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The Town Hall of Ghent is a quadrangular group of buildings of different styles. The alderman's house of Keure is in the Flamboyant Gothic style (1519-1539). It was designed by Rombout Keldermans and Dominicus de Waeghenmackere. Niches in the facade hold 19 statues of the Counts of Flanders made in the 19th and 20th centuries.

The Gedele Alderman's house is Renaissance, built between 1595n and 1618. The facades of both Alderman's houses hold Doric, Ionic and Corinthian three-quarter columns and pilasters. The effect is reminiscent of Italian palace. The complex is surrounded by the streets of Patermarkt, Hoogspoort, Stadhuistaaeg and Pooljiemarkt.

Inside the town hall are 51 rooms, including a wedding chapel and a labyrinth. The most important halls in the town hall are the Pacification Hall, the Arsenal hall, the Cabinet of the Mayor (1728), the Throne Room and the Reception lounge, formerly the chamber of the States of Flanders.

The interior rooms vary greatly in style but all are lavishly decorated. Weddings in the Halle are in demand but tourist access is limited.

Tip:
You can get a tour by booking with a guide at the information center. Well worth the money 鈥� lots of interesting history. If the weather is nice, have a drink outside one of the bars opposite and take your time to enjoy the facade.

The Lakenhalle, or Cloth Hall, is adjunct to the Belfry. Construction started in 1425 but it was still incomplete twenty years later. Only seven of the eleven bays had been completed. In 1903 four more bays were added.

The Cloth Hall was built to harbor the business of the cloth trade of Ghent. Woolens and textiles had made Ghent a boom town of the middle ages. Fortune changes. The textile trades fell off in time and other tenants, including a militia Guild and a fencing school, moved into the Cloth Hall.

There is an annex to the Cloth Hall dating from 1741, called the "Mammelokker." The annex was the guards' quarters and the entrance to the city jail in the Cloth Hall from 1742 until 1902. The name Mammelokker means "breast sucker." It refers to the sculpture of the Roman legend of Pero and Cimon above the front door of the annex.

Cimon was sentenced to death by starvation. His daughter, Pero, who was a wet nurse, visited him in prison and breastfed him. She saved his life. His guards, awed by this show of filial devotion, released him.

Tip:
Visiting the Cloth Hall is free; the belfry, however, is not.

The Royal Dutch Theater (Koninklijke Nederlandse Schouwburg) is a historic architectural gem located on the north side of Sint-Baafsplein Square in Ghent, nestled between Saint Bavo's Cathedral and the Belfry Tower. This remarkable building, designed by architect Edmond De Vigne, showcases an eclectic style with a strong emphasis on neo-Renaissance elements.

Though the fa莽ade of the theater bears the inscription 鈥淎NNO 1897,鈥� the building was officially inaugurated in 1899. Its fa莽ade is composed of three stories with five bays, with the central three bays prominently accentuated. On the second and third stories, four statues of men dressed in 17th-century attire, crafted by sculptor Louis Mast, represent the four chambers of rhetoric in Ghent: De Fontaine, Sint-Barbara, Sint-Agnete, and Maria ter Ere.

A monumental gable crowns the central part of the fa莽ade, featuring a stunning mosaic within a round-arched tympanum, created by Constant Montald. This mosaic, measuring nine meters wide and four meters high, consists of 70,000 ceramic stones in 500 different colors and depicts a mythological scene of the god Apollo in his sun chariot, accompanied by nine muses, each identifiable by their distinct attributes.

At the top of the building stands a bronze statue of Lady Harmonia, the Genius of Music, holding a lyre. This statue, designed by Ghent sculptor Aloys Buyens, majestically overlooks the square, adding a final touch of elegance to the structure.

The Royal Dutch Theater has been a protected monument since 1986. It underwent a comprehensive renovation from 1987 to 1993, during which it was updated to meet modern theater technology standards and fire safety requirements. Although visitors can only enter the theater during performances, the foyer on the first floor is open to all. Tickets can be purchased in the entrance hall on the ground floor, and those attending performances are encouraged to visit the terrace, which offers lovely views of Sint-Baafsplein.

