Archief

It took me a serious effort to get used to the sight of these houses who were set down where the "Pandreitje" stood. However, I did reconcile myself with their presence better than most and, in fact, I am able to admit they are not bad. Modern Bruges is allowed to have them.  I am not saying that I would ever want to live there (imagine having to put your trash outside on a wintry evening or early morning, when it's still pitch black...brrrr). But it does create a nagging.  Something to do with the beauty of sadness, of grayness, of, yes, modern coquetry with Bruges-la-Morte. Notwithstanding all that, I can see where these houses make for spacious, clean and comfortable living.

For the older citizens of Bruges, the name "Pandreitje" is synonymous with "prison". However, the prison has disappeared quite some time ago. Even doctor Lecompte did some time inside, after he had a run-in with the Order of Physicians. Imagine, this prison was about a thousand years old. From high up in the Halltower, one immediately sees the spot where the "Pandreitje" used to be. While the rest of the inner city shows uniformly red roofs, the modern building where the "Pandreitje" used to be got a blue roof, and the colour of the bricks used to plant the new building down is also in sharp contrast to the lighter colours of the environment.

 
The Market, an hour ago. Picure of a moment in time. In front, the small busses who take you on a grand tour and even bring you to the Verloren Hoek, that is, "The Lost Corner". Behind them, the coaches who take you to the Begijnhof. Every effort is done to please and inform the tourists who come to Bruges. The fact that this morning the busses seem to be more in demand than the coaches might have something to do with... the weather. And, notice too, the grandstand being put up in preparation for the coming Sacred Blood procession. Those orange things are the small chairs.

I was already out on the streets, this morning. I just cannot resist the urge. Am I then really a "Bruges streetmopper"?
This is the small Kipstreet, the subject of a quiz-question some time ago. Here is how it looked this morning.

 
Hildegarde was asking me : what are the origins of these words, which we find on the Barge house.
Well, no, it is not the owner of the Barge house who put them there. It was the city of Bruges. It was the "Year of Guido Gezelle", our famed poet and the motto "strong be the language of the words", also by Gezelle. A number of artists, gathered under the banner of @rtwords-@rtwords,  
were invited to express the city's image in words. The official mandate was : use language to paint the image of Bruges and bring it into its historical core. I can only surmise that Peter Verhelst, born in Bruges, is the author of the words found on the Barge house. One of his texts is also adorns the back of the seats in the Concert Hall. Moreover, it is also Verhelst who wrote the official poem of the city of Bruges (2002, cultural capital of Europe) - "On a day they appeared/they swarmed/over the city and nestled/we gave them our food/On a day, they disappeared/And yet, they stayed/We had them visit us at night/In our own, strange-coloured dreams."  Both texts do have the same tenor.

"When you leave, will you be coming back?
When I come back, will you be here?"

I cannot think of a better spot to have this text than exactly there where the greatest number of day-tourists are gathering to leave the city : where their bus is waiting to take them back home.

Dark-weather days are a perfect occasion to delve in my archives. Taking photos when it rains does have its charm, but that is mostly lost on me

The most significant day in the life of Bruges is almost upon us. Let's hope the weather shall be better than what it is like today (and, listening to the weather forecast, let's also hope for the next few days). Rain is the bane of a procession with thousands of participants, all decked out in magnificent costumes. Most of these beautiful clothes can hardly be rainproofed.
This is the Stabat Mater, surrounded by a chorus of girls. The Pieta statue,  Mary holding her deceased son on her lap, symbolizes the unspeakable suffering which is also the lot of those surviving the deceased.  

In the words of Kate Ryan :

"je t' adore,
anyone can see it."

I am talking about Bruges.
Whom was Kate Ryan singing about, tonight?
(she was Belgium's representative at the Eurovision songfest)