The wide and verdant lawns of Jubilee Park ("Parc du Cinquantenaire") slope upward to meet a grandiose triumphal arch of monumental proportions. Crowning this arch is a colossal bronze statue titled "Brabant Raising the National Flag", featuring a chariot drawn by four horses, symbolizing the Brabant province. Statues representing other provinces are positioned at the base of the columns surrounding the arch, whose sides are adorned with "galleries of the columns", embellished with mosaics illustrating Belgium's commitment to peace.

Le Cinquantenaire, which comprises the arch and the two substantial stone buildings it connects, was established by King Leopold II to commemorate the golden jubilee of the Belgian state in 1880. While the arch was intended to serve as a new entrance gate to the area, its funding and construction sparked controversy, as the king aspired to create an exceedingly extravagant structure, while the government was reluctant to allocate excessive funds. The financing and construction process proved protracted, spanning 25 years until its completion in 1905, with King Leopold II and private donors ultimately covering the costs.

On a positive note, Jubilee Park continues to host a variety of shows and trade fairs, maintaining its role as a versatile public space. The buildings within the park now house extensive collections of art and applied art, weaponry, and automobiles, exhibited across three distinct museums.

Why You Should Visit:
Because the best things in life are free.

Tip:
Just head to the top of the arch to admire Brussels' interesting panorama.

The Jubilee Park features expansive, leafy lawns that slope upward to a colossal triumphal arch crowned with a massive bronze sculpture called "Brabant Raising the National Flag". This arch, along with the two substantial stone buildings it connects, makes up Le Cinquantenaire ("Fiftieth Anniversary"), established by King Léopold II to commemorate the golden jubilee of the Belgian state in 1880. The exhibition at the time showcased products from Belgium and its colonies and was a great success. Today, the park continues to host various shows and trade fairs, while the buildings house extensive collections of art and applied art, weapons, and cars, displayed across three separate museums.

One notable attraction within the park itself is the Pavillon Horta, tucked away in the northwest corner. This Neoclassical structure, covered in graffiti, is known as the "pavilion of human passions" due to the controversial sculpture inside, created by Jef Lambeaux in 1886, which depicts writhing naked figures overseen by a shrouded Death. The pavilion was specifically designed to house this provocative work and was architect Victor Horta's first public commission, quite different from the later organic decorative style for which he became renowned. Interestingly, the building was closed just three days after opening due to the controversy generated by the bold artwork.

Next to the pavilion is a large cream-colored building, which houses Brussels' main mosque. This modern Arabic-style mosque was built in 1978 by a Tunisian architect, serving as a replacement for an earlier structure dating back to 1897.

Why You Should Visit:
A great place to relax, jog, enjoy picturesque views, and explore the diverse range of museums.
It's also a perfect spot for picnicking, especially on weekends when people and dog watching are popular activities.

Tip:
Visitors to the Royal Military Museum can take an elevator to the top of the Arch to enjoy wonderful views of Brussels, and this access is free of charge.

In the northern wing of Jubilee Park, opposite the Triumphal Arch and distinct from the nearby museums, this institution offers a comprehensive exploration of the history of the Belgian armed forces, spanning from their inception to the modern era. It achieves this through an extensive collection of weapons, uniforms, and paintings, presented in a large and well-organized, albeit somewhat formal, manner.

The museum's exhibits encompass a range of historical topics, including the participation of "Belgian" regiments in the Austrian and Napoleonic armies, as well as the pivotal role played by volunteers during the 1830 revolution. Particularly noteworthy is the hall dedicated to World War I, featuring a diverse array of uniforms and equipment representing various nations involved in the conflict. This section also showcases an impressive array of field artillery, an early British tank from 1917, and a replica of a German Fokker aircraft (naturally painted in red).

While the exterior courtyard has a squadron of tanks and armored vehicles from the 1940s, representing British, American, and German forces, the largest hall within the museum focuses on aviation – not only military aircraft but also civilian ones, though the highlights are undoubtedly the jet fighters, including a Belgian air force F16, a Mirage, and a MIG23, as well as iconic World War II aircraft such as the Hurricane and Spitfire.

