created. It also provides a look into the history behind glasswork in Venice. The museum gave me a deeper level of appreciation which I could employ when I went into the glass showrooms. I understood better the magnitude of the task needed to create these pieces and, therefore, better understood the price.

The building which now houses the museum is a Gothic-style palace from 1659. It once belonged to the bishops of Torcello. Eventually, the palace passed hands several times when the diocese was abolished. Ultimately, it was passed down to the municipality and became the town hall in 1840. The town hall began to amass an archive of glasswork from Murano. They kept it in a few small rooms but over the years, as it continued to expand, they realized they needed to turn the entire space into a museum.

Layout of the Museum

The museum layout follows the history of glasswork chronologically as you move throughout. On the first floor, you find archeological discoveries from the Roman era. According to an ancient legend, Phoenician merchants on the sandy banks of a river in Syria would start campfires using saltpetre blocks. When these would melt and mix with the sand, the advent of glass was created!

Glass production centers have been found worldwide in Mesopotamia, Egypt and Syria. The first evidence of glass blowing can be found in Palestine in the first century BC. They discovered evidence of moulds that molten glass would be poured inside. The glass could be shaped later by blowing into it to create colourless glass. In Eygpt, glass urns were blown and placed on tombs as offerings. On the first floor, you’ll find the oldest examples of glass made in Murano from the 10th and 11th centuries. These were discovered in the foundations of the nearby San Donato Basilica.

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Murano in the 14th Century

Venice’s close relationship with the Middle East allowed its glass industry to thrive. They imported materials from these Islamic nations and copied their styles. The most popular style was the Finistere, a long-necked bottle with onion-shaped bodies. Until the 14th century, the middle east was the primary powerhouse for the best in glass production. But in the latter part of the 14th century, Murano glassblower Angelo Barovier invented clear glass, and this technique would change the history of glass production forever. Suddenly everyone wanted clear glass from Murano, and the workshops were in full gear to keep up with demand. Murano became the epicentre of glassworks almost overnight.

In the 16th century, Murano glassmakers perfected the art of freehand glass blowing. This employed a technique called “flying hand” that allowed the craftsman to manipulate the glass by hand without a mould. This resulted in much more free-form creations that looked almost ethereal, unlike anything anyone else was creating. Another popular technique on the island was diamond point engraving, which turned the glass into something more like lace. Almost impossibly so.

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Evolution of Murano Glass

Murano glassmakers were constantly trying to evolve their form and did so in sometimes strange and creative away. They experimented with bizarre forms, vases in the shape of animals or chandeliers with flowers blowing from the candleholder. Bands of glass were woven into these new creations creating a filigree technique that is still popular today.

Porcelain became more and more popular in Europe in the 18th century. Glassmakers had to keep up with this trend. They, therefore, invented more opaque glass, which could then be decorated with gold and hand-painted with scenes of mythological subjects or rococo motifs. These were also seen in porcelain, so it was clear the game was on to see which artisans could do it better!

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20th Century Glass Art

The art deco and art nouveau periods brought new life to the glassworkers as new styles and trends from these periods could easily be incorporated into glasswork. Unlike some businesses, Murano glass workers loved to evolve their craft while employing ancient techniques. In the 60s and 70s, alternative and sometimes downright strange designs and shapes begin to pop up on Murano island. Their works began to once more be seen and sought after all over the world. Especially in America, ensuring Murano’s legacy for glasswork for years to come.

Murano Glass Museum Hours & Admission

No visit to Murano is complete without coming here to learn more about the craft that founded the island. The Glass Museum is open from 11 am to 5 pm Saturday and Sunday (the short opening days are due to COVID re-openings so check back as restrictions lift!)

Admission to the museum is 10€ and 4€ more if you want the self-guided headset.

Basilica of Saint Mary and Saint Donatus

From the museum, walk north along the canals. You’ll soon reach a large brick bridge which stretches over the canal. On its lefthand side, you’ll find the great Basilica of Saint Mary and Saint Donatus. The reason for the two names is the church changed its dedication throughout the years. Originally it was built for the Virgin Mary. Emperor Otto I was caught in a storm one day and pleaded with the Virgin to save him. He told her that he would build a church in her honour if she saved his ship. When the storm passed, Otto saw the mirage of Murano in the distance and took this as an instruction from Mary. After he returned home safe, he immediately set off to build her a church.

History of the Church

The church was built in 957, but the current incarnation is from 1140. Let’s face it is still pretty old! The secondary name being added to the church is that the relics of Saint Donato were moved to the church. After the Doge’s conquest of the Kefalonia, they raided the church there, where they discovered the body and relics of Saint Donato. It was very popular in the early medieval times to raid relics from other churches and take them back with you after wars and crusades. These were not only mementos of your conquests but relics that brought in much more modern business and tourism. Pilgrims from all over would come to worship these relics’ tombs. When visiting, they would, therefore, patronize local rooming houses and food halls. Tourism was a big business even as far back as the 12th century.

Saint Donato

Along with the bones of Saint Donato are the enormous bones of the dragon he is said to have slain. The slaying of this dragon is one of the most prevalent miracles the saint is said to have done. He was said to have been a priest who was sent to kill a venomous dragon who had been terrorizing a small island. Donato defeated the dragon and kept the bones with him even into death. Further investigation of the bones has since proven that they are most likely not that of a dragon. Despite this, they have still been re-hung above his sarcophagus inside the basilica.

Touring the Church

The best approach to the church is from the east. This side of the church’s facade is decorated with an impressive collonade inspired by the famous Ravenna cathedral. The deep red and brown bricks are offset with the bright white Grecian-inspired columns. Dividing the upper and lower floors is a set of triangle pieces of stone in a rainbow of colours, giving the cathedral a unique appearance. 

Byzantine Mosaics

Entering the cathedral, you’ll first notice the amazing Byzantine-style 12th-century mosaic floor. This is truly the most spectacular part of the entire church. The floor designs are incredibly detailed and seem to weave around your feet like a vine. Images depicted in the tiles represent griffins, eagles, serpents and peacocks, all made of precious stones.

Above your feet, the great gold mosaic dome stands at the end of the cathedral. Inlaid into the dome is the image of the Madonna in prayer. Her hands gently reach out towards you, and even the small blacks of her eyes seem to pierce your soul.

Take some time to wander around the lovely courtyard at the back of the church. This area is often one of the most peaceful places in Murano. Even out here, it’s nice to escape the tourist.

Fratelli Tosi Showroom

Head to the street behind the church and walk along until you come to the  Fratelli Tosi showroom. The Fratello Tosi family has been crafting Venetian mirrors since the 15th century. Their mastery of glass and mirrors has been passed down from generation to generation, resulting in some of the best pieces of interior art worldwide. Venetia mirrors have a very distinctive appearance. They were first produced here on the island in the 15th century, and their iconic style has been replicated. Even today, their stylish appearance makes them some of the most sought-after pieces for any grand home.

Lattimo Processs

The exact process for making these mirrors is a family secret, kept on the island for years. But we know that gold leaf is woven into the mirror glass before it is fired. By integrating the gold into the glass, you preserve the bright and shiny nature of the gold forever! Another amazing process that creates these unique mirrors is called Lattimore. The Lattimore process is what creates the translucent milky white of glass. This technique also forms artful borders covered in flowers and ribbons. These designs are a staple of Venetian mirrors. Even if you can’t afford to buy one of these masterpieces for yourself, coming into the shops is like visiting a gallery filled with some true works of art!

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Exploring the Houses of Murano

Continue walking along this island towards the western end, where you’ll find the tourist crowds really disappear. There aren’t as many name-brand shops on this end of the island. This district is where you’ll find many more traditional Murano houses. While not as colourful as Burano’s houses, these houses are still painted in charming and cheery colours.

Church of Santa Maria degli Angeli

At the end of the island, you’ll find the Church of Santa Maria Degli Angeli. This church’s history dates back to 1188, but the current incarnation is from 1529. The land upon which the church was built was given to the church by a noble family. The daughter of this family had been forced into becoming a nun. Despite being forced into this life, she loved the convent and dedicated a large expanse of land near the water to the church. Here they could build an even greater church and monastery. For years, this was where the noblest Venetian families would send their girls to become nuns. The convent’s coffers continued to increase with so many more rich and famous families added to their order. Contrastingly, in the 19th century, the church was used as a hospital that cared for the poorest families in Murano.

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Nicolò Rondinelli Paintings

The church’s interior has a fantastical ceiling and altarpiece, which are worth looking at if you have the time. The ceiling is covered in 40 portraits by Nicolò Rondinelli, depicting the Apostles, Prophets and Evangelists. At the end of the nave is the grand altar. The altar contains a large baroque sculptural carving made in Carrara marble. The grouping depicts the three theological virtues Faith, Hope, and Charity. They surround a richly painted image of Annunciation.

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Fondamenta Venier

Take a walk along the water and make your way to the Ponte Longo. I love this stone walkway along the water. Hundreds of moored boats bob up and down near the Fondamenta Venier’s wooden docks, which jut out from the stone path. While some of the docks seem more modern in appearance, there are definitely some that appear to have been here since the dawn of Murano.

Palazzo da Mula

Just north of the bridge, you’ll find the Palazzo da Mula. This palace is one of the finest examples of Venetian Gothic palaces of the 12th and 13th centuries. Many rich Venetians would escape to the island of Murano in the summer with fewer people. Here they could escape the hustle and bustle of the “big” city. Although the Napoleonic invasions destroyed many of these noble homes, the Palazzo da Mula was spared.

Byzantine Architecture

You can study the Byzantine decorations on the facade. Most notably are the circular ornaments called patera, which remain embedded into the brick facade. The large square carvings on either side of four windows on the second-floor show off the coat of arms of the Mula family. Atop the capitals of the columns are carvings of shields with crests and lambrellini (part of a soldier’s armour). Another popular feature of these old palaces is the archway which would have originally led straight from the waters right into the house. Today there is a new dock which extends outward, but originally boats would have been able to pull right up into the house.

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Mazzega Glass

Mazzega Glass Factory showroom, just down from the grand palace, is packed with amazingly colourful and fun pieces of glass! When the company was established, its main goal was to use inspiration from European art of the twentieth century to inform their glasswork. Artists such as Marc Chagall, Pablo Picasso, and Georges Braque were only some of the artists who influenced their works. On the lower level is where you’ll find their tourist shop. This area sells mostly items that are more affordable and easy to pack away for visiting tourists. Upstairs is their true art gallery. Aweinspiring glass chandeliers bloom with lush flowers, large curving vases, and even extraordinary “solid glass” sculptures show off their artist’s incredible skills.

Church of Saint Peter Martyr

The impressively tall Chiesa di San Pietro Martire is along the edge of the Murano Grand Canal. Also known as the Church of Saint Peter the Martyr. The church was built in the 15th century but experienced a devastating fire. It wasn’t until 1511 that the new church was built. In 1806, the militia invaded the city of Murano and stole amazing works of art. Today many of these great works are on display in Accademia. The church was dissolved, and the area inside was used for art classes.

In the 19th century, the church was established as a parish. They were unable to reclaim their stolen works but to restore their church, they were able to use parts of crumbling churches set for demolition throughout the island. Today, it feels like a cobbled-together building that managed to keep the histories of many other lost churches within its walls.

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Ponte San Pietro Martire

The Ponte San Pietro Martire reaches across the San Matteo Canal, near the church with the same name. While this bridge isn’t extremely old or particularly artsy, I love the view you get from both the top of the bridge across the canal! It’s a great way to see Murano from a slightly higher perspective.

Campo Santo Stefano

The Campo Santo Stefano is on the other side of the canal, just across the Ponte San Pietro Martire. This adorable little square is home to one of Murano’s most eye-catching sights, the 19th-century clock tower. The Torre dell Orologio can be seen almost everywhere on the islands. The clock tower was built atop the foundations of an old bell tower from a 12th-century parish. This square has been a place of gathering for hundreds of years.

Comet Glass Star

In the centre of the square is a phenomenal blue sculpture made of large pieces of glass. This piece, Comet Glass Star, was made by master glassmaker Simone Cenedese. The sculpture is made from over 500 blown glass bulbs. At night each one of these bulbs lights up! The piece was made for the 2008 Natale di Vetro (Christmas of Glass). This annual Christmas celebration in Murano begins on St. Nicholas Day and lasts one month. People fell so in love with the sculpture that it has remained ever since.

Fondamenta Manin

Take a walk along this side of the canal along the Fondamenta Manin. While the glass stores and galleries along the street are what most people are focusing on, take a minute to draw your eyes up! Murano’s urban architecture is really a marvel. The colours of the houses are vibrant, and there is a real pride Murano residents have in their homes. Flower boxes are always full and almost overflowing with sweet-smelling plants.

