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.

Table Of Contents

1. History
2. When to do this Tour?
3. How to Get There
4. Accessibility
5. Plaça de Catalunya
6. Avinguda del Portal de l'Àngel
7. Santa Anna de Barcelona
8. Els 4Gats
9. Font de Santa Anna de Barcelona
10. Plaça Nova
11. La Casa de l'Ardiaca
12. Cathedral of Barcelona
13. Monument to the Heroes of 1809
14. Plaça de Sant Felip Neri
15. Bistrot Levante
16. Pont del Bisbe
17. Statue of Saint Jordi
18. Cases dels Canonges
19. Temple of Augustus
20. Craft Barcelona
21. Plaça de Sant Jaume
22. Palau de la Generalitat
23. Barcelona City Hall
24. Basilica of Saints Justus and Pastor
25. Font de San Just
26. Plaça del Rei

History

Despite the name “Gothic Quarter”, it’s important to know that most of these buildings were actually all built in the late 1800s through the 1900s in neo-gothic style. In 1929 there was a massive International Exhibition planned to take place in Barcelona. Wanting to jump on the tourist train, Barcelona decided to pour all their money into a massive restoration project. This project aimed to recreate the feeling of Barcelona in the medieval ages. They were inspired by European neo-gothic architecture and wanted to bring back some of their destroyed medieval histories.

While many of the sights might not date back to the early 13th century, I still think this neighbourhood is wonderfully charming and it contains some of Barcelona’s most important architectural structures. Plus, with these renovations, you do get the sense of what it would have felt like to explore Barcelona of the 13th century.

Layout of Barcelona

The neighbourhood retains its medieval labyrinth-like street layout. Most of these streets are still closed off from traffic, as they would have been before the invention of cars. When not overwhelmed with tourists, this vehicle-less area really adds to the ancient feeling of the neighbourhood. A walking tour is the best way to experience all the sights and sounds this place has to offer. Download the google map at the bottom of this post which plots all the different stops we’re going to make on our tour! Save as an offline map to follow along from point to point so you won’t miss a beat!

When to do this Tour?

The best time to take this walking tour is early in the morning. Since the area is so popular, it becomes overrun with tourists in the afternoon. There is just something about exploring in the early morning, when you have the entire place to yourself (trust me, I did it!), which feels absolutely magical. I would also try to avoid the weekends since they can be also a busier time to visit.

How to Get There

Our tour is going to start at the Plaça de Catalunya. To get there you can easily reach the square on foot if you are staying nearby. If you need to take transit, Catalunya is easily accessible from multiple lines of the metro, making it a great place to start the tour. Cataluyna Station is serviced by Line 1, 3, 6 and 7. Just take the metro to Cataluyna Station, hop off and follow the signs for Plaça de Catalunya.

Accessibility

Barcelona is heralded as one of the most wheelchair accessible cities in the world! In the gothic quarter, there are more bumps and hills than in the rest of the city, but with a powered chair, this shouldn’t be an issue. For more information on accessibility in Barcelona check out Cory’s blog! The Gothic Quarter is fairly small, so although we may weave around these streets, we won’t be going a huge amount of distance.

Plaça de Catalunya

The best place to start your tour is at the Plaça de Catalunya. The Plaça de Catalunya was built in 1927, just before the 1929 International Exhibition. It would be the central meeting point where people would gather from the moment it was inaugurated. Surrounding this plaza were the city’s most expensive and exclusive hotels, bar and theatres. Every builder was clamouring to get a piece of real estate around this square. It was to be the Times Square of Barcelona.

The enormous plaza covers 5 hectares of land and although it seems altogether too big, it almost NEEDS to be. Nine different major streets all converge together at this plaza. You can hear them zooming around you, like buzzing bees at all times of the day. This place is always packed with locals eating lunch, tourists taking pictures and street artists performing their act. 

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Sculptures

One of the nicest features of the plaza is the number of sculptures to be found surrounding it. It feels almost like an outdoor art gallery. One of the most impressive is Jose Maria Subirachs’ ‘1991 Monument to Francesc Macià‘. It looks like two sets of stairs, one turned upside down atop the other. If you’ve already been to the Sagrada Familia, the name Subirachs will sound familiar. Subirachs was the designer who took over the Passion Facade of the great cathedral for Gaudi. The normal staircase represents Catalonia’s history while the upside-down stairs represent the dynamic future of the Catalonian people. Catalonians will always subvert and aim to be different than the rest of Spain and this sculpture exemplifies that nature.

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Avinguda del Portal de l’Àngel

Move towards the southeastern corner of the square towards Avinguda del Portal de l’Àngel. The Portal de l’Àngel is a beautiful pedestrian street that leads you into the Gothic Quarter. It runs parallel to Las Ramblas and while Las Ramblas might be a little more touristy, Angel is as upscale as it gets in Barcelona. When the street was first established, it was the main hub for the fashion industry. Hundreds of textile stores could be found here. Women of the Spanish elite would come here to have the finest dresses of the day custom made for them. Nowadays, you can find some of the most expensive brands and department stores along this stretch which are still serving the elite of Barcelona.

Santa Anna de Barcelona

Making your way away from the busy street down the Carrer de Santa Anna. Here, you’ll find yourself walking down a narrow shopping street. On your right, keep your eye open for an unassuming archway. This leads you towards one of the most underrated churches in Barcelona. Tucked in between a few residential buildings and almost lost in an overgrown forest of trees, this church doesn’t immediately look like much. But a step inside will reveal its hidden beauty.

The church was founded in 1177 by the monks of the Holy Sepulcher. The monks travelled to Barcelona all the way from Jerusalem. It took over three centuries to build this monumental structure! Because of the length of time of the construction, you can find elements from a multitude of architecture periods. From Romanesque to Gothic and even bits from the Renaissance.

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Cloisters

The most impressive part of this church is the 15th-century cloisters, designed in traditional gothic style. In the centre of the cloisters is a beautiful tropical garden with large palm trees and other seasonal plants. Monks would use these cloisters not just for quiet contemplation, but they would also grow many herbs and vegetables here to help cure and feed the sick and poor of the city.

Els 4Gats

Els 4Gats, or ‘The Four Cats” is a gorgeous modernista cafe located just a few blocks away from the church. It opens as early as 9am and is the perfect place to grab a coffee in the most beautiful setting. The cafe was opened in 1897 and was once both hostel, bar and cabaret. This was where Barcelona’s creative community would gather to dance the night away! It’s been mythologized that Pablo Picasso and Ramon Casas i Carbó were both local patrons. These artists would call this place their home away from home. While the cafe can get very busy around lunch and dinner, if you’ve taken my advice and come to do this tour early then you’ll find this place almost all to yourself (Barcelona doesn’t tend to wake up till about 11 am).

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Font de Santa Anna de Barcelona

Continuing along, at the corner of Avinguda Portal de l’Àngel and Carrer Cucurulla you’ll find the Font de Santa Anna de Barcelona. A lot of people pass right by, but make sure you sneak by the cars and tourists to look at this piece of true medieval history. The fountain dates all the way back to 1356 and was originally used as a horse trough. In the 18th and 19th centuries, ceramic tiles were added on each side of the fountain depicting women carrying water jugs from the fountain.

On the front of the fountain is a stone carving of Barcelona’s coat of arms. The coat of arms is the version from the 19th century, with a large bat that flies over the crown. when the bat was removed from the coat of arms in the 1920s this was seen as a loss of an emblematic symbol shared by other capitals of the former Crown of Aragon.

Plaça Nova

Continuing along the Carrer dels Arcs you’ll suddenly come upon the large public square called ‘Plaça Nova‘. Plaça Nova sits in the shadow of the great Barcelona Cathedral and is almost always bustling with people. There is always something happening here! Whether its a festival, wedding, protest or just tour groups, there is a lively atmosphere here that just can’t be avoided. The Placa Nova was once one of the four main entrances to the Roman city. We can still see remnants of the original Roman city walls and two large romanesque towers surrounding the square.

Although there is some argument in the historical community about the date in which the square was established it is thought to be around 1358. In the centre of the square are the letters: “B a r c i n o”, which was the original Iberian village which was first founded here which would become Barcelona. 

Pablo Picasso

Turn around to face the Architects’ Association of Catalonia building where you’ll find one of the largest pieces by Pablo Picasso. This enormous frieze was designed by the iconic artist but painted by his studio. If you’re lucky enough to be here on a Thursday, be sure to check out the Mercat Gòtic Barcelona which pops up in front of the church. Here you can discover some gorgeous antiques and relics from Catalonia! Even if you’re not interested in buying anything it’s a wonderful thing to just explore!

La Casa de l’Ardiaca

Inside the Plaça Nova, hidden behind the original Roman ruins, you’ll find the Casa de l’Ardiaca. The building has been the home of the Municipal Archive since 1921 but its history dates back to almost the 12th century! Before that, it was the headquarters of Barcelona’s Lawyers’ Association. Outside, you’ll see a modernista style mailbox designed by famed architect Lluís Domènech i Montaner. On it are three swallows and a tortoise, the symbols of the Spanish legal system. The birds symbolize the idea of freedom, whereas the slow bureaucratic procedures which can be such a big part of legal proceedings are represented by the tortoise.

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Head inside the main courtyard to see the treasures that this, outwardly unassuming building has to offer. Inside you’ll find the “Salon des les pinyes” or ‘pineapple salon’. Here you can admire the gorgeous central fountain and palm tree, growing inside the building. The surrounding cloisters are covered in colourful tiles and oldest looking walls in here date all the way back to the Roman era.

Cathedral of Barcelona

Continue walking across the square until you reach the doors of the great Cathedral of Barcelona. If you aren’t interested in going inside, just gazing upon the exterior is well worth your time. This monument to architectural majesty began construction in 1298 but wasn’t completed until 1420! The church is dedicated to Saint Eulalia of Barcelona. Eulalia was attacked by Roman soldiers in the square for her Christian beliefs and stripped naked in front of a horde of people. She was ashamed but in the middle of the summer, it began to snow, covering her naked form. Unfortunately, this only enraged the roman soldiers more and they threw her in a barrel, stabbed the barrel with knives and rolled her down the street. The street they preformed this torture upon her, now bears her name.

Her sad but powerful story is one which stuck with the people of Barcelona and this church was built in her name. Inside you can still see her chapel which holds her elaborate sarcophagus. This church helped inspire Gaudi’s design of the Sagrada Familia, so seeing this gothic masterpiece is the perfect complement to understanding Gaudi’s vision. For a complete tour of the Cathedral of Barcelona click here!

Monument to the Heroes of 1809

Exit the church, via the side exit in the cloister, where you’ll come out into a small courtyard. In the centre of the courtyard, along the wall, is a large arch with a beautiful sculpture nestled underneath. This stunning modernist sculpture is dedicated to the ‘Five martyrs of Catalan Freedom‘. During the French occupation of 1809, these five men rose up in an attempt to free the city from the Napoleonic troops. Unfortunately, their plot failed but their memories live on in the hearts of the people of Catalonia.

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The moment sculptor Josep Llimona captured was a quiet moment. He uses a realist style of sculpture, to capture the moment just before they were executed. They sit in solemn contemplate, one of them comforting the other. Above their heads are a choir of angels made by sculptor Vicenç Navarro. One of the angels leans down, to crown their heads with a laurel wreath, the symbol of victors. The difference between the more realistic look of the heroes and the art nouveau style of the angels, with curved lines and exaggerated features, easily conveys the difference between the earthly and heavenly plane.

Carrer de Sant Sever

The Carrer de Sant Sever is one of my favourite streets in the Gothic Quarter. The alley is super narrow, and the buildings on either side seem to almost lean in towards one and other, making the street extremely dark and moody. Which let’s face it, just adds to the wonderful “gothic” feeling of the neighbourhood.

Plaça de Sant Felip Neri

Continue down the Carrer de Sant Sever and turn up the small side street Carrer de Sant Felip Neri. This leads you towards the Plaça de Sant Felip Neri. Walking into this small, quiet square, the first thing which grabs your eye is the huge stone walls. Upon closer inspection, you’ll notice they are covered in holes.

In 1937, bombs were being dropped by fascist troops into this square which resulted in the death of 42 people, 20 of whom were children. The church located in this square had an adjoining school which was an unfortunate victim of these attacks. The holes on the walls still mark this deadly event, left unrepaired so that the event is never forgotten. When I visited, a child and his father ran playfully around the square. There was something both happy and sad about seeing this little scene play out. Happy to see children’s laughter persist here but sad to imagine all those children who lost their lives.

On the northern wall is the old 17th-century baroque church of Felip Neri. Felip (of Philip) Romolo Neri, was the Second Apostle of Rome, after Saint Peter. A statue of Felip Neri in the center niche about the doorway.

Carrer de Salomó ben Adret

Opposite the church is the oldest building in the square, which is from the Renaissance period. This stone building is notable for its two ancient wrought-iron balconies and a stone relief of a lion in the center. This was once the headquarters of the shoemaker guild and now houses the Barcelona shoe museum.

Head back out down the Carrer de Sant Sever and turn down this tiny, almost hidden alleyway, Carrer de Salomó ben Adret. These little alleyways are one of the best parts of the Gothic quarter. They seem to pop out of nowhere and even when you think they might not lead anywhere they’ll open right up to a huge square.

Bistrot Levante

The Bistrot Levante is located inside one of these tucked away squares and is the perfect place to sit outside and enjoy an afternoon lunch. Their modern approach to Lebanese food might seem like an odd choice for visiting Spain but trust me, this place is wonderful! 

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Pont del Bisbe

Head back out onto the Carrer de Sant Sever turning east onto the Carrer del Bisbe. As soon as you turn the corner, your eyes will be met with the sight of this fantastical gothic bridge which adjoins the two buildings on either side of this narrow street. This is known as the Pont del Bisbe or Bishop’s Bridge. It was created in the 1920s to connect the Parliament buildings to the presidential residence. But it was named after the Bishop of Barcelona who instigated its constitution as a means of escape from the parliament buildings should there be a political coup.

The intricate patterns of stonework beneath the arches make the bridge look like a delicate piece of lace. Passing under the bridge you get the strange feeling of being watched as the eyes of the various gargoyles, which jut out from the bridge, look down on you. The bridge was designed by Joan Rubió i Bellver, the apprentice to Antoni Gaudí! Today this is one of the most popular places to get your picture taken in the Gothic quarter, despite the bridge being a product of the 20th century. When you walk under the bridge make sure to make a wish as is the popular tradition!

Statue of Saint Jordi

After getting your photos and walking under the bridge, take a few steps forward and look up at the wall to your right. Along the top of this facade is a gothic medallion and in the centre a small statue of Saint Jordi. This was made in the 15th century by Catalan sculptor Pere Johan. The legend of Saint Jordi in Catalonia goes a valiant knight went to rescue a princess from a ruthless dragon. When he plunged his sword into this belly, a rose bush grew from the dragon’s spilt blood.

Saint Jordi then plucked a rose from the bush to give to the princess to further win her heart. In Barcelona, every year on April 23rd they celebrate Saint Jordi day, which for them is the holiday of love, similar to the North American Valentine’s day. On that day lovers exchange roses and books to show their love for one an another just like Saint Jordi did for the princess

Cases dels Canonges

Instead of walking to the end of the street, turn back around to walk down the Carrer de la Pietat. This small street takes you behind the great Cathedral of Barcelona and along the Cases dels Canonges, or House of the Canon. This 14th-century group of buildings was transformed into the residence of the President of Catalonia in the 20th century. Because the building was once multiples residences, you’ll see a myriad of architectural designs along the facade, from Renaissance, to Gothic and even a touch of Baroque.

The main facade you’ll see as you turn the corner on the Carrer de la Pietat is the Renaissance facade with its tromp d’oeil patterns which were made with stucco to give the appearance of three-dimensional stones. On the second floor facade, you can see these beautiful stucco paintings of Grecian of women carrying baskets of flowers on their heads. No doubt in a wealthier home these would be carvings set into niches, but here you get the same effect at a fraction of the cost! How frugal the owner must have been.

The Pietat

As you round the corner along this small side street, look at the church doors on the corner. This side entrance is no longer frequented but has still been given beautiful adornment. Above the huge archway is powerful portal depicting the Pietat; mother Mary holding her dying son in her arms after taking him down off the cross. The moving carving was so important that it is what gives the street its name.

As you round the corner you’ll be able to see, in this tiny courtyard, the entrance of the of Cases dels Canonges. Above each of the windows on this side are stone carvings of medieval heraldic symbols from the 15th and 16th centuries. This building is now used as the Department of Foreign Affairs.

Temple of Augustus

Keep straight and walk down the small Career del Paradis. This secretive, almost too narrow alley, leads you straight to the Temple of Augustus. This unassuming building is marked only with a dull piece of signage on the outside but head straight into the inner courtyard to find an impressive discovery! This medieval building, with its mint green walls, holds within it four incredible Corinthian columns. These columns are the last remaining piece of Barcelona’s Roman history. The Roman temple which once stood here was dedicated to Emperor Caesar Augustus, giving the remains the name, Temple of Augustus.

Craft Barcelona

This tucked-away alley is another great place to get something to eat. Craft Barcelona is a wonderfully hip and charming hidden gem. They have some of the best tapas, service and, unique for Barcelona, they specialize in craft beers from all over Spain! (But you can still get a killer sangria and cava here as well)

Plaça de Sant Jaume

Just opposite the tiny street of Carrer del Paradis is the grade square called Plaça de Sant Jaume. This huge, black bricked square is surrounded on all sides by various important historical buildings. They call this square the “political beating heart of the city”. It’s here that the city’s government has been run for centuries. Even during Roman times, Placa de Sant Jaume was the meeting point of two of their largest junctions, meaning it served as the major meeting point in Barcelona. The square was named after the old Church of Sant Jaume, which stood here since the 14th century but was demolished in 1823. Even so, the square keeps its name in her honour.

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Palau de la Generalitat

Today, the square is where you’ll find the Parliament of Catalonia or the Palau de la Generalitat. This is one of the few medieval buildings to remain in the gothic quarter. The Palace was built in 1283 to hold the Catalan Assembly and was the first parliament building in Europe! Here, just as hundreds of years before, is where the seat of government sits. Above the large, archways into the buildings, is a statue of St. Geroge slaying the dragon. Inside, is a chapel also dedicated to the saint. The chapel’s exterior runs alongside the Carrer del Bisbe, where we saw the Saint Jordi sculpture near the Bridge.

It’s a real shame the building isn’t open to tourists as the interior features some incredible gothic architecture and a Renaissance courtyard with beautiful orange trees and other native Catalan plants.

Barcelona City Hall

Opposite the Palau de la Generalitat is the grandiose Casa de la Ciutat, of Barcelona City Hall. It features a rather austere neoclassical facade but inside is replete with gothic architecture exemplifying Catalan national pride. On either side of the archway entrance are the statues of King Jaume I, who founded the original city council, and Joan Fiveller, a significant member of the council who advised the king.

You can walk inside, where you’ll find the Barcelona Tourism office, to get a peek at some of this amazing old architecture. You’ll enter into the great Gothic staircase with sculptures from Gargallo, Llimona, Navarro, Subirachs, Marès, Miró and Clarà dotting the interior. It’s pretty amazing to find artist work of this calibre just out in public spaces for everyone to enjoy.

Plaça de Sant Just

Opposite city hall walk north along the Carrer d’Hèrcules towards the Plaça de Sant Just. This quiet square is home of the Basílica dels Sants Màrtirs Just i Pastor. The alleyway leading you into this square feels so narrow that when it opens up it’s like taking a breath of fresh air. I think it’s amazing when architecture can give you a feeling like that.

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Basilica of Saints Justus and Pastor

Standing guard over the square is the great Basilica of Saints Justus and Pastor. Look up the portal above the central doorway. Two tiny angels kneel in prayer on either side of the Virgin Mary who sits on her throne between them. The 14th-century church is rumoured to be even older, and perhaps built up from an older church as far back as the 4th century! This would make it the oldest church in Barcelona, but alas historians are still squabbling on the details. It’s a shame the church is usually closed as the interior houses some of the most fantastical chapel carvings and stained glass! So if the doors happen to be open, don’t miss the opportunity! 

Font de San Just

There is a small water fountain in the corner of the square which looks pretty unassuming to take a closer look. At the bottom of the fountain are three carved heads with their mouths open. In between the carvings are water faucets. Although the faucets and the carvings are new, the source of the water is the oldest in the city. Giving credence to the thought that the church here might date back to the founding of the city since important buildings are often situated near water sources.

