The Unfolding Star
Ann Plovie of Visit Bruges introduces us to the city, “The winter season represents cosiness and heartwarming moments with family and friends. Warm World Heritage City Bruges lends itself perfectly to this. Come and soak up the atmosphere in the historic setting of charming ‘reien’ (canals), monumental architecture and picturesque streets. Sip a fragrant coffee and enjoy a sharing platter. Discover some universal stories of care and empathy at the renovated Museum St John’s Hospital. The many almshouses also illustrate the care for the citizens of Bruges throughout the centuries.”
The poet Georges Rodenbach melodramatically explains in The Death Throes of Towns (1892) how during its Golden Age the city was once accessible by sea, “Here is how the drama unfolds. Once the town was linked to the sea by the Zwin, which via Damme sent a channel of deep water as far as Bruges, a royal river, where 1700 ships sent by Philip Augustus against the Flemish and English could easily manoeuvre … One day in 1473, however, the North Sea suddenly retreated and as a result the Zwin dried up, without them being able to dredge it clear or reestablish a flow of water; and henceforth, Bruges, now at some distance from that mighty breast of the ocean which had nourished her children, began to bleed dry and for four long centuries lay in the shadow of death.”
That silting would form a quilting, a protective layer, over the historic fabric, like the deliciously preserved Sandwich in Kent, “England’s prettiest town,” according to international tastemaker Charles Plante. The city in aspic would be rediscovered in the 20th century. Architectural historian Dr Roderick O’Donnell reveals, “It was important to the Romantic Catholic archaeological tourists and scholars, especially A W N Pugin, visiting in the 1830s, 1840s and 1850s.” Bruges plays a major role in Alan Hollinghurst’s novel The Folding Star (1994). He admires “the grand brick houses equally steeped in silence and discretion”, calling it a “beautiful little city”.
The house that is now the five star Hotel Heritage is positively recent by Bruges standards having been built in 1869 to the design of architect Louis Delacenserie. The earliest record of a house on this site does though date back to 1390. After a stint as a bank branch of Crédit Général Liégeois, it was converted into a luxury hotel. A new marble staircase and discreet lift were inserted for access to 18 en suite bedrooms on the first and second floors, and above. A top floor was added to provide four junior suites and an intimate roof terrace directly facing the Belfry, one of Bruges’s many landmarks.
As we exit our car we are greeted by name at the entrance porch. Our first floor bedroom has a balcony with horseshoe gaps in the stone balustrade overlooking Niklaas Desparsstraat (a relatively quiet street despite being a waffle’s throw from Grote Markt). Heavy bordered curtains, underbed lighting, underfloor bathroom heating, an iPad, a bowl of fruit and chocolates (this being Belgium), noon checkout … heaven’s in the detail in this European member of the Boutique Hotel Club.
Johan recalls, “In 1992, when we decided to buy and transform the building into Hotel Heritage, several factors contributed to our choice, primarily rooted in the historical significance and architectural charm of the property. The building itself carries a rich history, and we saw an opportunity to preserve and showcase its unique character. Many historic properties like ours often have a story to tell and can offer guests a sense of the past, creating a distinctive and memorable experience. We knew the neoclassical architecture and original details would add a touch of elegance and authenticity, making the hotel stand out. It’s located in the historic district near the cultural attractions.”
“We collaborated with interior designers to create a cohesive design that complements the historic building while providing modern amenities and comfort,” he adds. The first of the reception rooms, a sitting room off the entrance hall, is a cheerful upholstered avenue into another era, one of refinement, sophistication and elegance. Pictures of horses – Coronation, Cotherstone, Mameluke, Margrave, Our Nell, Plenipotentiary, Stockwell, Van Trump – hang on the floral wallpaper of the first dining room. The adjoining second dining room, also with tall windows overlooking Niklaas Desparsstraat, is rich and rightfully red (the hue that stimulates appetite and conversation). Full bodied crystal chandeliers softly illuminate the decorated painted ceilings. Two more clubby style sitting rooms are to the rear of the building, a chessboard and drinks trolley to hand.
Breakfast in the red dining room is both a buffet and table service affair, at once continental and full. It turns out to be one of the best hotel breakfasts we have ever had – and we get around. A vast chariot (trolley is much too humble a word) piled high with cold and hot delicacies dominates the floral dining room. On top of the sideboard are forests of fruit and two different types of cake each morning (apple and marmor today) and – this still being Belgium – three types of chocolate (dark, milk and white). After a Flanders cheeseboard with salmon, yoghurt, cereal, brioches, croissants, mushrooms and tomatoes it’s time for the waiter to up the ante. A spinach amuse bouche arrives followed by the hotel’s speciality poached egg on biscuit wafer. Strawberry and apple juice is in a carafe not a glass. When we lift up our china cups to drink coffee, a red butterfly is revealed on the saucers underneath (more heaven’s in the detail). Our waiter brings a chocolate mousse just in case we’re still hungry. Philippe Mallet Champagne starts the day in style.
“Begin with a visit to the Belfry of Bruges for panoramic views of the city,” Johan advises. We’re on the up. Maybe it’s the 7am Champagne but the two way spiral staircase in the 83 metre high building (equating to over 27 modern storeys) is a trial of balance and navigation. Still, the climb is worth it for the exhilarating view from the bell level gallery. At this height everything appears so homogeneously historic, revivifying Georges Rodenbach’s city of monuments amidst “the pervasive presence of the waters”.