Restaurant alla Vecchia Pescheria

Cross over the Ponte de Mezo to head into the Restaurant Alla Vecchia Pescheria. This is a great place to get some delicious lunch! This modern restaurant serves up some of the most artful creations with seafood fresh from the sea just off the shores of Murano! Their spaghetti ala vongole (clams) is one of my favourites, and I honestly could eat it all day!

Fondamenta dei Vetrai

Continuing, you’ll walk along Fondamenta dei Vetrai, which translates into a glassmakers’ street. This street is where you’ll find the largest collection of glassworker shops and stores on the island. You can get ripped off in many places, but hopefully, I have featured some of my favourites here.

Simone Cenedese

One of the best is Simone Cenedese’s shop, the artist who created the amazing comet sculpture from the previous square. Their shop is so amazing as it features both high-end sculptural works of art but also some more adorable items.

Barovier & Toso

One of the oldest and more prestigious glasshouses in Murano is Barovier & Toso. In 1295, the first member of the Barovier family, Jacobello Barovier, began their career in glass in Murano. These learned skills have been passed down and perfected from generation to generation, and now this is one of the most sought-after glass studios in the world! This showroom might contain products far above the price point of most people’s budget, but seeing them really is something to admire. If you want a more in-depth study of their work, book an appointment to visit their newly finished palazzo museum across the water.

A Private Museum

This private museum features 250 objects from the family’s history. Even 22,000 drawings and photos document their progress and work over the years. The tour is free Monday to Friday from 10 am – 12pm and 2 pm – 5pm, but you should book in advance to secure your spot as there is limited availability.

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Fondamenta Serenella

Continuing down the island’s edge, swing around it and head up the western side. The street which wraps about the island’s edge is called Fondamenta Serenella. I love the view you get here over to the main island. The fresh sea air along the street is so strong and refreshing. This is where many of the larger studios have open workrooms that the public can visit. Many of these furnaces have demonstrations showing off their craftsmen at work. These workshops, I think, would have been some of the best places to work as the cool sea air would have been the perfect way to cool down while working near the fire.

A Word about Factory Tours

Going to any Glass Factory tour and demonstration is always a bit of a shot in the dark. What you’ll see really depends on which artists are working that day. I’ve seen SO MANY people online complaining that they didn’t get an in-depth and highly skilled demonstration when they visited a workshop. Most of these demonstrations cost 3-5€ and feature a quick tour of their furnace, plus you’ll get to see an artisan at work. One of the most common demonstrations will feature a craftsman during molten glass and shaping it into a horse.

I recommend paying a higher price for the tours at the Former Church Santa Chiara Murano (which I will get into later), which are much more detailed and informative. But if you just want to see a quick example of how solid glass is moulded into a work of art, then these cheap and cheerful tours are a great option.

Guarnieri Glass Factory

The Guarnieri Glass Factory is one of my favourite shops. I have to say, I was drawn in immediately upon seeing the glass roses decorating the exterior of their workshop. This factory offers a 3€ tour which is short and sweet, but again, if you aren’t looking for something drawn out, it’s a great primer. The best part about this shop is its pieces of jewellery. I purchased a few pairs of earrings for 15€, which I will cherish forever. They have small animals for 15€, which is great for kids. I didn’t experience any pressure to buy, which is always a bonus for these shops.

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Ponte Saint Chiara

Head back to Fondamenta dei Vetrai, and cross over to the easternmost island. The bridge which leads over the canal is the Ponte Saint Chiara. From the center of the bridge, you have a gorgeous view over the canal towards the great Torre dell Orologio.

Former Church Santa Chiara Murano

Upon crossing over the bridge, head directly to your right through a set of wrought-iron doors. This side of Murano is much quieter, and the gateway feels as though it is meant to keep people out! But head right in, and make your way to the Former Church Santa Chiara Murano. This old monastery was originally inhabited by Augustinian Monks as early as 1231. They lived on Murano island before the glass craftsman was sent to set up their furnaces. Before then, the island was a quiet and peaceful place. The church changed hands many times, from the Augustinians to the Benedictines and then to the Franciscans. The Franciscan nuns of Santa Chiara were the last religious order to run the church, and this is where the current name of the building comes from.

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Fratelli Marietti Milan

When Napoleon invaded Venice, he deconsecrated many churches. And Santa Chiara was one of his victims. The church was transformed into a large glass factory in 1826 by glass manufacturer Fratelli Marietti Milan. But Milan didn’t think turning an old church into a glass factory might be a real challenge. He couldn’t keep up with the repairs the building needed. Eventually, he abandoned the building, and it was left in disrepair for ages of time.

Luckily, in 2012 the Belluardo family took it upon themselves to restore this aged monument of Murano. They transformed it from almost nothing more than a pile of bricks into this art gallery, event space and glass museum. Here you can enter the old church and participate in a glass-blowing experience with a twist! They both offer regular glass-blowing demonstrations but also have a unique love-themed experience! The concept was that glass craftsman’s enduring love for their work was one of the primary reasons this amazing art still resounds with people today.

Admission Information

With your admission, you get an entry into the Chiesa di Santa Chiara and a tour of the old church. The interior of this ancient place is amazing as it blends modern art with old bricks and beams. They use the space for events, and I can’t imagine how amazing it would be to participate in a great party under this roof! The tour also features a long glass-blowing demonstration.

Whereas the factory tours last about 5 minutes, you can watch artisans at work here for almost a whole hour. This means you’ll be able to see the creation of a more complex work of art from start to finish. You get what you pay for! Plus, there is a guide throughout your experience to answer any questions you might be curious about.

Ticket Prices: Adult: 8€ | ​Senior: 5€ | Student: 5€
Monday-Saturday at 12 PM and 3 PM

Gino Mazzuccato

Just down the street from the former church is the gallery of Gino Mazzuccato gallery. Founded in 1958, Gino Mazzuccato is one of the largest glass factories in Murano. While the former church focuses on an ancient craftsmanship, Gino Mazzuccato is all about modern and contemporary styles. This studio charges 5€ to see a demonstration, but it’s well worth the cost. Their 6,000-square-foot studio always has multiple artisans at work. They really take time to explain the process. Some other free demonstrations don’t have such accomplished workers on display.

If you are interested in buying an item, this is a great place to spend your money since they really have items that will suit many budgets! You can even buy some of the pieces they make for the demonstrations, which come at real savings. For 5€ you can get a small, blue glass horse and for 10€ a clear glass vase. While simple, these are a great way to remember your trip to Murano at a fraction of the cost.

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Calle Mioti

Walk east down the Calle Mioti, which turns north as you continue. This extremely narrow street is one of the island’s favourite little hidden gems. Here, in this less-visited portion of the island, between these tightly packed walls, is where the glassblowers would have lived for hundreds of years on Murano. While there might not be fancy palaces here, there is something authentic about the histories surrounding the crumbling brickwork.

Murano Lighthouse

Continuing along towards the water, see if you can spot the tiptop of the lighthouse sticking out over the houses. This is the Murano Faro. This lighthouse, which is still active today, was built in 1912. It has served for many years as the guiding light for so many residents as they return home.

The Murano Faro Vaporetto stop is located right beside the lighthouse. From here you can take a boat back to the city. As you drive away, think back to all the amazing things you saw here and imagine what it must have been like for citizens of Venice the first time they saw sand transformed into a work of art!

Murano is one of my favourite short-day trips from Venice, and if you travel all the way there, don’t skip coming to this island! Have you been to Murano before? Did you pick up any incredible works of art? Or are you saving for something truly special? Let me know in the comments!

Happy Travels Adventurers!

The post Ultimate Self-Guided Murano Island Walking Tour [UPDATED 2022] first appeared on The Creative Adventurer.

Table Of Contents

1. Hours & Admission
2. Hours
3. Admission
4. Dress code
5. Should You Go Inside?
6. Florence & Marble
7. Basilica of Santa Maria del Fiore
8. The Great Dome
9. The Campanile
10. Climbing the Bell Tower
11. The 14th Century Facade
12. The 19th Century Front Facade
13. Portal Maggiore
14. Santa Reparata & St. Zenobius
15. Portal Maggiore Tympanum
16. Right Portal
17. Right Door Niches
18. Left Entry Doors
19. Left Door Mosaics
20. Rosette Window
21. Upper Gallery
22. Gargoyles
23. Porta della Mandorla
24. Cathedral Interior
25. Clock
26. Rose Window
27. Artists Busts
28. Stained Glass Windows
29. The Crypt
30. Equestrian Funerary Monuments
31. Marble Floors
32. The Great Dome Interior
33. The Sacristy Doors
34. Climbing the Dome

Hours & Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosaics are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Florence Duomo first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without really understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

Table Of Contents

1. Hours and Admission
2. Hours
3. Admission
   • Tickets
   • Dress code
4. Should You Go Inside?
   • Florence & Marble
5. Baptistery of San Giovanni Battista
   • Florence Artists
6. The Baptistery Portals
7. Pisano’s Southern Portal
   • Ghiberti’s Northern Portal
   • Ghiberti’s Eastern Portal
   • Ghiberti Artistry
8. Baptistery Interior
   • Domed Mosaics
9. Basilica of Santa Maria del Fiore
   • Arnolfo di Cambio
10. The Great Dome
    • Brunelleschi
11. The Campanile
    • Exterior Panels
    • Andrea Pisano
    • Francesco Taletnti
12. Climbing the Bell Tower
13. The 14th Century Facade
14. The 19th Century Front Facade
15. Portal Maggiore
16. Santa Reparata & St. Zenobius
    • Niccolò Barabino
17. Portal Maggiore Tympanum
18. Right Portal
19. Right Door Niches
20. Left Entry Doors
21. Left Door Mosaics
22. Rosette Window
23. Upper Gallery
24. Gargoyles
25. Porta della Mandorla
26. Cathedral Interior
27. Clock
28. Rose Window
29. Artists Busts
30. Stained Glass Windows
31. The Crypt
32. Equestrian Funerary Monuments
33. Marble Floors
34. The Great Dome Interior
    • Donatello Stained Glass Window
35. The Sacristy Doors
    • Dante Before the City of Florence
36. Climbing the Dome
37. Museo dell'Opera del Duomo
    • Hall of the Ancient Facade

Hours and Admission

Hours

The museum will be closed on the first Tuesday of each month.

Admission

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Tickets

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Dress code

Since this is a religious site, be sure your clothing is appropriate for entry. This means your shoulders and knees must be covered, and you can’t wear your hats inside. I usually keep a long scarf in my knapsack with me in the summer when I’m wearing a dress or t-shirt that doesn’t cover my shoulders. This was I can throw it on when entering these churches but still keep cool throughout the day. If you’re wearing short-shorts or short skirts, you can also use the scarf to tie around your waist to cover up. This is such a common hack that you’ll almost always find women selling scarves outside churches in the summer.

Should You Go Inside?

I honestly prefer the interior of Santa Croce far more to this rather bare interior. While the frescoes on the dome are stunning, the rest of the interior could be skipped. The best interior of the group is that of the Baptistry – whose mosiacs are out of this world. Some people love climbing the tower and dome inside the cathedral to get to the view at the top but just be prepared to wait in line. If you’re pressed for time – I would say give the interiors a miss.

Seeing the exteriors are just as impressive and there is so much more to see in Florence which is more important than waiting in line. But if you have time to spare or are immensely interested in the interior artworks then you should make the effort to see it. Wake up early and you’ll find the lines are the least long. My favourite part of your ticketed entry is the museum which features some of the original artwork and sculptures which once stood inside the church. It also features the original Baptistery doors and some of the gorgeous robes the priests wear for various events throughout the catholic calendar.

Florence & Marble

In the Middle Ages, Florence was going through a stylistic period where many of their important buildings were created out of marble. Although few others from this period survive, the Duomo is a reflection of this time. Florence’s proximity to the marble mines meant that getting such large pieces quickly was a possibility other countries didn’t have. But what else did Florence have that others didn’t? Money and lots of it. Marble didn’t come cheap even if it was close by. But using it in such large proportions meant that your city looked like it was worth its weight in gold.

Carrara Marble

The main white marble you see is Carrara marble. Carrara has long been used by artists for sculptures, so it seemed only fitting that the most magnificent artwork of them all – the Cathedral – was itself draped in marble. The green marble which you can see decorating the exterior is actually serpentine stone, which came from Prato, a few miles northwest of Florence. Serpentine is named as such because the texture of the marble resembles that of snakes skin. The pinky-red stone you can see is limestone from mines near Florence. The colour is derived from the prevalence of ammonite fossils in the rock, which imbues the limestone with that stunning pinkish hue.

Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

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Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

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The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

Basilica of Santa Maria del Fiore

Now let’s turn to the other side of the square and the great Basilica of Santa Maria del Fiore. This magnificent Cathedral began its construction in 1296 but wasn’t completed until 1436. That’s over 140 years! The temple is named in honour of Santa Maria del Fiore, or “Saint Mary of the Flowers.” Mary is often associated with flowers, especially in Italian culture. Flowers, or roses, in particular, are thought to represent the fleetingness of life, and therefore, of death. Mary carries with her the burden of knowing her son will die and yet even knowing this reality, carries on to raise him with all the love she has in her heart. Like the flower which we know will wilt, we admire its beauty until the day it dies.

The Duomo, as it is mainly called in Florence, was built on the site of the 7th-century Church of Santa Reparata. Remnants of that church can still be found today in the crypt. The Duomo as it stands today is the 4th largest Cathedral in the world and walking around it, you can really get a sense of how huge it is.

Arnolfo di Cambio

The first architect of the church was Arnolfo di Cambio. Arnolfo di Cambio started his career as the assistant to Nicola Pisano. Together they created the marble pulpit inside the Sienna Cathedral. From there, he moved onto creating tombstones and sculptures of Kings around the world. Arnolfo di Cambio’s funerary monuments were so impressive they became the model for Gothic funerary art in Florence. It was a surprise to many when, in 1294, he began work on the Florence cathedral, not as an artist but as an architect. This would be the only building to officially be created in his name. And despite his lack of formal training, the result of his creativity is breathtaking.

The Great Dome

The church was designed in the Italian Gothic tradition. This features pointed arches and cross-ribbed vaults. The overall layout of the Cathedral features a Latin cross design with room for the most iconic feature of the church, the HUGE dome. And while Cambio left space for this dome in his floorplans, the dome hadn’t even been conceived of by the time Cambio passed away. Over the 140 years, the church was being constructed, architects from all over the world attempted to figure out how to achieve such an enormous dome without it falling apart. Giotto di Bondone, Andrea Pisano, and Francesco Talenti all worked on different aspects of the church.

Brunelleschi

Still, none of them could figure out how to build such a gravity-defying dome. It would be Brunelleschi, who would finally solve the problem of the dome. Unlike Cambio, Brunelleschi had many buildings under his belts such as Basilica of San Lorenzo, Basilica of Santo Spirito, and the Pazzi Chapel. He had been working across the street on the Baptistery doors when he decided he wanted to take a stab at the dome’s design, where all others had failed.

Ironically, the key to the structure of the dome was unlocked by using a flower’s composition as a guide. Being a church named after the Lady of the Flowers, that just seems too fitting. The dome used a herringbone brick pattern where the bricks formed a series of inverted arches. And as the blocks grew higher, instead of falling inwards, the inverted form actually used gravity to their advantage to reinforced the structure. The result is this breathtaking, gravity-defying, architectural masterpiece. Being so large, it seems to peak out above the skyline wherever you look in Florence. An icon for the ages. And one of the most significant pieces of Renaissance architecture.

The Campanile

To understand the design of the facade (as it stands today), we must first look at the design of the bell tower or campanile. The facade, as we will learn later, was left relatively plain before the 18th-century redesign. But the tower, designed by Giotto in 1334, was a multicoloured treasure and almost the most impressive feature of the Cathedral before the dome was finished. The tower stands 15 meters wide and over 84 meters tall! But other than its size, the most impressive part of the bell tower is the colours. Giotto said that the different colours were used to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

But Giotto died before the tower’s completion in 1387. It was reported that Giotto died of grief over the bell tower’s one design flaw. He made the base of the tower a little too narrow to allow for the effect of vertical momentum, but the decision would haunt him. He said he made “too-small a bed for your feet,” regarding the tower’s design. His fears would prove to be accurate as the tower needed to be later renovated to allow the full height of the construction to be supported at the base. But looking at it now, you’d never know. It took two additional architects, Andrea Pisano and Francesco Talenti, to fully completed Giotto’s vision after his death.

Exterior Panels

One of the most exciting features of the tower is located on the first floor. Take a close look at the hexagonal panels, which are spread around the base of the tower. The white stone reliefs are framed by pink marble, which is additionally contrasted against green, serpentine marble. Inside these reliefs are depictions of the history of mankind as it was in medieval times. The stories told on these panels blend religious doctrine history as well as liberal arts. In addition to the chronicles, as written in the bible, we also see mankind’s most significant discoveries. On the south side of the tower, we find panels that represent astronomy, medicine, hunting, wool-working, and legislation. On the east side, there are panels relating to navigation, social justice, agriculture, festivals and architecture. The north side panels depict sculpture, painting, harmony, grammar, logic, music and poetry, geometry and arithmetic.

Andrea Pisano

On the second level, we find a row of niches that are filled with fantastic sculptures. It’s almost a share they are so high up since they are wonderfully carved works of art. These niches were created by the tower’s second architect, Andrea Pisano. Pisano dedicated the west side to the planets; Saturn, Jupiter, Mars, the Sun, Venus, Mercury, the Moon. On the south side, we find three sculptures representing theological virtues (faith, hope, charity) and four sculptures representing cardinal virtues (prudence, temperance, fortitude, justice).

The other statues found in the additional niches represent patriarchs, prophets, Kings of Israel and the pagan sibyls. This includes one beautiful group depicting the Sacrifice of Isaac by Donatello, a splendid example of the naturalism that was so popular in the 1400s.

Francesco Taletnti

Continuing up the tower to the top levels, designed by Francesco Talenti, we find a new mathematical treatment. Each level is slightly taller than the next, which, when you look up from above, gives the tower a sense of being taller than it actually is. This use of perspective was so popular during the Renaissance as they were obsessed with the idea of science and math meets art. Instead of a spire which many other Gothic towers have, the tower finishes with a terrace where people can still today enjoy stunning views of the city. At the top of the tower are seven bells. The largest of the bells is called the Santa Reparata, in honour of the saint to which the original church was dedicated to. Hearing it ring out across the square, the pigeons flying away as it rings is still one of the sweetest sounds of Florence.

Climbing the Bell Tower

If you choose to climb the bell tower, or for those really ambitious people, who want to climb both, head to the northeast corner of the bell tower to find the line up for the entrance. All you need is the same grand ticket for the entry. There are 400 steps to the top but the view from above is well worth the climb.

The 14th Century Facade

Aside from the front facade, which we will talk about later, the other sides of the Duomo are from the 14th century. These sides feature some of the best preserves aspects of Gothic architecture of the time. Many of the niches on these sides are empty, as the original sculptures which once decorated this exterior have been moved into the museum. This means these sides feel rather dull compared to the newer, front facade. Despite the lack of sculptures, something is mesmerizing about the geometric shapes and coloured marble which adorned the sides of the church.

The 19th Century Front Facade

The original facade was built along with the rest of the church, but the one we see now was created long after, in the 1800s. Traditionally, Tuscan churches didn’t have much ornamentation given to their facades, and they were left extremely plain. But the Medici’s, the de facto royalty of the day, weren’t a fan of the dull look. They pleaded with architects to change the facade, but there was never a consensus over what it should look like. When the previous stone facade, designed by Giotto, began to deteriorate, Florence, once more, held a design competition. They wanted to see who could meet the expectations of the city to create a facade as fanciful as the rest of the church. 

Emilio De Fabris won the contest with his proposal. He designed his facade to follow the same structure as Giotto’s but with the addition of sumptuous ornamentation (based on the design of the magnificent campanile). This meant no structural changes needed to be made, which meant it was going to be cheaper to build. It also allowed for the original shape of the church to be maintained and honoured. Unfortunately, Fabris died before construction started, once more leaving his legacy to the next architect. A dark theme that is too often present in the histories of great church architects.

Portal Maggiore

To study the front facade, let us start at the bottom and work our way up, starting at the central portal into the church. Because there is no longer entry through this central portal, you can gaze up at its magnificence and opulent doors.

The 19th-century bronze doors feature beautifully carved reliefs of the life of the Virgin Mary. The doors themselves appear to be set themselves inside an architectural design. The doors were the original entry into the Duomo before it became a tourist destination. They were designed by Augusto Passaglia and Giuseppe Cassioli.

Santa Reparata & St. Zenobius

On either side of the bronze doors are niches containing two of the most influential people to the church: St. Reparata and St. Zenobius. Saint Reparata was the patron saint of the first church built on this site as well as the patron Saint of Florence until the Middle Ages when St. John the Baptist replaced her. Saint Reparata was merely a young woman when she was martyred by the Romans in the 3rd century. Legend has it that St. Reparata was set to be burned alive, but when the Romans set her alight, a shower of rain from the heavens put out the fire. She was then forced to drink boiling pitch but would not die. Finally, the Romans were forced to behead her, which was the final blow.

St. Zenobius was the first bishop of Florence who not only was born in Florence but also made a significant impact in evangelizing the city and its outskirts. He is most notable for his miracles of bringing soldiers and children back from the dead. Just above the bronze doors, you’ll see a series of coats of arms which represent the various Florentine families who donated money towards the building of the front facade.

Niccolò Barabino

Above the bronze doors is a gorgeous mosaic lunette. You’ll find one of these brightly coloured designs over each of the gates into the church. They were designed by Niccolò Barabino and represent the Florentine devotion to faith across multiple disciplines. The mosaic above the central portal depicts Christ enthroned between Mary and Saint John the Baptist, alongside various Florentine saints. Surrounding the lunettes are richly decorative vines and octagonal panels featuring multiple saints.

Portal Maggiore Tympanum

Above the mosaic lunette is the grand tympanum. In the centre of this triangular scene, we have the image of the Virgin Mary. Surrounding her on either side is a chorus of seraphim. At the very top above these sculptures is a bronze dove soaring away from the rest of the angels. Below the seated mother is an altar with a baby lamb, representing Jesus as the sacrificial lamb. On either side of the lower portion of the tympanum are representations of the men from the Florentine Republic who were in charge of the construction of this church as well as images of various Popes and Franciscan monks. Standing guard on either side of the tympanum are two priests with trumpets, announcing the birth of Christ to the people of Florence.

Right Portal

Cassioli, who designed the central doors, is also responsible for the doors on the right. Cassioli led a distraught life. He suffered much misfortune throughout the years and was the definition of a tortured artist. He leaves a self-portrait of himself in the doorway, along the right side. Here we see a man with a snake around his neck, a way of the artists to express the suffering he felt, literally suffocating for his art.

The mosaic above the doorway here represents Florentine artisans, merchants and humanists paying homage to the sculpture of faith. Carved into the archway are various statues of famous angels. From left to right, we have the Angel of the Apocalypse (portrayed with scythe), saint. Michael (portrayed in his classic armour and sword), the Angel that liberated St. Peter, St. Elizabeth welcoming the faithful into the church, the Angel of the Resurrection(seen with the palm leaf and skull), the Archangel Raphael (holding a fish), and the Angel of the Apocalypse (holding the overturned chalice.) The sculpture atop the door is of the Madonna Dolorosa (Madonna of Sorrows). Flying above here is are three angels holding flowering in their hands.

Right Door Niches

Located in the niches on either side of the doorways are a series of statues. They feature from left to right; Cardinal Valeriani, Bishop Agostino Tinacci, Pope Eugene IV, who consecrated the church in 1436 and of Saint Antonino Pierozzi, bishop of Florence.

Left Entry Doors

The last doorway is found on the left. This doorway is now the official entry into the church, and so its old doors are almost always seen open. If you come by when the church is closed, you’ll be able to better understand the designs on the front. On either side of the doorway are niches featuring Cardinal Pietro Valeriani on the left and Bishop Agostino Tinacci on the right.

Left Door Mosaics

The mosaic above the doorway depicts Charity among the founders of Florentine philanthropic institutions. Charity is represented in the centre seated on the throne. At the base of the throne are a series of the coat of arms from charitable institutions. The people kneeling on either side of Charity are founders of the great hospitals in Florence. On either side of the mosaic are two small sculptures that represent Adam and Eve after they were expelled from the Garden of Eden. Eve is on the left, bare-breasted, her head in her hands, covered in a sheepskin. The snake can be seen resting at her feet.

Rosette Window

Above both the right and left portals are a set of Rosette windows, which compliment the larger Rose window in the centre of the facade. Unlike the large Rose window in the centre, the rosettes are not filled with stained glass. In the centre of the windows is an eight-pointed star, which often refers to wealth and money.

Upper Gallery

The Upper Gallery of the facade is filled with a series of niches. Each one is filled with beautiful sculptures of one of the twelve Apostles.

In the centre of the upper gallery, is a gorgeous statue of the Madonna and child. She sits on her throne, a golden crown on her head and baby Jesus resting on her knee. In her hand is a flowered sceptre designed by Tito Sarrocchi. She holds the sceptre pointed towards the people on the piazza, beckoning them to come inside.