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Plaça del Rei

Continuing back towards the starting point of the tour, walking along the sidestreets of Carrer de la Dagueria to the Carrer del Verguer, which leads into the Plaça del Rei. This square is surrounded on all sides by some of the most authentically gothic and medieval buildings of Barcelona. Their overwhelming presence is one of the reasons this part of the city gets the name “Gothic Quarter”. 

The wide, regal steps lead up towards the Palau Reial Major, or old Royal Palace. Rei, means King in Spanish, as this was the courtyard of the King. The palace was the main residence of Catalan Kings and Queen from the 13th to 15th centuries but was used as a non-royal residence as far back as the 11th century. Because the building is so old, you can make out old Visigothic and Romanesque features although the dominant style is that of the high gothic. Standing guard above the square is a rectangular tower, complete with a multitude of arched windows. This was King Martin’s Watchtower, built in the 15th century.

Palau del Lloctinent

The building opposite the palace is the Palau del Lloctinent, or Lieutenant’s Palace. This 16th-century construction hides inside it one of the most heavenly gardens. Set against a sea of golden yellow stucco, you’ll find an old renaissance courtyard covered in green ivy flourishing plants. Today, this building houses the Archive of the Crown of Aragon. 

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This is a great place to end the tour. If you want to relax there are dozens of cafes nearby with gorgeous views of the Gothic Quarter to enjoy as you sip your cava. Or if you’re still up for more you can visit the Barcelona History Museum to learn even more about the history of this great city!

Hopefully you’ve enjoyed this tour as much as I enjoyed wandering the beautiful street, learning as much as I could to share with you all! What was your favourite part of the Gothic Quarter or did you find any secrets I didn’t share along the way? Let me know in the comments! I love hearing from readers.

Happy Travels Adventurers

The post The Ultimate Self Guided Tour of Barcelona’s Gothic Quarter first appeared on The Creative Adventurer.

Table Of Contents

1. Hours and Admission
2. History of Santa Croce
3. Exterior of Santa Croce
4. Layout of the Basilica
5. High Altar
6. Bardi Chapel
7. Peruzzi Chapel
8. Baroncelli Chapel‎ 
9. Castellani Chapel
10. Sacristy
11. Rinuccini Chapel
12. Medici Chapel
13. The Pazzi Chapel
14. Primary Cloister
15. Cloister Tombs
16. Secondary Cloister
17. The Museo dell' Opera di Santa Croce

Hours and Admission

The entry in Santa Croce is much less of a trial than visiting the Duomo. After viewing the exterior, to enter the interior and purchase your ticket, walk along Largo Bargellini, the street to the left of the church, and you’ll see the single and family entrance along the side.

Hours:

Monday – Saturday: 9:30 am – 5:30 pm
Sundays and Holy Days: 2:00 pm – 5:30 pm (
Closed: New Year’s Day (January 1), Easter, St. Anthony of Padua (June 13), St. Francis (October 4), Christmas (December 25), St. Stephen’s Day (December 26).

Tickets:

Adults: €8
Kids aged from 11 to 17 years: €6
Audio Guides: €4

Access

Santa Croce is located in the heart of Florence. If you are arriving by train, at the Santa Maria Novella railway station, can easily reach it on foot with a walk of about 20 minutes through the historic centre. The visitors’ entrance and ticket office are in Largo Bargellini, along the side of the basilica.

History of Santa Croce

The first stone laid here was said to have been placed by St. Francis himself in 1228 BC. This Basilica has the honour of being the largest Franciscan church in the world! There are 16 chapels inside, many illuminated by the frescos of the legend Giotto himself. Construction on the church began in 1295 by Arnolfo di Cambio, the same architect as the Duomo. Its construction wouldn’t be completed until 1442, when it was consecrated by the Pope.

Exterior of Santa Croce

The exterior, however, is much more “modern” as it was built in 1860, during the Gothic revival period. Looking at the exterior facade, there are several similarities to that of the Duomo. It uses the same combination of white, pale green and red marble but in a more restrained fashion, as was the Franciscan way. The central portal of the church has a large pair of doors with beautiful carvings made out of wood instead of bronze. The architect of the facade was Niccolo Matas, who was, surprisingly enough for a Franciscan church, Jewish. He even designed a large blue Star of David to crown the church’s top as his little signature.

The church has three separate tympanums across the front. A tympanum is a semi-circular or triangular decorative surface over an entrance or door. The central one features an image of the ‘Triumph of the Cross‘ by Giovanni Duprè. The one on the left depicts the ‘Invention of the cross‘ by Titto Sarrocchi, and on the right, we have the ‘Vision of Constantine‘ by Emilio Zocchi.

Layout of the Basilica

The floorplan of the church is designed in the shape of an Egyptian “T” called the tau cross. This differs from the traditional Roman “t” cross design as the Franscians use the Egyptian tau as their symbol. The interior is a three-aisle design divided by two rows of thick octagonal columns. Between the columns are wide, pointed arches, which house the side family chapels. This design was heavily influenced by Cambio’s research into the architecture of ancient Rome, as was the fashion in the Renaissance.

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Timber Ceiling

The ceiling is unique since you can admire the timber roof, replete with geometric patterns. The beams were painted in the 14th century, yet you can still make out the vibrant colours today! Along the walls of the Basilica are a series of tall and thin stained glass windows. Enter through the left portal to explore this part of the church, making your way around the interior clockwise.

The funerary monuments are one of the most macabre yet beautiful elements of Santa Croce. The church also goes by the nickname ‘The Temple of the Italian Glories’ because it is the resting place of so many incredible Italians. Over 300 tombs throughout the church date as far back as the 14th century. There are both tombs for the dead buried here and statues dedicated to those buried elsewhere. Many affluent families wanted to pay tribute to their favourite celebrities. So they would commission a funerary monument to be built for them inside this illustrious temple.

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Galileo Galilei

One of the first of these tombs is Galileo. Yes, THE Galileo! Galileo Galilei, the famous father of modern science, died in Florence in 1642. He was buried here under a grand baroque tomb. Above the monument is a burst of famous scientists in the centre. His head is raised to the sky, always looking at the stars. On either side of him are sculptures which represent Geometry and Astronomy.

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Lorenzo Ghiberti

Further up ahead is the tomb of Lorenzo Ghiberti, one of the most celebrated bronze smiths in Florence. He was the one who created those iconic Baptistry doors, making him a legend. But despite this fame, his resting place is slightly less opulent. There is only a simple stone marker on the floor. It is embellished only with an image of a great eagle surrounded by laurel leaves.

The Incredulity of St Thomas

Most of the large framed paintings which you’ll see as you walk along the side aisles were the curation and sometimes creation of Giorgio Vasari. In 1565, as of the initial construction of the church, Cosimo Medici wanted to redress it to make it a little more opulent. He employed Giorgio Vasari as his artist advisor. Vasari was the one who decided the narrative program of the paintings. He chose the subject of Christ’s passion, and each mural along the wall follows this narrative.

The painting of the Incredulity of St Thomas was done by Vasari himself. Vasari painted it in 1579 in the style of Mannerism which was popular in the late Renaissance. Mannerism exaggerates the qualities that the Renaissance emphasized, such as proportion, balance, and ideal beauty. In the centre of the painting, we find Christ and St. Thomas framed between two arches. The two sides get continuously darker and darker as they fade outwards, keeping the focus on these two central characters.

Pietà by Bronzino

Agnolo Bronzino was the court painter for Cosimo I de Medici. His painting of the Pieta, framed here in a thin golden frame, is fantastically real. The blue-coloured flesh is so lifelike that you feel almost sick looking upon it. Mary’s pained expression is heartbreaking as she looks upon her lifeless child.

Pipe organ

The church’s organ is a rather small, modest instrument compared to some grander organs in Europe. It was built by organ builder Tuscan Onofrio Zefferini in 1579. The case which surrounds the entire organ’s frame was made by Vasari.

Bardi Chapel

Many side chapels were purchased by wealthy families to dissolve their sins through financial transactions to the church. The Bardi family was one of the most prosperous merchants and banking families in Florence and thereby had a lot of crimes to dissolve. But this work of art would not save them from ruin in the mortal realm. In 1343 they lent the equivalent of 100 million dollars to the King of England during the hundred years’ war. When they lost and couldn’t repay the loan, this bankrupted the Bardi’s and left them in complete financial ruin.

But the frescoes and chapels we’re looking at were built during the height of their reign. The chapel was commissioned by a branch of the Bardi family, the Bardi di Vernio. There are two Bardi di Vernio chapels, the most important of which is located on the northern side. While the iconic Bardi Chapel was painted with frescoes by Giotto, this chapel has murals by Maso di Banco. Despite his less household name, Banco’s frescoes were so well done that Vasari mistakenly thought they were by Giotto when he first saw them. The chapel also contains a wooden sculpture of two angels designed by Giorgio Vasari.

Saint Sylvester

The murals inside this chapel depict the story of Saint Sylvester. Saint Sylvester, who became Pope, has a very fantastical legend. In the frescoes, you can see Emperor Constantine being baptized by Sylvester, the miracle of Sylvester’s resurrection of the bull and, most surprisingly, Sylvester’s defeat of the dragon! That’s right, he was said to have slain a dragon. And the resurrection of the two wizards the dragon killed with his breath. Fantastical indeed.

Crucifix by Donatello

But one of the most important art pieces inside the chapel is the Crucifix by Donatello. This crucifix was made in 1408 and imbues within that powerful Renaissance style. Donatello relied on raw human emotion and natural forms to create his cross. This figure does not attempt to be both beautiful and holy. It is more like a real-life portrayal of what it would have looked like to be crucified. Contorted, in agony, mouth open, his body twisted in an awkward position. It made the people who looked upon it react powerfully, as they could see themselves in the sculpture.

High Altar

The high altar is located inside Major Chapel, right in the centre of the church. Whereas the rest of the church doesn’t have the same lofty heights as other gothic churches of the era, the high altar soars above the rest of the building. Wonderfully embellished umbrella ribs in the vaults help this narrow centrepiece keep its structure and shape. Long, thin-mullioned windows stretch up the entire length of the Maggiore Chapel. The colours in these stained glass windows are brilliant and cast rainbow hues across the church.

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Legend of the True Cross

Covering this space are frescoes depicting the Legend of the True Cross by Agnolo Gaddi from 1380. This story is the earliest surviving painting on this subject. The story is based on the legend of the cross on which Jesus was crucified. It’s said that the cross was made from a tree planted over the grave of Adam. The tree grew from the seeds of the original tree of sin. After years of growth, it was torn down by King Solomon to be used to make a bridge. The Queen of Sheba was given a message about the impending doom this wood would be transformed into. Although Solomon would rip it up afterwards, it was still salvaged and eventually became the instrument of passion. The frescoes can be read from top to bottom on the right wall and on the left.

The polyptych of Madonna and Saints by Niccolo di Pietro Gerini was also painted in the same style as Giotto. A polyptych is a panel painting which has been divided into sections. Along the back walls are stained glass windows representing the Deposition from the cross. These were created from drawings made by Lorenzo Ghiberti in the 14th century.

Bardi Chapel

Giotto had previously painted a fantastical masterpiece in the Church of Assisi, and the Bardi’s were anxious to have one of their own. Giotto’s six scenes in this chapel depict the ‘Life and Death of St. Francis.’ This piece was painted in the 1300s but heavily restored in the 17th and 19th centuries. The restoration was poor. It didn’t allow viewers to understand which part of the fresco was done by Giotto and what restoration work was done by less trained hands. So after much consideration, the restoration pieces were removed, and the original artworks by Giotto were the only parts left. This is why the fresco still looks unfinished. Giotto was one of the first artists of the Renaissance to propose a method of painting which focused on accurate proportions and shapes. His face looked like real people that the citizens of Florence could relate to.

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Peruzzi Chapel

Peruzzi Chapel with frescoes by Giotto represents the scenes from the lives of St. John the Baptist and St. John the Evangelist. Although these are now pretty faded, they retain the artistry and shapes of those medieval principles. The frescoes are in such a state because when Giotto made them, he was experimenting with a new technique called secco. This technique combined lime and an organic binder with the paints to be applied upon the walls as frescoes. While secco was easier to use, it did result in a less long-lasting and pigmented mural. The chapel was known to be one of the significant influences on Michelangelo 140 years after Giotto first painted it. It was said that Michelangelo would come here to be inspired just a few years before he painted the Sistine Chapel.

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Baroncelli Chapel‎ 

Turning towards the southern walls, you face the Baroncelli Chapel‎ in splendour. The chapel was built in 1338 and is covered in frescoes by Taddeo Gaddi. Gaddi worked directly under Giotto as the master’s apprentice. But Gaddi wasn’t one to simply follow the traditional path. He loved pushing the limits, experimenting and trying new and exciting methods. One was his use of geometry and perspective to create almost three-dimensional illusions inside his paintings.

The frescoes focus on the life of the Virgin Mary and Jesus’ presentation at the temple in Jerusalem. Many of these scenes take place at night, a unique choice at the time to present paintings in the evening when the background is dark. But Gaddi loved a challenge, and his scenes at twilight capture a shining brilliance which feels so unique to the art form at the time.

Castellani Chapel

Adjacent to the Baroncelli Chapel‎ , we find the impressive Castellani Chapel, immediately notable for the enormous Byzantine cross which hangs at the back of the chapel. The chapel was built in 1385 and commissioned by Vanni Castellani. The chapel and its frescoes are dedicated to Saint Anthony, the abbot. Anthony is thought to be the father of monks and the monastic lifestyle. They believed his ascetic and isolated life led to a better connection with God.

Sacristy

From the last chapel along the eastern wall, head through the corridor which leads to the sacristy. You’ll pass through a long corridor with various famous works of art that didn’t find their way into a family chapel. Upon stepping into the hallway, take the first left into the sacristy. A sacristy is a room for keeping vestments, other church furnishings, and sacred vessels. The sacristry was built in 1340 and commissioned by the Peruzzi family.

The room is distinctly gothic, with richly painted trusses on the ceiling. Surrounding the rest of the room are large wooden cabinets which contain various vestments and sacred relics collected by the church. But treasures inside the sacristy are overshadowed by an enormous fresco by Taddeo Gaddi. It took over 60 years for the entire piece to be completed, and Gaddi died before seeing it. The richly painted frame surrounding the panels looks straight out of an illuminated manuscript.

Rinuccini Chapel

Inside the sacristy, you’ll find the elaborate Rinuccini Chapel. This is one of the best-preserved parts of the church. The Rinuccini Chapel is in nearly the same condition as it was in the 14th century, with the same furnishings. The golden polyptych is silhouetted perfectly by the light pouring in through the gothic windows. On the right, we find frescoes that present Mary Magdalene’s life. On the left, we have murals depicting the life of the Virgin Mary, both painted by Giovanni da Milano. These frescoes are much paler than some of their counterparts found within the church. Giovanni da Milano found that warmer, softer colours allowed for more delicate storytelling, which felt appropriate for these two women.

Medici Chapel

After exploring the sacristy, continue walking down the corridor before leaving this area to see the famous Medici Chapel. This 15th-century family chapel was designed for the wealthy Medici family, commissioned by Cosimo, the Elder and designed by the family’s favour architect, Michelozzo. Entering this chapel, you’ll immediately find it much less colourful than the other chapels inside the church. It feels more restrained but is very large in comparison, complete with over a dozen pews.

The chapel is dedicated to the Medici’s patron saints Cosma and Damiano. These two saints were doctors, and the word in Italian for doctors is “Medici.” It seems like the Medicis picked a patron saint based solely on vanity. Above the altar is a beautiful terracotta glazed piece of the Madonna and Child surrounded by angels and saints. Above the altarpiece is a stained glass window by Alesso Baldovinetti with the image of the two patron saints. They are notable as each of them holds in their hand a feathered pen, representing their learned profession.

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Annunciation by Donatello

Walking back outside to the main church, we now head down the right side of the nave to study the monuments located there. Along the wall, you’ll notice a small, grey stone bas-relief. This little scene of the Annunciation was made by Donatello in 1433. Donatello had been studying in Rome when he created this piece. The ancient Roman columns on either side indicate the influence of the ancient city upon the artist’s works. The entire scene seems to take place inside a Roman building, almost as if we are peeking at them mid-conversation. I especially love the little rust-coloured cherubs who playfully listen above the entire frame.

Niccolò Machiavelli Tomb

Niccolò Machiavelli was an Italian diplomat, politician, historian, philosopher, writer, playwright and poet of the Renaissance period. Can you say jack of all trades or what?! He is often referred to as the father of modern political philosophy. Although he died in 1527, his tomb wasn’t finished until 1787. The monument was designed by Alberto Rombotti and sculpted by Innocenzo Spinazzi. The woman in the rich draperies is the figure of Politica, the allegorical symbol for politics. She holds in one hand a portrait of Machiavelli; in the other, she holds scales, swords and scroll – all symbols of politics. The tomb bears the inscription “Tanto nomini nullum par eulogium,” which translates to “No elegy is equal to such a name.”

Pulpit

In such an open space, it’s easy to not get close to things that deserve a little more attention. The pulpit is one of those works of art you might pass right by but needs serious recognition. It was created by Benedetto da Maiano and is thought to be one of the most beautiful pulpits sculpted during the Renaissance. The design of the pulpit tells the story of the Life of Saint Francis. In each scene are fantastically realistic images of animals, landscapes and gorgeously emotive faces, which help describe this narrative. In between the filagreed brackets, which help hold up the pulpit, are tiny little statues set into adorable wooden niches. One of those little touches adds to the entire piece’s incredible details.

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Vittorio Alfieri Tomb by Canova

Count Vittorio Alfieri was an Italian dramatist and poet. He was considered the “founder of Italian tragedy” and died in 1803. His family bought a spot inside the church as his resting place and commissioned neoclassical artist Antonio Canova to create his tombstone. Canova was famous for his baroque-inspired designs, which always had a fair amount of dramatic flair. This would no doubt have been something which Alfieri himself would have appreciated. The allegorical figure in the process of laying a wreath on his tomb is from Italy. She is mourning the loss of one of her children. It was once said of Canova that “as long as Canova exists, immortality can be bought.” His sculptures are so powerful they seem to find a way of stirring people’s souls until time immemorial.

Cenotaph of Dante

The Cenotaph for Dante (buried in Ravenna) is one of the most moving monuments. The poet’s monument is called a ‘cenotaph,’ a tomb without the remains of the deceased. On the front of the tomb are carved the words “Onorate L’Altissimo Poeta,” which translates to “Honor the Poet of the Highest Regard.” On the right of the monument is the sculpture of Poetry, who rests slumped over his tomb, crying out in mourning. Dante was poetry’s greatest treasure, and she is lost without him. On the left, we have the allegorical sculpture of Italy (a figure you’ll see a few times on this tour).

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This symbolic sculpture is often referred to as Italia turrita. Turrita means “with towers,” as the woman’s crown is made up of towers intended to represent the various cities in Italy. In the centre of the crown is a five-pointed star, ‘Stella d’Italia, ‘ which symbolizes the shining destiny of the country. The turrita’s hand gestures towards the central figure atop the rest of the group. This is Dante himself. Immortalized in stone for eternity. Even here, he sits with a hand on his chin, like he is mid-thought. I love to stare at him and wonder if some of that creative genius, frozen in stone, might be transferred to me.

Michelangelo Tomb

But of all the tombs, the most important is Michelangelo’s. Although he died in Rome, he is buried here beneath a monument which looks more like an enormous architectural feature than a simple tomb. Across the memorial are statues of allegorical figures representing Sculpture, Architecture and Painting. Each one of them was lovingly sculpted by his friend Giorgio Vasari. Above the tombstone is a bust o the artist himself. When the monument was unveiled, it became THE masterpiece for anyone planning their funerary monument to reference and attempt to outdo.

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Tomb of Giovan Battista Niccolini

Giovan Battista Niccolini was an Italian poet and playwright during the Italian unification movement. He died in 1861 in Florence, and his tomb lies here under one of the most recognizable monuments in the church. Above his grave is the Statue of Poetry, created by Pio Fedi. This masterpiece almost too closely resembles the iconic Statue of Liberty in America, although at a much smaller scale. Although there is no documented evidence of the creation of the two, the similarities are striking. The drapery of her robe and even her pose are almost identical. Even her crown of sun rays is the same. The main difference is the face. This one is softer and more feminine, while the Statue of Liberty is more severe and almost androgynous-looking.

