Bruges wasn't built in a day

After a fitful night's sleep and another one of Veronique's seriously sustaining breakfasts, we were ready to embark on our next adventure.

It was the 4th of February, and the day of our Anniversary, but also our last full day at the B&B, as we would be travelling back home the next day.

The temperature had taken a dive, and at only about 5° Celsius, I needed to dress appropriately for a day of being out and about. Enter this dress, which combines the funkiest of prints with a polyester knit fabric warm enough to withstand the chilly wind which had reared its head overnight.

My legs were kept snuggly by my thick orange opaques and the insulating layer of wool inside my chocolate brown boots helped to keep my calves and feet warm as well.

You've seen all my accessories, from the tan leather belt to the ring and beaded necklace, before. That particular necklace is fast becoming a firm favourite, as I seem to be wearing it all the time.

I wore a cardigan on top, obviously, but we didn't take any outfit pictures beyond these, so that I can not even show you my outerwear, starring my beloved Princess coat.

Rain had been forecasted for the afternoon, and on top of that, an icy, eye-stinging wind was greeting us when we emerged from the car park, so that we shelved any outdoor plans for the day.

Making our way to the Burg, we thought it was about time we explored the inside of the splendid buildings lining this square, and which had stopped us in our tracks each time we passed through.

Tucked away in a corner of the square is the Basilica of the Holy Blood, its dark Gothic façade richly decorated with gilded statuettes.

The basilica's flamboyant façade is actually a 16th century staircase which connects two chapels: the lower St. Basil Chapel and the upper Holy Blood Chapel, in which the relic of the holy blood is preserved. But more about that later.

The two chapels could not be more different: the Romanesque lower chapel, dating from the first half of the twelfth century, is austere with very little decoration (above), while the Gothic upper chapel is alive with colour and detail. 

The upper chapel was originally Romanesque as well, but was rebuilt during the 16th century as well as renovated multiple times during the 19th century in Neo-Gothic style.

It is lit by stained glass windows and covered with murals depicting the relic's journey to Bruges, but as these were being restored and thus covered in scaffolding, I had to resort to the almighty Internet for the photo on the top left of the below collage, as well as the one of the priest holding the relic on the bottom right.

The Holy Blood relic is embedded in a rock-crystal vial, which is placed inside a small glass cylinder capped with a golden crown at each end. The vial allegedly contains cloth stained with the actual blood of Christ.  Legend has it that following the Crucifixion, Joseph of Arimathea wiped blood from the body of Christ and the cloth was preserved. It was then brought back by Thierry of Alsace, Count of Flanders, in the 12th Century.

The chapel is open daily to visitors who wish to view the relic, and there are services for the veneration of the Holy Blood throughout the day, at the end of which the congregation are invited to file past the altar, look at the relic and touch it. This procession seemed to be going on while we were there, but we didn't feel the need to join in, so we turned heel and left.

Next door to the basilica is Bruges' City Hall, which was completed in 1421, one of the oldest in the Low Countries. The façade is richly decorated with Gothic windows, towers, statues and the coat of arms of subordinate towns. 

Inside, a ceremonial staircase leads from the entrance hall to the first floor, where you can visit the lavishly decorated Gothic Hall.

The impressive double vaulted timber ceiling is absolutely stunning, as are the walls, which are painted with scenes relating the history of the city. 

The medallions in the bosses show New Testament scenes, prophets, evangelists and saints, while the decoration of the corbels supporting the roof reflect natural and seasonal themes.

But don't be deceived as the so-called Gothic Hall actually isn't Gothic at all, but Neo-Gothic. After a fire turned the interior largely to rubble, it had to be refurbished, a project which started in 1890 and was finished in 1905. 

Included in the entry fee for the hall is a visit to next door's mansion, known as the Liberty of Bruges, from which the countryside in a wide area around the city was once governed. The building functioned as a court of justice between 1795 and 1984 and today houses the City Archives.

The gold-trimmed building is a real eye-catcher, with several gilded statues sparkling on its roof.