Although we will talk about the Rose Window later as it is more impressive from the inside, take a look at the panels surrounding it. Across the top of the facade are busts of great artists of the past framed inside Gothic quatrefoils.

At the very top of the roofline, we find a small circular panel with the face of the Eternal father. There is a golden background, and the man cranes his head downwards, towards the people below.

Gargoyles

Along the roofline of the Cathedral are warped faces of human, eternally open-mouthed, acting as the gargoyles of the Cathedral. Usually, gargoyles are represented as animals, so seeing the gargoyles are human figures is often an even more disturbing image.

Porta della Mandorla

If you are opting to go inside, before doing so, walk around the left side of the building to the Porta della Mandorla (this is also the entrance you’ll use when you walk up the dome). This doorway was built in 1423, but Donatello! The sculptures above the door are especially significant because it was one of the last important works of art to be created in the time between gothic and Renaissance. The theme of the work is the Virgin on her mission to save humanity. She is centred in an oval, the same shape as almond or mandorla.

Cathedral Interior

To enter the church, go through the left portal, in the far north. The entry into the Cathedral is…well, slightly less impressive than you might imagine when compared to the embellished exterior. While the interior is grand and soaring, it does feel somewhat empty. The interior was purposefully meant to be bare, as it was thought that this would result in a more focused approach to prayer. Many of the pieces of art and sculpture which once stood here have been moved into the museum for restoration and preservation. For this reason, there is a genuinely vacant feeling to space more so now than when it was first built.

Clock

Against the wall opposite the high altar, take a look under the rose window to spot an ancient clock. The enormous clock with bright golden dials was made in 1443 by Paolo Uccello. What you might notice about this clock is that it is set to the ora Italica which is the Florentine 24-hour clock, which starts and ends at sunset, instead of at midnight. On the four corners of the clock are the faces of the four evangelists. The clock still works to this day, but it needs to be wound every 8-9 days to keep it running.

Rose Window

The stained-glass Rose window above the clock presents the crowning of the Virgin Mary as Mary Queen of the World. An archway of angles flies above her. In the centre is the figure of Jesus surrounded by golden rays. He is descending from heaven, holding a golden crown. This piece was designed by Gaddo Gaddi in the early 14th century. This window seems to almost burn with colour. The glass is so bright its hard to imagine the design is over 600 years old.

Artists Busts

On the left nave, upon entering the church, you’ll see various busts along the wall. These feature the artists who helped build the church. We can see the images of Giotto, Brunelleschi and Emilio de Fabris. Eternally looking out at their creation.

Stained Glass Windows

The various brightly coloured stained glass windows you’ll find throughout the church were all made based on illustrations by some of the greatest artists of all time. While they were created by seasoned craftsmen, using pictures by artists such as Donatello, Lorenzo Ghiberti, Paolo Uccello and Andrea del Castagno. The windows along the aisles represent the Old and New Testament, while the circular windows around the top of the church and surrounding the dome, are visions from the life of Christ and the Virgin Mary.

The Crypt

The stairs down to the crypt are located near the entrance to the church, along the right side of the nave. Down here, you can see remnants of the original Roman church and pavements, which once lead into this temple. Near the entrance to the crypt is the modest tomb of Filippo Brunelleschi. It is nothing more than a plain slab of marble where they have also placed two golden crucifixes. For someone who created such beautiful things, it’s an interesting piece of juxtaposition to find his tomb is so humble.

Equestrian Funerary Monuments

Along the northern wall, halfway down the apse towards the dome, are two painted Funerary Monuments. Instead of an elaborate stone-carved tomb, these monuments were painted on the walls of the Cathedral. They were painted in 1436 and 1465 and yet are fantastically preserved. The one of the left is dedicated to Sir John Hawkwood by Paolo Uccello, and one of the rights is the Equestrian statue of Niccolò da Tolentino by Andrea del Castagno. Both Hawkwood and Tolentino were courageous and successful soldiers who made an impact on the city. Each of these great men is portrayed riding their horses triumphantly, as roman leaders were once portrayed. Their images were painted with the newly discovered technique of perspective and foreshortening, making it looks as if these mere paintings were actual three-dimensional monuments.

Marble Floors

The magnificent marble tiles of the church were installed in the 16th century. The Wool Guild was one of the wealthiest guilds in the city and sponsored much of the construction of the church. As such, you’ll find many images of the guild throughout the church, one of the most significant is the ‘OPA’ lettering inlaid into the marble flooring in the center of the church. OPA stands for the Opera del Duomo, which was the name of the group of guild members who were specifically in charge of the construction of the church. The marble on the floor is made up of varying colours of stone, a technique called intarso. The Medici’s crest, another prominent patron of the church, can also be seen on the flooring. Look for their iconic red balls all over the floor, a subtle nod to their patronage.

The Great Dome Interior

The most awe-inspiring part of the church is the magnificent domed fresco by Giorgio Vasari. Originally, Brunelleschi had intended for the dome to be covered in gold. With the light that poured in through the dome’s windows, this would have illuminated the interior like a glowing orb. But after his death, his first project didn’t have the funds to be completed. It was left painted merely white for years until the late 16th century when rich, Grand Duke Cosimo I de’ Medici decided he wanted it painted to feel more ostentatious.

The piece depicts the scenes of the Last Judgement, and when you take a closer look, you’ll be surprised how macabre some parts of the scene genuinely are. While Vasari designed then look of the piece, the actual painting of it was done by his pupil Frederico Zuccari and was finished in 1579. It is for this reason that some elements of the painting are a little less finessed than other works from Vasari. At the centre of the dome are choirs of angels surrounding Jesus. Around the bottom of the cupola are various images representing the capital sins of hell.

Donatello Stained Glass Window

In the centre of the dome is the grand window by Donatello. Once more, we see the image of Christ presenting the crown to his mother. This scene is much more intimate than the one on the Rose Window. There are only two figures here, and they are kneeling together tightly. Almost in an embrace.

The Sacristy Doors

Just past the dome, on either side of the nave, you’ll see the bronze doors which protect the entrance to the Sacristies. These were created in terra cotta by Luca Della Robbia in 1444. The panels which I find the most precious are the ones depicting Mary holding baby Jesus.

Dante Before the City of Florence

Along the left side of the nave, just before the axis crossing, make your way towards a large fresco under the window. This fresco was created by Domenico di Michelino in 1465. It shows Dante in the centre, standing in front of Renaissance Florence as it was when the mural was painted. Like a window into the past, you can glimpse through.

To the left of Dante, we can see Purgatory, and on his right paradise, or Florence itself. In the hands of the writer is his famous book, the Divine Comedy. His hand points down towards the nine circles of hell. Just behind him is the Mount of Purgatory, where you can see Adam and Eve standing on top, representing earthly paradise above the circles of hell. To the right where we can see Florence, take a minute to spot the dome of the Cathedral you’re standing in as well as images of the Baptistry and the Palazzo Vecchio.

Climbing the Dome

There are two options for those who love to climb up buildings; the bell tower and the dome. While the bell tower is slightly less claustrophobic and less busy, the climb up the dome, to the top of the church is the option I would go with. There just isn’t anything like seeing those frescoes up close and personal. The climb is 463 steps up through a narrow passageway once used by the construction workers who built it.

When you book your ticket online, it will ask you to select a time for the climb up the dome. If you can manage an early morning, the rising sun across the city is fantastic! The earliest time is 8:30am, and this is also when you’ll find the entire place to be the least busy. To enter the stairs to the dome climb entre via the Porta della Mandorla.

Museo dell’Opera del Duomo

With your ticket into the other parts of the Duomo and Baptistery, is a ticket into the Museo dell’ Opera del Duomo. The very same guild, which was in charge of the construction of the church when it was first being built, is still to this day overseeing the restoration and preservation of its treasures.

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Hall of the Ancient Facade

One of the most astounding galleries inside the museum is the Hall of the Ancient or the Hall of Paradise. Here you can view a reconstruction of the original facade of the church before the new design. In this white and beige almost life-size replica, you can see the 40 different statues, 100 architectural details and 60 decorations that have now been all but removed from the exterior and yet preserved here.

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The Deposition by Michelangelo

Of all the sculptures inside, my favourite is the Deposition by Michelangelo. Michelangelo started working on this piece in 1546 but never finished it. It was one of the first pieces he made without a commission. He would work tirelessly on the sculpture by candlelight. But over the years, he became frustrated by the imperfections in the marble and abandoned the project. One night he even tried to destroy the sculpture in a fit of rage. But despite Michelangelo thinking it was a failure, even today, it is one of the most moving pieces in the gallery. If you look closely, you might notice that Jesus is missing his one leg, as the veins in the marble made it impossible for parts of the stone to be carved.

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The two women on either side of Christ’s body are the Virgin Mary and Mary Magdelene. Still, the hooded figure behind them is one of the more mysterious characters in art history. Many think it could be his father, Joseph. Still, other historians have argued that it is Nicodemus who was also present at Christ’s death. Whomever the figure is, one can see the great sadness which rests in his eyes.

Penitent Magdalene by Donatello

The Penitent Magdalene by Donatello is a haunting sculpture made of wood from the 1450s. Unlike many other representations of Mary Magdelene, portrayed as a beautiful woman, this image here is of an emaciated woman wearing nothing but rags. She looks as though she is bearly hanging on, praying to God to spare her, or forgive her before her death. In many orthodox legends of Mary Magdalene, she is thought to have been a prostitute but walked the desert for 30 years to absolve her sins. We believe that Donatello ehre is using that same story to depict his image of Mary Magdelene, as she finally makes her way out of the desert and is forgiven.

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Hopefully, you’ve enjoyed this walkthru of the Duomo, its dome and tower and the radiant Baptistery! Let me know in the comments what your favourite part of the tour was or what you’re most looking forward to visiting!

Happy Travels, Adventurers

The post The Ultimate Self Guided Tour of the Duomo and Baptistery in Florence (Cattedrale di Santa Maria dei Fiori) first appeared on The Creative Adventurer.

Whether you’re drawn to the grandeur, the history or the spiritual power of these buildings, visiting these sites in Florence is almost a right of passage. But many people come here and gaze upon these buildings without understanding the context behind their construction and artistry. Through this post, I hope to help illuminate some of those mysteries and perhaps help you appreciate these attractions for more than just their beauty.

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Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is thought to be one of Florence’s oldest places of worship. The current Baptistery was built between 1059 and 1128. It was named after St. John the Baptist (San Giovanni Battista), the patron saint of Florence. As Christianity was attempting to overtake the Pagan religion, Christians needed to find ways to make this conversation as seamless as possible.

One of these ways was to replace one Roman god for a Christian saint. That’s how we have St. John the Baptist as the patron saint of Florence. He replaced their most worshiped god, Mars. Mars was the god of war, so they needed to find a saint with a similar appeal. Saint John was a rugged saint, not as seemingly “holy” or clean-cut as some others, and this seemed to gel with Florentine sensibilities.

Florence Artists

The octagonal floor plan for the Baptistery was ubiquitous during the first millennium of Christianity, although it is much more rare to find these days. The octagonal design has a beautiful sense of symmetry to it, creating this unified, peaceful design. There is no clear provenance of who designed the structure, but many famous names have been attributed to its design. Pisano, Giotto, Ghiberti, Donatello and even Leonardo da Vinci were all artists who lent their hand in the creation of the Baptistery. Being a place touched by so many master’s hands only makes it more critical in the history of the city.

The Baptistery Portals

In addition to the marble we spoke of before which was used, bronze was the primary material which they employed to create a lush and regal look for the doorways. They called these entrances “portals,” and they were the gateways into the palace of god.

Pisano’s Southern Portal

The oldest set of doors is that created by Andrea Pisano in 1329. These doors now face south, but initially faced east, towards the Duomo. They were moved in 1452, replaced by newer designs. These doors depict stories from the Old Testament. The Merchants Guild of Florence commissioned Pisano to build these doors. They were one of the wealthiest guilds in the city and as such, could afford such an expensive commission. Look closely at the carvings and notice that there is definitely a significant amount of detail paid to the clothing.

No doubt, this was a way for the guild to get a subtle nod to their trade’s manufacturing in there. Subtle advertising if you will. The overall look of these designs is more subdued than the newer doors. Their shapes of the people are less realistic, and the features in their faces don’t show any real emotion. My favourite part of the design is the richly decorated door frames. They are lush with greenery and flowers. They seem to almost be bursting with growth.

