Bruges' religious heritage includes dozens of churches. Many of them are real architectural pearls. Appearance can often be deceiving. An inconspicuous church from the outside may conceal a magnificent interior. The best example is the Church of Saint Anne, which resembles its patron saint – modest on the outside, with a rich interior. Architecture is not the only reason to visit these churches. They often contain world-class works of art: paintings and sculptures by masters recognized worldwide.
Church of St. Salvator - the oldest parish church in Bruges
It is believed that as early as 640, St. Eligius, bishop of Noyon, founded the first church on this site. Over the following centuries, the temple was rebuilt many times. In the 13th century a church in the Gothic style was built here. Work began in 1280 and construction was completed in 1350. The temple survived four fires and the French Revolution, which brought destruction to many churches.
After the French destroyed the Cathedral of St. Donatian - the then seat of the bishop - in the 19th century the church of St. Salvator. Although it was lower and less impressive than the nearby Church of the Blessed Virgin Mary, it became the main church of the diocese. Church of St. Salvator, commonly known as the Church of the Saviour, is today the oldest parish church in Bruges.
After the French destroyed the Cathedral of St. Donatian - the then seat of the bishop - in the 19th century the church of St. Salvator. Although it was lower and less impressive than the nearby Church of the Blessed Virgin Mary, it became the main church of the diocese. Church of St. Salvator, commonly known as the Church of the Saviour, is today the oldest parish church in Bruges.
Renovation of the Cathedral of Saint Salvator
After a fire in 1839, in which the roof of the temple burned down, a decision was made to thoroughly renovate the church of St. Salvator in Bruges. One of the plans was to build a more impressive tower. The project was entrusted to the English architect William Chantrell , known for his numerous restorations of monuments in the neo-Gothic style. To the surprise of the inhabitants of Bruges, the architect did not design a neo-Gothic tower, but gave it a form inspired by Romanesque architecture .
Cathedral of St. Salvator in Bruges hides many valuable works of art. Some of them were created especially for this temple, others were brought here after the destruction of the former cathedral. Saint Donatian . Thanks to this, the interior of the temple is today one of the most interesting places for lovers of sacred art visiting Bruges .
This oldest parish church in Bruges is famous primarily for its cross-shaped choir with organ, medieval tombs, and rich collection of Flemish art from the 16th to 18th centuries. Among the most valuable pieces of equipment are the decorative tapestries decorating the interior of the temple.
Particularly noteworthy is the main altar from 1642, designed by Jacob Cocx . Above it stand figures of the temple's patrons: St. Salvator, Saint Donatian and Saint Eligiusz. The chancel also contains Gothic stalls from around 1430, which are among the oldest elements of the church's furnishings.
Cathedral of St. Salvator in Bruges hides many valuable works of art. Some of them were created especially for this temple, others were brought here after the destruction of the former cathedral. Saint Donatian . Thanks to this, the interior of the temple is today one of the most interesting places for lovers of sacred art visiting Bruges .
This oldest parish church in Bruges is famous primarily for its cross-shaped choir with organ, medieval tombs, and rich collection of Flemish art from the 16th to 18th centuries. Among the most valuable pieces of equipment are the decorative tapestries decorating the interior of the temple.
Particularly noteworthy is the main altar from 1642, designed by Jacob Cocx . Above it stand figures of the temple's patrons: St. Salvator, Saint Donatian and Saint Eligiusz. The chancel also contains Gothic stalls from around 1430, which are among the oldest elements of the church's furnishings.
Extraordinary treasures of sacred art
One of the greatest treasures of the temple is the magnificent rood screen, designed in 1682 by Artus Quellinus the Younger . At its top there is a monumental sculpture of God the Father made of white marble. Above the rood screen there is an 18th-century organ. Also worthy of special attention is the pulpit in the shape of an eagle, made in 1605.
The precious tapestries ordered in 1731 by Bishop Van Susteren were woven in Brussels by van der Borght . On the walls of the temple there are also original paintings by Jan van Orley , which served as patterns for the tapestries – they are their mirror images. The magnificent doors that form part of the rood screen were made from a single sheet of copper in 1708 by the artist W. Somers.