In 1566 the Calvanist iconoclasts were on a rampage in the Netherlands. Raiding churches, they found a target rich environment. Stained glass windows, statues, artwork, everything had to go. Three days before they got to Saint Bavo's, artwork was hidden in the crypt and Saint Bavo's was mostly spared.

Saint Bavo's Cathedral or Saint-Baafskathedraal, is a 292 foot tall Catholic cathedral in Ghent. It is built on the site of the wooden Chapel of Saint John the Baptist, founded in 942 by Transmanus, Bishop of Tournai and Noyon. Construction of a new Romanesque church began there in 1150.

In the 14th through the 16th centuries ambitious Gothic renovations were added. On top of the lower Romanesque church a high Gothic choir and an enormous vault with tall windows was built. Around the choir is an ambulatory and 14 chapels. The 292 foot tower was erected in 1534. The church became a cathedral in 1569. A new nave was added by 1590.

Among the treasures that were saved from the iconoclasts of 1566 is the Famous Ghent Altarpiece, a painted polyptych by the van Eyck brothers Jan and Hubert in 1432.

Other artists represented in the cathedral are Peter Paul Rubens and Lucas de Heere. Frans Pourbus the Elder created 14 panels of The History of Saint Andrew (1572). There are three paintings by Caspar de Crayer, including The Beheading of John the Baptist. Eleven grisailles of the Old and New Testaments adorn the choir above the stalls.

The high choir is an awesome part of the interior. It has stalls for members of the Chapter of Saint-Bavon. The Baroque High Altar, installed from 1702 to 1782, is made with black, white and red flamed marble. In the nave is a rococo pulpit from 1745.

In the crypt are reliquaries and collections of liturgical ornaments and vessels. Virtual tours of the crypt, including the altarpiece, are available. There is a basic tour and an advanced tour of at least ninety minutes. Do not miss the painting of the Mystic Lamb.

The Castle of Gerald the Devil (Geeraard de Duivelsteen) is a medieval fortress located in Ghent. Built in the 13th century, this Gothic-style edifice with Romanesque elements was originally constructed to defend the Portus aan de Reep, a trading settlement that marked the origins of the city of Ghent. The fortress's defensive features include thick walls, turrets, and a reduit for monitoring and protecting the area against attacks.

Despite its ominous name and appearance, no devil ever resided within its walls. The castle was named after Geeraard Vilain, a knight and the son of the 15th Viscount of Ghent, Zeger III. Vilain, known as "Geeraard the Devil" due to his dark hair and complexion, lived in the castle, which remained the residence of his descendants until the early 14th century when it transitioned to municipal ownership.

Over the centuries, the Castle of Gerald the Devil has served numerous roles. It has been a gathering place for noblemen, an arsenal, a monastery, a school, an episcopal seminary, and a prison. In 1807, it was repurposed as an orphanage for boys, and from 1815, it served as an asylum for the mentally ill. By 1830, the castle became a fire station. Towards the end of the 19th century, it was acquired by the Belgian government to house a national archive, with a new wing added for this purpose. The castle continued as an archive until 2015.

Currently, there are plans to transform the Castle of Gerald the Devil into a luxury block of flats and a youth center, marking yet another chapter in the long and varied history of this iconic medieval fortress.

The Aula Academica, or Assembly Hall, is a landmark of Ghent University in Ghent, serving as a central symbol and significant historical site for the institution. Shortly after the University's founding in 1817, it was decided that a prominent auditorium was necessary to represent the new establishment. The foundation stone for the Aula Academica was laid on August 4, 1819, in the name of King Willem I, on the grounds of the former Jesuit church in Voldersstraat. The grand hall was inaugurated on October 3, 1826, and has since played a pivotal role in the histories of the Netherlands, Belgium, and the Flemish Movement.

Designed by the young architect Lodewijk Roelandt, the Aula Academica is a masterpiece of Neo-Classical architecture that marked the beginning of Roelandt's distinguished career. Its fa莽ade, inspired by the Pantheon in Rome, features a Prostylon of eight Corinthian columns sourced from the former infirmary of St. Peter's Abbey, topped by a pediment. A Latin inscription on the frieze commemorates King Willem I's commission of the building. Inside, the hall leads to the Academy Council Chamber, a significant part of the University's administrative and ceremonial activities.