The other difference is what they carry in their hand. This statue holds a broken chain, a symbol of the defeat of tyranny, while the one in New York holds a burning torch. The Florentine version proceeded with the American design for three years. Still, it’s interesting to wonder if French sculptor Frédéric Auguste Bartholdi paid a visit to Santa Croce before creating his majestic figure. This brings us back to the front of the church, completing out 360 degrees tour of the interior. It’s not time to head out to the cloisters. The exit towards the cloisters is through a door beside the Dontallo Annunciation.

The Pazzi Chapel

Outside, before your cloisters, you’ll pass under the domed ceiling, which leads into the Pazzi Chapel. The Pazzi Chapel was designed by the master architect Filippo Brunelleschi in 1430. The Pazzi family commissioned him specifically for this chapel; no doubt, he would not have come cheap. But the results are worth it! Before entering the chapel, look up at the small outer dome above the entrance doorway. This dome is covered in gorgeously detailed glazed terracotta flowers. The four seasons’ blue and yellow flowers and fruits stand out against the dull colours of the rest of the exterior stonework. In the centre of the flowers is the coat of arms of the Pazzi family, which is made of two fish and four crosses.

When you walk inside, the most impressive feature is the vaulted dome with round windows surrounding the base. On the top is a lantern which lets more natural light flow into the otherwise darkened chapel. Around the dome’s edges are the figures of four saints; St. Matthew, St. Luke, St. John and St. Mark. Along the walls and even on parts of the dome are various lunettes with glazed terracotta images of Saints on them. What’s shocking to learn about this space is it was once an old piece of the cloisters. Brunelleschi had to work within the original structure to create his new interior. Despite these limitations, the architect still managed to create something beautiful.

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Primary Cloister

Santa Croce is home to three cloisters constructed in different periods by different architects. The first and primary cloister was designed by Arnolfo di Cambio. This is the largest cloister, intended to join the church to the refectory with an open garden in the centre. Arnolfo di Cambio’s cloisters can be identified by his signature use of gothic octagonal pilasters with leafy capitals instead of roman renaissance columns. You can still make out the ancient gardens in the corner of the galleries. The tall cedars of the Atlas and the Himalayas are the most prominent of the remaining plants, giving the stone structure a little more life!

Cloister Tombs

Before entering the cloister yard, take a moment to walk down the tombs. Along the northern wall, against the side of the church, are what is called “the cloister of the dead.” This area was built in 1869 underneath the raised porch. Under here, you’ll find more funerary monuments and gravestones. These stones were moved here from the former cemetery, which had been destroyed to make room for additional constructions.

Secondary Cloister

The second cloister goes by the name “Brunelleschi’s cloister, as it was built by Filippo Brunelleschi. This cloister is much small and older than the previous one. It was built in 1470, located along the opposite side of the refectory (which will be the last stop on our tour.)

Florence Nightingale

The cloister houses a beautiful statue of Florence Nightingale. Florence Nightingale is thought to be the mother of nursing. But she was English, so what was she doing inside an Italian cloister? When her mother was pregnant, she travelled to Italy with her husband and unexpectedly gave birth in Florence. Her parents had been so taken with the city that they named her after it.

Another oddity in the middle of the cloister is the 20th-century Henry Moore sculpture ‘Warrior with Shield.’ It was initially donated to the British Institute but moved to Santa Croce. Moore’s sculpture might seem out of place, as he was so devoutly a modernist in the middle of a renaissance mecca. But Moore actually found great inspiration when he visited Italy. The quote says, “I had to go to Italy against my will. But thank goodness, now I did go.” He had thought it would be a place of stagnant art, nothing new or inspiriting. But instead, he found a place where art was still alive, where it would ring out everywhere he looked. He fused this passion with his modernist ideals and found a new outlook on the work he began to create.

The Museo dell’ Opera di Santa Croce

The Great Refectory of Santa Croce was the dining room where the monks would eat their meals and share in communion. Interestingly, the words come from the Latin reficere “to remake or restore,” so a refectorium is “a place one goes to be restored.” This is also where we get the name “restaurant” today! For the monks, this room was a place of meditation and sustenance. Today the refectory serves as the Museo dell’ Opera di Santa Croce.

The museum was established after the great floods in Florence in 1966. The water rose in the Arno river and flooded the city, destroying dozens of homes. Inside Santa Croce, the water levels were five meters deep! Hundreds of precious paintings and other treasures were severely water-damaged and needed immediate restoration. The refectory was turned into a de facto art hospital. Here, the pieces could be laid out and worked on since most of the other spaces in the city were occupied with other restoration works. Some of the pieces would need years of restoration work to be completed. In 2006, the city opened this space into a museum where people could see these historical pieces as they were being restored. It was an opportunity to see how the present day was working hard to preserve this treasured past.

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Triumph of Death

The first few rooms of the museum are dedicated to various frescoes which had to be removed from their original locations due to deterioration or damage. They have been preserved inside new panels to ensure their account lasts for eons. One of the most important of these panels is the fragment of the “Triumph of Death” painted by Andrea Orcagna in the mid-14th century. It depicts a scene from hell, as illustrated by Dante. It depicts snakes entangling sinners, dragons, devils devouring the dead, groups of people crammed into tiny spaces trying to breathe, and strange animals prowling the underground. 

The Last Supper

In almost every refectory, you’ll find scenes from the Last Supper, but the one painted on the wall of this Great refectory is genuinely awe-inspiring. This fresco, painted by Taddeo Gaddi, on the wall of the refectory, is made up of six different scenes. The six scenes took over 30 years to complete and finally finished in 1366! Despite the age of the piece, the colours are still shockingly vibrant. In the very centre, we have the Crucifixion. Instead of portraying Christ solely on a piece of wood, the cross here is more like a tree of life.

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Sprouting forth from its branches are inscriptions written on white scrolls. The inscriptions announced to the prophets surrounding the scene the message of salvation, which Jesus died for humanity’s sins, and preached his entire life. Running along the bottom is the seminal scene of the Last Supper. Many areas from this portion of the mural are missing. Those spots were either damaged or destroyed by the great flood. On the left side, we see two panels; the top portrays St. Francis receiving the stigmata and below the St. Louis of Toulouse. On the right, up top, we see an image of St. Benedict’s retreat and below, Jesus dining at the Pharisees. 

Cimabue Crucifix

One of the last pieces you’ll see in the refectory is Cimabue’s Crucifix. Although his historical piece was damaged during the catastrophic flood that decimated Florence in the 60s, we still have a good sample of this religious icon. The cross was made in 1265 by the Florentine painter Cimabue. The cross was made from five primary and eight ancillary timber boards to form the shape of the Byzantine cross. Another difference this crucifix has from others is the humanist painting style in iconography. Structure, posture, and even colour conveyed silent messages about humanity and nature.

The shape of the body on the cross and how he is positioned feel more natural and effective. He seems almost to fall down as if he can’t hold himself anymore. The crucifix was one of the most critical pieces from the church to be destroyed in the great flood. Over 60% of the paint on the surface was damaged, and its restoration became priority #1! As artisans and restorers from all over the world came to its aid, it became the symbol of the flood and hope for restoration. Today you can still see the crucifix on display and admire the work of many dedicated artists.

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I think Santa Croce is my favourite Florence church, despite it perhaps not being the most famous. The histories here run so deep, yet many of the original works of art, furnishings and treasures are still on display, as they have been for hundreds of years.

Happy Travels Adventurers.

The post The Ultimate Guided Tour of the Basilica Santa Croce, a Gothic-Renaissance Masterpiece first appeared on The Creative Adventurer.

Since the dawn of time, how we house, dispose and care for our dead reflects the kind of society, culture and people that lived during that specific period. While not all of us may love art, food or sports, what we all have in common is that we will all die. Cemeteries are places where people of all kinds can come together for eternity.

Visiting a cemetery is also a great chance to get outside the busy city, see some nature, be awed at artful and ornate tombstones and even check out where a famous person or two are buried. So next time you’re travelling, consider going to a cemetery and taking a quiet wander. Do be as respectful as possible. See if any signs are asking you not to take pictures, walk your dog, or speak loudly. If you see someone morning their loved one, give them their space. Otherwise, unless marked, cemeteries are open to the public and are a great, AND FREE, way to spend the day. While almost all cemeteries have their unique touch, here are some of the most beautiful cemeteries worldwide to visit.

Table Of Contents

1. #1. Chichicastenango, Guatemala
2. #2. Merry Cemetery, Săpânţa, Romania
3. #3. Waverley Cemetery, Australia
4. #4. Okunoin Cemetery, Japan
5. #5. Highgate Cemetery, London
6. #6. La Recoleta Cemetery, Buenos Aires, Argentina
7. #7. Punta Arenas Cemetery, Chile
8. #8. Hollywood Forever Cemetery, Los Angeles, USA
9. #9. Père Lachaise, Paris
10. #10. Bonaventure Savannah, Georgia
11. #11. Mount of Olives, Jerusalem
12. #12. Panteón de Dolores
13. #13. South Park Street Cemetery in Kolkata, India
14. #14. Old Jewish Cemetery in Prague
15. #15. Milan Monumental Cemetery, Italy
16. #16. St. Andrews Graveyard, Scotland

#1. Chichicastenango, Guatemala

Although your immediate vision of a cemetery might be dull and dreary, the Chichicastenango in Guatemala is an explosion of colour! Upon a hillside, away from the hustle and bustle of tourists, is a cemetery that celebrates the afterlife instead of shying away from it, as is the Mayan tradition. Most townspeople here are indigenous, and preserving their rituals and culture is of the utmost importance. 

Different shades on the tombs symbolize what roles each of these people played or reflect a powerful aspect of their personality. White represents purity; turquoise is reserved for mothers, and grandfathers are marked with bright yellow, representing the golden sun’s protective quality. Looking across this rainbow of tombs, you can imagine the kinds of people laid to rest here and what they mean to the living.

#2. Merry Cemetery, Săpânţa, Romania

Following along the tradition of cemeteries which are bright and cheery, we find ourselves in the Romanian Countryside. Appropriately enough this place’s name is Merry Cemetery. Unlike, Chichicastenango, Merry has become a HUGE tourist destination. People come from all over to admire the hundreds of brilliant blue crosses. Intricate carvings of scenes from the dead person’s life or portraits of the deceased mark each stone. Each gravestone is also etched with a special verse referencing a defining characteristic or story from the life of the deceased. These can be camp and cute or surprisingly honest. These verses are about womanizing, drinking, cheating and even a few choice mother-in-law jokes.

You’ll be surprised to know that the same carpenter, Stan Ioan Pătraş, carved almost all the grave markers here, starting his first in 1935. Today, over 800 of these markers stand in the cemetery. After Pătraş passed, his apprentice Dumitu Pop took over and continued creating these comedic and colourful crosses. Sometimes I think we worship the dead after their passing, so much so that they become infallible and almost inhuman. But these brutally honest carvings reflect that these people were real, just like everyone else. It somehow makes their death more tangible and relatable to strangers passing by. 

#3. Waverley Cemetery, Australia

Waverley Cemetery, atop Bronte Cliffs in Syndey, Australia, is one of the most peaceful places to rest, both for the living and the dead. Sitting across from the South Pacific Ocean and the Tasman Sea is this picturesque hillside cemetery. Opened in 1877, this cemetery contains some of Australia’s most stunning Victorian and Edwardian-designed tombs. Influential Australians like writer Dorothea Mackellar and poet Henry Lawson can be found here. Over 200 veterans are also laid to rest at Waverley, along with 11 Civil War soldiers who moved to Australia after the horrors they saw during the war back in the US. The cemetery was used for the film The Great Gatsby by Baz Lurhman, which doubled for a cemetery on Long Island. 

When you enter through the front gates, take a moment to study them. They are a memorial to the residents of the area who died during World War I and World War II. Looking at these tombstones is a glimpse into the masonry styles of the period. Being so far away from the rest of the world, Australians have a unique sensibility in their architecture and design. A broken telephone of elements coming from Europe, the Americas and Asia. It’s a playful combination of many styles and is unmissable for those interested in dazzling views and gorgeous designs.

#4. Okunoin Cemetery, Japan

Okunoin Cemetery is the largest cemetery in Japan, but it’s not just its size that makes it so impressive. 200,000 tombstones cover the two kilometres of lush forest that house the graves. Giant cedar trees seem to reach up to the heavens and provide an almost meditative silence for the visitors.

The tombstones throughout the cemetery are known for their distinctive carvings dedicated to the dead housed beneath. You’ll find giant coffee cups in honour of a corporation’s CEO, a pufferfish to acknowledge the chef who died cooking it and even a pile of termites in celebration of a pesticide company’s owner. It might seem strange, but the banality of life is sometimes an important thing to remember. Since the forest is left to its own devices, bright green moss has overtaken many graves. The stones now look like they are part of the forest themselves.

In the middle of the cemetery lies Kobo Daishi‘s mausoleum, the founder of Shingon Buddhism and a sacred pilgrimage spot for Buddhists worldwide. Walking inside the mausoleum, you come upon 10,000 illuminated lanterns glowing inside. Each one is in dedication to someone who has passed. It feels like a dream and not a ghastly experience like you would expect from a cemetery. Surrounded by all these lights, you feel like you can’t help but smile, thinking of each of these lights as a representation of our eternal love for each other. Life may come to an end, but your memory carries on.

#5. Highgate Cemetery, London

Wandering the Highgate Cemetery in London, filled with its high-gothic, Victorian tombstones, feels like stepping back in time. In the 1830s, church cemeteries were overflowing. They became a health hazard, so the city of London authorized the building of seven new cemeteries, the largest and most opulent being Highgate. Over the years, more than 170,000 people have been interred here, and it even houses a few famous occupants such as Karl Marx, novelist George Eliot and the parents of Charles Dickens.

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The cemetery’s landscaping has been left to nature, and the wildness provides an eerie, almost undiscovered feeling to the graveyard. Despite feeling untouched, it became a popular destination for tourists, and now the cemetery is only viewable by guided tour. During peak months, these tours require a reservation in advance, so don’t hesitate to book if you don’t want to miss it. Myths and legends regarding the cemetery are plentiful. One of the most prominent is the existence of the Highgate Vampire! The rumours were so persistent that British Psychic and Occult Society officially investigated the phenomenon. A tale the tour guides love to tell!

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#6. La Recoleta Cemetery, Buenos Aires, Argentina

Originally, in 1732, La Recoleta Cemetery in Buenos Aires was a modest burial ground outside the church of Our Lady of Pilar run by the monks of the Order of the Recoletos. When the order disbanded in the 1820s, the land was given over the city and turned into a public cemetery. The wealthy population of Buenos Aires began buying up plots and began designing opulent mausoleums. Each one is trying to outdo the next. Soon, it was one of the most popular spots to be buried, and now there are over 4,691 above-ground vaults across over 5.5 hectares of land.

One of the things that makes this cemetery so magnificent is the care people took in both the design of the cemetery and the tombs. The cemetery replicated city blocks and was filled in with lush tree-lined walkways. The mausoleums are intricate marble masterpieces made in all different architectural styles, from Art Deco to Baroque. The most notable grave here is the tomb of Eva Peron, the wife of the president of Argentina who, much like Princess Diana, was adored by her people. Her enormous black granite tomb is still visited today by the people who loved her or still want to thank her for her impact on the country.

#7. Punta Arenas Cemetery, Chile

The Punta Arenas Cemetery is well known as a popular tourist attraction mainly due to its iconic Cypress Trees. Cypress trees have long been an element of classic cemeteries since, in greek mythology, the cypress tree is associated with death, the underworld and eternity. The trees in the Punta Arenas are intricately trimmed, like little fingers sticking out of the ground. They laced their way around the pathways which lead you through the delightful cemetery.

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The other iconic element that makes this place so popular is the legends surrounding it. The cemetery is actually “officially” called the Cementerio Municipal Sara Braun, named after Sara Braun, one of the richest women in Patagonia and who donated an enormous stone gateway in 1919 to the cemetery. This iconic piece of architecture is a symbol of Chilean architecture.

After she died, she said no one would ever pass through the gate again. They sealed the gate to honour her wishes, and guests must now enter through a side entrance. It is also rumoured that her body is taken out of her tomb every year on the anniversary of her death, and her family goes to brush her hair and put a fresh coat of makeup on her face. People come from all over to watch to see if the rumours are true, but alas, no one has yet to witness the event.

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#8. Hollywood Forever Cemetery, Los Angeles, USA

This cemetery is the final resting place of many Hollywood legends, including Rudolph Valentino, Douglas Fairbanks, and Johnny Ramone. With its lush landscaping, beautiful mausoleums, and stunning views of the Hollywood Hills, Hollywood Forever is a peaceful escape from the hustle and bustle of Los Angeles.

#9. Père Lachaise, Paris

Père Lachaise Cemetery is a great example of the power of celebrity. It is one of the most picturesque cemeteries in the world and is also home to some very notable people. The cemetery is over 44 hectares and contains a staggering one million bodies! The cobblestone walkways, sophisticated mausoleums, and tree-lined paths all contribute to the overwhelming gothic beauty of this cemetery.

Over 3 million visitors walk the cemetery pathways every year, mostly to visit the famous gravestones and mausoleums that can be found within. This draw that even the dead can bring was part of the cemetery’s design. With the influx of people living (and subsequently dying) in Paris, local church graveyards began to overflow.

In the 1800s, various larger cemeteries were built on the outreaches of town. But they were seen as too far away and were not blessed by any church. Therefore, many God-fearing Catholics wouldn’t be seen dead (quite literally) being interred here. Two years after being built, only 33 people had been buried here. But the owner of the property had a plan. He organized to have the remains of Jean de La Fontaine and Molière to Père Lachaise to help increase its reputation and popularity. He immediately saw people coming from far and wide requesting to be buried alongside their favourite celebrity.

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Celebrity Graves

Today, you can see more celebrity graves, including Jim Morrison. He is one of the most popular tombs visited, and guests often leave tokens of love behind for him. The musician Chopin is also interred here, and his grave is adorned by a statue of a beautiful muse holding a lyre. Oscar Wilde‘s grave, sculpted by Jacob Epstein, is a modern piece in the shape of a Sphinx flying through the air. Its mouth, slightly pursed, was often interpreted as if it was reaching out for a kiss and leading visitors to lean in and kiss the stone. So many people were kissing the stone that they began to worry about its preservation. Now, a modern plastic barrier separates visitors from the original stone. Now, they just kiss the plastic instead.

#10. Bonaventure Savannah, Georgia

Bonaventure is best known for its iconic Southern Gothic architecture and uncannily eerie natural surroundings. Snarled oak trees with cobweb-like moss pour over all the tombstones throughout the 19th-century graveyard. The cemetery remained unknown until it was the scene on the cover of the popular novel Midnight in the Garden of Good and Evil. The hauntingly beautiful sculptures atop the gravestones are one of the reasons the cemetery has had such a draw from artists, poets and writers.

The Little Gracie Watson statue is one of the most iconic images from the cemetery. Little Gracie was born in 1883 but died only 6 years later from pneumonia. At the time of her death, sculptor John Walz had just relocated to Savannah and was moved by the story. He offered to carve a sculpture of the little girl from a photograph to preserve her memory. Today, the sculpture is admired just as much as it was the day it was carved for its lifelike realism of the subject.

#11. Mount of Olives, Jerusalem

The Mount of Olives in Jerusalem is over 3,000 years old. Older than any of the others on this list by over 1,200 years. From afar, the sand-hued tombs blend in with the Kidron Valley, so much so that you might not even though it’s there. But when you walk closer, the different shapes and carvings will soon reveal themselves to you. The cemetery is the resting place of rabbis, Christian prophets, and the Israeli prime minister. People were brought from around the world to be buried in this sacred soil.

As you walk past, some tombstones are so old that nothing but a rough headstone remains. The details of who they were and when they died were all lost to time. It is said that this very valley was where Jesus once was thought to walk through the Garden of Gethsemane. Although nothing remains, imagine the lush green groves and trees that once covered this part of the country. The cemetery also provides one of the most spectacular views across Jerusalem.