Ghiberti’s Northern Portal

The second set of doors, located on the northern side, was designed by Lorenzo Ghiberti in 1422. But Ghiberti wasn’t just hired on the spot, oh no. In 1401 the church held a competition to see who would win the honour of receiving this commission. The church wanted to celebrate the end of the Black Death, which had swept through much of Europe, leaving millions dead. Florence had miraculously been spared, with only a comparatively small fraction of their citizens who ended up dying from the disease. Artists had to submit a small bronze panel featuring the scene of Abraham Sacrificing Isaac to be entered into the competition.

In the end, the committee was stuck between Brunelleschi’s design and Ghiberti’s. They couldn’t choose and asked if the artists would be willing to work together. Brunelleschi refused, saying that anything less than something which was 100% his own work wasn’t worth his time. So the job went to Ghiberti. It took Ghiberti 21 years to complete these doors. The panels in these doors consist of 28 scenes of the life of Jesus Christ from the New Testament. Each of them is richly decorated. The scenes are framed by abundant foliage and gilded busts of prophets and sibyls (women able to foretell the future). These doors are copies of the originals as those ones are now housed at the Cathedral Museum. But the recreations are nonetheless incredible examples of this sculptural art form, which was emerging at the time.

Ghiberti’s Eastern Portal

The third set of doors, created in 1425-1452, was also created by Ghiberti after his first commission was such a success. Michelangelo called them “the gates of paradise,” and therein came the name they go by even today. Michelangelo would often come here as a student to study these works for art. These panels are much larger than the quarterfoil frames of the previous gates. There are only ten frames in total, depicting scenes from the Old Testament and the life of Saint John the Baptist.

Ghiberti Artistry

In this new series, Ghiberti used a technique called schiacciato. This technique allowed him to create a recessed sculpture by carving only millimetres deep. It gives the illusion of greater depth and movement in the scene. The previous panels were mostly focused on the people in the scene and not the environment. In these new renditions, Ghiberti added in the landscape, which brought so much more atmosphere to each panel. Framing the doors are a series of miniatures busts and sculptures. The two busts featured in the middle of the entries are actually a self-portrait of the artist and his father, Bartolomeo Ghiberti.

Above the doors are three marble statues on white pedestals. In the centre, we have Jesus being crowned by John the Baptist, being watched by an angel.

Baptistery Interior

The interior of the small Baptistery is wonderfully embellished, and it feels like no matter where you look, there is something magical to behold. This is in complete opposition to the rather austere interior of the Cathedral across the street.

Domed Mosaics

The interior was inspired by the Roman Pantheon with its grand domed ceiling covered in intricate byzantine mosaics. The roof was created in the 1200s. Millions of tiny gold and glass tiles were used to create the scene of “universal judgement.” The entire piece took over 100 years to complete. Because the section took so long to complete, you can actually see the change in art styles throughout the design as the techniques improved and changed throughout the years. Descending down from the centre of the octagonal dome, there are various rings, which depict specific storylines around the central theme of judgement.

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Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagon, under the lantern, is decorated with plants and animals. Below this is a series of angels who surround and stand in praise towards the image of Jesus is the centre. Below is a set of scenes from the story of Genesis. Following this are images from the Life of Joseph, the Virgin Mary and Jesus and finally the life of St. John the Baptist, the patron saint of Florence.

In the center, breaking into multiple rows is the central figure of Jesus. He sits with this hands to either side, the marks of the crucifixion nails still bleeding in the centre of his palms. To the right of his feet are images of damnation and to the left, salvation. The images of damnation are explicitly terrifying, as the representations of the tortures of hell are extremely brutal. The shapes of the various figures here aren’t human figures and look almost alien-like as if hell itself mutates the human form. These terrors were meant to strike fear into the citizens of Florence, to be good in life to not suffer in the afterlife for eternity.

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The Marble Floor

After looking up for long so, give your neck a break and take a look at the ground. The marble floor here is made using the technique called ‘intarso.’ This technique uses multiple colours of marble, which are carefully placed together to create one unified piece. At one time, the lantern in the ceiling was open to the outside air, and the light which flowed in would hit a sundial embedded into this marble floor. Florentine designers used astrological signs, along with the sundial, to tell the time. Although the lantern was closed and the dial removed, the zodiac signs on the marble can still be seen on the floor today.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who died in the 1300s, is the first example of the Medicis obsession with their deaths being as opulent as their lives. When he died, Guccio was buried inside an old Roman sarcophagus. Added onto the Roman tomb was a carving of the Medici shield and famous Medici coins.

The Tomb of the Anti Pope

One of the most controversial tombs in the Baptistery is the tomb of Antipope John XXIII. Pope John XXIII was born Baldassari Cossa. Despite being buried in such an illustrious building, this Pope was stripped of his title after his death due to his multiple misdoings and scandalous life. He was widely disliked by almost everyone in Florence, everyone except that is for the Medici’s that is. When Cossa came into power, he gave the financing of the Vatican over to the Medici bank. The Vatican was one of the largest institutions in the world and employing the Medici bank as their primary money lender meant the families rise to fame. They went from being just another Florentine money lender to one of the richest (non-royal) families in Europe.

Donatello and the Baptistry

The Medici’s owed Cossa, and despite the public’s dislike or outright hate for the man, they were still under his thumb. When his dying wish was to be buried in the Baptistery, they made his dream come true, despite the public outrage that ensued. The Medici’s paid Donatello to sculpt his funerary monument in 1420. On top of the tomb is his death mask. Unlike many death masks of the time, Cossa’s faces look out towards the onlooker instead of up towards the sky. Almost daring the public to say a word against him, as he is always looking and listening. Above his coffin is a lunette of the Madonna and child. The entire piece is a stone canopy is embellished with golden fringe. Supporting the coffin on either side are two Marzocco Lions, the protectors of Florence.

There is so much more to see around the Baptistery, so once you’re finished here, be sure to head over to tour the famous Duomo! If you’ve visited the Baptistery in Florence, let me know in the comment what your favourite part was!

Happy Travels Adventurers.

The post The Ultimate Self-Guided Tour of the Baptistery in Florence first appeared on The Creative Adventurer.

In English and French, Bruges is pronounced “broozh,” but in the native Flemish, it’s called Brugge, pronounced, “broo-gha.” Bruges is a UNESCO-protected city, and as such, historians ensure that everything remains unchanged and is in a perpetual state of Gothic opulence. Any renovations undertaken to protect buildings from the perils of old age are done with lots of research and employ only old materials to fix or repair any damage. Bruges is truly one of my favourite cities to visit. You could walk endlessly along the streets and continuously find new discoveries. It’s a fairy-tale like a village, and I think far too many people just breeze through it on a day trip from Brussels. To truly experience the city at its best, you must spend the night and dedicate 48 hours to exploring every nook and cranny of the city.

History

Before you head out on your adventures, here’s some history of giving you some context for your travels throughout this Gothic city. Bruges first established itself as a settlement in the 9th century. Since it was a city settled on the river, connected to the North Sea, it immediately became a hub for international trade. It was called Bruges after the old Scandinavian word Bryggia, which means harbour. In the middle ages, Bruges was one of the largest trade centres in northwest Europe. It specialized in Flemish cloth, one of the most important products in medieval times. Because the cloth market was exploding all over the country, more and more money poured into the city. The overwhelming wealth that the city gained over the years allowed Bruges to build some of the most impressive medieval architectural masterpieces in Europe.

15th Century Bruges

Throughout the 15th and 16th centuries, Bruges continued to fluctuate under an ever-changing economy. While other European cities were able to expand, Bruges remained a small town. It couldn’t keep up with the growth happening worldwide and eventually lost its position as a leading trade city to Antwerp with a population that doubled its own. Bruges slowly fell out of the limelight and eventually disappeared from European high society.

In the 1800s, Bruges became the most impoverished city in Belgium as all trade routes into the city had shut. It is perhaps this period of poverty that we have to thank for the preservation of the city’s historic architecture. There was no money for renovations, expansions or modernization of any kind. In the mid-19th century, when the tourism industry started to creep outside the major cities into the countryside, people began to discover this untouched gem. People from all over fell in love with the antiquated facades and peaceful canals they found here. In the 1900s, Bruges became a popular tourist destination, and eventually, in 1970, it was added to the UNESCO World Heritage List and was deemed a “medieval historic settlement.”

Access

To make your way to Bruges, you can take the train from any other European city to Bruges Station or fly into the Brussels Airport, located about 110km east of Bruges. Direct trains from the Brussels Airport run every hour into Bruges station.

You can quickly get on a local bus from the train station that will take you to the town centre. The commuter bus drives through the narrow, cobblestone streets of medieval Bruges at breakneck speed. There were a few close calls as we barreled around tight corners, but any locals on the bus didn’t seem the least phased, so I took their nonplussed reaction as comfort and watched the red brick scenery pass us by.

Our bus dropped us off in Markt Square, close to our hotel, and we walked through the square dragging our rolling suitcases along as we went.

TIP: Make sure you have sturdy wheels, or better yet, a knapsack, as suitcases with wheels will take a beating in this city! They’re pretty much isn’t a single smooth surface in the entire place.

Accommodation

Another big tip for visiting Bruges is to stay at least one night in the city. Many visit only for a day trip and rush through the sites just to check them off their bucket list. I more than encourage spending a few days here to properly experience the atmosphere of this ancient city, both during the day and at night. Once the heavy loads of day-tripping tourists disappear in the afternoon, the town’s true nature comes alive. Locals open their doors, and the city feels more than just a postcard.

Hotel Jan Brito

Hotel Jan Brito can be found right in the center of Bruges, just a hop, skip and a jump from Market Square. The hotel is located inside a 16th-century manor house, and staying in this place feels like sleeping inside a piece of the history of Bruges. There are 37 different rooms to choose from, but lucky for those looking for a good deal, they also offer budget rooms where you can stay that are still beautiful but offered at a great price. These rooms will run you $136 US/night.

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Hotel Bourgoensch Hof

If you’re looking for a hotel to take your breath away, look no further than Hotel Bourgoensch Hof. This architectural masterpiece was once a famous brewery that overlooked Bruges’s canals. Despite its conversion to a hotel, the building retains many architectural details that made it unique when it was a brewery. Book one of their canal view rooms if you can splurge a bit. You can open the blinds in the morning or at night and sit on the windowsill looking out at the boats floating down the canal. Rooms will run you $180 US/night.

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More and more Airbnb options have been popping up all over Bruges. This is your chance to stay inside a historic property and treat it less like a hotel and more like a home. This option in central Bruges is a 17th-century romantic little cottage tucked away on a private street. You’ll sleep on one of the city’s most colourful and charming roofs and relax in the morning with a cup of coffee in the garden. Airbnb always offers such unique experiences and properties. This one costs $183 US/night for two people.

After you’re settled into your hotel, it’s time to dig your heels into the history, art and architecture that pours from the veins of Bruges. And what better way to do this than to take a stroll to get up close and personal with the city. You could do this entire walking tour in one day, but I advise you to break it up over two days. Allow yourself time to venture inside the buildings and museums. If you can’t do the time work, you can totally do this walking tour in one day, but it will be a push!

Self-Guided Walking Tour

The Grote Markt or Market Square

The best place to start your tour is in the Grote Markt or Market Square. Seems fitting to begin your journey where Bruges first established its trading center and the location which would bring in all the wealth the city became known for. The first known marketplace was built here in the 10th century. Later, in the 12th century, a wooden market hall was built to help house the fish and cloth imports and exports away from the cold and the sun.

Market Day

The square turned from a simple shopping arena into a meeting place for jousting tournaments, weddings, royal parades and even executions. Despite the time, the square is still used today as a modern marketplace. Every Wednesday, local vendors come out with fresh fruit, vegetables, flowers, cheese and more to sell to locals and tourists alike! It’s the perfect place to get ingredients for a picnic, so I highly recommend you visit here on a Wednesday morning!

In 1996, the square was converted into a pedestrian zone where horse-drawn carriages and bicycles were the only modes of transportation allowed. Tourists can wander and gaze up at the buildings around them without fear of being hit by a car. And gaze up, you will! While the horse and buggies might be too pricey for the regular tourist, bikes are a great way to explore the city, and Market Square is always a place to rent a bike for a few hours.

The Bruges Belfry

The Belfry Tower, atop the infamous Cloth Hall, looms over the Market square. The Belfry was built in 1240 but needed to be rebuilt in 1280 after a fire ravaged the first building. If the octagonal top looks slightly unfinished, you’d be correct. The tower was once topped with a high spire, well many spires actually, but each one was the victim of lightning strikes which reduced them all to ash. There is a famous poem by Henry Wadsworth Longfellow which goes,

In the marketplace of Bruges stands the Belfry old and brown; Thrice consumed and thrice rebuilt. Still, it watches o’er the town.