During World War I, the Aula was actively involved in promoting Dutch culture in Belgium and played a role in the Dutchification of Ghent University. In 1988, it became the official symbol of the University when the old coat of arms on its fa莽ade was replaced with the image of the goddess Minerva, who symbolizes wisdom and learning.

Beyond its academic purpose, signified by a large statue of Minerva, the Aula has been a versatile venue hosting a variety of events, including emeritus ceremonies, symposiums, anniversaries, commemorations, and conferences. It has also been the site of numerous exhibitions, some not directly related to the University. The Aula is central to university traditions, as each academic year opens with a proclamation ceremony held there. In recognition of its architectural and historical significance, the Aula Academica was declared a protected monument in 1995.

The Hotel d'Hane-Steenhuyse is an elegant 18th-century h么tel particulier located in Veldstraat, Ghent. Constructed between 1768 and 1773, this grand townhouse was designed by Jan Baptist Simoens, who is credited with the building's rear facade and the "salle 脿 l'italienne." The main facade, possibly designed by David 't Kindt, though without archival confirmation, showcases a mix of Louis XV style with Baroque and Rococo elements, featuring a protruding central section adorned with Corinthian half-pilasters and a segment arch pediment.

The building's irregular shape is due to its construction on plots of older houses, maximizing space between neighboring structures. Instead of a central entrance, access is through a carriageway at one end of the facade, leading to a garden-facing enfilade. The vestibule, parallel to the facade, connects to interlinked rooms forming another enfilade, with discreet passageways for staff. The rear facade, in neoclassical Louis XVI style, features three sections with pilasters and a pediment and faces a courtyard with a Louis XVI-style terrace from 1773.

Historically, the building was a hub for nobility in the early 19th century and notably served as the residence of King Louis XVIII during his exile in 1815. He held court there and, in gratitude, presented his host with a porcelain dessert service, now displayed in the Ghent City Museum (STAM).

Despite its grandeur, the hotel fell into disuse in the 20th century and briefly housed the unsuccessful Museum of the Hundred Days in 1949. The City of Ghent acquired the property in 1981, using it initially as an information center and later as the Monuments Management Service. Although a thorough renovation was completed in the 1990s, public access remained limited until 2015, when the ground floor was opened for commercial activities.

The interior of the Hotel d'Hane-Steenhuyse is richly decorated, featuring paintings by notable artists such as Petrus Norbertus van Reysschoot and Peter Paul Rubens, along with copies of works by Jan Brueghel the Elder. The building's design, historical significance, and art collection make it a notable example of 18th-century architecture in Ghent.

Saint Nicholas Church is one of the celebrated "Three Towers of Ghent." Building was begun in the 13th century to replace an earlier Romanesque structure. The style of construction is Scheldt Gothic. This style called for the use of blue-gray stone taken from the area of Tournai. There is a single tower above the crossing and corner turrets.

The church has had a stormy existence. During the 16th century militant iconoclasts destroyed its religious images and artifacts. Come the French revolution, the church served as a stable for horses. By the 1700s numerous shops and small houses had been built clinging to the church's outer walls.

Extensive restoration carried out in the 19th century has rescued the church from a dilapidated ending. The Scheldt Gothic style tower is above the nave and transepts instead of the main entrance. As a result, light from the tower is permitted to illuminate the transept.

The organ of the church is one of the most impressive in the country. It was built by the famous French organ maker, Aristide Canaille-Coll. The instrument is a three-manual organ with 16 pipes in front. The inauguration concert was given by Louis James Lefebure-Wely in 1856.

The church is open every day. Admission is free.

Saint Michael's Church (Sint-Michielskerk) in Ghent is a Roman Catholic church with a rich history dating back to 1105 when a chapel dedicated to Saint Michael was first documented on the site. The original chapel was destroyed by fire twice in the 12th century and rebuilt each time. The current late Gothic church began construction around 1440, unfolding in two major phases with a significant interruption between them.

The first phase of construction took place during the 15th and 16th centuries. By 1528, the western part of the church, including the three-aisled nave and the transept, had been completed. Work continued on the western tower, reaching two levels by 1566 before religious conflicts brought construction to a halt. The church suffered during the Protestant Reformation, with parts destroyed by Calvinists in 1578, and the old choir was demolished in 1579.