#12. Panteón de Dolores

The Panteón Civil de Dolores is the largest cemetery in Mexico. You can find the cemetery inside the great Chapultepec Park in Mexico City. The cemetery was created by Juan Manuel Benfield. When his sister Dolores died in Veracruz, shortly after she had arrived from London, he needed a place to bury her. All cemeteries in Veracruz were reserved for Roman Catholics, and Benfield’s family was Anglican. As a large landowner in Mexico City, he founded a large graveyard in her name, naming it Panteón Civil de Dolores. He opened the cemetery up to all religions, and it quickly became one of the most popular burial spots in the city.

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Today there are over 700,000 people buried here. Some tombs contain multiple bodies. The cemetery is home to the “Rotonda de las Personas Ilustres” where some of the most famous citizens who contributed to Mexico’s civic, national and human values are entombed. This includes the renowned painter Diego Rivera, whose grave is somewhat of a pilgrimage site for those who come to Mexico City to explore his public works of art. Other famous graves include Tina Modotti, General Calles, Venustiano Carranza, Alfonso Reyes and Ángel del Campo. Each is designed with freedom of creation that you don’t always see worldwide.

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#13. South Park Street Cemetery in Kolkata, India

The enchanting South Park Street Cemetery in Kolkata looks like it grew up from the earth, not constructed atop it. Originally built in 1767 but closed in 1830, this old colonial cemetery has had over 300 years of overgrowth to turn its dull grey tombs into bright green monuments. South Park Street is the largest Christian cemetery outside Europe and North America. When the British came to Kolkata, they required a graveyard for their dead since they did prescribe to the local custom of burning the deceased.

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The graves are each ornate creations ranging in styles from Gothic to Indo-Saracenic. Walking beneath the tropical treetops, you’ll find a mix of obelisks, urns, and caskets. Moss grows wildly, and ferns seem to intertwine with the elaborate carvings. One of the most famous graves is of Major-General Charles Stuart. He wanted his tomb to resemble a minature Hindu temple. Despite his nationality, the general wanted to have his tomb inspired by his homeland and adopted country.

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#14. Old Jewish Cemetery in Prague

The Old Jewish Cemetery in Prague is the third oldest cemetery in Europe. Some argue it is also the largest, but counting the number of people buried here is a challenge. And that challenge is part of why the cemetery has become so famous. Consecrated in the first half of the 15th century, it was the only place where Jews could be buried in Prague. As per Jewish doctrine, graves cannot be moved. But eventually, the small graveyard ran out of space, so the dead were buried on top of each other. This has resulted in layer upon layer of stones crammed together, looking like a sea of stones. There are estimated to be over 100,000 Jews buried here. Poets, writers, and rabbis lived in Prague’s Jewish Quarter. 

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Gravestones over the Ages

There are over 12,000 remaining headstones in the cemetery. The earliest tombstones in the cemetery can be identified by their roman and gothic styles. The renaissance period stones feature lines of poetry and biblical quotes. The 16th and 17th-century tombstones were more intricately sculpted with inscriptions of the deceased’s family name, profession, or even personality trait. A bunch of grapes would have denoted that they had a full life; a pile of books was for cantors and scissors for tailors.

But the meticulous preservation of this cemetery was almost lost to history. During WWII, the Nazis took control of Prague. While they were destroying all memory of Jews worldwide, they decided not to destroy the cemetery. But this was not due to any small kindness; it was instead because they wished to include the cemetery in their “Museum of an Extinct Race .”But, by the grace of all that is good, they did not fulfil their dark plans, and because of this greed on their part, we are left with a very important piece of their history.

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#15. Milan Monumental Cemetery, Italy

Looking at the Milan Monumental Cemetery from afar, it might appear like a jumble of cluttered tombstones. But as you approach the individual monuments, you’ll begin to see that each is an artful masterpiece assembled together; this is more of an outdoor art museum than a cemetery.

Some of Italy’s wealthiest families buried their dead here over the last 150 years. A guided tour of the cemetery will take you past some of the most exquisite sculptures which sit upon the dead buried below. The most impressive ones I’m drawn to are the ones with beautiful stone women who have thrown themselves down upon the grave in eternal sorrow over the loss of their beloved. Marble tears forever fall from their eyes.

#16. St. Andrews Graveyard, Scotland

Once the site of St. Andrews Cathedral, most of this stone church has long since disappeared, destroyed by fires and storms. Despite the ravages to the building, the graveyard remains, framed by the last remaining stones of the church and the cliffside below. The graveyard was initially consecrated in the 11th and 12th centuries. Wandering the church’s shell and the graveyard surrounding it can be an eerie yet beautiful experience. There have even been graves unearthed under the floor of the chapter house. The oldest gravestones have been protected from the elements and moved inside a museum nearby. However, many of the remaining ones are still on display. Since the church was built in the medieval period, many gravestones are wonderful examples of medieval stonework.

The post 16 of the World’s Most Beautiful Cemeteries first appeared on The Creative Adventurer.

This is my highlights tour but if you’re interested in a super in-depth guide, check out my ‘The Complete Guide to Visiting Gaudi’s Sagrada Familia‘.

Access

The Sagrada Familia is pretty easily accessible since it’s located in the centre of town. By metro, you just need to hop on the L5 line towards Sants Station. Upon getting out of the metro, simply follow the signs for the ‘Sagrada Familia.’ If you are arriving by bus, get on the H10 and get off at the València, Lepant stop. If you bought a Hop-On Hop-Off Bus ticket, these also all stop right in front of the church.

Tickets

As the Sagrada Familia is the most famous landmark in Barcelona, it draws in some shocking numbers daily. It’s no surprise that thousands of people enter their doors daily. To ensure you can experience this church easily, it’s always best to book your tickets in advance. You can buy your tickets online up to two months in advance, but I’d advise that you only book them about a week or two before your arrival unless you’re visiting during the holiday season.

When to Go?

When booking your ticket, you need to select a specific entry time. I’d recommend not leaving it too late at night since you want to give yourself plenty of time to explore before the church closes. I’d recommend booking your ticket an hour or two before sunset. That way, you can see the building in the light of day and enjoy the magnificent lighting effect of the sunset across the structure. The golden light inside the Basilica casts the most magical glow over the entire nave, and it feels like being transported to another earthly plane of existence.

Which ticket to buy?

There are basically four ticket types for visiting the Sagrada Familia

• Ticket with Audio Guide 26€
• Ticket with Guided Tour 30€
• Ticket with Audio Guide and Towers 36€

History of La Sagrada Familia

During the 19th century Barcelona, along with the rest of Europe, was undergoing a significant change. The church that had once held such immense power and authority over cities now lost its cultural influence with the growth of independent governments. Urban lifestyles were changing the way that Catalonians lived, and more and more, the church was becoming less and less a central part of their daily routine.

In 1866 the Spanish clergy created the Association of Devotees of Saint Joseph, who took it upon themselves to help bring back the relevance of faith and spirituality in Catalonia. They raised enough money to start construction on a wondrous temple, so spectacular and eye-catching that it would be the spot where pilgrims from all over the world would travel and which would encourage locals to come back into the fold. The church was dedicated to the Holy Family. The first architect of the church was Francisco de Paula del Villar y Lozano, but soon after construction started, he resigned. They then enlisted Catalan architect Antoni Gaudí. And that one decision would be the catalyst for the creation of what is now one of the greatest manmade wonders of the world.

About La Sagrada Familia

The Sagrada Familia is 4,500 square meters large, the size of an American football field, and when you see it in person, you can truly understand just how big that is. The Basilica’s layout is that of a traditional Latin cross design. The Latin cross design features five naves, a crossing, an apse and an exterior cloister-style ambulatory.

The exterior has three different facades, each a varied work of art whose imagery tells a story. Although not yet built, the tallest part of the church will be 172.5 meters tall, the highest point in the city but shorter than Montjuic Mountain (because no manmade building should exceed what God created). The church can hold 14,000 worshippers! That’s the size of a small city. Gaudí wanted to create a place where everyone in the city could gather in one place, making it feel like it was always open to whoever wanted to come in. A small church just wouldn’t have had the same effect.

#1. The Nativity Facade

This was the only part of the church which was entirely designed by Gaudi and which he almost saw finished as it was completed in 1935, just after his death. He was there almost daily overseeing the work, and it feels like the part of the church which is the most personal. The three porticos on the Nativity facade are each dedicated to a theological virtue of the three members of the Holy Family; Hope, Charity and Faith.

#2. The Tree of Life

At the top of one of the Nativity facade’s porticos stands the Tree of Life, a bright green cypress tree. The tree is one of the only colourful parts of the exterior, covered with polychrome. Polychrome decorates architectural elements, like pottery or sculpture, in various colours. The cypress tree symbolizes eternity since it’s an evergreen plant and never loses its leaves. Covering the tree are 21 white doves which fly out of their nests and into the sky. On the top of the tree, like a Christmas Star, is the red and white symbol of the holy trinity. The Greek cross formed the base of this symbol. The Greek cross combines the letters’ alpha’ and ‘omega,’ which mean the beginning and the end.

#3. The Charity Portico Vault

The vault in the Charity portico contains the scene of the Annunciation where the archangel Gabriel tells Mary that she is the chosen one who will bring the son of God into this world. Surrounding this petite scene are the signs of the zodiac depicted in constellations across the sky, just as they would have been on the night Jesus was born. Bands of rosary beads surround the scene.

Hanging around the rosary are medallions carved in stone representing the ‘Miraculous Medals’ you find around rosary bracelets. Above the Charity doorways, here is a chorus of angels. Each of them is a musician, playing instruments popular in both religious settings, like the lute, the violin and the harp, and instruments more accessible to the commoners, like the guitar, the bagpipes and the tambourine. Once more, this was a way of the common fold being able to see themselves in the divine. Running up between the two sets of stained glass windows behind the angels is the multi-pointed star of Bethlehem. This was the star that shone in the sky to announce the birth of Jesus.

#4. The Spires

Gaudi desired to make the Sagrada Familiar as the tallest building in Barcelona. He was inspired by stories of architects in medieval times who built their churches as the central figure in the city. These churches needed to be tall as they were often used as meeting points, a guiding light to those travelling into town. Their bell towers signal the beginning of the workday or even warn people of fires, earthquakes or other devastating events.

Gaudi wanted to implement this same idea, but just one tower wouldn’t suffice. He decided to far and away exceed anything created for basilicas before. His design called for eighteen spires, reaching up towards the heavens. The hollow and hole-filled design of the spires makes them look like a beehive or anthill, as the stone’s colour closely resembles the earth. But the hollow design was actually a form of lanterning, an architectural element that illuminates the church while also giving it enormous height and grandeur.

#5. The Rosary Portal

You’ll first pass through the Rosary Portal to enter the church’s interior. This incredible doorway is called the door of ‘Our Lady of the Rosary.’ In the tympanum above the doorway is the sculpture of the Virgin Mary holding a crowed baby Jesus. Mary also wears a crown, as she is the Queen of Heaven on Earth, but she is also symbolically crowned with an archway of roses on the portal above her. Since the rose is the symbol of purity is almost always hidden somewhere in depictions of the Virgin Mary. Above this doorway is a cupola lantern which perfectly lets in a ray of light which highlights Mary’s face. This effect is almost too beautiful, and it looks heavenly if you didn’t know the cupola was there.

#6. The Arborescent Columns

The interior of the church was meant to resemble a spiritual forest. Gaudi wanted it to feel like a retreat into nature. Gothic churches were revolutionary in creating openness and space; they wanted the interior to feel light and the high ceilings as if they were reaching up toward the heavens. Gaudi once more wanted to take this to the next level. He wanted to incorporate huge stained glass windows on either side, which meant they could not be load bearing, so that load had to be carried elsewhere.

Gaudi researched for years to develop this new concept called the ‘Arborescent Columns.’ Inspired by the strength and beauty of large trees, the columns tilt slightly about their height so they can withstand the roof load. They also split off in two directions, like the branches of a tree and also like a flying buttress to better support the vaults. You expect to see birds flying from branch to branch, making a nest for themselves at any time. And what better place to do it?!

#7. The Vaults

Gaudi combined classical Gothic architecture and Catalan art to create these star-like vaults on the roof, which light could easily pass through. The stars are formed by combining concave and convex hyperboloid shapes, which are critical systems used to disperse light and spread out the roof load. The shape of the stars also closely resembles the form of palm leaves, a powerful symbol in Christianity. Each vault centre is filled with a light diffuser decorated with colourful stained glass in various Christian symbols.

#8. Stained Glass Windows

Light is one of the strongest symbols of faith in Christianity, so it was crucial for Gaudi to bring as much natural as possible, the light of God, into the Basilica. Gaudi developed a new way of creating stained glass, comprised of three panes resulting in a mixture of tones and colours to cast a magical glow into the nave. The leading artist who created these windows was Vila-Grau. Vila-Grau used curved shapes to create abstract forms and ensured that the warm and cool tones were kept separate, resulting in this consistent light flow.

#9. The High Altar’s Baldachin

Over the high altar, we find the incredible sculptural masterpiece, the ‘baldachin.’ A baldachin is a large canopy in a heptagon shape with seven edges, traditionally placed over an altar. These sever corners represent the seven gifts of the Holy Spirit; wisdom, understanding, counsel, fortitude, knowledge, piety and fear of the Lord. Fifty little hanging lights illuminate the rim of the canopy. Around the rim springs grape vines and wheat, the symbols of the Eucharist. A ribbon around the baldachin writes out the Prayer of Glory in back-lit red and Gaudí-style lettering.

#10. The Choir Galleries

Above the nave is a separate space that houses the choir during church services. This area can hold over 1000 singers since Gaudi wanted their voices to fill this enormous temple. Gaudi thought the importance of acoustics in the building to be of the utmost importance as he loved music so much. It was one of the few ways he could unwind and relax. The hyperbolic vaulting he used throughout the church was made to reverberate the sound in a harmonious way and provide light.

#11. The Passion Facade

The final portion of the tour of the church is the Passion Facade. This facade is located on the side of the building where the sun sets, the darkness reflecting the ultimate sacrifice and death Jesus would incur. Compared with the ornate, natural forms of the Nativity Facade, the Passion Facade is gloomy, stark and restrained. Gaudi made sketches for this part of the church when he fell ill with a terrible sickness and almost passed away.

This illness was the closest to death Gaudi would ever come since his eventual death would sneak up on him. During this sickness, he was consumed with fear and poured all these emotions into the design of this part of the temple. While Gaudi died long before this part of the church began construction, architect Josep Maria Subirachs took up his mantle and made it his mission to create precisely what Gaudi had envisioned. Subirach’s figures are inspired by expressionism, in contrast to the realistic figures on the Nativity portal. There are over 100 figures depicted, grouped into 13 different scenes. They rise upwards in an S-shape, starting, in chronological order, with the last supper and ending in the crucifixion.

#12. The Gaudi Museum

Located in the basement of the cathedral is the Antoni Gaudi Workshop and Museum. Although many of the original documents and plans were destroyed when a bomb went off during the Civil War, this newly created space is where the city has taken it upon itself to conserve, restore and put on display pieces of the history of the construction of this church. You can find drawings, period photographs, ceremonial furniture and several scale model copies of the originals here. There is also a model of the original workshop where Gaudi would spend all this time.

Have you been here before? What was your favourite thing to see? If you’re on your way, let me know what you’re looking forward to the most.

Happy Travel Adventurers!

The post The Ultimate Highlight Tour of La Sagrada Familia, an Insider’s Guide to Barcelona first appeared on The Creative Adventurer.

This is a very detailed guide, so I’ve been sure to make a table of contents for you in case you want to jump to a particular church area. This works great if you’re visiting and need more clarification on a certain area. If you’re looking for a shorter summary of what to see, check out my post on the ‘Top 12 Things to See.’ That guide is ideal if you’re pressed for time and want just the highlights tour!

Table Of Contents

1. Access & Admission
2. History
3. Sagrada Familia Design
4. The Nativity Facade
5. The Charity Portico
6. The Tree of Life
7. The Monumental Columns
8. Faith Portico
9. The Spires and Towers
10. The Cloisters
11. The Rosary Portal
12. The Interior Apse
13. The Arborescent Columns
14. The Crypt
15. The Passion Facade
16. The Glory Facade
17. The Schoolhouse
18. The Gaudi Museum

Access & Admission

The Sagrada Familia is pretty easily accessible since it’s located in the centre of town. By metro, you just need to hop on the L5 line towards Sants Station. Upon getting out of the metro, simply follow the signs for the ‘Sagrada Familia.’ If you are arriving by bus, get on the H10 and get off at the València, Lepant stop. If you bought a Hop-On Hop-Off Bus ticket, these also all stop right in front of the church.

When to Go?

When booking your ticket, you need to select a specific entry time. I’d recommend not leaving it too late. You want to give yourself plenty of time to explore before the church closes. I’d recommend booking your ticket an hour or two before sunset. That way, you can see the building in the light of day and enjoy the magnificent lighting effect of the sunset across the structure. The golden light inside the church casts the most magical glow over the entire nave. And it feels like being transported to another earthly plane of existence.

Tickets

As the Sagrada Familia is the most famous landmark in Barcelona, it draws in some shocking numbers daily. It’s no surprise that thousands of people enter their doors daily. Booking your tickets in advance is always best to ensure you can experience this church easily. You can buy your tickets online up to two months in advance. But I’d advise that you only book them about a week or two before your arrival unless you’re visiting during the holiday season.

Which ticket to buy?

There are basically four ticket types for visiting the Sagrada Familia:

• Basic Ticket 17€
• Audio Guide Ticket 25€
• Guided Tour Ticket 26€
• Audio Guide and Towers Ticket 32€

While I did enjoy my guided tour, and I’d usually strongly recommend them, I felt like the guide rushed us through the church. Fair enough, there is so much to see, and you only have them for an hour. But even still, it felt incomplete. Even though I could go back to what I felt I’d missed after the guided tour, there was so much to see that I wished I could have understood better. That’s why I created this blog!

This self-guided tour allows you to go at your own pace. You can sit and absorb what you’re seeing. Take a moment to just listen to the sounds around you. And learn about all the facets of the church. Plus, this free tour will save you a bit of money. While the towers are interesting to see and give a nice view over the city, there are betters views to be found for a much lower price. So I’d advise skipping them and instead focusing on looking into the building instead of out of it.

History

During the 19th century Barcelona, along with the rest of Europe, was undergoing a significant change. The church, which had once held such immense power and authority over cities, now lost its cultural influence with the growth of independent governments. Urban lifestyles were changing the way that Catalonians lived, and more and more, the church was becoming less and less a central part of their daily routine.

In 1866 the Spanish clergy created the Association of Devotees of Saint Joseph. They took it upon themselves to help bring back the relevance of faith and spirituality in Catalonia. They raised enough money to start construction on a wondrous temple. A church is so spectacular and eye-catching that it would be the spot where pilgrims from all over the world would travel and which would encourage locals to come back into the fold. The church was dedicated to the Holy Family. The first architect of the church was Francisco de Paula del Villar y Lozano. But soon after construction started, he resigned. They then enlisted Catalan architect Antoni Gaudí. And that one decision would be the catalyst for the creation of what is now one of the greatest man-made wonders of the world.

Master Architect Antoni Gaudi

Antoni Gaudí is the mastermind behind this incredible church design. Gaudí’s works can be seen all across Barcelona. And he was one, if not the most, influential artist who helped create the Modernism movement in Catalonia. Gaudí was inspired by neo-Gothic art, organic forms, and Oriental techniques, which can be seen throughout.

Gaudí’s style formed the artistic style of the city, and the critical piece to his portfolio is the Sagrada Familia. Gaudí’s greatest inspirations were nature and religion. In designing the Sagrada Familia, he combines these elements to near perfection. Gaudí’s aim in creating this Basilica was to link heaven and earth together. He was inspired by the nearby Montjuic Mountains’ shape and power over the valley. He wanted the church to feel like a new mountain sprung from the ground.

Gaudi’s Death

Gaudí was run down by a streetcar and died in 1926. Only a small portion of the Basilica had been built when he passed. Although his life was cut short, Gaudí knew he would never see the church finished. He looked back to the great medieval cathedrals which took hundreds of years to create. Some take over 100 years from start to completion. He put every ounce of creativity, innovation and imagination into the temple’s design. When he died, his revolutionary work would inspire the next architect who took over. Many people were surprised that Gaudí would set out to create something which would take so long to build; when asked why, Gaudí would always say, “My client is not in a hurry.” This is where he got the nickname “God’s Architect.”

