Bari is often associated mainly with the narrow streets of Bari Vecchia, but during my stay I discovered a city with far more than just its medieval heart. Spending nearly a week in the region allowed me to explore not only the historic centre itself, but also many of the remarkable places located around Bari across Apulia and neighbouring Basilicata.
Bari | 巴里 | 바리 | バーリ
Today I would like to write about Bari, a large port city located in the Apulia region in southern Italy. It is one of those places that can be visited well beyond the peak summer season. Even in autumn, temperatures here remain pleasantly high, although it is still worth being prepared for occasional rainy days, which can appear quite suddenly at this time of year.
My first photograph taken in Bari, captured along the city’s long Adriatic promenade. At this point, near the historic centre and Corso Cavour, the waterfront is known as Lungomare Araldo di Crollalanza, although further north and south the promenade changes names along different sections of the coast. Today, it remains one of the most characteristic parts of Bari, stretching between the sea, the old town, and the monumental architecture of the newer districts.
Unlike many of my previous trips to Italy, my stay in Bari was not limited to walking through a historic centre for a day or two. I spent nearly a week around the city while visiting family living several kilometres outside Bari. Because I had a rental car, I was able to see not only the most tourist-oriented places, but also the more contemporary and everyday side the city. It was precisely this double perspective that made Bari far more memorable than I had initially expected. On one hand, there are the very old, narrow streets of Bari Vecchia, full of tourists, restaurants, and historical landmarks, while on the other there are modern districts, broad avenues, heavy traffic, and the everyday life of a large city. And I have the impression that only after seeing both of these worlds is it possible to better understand Bari. In fact, I have noticed that this often happens when I travel for reasons other than tourism. Sometimes it is work, sometimes visiting family, but staying a little longer usually allows me to see a city from a much broader perspective than just its old town and main tourist attractions.
Driving through the city itself was also an experience of its own. It quickly became clear that finding a parking space in the late evening in the centre where I rented an apartment, was not exactly easy. The local driving style required a certain amount of adjustment, as well. I very quickly started appreciating the fact that the car had front and rear cameras, because many parking spaces looked significantly smaller than those I am used to. Bari did not feel unfriendly towards drivers, however – rather, it felt like a city functioning according to its own rules and rhythm, to which you simply have to adapt. What also surprised me in comparison with my own country was the much smaller number of road signs. Very often, especially at junctions, you have to pay close attention to the lines painted on the road itself, because only then do you realise who actually has priority.
At the same time, the car gave us an enormous amount of freedom, especially because some of our trips around the region were made together with my two-year-old niece. Bari became our base for exploring a larger part of Apulia and even a fragment of neighbouring Basilicata. Over the course of several days, we visited places including Alberobello with its famous trulli houses, Matera with its rock-cut districts, and Castel del Monte, which remains one of the most mysterious medieval buildings in Italy to this day. All of these places are located relatively close to Bari, and it is precisely then that you realise how good a base this city can be.
THE HISTORIC CITY
Despite the numerous trips outside Bari, there was also time to explore the city itself at a slower pace. One evening was spent mainly wandering through the historic centre, while on another day I devoted practically the entire day to the historic districts of Bari itself. And it was then that I started noticing that the city is far more complex than the images usually associated with it online might suggest.
Most tourists associate Bari almost exclusively with Bari Vecchia – the oldest part of the city located between the port and the sea. This is where the best-known landmarks are situated, including the Basilica of Saint Nicholas and the Norman-Swabian Castle. Narrow alleyways, stone walls, hanging laundry, and small squares really do create a very typical image of southern Italy. Even despite the large number of tourists, this part of the city occasionally feels almost medieval, particularly once you move away from the main walking routes.
The narrow streets of Bari Vecchia remain the most characteristic part of the historic city. Walking through this maze of stone alleyways, small squares, hanging laundry, and centuries-old buildings, it is easy to understand why the old town still feels far removed from the modern districts located only a few streets away.
