Not to miss

Onze Lieve Vrouwekerk

The Onze Lieve Vrouwekerk is a dark, sober building that dates from the 13th century and is most noted for its art treasures. Of these, the Madonna and Child by Michelangelo is the undisputed gem. This small marble statue (1504) was bought in Italy by a Bruges merchant and was the only work of art by Michelangelo to leave Italy in his lifetime. Although pilfered several times by occupying forces, the statue has always been returned.

It's also possible to visit the tombs of Charles the Bold (Karel de Stoute) and his daughter, Mary of Burgundy.

Groeningemuseum

Bruges' prized collection of art dating from the 14th to the 20th century is housed in the small Groeningemuseum. Highlights of this prized collection of art dating from the 14th to the 20th century are the Flemish Primitives (Room 2), including masterpieces by Jan Van Eyck and Hans Memling. But also look out for works by Hieronymus Bosch (Room 1), and surrealists René Magritte and Paul Delvaux (Room 9).

Room 1, entitled Municipal Patronage, concentrates on works from the 15th and 16th centuries, many of which were commissioned by the city of Bruges. The gruesome Judgement of Cambyses (1498) by Gerard David depicts the Persian king being led from his throne and flayed alive. Here too is The Last Judgement, a fantastically nightmarish work by Hieronymus Bosch. It's filled with fire and mayhem, men and nuns being boiled alive and strange creatures devouring everything in sight.

Room 2 presents the Flemish Primitives. Most notable are works by Jan Van Eyck, who is generally considered to be the first great master of this period. Van Eyck's masterpiece Madonna with Canon George Van der Paele (1436) is a radiant portrayal of the Madonna and the infant Jesus surrounded by three figures: the kneeling canon and, next to him, St George (his patron saint), while a richly clothed St Donatian looks on. The textures and detail are almost photographic - to viewers in the 15th century the portrait must have appeared incredible. Also in this room is Van Eyck's very honest portrait of his wife, Margaret. Here too is Hans Memling's Moreel Triptych, in which the serious central scene of brown-garbed saints is offset by fine detail such as the cheeky grin on a nearby child or the priest petting a deer.

Room 3 moves on to the Renaissance in Bruges, with several works by Jan Provoost and Pieter Pourbus. The latter is noted for his stern portraits. Rooms 4 to 8 explore baroque, neoclassicism and symbolism, as well as sculpture.

Room 9 is given over to Belgian modern art from early last century, and includes works by Henry Van de Velde, Jean Brusselmans and Rik Wouters, as well as several dark pieces by Constant Permeke. Dominating the whole scene is the Last Supper (1929) by Gustave Van de Woestyne, one of the expressionists who set up at St Martens-Latem near Ghent early in the 20th century. Surrealism also gets a look in, with the movement's pivotal figure, René Magritte, represented by L'Attentat (The Assault; 1932). There's also Paul Delvaux's strange Sérénité.

Rooms 10 and 11 focus on more-recent modern art, with Pierre Alechinsky's The Three Days (1959) a highlight.

Note that the museum will be partially closed in January 2009, and completely closed in February to March 2009; call the tourist office for information.

Belfort

The symbol of Bruges is its Unesco-listed 13th-century belfry, rising a lofty 83m above the main square, Markt. Ascending the 366 steps brings you past the treasury, a triumphal bell, and a 47-bell, manually operated carillon (set of bells), which still regularly chimes across the city.