Sagrada Familia Design

The Sagrada Familia is 4,500 square meters large. It’s the size of an American football field. And when you see it in person, you can truly understand how big it is. The Basilica’s layout is that of a traditional Latin cross design. The Latin cross design features five naves, a crossing, an apse and an exterior cloister-style ambulatory. The exterior has three different facades, each a varied work of art whose imagery tells a story.
Although not yet built, the tallest part of the church will be 172.5 meters tall. The highest point in the city but just shorter than Montjuic Mountain (because no man-made building should exceed what God created). The church can hold 14,000 worshippers! That’s the size of a small city. Gaudí wanted to create a place where everyone in the city could gather. Making it feel like it was always open to whoever wanted to come in. A small church just wouldn’t have had the same effect.

It’s important to highlight that, for our readers to understand Gaudi’s vision and references, we will be talking broadly about stories from the bible. And while not everyone who visits this church will be religious, the context will help you understand the meaning behind the construction. If you aren’t spiritual, just think of these citations as stories (or consider the real people who inspired those characters).

The Nativity Facade

To enter the Sagrada Familia these days, you’ll approach via the Nativity Facade. This was the only part of the church entirely designed by Gaudí. And he almost saw it finished as it was completed in 1935, just after his death. He was there almost daily overseeing the work, and it feels like the part of the church which is the most personal. The Nativity Facade has three entrances. One central and two lateral topped with four hollow bell towers, representing the four stripes of the Catalan flag. The Nativity facade faces the rising sun, as it represents the dawn of the life of Jesus Christ.

The three entrances on the Nativity facade are each dedicated to a theological virtue of the three members of the Holy Family; Hope, Charity and Faith. A portico is a triangular porch hanging over the church’s entrance. One of the most delightful little aspects of these entrances is the little details you might miss, so keep your eyes peeled.

One of these small details to notice when looking at the entire facade are the snowcaps carved into the stone. The snow is meant to look like it is melting off the tops of the hollows of the entrances. Gaudí used snow to remind the people of the festive Christmas season. So many aspects of Gaudí’s plans were drawn from historical architectural references. But others were meant to evoke a response for the common man. Something everyone can understand and evokes something within them.

Gaudi’s Gargoyles

Instead of gargoyles, which are so prevalent in neo-gothic architecture, you’ll find a different kind of creature which caps the various edges of the roofline on the Sagrada Familia. Gaudí chose to use reptiles and amphibians (like snails, frogs, chameleons and lizards.) These creatures crawl on the edges of the building. While gargoyles are mythical creatures, Gaudí chose to pick beasts from our world who are biblically associated with the lower ranks. Gaudi believed they served the same monstrous purpose as the gargoyles in Gothic churches. They are not decorative, but their open mouths are used to drain rainwater from the temple’s roof.

The Hope Portico

The Hope Portico, dedicated to Saint Joseph, is on the far left side of the facade. This portico depicts scenes of virtue in times of adversity. We’ll study this piece from the top of the entrance, continuing downwards, beginning with St. Joseph’s Pinnacle.

St. Joseph’s Pinnacle

St. Joseph’s Pinnacle is almost hard to make out. It’s so high up, and sculptures blend in with the rest of the stonework. The textures given to the exterior are designed to reflect the crags you find on Montserrat, the sacred mountain of Catalonia. Just below the climax of the Hope Portico, you’ll see the figure of Saint Joseph sitting inside a small boat. The boat is an important symbol. Saint Joseph helped navigate the Catholic church as the patriarch of the Holy Family.

On the ship’s helm are three emblematic objects; a dove, an anchor and a lantern. The dove symbolizes the holy spirit, the anchor signifies faith’s constant grounding, and the lamp implies the light the word of Jesus Christ provided to the faithful. It’s important to note that this carving of Saint Joseph is thought to resemble Gaudí himself. The sculptors decided after his untimely death to immortalize Gaudí in the church. Gaudí himself feels like a patriarchal figure to all those architects who would follow in his footsteps.

The Holy Marriage

Below the pinnacle, in the hollow of the top arch, we find a grouping of three people. This is the scene of the marriage of Saint Joseph to the Virgin Mary carried out by a high priest who stands in the centre. They kneel over a basket of roses that symbolize God’s love at work in the world. Blossoming below this sculptural group are luscious flowers reminiscent of those growing on the Nile banks. Egypt was where the holy family experienced so much fear and terror; eventually, they had to flee the country. But they fled not without hope, which is what this entrance is dedicated to remembering. Hanging amongst the flowers are stone-carved rosary beads. 59 beads surround most of the windows on the porticos. Another way in which Gaudí combined the physical act of prayer into his church.

The Tympanum

Above the doorway, in the Hope Portico, we have the tympanum, which contains scenes from Jesus’ childhood. These tender moments between the young Jesus make him much more human rather than godly. On the bottom right, we see the Holy Family with Mary and Joseph and an angel guide fleeing Egypt. In the centre, we see the child Jesus in his father’s arms. A single dove flies off into the distance below them. Amidst this scene of father and son is something which you might miss. A set of carpentry tools carved in stone. Jesus’ adolescence was spent being a carpenter’s apprentice. And it was lovely to see that human side of his life immortalized in stone.

Slaughter of the Innocents

On the right, we have one of the most violent scenes from the bible: the Slaughter of the Innocents. This display shows a Roman soldier tearing a child from their mother’s arms. Under the soldier’s feet are babies’ bodies who have already fallen to the soldier’s sword. Although this is hard to see, if you manage to look closely, you can see that the Roman soldier has six toes on one foot. A small detail but one denoting his monstrosity.

Although this is a sad scene, it’s an important historical moment. When hope was all that these people had to cling to survive. On this side, the edges of the entrance are formed into the shape of a chameleon. The chameleon is an animal that represents change, and change is what hope is based upon. The fact is that even in the darkest times, there will be light. Light is representative of change, and the turning of tides gives even the most lost hope.

The Charity Portico

The central and most crucial portico on the Nativity Facade is the Charity Portico. Jesus’ charitable nature was one of his most notable characteristics, yet this entrance is filled with scenes of the Virgin Mary. This reflects how those who nurture us pass on their core values and attributes. The textural treatment of this portico is slightly different than the others. The exterior is covered in design elements that resemble or call back to the stable in which Jesus was born. Animals, birds and various plants are hidden throughout the mass of ornamentations that swell over the pointed portico.

The Tree of Life

Again, starting from the top down, let’s first focus on the Tree of Life. The culminating part of this portico is capped with a polychrome-coated green cypress tree. Polychrome decorates architectural elements, like pottery or sculpture, in various colours. Gaudí originally intended for the entire Nativity facade to be polychromed. He believed that if every sculpture, face, plant and animal were painted, they would come to life in a much more realistic way. Unfortunately, the cost of this much exceeded the budget! And so, polychrome was used sparingly. But therein making where you see those colours that much more impactful.

Symbolism on the Tree

The cypress tree symbolizes eternity since it’s an evergreen plant and never loses its leaves. Covering the tree are 21 white doves that fly out of their nests and into the sky. On the top of the tree, like a Christmas Star, is the red and white symbol of the holy trinity. The Greek cross formed the base of this symbol. The Greek cross combines the letters’ alpha’ and ‘omega,’ which mean the beginning and the end. Atop the cross is the last white dove, its arms spread wide, resembling the shape of Jesus on the cross.

Two ladders are placed below the tree, representing our mortal desire to reach eternal life. Below the tree, you’ll see a pelican perched, her beak angeled toward two baby birds, ready to be fed. The pelican was once believed to be a symbol of the Eucharist as in ancient times, people thought the pelican opened its chest to feed its young, just like Christ offered up his own body to feed his disciples. Hidden beneath the young pelicans is a brightly coloured egg adorned with red and yellow glass. The egg is thought to represent either the birth of the universe or the symbol of Jesus’ resurrection.

Below the tree is a group of angels burning incense inside old vessels called ‘centers.’ Burning incense in the church is an ancient tradition representing the faithful’s prayers rising to heaven. The pinnacle’s stonework is covered in little bubbles, thought to represent the incense floating up toward the sky. It’s important to note that the angels here were actually sculpted by Gaudí himself.

The Crowning of Mary

Below the tree of life, we come to a small cave. Here we can see a little intimate scene of Jesus placing a copper crown atop the Virgin Mary’s head. Crowning her the Queen of Heaven on Earth. This was her reward for her ceaseless love for God and humanity. Despite what they had done to her beloved son. On the left, we see Saint Joseph there to witness the event. And on the right, we see the Holy Spirit represented as a man. The entire scene is set in front of one of the incredibly colourful stained glass rose windows. At certain times of the day, the glass seems to set the entire scene aglow with mystical light.

The Charity Vault

The vault in the Charity portico contains the scene of the Annunciation. We find the archangel Gabriel told Mary that she is the chosen one. Who will bring the son of God into this world? Surrounding this petite scene are the signs of the zodiac. And depictions of constellations across the sky. Just as they would have been on the night Jesus was born. Bands of rosary beads surround the scene. Hanging around the rosary are medallions carved in stone representing the ‘Miraculous Medals,’ which you find around rosary bracelets.

The Chorus of Angels

Above the Charity doorways, here is a chorus of angels. Each angel is a musician, playing popular instruments in religious settings. Instruments like the lute, the violin and the harp, the more common guitar, the bagpipes and the tambourine can all be found here. Once more, this was a way of the common fold being able to see themselves in the divine. Running up between the two sets of stained glass windows behind the angels is the multi-pointed star of Bethlehem. This was the star that shone in the sky to announce the birth of Jesus.

The Adorations

To the left of the double doorway, we can see sculptures of the Adoration of the Magi. And on the right, we have the Adorations of the Shepherds. Some scenes from the Nativity represent how Jesus’ arrival brought people from such disparate groups together. For me, this scene is especially poignant since I feel Gaudí achieved a similar reaction in the construction of this church. No matter if you are religious, spiritual or neither, this building still draws people from far and wide into its arms. And once they behold it for themselves, there is never a question of its outstanding cultural value.

The Monumental Columns

Three primary columns are located at the base of the church, each representing a member of the holy family. The one in the centre of the two charity doors is the Jesus’ Column, and the other two flanking the charity portico are dedicated to the Virgin Mary and Saint Joseph. On the very top of the central column is baby Jesus, being placed into a bassinet by his mother. His father looks on, as do an ox and mule, just like the Christmas carol. To the left of this scene is a small text inscription expressing “Gloria in Excelsis Deo,” a phrase spoken by the angels on the night Jesus was born.

Large palm leaves look like they’re supporting the group atop the column. Palm leaves are a symbol of victory in Roman culture, and the date fruits hanging from the leaves symbolize faith. Surrounding the column is a thick ribbon with inscriptions inlaid upon it. The form of ribbon almost looks like one side of a DNA strand. Fittingly, it is thought that the inscriptions on the fabric are Jesus’ genealogy dating back to Abraham. Halfway down the column, the stone is surrounded by dense iron mesh. If you peek through the mesh, you can make out the shape of the snake biting an apple, the symbol of original sin. The iron mesh traps the reptile from fleeing the garden and invading the pious world.

Carvings on the Column

Atop the two remaining columns flanking the sides of the Charity portico are a pair of angels playing long bronze trumpets announcing the birth of Jesus. The models for these sculptures were a group of military musicians who were good friends with Gaudi. The angels stand atop more palm leaves, covered in snow and dates. The centre of the columns is marked with an inscription, each inscribed with the names of those to whom they are dedicated to. At the bottom of the columns are carvings of a tortoise and a turtle, holding the entire weight of the column up. The turtle represents the land, and the tortoise the sea. Both of these animals are unchanging and, as such, are capable of being the foundation upon which this church is built.

At the bottom of the columns is the carving of a tortoise and, on the other, a turtle, holding the entire weight of the column up. The turtle represents the land, and the tortoise the sea. Both of these animals are unchanging and, as such, are capable of being the foundation upon which this church is built.

Faith Portico

The last of the tree porticos is on the far right-hand side, called the Faith Portico. This portico is dedicated to the Virgin Mary, yet most of the scenes here actually feature her son when he was a young boy and his life during adolescence.

While centred around Jesus, these scenes show Mary’s faith in God. Imagine being a mother and seeing your son grow up so innocent and kind, all the while knowing he will die for the sins of humanity, and you’ll be the one to bury him. It takes a strong woman to keep faith in this knowledge, and yet she persevered and, not only that, made sure to be the best mother she could be against all the odds. I think everyone can take something from this story into their own lives at times when they feel they perhaps have lost faith in themselves or the direction their lives are going.

Blessed Virgin’s Pinnacle

At the very top of the portico is the Blessed Virgin’s Pinnacle. The head of the pinnacle is capped with ears of wheat springing forth. These symbolize the bread Jesus shares with his disciples in the Last Supper. Below, in a small hollow cave, is a carving of a hand with an open eye in the centre. This is the symbol of divine providence, which represents God, who can see all and even perhaps influence the destiny of humankind. Vines and grapes intertwine all over this pinnacle, another symbolic element of the Last Supper.

In the centre of these vines is the figure of the Virgin Mary, her hands crossed over her chest and head leaning back, utter vulnerability and trust emitting through her language. Mary stands upon a three-pointed lamp, representing the light of the holy trinity. Below her figure, we can see Saint Joseph’s anagram, another little detail tieing these two people together consistently through the design, even when they are not physically together.

Jesus in Simon’s Arms

In the hollow at the top of the portico is Jesus in Simon’s arms in the temple of Jerusalem. Many parents would bring their children to the temple to be blessed. A bowl is at the bottom of the scene, and within it are two birds. But these are not doves as we’ve seen before, but are pigeons. Every parent needed to bring a sacrifice to the temple for their child to be blessed. Most people would bring a lamb to display wealth, but as Mary and Joseph were poor, they could only afford to bring two meagre pigeons.

Central Scene on the Faith Portico

Under the vault on the Faith portico is a beautiful rose window made up of multicoloured glass. Looking up from underneath the vault is the figure of Jesus seated in a chair, his hands raised towards the sky. On his left side is Saint John the Baptist. On the right is Saint Zachariah. These two scholars were some of Jesus’ best teachers and would shape how he would preach. Despite being his elders, they are seen here looking at Jesus with admiration and wonder. Below the scholars, right above the doorway, is the symbol of the heart of Jesus, surrounded by thorns and covered in bees who feast on the blood. A morbid foreshadowing of things to come.

On the left-hand side of the doorway, we can see the scene of the visitation of the Virgin Mary. Here we have Mary, pregnant with baby Jesus, visiting her cousin who at the same time was pregnant with the would-be Saint John the Baptist. In the scene on the right, we find Jesus as a young carpenter at his work table. In front of him are the figures of Mary and Joseph. Their faces are that of surprise, anguish and denial as they learn of their son’s fate for the first time. But Jesus remains unphased, working quietly on his carpentry, his posture slightly slumped, mirroring a more human figure who knows not yet of his divine destiny.

The Spires and Towers

Gaudi desired to make the Sagrada Familiar as the tallest building in Barcelona. He was inspired by stories of architects in medieval times who built their churches as the central figure in the city. These churches needed to be tall as they were often used as meeting points, a guiding light to those travelling into town. Their bell towers signal the beginning of the workday or even warn people of fires, earthquakes or other devastating events. Gaudi wanted to implement this same idea, but just one tower wouldn’t suffice. He decided to far and away exceed anything created for basilicas before.

Gaudi’s design called for eighteen spires, reaching up toward the heavens. The hollow and hole-filled design of the spires makes them look like a sort of beehive or anthill, as the stone’s colour so closely resembles the earth. But the hollow design was actually a form of lanterning, an architectural element that illuminates the church while also giving it enormous height and grandeur.

The Spires

The spires are representative, in ascending order of elevation, of the Twelve Apostles, the Virgin Mary, the four Evangelists and, tallest of all, Jesus Christ. The Evangelists’ spires were designed to be topped by sculptures of their corresponding symbols. A bull for Saint Luke, symbolizing sacrifice, service and strength. An angel stands for Saint Matthew, who represents Jesus’ human Incarnation, who, upon his death, became divine. An eagle sets off to soar in the representation of Saint John, as the eagle symbolizes a figure of the sky and the fact that Christians should look to their eternal fate instead of their mortal one. And finally, we have Saint Mark represented by a lion. Saint Mark’s beautiful gospels were thought to be the “voice of the one who cries in the wilderness,” like the roar of a lion.

Atop each of the spires along the perimeter of the church, over top of the cloisters, are a set of pinnacles. These are in various shapes, abstractions of elements of the bishop’s attire, such as the mitre, the ring, the cross and the staff. They are all decorated in rich tones of Murano glass which is much stronger than ceramics, so they can withstand the elements up high.

Jesus and Mary Towers

The Virgin Mary tower will be the widest right over the high altar. Her tower is currently finished, but its shape has already been a form of a cathedral. Her tower, once completed, will be crowned by the ‘morning star.’ This star is the guiding light that travellers use to find their way even in darkness, and the star is still visible even when the sun has risen at dawn.

The interior of her tower is made up of a large hyperboloid skylight which brings natural light into the presbytery. The hyperboloid will be covered in white tiles, the colour of purity, looking like a divine cyclone sucking in the light from above. The largest and tallest of the towers, the Jesus Christ Tower, has yet to be built, but once completed will be the most impressive of them all, reaching a height of 172.5 meters, capped with a Gaudí-style four-armed cross. The tower’s interior will act as a giant lantern since Gaudi wanted this part of the church to reflect the phrase Jesus spoke, “I am the light of the world.”

The Cimborio

At the top of the spires, you’ll find elaborately coloured and designed cimborio. A cimborio is a dome or a cupola from traditional Spanish architecture. Gaudi’s cimborio is more sculptural, with images of plants decorating the surface, specifically those plants connected to the Christian faith. We see ears of corn, wheat, cedar and lavender all swirling around. Gaudi also chose plants native to the Mediterranean or that once grew on the site where the church was built. Gaudi used his technique of trencadis cladding to ensure the tops were as colourful as possible so you could see them across the sky from all over town.

The Cloisters

As you enter the Nativity facade, you pass through those large doors and enter the cloisters surrounding the entire church. A traditional cloister was first used in monasteries and was meant “enclosure.” It was a covered walkway for the monks to use as a space of private contemplation. When cloisters were incorporated into cathedrals, they would run along one side of the church.

Gaudi used his cloisters in a revolutionary way; instead of just placing them on one side of the church, he wrapped them around the entirety of the Basilica. This was his solution to create separation or barrier between the church’s interior and the loud and obnoxious outside world. This resulted in a quieter interior and an almost zen-like atmosphere. A conventional monastery cloister would surround a garden. Because the interior here would be the church’s apse, Gaudi made sure that his interior still felt like a garden, like the of Eden. A mythical forest in the centre of town.

Cloisters and Light

Gaudi wanted to find a way to bring natural light into the interior of the church even though there were no windows that faced directly outside the apse. He did this through his ingenious redesign of the cloister windows. Gaudi went through two different variations in his light experiments. Both of which are still present to this day. The first was designed in 1890 and was based on the three ogival modules inspired by traditional Gothic architecture.

The secondary design done in 1919 was a more modern interpretation of Gaudi’s which looked less like Gothic art and was more inspired by nature. These circular windows, stacked in a triangular pyramid, looked like a honeycomb and fit better with the rest of the naturalist design across the temple. The cloisters also served another purpose. By having this area around the entirety of the church, Gaudi made it so that these galleries could be an area where people could move throughout the church quickly without interrupting the worship that was taking place inside.

The Bronze floral Doors

To enter the church, we must head back to the Charity portico and walk through the archway. The doors you pass on your way are made from polychrome bronze and designed by various plant species and covers and are ed in highly realistic insects. The paintwork on these doors is breathtaking and an introduction to the colours you’ll be wowed with inside.

The Rosary Portal

You’ll first pass through the Rosary Portal to enter the church’s interior. This incredible doorway is called the door of Our Lady of the Rosary. In the tympanum above the doorway is the sculpture of the Virgin Mary holding a crowed baby Jesus. Mary also wears a crown, as she is the Queen of Heaven on Earth, but she is also symbolically crowned with an archway of roses on the portal above her. Since the rose is the symbol of purity is almost always hidden somewhere in depictions of the Virgin Mary.

Above this doorway is a cupola lantern which perfectly lets in a ray of light that highlights Mary’s face. This effect is almost too beautiful, and if you didn’t know the cupola was there, it takes on looks heavenly side of the doorways are various sculptures of characters from the old testament.