Round a few corners from Hotel Heritage, Poortersloge is a contemporary art gallery serving as an incubator for nascent creative talent in Burghers’ Lodge which was built between 1395 and 1417. Inside, the brilliant white walls and ebon blackness of the ceilings match the monochromatic work of the 12 photographers work on display. The centrepiece of Kwart Voor Nacht (Quarter to Midnight) is a piece by the multidisciplinary Belgian artist Yves Gabriels. It’s a deconstructed biopsy: body parts and clothes fragments are arranged along a swing hanging in front of a hospital curtain. Yves suggests, “I am the surgeon in my anatomical theatre.” He creates skin using a symbiotic culture of bacteria and yeast. Bruges-la-Morte-Encore-Une-Fois. It’s not for those uneasy in dynamics below mezzoforte. The cadence of the city bells can be heard beyond the huge mullioned windows. In April, the well orchestrated Bruges Triennial will bring contemporary art and installations to the streets as well, hitting all the high notes.
Johan reminisces, “I appreciate the opportunity to reflect on the changes in Bruges since my upbringing in the city. Bruges has undergone a remarkable transformation, blending its rich historical heritage with a growing contemporary vibrancy. One noticeable change is the increasing global recognition and popularity of Bruges as a tourist destination. The city has gracefully embraced this influx, maintaining its charm while accommodating the diverse interests of visitors.”
He concludes, “The preservation efforts and restoration projects have been noteworthy, ensuring that the architectural gems and cultural treasures are meticulously maintained. The revitalisation of public spaces and historic buildings has added a renewed sense of vitality to the city. While change is inevitable, Bruges has admirably retained its enchanting atmosphere, and the community’s commitment to sustainability and cultural preservation has contributed to a city that continues to captivate locals and visitors alike. Overall, witnessing Bruges evolve has been a fascinating journey, and I’m excited to see how the city continues to balance its rich history with the demands of the present and future. I am happy to be able to contribute as a hotelier.” The city continues to unfold, revealing old and added layers of intricacy and delight. A new Golden Age is dawning.
It’s the first time since the Revolution that the building has been open to the bourgeoisie. Hôtel de la Marine is one of two matching blocks embracing immaculate symmetry like battalions on parade. These twin palaces form the northern side of the great set piece that is Place de la Concorde. Behind those golden walls, Première Dame d’Honneur Brigitte Macron has carefully provided curatorial inspiration for a couture interior. There was plenty of raw material to choose from – this used to be the Garde-Meuble de la Couronne (Crown Furniture Storage). The building was designed by Louis XV’s architect Ange-Jacques Gabriel and completed by 1774. Its restoration and decoration has cost a cool €135 million – a collaboration of State and commerce. Jamaica born Architectural Association trained Paris based architect Hugh Dutton’s pyramidal glazed roof over the Cour de l’Intendant transforming that space from a courtyard to an atrium is the only significant contemporary intervention.
Visitors enter the first floor museum through an arch in the arcade lining Place de la Concorde into Cour d’Honneur and onwards through a vestibule into Cour de l’Intendant. The former courtyard is still open to the cottony clouded sky and all four storeys plus dormered attic are fully visible: the attic floor of the street fronts is concealed by tympani filled pediments flanking balustrades over a cornice. There are two distinct parts to this museum: the vast public rooms overlooking Place de a Concorde to the south and the private office and double apartment of the Intendant of the Garde-Meuble which occupy the righthand three bay pedimented projection of the south front and most of the east front overlooking Rue St Florentin.
The interior of the office and double apartment is a tale of two citizens. Chief Architect of Historic Monuments Christophe Bontineau led the restoration with an innovative approach of drawing on the differing tastes of the last two Intendants of the Garde-Meuble, the decadent Pierre-Élisabeth de Fontanieu and the religious Marc Antoine Thierry de Ville d’Avray. Decorators Joseph Achkar and Michel Charrière got to work under the discreet and watchful eye of Brigitte Macron. Restoration included peeling back up to 18 layers of paint to uncover original colourways. Jean-Henri Riesener masterpieces were returned from the Louvre and Versailles. Madame Thierry de Ville d’Avray’s Polonaise bed and matching dog bed were spruced up. Monsieur de Fontanieu’s bath with hot running water supplied by an overhead tank hidden above the ceiling was reinstated.
The Marine (Ministry for Naval Affairs) took over the building in 1789 and occupied it for the next 226 years. In 1798 the Garde-Meuble was abolished. The Salon d’Honneur and the Salon des Amiraux were carved – all that multicoloured marquetry – out of the Galerie des Meubles in the 1840s to the design of Naval architect Xavier Lefèvre. Thus the south front was reinvented as a suite of Versailles standard state rooms for naval occasions. Running parallel with this suite are the interconnecting Galeries des Ponts de Geurre and Doreé naturally lit by windows onto Cour d’Honneur.
After the golden extravagance of the state rooms, salons extraordinaire blurring into one magnificence, an enfilade of mirrored dreams, there’s a refreshingly plain anteroom off the Office of the Chief of Staff which leads onto the balcony overlooking Place de la Concorde. The reductivist simplicity of the anteroom’s chimneypiece is 19th century neoclassicism at its sleekest. Intersecting lines, receding and projecting, manipulating light and shadow. A clarion call of the beginning of modernism heralding a new era yet to come. The balcony – oh là là! All 11 bays of it between double height Corinthian columns framing views of the Obelisk of Luxor, the Eiffel Tower, Le Petit Palais and the Jardine des Tuileries. Hôtel de la Marine Paris and its balcony: the rich relative of Buckingham Palace London.