In the medieval ages, the Belfry’s bells were the only indicator citizens had to tell the start of the workday, to signal for fire, or even to mark the beginning of a festival or event. In the 16th century, a 35-set carillon was installed in the tower. A carillon is a set of bells which could be played using a keyboard below the tower, creating a more musical sound than a few single bells rung from ropes ever could.

Climbing the Tower

You can still climb the 366 steps to the top of the tower as patrolmen once used to do to look out for fires that could have destroyed this incredible city. The view from the top is unparalleled and worth the time and effort it takes to climb up. These days the cost to climb the tower is € 12,00 for adults if you have the money to spend this is a great experience. I recommended visiting the Concertgebouw Circuit if you want a great view across the city with a slightly lower price and fewer tourists. The cost to visit the roof terrace on the seventh floor is only €8, and you’ll also see a fine collection of modern art. There is definitely a price you pay for history at the Belfry, so just weigh which ones are more important to you.

Snack on “French” Fries

At the bottom of the Belfry Tower is a local french fry vendor who serves up some of the most delicious Belgian french fries. There are ongoing disputes over the term “french fries” and their origin. The Belgians insist it was them, but the French disagree. The story goes that when American armies were stationed in Belgium, the Flemish military served them up one of their favourite (and inexpensive) meals – fried strips of potatoes.

The American army LOVED them and took the recipe back home. They ended up calling them french fries since French was the local language in Belgium then, and the Americans assumed they have stationed in France, not Belgium since that’s the language they heard spoken. While the French aren’t known for selling fries on the street, the Belgians have perfected this snack to be served on the go. They serve them alongside a mustard and mayonnaise dipping sauce which is an oddly delicious side dish and the perfect thing to eat to keep you going throughout your walking tour.

While chowing down on your snack, take a moment to study the brightly coloured buildings surrounding that square. Each one is topped with iconic crow-stepped gables, which have become the quintessential characteristic of Bruges.

Jan Breydel

Take a seat in the centre of the square, beneath the grand statue of Jan Breydel and Pieter de Coninck. These two men are local heroes known for leading the uprising against the invading French in 1302 and keeping Bruges a part of Belgium.

Provincial Hof

Across from the statue is the Provincial Hof or Provincial Court. The building now houses the Government of West Flanders and a local post office, but hundreds of years ago, it was home to the largest port in Bruges. Initially built in 1294, it was demolished in 1787 and rebuilt in a Neo-Gothic style reminiscent of the original Gothic roots of the city. One of the most iconic parts of its design is the bright red dormer windows which pop out of the stone grey roof.

Hendrik and Gustaaf Pickery designed all the interior decorations. You’ll find intricate stained glass windows and exquisite ironwork which covers all the rooms like wild vines. Gothic architecture was inspired by nature and how the organic world is so free and ornate. The statues and murals within depict scenes of famous people from West Flanders, a visual history of the building of their great city spread out for you in art.

Chocolatier Dumon

Dumon Chocolates are one of the most popular souvenirs people bring home from Bruges. Belgium is known worldwide for their chocolate creations, and Dumon has found a way of perfecting the art. Established in 1992, this family-run business expanded around Belgium, but their first family-run shop was in Bruges.

As you open the door, you are overwhelmed with melting chocolate’s sweet and slightly bitter scent. The tiny shop is almost arm’s length wide but is charmingly cluttered. Chocolates glisten behind glass cabinets, and you can’t help but start to drool. While there are no labels, the kind employees (all family members) will lovingly tell you about all the different kinds of chocolate and prepare a customized box with all your favourites. They speak English in addition to French and Belgian, but if you can’t communicate, you can’t go wrong with anything inside.

Hof Bladelin

Past Dumon, walking along the narrow streets and alleyways, you come upon Hof Bladelin. Hof Bladelin was once an aristocratic mansion, which has now been converted into a home for the elderly and a small museum. The Hof Bladelin was built in 1451 as the house of Pieter Bladelin and his wife, Margaret of Vagewierre. Pieter was the counsellor and treasurer for Philip the Good, the Duke of Burgundy. At the time, he was one of the wealthiest men in Bruges and wanted to build a house which reflected his enormous wealth. The Bladelins had no children, and after their death, the house came up for auction in 1472. It was purchased by the Medicis, a powerful Florentine banking family known for covering the most beautiful pieces of art and architecture from the world’s greatest artists.

The Hof Bladelin has the architectural design of a Gothic castle. The Renaissance courtyard was designed in the Italian style and added to the building by the Medici family. Stone medallion portraits of Lorenzo de Medici and his wife can still be found in the courtyard. The ribbed vaulted ceiling in the interiors has some interesting corbels adorned with scenes depicting the duties of Bladelin and the life of St. Alphege of Canterbury.

The Poortersloge

The Poortersloge, or Burgher’s Lodge, is an exemplary model of Gothic architecture in Bruges. It was built at the end of the 14th century and served as a meeting place for the burghers (town or city’s citizens). One can admire its magnificent façade, decorated with stone figures; one of these is of the legendary bear, Beertje van de Logie, dated 1417. In the past, banquets and festivities were held here; nowadays, the building contains historical documents.

Cambrinus

If you’re feeling peckish, stop off at the Cambrinus pub. The building oozes history. The original pub was built here in 1699, and despite a few updates, much of the place remains the same. When you arrive, the waiter will bring you a book the size of a dictionary with over 400 varieties of beer listed and vivid descriptions in various languages. There, indeed is something for everyone. In addition to the best beer list in the country, their traditional Brugian food is also to die for. The rabbit stew is my favourite and will warm you up from the inside out if you are travelling in any of the colder months.

Burg Square

Burg Square is one of the most stunningly old parts of the city. Surrounding you from all sides are architectural gems from the Gothic era, the Renaissance and the Neo-Classical revival.

Burg Town Hall

Burg Town Hall, or Stadhuis, is the oldest building in the square, built in 1376 in authentic Gothic fashion. Between the bright red painted window frames are carvings of men from the Court of Flanders intermingled with biblical figures. Each one looks down at the townspeople below, guiding and inspiring them to do good in their daily lives.

Palace of the Liberty

Sandwiched between the Town Hall is the Palace of the Liberty. This once served as the Old Court House for more than 200 years. The brilliant white painted facade with gold trim is decorated like a wedding cake with a golden Lady of Justice statue on top.

Basilica of the Holy Blood

In the corner of the square, tucked away so tightly it almost seems to disappear, stands the Basilica of the Holy Blood. This 14th-century church holds one essential item, a vial of “Holy Blood,” believed to be drops of blood and water washed from the body of Jesus Christ.

Behind its dark, richly decorated facade hides an even more ornamental interior. The interior houses two chapels, each polar opposite of the other. The upper chapel is the crown jewel of West Flanders in high Gothic style. From floor to ceiling, there are darkly painted murals depicting the Holy Trinity and various scenes of the journey of the Holy Blood Relic to Bruges. Vividly portrayed stained glass windows provide the only natural light inside the chapel. Little modern lighting has been installed inside to ensure the murals don’t fade with time, so this sombre lighting constantly fills the church.

Holy Blood relic

The Holy Blood relic is embedded in a rock-crystal vial and placed inside a glass cylinder framed with two golden crowns. It is only shown to the public on certain days of the week, so if you’re making a pilgrimage just to see it, check the schedule. When it is not displayed, it is housed inside a silver tabernacle with a picture of the Lamb of God on the front. In recent years the validity of the vial has come under question, and investigations have shown that it was nothing more than a Byzantine perfume bottle from Constantinople. But to those who believe, no amount of science can deter them.

The lower chapel is a simple Romanesque layout from the 12th century, the last Romanesque church in all of West Flanders. This chapel has been virtually unchanged since it was first built. The two chapels are connected, but a large brick staircase was built in 1533 in the Renaissance style, which was subsequently destroyed during the French WWII occupation but rebuilt in the 19th century. Moving from one chapel to another is like stepping back in time, and you really appreciate the incredible technological advances.

Vismarkt

Across the bridge from Burg Square is the Vismarkt or Old Fish Market. The fish market was once located in Market Square, but the smell of the fish was so intense that people around the square complained, so it was moved further east. The covered stone arcade was built in 1821. The market is only open from Wednesday to Saturday in the early morning, but you can visit the iconic stone structure anytime.

Dijver Canal

From the Fish Market, walk west along the Dijver canal. The canal’s passageway from the fish market to Nieuwstraat provides a classical view of Bruges, great for picture taking. Various restaurants along the canal are reasonably touristy but provide one of the most beautiful vistas in Bruges. If you just want to hop into one of their patios for a drink, I think the overpriced beer is well worth the scenery. This is a great place to end your first day, or if you’re trying to squeeze it all into 24 hours, you can continue from here.

Groeninge Museum

Across the street and down a few lanes from the canal is the Groeninge Museum. The Groeninge Museum is an essential stop on your tour of Bruges as it introduces you to Brugian and Belgian art over six centuries.

The Primitive Flemish style of painting is featured throughout the walls of museums. Flemish art isn’t classically thought of as exceedingly masterful since it sometimes seems grotesque, raw and explicit. But that’s exactly what I love about it. Flemish painters were always trying to emulate their Italian counterparts to achieve a dynamic perspective, but they didn’t have the technical skills to realize these effects. The result is images which appear almost warped, but whose expressions are so real they leave a lasting impression on the people who view them.

Arents House Courtyard

Across from the Groeninge Museum, you’ll find the Arents House. Arents House was once an ancient manor belonging to the noble Arents family. It now hosts an extensive collection of paintings by the British artist Frank Brangwyn. While it might be worth a visit on a more extended tour to Bruges, today, we are merely exploring its courtyard.

The small square between the two medieval houses is the perfect place to stop and pause. Listen to the sounds of cobblestones underfoot and the trickle of water which flows down the canal. From Arents Court, you have one of the most splendid views of the Church of Our Lady’s tower. If you’re lucky, you’ll hear the church bell rings across the street and the soft crowing of birds perched above. Four exciting sculptures by artist Rik Poot surround the courtyard, representing the “Four Apocalyptic Knights,” which greatly complement the artistic surroundings.

Bonifacius Bridge

Before heading to the Church of Our Lady, you’ll pass across the Bonifacius Bridge. Despite only dating from 1910, it is one of the most beautiful bridges in Bruges. The tightly interlaced cobblestones and red brick archway provide the perfect frame for the church towers behind it. Standing on the bridge, you can watch tourists paddle up and down the canal. Looking atop the bridge, you have this lovely view of some of the most charming houses peeking out onto the water.

The Church of Our Lady

All of the churches in Bruges are enormous. They seem to absolutely tower over the tiny houses below. The Church of Our Lady’s tower is 122 meters high, the highest point in Bruges and the world’s second tallest brickwork tower. Because the church took over two centuries to build, it combines various evolutions of Gothic and Baroque architecture.

Interior of the Church

‘While the interior might not be as grand as its exterior, it is still worth poking your head inside. The central organ is small but opulent, hiding behind the high altar screen. A few dozen simple chairs provide seating for the small but dedicated congregation. The altar screen is unique both in colouring and design. Its white and green coloured marble interior is highlighted with splashes of gold leafing. The green marble is a feature you don’t always see, making this cathedral interior special. Along the nave are columns dotted with reliefs of various influential saints. A large wooden pulpit stands at attention on the right side of the nave; dozens of beautifully carved cherubs hang off the sides, clinging to books with golden scriptures written for the people below to read.

Behind the high altar is the resting place of two of Bruges’ most famous residents. The golden tombs of Charles the Bold and the Duchess Mary of Burgundy lie in quiet repose beneath a magnificent tryptic. Their elaborately designed tombs are worth looking at, so don’t miss touring the back half of the church.

Madonna and Child

The crown jewel of this church is the white marble sculpture of the Madonna and Child, created by Michelangelo in 1504. Over the years, the statue has been stolen by foreign invaders, but those dedicated to preserving its place in Bruges have always managed to bring it back home. Although this sculpture doesn’t have the same impact as Michelangelo’s Pieta in Rome, the sadness on Madonna’s face reflects her knowledge that this little boy will grow up only to die for the sins of his people. It’s an ominous prelude of things to come and a wonderful piece of Michelangelo’s portfolio.

Gruuthuse Hof

Away from the Church of Our Lady is the Gruuthuse Hof, a small but historic dwelling adorably sandwiched between two major streets. Although it has now been converted into a restaurant, the Gruuthuse Hof is one of the oldest residences in Bruges. While in one of the prime locations for tourists, the restaurant keeps a somewhat simple, traditional menu that caters to locals and tourists alike. With only 28 seats inside and 12 on the patio, the place remains intimate despite its popularity over the eras. If you can find a table, it’s worth stopping in for the featured meal of the day.