Overlooking the park, a substantial hall is dedicated to World War II, covering the events leading up to the war, the Belgian experience of fascism and collaboration, and featuring striking photographs of the war's conclusion and liberation. A noteworthy bonus is the opportunity to access the triumphal arch, offering expansive panoramic views of the city from its terrace, accessible via lift or stairs.

Why You Should Visit:
Holds a surprising array of rare and unique artifacts, particularly in its collection of aircraft, tanks, and armored vehicles.
A good reminder of humanity's resource-intensive history in the pursuit of new and inventive ways to wage war.

Tip: Take time to enjoy the surrounding park and its serene ambiance while visiting the museum.

Just around the corner from the Royal Square stands the grand and somewhat unwieldy Royal Palace, a rather solemn conversion of late 18th-century townhouses from the 19th century. The extensive project was initiated by King William I, who ruled both Belgium and the Netherlands from 1815 to 1830. However, the Belgian rebellion of 1830 marked the end of the joint kingdom, and since then, the kings of independent Belgium have spent little time in this palace. In fact, while it remains their official residence, the royal family resides at the Royal Castle of Laeken, just outside Brussels.

Each year, during the summer months (usually from late July to early September), the Royal Palace opens its doors to the public. Visitors can tour several of the palace's rooms and learn about the history of the Belgian monarchy.

A visit here can be worthwhile for a few reasons: the tapestries designed by Goya; the magnificent chandeliers in the Throne Room; and the captivating "Heaven of Delight" ceiling fresco, in the Mirror Room, composed of over a million jewel scarab beetles in radiating green and blue colors.

An even more intriguing option is to explore one of the mansions within the Royal Palace complex, the Hôtel Bellevue, at the corner of Palace Square and Royal Street. This mansion has been transformed into the BELvue Museum, which delves into the brief history of independent Belgium, with corridor displays focusing on the country's kings and rooms dedicated to Belgium as a whole.

The building's location is historically significant, as it was from here that rebellious Belgians fired upon the Dutch army as it attempted to cross Brussels Park in 1830. Original artifacts such as photographs, documents, and letters are on display.

The name "Sablon" originates from the sandy marshland that once occupied the area until the 17th century. The Place du Grand Sablon serves as a hub for antiques and houses leading chocolate makers such as Wittamer and Pierre Marcolini; it's also a great spot for a satisfying lunch. In contrast, the Place du Petit Sablon park is adorned with statues representing the medieval guilds of Brussels. Between the two areas stands this 15th-century church of the Guild of Crossbowmen (or archers), a splendid example of Brabantine Gothic architecture, complete with a lofty nave and chapels embellished with sculptures by some of the most celebrated 17th-century artists.

The structure initially served as a place of worship for the guild members in the 1300s; however, a century later, it had to undergo significant enlargement to accommodate the influx of pilgrims drawn by the purported healing powers of its Madonna statue. The statue was acquired in 1348 through a daring theft from a church in Antwerp, reportedly carried out by a husband-and-wife team motivated by a vision, using a rowing boat. Although it's no longer present, a boat behind the pulpit commemorates this curious event.

Traditionally frequented by Brussels' elite, the church also served as a burial ground for affluent community members until the late 1700s.

Why You Should Visit:
To be awed by the grandeur, yet simultaneously feel the intimacy that sets this church apart from more conventional ones. The structure is exceptionally well-lit thanks to its numerous and striking stained-glass windows – some of the most memorable you'll ever encounter!

Tip:
Visit early on a Sunday to explore the antique market outside the church, adding to the overall experience.

The Royal Museums of Fine Arts are situated in downtown Brussels, on the small hill of Coudenberg (Koudenberg), and comprise four museums under the umbrella of the Royal Museum of Belgium. Two of them, such as the Museum of Ancient Art and the Museum of Modern Art, are in the main building, while the other two – the Museum Constantin Meunier and the Antoine Wiertz Museum – are found in different locations, considerably smaller and dedicated to specific Belgian artists.