The Norman-Swabian Castle of Bari turned out to be one of the most interesting places in the city. Since I have already described it in much greater detail elsewhere, I will only mention here that it is definitely worth visiting the interior rather than limiting yourself to viewing the walls from outside. The same applies to the Basilica of Saint Nicholas, which remains one of the most important religious sites in the entire region. It is here that the relics of Saint Nicholas were brought in the 11th century, making Bari an important pilgrimage destination and one of the key ports on the Adriatic for many centuries. At the time of my visit, the castle was undergoing renovation works, and one thing that also stood out was the relatively small number of exhibits inside. In practice, apart from the plaster cast gallery located on the ground floor, the interiors were quite empty. Nevertheless, the castle itself still makes a very strong impression. The castle was also closely connected with Bona Sforza, the Queen of Poland. It was here that she spent part of her life as Duchess of Bari before leaving for Kraków and marrying Sigismund I the Old, and she later returned to Bari during the final years of her life after leaving Poland. She was eventually buried in the Basilica of Saint Nicholas, where her sarcophagus can still be seen above the altar.
The Basilica of Saint Nicholas has a surprisingly unusual shape when viewed from the side streets of Bari Vecchia. From the front, it clearly appears as one of the city’s most important churches, but along the narrow streets running beside the basilica, the massive stone walls and fortress-like structure almost resemble a castle or defensive building rather than a religious site. This distinctive appearance reflects the Romanesque architecture of the 11th and 12th centuries, when churches in southern Italy were often built with strong, monumental forms.
At the same time, Bari does not end with its medieval quarter. Between the main railway station and the seafront lies a completely different part of the historic city – more ordered, significantly wider, and filled with elegant townhouses and representative streets. This district, developed mainly during the 19th century, presents Bari not as a medieval port, but as a modern Italian city shaped during the period of Italian unification. The most characteristic features here are the broad avenues, particularly Corso Vittorio Emanuele II and Corso Cavour. The architecture of this part of the city feels far more monumental and organised than in Bari Vecchia. Townhouses dating from the 19th and early 20th centuries dominate the streetscape, often featuring neoclassical and eclectic elements. While walking through this part of Bari, I occasionally had the impression that I was in a completely different city from the one located only a few streets away.
And perhaps that contrast is what I remember most strongly. Bari is not merely a postcard-perfect medieval town designed purely for tourists. It is a large, living city with a very long history, which for centuries served as an important port and a meeting place of different cultures present around the Adriatic. You can see medieval, Norman, and Byzantine influences here, but also the 19th-century ambitions of a modern city.
The elegant streets around Corso Cavour represent a completely different side of Bari from the narrow alleys of Bari Vecchia. Developed mainly during the 19th century, this part of the city is filled with broad avenues, monumental townhouses, and architecture reflecting the period when Bari rapidly expanded beyond its medieval walls.
THE HISTORICAL BACKGROUND
The history of Bari is much older than it may initially appear while walking through the modern city. Thanks to its location on the Adriatic coast, the settlement developed as a port already in antiquity and from the beginning remained connected with maritime trade and contacts between the Italian Peninsula, the Balkans, and the eastern Mediterranean. During the Roman period, Bari, then known as Barium, became one of the more important ports in southern Italy, although for a long time it remained overshadowed by larger cities of the region.
Towards the end of the 4th century was the empire administratively divided into western and eastern parts. Because Bari was located within Italy, it became part of the Western Roman Empire. After its collapse in the 5th century, however, the political situation in southern Italy remained unstable for a very long time. The city repeatedly changed rulers and came under the influence of the Lombards, Byzantium, and for a certain period also the Arabs. The Byzantine period turned out to be particularly important because Bari became one of the main administrative centres of Byzantium in southern Italy. As a result, the city remained closely connected for centuries with the trade and culture of the eastern Mediterranean, maintaining contacts between Italy, the Balkans, and the Greek world.
In the 11th century, Bari was conquered by the Normans, who began extensive expansion of the fortifications and strengthened the city’s role as an important commercial and military port. Part of the oldest fabric of Bari Vecchia dates precisely from this period. At the same time, the arrival of the relics of Saint Nicholas from Myra in 1087 transformed the city’s position within medieval Europe, turning Bari into one of the most important pilgrimage destinations on the Adriatic. The Basilica of Saint Nicholas was built specifically to house these relics. Saint Nicholas himself is also a much more historically significant figure than modern popular culture might suggest today, when he is associated mainly with Christmas traditions. For centuries he was one of the most important saints in Christianity, particularly venerated in the Byzantine world and eastern Christianity. This is also why the basilica in Bari continues to hold major importance for both Catholics and Orthodox Christians.