On the bottom of the arches around the door are scenes dedicated to the theme of temptation. We see the temptation of woman, the death of Judas and the temptation of man. The temptation of man is the most surprising as it is symbolized by a fish-like devil offering a bomb to man. While you might not always associate the devil with bombs, this scene was of particular significance to the people of Barcelona. Bombs were heavily used during the Spanish civil war, and this particular artist was inspired to make this alteration after the bombing of Barcelona’s Liceo Theatre in 1893.

The Interior Apse

The floorplan of the Sagrada Familia is designed to replicate the traditional Latin cross, but Gaudi’s floorplan featured five naves, a large central one and four lateral naves. He also took it upon himself to widen the naves, therein creating an unparalleled vastness of space, which feels impossible to have in such a lavish interior. But with all this space, there had to be structure. Some way to keep the building from falling down without sacrificing that ethereal atmosphere.

The Arborescent Columns

The interior of the church was meant to resemble a spiritual forest. Gaudi wanted it to feel like a retreat into nature. Gothic churches were revolutionary in creating openness and space; they wanted the interior to feel light and the high ceilings as if they were reaching up toward the heavens. Gaudi once more wanted to take this to the next level. He wanted to incorporate huge stained glass windows on either side, which meant they could not be load-bearing, so that load had to be carried elsewhere.

Gaudi researched for years to develop this new concept he called the ‘Arborescent Columns.’ Inspired by the strength and beauty of large trees, the columns tilt slightly about their height so they can withstand the roof load. They also split off in two directions, like the branches of a tree and also like a flying buttress to better support the vaults. At any time, you expect to see birds flying from branch to branch, making a nest for themselves. And what better place to do it?!

36 Tree Columns

There are 36 columns in total with different heights and widths. The variation of these sizes makes them seem more unique and less man-made. Four materials were used to create the columns; porphyry, basalt, granite and Montjuic stone. The Porphyry columns support the vaults over the crossing and are the widest in diameter. They are the red-coloured columns which contain the Evangelists’ lights. The basalt columns have ten sides and are one of the most durable materials. The granite columns are blueish-grey in colour and are only eight-sided. The final columns are made from Montjuic stone and are the thinnest.

The Vaults

Gaudi combined classical Gothic architecture and Catalan art to create these star-like vaults on the roof, which light could easily pass through. The stars are formed by combining concave and convex hyperboloid shapes, which are systems used to disperse light and spread out the roof load of the stars also closely resemble the form of palm leaves, a powerful symbol in Christianity. Each vault centre is filled with a light diffuser decorated with colourful stained glass in various Christian symbols.

Natural Light

Light is one of the strongest symbols of faith in Christianity, so it was crucial to Gaudi to bring as much natural light as possible, the light of God, into the Basilica. Gaudi developed a new way of creating stained glass, comprised of three panes resulting in a mixture of tones and colours to cast a magical glow into the nave. The leading artist who created these windows was Vila-Grau. Vila-Grau used curved shapes to create abstract forms and ensured that the warm and cool tones were kept separate, resulting in this consistent light flow.

The Evangelist Capitals

Four Porphyry columns are capped with the Evangelists’ symbols, two on each side of the transept. The capitals are decorated with tetramorphs, the four angelic beings from Babylonian symbolism, which describe the vision of the Hebrew Prophet Ezekiel of the Evangelists. “As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle.” These capitals are lit from within to ensure they are always illuminated even when there isn’t any natural light.

The High Altar

When you enter the church, before looking up (although I know that’s really hard), take a look at the flooring. The shimmery golden tiles are accented with two thick red lines. One of the lines symbolizes the ‘Path of Humanity,’ which runs from the Glory facade to the apse, and the ‘Path of Jesus Christ,’ which runs from the Nativity to the Passion facade. Where the two lines meet is where we find the high altar. The meeting of the divine and the human in one place here inside the church. The high altar has a ceiling two meters taller than the rest of the nave to give it that little extra touch of gravitas.

Over the high altar, we find the incredible sculptural masterpiece called a baldachin. A baldachin is a large canopy in a heptagon shape with seven edges, traditionally placed over an altar. These sever corners represent the seven gifts of the Holy Spirit; wisdom, understanding, counsel, fortitude, knowledge, piety and fear of the Lord. Fifty little hanging lights illuminate the rim of the canopy. Around the rim springs grape vines and wheat, the symbols of the Eucharist. A ribbon around the baldachin writes out the Prayer of Glory in back-lit red and Gaudí-style lettering.

Saint Joseph Transept

Located on the Nativity side of the church is the Saint Joseph Transept, presided over by a large sculpture of Joseph himself. Joseph stands there prominently with a sceptre of lilies in his hand. Lilies represent his holiness and his celibate marriage to the Blessed Virgin. The walkway above the transept is made of dozens of Roman columns and is an easy way for the clergy to get around the church without interrupting the service. The stained glass windows featured on this wall are made of cool tones, and the morning light pours through this portion of the church.

One interesting aspect of studying stained glass is that the colours become denser and denser as we descend from the top down, letting in less and less light. This is so that the light is the brightest at the top, where you’ll find the divine, and lower to the ground, where we have humanity and slightly less light, creating a perfect space for meditation and reflection.

On the opposite side, facing the Passion Facade, is the Virgin Mary Transept. In the centre is the figure of the Virgin Mary under a simplistic, geometric star-shaped vault. Behind her is a beautiful example of abstract stained glass made by Joan Vila-Grau entitled ‘The Resurrection.’ This side faces the setting sun and is coloured with entirely warm tones, warm tones which make the heart feel full and content, expressing hope upon Jesus’ Resurrection.

The Apsidal Chapels

The apse has seven chapels dedicated to the seven gospels of Saint Joseph. These chapels are lit from above and by impressive stained glass windows. In between these panels are the adorable carving of angel heads peeking out from the walls.

The Great Doorway

This entrance, called the Great Doorway, will eventually be the main entrance into the church once the Glory facade is finished construction. The two solid bronze doors will open out into the facade, weighing over two thousand kilos! The designer of these doors is the same one who made the Passion Facade, Josep Maria Subirachs. The doorways are inscribed with the words “Give us this day our daily bread” in fifty different languages. Above the door is the abstracted sculpture of Saint Geroge, the patron saint of Catalonia.

The Choir Galleries

Above the nave is a separate space that houses the choir during church services. This area can hold over 1000 singers since Gaudi wanted their voices to fill this enormous temple. Gaudi thought the importance of acoustics in the building to be of the utmost importance as he loved music so much. It was one of the few ways he could unwind and relax. The hyperbolic vaulting he used throughout the church was made to reverberate the sound throughout the church in a harmonious way and provide light.

The Organ

The large pipe organ looks almost holographic in certain lights and has over 1,492 pipes. And what a sound it makes when played. Gaudi wanted this organ and the music of God it created to fill the nave like the ocean. Washing across the worshippers and visitors alike.

Winding Staircase

Gaudi didn’t ever want to break up the natural movement of the Basilica. No straight set of stairs would be acceptable. So Gaudi created these sets of winding staircases which the clergy could use to access the upper levels. The staircases are almost completely open, with some circular cutouts, similar to those in the cloisters, to ensure they are perfectly lit without artificial light.

The Crypt

As you walk along the back of the nave, behind the altar, be sure to look down and see if you can peek into the small peepholes which open up into the crypt. Head down to see the interior of this hidden part of the church. The crypt, located under the nave and high altar, holds 12 chapels. The roof of the crypt is supported by 22 ribbed cross vaults, each decorated with shimmering keystones. Some of the keystones are adorned with scenes from the bible. The central keystone with the gold-leafed carving of Mary’s Annunciation is the most impressive. The bright gold brings the smallest details to life, making this image shine like a star underground.

Chapel of Our Lady of Mount Carmel

You’ll find the Chapel of Our Lady of Mount Carmel inside the crypt. This chapel is of particular significance since it is where you’ll find Gaudi’s final resting place. Located on the far left-hand side of the front wall, his tomb is presided over by the Lady of Mount Carmel. Gaudi is laid to rest under a simple, jet-black tombstone.

Gaudi made it his mission to bring natural light into the otherwise darkened crypts. And he did so through those small holes in the vaults which bring light in from the nave. He also made sure to include a lot of vibrant stained glass. This created a feeling of lightness and brightness despite being underground. It is unlike any other crypt I’ve visited around the world. The stained glass within the crypt is decorated with images of angels, another interesting juxtaposition for a crypt since angels are generally found in the sky, whereas these ones are found buried under the foundation.

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The Passion Facade

The final portion of the tour of the church is the Passion Facade. This facade is located on the side of the building where the sun sets. The darkness reflects the ultimate sacrifice and death Jesus would incur. Compared with the ornate, natural forms of the Nativity Facade, the Passion Facade is gloomy, stark and restrained. Gaudi made sketches for this part of the church when he fell ill with a terrible sickness and almost passed away. This illness was the closest to death Gaudi would ever come since his eventual death would sneak up on him. During this sickness, he was consumed with fear. And he poured all these emotions into the design of this part of the temple.

While Gaudi died long before this part of the church began construction, architect Josep Maria Subirachs took up his mantle and made it his mission to create precisely what Gaudi had envisioned. Subirach’s figures are inspired by expressionism, in contrast to the realistic figures on the Nativity portal. There are over 100 figures depicted, grouped into 13 different scenes. They rise upwards in an S-shape, starting, in chronological order, with the last Supper and ending in the crucifixion.

Capping the facade is the pyramid-shaped pediment. This pediment is formed with eighteen bone-shaped pillars, which symbolize those who died. The columns of the Passion Facade reach out towards the street. Unlike a regular column which just goes straight up, they are placed at an angle. Seemingly drawing the viewer in from the outside.

Last Supper

In the bottom left corner, we see Subirachs’ interpretation of Jesus in the Garden of Gethsemane during the Last Supper. All the faces we see here are gaunt and abstract. They seem less human, and each one appears to have an expression of sadness on their face. Jesus turns to his disciples to explain what will happen as Judas is off to the side, accepting the blood money for betraying his friend.

The Kiss of Judas

We then move to the scene where Juda kisses Jesus, indicating he is the man whom the Roman soldiers must arrest. In the bottom right corner of this scene, you’ll see the snarling face of a snake. The snake represents the devil as this reptile is regarded as one of the lowest terrestrial animals, closest to the devil’s lair. Besides the two men is a set of numbers on a grid called the ‘magic square.’ The magic square features a collection of numbers which, when added either along one row, one column or diagonally across, always add up the same number. In this case, the number is 33. 33 is the age at which it is thought that Jesus Christ died; it also contains the number 3 twice, which is the symbol of the holy trinity.

The Flagellation Column

On the main level, in the centre, we have the Flagellation Column. Bringing this scene almost at eye level with the visitors is a critical choice and, once more, brings humanity back to this otherwise godlike man. Everywhere else where Jesus is depicted, he is within a group, but here he is totally alone. An interesting detail is the three steps which lead up to the column, symbolizing the three days between Jesus’ crucifixion and the resurrection. Subirach used travertine marble to carve the column, the same stone used in all the buildings in ancient Rome.

The Bronze Doors

Three broad sets of bronze doors are set behind and on either side of the Flagellation Column. On the right, we have the Gethsemane door; in the centre is the Gospel door and on the left is the Coronation of Thorns. The main entrance used today into the church is through the Gospel door. This door contains thousands of raised letters with passages from various texts relating to the last days of Jesus’ life.

The Gethsemane door looks almost like a sketchbook. It combines text and images relating to the prayers Jesus’ made in the Garden of Gethsemane, pleading for God to change his mind and save his mortal life. The Coronation of Thorn’s door has two main scenes. One of the scenes depicts the soldiers presenting Jesus to Herod and Pontius Pilate and being crowned with thorns. The top scene is of the humiliation of the soldiers who tortured Jesus on the way to the cross.

The Denial of Peter & Ecce Homo and the Trial of Jesus

This sculpture depicts the three times Peter denied he knew Jesus, represented by three women. He wears a large sheet, a symbol of cowardice. In the next scene, we see Pilate presenting Jesus to the people. In the final scene, we see Pilate washing his hands as he announces to the crowd, “I am innocent of this man’s blood; see you to it.”

The Three Mary’s and Simon Cyrene

In the next vignette, we see the three Marys; The Virgin Mary, Mary Magdelene and Mary of Cleophas. On the ground is the fallen form of Jesus, and the man carrying the cross is actually Simon Cyrene, who helped Jesus take the cross to the sight of the crucifixion. It is thought that this man showed sympathy for Jesus as he walked, so the soldiers forced Cyrene to carry the cross, another example of the soldier’s cruelty. Now, Simon Cyrene is considered the patron saint of passersby.

Veronica and the Evangelist

Over the Gospel door, we find the scene where Jesus falls again. A woman named Veronica bends down to brush the blood off his face with a cloth, and when she removes it, the face of the Messiah is imprinted on it. The carving of Jesus’ face on the cloth is masterfully done, and no matter where the viewers go, Jesus’ eyes seem to follow. To the left of the group, you’ll see the legionnaires whose armour was made in the shape of Gaudi’s famous chimneys from Casa Milá, a little reference to Gaudi’s history.

Saint Longinus

The figure to the right of Veronica is a Roman soldier on horseback. This is Saint Longinus, who was a Roman general that stuck a spear into Jesus. Legend has it that Longinus was half blind, but when he speared Jesus, a drop of blood spurted into his eyes, and they were healed. Upon this miraculous healing, Longinus repented of his sins and converted to Christianity.

Soldiers Player Dice

We have a small group of Roman soldiers to the left of the crucifixion scene. They can be seen playing a dice game. The victor of this game would win Jesus Christ’s clothing and possessions. A heartless moment but another depiction of the cruelty of man.

The Crucifixion

The top of the facade is dominated by the form of Jesus Christ crucified on the cross. He is tied to a cross composed of two iron beams. The iron beam meets to form the shape of an “I.” This is thought to recall “INRI,” which in Latin stands for ‘Iesus Nazarenus Rex Iudaeorum’ meaning ‘Jesus of Nazareth, King of the Jews, something which they nailed over Jesus on the cross as he lay dying. At his feet is the sobbing form of Mary Magdalene, while the Virgin Mary stands to the side, her face in her hands, consoled by St. John. At the base of the cross, we can make out a skull symbolizing Jesus’ final death. In the upper right corner, we can make out a full moon, as it is said that the night he died, there was a full moon.

The Burial

To the right of the Crucifixion scene, we have the burial of Christ. In this sculpture, we see Joseph of Arimathea and Nicodemus preparing and wrapping Jesus’ body to make it ready for the tomb. The image of Nicodemus is actually a self-portrait of the sculptor Subirachs. In the background is the Virgin Mary with an egg on her head, symbolizing the resurrection.

The Passion Vaults

Under the vaults of the Passion’s portico, when you look up, you’ll see a torn cloth hanging in front of a brightly coloured mosaic. The enormous torn fabric acts almost as a type of baldachin hanging beneath the cross. In the Temple of Jerusalem, there was always a large cloth that separated the holier areas of the temple from the ordinary people. At the very moment of Jesus’ death, it was said that this cloth split in two, bringing together common people and God as one. The glasswork is Venetian and contains texts and imagery relating to the resurrection. Unlike the rest of the facade, which is bleak and monotonous, this hidden bright spot is representative of the hope that Jesus’ resurrection gave the people, always present but hiding in the darkness.

The Glory Facade

The Glory facade is the one part of the church which has not begun construction. This side faces the midday sun when the sun is the brightest and therefore exemplifies the idea of Glory and Hope. The design of the Glory facade is made up of a series of large lanterns and a grouping of fluffy white clouds. The three types of clouds represent the Holy Trinity: the Father, Son and Holy Spirit, each inscribed with words of prayer. By entering this doorway, worshippers will have a sense of movement through the earthly plain into the divine heavens.

The Schoolhouse

Outside the Passion, the facade is a small building, a recreation of the 1909 original, which once served as the children’s schoolhouse. During the Basilica’s construction, there were so many workers that they needed a dedicated school to cater to their children. Gaudi made it his mission to educate these kids and create a beautiful place for them to do it. You can enter the old schoolhouse, study the Catalan vaulting technique he employed here, and study the classroom’s various details. You can even see some of the things the children studied during their time here.

The Gaudi Museum

Located in the basement of the cathedral is the Antoni Gaudi Workshop and Museum. Although many of the original documents and plans were destroyed when a bomb went off during the Civil War, this newly created space is where the city has taken it upon itself to conserve, restore and put on display pieces of the history of the construction of this church. You can find drawings, period photographs, ceremonial furniture and several scale model copies of the originals. There is also a model of the original workshop where Gaudi would spend all this time.

If you’ve made it all the way through, I commend you and know that I appreciate the time you took to understand the immense amount of history, art and cultural values instilled in this incredible temple. I genuinely wish I could spend every day here, and I hope your time visiting this space is just as magical as mine was.

Have you been here before? What was your favourite thing to see? If you’re on your way, let me know what you’re looking forward to the most.

Happy Travel Adventurers

The post The Ultimate Insider’s Self-Guided Tour of Gaudi’s Sagrada Familia in Barcelona first appeared on The Creative Adventurer.

Table Of Contents

1. Access
2. Tickets
3. A Brief History of the Hungarian Parliament
4. Parliament by the Numbers
5. Where to Get the Best View
6. Architectural Design
7. Interior Tour
8. Hungarian Crown Jewels

Access

You can take the subway to Kossuth Tér station on the M2 metro line to reach the Parliament Building. If you prefer to travel on the tram, you can also take Line 2 to Kossuth Lajos Square Station. The buildings are open from 8 am to 6 pm from April to October and 8 am to 4 pm from November to March. There are certain times when Parliament is meeting, and entry is unavailable during those days. Check the website before you arrive to see if there are any blackout dates during your visit. 

Tickets

Since the parliament buildings are one of the most popular attractions in Budapest, it is highly advisable to buy your tickets in advance. Tickets can be purchased online; trust me, you’ll be happy you don’t have to waste your time waiting on your vacation by doing it this way. Adult tickets for non-EU citizens cost 10,000 Ff ($27 US) and European Citizens can buy a discounted ticket for 5,000 Ft ($14 USD.)

A Brief History of the Hungarian Parliament

The Parliament building was built in 1896. It was made after the unification of the three cities which would eventually make up modern-day Budapest. A nationwide design competition was held to find a concept widely loved. Not just by the government but by the public as well. It was important to the committee that the building was designed from the start by a Hungarian. A native who could embed their nation’s values, history, art and cultures into one building. In the end, Hungarian architect Imre Steindl’s Gothic Revival design won the competition and construction on the new Parliament could finally begin.

Interestingly, second and third-place designs were honoured by being built, just not as Parliament. They were actualized, albeit on a smaller scale, across from the Parliament Building and served as the headquarters for the Ministry of Agriculture and the Museum of Ethnography. All three buildings in these small areas are a real treat, and you can decide for yourself if the committee made the right choice.

Parliament by the Numbers

The Hungarian Parliament Building is the world’s third-largest parliament building, measuring 258 meters long and 123 meters wide. Its interior includes 691 rooms, 200 offices, ten courtyards, 27 gates, 29 sets of staircases and 13 passengers and two freight elevators. The building is 96 meters tall, and after its construction, a law was written that no other building in the city is allowed to be taller than the Parliament building. This ensures that the spires of Parliament can be seen from all across the city.

Where to Get the Best View

The best place to see the Parliament building for the first time is from across the Danube river. Standing in a place like Batthyány Square, you can easily see the entirety of the building. From afar, you can better appreciate the harmony and power such a domineering structure can evoke. From the other side of the Danube, you’ll be able to study the symmetrical nature of the construction. Either side of the upper and lower houses are perfect copies of each other. This reflects the equality between the two houses of Parliament. In the centre is a large, commanding, Neo-Renaissance dome, signifying the unity created when combining both sides of the legislature.

Architectural Design

Over 100,000 people were employed to construct the Parliament Buildings. No expense was spared in the production. One of the most essential things to designer Imre Steindl was to ensure the construction used elements of the Carpathian Basin in its structure. There were over 40 million bricks made from Hungarian materials. Half a million precious stones were harvested from around the country to be used in the decorations. 40 kilograms of gold were added throughout to give the building a sense of opulence and grandiosity. Steindl used local artisans to create the thousands of sculptures, frescos and ironwork that make this building so absolutely covered from floor to ceiling in art.