The church museum houses several outstanding works of art, including triptychs. Torture of Saint Hippolyta and The Last Supper from 1599 by Piotr Pourbus . The collection also includes works by such masters as Dirk Bouts and Hugo van der Goes , as well as centuries-old manuscripts, sculptures and numerous artistic products made of silver and gold.
The precious tapestries ordered in 1731 by Bishop Van Susteren were woven in Brussels by van der Borght . On the walls of the temple there are also original paintings by Jan van Orley , which served as patterns for the tapestries – they are their mirror images. The magnificent doors that form part of the rood screen were made from a single sheet of copper in 1708 by the artist W. Somers.
The church museum houses several outstanding works of art, including triptychs. Torture of Saint Hippolyta and The Last Supper from 1599 by Piotr Pourbus . The collection also includes works by such masters as Dirk Bouts and Hugo van der Goes , as well as centuries-old manuscripts, sculptures and numerous artistic products made of silver and gold.
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Address: Steenstraat,
8000 Brugge, Belgia |
Opening hours: Monday-Friday: 10:00-12:30 and 14:00-17:00
Saturday: 10.00-12.30 Sunday: 2:00 p.m. - 5:00 p.m. |
Basilica of St. Blood
The Basilica of the Holy Blood is one of the most unusual churches in Bruges. It owes its name to the relic of the blood of Christ, which probably came here between 1150 and 1200. The church consists of two separate chapels located one above the other. The lower, Romanesque part dates back to the 12th century and has retained a very austere character. The upper chapel was rebuilt in the Gothic style in the 15th century, and its wall decorations mainly date from the renovation carried out in the 19th century.
Lower Chapel – the Romanesque origins of the temple
The lower chapel of the basilica was built in the 12th century on the orders of Count Theodore of Alsace (1128–1168). Initially, it served as a place to store the relics of Saint Basil and still bears his name. It is the oldest chapel in the city and the only fully preserved Romanesque church in West Flanders.
The chapel consists of a main nave and two side aisles. The main nave flows into the chancel, which ends with a semicircular apse. The interior is characterized by austere, ascetic decor – bare stone walls and a small number of sculptures emphasize the medieval character of the place.
The chapel consists of a main nave and two side aisles. The main nave flows into the chancel, which ends with a semicircular apse. The interior is characterized by austere, ascetic decor – bare stone walls and a small number of sculptures emphasize the medieval character of the place.
Sculptures in the lower chapel
Above the main entrance, in the original wall of the temple, there is a 12th-century tympanum – the oldest preserved sculpture in Bruges. It depicts the baptism of Saint Basil in the Jordan River, which – according to legend – was performed by Maximilian, Bishop of Jerusalem. Above the stage, in the clouds, a dove is visible, symbolizing the Holy Spirit.
In the right nave there is a polychrome wooden sculpture of the Madonna and Child, dating back to the early 14th century. It is one of the oldest preserved elements of the chapel's furnishings.
The Ecce Homo sculpture was made of pinewood by D'Hondt of Bruges around 1900. The figure depicts a seated Jesus and is commonly referred to as Jesus on a cold stone or Jesus on a small wooden pedestal .
There are noticeable abrasions on the painted knees of the sculpture. They were created as a result of many years of touching and rubbing the figure by the faithful.
The Pietà sculpture is the work of the Bruges artist De Wispelaere. It depicts the Mother of God holding the body of Jesus on her lap after being taken down from the cross.
In the right nave there is a polychrome wooden sculpture of the Madonna and Child, dating back to the early 14th century. It is one of the oldest preserved elements of the chapel's furnishings.
The Ecce Homo sculpture was made of pinewood by D'Hondt of Bruges around 1900. The figure depicts a seated Jesus and is commonly referred to as Jesus on a cold stone or Jesus on a small wooden pedestal .
There are noticeable abrasions on the painted knees of the sculpture. They were created as a result of many years of touching and rubbing the figure by the faithful.
The Pietà sculpture is the work of the Bruges artist De Wispelaere. It depicts the Mother of God holding the body of Jesus on her lap after being taken down from the cross.