St. Salvator’s Cathedral

Up from the Gruuthuse Hof is St. Salvator’s Cathedral. It is the oldest parish church in Bruges, with parts dating back to the 10th century. But the original design was much less grandiose than the current incarnation. In 1834, after Belgium’s independence, St. Salvator’s was given the status of a cathedral, and the meagre church had to be extensively renovated to match its new profile.

The architect of the new cathedral was William Chantrell, an English architect who was greatly influenced by the resurgence of Neo-Romanesque architecture. Neo-Romanesque buildings feature thick walls, round arches, sturdy pillars, barrel vaults, large towers and decorative arcading. Because most of the rest of Bruges is so powerfully Gothic, this church really stands out.

Jasper van der Borcht

The neo-Gothic interior of the church is relatively plain but is accented with stunning embroidered tapestries from the 18th century. These antiquated works of art were made in Brussels by Jasper van der Borcht and featured astounding Bible scenes, all created with needles and thread. To the left of the nave, the pulpit is a stunning example of Louis XVI’s designs. Designs of Louis XVI were predominantly produced in France and exemplified the last phase of the Rococo style. The techniques focused on natural forms and dramatic embellishments.

Old St. John’s Hospital

Walking down from St. Salvator’s Cathedral, we come upon Old St. John’s Hospital, which is now the Memling Museum. Before becoming a museum, it was used as a hospital for the sick and dying, who were administered to by nuns and priests. Inside are many relics and six paintings by a 15th-century painter and Bruges resident Hans Memling.

One of the highlights inside is the Shrine to St. Ursula. In the shape of the church, there are six panels carved into a gilded wooden reliquary that tell the story of St. Ursula’s sainthood, painted by Memling himself. The work was commissioned by the Hospital of St. John and is one of the most exquisite pieces of religious art I’ve seen close up. The three-dimensional details and rich colours are remarkable. Inside the museum, you can also visit the old pharmacy. It’s a real treat for anyone who loves going back in time and seeing how sickness was treated in the 1800s. It will make you very thankful for modern medicine, that’s for sure!

De Vos Almshouse

Further south, away from the central part of the city, we will come across the De Vos Almshouse. This small grouping of little houses, facing a lush green herb and flower garden, once housed poor residents, widows and the elderly. The homes were purchased by a wealthy Brugian merchant who loved his city and wanted to give back to the less fortunate. Each house was donated to a specific guild (e.g., the mason’s guild, the blacksmiths, the coopers etc.) and would provide housing for members of that guild when they became too old to work, fell ill or lost their jobs. You might notice how none of the houses have windows which face the street – this was because, at the time of their construction, there was a tax imposed for any street-facing window, and to save money, the builders were sure to avoid designing any street-facing windows.

Beguinage

Before our final destination, stop into the Beguinage’ De Wijngaard‘ or Vineyard. This grouping of identical-looking white houses is one of the most peaceful places to rest your weary feet in Bruges. So far away from the town centre, this site is often unvisited by day-tripping tourists, so you’ll usually have it all to yourself.

Since 1245, the Beguine sisterhood of Bruges has lived here, and in 1937 it became a monastery for the Benedictine sisters. To enter the Beguinage, you first pass through a large arched entrance gate built in 1776. Inside you find houses which range from the 15th to 19th century.

The Minnewater

Minnewater, or Lake of Love, is one of the most beloved retreats for the remaining permanent residents of Bruges. Again, since this is farther away from the historic centre, you’ll find that fewer tourists make their way here, and more locals are seen simply enjoying a day out in the park. Swans float up and down the picturesque canals, and lovers roam under the densely forested pathways, arm in arm. This is the ideal place to reflect on your time in Bruges.

Dine on Mussels

Head up from Minneswater towards ‘T walpoortje restaurant for a great dinner to end your long day! If you’re wondering what to eat on your last day here, I recommend the mussels or modules and frites, as they’re called in Bruges. Mussels are a Belgian specialty. They are so simple to cook, so you can’t go wrong. The ones here are extra delicious, and you won’t be able to leave even a drop behind!

Explore the City at Twilight

If you’ve taken my advice and planned to stay the night, you’re in for a treat! Nighttime changes the appearance of the city. When the sun sets, there is something about making even those little modern touches disappear, and you’re left with only the city’s medieval roots. Many historic buildings are lit at night, giving them an eerie golden against the midnight blue sky. The street will be as quiet as you’ll ever find them. We walked for almost an hour without seeing a single another tourist. Only the gargoyles are looking down on us. It was spooky but, honestly, one of the coolest experiences of the trip! Make an effort and stay the night, and you’ll be rewarded with something truly special.

And with the setting of the sun and the night drawing to a close, it’s time to head home. This concludes my little walking tour and guide to Bruges. I hope this helps you plan out your time on your trip to this magical Medieval city! Let me know in the comments what your favourite part of the city was or what you’re most interested in learning about on your future travels out in Bruges!

Happy Travels Adventurers

The post The Best 24-Hours in Bruges, a Self-Guided Tour of the City first appeared on The Creative Adventurer.

Table Of Contents

1. Map of Walking Tour
2. Vienna State Opera House
   • Harmony and Poetry
3. Café Sacher Wien
4. Albertinaplatz
   • The Gates of Violence
   • Orpheus Enters Hades
   • The Stone of the Republic
5. Kärntner Straße
6. Kaisergruft
   • Metal Sarcophagi
   • Sarcophagus of Empress Maria Theresia
7. Neuer Markt
   • Mayseder house
8. Haas Haus
9. St. Stephen's Cathedral
   • St. Stephen's Roof
   • Riesentor 
   • Entry into St. Stephen's Church
10. The Graben
11. The Holy Trinity Plague Column
12. St Peter's Church
    • Healing of the Lame
13. Cafe Demel
14. MANZ Bookstore
15. Looshaus
16. Michaelerplatz
17. Michaelerkirche
    • Great Organ
18. Austrian National Library
19. Heldenplatz
20. Maria-Theresien-Platz
21. Bier & Bierli

Map of Walking Tour

Vienna State Opera House

Start your tour at the Vienna State Opera House. In the City of Music, there is no better place to start than the Opera. The Opera House opened in 1863 and since then has been home to some of the most world-renowned artists, musicians and directors. Every year there are over 350 performances from over 60 different operas and ballets.

The facade of the Opera House hasn’t changed since 1869. Neo-Renaissance style arches and a huge veranda pops out onto the Ring Road and offers the public the chance to use the building as shelter from the rain or even just a shady pathway throughout the year. This integration of the building into the daily lives of people in Vienna also cemented its prominence as a piece of architecture in the hearts of its residences.

Harmony and Poetry

The bronze statues which top the building represent Erato’s two winged horses named Harmony and Poetry. Above each of the arches along the outside are five statues representing heroism, tragedy, fantasy, comedy, and love. There are also two iconic fountains on their side of the opera house which depict the two worlds which music can create; one representing dance, joy, and levity, and the other seduction, sorrow, love, and revenge.

Deep in the bones of this building, you will find veins of Vienna’s past. The arts were such a huge building block of Vienna’s culture. It was here that Mozart wrote the famous opera The Marriage of Figaro. The city was home to many great composers of the classical music era, during the early 19th century, such as Joseph Haydn and Ludwig van Beethoven.

You can get a behind the scenes tour which will take you backstage with a guide who will tell you all about the history of the opera house. If you’d rather watch a performance, tickets range anywhere from 8€-130€, but if you wanted to save money, you can purchase day-of standing room only tickets for as little as 2€. 

Café Sacher Wien

Café Sacher is a legendary restaurant. Located inside the Sacher Hotel, the cafe has stood in the same spot, serving the people of Vienna for over a century. Stepping inside the large entry doors, you are welcomed into a stunning Marie Antoinette-inspired dollhouse. Deep red painted walls are accented with bright white linens and sparkling golden chandeliers. The crown moulding is covered in gold leaf and acts like icing on top of a cake.

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Cafe Sacher is famed for their invention of the Sachertorte, made in 1837 for the presiding Viennese prince. There is no better place in the world to sample this uniquely Viennese treat. The Sachertorte is made by combining two layers of airy chocolate cake, separated by apricot jam, coated with chocolate ganache and topped off with whipped cream. The cake itself is quite dry, so the whipped cream and a cup of warm coffee or tea is the best combination to enjoy the dessert to its fullest.

Albertinaplatz

Down the street from Cafe Sacher is Albertinaplatz or Albertina Square. Albertinaplatz is met on six sides by six different roads, making it a favourite meeting destination for the people of Vienna. From the square, you can see or visit the Albertina Art Museum, St. Augustin Church or the Austrian Film Museum.

In the centre of the square are various powerful statues and monuments. Before 1945, wealthy apartment blocks covered this square. But during WWII they were all subsequently destroyed in an air-raid. The numbers of deaths could never be verified, and the bodies could not be recovered from the rubble.All the statues now standing here, use stones similar to the ones pulled from the wreckage. Standing amongst the statues, almost beneath them, you can imagine how much carnage huge falling piece of stone would have caused.

The Gates of Violence

The Gates of Violence stand in the centre of the square and are the most imposing piece. They are made from the same material which was used to create stairs inside many of the infamous WWII death camps. The great stone is split in half, a powerful image symbolic of how war can break apart even the strongest things in this world. Embedded in the stones are images of war, gas masks, men and women caught in their moment of death, medical experiments, chained victims and weapons of war. It is a stirring and honest depiction of the horrors of war.

Orpheus Enters Hades

Another piece of sandstone displays a muscular man with his head buried in the stone. This piece is called Orpheus Enters Hades. It is meant to remind all those who pass by that ignorance leaves you as guilty as the rest.

A bronze statue lays almost flat on the ground. It is the image of a jew covered in barbed wire. A reminder of the degradation and humiliation that the Jews suffered in Vienna even before WWII. A weak arm is outstretched towards you, asking for help and one only wishes you could tear the copper wries from his body to set him free.

The Stone of the Republic

The Stone of the Republic is a replica of the 1945 declaration that established Austria’s second republic and helped protect the human rights of all its citizens. It is the best piece to finish on as it is a hopeful message to end with. Although these statues are very emotional to view, I think they are very important to see as we need to understand the entirety of Vienna history; the good, the bad and the ugly.

Kärntner Straße

Kärntner Straße or Carinthian Street is the most iconic shopping street in Vienna, frequented by so many people that it has been turned into a pedestrian-only zone. People can walk up and down the street from Karlsplatz to Stephansplatz without fear of running into traffic. The pedestrian zone creates this gorgeously open space. Even when hundreds of people are out and about it feels relaxed and unemcumbered.

Kaisergruft

The Kaisergruft, inside the Capuchin Church and Monastery, is home to the Viennese Imperial Crypts. Since 1618, the deceased members of the House of Habsburg have been buried here in ornate urns and opulent metal sarcophagi. While it might seem a bit macabre to explore the tombs, the resting places of the kings and queens of Vienna are more like a work of art than a graveyard.

Metal Sarcophagi

107 metal sarcophagi lay beneath the church, along with five heart urns. The more significant the person laid inside the more magnificent the tombstones. The prominent members of the royal family’s tombs are made of pure bronze while some of the more lowly members are made of cheaper, tin alloy, coated with shellac to appear to be bronze. In the 19th century, some of the tombs were even cast in silver and covered in gold plating for an even more expensive appearance. The study of metalwork throughout the ages is on display here just as much as the dead who lie beneath their masterpieces.

When the bodies were buried, most of their organs were removed since the tombs would be free-standing and this would result in excessive putrification of the organs in the basement of the church. The heart was often saved and placed in an individual silver urn atop or beside the tomb. Most of these urns were sent elsewhere, perhaps to stay with the family while their bodies lay to rest here. 

Sarcophagus of Empress Maria Theresia

The most incredible piece is the Sarcophagus of Empress Maria Theresia and Emperor Franz I Stephan designed by Balthasar Ferdinand Moll. This extravagant double sarcophagus in Rococo style featured the pair, as they would have appeared in life, lying on top of the lid, as if awakened from their slumber. They stare at each other, and their features are so lifelike one is almost skittish as you walk by. Their tombs, like many others, features scenes of critical moments in their lives surrounding the perimeter. The shrouded figures represent the grieving states which they ruled over in their time: Holy Roman Empire, Hungary, Bohemia and Jerusalem. They now rest at peace underneath a domed fresco, heavenly pink and blue painted clouds floating eternally overhead.

Neuer Markt

While it might be called the New Market this square is anything but new. It was first established as the primary market in Vienna in 1234 when the old Hohe Markt was no longer large enough for the needs of this growing medieval city. In the centre of the square stands the Thunder Well. The Thunder Well was created in 1739 by artistic Georg Raphael Donner. The bronze statues which surround the fountain are copies of original sculptures which are now housed in the Austrian Gallery Belvedere. 