The Normans created a powerful state that included Sicily and much of southern Italy. The last Norman heiress of this kingdom, Constance of Sicily, married Henry VI of the Hohenstaufen dynasty, the son of Emperor Frederick Barbarossa. Through this marriage, the Hohenstaufens gained rights to the Kingdom of Sicily and, after the death of the last Norman ruler, took control of the entire state, including Bari. Their son was Frederick II, who spent part of his childhood in southern Italy and became very strongly connected with the region. One of the most important rulers of medieval southern Italy, he expanded and rebuilt several fortifications across the region, including the castle in Bari and the famous Castel del Monte.
After the decline of the Hohenstaufen dynasty, Bari later became part of the Kingdom of Naples. The Kingdom of Naples was a historical state that controlled most of southern Italy for many centuries, with Naples serving as its capital. It emerged during the Middle Ages and existed in various forms until the 19th century, when Italy was unified into a single country. Over the centuries, the kingdom itself was ruled by different dynasties, including the Angevins, Aragonese, and later the Spanish Bourbons. The city was repeatedly rebuilt and fortified, while its strategic position ensured that it played an important commercial and military role.
In the 19th century, Bari began expanding rapidly beyond its medieval walls. New representative districts with broad streets and elegant architecture inspired by the urban planning of modern European cities started to appear. It was during this period that much of the present-day centre of Bari took shape, creating a very visible contrast with the dense and narrow streets of Bari Vecchia.
Today, Bari is one of the largest cities in southern Italy and the capital of the Apulia region. Walking between medieval Bari Vecchia and the 19th-century avenues of the newer districts, it becomes very easy to see how the city evolved over the centuries. For me, however, Bari turned out also to be a very convenient place from which to explore the wider region. You can easily spend several days here focusing entirely on the city itself, but Bari works equally well as a starting point for further journeys around Apulia. And perhaps it is precisely this combination – everyday urban life, a historic centre, and an excellent location – that makes Bari stay in your memory much longer than you might initially expect.
The historic town of Riga has a long and complex past – shaped by merchants, clergy, and shifting powers. In this post, I start with the city’s history: who built it, who ruled it, and how it changed. Then I move on to the architecture – the streets, façades, and churches that still carry traces of that past
historic town of Riga | ville historique de Riga | historische Stadt Riga | ciudad histórica de Riga | historyczne miasto Ryga | Rīgas vēsturiskā pilsēta | исторический город Рига | リガの歴史的な町 | 리가의 역사적인 도시 | 里加历史古城
Today, I want to write about a city that left a lasting impression on me. I visited it twice, each time under completely different circumstances – and maybe that’s exactly why it stayed with me so strongly. I had the chance to walk around with my camera at various times of day – and even at night – over the course of several days. Most of my walks took place within a space of less than one kilometer in length and about 700 meters in width, covering the historic city center. Once or twice, I wandered a bit further in different directions to explore other corners. For work-related reasons, I also visited other districts, but I’ll leave those aside for now. What really mattered was that during one of my visits – actually while on a business trip – our organizers booked a hotel whose back entrance opened directly onto the Old Town. Just a few minutes outside and you could already feel the atmosphere of the place.
The city I’m writing about is Riga – the capital of Latvia, one of the Baltic States located in Northern Europe. The history and identity of this place turn out to be far more complex than they might seem at first glance, even though it lies over 2,000 kilometers away from the most popular destinations in Europe.
Historical Context
Riga was founded as a small settlement in the late 12th century by German merchants, and officially established as a city in 1201 by Bishop Albert of Buxhövden, who came to the region from northern Germany (specifically, Lübeck). Albert initiated the city’s development under German town law and laid the foundations for its urban structure.
In its early days, Riga had a commercial and missionary character.
Its location on the Daugava River, with direct access to the Baltic Sea, opened trade routes deep into the continent. At the level of the Old Town, the Daugava is about 500 meters wide and lies roughly 14 kilometers from the Baltic coast. Thanks to this, Riga quickly became one of the key ports on the Baltic. By the 13th and 14th centuries, it had joined the Hanseatic League – a network of trading cities that shaped the economic landscape of Northern Europe for several centuries. A typical medieval Hanseatic city structure emerged, with German elites, fortified walls, and a guild-based order.
