traveldk.com

Frank Brangwyn (1867–1956) was a gifted painter, born in Bruges, the son of William Curtis Brangwyn, one of a group of British artists and architects involved in restoring the city to its Gothic glory. Frank Brangwyn donated an impressive collection of his work to the city. It is now exhibited on the upper floor of the late-18th-century Arentshuis. The ground floor is used for temporary exhibitions.

This beautiful enclave, home to a community of béguines (see Bruges) from 1245 until 1928, expresses something essential about the soul of Bruges. Around the tree-shaded park are the 17th-and 18th-century whitewashed homes of the béguines . You can visit the grounds, the béguinage church and one of the houses (Begijnhuisje ).

This intimate and fetching square – a glittering confection of historic architecture, sculpture and gilding – was the focal point of old Bruges (see The Burg, Bruges).

Not only is this one of the great north European collections, with star roles played by the late medieval masters of Flemish painting, such as Jan van Eyck and Hans Memling; it is also refreshingly small (see Two Museums of Bruges).

If it is hard to picture quite how life was led during Bruges’ past, this museum will do much to fill in the gaps. It presents a rich collection of everyday artifacts from the homes of the merchant classes, from kitchen-ware to musical instruments, furniture, textiles and weapons. The 15th-century building was once the palace of the Lords of Gruuthuse, who became wealthy through a tax on beer flavourings (gruut ); as a mark of their status, the house has a gallery overlooking the choir of the Onze-Lieve-Vrouwekerk next door. The house was restored in the 19th century to exhibit the pieces that founded this collection.

The central marketplace of Bruges still retains much of its original outline flanked by old step-gabled guildhouses, but the Provinciaal Hof, the provincial government building on the eastern side, is actually a late-19th-century creation. The Markt remains the focal point of Bruges, and is the site of a large market on Wednesday mornings, and a small Christmas market (with ice rink) in December.

Hans Memling (1435–94) was one of the leading artists of Burgundian Flanders, and the St John’s Hospital ranked among his most important patrons. Now superbly renovated, with an excellent audioguide available with the entry ticket, the old medieval hospital wards display a fascinating miscellany of treasures, paintings and historic medical equipment; there is also a 15th-century pharmacy. The exhibition culminates in the chapel, which contains the hospital’s priceless collection of Memling paintings (see Two Museums of Bruges).

The towering spire of the Church of Our Lady is another key landmark of Bruges’ skyline. It’s a strange architectural mishmash: the exterior is a good example of the rather austere style known as Scheldt Gothic, and was built over two centuries from 1220 onward. The interior is essentially Gothic, with Baroque flourishes to its statues and extravagant pulpit (1743). This is a rather surprising setting for one of the great treasures of northern Europe: Michelangelo’s Madonna and Child (1504–5) – a work that came here by virtue of Bruges’ close links to Renaissance Italy. The church’s museum includes the beautiful gilt-brass tombs, rich in contemporary detail, of Charles the Bold (1433–77), Duke of Burgundy, and his daughter Mary (1457–82).

Just south of the Burg is one of the prettiest stretches of canal, where calm waters reflect the medieval bridges and skyline. Here, the Steenhouwersdijk (stonemason’s embankment) becomes the Groenerei (green canal) and is flanked by a picturesque almshouse called De Pelikaan, dated 1714 and named after the symbol of Christian charity, the pelican.