Saint Ivona's Chapel
On the left side of the presbytery there is the Chapel of Saint Ivo (Yves), built in 1504. The relics of Saint Basil and Charles the Good, Count of Flanders, who was murdered in 1127 in the Church of Saint Donatian, are kept here.
The tabernacle, made of black marble, is the work of the Flemish artist Lancelot Blondeel, one of the most important artists working in 16th-century Bruges.
The lower chapel forms the basis for the upper chapel. This one was also originally built in the Romanesque style, but was rebuilt several times over the centuries. Both chapels have the title of Minor Basilica.
The tabernacle, made of black marble, is the work of the Flemish artist Lancelot Blondeel, one of the most important artists working in 16th-century Bruges.
The lower chapel forms the basis for the upper chapel. This one was also originally built in the Romanesque style, but was rebuilt several times over the centuries. Both chapels have the title of Minor Basilica.
De Steeghere's Renaissance staircase
The monumental De Steeghere staircase, leading to the upper chapel, was built in the Renaissance style in 1533. The statues decorating its external facade were made according to drawings prepared by Lancelot Blondeel.
The building was partially rebuilt in the 19th century after being damaged during the French occupation.
The gilded bronze statues decorating the staircase façade depict the Archduchesses Isabella and Mary of Burgundy, and Count Theodore and his son Philippe of Alsace. The medallions depict Archdukes Albert and Maximilian of Habsburg, Margaret of York and Sybilla of Anjou, wife of Theodore and mother of Philippe of Alsace.
The building was partially rebuilt in the 19th century after being damaged during the French occupation.
The gilded bronze statues decorating the staircase façade depict the Archduchesses Isabella and Mary of Burgundy, and Count Theodore and his son Philippe of Alsace. The medallions depict Archdukes Albert and Maximilian of Habsburg, Margaret of York and Sybilla of Anjou, wife of Theodore and mother of Philippe of Alsace.
Upper Chapel of the Basilica of the Holy Blood
The Upper Chapel of the Basilica of the Holy Blood in Bruges was built in the 12th century and was originally in the Romanesque style. At the end of the 15th century, however, the temple was rebuilt in the Gothic style, which largely shaped its later appearance.
Over the course of history, the chapel has been devastated several times. The first serious destruction took place in the 16th century, while the second – almost complete – occurred in 1795 during the events related to the French Revolution.
In 1829, the chapel was rebuilt in the neo-Gothic style, restoring its representative character. Almost a hundred years later, on April 13, 1923, Pius XI gave both the upper and lower chapels the title of Minor Basilica.
Over the course of history, the chapel has been devastated several times. The first serious destruction took place in the 16th century, while the second – almost complete – occurred in 1795 during the events related to the French Revolution.
In 1829, the chapel was rebuilt in the neo-Gothic style, restoring its representative character. Almost a hundred years later, on April 13, 1923, Pius XI gave both the upper and lower chapels the title of Minor Basilica.
The main altar in the upper chapel
The main altar at which the Eucharist is celebrated in the Basilica of the Holy Blood in Bruges is decorated with a bas-relief from the beginning of the 17th century depicting The Last Supper .
Behind the altar there is a large painting created in 1905. Its upper part, titled Mystery of the Cross , shows the dying Jesus. Two cities are visible in the background: Bethlehem, the birthplace of Christ, and Jerusalem, where he died.
The lower part of the painting shows the scene of the transport of relics with the blood of Christ from Jerusalem to Bruges. On the left, Theodore of Alsace receives a relic from the hands of Baldwin III, King of Jerusalem. On the right, the count, kneeling next to his wife, Sybilla of Anjou, hands over a relic to the priest.
Behind the altar there is a large painting created in 1905. Its upper part, titled Mystery of the Cross , shows the dying Jesus. Two cities are visible in the background: Bethlehem, the birthplace of Christ, and Jerusalem, where he died.
The lower part of the painting shows the scene of the transport of relics with the blood of Christ from Jerusalem to Bruges. On the left, Theodore of Alsace receives a relic from the hands of Baldwin III, King of Jerusalem. On the right, the count, kneeling next to his wife, Sybilla of Anjou, hands over a relic to the priest.