The founding of Riga was closely tied to the Northern Crusades – a series of Christianization campaigns targeting pagan Baltic and Finnic tribes. This is a lesser-known, but highly significant chapter of medieval European history. Unlike the crusades to the Holy Land, these campaigns aimed at expanding Christianity (as well as political and trade influence) into the lands of present-day Latvia, Estonia, Lithuania, and Finland. Their goals were both religious and strategic: converting local populations, securing military control over Baltic trade routes, and strengthening the power of the Church and German states. Pope Innocent III granted these expeditions the status of a crusade – participants received indulgences and papal support, just like in the Holy Land. Riga became the seat of an archbishopric, and in 1202, Bishop Albert founded the Order of the Livonian Brothers of the Sword (Fratres Militiae Christi de Livonia) – a new, local military order created to protect the Christian mission in Livonia (modern-day Latvia and Estonia). Riga thus became a strategic base for further missionary and military campaigns toward Estonia and Lithuania. In 1236, the Livonian Order was defeated by the Samogitians, a tribe inhabiting the southern part of present-day Latvia and northern Lithuania. After this defeat, the order was absorbed into the Teutonic Order, a powerful organization established by German crusaders active in areas that today form northern Poland and Lithuania.
The Teutonic Order and the Hanseatic cities, including Riga, shared common interests for a long time. Both sides aimed to stabilize trade in the Baltic Sea, secure maritime and river routes, and promote the Christianization and “civilization” of the pagan regions along the eastern Baltic coast. Riga actively benefited from the military protection provided by the Order, while the Order relied on the trade network and infrastructure of the Hanseatic League. Over time, however, tensions began to rise. The Order was a feudal and military structure, focused on centralizing power, whereas the Hanseatic League represented the interests of autonomous cities and merchant guilds. The Order attempted to interfere in city affairs – for example, by installing its own mayors or limiting the independence of guilds. This led to growing conflicts and friction between the two sides, despite their earlier cooperation.
historic town of Riga | ville historique de Riga | historische Stadt Riga | ciudad histórica de Riga | historyczne miasto Ryga | Rīgas vēsturiskā pilsēta | исторический город Рига | リガの歴史的な町 | 리가의 역사적인 도시 | 里加历史古城
The Teutonic Order lost much of its influence after the Battle of Grunwald in 1410. However, its state survived – though weakened and reorganized. It’s important to note that Riga was not part of the Order’s main territory, but was located in Livonia – a region administered by the Livonian branch of the Teutonic Order. While formally dependent on the Order’s central authority, in practice this branch operated with a fair degree of autonomy. That’s why the defeat at Grunwald didn’t have as direct an impact on Riga as it did, for example, on Malbork. Still, it created a new political landscape. Riga seized the opportunity and began to assert its independence more actively.
During the period of Teutonic dominance, up until the late 15th century, Riga was formally divided between the Archbishop of Riga, the Livonian Brothers of the Sword, and the City Council. These three centers of power competed for influence, but the city gradually gained more independence, especially in economic and municipal matters. By the end of the 15th century, Riga entered a phase of open conflict with both the archbishop and the Order. Between 1491 and 1520, the city was effectively engaged in a local war for autonomy. There were sieges, street fights, and constant struggles for control. In the end, the City Council retained authority over internal affairs, laying the foundations for a self-governing city. The turning point came during the Reformation – in 1522, Riga officially adopted Lutheranism. This marked a final break from the previous church-feudal structure and a major step toward spiritual, political, and economic independence.
From that point on, Riga became a de facto free Hanseatic city – self-governed, with its own administration, religion, and direction of development. Although it was still formally part of the Archbishopric of Riga and subject to various external influences, its autonomy was real and lasted well into the early modern period. However, this era also coincided with the decline of the Hanseatic League. The geography of trade routes began to shift, as this was also the age of geographical discoveries. At the same time, emerging nation-states were becoming more interested in controlling economic flows, especially in the form of taxes and customs duties. After the Teutonic Order’s decline and the collapse of its power in Livonia, Riga entered new phases of dependence – no longer under the Order, but now under the influence of state powers. The merchant elites continued to fight for their position, but the opponents had changed.