The Royal Museum contains over 20,000 drawings, sculptures, and paintings spanning from the early 15th century to the present. The museum has an extensive collection of Flemish paintings, among them the works of Bruegel, Rogier van der Weyden, Robert Campin, Anthony van Dyck, and Jacob Jordaens. A particular pride of the museum is the "Rubens Room" housing more than 20 works of the artist.

Why You Should Visit:
An easy choice for an afternoon in Brussels, the combination of The Old Masters Museum, Modern Museum, and Magritte Museum is a veritable steal for the cost of admission and although at times clustered, the variety and expanse of the collection is something that needs to be seen. Not free, but inexpensive and the extra charge for the audio guide is well worth it. You can buy entry to all the collections or just one.

The captivating Magritte Museum houses an extensive collection of the Surrealist artist's belongings, along with a modest assortment of his early paintings and sketches. Magritte and his wife Georgette resided on the ground floor of this unassuming house from 1930 until the mid-1950s. It's an unconventional location for what effectively served as the headquarters of the Surrealist movement in Belgium, where many of its prominent figures gathered every Saturday to collaborate on a variety of subversive publications and images.

Offering a fascinating glimpse into the life of one of the 20th century's most influential artists, the museum faithfully recreates the ground floor as his studio and living quarters, using original furnishings and decor, with the rest meticulously replicated from photographs. The famous bowler hat, featured in several of Magritte's paintings, hangs near the indoor studio. Many elements of the house itself, such as the sash window, glass doors, fireplace, and staircase, as well as the lamppost out front, prominently appear in the artist's works.

In the garden, Magritte constructed a studio named "Dongo", where he produced his more commercial work, like graphics and posters, although he was often discontented when engaged in such mundane projects. His true artistic passion flourished in the dining-room studio, where he displayed a single work by another artist – a photograph by Man Ray – which remains there today.

Visitors are required to wear shoe-covers when exploring the first and second floors, which were separate apartments during the Magrittes' residency but now house a chronological display of letters, photos, posters, sketches, and other items related to the artist and his time here. There are also personal objects in the attic, which Magritte rented, including the easel he used in his later years.

Why You Should Visit:
Thoughtfully organized over three floors, offering a nice escape into a different world for a few hours.
Interesting to witness the development of Magritte's major themes and his transition into a retired surrealist.
The gift shop features a wide range of art prints on various objects at reasonable prices.

Tips:
Make time for the Magritte film on the same level as the gift shop, and consider getting an audio guide for the best experience, though note that the ordering can be a bit confusing in certain areas. Also consider buying an "all museums" ticket, which is affordable and grants access to two interconnected museums (Oldmasters Museum, Royal Museums of Fine Arts), eliminating the need to exit between visits.

The Musical Instruments Museum (MIM) is part of the Royal Museums of Art and History and is internationally renowned for one of the world's largest collections of musical artifacts, over 8,000. The museum highlights Belgian musical history, including Brussels’ significant role in developing early synthesizers like the Ondes Martenot and instruments by Belgian inventor and musician Adolphe Sax.

The MIM was founded in 1877, initially as part of the Royal Conservatory. The collection began with Indian instruments from Rajah Sourindro Mohun Tagore and a significant assembly from Belgian musicologist François-Joseph Fétis. By 1924, the number of exhibits had grown impressively to over 3,500.

Post-World War I, the collection growth slowed but then saw renewed vigor in the 1950s. A major turning point came in the 1990s with the MIM's move to the former Old England department store. This Art Nouveau venue, completed in 1899, featuring girded steel and glass, reopened to the public in 2000.

The museum’s layout includes mechanical instruments in the basement, traditional instruments on the ground floor, and orchestral, keyboard, and stringed instruments on the upper floors. Visitors can explore sounds via infrared headphones and view notable items like the Rottenburgh Alto recorder, a unique set of giant Chinese stone chimes, and the only existing copy of the luthéal, an instrument used by the French composer, pianist and conductor, Joseph Maurice Ravel.