Construction resumed in 1623, and the Baroque sacristy in the northeast corner was built between 1650 and 1651. In 1662, local architect Lieven Cruyl designed a plan for the unfinished western tower, which, however, was never realized. The tower remained incomplete and was finally covered with a flat roof in 1828.

The interior of Saint Michael's Church is notable for its rich Neo-Gothic style, featuring a grand altar, an ornate pulpit, and numerous 18th-century statues. The church houses a collection of Baroque paintings, including works by renowned artists such as Anthony van Dyck's "Christ Dying on the Cross" and Otto Venius's "Resurrection of Lazarus." Additionally, the church preserves a collection of valuable silver and gold artifacts, including a relic of Saint Dorothea in silver, a sacred "Doorn" donated by Mary, Queen of Scots, and a piece of the true Cross, a gift from Archduke Albrecht and Isabella in 1619.

Saint Michael's Church stands as a significant historical and architectural landmark in Ghent, reflecting the city's turbulent religious history and its artistic heritage.

The Great Butcher's Hall (Groot Vleeshuis) is a historic landmark in Ghent, originally serving as a covered market and guildhall for butchers. The first mention of the Hall appears in city documents from 1332-1333, referring to a smaller, wooden structure located on the Vismarkt, now known as the Vegetable Market (Groentenmarkt). By 1407, this older building had fallen into disrepair, prompting the butchers to relocate to a larger and more robust structure.

Between 1446 and 1448, a chapel with a meeting room was added to the southwestern corner of the building. To ensure a steady supply of fish, four canals were constructed beneath the hall, allowing flat fishing boats to access the market directly from the Lys River. The vaulted passages of these canals are still visible along the riverbank today.

In 1543, the Hall expanded to include 16 tripe houses, or shops, where viscera, intestinal fat, and other animal remains, as well as poultry, could be sold鈥攊tems that were previously not permitted inside the main Hall. However, by the late 19th century, the Great Butcher's Hall became vacant after the butchers moved to a new meat house near the Vismijn on Sint-Veerleplein.

As part of preparations for the 1913 World's Fair, the Great Butcher's Hall and its tripe houses were restored to their pre-1744 condition under the direction of architect Van Hamme. The revamped building took on new roles, including serving as a market for fruits and vegetables, a Post and Telegraph office, a parking garage, and a partial fish trade.

Recognized for its unique architectural and historical value, the Great Butcher's Hall has been a protected monument since 1943. A major renovation in the late 1990s transformed the building into a promotion center for East Flemish regional products. Today, visitors can explore the Hall to find an array of Belgian specialties, such as chocolates and beer, along with various local souvenirs, celebrating the rich culinary and cultural heritage of the region.

The Old Fish Market (Oude Vismijn) is one of the oldest and most historically significant marketplaces in Ghent. Originally located on the site of today's Vegetable Market Square (Groentenmarkt), the market moved in 1689 to its current location on Sint-Veerleplein, where it was marked by the construction of a distinctive Baroque-style gatehouse and permanent open-air stables.

The gatehouse, also built in 1689, is notable for its charming Baroque architecture and was originally adorned with statues of three sea gods. However, a fire in 1872 damaged these statues, and only the statue of Neptune, which sits atop the gatehouse fa莽ade, survived. The other two statues were replaced with figures representing the rivers Scheldt and Leie.

As part of the reconstruction efforts following the fire, a covered market hall was added to accommodate meat and vegetable trading, while the open square outside continued to serve the fish trade. In preparation for the 1913 World's Fair, the building received Neo-Gothic facades, adding to its architectural significance.

Throughout the 20th century, the Old Fish Market underwent various functional changes, serving as a tire center and a bowling hall at different times. Following a period of vacancy, the city administration launched a competition to repurpose the building, leading to its redevelopment as a catering business in 2010. Since March 2012, the Old Fish Market has served as the home of the Ghent Tourism Office, blending its rich historical legacy with modern utility.