An unusual globe-shaped pulpit
The globe-shaped pulpit dates from 1728. Its creator was the Flemish sculptor Hendrik Pulinckx. The unusual form of the pulpit refers to the words of the Gospel: "Go into all the world and preach the Gospel" (Mk 16:15). The symbolic globe emphasizes the universal nature of the Christian message. The stained glass windows in the chancel were created in 1845. They depict rulers connected with the history of the County of Flanders – from Philip the Bold, Duke of Burgundy (1342–1404), to Maria Theresa of Habsburg, Empress of Austria (1717–1780).
Chapel of the Holy Cross
The Chapel of the Holy Cross houses a white marble altar made in the Baroque style by Laurent Delvaux in 1751. The two sculptures of adoring angels are the work of Peter Pepers.
The most precious element of the chapel is the relic of the blood of Christ, kept in an ornate silver tabernacle made by a goldsmith from Bruges. Francois Ryelandt (1709–1774).
On the right side of the altar there is a painting by Jacob van Oost the Elder, depicting the scene of Christ being taken down from the cross.
The most precious element of the chapel is the relic of the blood of Christ, kept in an ornate silver tabernacle made by a goldsmith from Bruges. Francois Ryelandt (1709–1774).
On the right side of the altar there is a painting by Jacob van Oost the Elder, depicting the scene of Christ being taken down from the cross.
Museum of the Holy Blood
The small Museum of the Holy Blood is a treasury that houses the most valuable artifacts related to the history of the basilica and the relic of the blood of Christ kept here. The most important exhibit is a richly decorated reliquary from 1617, in which the relic is carried during solemn processions.
The reliquary was made by a goldsmith from Bruges, Jan Crabbe. Approximately 30 kilograms of gold and silver and over a hundred precious stones were used to create this extraordinary work. On its surface there are figures of Saint. Donatian – patron saint of Bruges, the Virgin Mary and Saint. Basil. The whole is topped with a crown which, according to tradition, belonged to Mary of Burgundy.
The museum also houses other valuable objects related to the cult of relics. Among them is a small silver reliquary donated in 1612 by Archdukes Albert and Isabella, and a gilded silver chalice with the inscription Passibus Aequis 1652 , which is still used today during the most important religious ceremonies.
Also noteworthy are two panels painted in 1556 by Pieter Pourbus, depicting 31 members of the Brotherhood of the Holy Blood. Another interesting element of the collection are six medallions carved in oak wood by Henryk Pulinckx in 1728. They show scenes from the life of Christ, including the circumcision, scourging, crowning of thorns, descent from the cross, burial and resurrection.
The reliquary was made by a goldsmith from Bruges, Jan Crabbe. Approximately 30 kilograms of gold and silver and over a hundred precious stones were used to create this extraordinary work. On its surface there are figures of Saint. Donatian – patron saint of Bruges, the Virgin Mary and Saint. Basil. The whole is topped with a crown which, according to tradition, belonged to Mary of Burgundy.
The museum also houses other valuable objects related to the cult of relics. Among them is a small silver reliquary donated in 1612 by Archdukes Albert and Isabella, and a gilded silver chalice with the inscription Passibus Aequis 1652 , which is still used today during the most important religious ceremonies.
Also noteworthy are two panels painted in 1556 by Pieter Pourbus, depicting 31 members of the Brotherhood of the Holy Blood. Another interesting element of the collection are six medallions carved in oak wood by Henryk Pulinckx in 1728. They show scenes from the life of Christ, including the circumcision, scourging, crowning of thorns, descent from the cross, burial and resurrection.
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Address: Burg 13,
8000 Bruges |
Opening hours: Monday-Sunday:
10.00-17.15 |
Fare:
Church: free
Treasury: 5 Euros |
Procession of the Holy Blood
The oldest mention of the procession comes from the statutes of the Unloaders' Guild from 1291. It follows that city officials were obliged to participate in this event. It is assumed, however, that the relic of the Holy Blood had been displayed in the chapel on Burg Square even earlier. From 1303, the procession began to pass around the city walls and quickly became one of the most important religious events in the city. It was attended by the inhabitants of Bruges, city councilors and the clergy.