In the following period, during the Livonian Wars of the 16th century, Riga came under the authority of the Polish–Lithuanian Commonwealth. In 1581, it was officially recognized as a free city under the protection of King Stephen Báthory. The arrangement turned out to be fairly liberal. Riga retained full economic autonomy, its own judicial system, Protestant faith, and self-governing structure. In practice, its obligations to the king were minimal. Over time, however, tensions grew. Attempts at Catholic Counter-Reformation, supported by the monarchy, were not welcomed by the Protestant bourgeoisie. The City Council sought to resist religious interference, and the city began to explore closer ties with Sweden, which offered protection without religious pressure.
In 1621, during the war with Sigismund III Vasa, King Gustavus Adolphus of Sweden captured Riga, marking the beginning of a new chapter in the city’s history. Riga became the second-largest city in the Swedish Empire, after Stockholm. Although it was subject to the Swedish crown, it enjoyed a high degree of autonomy. The municipal structure was preserved, as was the dominance of the German bourgeoisie, the city’s Protestant identity, and its well-developed education system. For merchants, this was a time of stability, commercial freedom, and growth. Riga played an important economic and administrative role within the Swedish state. While tensions with royal officials occasionally arose, they were not destabilizing. It was a golden age of self-governance for Riga’s Protestant bourgeois society.
In 1710, during the Great Northern War, Riga was captured by the Russian troops of Tsar Peter I. Along with all of Livonia, it was incorporated into the Russian Empire. Although Riga had been part of Russia since 1710, a certain degree of local autonomy was initially preserved, and the German bourgeoisie continued to dominate the city’s administration, commerce, and culture. Over time, however, Russia gradually introduced its own official structures, changed the legal system, and reduced the influence of the German elite. Russification policies were supported, and the Russian presence in the city began to grow. Despite these changes, Riga remained one of the empire’s most important ports and a major industrial center, especially during the 19th century. The merchant autonomy was eventually curtailed by the centralization of the imperial administration. The German bourgeois class, which had shaped Riga’s identity for centuries, gradually lost its influence. Still, until the 20th century, the city retained a distinctive cultural and commercial continuity rooted in its Hanseatic, Protestant, and urban traditions – though now subject to the wider interests of imperial powers. Each of these historical phases left its mark – not only in architecture, but also in language, religion, culture, and the urban fabric. Riga was a truly multiethnic metropolis, home to Baltic Germans, Latvians, Jews, Poles, Russians, and other communities, where Eastern and Western influences coexisted and intertwined on many levels.
In the interwar period, after gaining independence in 1918, Riga became the capital of a young and ambitious republic. After World War II, it was incorporated into the Soviet Union and went through a difficult phase of intense Sovietization, which left a mark on both the urban fabric and the lives of its residents. Today, Riga is the independent capital of a European country that has been a member of the European Union since 2004.
Walking the Streets of Riga
Riga’s wealth, accumulated over centuries thanks to its strategic location on the Daugava River and its role as one of the region’s major trading ports, has always been reflected in the city’s architecture. Every period of prosperity left behind its mark in the form of representative buildings – both religious and secular. During its time in the Hanseatic League, Gothic merchant warehouses, churches, and guild halls were constructed. Under Swedish rule, new public buildings and schools were added, often supported by the crown. Then, in the 19th century, during the period of Russian rule, Riga experienced a true economic boom as an industrial and port hub of the empire. This sparked rapid urban and architectural growth, resulting in the construction of dozens of buildings in eclectic, neo-Renaissance, and especially Art Nouveau styles. Walking through its streets, you get the feeling that everything exists side by side – old and new, monumental and intimate, Western and Eastern. And maybe that’s exactly why it’s a place you want to return to.
Let’s take a look at a piece of the Old Town and a few spots nearby. This will be a somewhat subjective walk. From the hotel where we were staying, using the side entrance, it took just about five minutes to reach the Gothic rear wall of St. Peter’s Church. There’s a tiny square there where you can sit for a moment, and the nearby streets lead straight into the busiest part of the Old Town, filled with tourists, cafés, and restaurants. This spot is easy to recognize thanks to a small but distinctive sculpture featuring four animals stacked on top of one another: a donkey, a dog, a cat, and a rooster. It’s a direct reference to the fairy tale The Town Musicians of Bremen by the Brothers Grimm. The animals are arranged in a pyramid, just as described in the story, in which four abandoned animals set off together for Bremen to become musicians. The sculpture was installed in 1990 as a gift from the city of Bremen to Riga, as a gesture of partnership and solidarity between two Hanseatic cities.