Gothic Revival

The design of the building is anchored in the Gothic Revival movement, which takes elements from classical Gothic designs but blends in details of the Renaissance and the Baroque. The gothic Revival is an architectural movement that began in the late 1740s in England. The style features characteristics including; decorative patterns, finials, scalloping, lancet windows and hood mouldings. While the facade and ornamentation may be neo-gothic, the floor plan is distinctly baroque, and the embellishments on the ceilings inside are stylistic elements drawn from the Renaissance. It’s fantastic to see a building not stuck inside just one style. It breaks free from linear standards and feels like a love story to architecture itself.

Because of modern-day pollution, the porous limestone walls cover to surround the facade of the building regularly require cleaning. Don’t be surprised if you see scaffolding around Parliament when you visit.

Exterior Statues

To the east, even from across the river, you can see a large group of statues which make up the Kossuth Memorial. Created in 1956, the dramatic sculpture surrounds a large column where Lajos Kossuth stands. Lajos Kossuth was a freedom fighter and influenced the creation of democracy in Europe.

Count István Tisza

On the north side of the building, you’ll find the statue of Count István Tisza. István Tisza was a Hungarian politician, prime minister, political scientist, international lawyer, macroeconomist, and member of the Hungarian Academy of Sciences. He really did it all! Tisza was one of the most influential politicians who supported Austria-Hungary’s dual monarchy but was eventually assassinated during the Aster Revolution.

Attila Józsefa

Along the edge of the river, sitting frozen in place, is a statue of Attila József. His poem By the Danube is reflected here in his pose: 

As I sat on the bottom step of the wharf,
A melon-rind flowed by with the current;
Wrapped in my fate, I hardly heard the chatter
Of the surface, while the deep was silent.
As if my own heart had opened its gate:
The Danube was turbulent, wise and great.

On the grassy knoll outside the front of Parliament is the triumphant equestrian statue of Francis II Rákóczi. Rákóczi was a nobleman and leader of the Hungarian uprising against the Habsburgs in 1703. He is considered even to this day as one of the greatest Hungarian national heroes.

In Memoriam

I think one of the most moving statues on the grounds is ‘In Memoriam 1956.’ This large piece of black iron might look like nothing from afar, but when you get close, you can make out bullet holes embedded in the sculpture. This is to memorialize the Hungarian Revolution of 1956. This was a nationwide revolution against the Hungarian People’s Republic and its Soviet-imposed policies. The battle lasted 18 days, and over 2,500 Hungarians and 700 Soviet troops were killed in the conflict.

The 6.5 m tall statue of Count Gyula Andrássy riding his proud horse stands on the south side of the building. Gyula Andrássy was Hungary’s prime minister between 1867-71, and he still stands guard outside Parliament today.

Interior Tour

Because both sides of the Parliament Halls are identical, one is used for the politician’s daily work and the other for guided tours. This allows you to explore everything the insiders see daily without worrying about interfering with the employees’ day-to-day activities.

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The Golden Staircase

When you first go up the stairs upon entry, look up. You’ll see that the entire ceiling is coated in nothing but gold. Hence the name, The Golden Staircase. It looks like the inside of a jewellery box. From the golden staircase, you’re led down a narrower hallway. The right side of which is adorned with brilliantly coloured stained glass.

The small hallways will suddenly open up, and you’ll find yourself standing in The Grand Stairway. Along the sides of the staircase are huge Corinthian columns, each carved in exotic burgundy granite. They are capped with intricate gilded embellishments and spread out into fantastically painted arches covered in gold. There’s a lot of gold in here, that’s for sure. There is something about seeing all this grandeur in a place of government; it really does give you the sense that these people were very passionate about politics.

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Károly Lotz

Take a 360-degree spin around, and be sure to take a look up at the fresco on the ceiling. These incredible frescos were painted by Károly Lotz, a famous German-Hungarian painter. These three depictions are allegorical and symbolic of the government’s actions and effects on the country.

The stained glass throughout the building creates little vignettes of magic when the light pours through. Created by artist Miksa Róth, the windows represent family crests of iconic Hungarian royal families. Others designs are merely decorative, using traditional Hungarian patterns. But most impressive are the glassworks that look like embroidered drapery yet forged in the glass.

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The Dome Hall

The next stop on your tour is Dome Hall. Entering the hall makes you feel as though you are entering a Cathedral. The soaring dome and adornments throughout are as glorious as it comes. There are 16 points in this room, each of whose corners reach up to the top of the dome, creating an immense sensation of openness and grandiosity.

See if you can count all 242 sculptures surrounding the dome’s corners. Each portrays a different Hungarian ruler, Transylvanian leader or famous historic military officer, carefully placed on gold pedestals. Despite their small stature, their faces are impeccably carved, and their expressions are life-like.

Hungarian Crown Jewels

One of the most precious treasures of the Parliament building is the Hungarian Crown jewels. You can see on display the Holy Crown, the orb and sceptre, and a Renaissance royal sword. The crown jewels have had a rough history as they have been lost, stolen and looted several times. After WWII, they were given over to the American army to keep them safe from the Soviet Union. They remained in Fort Knox, Kentucky, for years, and it was only in 1978 that President Jimmy Carter had them returned to the Hungarian people.

The Hungarian crown comprises two pieces of jewellery, each from an illustrious era of history. The lower portion is the original Byzantine crown, and the upper cross-shaped topper is from another crown from the medieval period. The crown was initially designed for St. Stephen for his royal coronations over 1000 years ago.

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Upper House Lobby

Before entering the Upper House, you’ll be ushered into the Upper House Lobby, a long corridor with massive pillars on either side, where people gather before or after critical political meetings. The enormous turquoise carpet is one of the most exciting things in the Upper House Lobby! This carpet is hand-knotted, which would have taken artisans thousands of hours to complete all by hand. The pillars in the lobby, almost salmon pink in colour, are surrounded by statues representing Hungarian crafts and culture, which seems appropriate since the art and design that makes this building so unique is mostly due to these craftsmen and women.

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Another ubiquitous piece of history is the brass cigar holders that line the window sills. Since smoking was banned inside the Chamber when smoking, politicians had to go back inside to vote on a particular bill or amendment. They didn’t want to snuff out their expensive cigars and instead would leave them in these fireproof holders so they could return to smoking after voting.

The Old Upper House

The Old Upper House is a replica of the assembly hall where the congress meets weekly, and some of the nation’s most significant decisions are made. This hall is used more for conferences and meetings than political state business. The House itself is enormous. 452 wooden seats, made from decorated Slavonian oak, are set in a semi-circle around the speaker’s chair. The seats are covered in lush red velvet, making each member feel important. Behind the speaker’s chair are magnificent paintings of Hungary’s royal families over the years.

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Library of Parliament

The last thing you’ll visit on your tour is the library of Parliament. Although politicians have a private library which they use, this library is open to the public and still contains over 500,000 books and volumes. Books as old as 1580 are stored here on the shelves that reach the ceiling. Sitting inside the library, you have a stunning view across the Danube, and it’s the perfect peaceful place to end the tour.

What are your Parliament Buildings like back in your home country? Are they magnificent as this one? Let me know in the comments!

Happy Travels Adventurers

The post The Best Visitor’s Guide to Budapest’s Stunning Hungarian Parliament Building 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.

How to Cruise along the Grand Canal?

Most of the houses which now line the Canal are named after the original families who first settled here and grew this great city. Taking a trip down the Canal is like taking a trip back in time. And while it is an essential thing to do while in Venice, it doesn’t mean spending a pretty penny, renting out a gondolier for an hour or taking a cheesy river cruise.

Since Venice is a city built on the water, there are no roads and the only way to get around is via water buses called the Vaporettos. A 1-day pass for the Vaporetto will cost you 25€, or a single 75-minute ticket is 9.5€. For the purposes of this tour, a single ticket would do you just fine if you plan on walking your way around the rest of Venice for the day. While they might not look as elegant as the gondolas, they take the very same route and pass by all the same iconic landmarks for a fraction of the cost. 

Table Of Contents

1. How to Cruise along the Grand Canal?
2. Ferrovia Vaporetto
3. Scalzi Bridge
4. San Geremia
5. Fondaco dei Turchi
6. San Stae
7. Ca' Pesaro
8. Traghetto
9. Ca D'oro
10. Palazzo Morosini Brandolin
11. Mercato di Rialto
12. Rialto Bridge
13. Palazzo Corner della Ca' Grande
14. Palazzo Barbarigo Venice
15. Ca' Foscari
16. Grassi Palace
17. Ca' Rezzonico
18. Palazzo Loredan dell'Ambasciatore
19. Ponte dell'Accademia
20. Palazzo Cavalli-Franchetti
21. Peggy Guggenheim
22. Basilica di Santa Maria della Salute
23. Santa Maria Maggiore

Ferrovia Vaporetto

Set out as early as you can manage. Venice is a busy, busy city and the earlier you start your day the more you’ll have the city to yourself. We’re staring our tour at the Northern most point of Venice, at the Ferrovia Scalzi Terminal, and traveling east along the Grand Canal.

Get a seat near the edge of the boat to get the full view of the wonderful scenery. Watching the buildings pass by as you cruise along the river is like being transported into another world of fantastical architecture and ancient designs. I’ve included a googlemap of all the landmarks at the bottom of this post so you can follow along as you go. Come with me now on a tour down the Grand Canal.

Scalzi Bridge

The Scalzi Bridge is the first of three bridges you’ll pass under on your tour of the Grand Canal. While there are dozens of bridges to be found throughout Venice, there are only three which cross the extremely wide Grand Canal. The Scalzi Bridge is thin and is one of the more modern designs along the river. The original bridge built here was called the “Austrian” bridge and was built of iron. The stone replacement is much higher and allows for larger boats to pass underneath.

San Geremia

As you continue along the canal you’ll pass the back end exterior of San Geremia Church. Its stunning white dome with slim silver cross atop is one of the landmarks of this little area of Venice. This church was built in 1753 and houses the remains of Saint Lucy. The layers of architectural styles and colours on this church make it look like a layered wedding cake.

So many houses and palaces along the canal don’t have special names or histories but each one has a definitive character. Venice has always been an influential place for artists. As such the use of colour throughout the city is always extremely present. It’s hard to find a single dull building in the entire place. Residents decorate their faces with brightly painted wooden shudders, fantastical balcony flower boxes and stunning wrought iron designs.

Fondaco dei Turchi

Below is the Fondaco dei Turchi, once the seat of Venice’s Turkish population. Originally built in the first half of the 13th century, it is a perfect example of Byzantine design. rich use of colour and intricate stone work was of the utmost importance in Byzantine design. In the 17th century the vast majority of the Turkish population turned this building into a one-house-ghetto that housed hundreds of people as well as served as a warehouse and market for Turkish traders. Today it is the home of the Natural History Museum of Venice, which features a beautiful collections of flora and fauna, fossils, and a small aquarium. A feature which many of these Venetian houses have is the open porticos along the river’s edge which allow boats to pull right up to the interior of the house. Like a Renaissance version of a garage.

San Stae

Continuing along the Northern portion of the canal we pass San Stae. San Stae was built in 11th century and was once a rather subdued and unassuming building. But in the 17th century it was renovated by the Swiss master Domenico Rossi. Its powerful and striking baroque statues which cover the facade are unique due to their active forms which jump and leap out of their marble prison and give great life to this unassuming and otherwise small church.

Ca’ Pesaro

Right next to San Stae is the Ca’ Pesaro. The Ca’ Pesaro was once the residence of Leonardo Pesaro, to whom the building is still named after. Ca’, you’ll hear this word frequently throughout Venice. Ca’ is short for ‘casa’, the word for house in Italian. This building is uniquely designed with repetitive and heavy use of pillars that adorned the entire building. Building started in 1659. The architect was inspired by the chiaroscuro style of painting being employed during the Renaissance. Chiaroscuro is the use of strong contrasts between light and dark.

Here the architect used that same dramatic effect with his arches and columns. Creating an unmissable effect to any passers-by. The Pesaro family has turned its residence into a wonderful museum dedicated to 19th and 20th century paintings and sculptures which you can view today. It is only of the most impressive collections in Venice and highly recommended if you’re here for a few days.

Traghetto

While floating along the river you’ll pass by various less opulent, black gondolas being operated by men in simple black and white striped shirts. These are called ‘Traghettos‘. Inside these gondolas are business men, local, residents and even some tourists. These are not the tourist gondolas which go for hundreds of euros an hour, these gondolas cost only €2 and will take you across the large stretches of the Grand Canal which don’t have a bridge large enough to cross over. Otherwise you’re stuck walking around which can take a significant amount of time. So if you’re in a rush or just too tired to go the long way around, these little gondolas are the ticket! Plus, if you’re looking to experience riding in a gondolas without paying a ton of money, this is how you can check that box off your bucket list.

Ca D’oro

The Ca D’oro is one of the most fantastical buildings on the canal. The pale, multicoloured marbles along the facade makes it looks like a softer water colour paiting floating on the river. Ca’ d’Oro means ‘House of Gold’ as the facade was once covered in a thin coating of gold leaf. The palace was originally built in 1428 for the Contarini family, who were basically the royal family of Venice in the 14th century. This palace features some of the best Gothic architecture in Venice.

In Venice, gothic architecture wasn’t as dark and severe as it might have been in England or even on the mainland. In Venice, Gothic architecutre was more floral and leaned towards the Baroque. Today the palace houses the Galleria Giorgio Franchetti. The Gallery is a collection of art from the Baron Giorgio Franchetti. He donated all the works he had accumulated over the year to this public gallery to be enjoyed by the public after his passing.

Palazzo Morosini Brandolin

The facades in Venetian architecture are one of the best ways to identify which period the building was made in. Byzantine houses featured thin, horseshoe shaped arches with simple motifs on the capitals. Gothic houses have intricate rib traceries on top of their arches (as can be seen in the Palazzo Morosini Brandolin below) along with quatrefoil designs. Renaissance houses are simpler with bold projecting roof cornices and wide arches. Finally the baroque houses have circular headstones, and cherubs carved into the windows along with a bold use of ornamentation.

Mercato di Rialto

The old Venetian Marketplace still stands today and even still serves as one of the major places where Venetian locals shops for their every day groceries. You can spot the market easily along the River, just look for bright red drapes hanging behind wide white arches. These protect the food from inside from the weather. The building was originally a Gothic construction but the newly renovated design was made in 1907, but still preserves much of the original architecture. If you are close enough, check out the carved capitals on the end of the arches, each one is carved in the shape of a sea or sea creature since the main source of the market’s income both now and when it was first built was the freshly caught seafood from the ocean.

Rialto Bridge

The Rialto bridge is the oldest bridge in Venice. It was built by Antonio da Ponte in 1591. Its repetitive and powerful porticos that line the top of the bridge was a point of contention amidst Venetian architects of the time but now the Rialto Bridge is one of the most iconic images of Venice and it is because of its unique and daring design. If you arrive early in the morning you might see the bridge in all it’s architectural glory but as the day draws one thousands of tourists pour onto the bridge and it is packed to the gills, making some of the details hard to make out. Another great reason to come as early in the morning as you can manage.

Palazzo Corner della Ca’ Grande

Since Venice was such a wealthy city for many many years, hundreds of merchants flooded the city. Many of these merchants were foreigners and in 1228 a building was constructed to house all the “German” merchants. Despite the name, the merchant house included Poles, Czechs, and Hungarians all who traded goods inside the walls of Venice. This building was like the New York Stock exchange of its time. The sound of angry, loud and boisterous traders often flooding into the Grand Canal.

Palazzo Barbarigo Venice

My favourite building on the Grand Canal is the Palazzo Barbarigo. It was originally built in the 16th century and features an intricate mosaic applied to the facade. Each of the pieces of glass used in the mosaics were from nearby Murano, famous for its glass craftsmen. Photos cannot do justice to the way the light hits the colourful patterns and reflect off the water. The mosiacs were applied in 1886 when Barbarigo, who owned one of the glass factories in Murano, bought the property. He used the exterior of his house like a form of publicity for his incredible glassworks. In the famed St. Mark’s square you can visit the grand Basilica whos entire interior features more incredible glass mosaics. Barbarigo was so inspired by St. Mark’s Cathedral and took this inspiration into his own home.

While travelling down the canal be sure to study the boat docks which many of the large palazzos have in front. Each one has their own colour scheme, making the entire canal a river of wooden rainbow bulrushes.

The closer you get to St. Mark’s square the more and more traditional gondolas you’ll see travelling down the river with tourists inside. These large black gondolas are incredibly detailed with sumptuous red velvet interiors.

Ca’ Foscari

One of the things that makes the Ca’ Foscari so unique is that it has four floors, an architectural innovation for houses which are built on top of the water. It is designed in the Late Gothic style with a myriad of ornate windows. The tan brickwork in contrast with the white marble creates a beautiful juxtaposition against the blue sky.

Grassi Palace

The Grassi Palace is a beautiful example of the modern and neoclassical coming together is become the future of Venetian architecture. In Venice, keeping the historical artistry of the canal is so important but if there is no progress and modernization the buildings will eventually sink beneath the waves. When the Fiat Motor Company bought the palace they did extensive restorations and renovations to bring the palace back to its once great glory while also ensuring it would last for another century or more.

Ca’ Rezzonico

The enormous Ca’ Rezzonico was built by two of Venice’s greatest architecture in 1660. Baldassare Longhena and Giorgio Massari created the landscape of the Grand Canal and influenced architects both in Italy and all over the world. My favourite part of the building are the wide, oval windows on the top floor which resemble portholes on a massive ship. The building currently houses a fantastical museum where you can tour over 40 different rooms which replicate life in Venice in the Rococo period. Lush furnishings and elaborately designed fabrics make you feel like a queen, even for a day. There is even a reconstructed pharmacy which you can explore.

Palazzo Loredan dell’Ambasciatore

The Palazzo Loredan is a gorgeous example of Gothic architecture. The facade is decorated with ogee arches and quatrefoil windows. The Palazzo was built in the 15th century and was the birthplace of two of the Doges of Venice. A doge is much like a European Duke oversaw much of the functions of Venetian society. The Palazzo Loredan became a hot spot for Venetian aristocrats and Mozart even entertained here.

Ponte dell’Accademia

The Ponte dell’Accademia is the gateway into what I believe is the most scenic part of the canal. The first bridge which crossed this span of the waters was built as early as 1488 but the current wooden bridge design was built in 1933. While most bridges around this time were being built in the more resilient material of stone, designer Eugenio Miozzi insisted on using wood to preserve the more natural look which wood exumes.

Palazzo Cavalli-Franchetti

As you pass under the great Ponte dell’Accademia, you see one of the most iconic views of Venice. On the left side of the Canal is the Palazzo Cavalli-Franchetti. The building is painting sunflower yellow and it absolutely glimmers against the blue sky and teal waters. The palace was built in 1565 and is one of the most incredible examples of Venetian Gothic architecture. Today the building houses various exhibitions and congresses.

Peggy Guggenheim

Coming around the bend you approach the bright accented Peggy Guggenheim Museum. Although this building now contains Venice’s seminal modern art museum, it was once the home of famed art collector Peggy Guggenheim. Peggy adored Venice and curated the art in her home not to please the rich and uppity art crowd, but to please herself and her family. The collection feels so personal while also containing some incredible pieces from famed artists of the 20th century.

Basilica di Santa Maria della Salute

As we approach the great St. Mark’s Square we pass the bright white shining gem of the end of the Canal, Santa Maria della Salute. The grand double domed and octagonal design makes it stand out from the other churches along the canal. The church was built in memory of all those who died during the great plague of 1630.

The church was designed in the baroque style by Baldassare Longhena. Since the church was built in response to the plague, much of the art references Death. The contrast between the darker subject matter and the bright white stone and marmorino brick is a stunning juxtaposition. The facade is decorated with marble statues of the Virgin Mary along with figures of Saint George, Saint Theodore, the Evangelists, the Prophets, Judith with the head of Holofernes.

Santa Maria Maggiore

As your Vaporetto turns towards St. Mark Square you get a glimpse of the island church, Santa Maria Maggiore which stands opposite the great square. San Giorgio Maggiore was designed by Andrea Palladio in 1566 in classical renaissance style. The white marble facade gleams against the blue waters. The red brick buildings surrounding it, along with the bell tower, mirror the campanile in St. Marks Square. From the top of the tower, there is one of the most stunning views of the city.