In 1310, Pope Clement V issued a bull granting an indulgence of five years and 200 days to all the faithful who piously participated in the procession or visited the basilica within 14 days of its passing. In the 15th and 16th centuries, the procession began to take on a more spectacular character. In addition to traditional biblical scenes, secular elements also appeared, including representations featuring giant figures. In 1578, due to growing religious tensions, the procession around the city walls was abandoned. Since then, the march has taken place through the streets of the city center – and remains so to this day.
From 1578 to 1584, Bruges was under Calvinist rule. During this period, processions were banned and the relic itself was hidden for security reasons. During the Counter-Reformation in the 17th century and also in the 18th century, the procession regained its religious character. It was banned again during French rule (1798–1819).
In the 19th century the tradition was restored. Until 1969, the procession took place in the morning on the first Monday after May 2. In 1970, the date was changed – since then it has been organised on Ascension Day (40 days after Easter), which is a public holiday in Belgium. Today, around 1,800 participants actively participate in the procession through the streets of Bruges, and the event attracts up to 50,000 pilgrims and tourists every year.
In 1310, Pope Clement V issued a bull granting an indulgence of five years and 200 days to all the faithful who piously participated in the procession or visited the basilica within 14 days of its passing. In the 15th and 16th centuries, the procession began to take on a more spectacular character. In addition to traditional biblical scenes, secular elements also appeared, including representations featuring giant figures. In 1578, due to growing religious tensions, the procession around the city walls was abandoned. Since then, the march has taken place through the streets of the city center – and remains so to this day.
From 1578 to 1584, Bruges was under Calvinist rule. During this period, processions were banned and the relic itself was hidden for security reasons. During the Counter-Reformation in the 17th century and also in the 18th century, the procession regained its religious character. It was banned again during French rule (1798–1819).
In the 19th century the tradition was restored. Until 1969, the procession took place in the morning on the first Monday after May 2. In 1970, the date was changed – since then it has been organised on Ascension Day (40 days after Easter), which is a public holiday in Belgium. Today, around 1,800 participants actively participate in the procession through the streets of Bruges, and the event attracts up to 50,000 pilgrims and tourists every year.
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Jerusalem Chapel
Beyond the most popular tourist routes in Bruges lies one of the most unusual and mysterious places in the city – the Jeruzalemkapel. This small chapel, also known as the Chapel of the Holy Sepulcher, was built by the Adornes family of Italian merchants. Interestingly, it remains in private hands to this day.
The history of the Adornes family in Bruges dates back to the early 14th century. Its first representative to settle in the city was Oppicino of Genoa, who died in 1307. His descendants quickly gained importance and wealth, becoming involved in the trade and public life of Bruges. Over time, they decided to build their own chapel, which was to be both a place of prayer and a family mausoleum.
On May 12, 1427, the Pope gave permission for the construction of the temple. Its creation was inspired by the pilgrimages of members of the Adornes family to the Holy Land. Today, the Jeruzalemkapel remains one of the lesser-known but definitely worth visiting places in the city, especially for those who want to discover Bruges beyond the main tourist routes.
The history of the Adornes family in Bruges dates back to the early 14th century. Its first representative to settle in the city was Oppicino of Genoa, who died in 1307. His descendants quickly gained importance and wealth, becoming involved in the trade and public life of Bruges. Over time, they decided to build their own chapel, which was to be both a place of prayer and a family mausoleum.
On May 12, 1427, the Pope gave permission for the construction of the temple. Its creation was inspired by the pilgrimages of members of the Adornes family to the Holy Land. Today, the Jeruzalemkapel remains one of the lesser-known but definitely worth visiting places in the city, especially for those who want to discover Bruges beyond the main tourist routes.
Jerusalem Chapel photo. https://bezoekers.brugge.be/
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Jerusalem Chapel photo. https://bezoekers.brugge.be/
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Jerusalem chapel and the Adornes family home
The Jerusalem Chapel and the Adornes family house are part of a complex built by this wealthy merchant family. Both buildings are connected by a gallery. The construction of the chapel began in 1470, after Anselm Adornes and his son returned from a pilgrimage to Jerusalem.