Surrounding the square are several pastel coloured architectural masterpieces. #10-11 is where you’ll find a house which once was home to a traditional delicatessen. It was built by Arnold Heymann in the Old German Renaissance style. Today you can visit the new owners who still run a delicatessen business out of the storefront.

Mayseder house

Further down the street, you can find the Mayseder house at #15. This is the oldest house on the square, built in 1548, and now is home to a fancy jewellery shop.

Haas Haus

In sharp contrast to the houses along the New Market, the Haas House is a postmodern dream of architect Hans Hollein built in 1990. Today it is part retail and part restaurant so if you wish to dine inside you have the chance to eat within an architectural star.

St. Stephen’s Cathedral

Without a doubt, the most visited building in Vienna is St. Stephen’s Cathedral. The original church was built here in 1137, but after being ravaged by fire, a new church was constructed atop its literal ashes. The current incarnation is a mixture of Romanesque and Gothic influences built in the 14th century. 

The most impressive and unique feature of the church is the brightly coloured tile roof. Over 230,000 ceramic tiles create the stunning rooftop mosaic of the imperial double-headed eagle. The double-headed eagle is the symbol of the Habsburg Monarchy who ruled over Vienna for centuries. A double-headed eagle in Rome symbolized you weren’t merely an imperial ruler but a divine one, blessed by the Pope.

St. Stephen’s Roof

The iconic roof was the only part of the church to be damaged during WWII. Although there were official orders to fire upon the church until all that was left was rubble, those orders were dismissed. Perhaps the sheer power the church commanded caused those who would destroy it to betray their orders. During the Soviet occupation of Vienna, fires were set in the shops opposite the cathedral and, unfortunately, they spread and set fire to the church roof. Tiles crashed to the floor, but due to the dutiful efforts of their clergy who piled protective bricks atop their precious statues and monuments inside, nothing was too severely damaged before they could put out the fires.

The church’s tower overlooks over the entire city, watching over it like a dutiful guard. The tower is named Steffl and stands a staggering 136 meters high and is home to one of Europe most massive bells, which is etched with the face of the mother of god. It is a legend that when Beethoven was a child, he first became aware of his deafness when he stared up at the tower and saw the birds flying away as the bell began to ring but Beethoven himself couldn’t hear a thing.

Riesentor 

The Giant Gate or Riesentor is your entry into the Cathedral. This gateway was part of the original Romanesque church, built in 1223, which was subsequently burned down.  The name for the gate came from the discovery of a mastodon bone found beneath the church discovered in the 14th century. Before modern science, people believed that giants roamed Europe and that these mastodon and dinosaur bones were remanents of that great race.

Entry into St. Stephen’s Church

Although you can view the church from the square surrounding it, you must make the effort of going inside to visit. When you first enter there is an area which is free. To go further inside the nave will cost you, but the price is so minimal and more than worth it. Many day-tripping tourists will walk inside, snap a picture and walk right back out. The entry is so crowded but once you pay your €5,50 (Child: €2,00) the crowds disperse and all that is left is the immense beauty of the overwhelming columns, sparkling stained glass and monumental paintings.

As you walk through the church take a moment to study the gothic columns. Each one of them is home to a beautifully carved saint under ornate canopies. At the base of each column is a cluster of a richly pigmented paintings. The magnificent stone pulpit, created by Niclaes Gerhaert van Leydenm, is a gothic masterpiece, which encircles one of the support columns like a stone tentacle.

There are six chapels is total which are on either side of the nave. Each one dedicated to a different saint; Saint Barbara, Saint Catherine, the Chapel of the Cross, Saint Eligius, Saint Bartholomew, and Saint Valentine.

If you are feeling up to it, and I suggest you muster all your energy, take the time to climb the 342 steps up the South Tower. The steep and narrow ancient staircase will lead you up 246 feet to a lookout which provides one of the most stunning views of Vienna.

The Graben

After touring the church, you might want to chill out with a walk along the Graben. The Graben is Vienna’s Rodeo Drive. The word Graben means “gutter” as this area was once on the edge of the city walls, where the refuse would be thrown into the outer city moat. Today, it couldn’t be further from the gutter. Along this street, you’ll find some of the most expensive shops, exclusive retail, traditional delights and fantastical architecture – both old and new.

The Holy Trinity Plague Column

In the mist of high-end shops and expensive cafes and restaurants stands one of the most impressive Plague Columns in Europe. Plague columns were erected after plague was wiped out from the city. It was a monument of perseverance in the sight of great pain and suffering. Topped with the Mother of God, this Plague Column was also dedicated to the Brotherhood of the Holy Trinity who created plague hospitals to care for the infected.

Vienna suffered as many as 75,000 dead during their great plague in 1679. Vienna was spared much of the 14th-century plague but was ravaged when it returned in the 17th century. Although medicine and sanitization techniques were improving much of the treatments for the epidemic were still a mix of religious prayers and outlandish medicine. The column is 69 feet tall. At the base, we see the figures representing faith triumphing over disease. The middle portion has the visages of Emperor Leopold I and is topped with golden cherubs flying around to protect the Mother Mary.

St Peter’s Church

The Peterskirche or St. Peter’s Church sits on the corner of the Graben. The earliest church built on this site dates back to the early middle ages, but because nothing remains of that original structure, the church has lost its title as the “oldest church in Vienna”. The current iteration of the church was designed in Romanesque style, initially built in 1137 but redone in the 1700s after fire and plague ravaged the structure. 

The interior design of the church was inspired by the Vatican in Rome. When you step inside, you are swept up in a warmth that is almost ethereal. The church uses lots of pink and red marble as well as gold stucco throughout to create this welcoming radiance. A dark, baroque painting covers the massive dome and in the cupolas are frescoes representing the Coronation of Our Lady. The high altar might be one of the most stunning church altars in all of Europe. Walking up to it, your head cranes upwards, towards the heavens.

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Healing of the Lame

Four columns on either side flanks a beautiful Viennese painting of the Healing of the Lame by St. Peter and St. John in Jerusalem by Martino Altomonte painted in the 16th century. If you continue to look upwards, you’ll see a smaller, circular painting of the Immaculate Conception, painted in the 19th century by the artist Kupelwiese.  The rest of the altar was created by Antonio Galli Bibiena and is a testament to his skill at creating scenes in gold and silver.

To the right of the altar is the spectacular gilded pulpit, crowned with a gold-and-silver representation of the Martyrdom of St. John of Nepomuk, sculpted by Lorenzo Mattielli. Above them on the canopy, sits the mother of God. The faces and expressions on the sculpture are so powerful and those precious metals seem to have such governance over the viewer.

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On either side of the altar are the side chapels with paintings of the Holy family (left) and St. Michael (right). In either are glass coffins which contain martyrs from the Roman catacombs, dressed in full Roman regalia. Even the pews in the church are decorated, the ends carved with expressive cherubic heads. As you walk out of the church, take a moment to study the baroque organ built in 1751.

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Cafe Demel

Cafe Demel is the closest thing to walking into Maria Antoinette’s bedroom youll ever find outside of Versaille. Luxurious dark wood with Neo-baroque patterns adorn the walls. Golden chandeliers with crystal petals hang from the ceiling and antique mirrors reflect back from every angle beautiful cakes and pastries hiding behind glass cabinets. Demel was established in 1786 and ever since has served Vienna the most mouth-watering pastries and chocolates.

The white-aproned waitresses help the customer pick out their treats. The chocolate comes in some of the most stunning packagings, and although are rather expensive, they make a unique gift which will be treasured by whoever receives it.

MANZ Bookstore

Beside Demel is the MANZ bookshop. MANZ has stood here for over 100 years selling mainly judicial literature. Today, it is a landmark not for its literary selection but its iconic art deco portal, designed in 1912 by Austrian architect Adolf Loos.

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Looshaus

The Looshaus was designed by the same man who created the MANZ bookstore and constructed only a year before. But unlike MANZ which received overwhelmingly positive reviews, the Loohaus was considered too modern in 1911. Vienna was a baroque city which loved ornamentation, and the Loohaus was simplistic, geometric and contemporary. Although it took the public a long time to come around to this form of design, today it is viewed as a groundbreaking piece of art design architecture which helped push the movement forward in Europe.

Michaelerplatz

Michaelerplatz is a large square which separates the rest of the city from the Hofburg Palace, the former imperial court of Vienna. The enormous Michaelertor, the gate into the palace, dominates the square. Its masterful roman columns seem to swell like the crashing of the waves over the rest of the square. In the centre of the square, you can view an open area which has been preserved with the remains of Roman and Medieval foundations of the square which once stood here hundreds of years ago.

Michaelerkirche

On the opposite side of the Michaelertor gate is Michaelerkirche. The Michaelerkirche is an amalgamation of various architectural styles, the original medieval structure was built in 1221, the current facade built in 1792 is neoclassical and the tower, from the 14th century, displays many iconic elements of Gothic architecture.

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Walking inside, you’ll be immediately struck with awe upon looking at the swelling, high altar. Designed in 1782 by Jean-Baptiste d’Avrange it is one of the most majestic stucco sculptures from the Rococo period. The piece features the story of the Fall of the Angels and includes the Archangel Michael of which the church is named after. Clouds burst from the walls and a golden sunburst beams from the ceiling. Angels and cherubs fall to the ground from above. On the lower sunburst is the altar of Maria Candia, a Byzantine icon of the Virgin Mary.

<blockquote class=”instagram-media” data-instgrm-permalink=”https://www.instagram.com/p/Cm4b30SI6EZ/?utm_source=ig_embed&amp;utm_campaign=loading” data-instgrm-version=”14″ style=” background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% – 2px); width:calc(100% – 2px);”><div style=”padding:16px;”> <a href=”https://www.instagram.com/p/Cm4b30SI6EZ/?utm_source=ig_embed&amp;utm_campaign=loading” style=” background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;” target=”_blank”> <div style=” display: flex; flex-direction: row; align-items: center;”> <div style=”background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;”></div> <div style=”display: flex; flex-direction: column; flex-grow: 1; justify-content: center;”> <div style=” background-color: #F4F4F4; 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Great Organ

The other iconic piece of design worth studying inside is the gilded pipe organ from Johann David Sieber. This is the largest baroque organ in Vienna. As you first gaze up at the centre you might not think it looks that big but look to the left and the right and observe the GIANT organs on either side of the smaller central set of pipes. The unfinished Requiem by Mozart was first performed here in 1791.

Austrian National Library

The Austrian National Library is older than some modern nations. The library dates back to 1349 and contains some of the most impressive collections of medieval literature across Europe. Although the 7 euro entry fee into the library might seem steep for entry into, basically one big room, trust me, this is one big room you don’t want to miss. Walking into the Grand Hall, you’re met right away with a breathtaking scene. You feel like you’re inside a cathedral with the massively high ceilings, doomed rooftop covered in frescos and enormous marble columns. But the important part of the room are the glossy amber shelves holding precious paper treasures.

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Heldenplatz

This history of Heldenplatz is a sordid one. Heldenplatz or Heroes’ Square is a large public area in front of the Hofburg Palace. One of the darkest parts of this square’s history is its use in Adolf Hitler’s ceremonial announcement of the Austrian Anschluss to Nazi Germany on March 15th, 1938. The square is the perfect place to get an incredible shot of the Royal Castle which sits across the square. In the centre of the square stands the statue of Archduke Charles of Austria. The statue was installed in 1860, and was meant to lift the spirits of the people up after their defeat in a bloody battle. The horse he rides on is rearing up as this is a symbol of military glory. Another equestrian statue in the square is that of Prince Eugene of Savoy designed in 1865.

Maria-Theresien-Platz

Walking west along Heldenplatz Road you will come to another grand square; this one is the Maria-Theresien-Platz or Empress Maria Theresia Square. On either side of the square are two near-identical buildings, one is now the Natural Museum of History and the other the Art History Museum of Vienna. In the centre of the square is a large statue of Empress Maria Theresa, her hand outstretched towards the people below. She is surrounded by variously armed calvary surrounding the round statue. The square itself is decorated with simple yet aesthetically pleasing green shrubs and bushes carved into perfect round nodules.

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Bier & Bierli

This charming tavern has been located along the Operngasse for hundreds of years, and the new owners wanted to continue its excellent legacy. Today this tavern serves up dozens of local and international beers and down-to-earth Viennese specialities. The walls are covered in beer memorabilia from over the years and sitting inside makes you feel like you’re more in a museum than a restaurant. If you want a down-home taste of Vienna, be sure to order the veal schnitzel, this gigantic fried piece of meat is served alongside a traditional helping of cranberry jelly, fried potatoes and a salad to make you feel like you’re offsetting all that fried goodness.

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The post A Historic Self-Guided Walking Tour of Vienna first appeared on The Creative Adventurer.