When you stand behind St. Peter’s Church and look to the right, you’ll notice an unassuming building with a beautiful bas-relief. This is one of the structures that belong to the Konventa Sēta complex – or monastic courtyard. The fact that it forms a cohesive complex only becomes fully visible when you look down from St. Peter’s tower. The origins of this site go back to the 13th century. It was originally founded as a Dominican monastery, brought to Riga by Bishop Albert as part of establishing church and urban structures in the newly Christianized region. The Dominicans, a preaching order, played a significant role in shaping the city’s religious, educational, and social life. At the heart of the complex was a monastery with a chapel, which in the 14th and 15th centuries was expanded and transformed into St. John’s Church. The building has retained its Gothic character, including a stepped gable with vertical pilaster strips and copper details. Around the church, cloisters, convent houses, utility buildings, workshops, and warehouses were built, forming a self-contained and functional urban quarter. After the Reformation in the 16th century, the Dominicans left the monastery. St. John’s Church was handed over to the Lutheran community, while the remaining buildings came under the administration of the city authorities and were used as storage spaces, residences, and workshops. Despite these changes, the original spatial layout was preserved. In the 19th and early 20th centuries, some buildings were rebuilt. After World War II, the complex was placed under heritage protection, and in the 1970s and 1980s, it was restored and unified under the name Konventa Sēta. Today, it includes St. John’s Church, former monastic buildings, courtyards, and parts of the medieval city walls.
Konventa Sēta with St John’s Church visible in the background. Some of the photos were taken from the observation platform on the tower of St Peter’s Church.
When you first approach St. Peter’s Church in Riga from the rear, you’re convinced you’re about to enter a magnificent Gothic structure. The red-brick apse, stepped gables, and pointed arch windows all speak to its medieval origins and architectural coherence. But as you walk around to the main entrance, you’re met with a completely different façade – one that unmistakably belongs to a later period. Baroque portals, sculpted figures, and curving volutes mark a shift in style and fashion. It becomes immediately clear that at some point, only the front of the church was rebuilt to reflect the aesthetics of a newer era. This contrast is the result of centuries of reconstruction and adaptation. St. Peter’s Church (Svētā Pētera baznīca) is one of Riga’s oldest churches, with origins dating back to the 13th century, when the first wooden building was erected. In the 14th century, it was rebuilt as a Gothic brick basilica, with a three-aisled interior and a prominent tower. Over the centuries, the church was repeatedly damaged by fires – most notably in 1666 – leading to significant structural changes. The greatest transformation occurred in the 17th and 18th centuries, when the main façade and the tower were redesigned in the Baroque style. The tower, after collapsing in 1721, was rebuilt in its current form, and the western entrance took on its ornate appearance, in line with architectural trends of the time. Despite these changes, much of the medieval layout and Gothic detailing – especially in the eastern part of the church – remains intact.
St Peter’s Church seen from the rear, where it appears distinctly Gothic, followed by views of the front façade – rebuilt in the Baroque style – and the interior.
Upon leaving St Peter’s Church, if you turn left and walk in the direction of the Daugava River, you will arrive at Town Hall Square (Rātslaukums). This square is home to the Riga Town Hall, which was rebuilt after the Second World War, and also to two strikingly ornate, interconnected buildings now commonly referred to as the House of the Blackheads. Although they now form a unified architectural complex, their origins and original functions remained separate until the late 19th century.
historic town of Riga | ville historique de Riga | historische Stadt Riga | ciudad histórica de Riga | historyczne miasto Ryga | Rīgas vēsturiskā pilsēta | исторический город Рига | リガの歴史的な町 | 리가의 역사적인 도시 | 里加历史古城
The House of the Blackheads (Latvian: Melngalvju nams) is the older of the two. It was originally built in 1334 as the “New House of the Great Guild”, used by local merchants for ceremonial and representative purposes. From the mid-15th century, it was rented by the Brotherhood of Blackheads – an elite association of unmarried merchants and shipowners who held meetings, balls, concerts, and charitable events there. Over time, the Brotherhood became the building’s owners. Its façade was rebuilt in a mannerist style (notably in 1615), with rich ornamentation and the addition of the famous clock in 1626. The building was destroyed during the Second World War and was fully reconstructed between 1996 and 1999. Immediately to the left of the House of the Blackheads stands a smaller building now known as the Schwabe House. It originated in the medieval period as an independent burgher’s townhouse, whose exact function is no longer clearly known (likely residential and commercial). In 1889–1891, the house was thoroughly rebuilt to a new, representational design by architect Karl Felsko for the Schwabe trading company, which gave the building its name. During that time, it was also functionally and structurally integrated with the House of the Blackheads, forming a coherent ensemble with aligned stylistic and practical purposes.