Our final destination is St. Mark’s Square, the drawing room of all Europe. Approaching it from the waters you get an incredible view. I was on pins and needles as the boat pulled into the docks and we were let out to explore this historic square. You feel like one of those first European travellers who visited Venice in the Renaissance to experience all the wondrous art and culture which Venice was so famous for and still is to this very day. While there is SO MUCH to explore on land, taking this journey down the canal is the perfect introduction this city built on top of the water and the magnificent architecture which transformed the city into a dreamland unlike anything you’ve ever seen before.

The post Sail Through Venice’s Stunning Scenery: A Complete Self-Guided Tour of the Grand Canal first appeared on The Creative Adventurer.

Table Of Contents

1. Access and Admission
   • About Heavenly Bodies
2. Byzantine Galleries
   • Versace
   • Wedding Dress
3. Byzantine Apse
4. Apse Gallery
   • Milagros
   • Ex-Votos
   • Byzantine Cross
5. Medieval Europe Gallery
   • Chapel of Our Lady of Compassion Dress
6. Medieval Sculpture Hall
   • Monks & Nuns Garments
   • Godelieve
   • White & Gold
   • Cardinals
   • The Sound of Music
7. Saints and Angels
   • Immaculate Heart
   • Mugler
8. Medieval Treasury
   • Crown of Thorns
9. The Robert Lehman Collection
   • Rodarte

Access and Admission

The MET is open seven days a week. Sunday–Thursday: 10 am–5:30 pm and Friday and Saturday: 10 am–9 pm. To get to the MET the best way unless you’re within walking distance is to take the subway. The subway in New York is super easy to navigate and since there’s pretty much traffic 24/7 it’s much better than a taxi. The closest stations to the MET are 86 St, 77 St or  81 Street-Museum of Natural History Station.

General admission to the museum is $25 for adults; $17 for seniors; $12 for students. Your admission includes all the exhibitions and is valid for three consecutive days. It includes the Met Fifth Avenue, The Met Breuer, and The Met Cloisters. So if you’re planning on attending both the MET 5th avenue and the Cloisters just keep your sticker and receipt. That way you won’t have to pay again as long as you go within three days. You can buy your tickets online if you don’t want to wait in line. Highly recommended during these big-ticket exhibits.

About Heavenly Bodies

Heavenly Bodies explores “fashion’s ongoing engagement with the devotional practices and traditions of Catholicism.” It investigates the influence that religion has had on the cultural imagination. As well as the ways in which it directly impacted the visions of fashion designers. Throughout the exhibition, there is no audio guide or a detailed map to direct you. I’ve created my own guided tour to help you discover what you’ll see where. I’ve broken this guide up into three different parts, to read up on the other two parts of the exhibition, click the following links: MET Vatican Collection | MET Cloisters.

Byzantine Galleries

After viewing the Vatican Collection, head back upstairs to the Byzantine Gallery. The Byzantine Galleries focus on designers who were influenced by Sacred Spaces; the interior of Cathedrals and churches, and who brought elements from those spaces into the garments. The dresses are paired with fragments of floor mosaics from the 5th century as well as pieces of Byzantine jewellery and silverware. The mannequins each stand high aloft of tall plinths. The dresses are still clearly visible and yet are somewhat separated from the historical art along the walls.

The above Dolce & Gabbana collection was inspired by the brightly coloured tile mosaics found in the Cathedral of Monreale in Sicily. Some of the mosaics in the Cathedral date as far back as 547 AD. Portraits of iconic people from the Bible make up the mosaics on the dresses surrounded by large gemstones, allowing it to sparkle under the lights. The job of an architect when creating a cathedral was to create heaven on earth. The same kind of concept appears here in fashion. Gold thread was used along with real stones to create a garment which appears otherworldly and transports the wearer to another plane of existence. While the iconography might be antiquated, the shape of the dresses is modern and highly wearable. I was dying to just take one home with me. 

Versace

On the opposite hallway to the D&G collection are rows of mannequins with bright, long blonde hair, wearing what from afar might look like medieval armour. Upon closer inspection, you can make out the large gemstone crosses emblazoned on the dresses. The fabric used to create the dress mirrors the look of chain mail. These are from Versace’s last collection in 1997. Each dress is decorated with the bejewelled crucifixes.

The collection was the last one he produced before his untimely assassination later that year. Versace struggled with his health in the years before this collection debuted. And it seems understandable how his religion would play heavily on his mind. As death seemed to creep closer and closer, even unknowingly. In adorning his dresses with the symbol of the cross, one wonders if it was some kind of absolution or confessional. To purge himself of any sin before his passing. In retrospect of his murder, the dresses are even more powerful to look at. Especially all lined up together like this.

The first gold dress in the procession with a large cross spanning the entire height and width was actually based of a real Byzantine gilt silver cross from the MET. Gianni Versace saw this cross when visiting the MET years prior and was overcome with inspiration. You can see the cross still displayed in the same gallery today adjacent to the fashions.

Wedding Dress

The last dress in the room is a beautiful wedding gown. This dress is the only one designed in silver and stands as a stunning finale piece. A veil covers the head of the mannequin and a large diamond crucifix, replete with diamonds, is placed over her face. Covering her eyes.

Byzantine Apse

In between the Byzantine hallways, in a hidden alcove, is the reconstruction of a Byzantine apse containing 6th & 12th-century mosaics as well as pieces of old Byzantine cathedrals. This little area is tucked away and many people seem to miss it. Inside you’ll find three pieces from Gianni Versace’s 1991 collection. Upon these rainbow-adorned bustiers and jackets are images of the Madonna. All set against a backdrop of original religious mosaics from the period.

In the centre is an emerald green jacket featuring the mother Mary with baby Jesus in her arms. Surrounded by a rainbow halo or jewels. Gemstones in all shapes and colours cover the entire jacket. Where there aren’t jewels, they are detailed embroidery flowing up the sleeves. The level of detail that has been placed into the creation of the jacket makes it feel more like a crown jewel. Rather than a runway look.

Apse Gallery

After the Byzantine Galleries, poke your head into the small Apse Gallery, located in front of the Medieval Europe Gallery. In here is one of my favourite pieces. This is Jean Paul Gautier‘s Ex-Voto gown from his Spring/Summer collection in 2007. From afar the dress looks like a blend of fashion and armour. It is covered with copper and silver plates with the images of saints and angels, as well as different bodies parts hammered into the metal. The delicate grey tulle drapes down from the sleeves all the way to the floor. She looks almost ghostly and angelic. An “ex-voto” is a religious offering.

Milagros

These are extremely popular in Mexico, where they are called “Milagros”. You purchase a different milagro which reflects the thing you’re struggling with. Hearts for someone longing for love. Images of the mother mary for something wishing to have a child, and even images of body parts to heal injuries and illnesses. These are then pinned to images or life-size statues of patron saints in order to fulfil your desires through prayer. The dress itself feels like a walking devotional. Almost as if the model herself is a vessel for all the sins of mankind.

Surrounding the dress in glass cases are a series painted icons, cross reliquaries and metalwork from the Medieval period. Each of them feels like they could themselves be a part of her dress. And all act as inspiration for the design.

Ex-Votos

In front of the Ex-Voto dress are a series of black leather jackers. Two of them, on either end, are by a Versace, one by Gianni and the other by Donatella. Gianni Versace’s 1991 leather “Perfecto” jackets were embroidered with green, gold and ruby red Byzantine crosses. 20 years after his death, his sister, Donatella, reimagined them for her spring 2018 collection. The Byzantine cross, specifically like the ones mimicked in these jackets, are often used in processions, often during funerals. And it seems poignant to see them here, especially in Donatella’s garment as a nod to her brother after his death.

Byzantine Cross

In the centre grouping of the black jackets is my favourite, a Christian Lacroix stunner with an enormous “crux gemmata” on the front. To the right of the jacket, in a glass case, is an original crux gemmata from 1180. These crosses are covered in glass cabochons. Cabochons are rounded gemstones which have been highly polished but contain no sharp edges. The crux was the most important piece of the church’s treasury in the medieval era. These bejewelled crosses were used in large processions to usher in important parts of the Christian calendar. The use of the crux on the front of the jakcet is an impactful statment for anyone to make and the beautiful gemstones inlaid into the gold are absolutely dazzling.

Opposite the jackets are a collection of cross pendants and accessories, both from the Byzantine period and modern day. Coco Chanel owned an original copper cross pendant from the Byzantine period, lent to the MET for the exhibition, and was so inspired by its design she copied it almost identically for her collection. Chanel’s devotees loved her version of the cross pendant and wore it as a sign of their adoration for her brand. From one symbol of devotion to another, the power of the cross is universal.

Medieval Europe Gallery

Past the Apse Gallery is the Medieval Europe Gallery. This room is centred around a large marble altar canopy from the 12th century. Around the perimeter of the room are some gorgeous original stained glass windows, making you feel as if you have entered a part of the church. The Medieval Europe gallery focuses on designers who created garments for saint statues inside churches, specifically for the virgin and child.

Located beside the marble altar is a stunning dress in ivory with a sky blue cape embroidered all over with gold threads designed by Riccardo Tisci. Dressing sculptures is a tradition that dates back to the middle ages. Wooden statues made to appear like important saints were carried in ceremonial processions and adorned with costumes and votive offerings. During different times of the year, the statues would be dressed differently to signify the change in the religious calendar.

Chapel of Our Lady of Compassion Dress

The blue and cream dress was designed as a vestment for the Madonna in the Chapel of Our Lady of Compassion in Paris. It is a reworking of an original design once worn by the saint in the 1500s. The first dress was made by the Sisters of the Order of the Poor Benedictine. It was hand embroidered and took over 3,000 hours of labour to complete. This led to a papal order in 1530 to ban such lavishness and excess since it was considered immoral and indecent. Thankfully, hundreds of years later we don’t just see this lavishness as a sin but rather as a testimony to the importance and love people have for the Madonna. They want to adorn her with treasures and make even images of her form as heavenly as possible.

The other stunning figure in the room is inspired by Our Lady of Guadalupe, popular mostly in Spain. The outfit, designed by Yves Saint Laurent, was also inspired by the statue of the Virgin Mary atop the spire of Milan’s cathedral. Our Lady of Guadalupe is iconic for the presence of her ornate crown and rays of light which emanates from her body. Gold is such a highly symbolic colour for the church. It symbolizes majesty, joy, and celebration. Her crown here is made up of gold coral. During the 18th century coral was one of the most precious treasures and since the seas were as of then so unexplored, it was almost mythical. By creating the Virgin’s crown from gold coral it is elevating her majesty to an almost fantastical level.

Medieval Sculpture Hall

Walking into the sculpture hall, you truly feel like you’re walking into a Medieval Cathedral. The layout is similar to that of a traditional church with a nave, central aisle, two side aisles and an enormous three storey choir screen. These choir screens were used before reformations to create a distinct barrier between the divine and the earthly plane, where the common people prayed and where the priests preached. In this room they even have choral music playing throughout, giving the space that extra air of gravitas.

Monks & Nuns Garments

In the exhibition, the choir screen is used to divide fashions inspired by the nuns and clergymen and the garments inspired by holy saints and angels. The left aisle is dedicated to fashion inspired by priestly robes and monks garments.  One of the most iconic pieces of the ecclesiastical dress is the black cassock or soutane. This is the uniform most people would recognize as a priestly garment. These soutanes inspired many different fashion designers over the years. 

Other than the black soutane, nun’s are distinguishable by their white veils. The wearing of these veils is derived from a biblical commandment which states that “every woman praying or prophesying with her head uncovered disgraces her head” -First Corinthians 11:3. These veils became a source of huge inspiration for designers due to their structural shape and distinct silhouette they give to the body.

Godelieve

One of the MET’s most impressive medieval paintings is the multi-panel depiction of the life and sainthood of Godelieve. Godelieve was a pious young girl who wanted to devote her life to god and become a nun. Her mother and father, however, wanted her to marry a wealthy nobleman. She was forced into the marriage but before the wedding could take place she fled.

Two servants caught her but when they brought her back, her husband demanded the servants throw her into a pool. There she drowned and the husband pretended her death was by natural causes. Her husband married again but their first daughter was born blind, as his new wife Edith was cursed by Godelieve. To repent, they both set off on holy pilgrimages and each founded a Monastery and Abbey respectively. Many of the garments in this historic painting can be seen as almost direct references to the fashions on display.

One of my favourite outfits was designed by Jean Paul Gautier in 1997. The design is all black, much like the priest’s cassocks but in the centre of the dress, there is a small beaded image of the mother Mary. On either side of the image are two wings which can be opened and closed around the figure. This mimics the layout and function of medieval triptych paintings. Similar to the three panel layout of the painting of Godelieve above.

White & Gold

Colour is very important in the Catholic church to establish hierarchy. The pope is almost always dressed in white and gold. White symbolizes purity, holiness and virtue. Gold thread is brilliant and sparkles in the light and as such, symbolizes the presence of God. No better example of the elevated nature which white and gold embues is this brilliant piece by the House of Dior, designed by John Galliano for their haute couture collection. 

Priests, bishops and nuns all wear black as it is a symbol of repentance and simplicity. Bishops’ robes can be distinguished from the priests by the red trim. They call this colour “amaranth” named after the flower from which the dye was derived from. Amaranths are a flower which seems to bloom all year long and therefore has become a symbol for immortality.

Cardinals

Cardinals wear long red robes. Red is the colour of princes, as they act like the princes to the kingdom of God. Red also symbolizes the blood of martyrs. This Valentino gown was designed to look like the great cape or “cappa magna” worn in processions by cardinals. Valentino’s interpretation here marries modesty and sex appeal with that severe plunging neckline but use of layers upon layers of fabric.

Some of the outfits here mimic the look of the traditional monastic vestments so much, upon first glance you might assume they are the real thing, albeit with perhaps a few alterations and luxury fabrics. One such gown caused an uproar when it first came down the runway in 1956. The “Little Priest” dress was designed by Sorelle Fontana and made famous when it was worn by Ava Gardner in their Cardinal collection. It is directly influenced by a cardinal’s soutane, even down to the red trim and long gold cross.

The Sound of Music

Thom Browne‘s womenswear collection inspired by the Sound of Music plays with the monastic looks as well. It is often surprising to see these modest and relatively refined elements of these vestments in women’s fashion where dressing is often shockingly provocative and revealing. It is perhaps the departure from a more alluring look to this structured, put together appearance which made these collections so poignant for modern women.

Standing at the entrance to the choir screen, turn around and look up. The balcony inside the room is filled with mannequins, each wearing a simplistic, white choir gown. These were designed by Balenciaga in the 1960s. He was inspired by the uniforms of his seamstresses in his studio who were also members of the choir. He donated the garments to the church and they are on loan here, standing in the spotlight. Many people seem to miss this one part of the exhibit so be sure to take a moment to observe it.

Saints and Angels

Behind the choir screen, we enter the realm of the divine, with garments inspired by the cult of saints and angels. At the entrance, you’re greeted by the gold-clad angel designed by Mugler in 1984. The angel was based on iconic images of the Arch Angel Gabriel. The delicate drapery, pooling around the body feels almost ethereal. He is the perfect welcoming figure as you make your way into the heavenly realm.

In front of the choir, screen stands a heartstopping model wearing what appears to be a wedding gown, covered in flowers. In the middle of her chest is a copper heart with a dagger struck through the centre. This is a dress designed by Christian LaCroix, made to be the show-stopper in his 2009 collection. And one can understand why. Her outfit resembles the image of the Immaculate Heart of the Virgin Mary.

Immaculate Heart

There are so many levels of symbolism in the Immaculate Heart, it is one of my favourite images in Christian symbology. The heart being visible outside Mary’s body symbolizes her undying love for the people, so powerful her heart cannot be contained in her body. A row of roses surrounds the heart, roses are a symbol of purity relating to her immaculate conception. Finally, the heart is pierced by a sword symbolizing the eternal sorrow she has for the child she lost. Whether you are religious or not, there is certainly something deeply moving about a mother’s pain for the loss of her child.  LaCroix’s dress takes elements from this symbol and threads them into the literal fabric of the dress.

Mugler

Blue and white together are traditionally the two colours associated with the Virgin Mary. In many medieval paintings, she is seen clothed in a blue robe, blue the same colour as the sky, to symbolize her position as the queen of heaven. White is also the symbol of virtue and purity which exemplify her virginity. In 1984, Mugler‘s famous runway featured an audience of over 6,000 spectators and combined fashions with theatrical sets, music, and choreography. The culmination of the show ended with actress Pat Cleveland descending from the ceiling in a wash of dry ice above a series of glass spires. She was adorned in an outfit designed as a modern-day Madonna complete with the same blue and white robes seen in medieval paintings.

On either side of the choir screen are two figures lying in repose. The one on the right is a medieval effigy of a royal knight. He is seen wearing his armour and holding his sword in his hands. On the opposite side is a dress by Jean Paul Gautier from 1994. The dress is a simple, yet beautifully constructed, linen gown with the addition of an immaculate embellished shoulder piece which resembles armour. The design of the outfit feels like a reference to Joan of Arc as well as the medieval sepulchre art found opposite.

Medieval Treasury

The Medieval treasure contains various works from the Gothic period in France. Stained-glass panels, carved ivories, manuscripts, and goldsmiths’ work are all lovingly displayed along with accessories from the Heavenly Bodies Collection. The first piece you’re greeted by is the iconic wooden angel wings by Alexander McQueen. McQueen’s angel with plywood wings is set against the backdrop of a 14th-century wooden altarpiece. Both depict angels carved out of wood, but their take on the biblical creatures each reflects the cultural sensibilities of the time.

Crown of Thorns

A gothic headpiece by Givenchy covered in garnet rosary beards is set beside a gothic stone carving of Jesus with the crown of thorns. The Gothic subculture was prevalent in modern fashion in the 80s and 90s. The connection between goths and Catholicism is actually very tightly knit. Gothic fashion derives much of their influences from Gothic Cathedrals. The ornate gold and silver crosses, the embellishments and the black-clad uniform much like the same ones worn by priests. 

The Robert Lehman Collection

After touring the rest of the accessories in the treasure head across the courtyard to Gallery 955 in The Robert Lehman Collection. The Lehman collection is home to nineteenth and twentieth-century European paintings. During Heavenly Bodies it contains a small grouping of angelic fashions in a spectrum of colours. These are a collection from Rodarte and the House of Lanvin. These women dressed in heavenly robes inspired by one of histories greatest artist, Fra Angelico. Fra Angelico was an early Italian Renaissance painter described by Vasari in his Lives of the Artists as having “a rare and perfect talent”. The colours used throughout his pieces came to define renaissance painting.

The blue dress with golden embellishments is lifted straight from the canvas of Fra Angelico’s frescos. In fact, Lanvin was so awe-inspired by Angelica that they copied some of the depictions of garments from the frescos almost exactly for their collection. Prooving that even centuries don’t separate what people see as beautiful, even in fashion.

Rodarte

To the right, is a collection of golden figures with radiating headpieces by Rodarte from 2011. This dress is an interpretation of Bernini‘s emotional “Ecstacy of Saint Thersa” in Rome. Looking at them together one can clearly see the inspiration but even without them side by side, it is impossible not to feel the brilliant power of the dresses alone.

Behind the rainbow collection is a set of dresses once more from Mugler‘s 1984 collection as well as a few pieces by Roberto Capucci in 1987. These dresses are made of delicate metallic fabrics which have been carefully pleated and draped into silhouettes of angelic figures. The peaked shoulders form the appearance of wings. They almost look like golden statuaries and yet with the slightest breath of wind their seemingly solid forms gently bend and sway.

This completes your journey through the MET 5th Avenue Collection of the Heavenly Bodies Exhibit. But the adventure is not over just yet. Andrew Bolton, the curator of the exhibit, designed it to be like a pilgrimage. And to see the entire vision, you must next travel out to the MET Cloisters to see the final instalment. Having seen the MET Cloisters exhibit I must implore you to do the same, and if you can’t make it out there, be sure to read my guide, because it truly is such a powerful and significant part of understanding the entire exhibition. The show is on until October 8th, 2018, so even if you don’t make it out there right away, be sure to see it before it ends!

The post Discover the Ethereal Beauty of the MET Heavenly Bodies Exhibition first appeared on The Creative Adventurer.