Additionally, the museum hosts temporary exhibitions and concerts featuring modern musical innovators.

The Cathedral of Saint Michael and Saint Gudula on Treurenberg Hill, Brussels, traces its origins to a 9th-century chapel dedicated to Saint Michael. In 1047, Lambert II, the Duke of Brabant, brought the relics of Saint Gudula to this location, for which purpose a Romanesque-style church was built. Over the course of 300+ years, it had transformed into the striking Brabantine Gothic edifice seen today.

Recognized as Belgium's national church, this cathedral plays a pivotal role in the country's ceremonial life, hosting royal weddings and state funerals, as well as the Te Deum celebration during Belgian National Day. A historic monument since 1936, it underwent multiple restorations, including, most recently, in December 1999, just in time for the wedding of Belgian Crown Prince Philippe to Princess Mathilda. These efforts not only preserved but also uncovered parts of the original 11th-century church which are now visible through strategically placed viewing glass spots on the floor.

Architecturally, the cathedral showcases a French Gothic façade with distinctive twin towers standing 64 meters tall. Unlike traditional designs that feature a rose window, this cathedral’s façade is marked by a large ogival window, enhancing its Brabantine Gothic distinction. The robust structure is supported by double-span flying buttresses adorned with pinnacles and gargoyles.

Approaching the cathedral through a grand staircase, visitors are welcomed into the interior dominated by twelve cylindrical pillars and an array of statues crafted by renowned 17th-century sculptors. The Baroque pulpit, featuring 'Adam and Eve Banished from Paradise' by Flemish sculptor Hendrik Frans Verbruggen, dates back to 1699. The cathedral also contains intricate stained glass windows that chronicle biblical and royal narratives from the 16th to the 19th centuries. In the evening, the window at the nave's base, depicting The Last Judgment, is illuminated from within, creating a captivating spectacle.

Adding to its historic ambiance, the cathedral is also a hub for music, housing two significant pipe organs and a 49-bell carillon in the south tower, along with the bourdon bell named Salvator in the north tower. In recent years, it has also become a conservation site for peregrine falcons which made their nests in its towers. This was further highlighted by the "Falcons for everyone" project featuring live-streaming for public viewing, thus marrying natural history with cultural heritage.

Tips:
Upon entering, be sure to pick up a leaflet providing information about the cathedral's history and details. Access is free, but a small fee is charged if you want to see the archaeological site beneath the existing floors inside the building.

Often credited as Europe's first "mall", the stately Royal Saint-Hubert Galleries in Brussels is a remarkable example of a 19th-century covered shopping arcade. The concept of a shopping gallery originated in Paris during the 1780s when King Louis XIV leased parts of his garden to shopkeepers. Their outlets turned the space into a social and commercial hub that later developed into covered galleries for the affluent.

Brussels saw the creation of seven such galleries during the 1820s and 1830s, yet the Saint-Hubert Galleries – designed by architect Jean-Pierre Cluysenaar – is among the fortunate three that have endured the test of time. Officially inaugurated in 1847 by King Leopold I, the galleries quickly became a beloved haunt of the rich, offering a luxurious shopping and café experience regardless of weather. As such, they were precursors to other 19th-century European shopping venues like Milan's Galleria Vittorio Emanuele II and the Passage in Saint Petersburg, Russia.

Characterized by their Italianate Cinquecento style, the galleries feature glazed-arched shopfronts separated by pilasters beneath a glass-paneled roof with cast-iron framework. A deliberate bend in the galleries adds visual interest to the otherwise long, repetitive perspective. The covered structure is made up of two main sections, known as the King's Gallery and the Queen's Gallery, each measuring 8 meters (or 26 feet) in width and 213 meters (or 700 feet) in length, and a smaller side segment dubbed the Prince's Gallery.