But its real jewel lies inside, in the Liberty's former court room, which has been restored to its original 16th-century condition.

It has a monumental timber, marble and alabaster fireplace dating from 1528, a tribute to Emperor Charles V (1500-1558), who visited Bruges in 1515.

Impressive though it was, I mostly had eyes for the enchanting wall paintings lining the room below the dado rail.

Our heads were reeling from all that splendour by now, so that lunch provided a more than welcome break.

The weather had turned even colder by the time we left the restaurant, and rain clouds seemed to be gathering, but our next destination, the Gruuthusemuseum, was thankfully only a short walk away.

The museum, which has recently re-opened after five years of extensive renovations, is situated behind the Onze-Lieve-Vrouwekerk (Church of Our Lady) which dominates the city's skyline.

The impressive city mansion the museum is housed in belonged to one of the richest families of the medieval city, the Gruuthuse family, who made their fortune with peeled barley or wheat, the main ingredient for beer-brewing in the Middle Ages. 

Originally built in 1425, it was later expanded under Lodewick van Gruuthuse, a high-ranking official at the Burgundian court and one of the richest men in Bruges. In the late 19th century, the centuries-old landmark was thoroughly restored, again in Neo-Gothic style, by city architect Louis Delacenserie. 

With its intricate stonework, decorative roof gables and belvedere tower, the museum is one of the most beautiful sites in Bruges.

On this quiet February day there was no need to queue for tickets, but I'm sure it would have been quite a different story at any other time of year. 

In fact, we were able to roam the museum's succession of rooms, laid out over three floors, at ease, and often had a room completely to ourselves. 

Our journey took us through three crucial periods in the rich history of Bruges, from the time of its Burgundian heyday, followed by the lesser known 17th and 18th centuries, to the historical reinvention of Bruges in the 19th century Neo-Gothic style that is so typical of the city today.

These three periods are brought to life with more than 600 exhibits, including tapestries, unique Gothic stained glass, elegant wooden sculptures, historical lace, paintings, Burgundian manuscripts, exquisite pieces of furniture, silver and porcelain.

During our explorations, we looked out for, and found, Bruges' smallest Gothic window, (above, top right) which can be spotted outside when looking up from the picturesque Bonifacius bridge in the courtyard behind the museum. The stained glass, however, was found to be in a bad state of repair and had to be replaced during the recent renovations.

At one point we came across a small side room, where a row of  wigs were displayed on an ornate mantelpiece, with an invitation to try them on if you wished to. This was obviously meant for visiting children, but - also obviously - there was no way I wasn't going to oblige!

The room also contained a contraption which offered silhouette portrait opportunities.

The museum's absolute highlight is probably the authentic late 15th century oratory on the first floor, which connects the mansion with the Church of Our Lady, and which offers a view of the Gothic chancel of the church. This prayer chapel gave the Lords of Gruuthuse direct access to the church, illuminating the privilege and power of the mansion's medieval occupants. 

On the top right you can see a view of the oratory's windows taken from inside the church.

There is access to a loggia on the third floor, an extension with a balcony added in the 19th century, with a splendid bird's eye view over Bruges, and the courtyard with the tiny Bonifacius bridge in particular. This would be inundated with tourists at any other time of year, but was now surprisingly - or not so surprisingly given the inclement weather - empty.

After admiring the treasures displayed in the third floor rooms, we made our way back downstairs to retrieve our stuff from the lockers. Then we ventured outside and around the corner for a visit to the Church of Our Lady, entrance to which was included in the museum ticket price.

But we'd had enough of sightseeing by then, so we dutifully dragged ourselves around the church, barely noticing the wealth of art treasures and the 15th and 16th century tombs of Mary of Burgundy and Charles the Bold.

Dodging the rain, which was falling steadily by now, we walked back to the car park, but not before treating ourselves to cappuccinos and apple and pears crumble in a cozy café.

So, that was it. Another travelogue finished. But do not despair as we've already got another little holiday up our sleeves. For this, however, you will have to wait until April!