The interior of the church consists of a main nave, which contains the tomb of the Adornes family. Behind the mausoleum there is the main altar topped with three large crosses symbolizing Golgotha. At its base there are skulls – a reference to the meaning of the name Golgotha , translated as place of the skull .
Behind the altar there is a crypt leading to a place symbolizing the Holy Sepulcher, where the body of Christ was placed. This architectural solution is very rare in Flanders, but more common in Mediterranean countries. It was probably this symbolism that led to the chapel being named Jerusalem.
Steep stairs on the right and left sides lead to the chancel located on the mezzanine. This part of the chapel is separated from the rest of the interior by two small oak doors, which date back to 1484.
Two-story chapels were relatively popular in the Middle Ages, as exemplified by the Chapel of the Holy Blood in the center of Bruges. In the Jerusalem Chapel, attention is drawn to the beautiful stained glass windows depicting members of the Adornes family in the company of their patron saints. Also hanging on the walls are two magnificent 15th-century triptychs: Madonna with Saint Catherine and Saint Barbara and Christ on the Cross . Above the chapel rises a characteristic octagonal tower, topped with a Jerusalem cross.
The interior of the church consists of a main nave, which contains the tomb of the Adornes family. Behind the mausoleum there is the main altar topped with three large crosses symbolizing Golgotha. At its base there are skulls – a reference to the meaning of the name Golgotha , translated as place of the skull .
Behind the altar there is a crypt leading to a place symbolizing the Holy Sepulcher, where the body of Christ was placed. This architectural solution is very rare in Flanders, but more common in Mediterranean countries. It was probably this symbolism that led to the chapel being named Jerusalem.
Steep stairs on the right and left sides lead to the chancel located on the mezzanine. This part of the chapel is separated from the rest of the interior by two small oak doors, which date back to 1484.
Two-story chapels were relatively popular in the Middle Ages, as exemplified by the Chapel of the Holy Blood in the center of Bruges. In the Jerusalem Chapel, attention is drawn to the beautiful stained glass windows depicting members of the Adornes family in the company of their patron saints. Also hanging on the walls are two magnificent 15th-century triptychs: Madonna with Saint Catherine and Saint Barbara and Christ on the Cross . Above the chapel rises a characteristic octagonal tower, topped with a Jerusalem cross.
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Address:
Peperstraat 3,
8000 Brugge |
Opening hours:
Monday-Saturday: 10:00-17:00
Sunday: closed |
Fare:
11 euros
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Church of Saint James - a stop on the way to Santiago de Compostela
Church of St. James in Bruges was built around 1240 as a building without a nave. Thanks to donations from the Duke of Burgundy and the city's wealthy inhabitants, it was expanded in the 15th century. This Gothic church was stripped of its magnificent works of art by iconoclasts in 1580, and its reconstruction and arrangement in the Baroque style took almost two centuries.
Today the interior of the church of St. Jakuba delights with its harmonious architecture and richness of works of art donated by wealthy residents of the parish. The temple is an important stop on the medieval pilgrimage route to Santiago de Compostela.
Today the interior of the church of St. Jakuba delights with its harmonious architecture and richness of works of art donated by wealthy residents of the parish. The temple is an important stop on the medieval pilgrimage route to Santiago de Compostela.
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Address:
Sint-Jakobsplein 1,
8000 Bruges |
Opening hours:
Monday-Sunday
11.00-17.00 |
Saint Anne's Church - a baroque gem hidden among the streets of Bruges
Church of St. Anne in Bruges (flam. Sint-Annakerk ) was built in 1621 and consecrated three years later, in 1624. The temple was built on the site of an earlier Gothic church, which was demolished in 1581. From the outside, the building is quite modest and does not reveal the richness of its interior. Walking through the streets Bruges It is easy to miss it because it does not stand out as clearly as other historic temples in the city.
However, its interior makes an even greater impression. Sint-Annakerk houses one of the most beautiful baroque churches in Bruges. In a way, she resembles her patron saint – modest on the outside, but full of wealth on the inside. The temple has a simple, hall-like structure, and its interior is filled with many valuable works of art.