In the past, the site hosted significant cultural developments like the first public showing of the Lumière brothers' moving pictures in 1896, and today houses among other attractions the Museum of Letters and Manuscripts and the Royal Theatre of the Galleries (inside The King's Gallery). The Queen's Gallery is best known for shops like Delvaux, specializing in leather goods, and Neuhaus, the pharmacy-turned-chocolatier renowned for creating the praline, which first opened its doors in 1857. It also houses the popular Passage Tavern restaurant. The Prince's Gallery, in turn, is home to the exquisite Tropismes bookstore.

The Galleries were designated a historic monument in 1986 while also being considered for World Heritage status by UNESCO.

Tip:
Climb to the top floor of the Le Pain Quotidien restaurant (whose name translates to 'The Daily Bread') for an elevated perspective and a unique view from the upper part of the galleries.

Grand Square-Brussels’ pride and joy-is the biggest show-off move of the Belgian capital. Some say it's the most beautiful square in Europe. Others say the world. Either way, it’s hard to argue when you’re standing there, dwarfed by a 15th-century Gothic Town Hall that looks like it got dressed for the Met Gala... and the neo-Gothic King's House-also charmingly called the Bread House (because apparently even royal buildings get carb cravings).

This cobblestoned stunner has been in the spotlight since the 11th century. Back then, it was a humble marketplace. A few hundred years later, it had a front-row seat to history-picture Inquisition bonfires and a couple of unfortunate noble executions (some sort of “light afternoon entertainment” for the medieval crowd)...

As Brussels bloomed, so did the square’s bling. Surrounding it are guildhalls that practically scream, “We have money and good taste!” Each one was built by a different trade-from haberdashers to bakers to brewers-and while the jobs have changed, the beauty hasn’t. Take Number 10, for example-once a brewers’ headquarters, now home to the Brewers Museum, so yes, beer still lives there. Circle of life.

Now, not everything has been smooth sailing here. In 1695, the French decided Brussels needed a “makeover.” So they bombarded the square for 36 hours straight. Miraculously, several buildings were rebuilt after that even better. Like Number 3, once run by tallow merchants, and Number 5, home of the archers’ guild, proudly rocking a phoenix on its façade-a little "burn me once" statement piece.

Today, in addition to being a history lesson with a stunning backdrop, the Grand Square is a vibe. Alleyways nearby are filled with centuries-old bars serving the holy trinity: Belgian beer, chocolate, and gossip. Butchers Street is your go-to for mussels and souvenirs and maybe some stretchy pants.

And if you time it right, you’ll catch the square in full party mode. There’s the biennial Flower Carpet-a psychedelic begonia explosion, the medieval cosplay of Ommegang, Christmas lights that would make the North Pole jealous, and concerts that echo through time.

Tip:
Visit in daylight to admire every gold-leafed flourish, and come back after dark for the light show. Around 10:20 PM, this square doesn’t just sparkle-it sings.

The Brussels Town Hall-part municipal headquarters, part medieval masterpiece, and all-around showoff of the Grand Square. Built between 1401 and 1455, this beauty is the only medieval building still standing in the square. Rich in Brabantine Gothic flair, it was declared a protected monument in 1936 and added to UNESCO’s World Heritage Site list in 1998.

Despite its regal look, the building’s had its fair share of drama. In 1695, during the Nine Years' War, the French heavily bombarded the city. The Town Hall took a hit: fire gutted the interior, torched the archives, and turned priceless artworks into ashes. And yet, like a true diva, it survived.

Its present-day form-a tidy quadrilateral wrapped around a central courtyard-dates from the 18th century, when two extra wings were slapped on the back. Then came the 19th century, when restorers went full "Gothic revival" mode and added nearly 300 statues, gargoyles, and fancy flourishes-because subtlety is not the style for this kind of property. Each ornament nods to Brussels’ proud guild traditions and colorful past.

Speaking of drama, notice that the tower isn’t centered? Legend says that the architect, Jan van Ruysbroek, was so distraught over the lopsided design that he threw himself off the tower. Dark... But let’s be real-it was probably just a classic case of medieval planning chaos.