The Bond Moyson Building is an iconic structure located on Vrijdagmarkt (Friday Market Square) in Ghent. It is part of a grand complex with a monumental fa莽ade that has been a prominent feature of the square for over a century. The complex was designed by architect Ferdinand Dierkens and commissioned by the Belgian socialist politician Edward Anseele. Its architectural inspiration came from the Grands Magasins of Paris, reflecting a blend of styles that embody both aesthetic grandeur and social ideals.

Constructed in two phases, the right wing of the complex, known as Bond Moyson, was completed in 1899, and the left wing, called Volkshuis Ons Huis (People's House Our House), followed in 1902. The fa莽ade of Bond Moyson is particularly notable for its socialist allegorical scenes, crafted by Jules de Bleye. Made from bluestone, the building features a distinctive dome-shaped covering with a Neo-Renaissance "bull's-eye" window. Atop the dome sits a rooster, symbolizing a 鈥渘ew dawn鈥� and the aspiration for an era of equality and happiness for all.

The fa莽ade features a coat of arms with 鈥渢hree eights,鈥� symbolizing the early 20th-century workers' slogan: 鈥淓ight hours of work, eight hours of leisure, and eight hours of rest.鈥� Fluted columns on the first two levels transition into Corinthian pilasters on the third, supporting an entablature with the inscription 鈥淲erklieden Aller Landen Vereenigt U鈥� (Workers of all countries, unite!) in gold. Above it, a cartouche displays 鈥淏ond Moyson鈥� in bold red, flanked by caryatids. The central section, added later, includes a large glazed surface, enhancing its modern appeal. The left-wing, Ons Huis, now serves as the headquarters for East Flanders鈥� socialist workers' associations and is known as the 鈥淪ocialist Building.鈥�

The Tower (Toreken), also known as the House of the Corporation of Tanners, Huidevettershuis (Skinners' House), or Meerminne (Mermaid), is a notable Gothic-style building located at the corner of Vrijdagmarkt (Friday Market Square) in Ghent, Belgium. This historic structure, the oldest in the area, has served various roles since its origins in the 14th century.

Originally a wooden structure where fur and sheepskin workers traded their goods, the building was purchased in 1422 and upgraded to a stone house in 1450, using Balegem stone. In 1483, a distinctive watchtower was added, crowned with a weather vane in the form of a mermaid named Melusine, holding a mirror. The tower also houses the Maria bell, cast by Joris Waghenens at the Mechelen bell foundry and installed in 1511.

The Tower's architecture is characterized by its three-bay fa莽ade along Kammerstraat, which features a stepped gable with small square windows and stone mullions. The fa莽ade facing Vrijdagmarkt has four bays with large stone cross-windows, topped by a slate roof adorned with three levels of small triangular skylights. A cylindrical staircase turret prominently marks the corner of the building, adding to its unique appearance.

Following the decline of guild power under Emperor Charles V, the property was sold to private individuals in 1542. It was classified as a historical monument in 1943 and has been listed in the inventory of the real estate heritage of the Flemish Region. After extensive restoration in 1982, the Maria Bell was returned to its original place in the Tower by the local museum.

Today, the Tower is owned by the City of Ghent and serves as the home of the Poetry Center, continuing its legacy as a significant historical and cultural landmark in the city.

In the 11th century a wooden church was dedicated to Saint James. One hundred years later the wooden church was replaced with a Romanesque structure of stone. From the beginning the church was an important meeting place for pilgrims on their way to the shrine of Santiago de Compostella.

A scallop shell embedded into a flagstone at Saint James' is a reminder that the apostle is buried in Santiago de Compostella. Scallop shells were once abundant there. Saint James is a pilgrimage milestone.

The twin towers on either side of the entrance date from 1120. The octagonal transverse tower, built in the 13th century, is in the style called Scheldt Gothic. Side chapels belonging to the guilds were added in the 14th century.

The interior of the church is a blend of Romanesque and Baroque elements. The church is home to a Van Peteghem organ. The church was a meeting place for the guilds. It also houses paintings and art pieces and the tomb of Jan Palfjin, the inventor of the forceps.

Beside religious considerations, the church is also a cultural center. The square around the church is called Saint James' Square. It is the center of the famous Ghent Festivities, the annual mis-July people's festival marking the beginning of summer.