In the church you can admire, among others, a beautiful marble rood screen made in 1626–1628 by Hendrik van Mildert , a 15th-century sculpture of St. Anna, as well as magnificent oak panels in which the confessionals were incorporated. In the front of the temple there are large paintings depicting scenes from the life of Saint. Anne and the Blessed Virgin Mary, painted by Jan Garemijn.
However, its interior makes an even greater impression. Sint-Annakerk houses one of the most beautiful baroque churches in Bruges. In a way, she resembles her patron saint – modest on the outside, but full of wealth on the inside. The temple has a simple, hall-like structure, and its interior is filled with many valuable works of art.
In the church you can admire, among others, a beautiful marble rood screen made in 1626–1628 by Hendrik van Mildert , a 15th-century sculpture of St. Anna, as well as magnificent oak panels in which the confessionals were incorporated. In the front of the temple there are large paintings depicting scenes from the life of Saint. Anne and the Blessed Virgin Mary, painted by Jan Garemijn.
Visitors' attention is also drawn to the magnificent chandeliers, in which candles are lit only during the most important celebrations. Above the entrance door there is a huge painting with an area of approximately 100 m². The work was created in 1685 and its author is Hendrik Herregouts . It presents The Last Judgment and was intended to remind the faithful leaving the temple of the need to keep the promises made during prayer. One of the most outstanding Flemish poets, from Bruges , was also baptized in this church. – Guido Gezelle .
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Address:
Sint-Annaplein, 8000 Bruges
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Opening hours:
Monday-Sunday: 13:00-17:00
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Fare:
for free
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Church of Saint Walburga
The church, built in the years 1619–1642 in the Baroque style, is the work of Peter Huyssens (1577–1637), who was born in Bruges. Originally, the church was to belong to the Jesuit Order and be dedicated to St. Francis Xavier – his sculpture is located in the niche above the entrance. During the French Revolution, the temple was deconsecrated and dedicated to reason. Only in 1802 did the church regain its original function and was re-consecrated.
The Baroque character of the temple is emphasized by cornices, volutes, pilasters and columns, which create impressive plays of light, giving the interior an extraordinary expression. The floor of the chancel is decorated with geometric patterns that are believed to refer to the ancient Arabic Kufic script. The church houses a rich collection of paintings; fourteen of them can be admired in the chancel and above the organ.
The Baroque character of the temple is emphasized by cornices, volutes, pilasters and columns, which create impressive plays of light, giving the interior an extraordinary expression. The floor of the chancel is decorated with geometric patterns that are believed to refer to the ancient Arabic Kufic script. The church houses a rich collection of paintings; fourteen of them can be admired in the chancel and above the organ.
Church of St. Walburga Church – a wonderful example of pure Baroque in the sacred architecture of Bruges
The church has a marble main altar created by Jacob Cocx in 1643, with a statue of Saint Walburga by Peter Houvenaegel from 1842. Picture Resurrection , which is part of the altar, was painted by J. Suvee in 1783.
Above the portals there are busts of Saints. Francis Xavier and St. Francis Borgia, as well as statues of St. Aloysius Gonzaga and St. Stanislaus Kostka.
The magnificent pulpit in the church was made by Artus Quellin the Younger in the years 1667–1669. Both side altars are the work of Peter Verbrugghen. The northern altar, created in 1657, is decorated with two portals with figures of saints, while the southern altar from 1669 has oak doors and statues of Saints. Peter, Saint Paul and St. Roch.
Above the portals there are busts of Saints. Francis Xavier and St. Francis Borgia, as well as statues of St. Aloysius Gonzaga and St. Stanislaus Kostka.
The magnificent pulpit in the church was made by Artus Quellin the Younger in the years 1667–1669. Both side altars are the work of Peter Verbrugghen. The northern altar, created in 1657, is decorated with two portals with figures of saints, while the southern altar from 1669 has oak doors and statues of Saints. Peter, Saint Paul and St. Roch.
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Address:
Sint-Maartensplein, Bruges
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Opening hours:
Monday-Sunday: 13:00-17:00
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Fare:
for free
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