Crowning the 96-meter tower is a golden spire topped with Saint Michael giving a devil the boot. The current statue is a 1990s replica, but the original goes back to 1455. Inside, it’s all chandeliers, frescoes, and enough historic rooms to make your head spin. Check out the Gothic Room, the Prince’s Gallery, the Mayor’s Cabinet, and the crown jewel-the States of Brabant Room, with a ceiling that deserves its own fan club.

Tip:
You can visit the inside, but only with a guided tour-around 45 minutes long and available in French, English, Dutch, or Spanish. Spots are limited and sell out fast, so grab your ticket early in the day. Tours run on Mondays, Wednesdays, Fridays, Saturdays, and Sundays. Just don’t show up on January 1, May 1, November 1 or 11, or December 25-because even grand old Town Halls need a day off.

The small bronze statue of a little boy faithfully relieving himself atop a fountain has paradoxically emerged as an unexpected symbol of Brussels.

The site has been a water fountain since the 13th century, but the statue in its current baroque form was crafted in 1619 to replace an earlier version. Throughout history, the Little Boy Peeing has been stolen and thrown into the canal multiple times. What we see today is a copy made in 1965. The original statue is safeguarded in the Brussels City Museum to protect it from any further mishaps.

This enduring sculpture exemplifies the typical Brussels sense of humor and its capacity to poke fun at its own image. Apart from its humor, however, the statue is renowned for various legends associated with it.

One story claims that it commemorates a brave young boy who urinated on a burning fuse, preventing an explosive charge from detonating and potentially destroying the city's fortification walls. In another account, a wealthy merchant, after an extensive citywide search for his missing son, who was eventually found joyfully urinating in a garden, presented the statue, as a token of his appreciation, to the townspeople who aided in the search. Yet another version of the tale suggests that a young boy woke up to find a fire in the king's castle and promptly used his urine to douse the flames, thus preventing it from burning to the ground.

For about one-third of the year, the statue is dressed up in various costumes by an official dresser who has been appointed by the city since 1755. The current dresser, Nicolas Edelman, is the 13th since the 18th century. In 2014, he volunteered for the job which implies dressing up the statue for about 130 events annually. The role demands flexibility, requiring early mornings or late evenings, regardless of weather or day.

The costumes, donated by various entities, must meet quality standards and not serve political, commercial, or religious agendas. To date, the peeing boy has donned over 500 different outfits, ranging from the earliest-known attire, a Louis XV-provided ensemble portraying him as an elegant 17th-century gentleman, to a samurai robe celebrating the friendship between Belgium and Japan.

Little Boy Peeing has two companion statues: Little Girl Peeing (depicting a urinating girl, installed in 1987 in an alleyway near the Grand Square) and Little Dog Peeing (portraying a urinating dog, erected in 1998 in Dansaert, modeled after a real dog owned by the sculptor). Both of them are located approximately 550 meters away from the Little Boy Peeing but in different directions.

Commissioned by Léopold II, the influential figure behind much of the capital's magnificent architecture, the Sacred Heart Basilica is an immense structure, measuring 140 meters in length and featuring a towering 90-meter-high dome that commands its surroundings and the entire city of Brussels. Construction began in 1905 and, to this day, it remains partially unfinished.

Originally conceived as a neo-Gothic extravagance, the basilica aimed to emulate its namesake in Montmartre, Paris-a monumental edifice that had filled the Belgian king with envy, intensifying his determination to elevate Brussels to a status befitting the finest European capitals. However, the construction costs proved to be staggering, leading to necessary plan modifications. The outcome is a fusion of the original neo-Gothic design with Art Deco elements that were incorporated in the 1920s.

Upon entering, the interior undeniably leaves a strong impression, featuring a modern sensibility that harmonizes with the warm brown bricks and softly filtered light. The atmosphere is unexpectedly soothing, and the church exudes a sense of coziness that may surprise visitors based on their initial impressions from the outside.

Tip:
After exploring the church, ascend to the top of the dome for rewarding panoramic views of the city.