Today, the two buildings are regarded as a single complex, commonly referred to as the House of the Blackheads. In addition to their architectural and historical significance, they now serve as a prominent venue for official events, exhibitions, and tourism, and form one of the key landmarks of Riga’s Old Town.
Aerial view of Town Hall Square, followed by images of the façade of the House of the Blackheads, the statue of Roland in the centre of the square, and several decorative figures on the building itself – including St George slaying the dragon, St Maurice with his characteristic black face, and the figure of the City Guard.
The Brotherhood of Blackheads was a historical association of unmarried foreign merchants, most of them of German origin, who were active in Riga from the 14th century. The Brotherhood functioned as both a commercial and semi-military organisation, playing a key role in the economic, social, and ceremonial life of the city. Members helped protect merchant convoys, financed civic projects, and organised important public celebrations. The name “Blackheads” might appear unusual at first glance, but it has a clear origin. The guild’s patron saint was Saint Maurice — a Roman legionary commander of African origin, who is traditionally depicted in medieval European iconography with a black head. It is from this iconographic image that the Brotherhood took its name. A small statue of a dark-headed man, referencing St Maurice, still adorns the entrance to the House of the Blackheads.
Also drawing attention on the square is an independent townhouse with a dark – almost black -façade, separated from the House of the Blackheads by a small side street. It is not connected to, nor historically part of, the Blackheads complex. This is an ordinary burgher’s building, most likely constructed in the 19th century as part of a row of administrative or commercial properties lining the square. Due to its strikingly dark façade and proximity to the well-known House of the Blackheads, it is often mistakenly associated with the complex. Its distinctive appearance stems from the deep, shadowy colour of its exterior, which stands in sharp contrast to the bright red bricks of the adjacent buildings.
At the centre of the square stands the statue of Roland, the medieval knight and legendary paladin of Charlemagne. His presence symbolises the city’s medieval legal independence and civic pride, in keeping with similar Roland statues found in other Hanseatic towns.
Approaching from Town Hall Square and heading towards the central parts of Riga’s historic old town, one arrives at Riga Cathedral (Rīgas Doms) – the largest medieval church in Latvia and one of the city’s key landmarks. Construction began on 25 July 1211 at the initiative of Bishop Albert. From the outset, the cathedral was intended to serve as the spiritual centre of the new diocese.
The original church was built in the Romanesque style, but by the 13th and 14th centuries it had already undergone significant extensions in the Gothic style. In the 15th century, the tower was added and the chancel enlarged. Along with adjoining cloisters, chapter buildings, and an enclosed courtyard, the cathedral formed a self-contained complex of great religious and intellectual significance – home to schools, scribes, and early missionary work.
After Riga adopted Lutheranism in 1522, the cathedral – like many other churches in the city – was transferred to the Evangelical Lutheran congregation. Over the following centuries, it suffered repeated damage: partial destruction in the 16th century, and again during Swedish and Russian sieges. In the 18th century, the tower was topped with a Baroque spire, which for a time became the tallest structure in the city. At the turn of the 19th and 20th centuries, the building underwent substantial restoration in the spirit of historicism, with efforts to recover some of its Gothic features. The monumental pipe organ installed at this time was for many years considered one of the largest in Europe.
During the Soviet period, the cathedral was secularised and used as a concert hall, which, despite the loss of its religious function, helped ensure its preservation. Following Latvia’s independence in 1991, the building was returned to the Evangelical Lutheran Church and gradually reinstated as a place of worship.
The Lutheran cathedral in Riga, first seen from the viewing platform at St Peter’s Church, then from the square in front, and finally in a close-up of its façade. Capturing it on camera proved difficult, as the building is tucked away among narrow streets.
As you continue exploring the streets of Riga, you’ll notice that the spirit of its historic past lingers well beyond the major landmarks. Many smaller buildings, side streets and architectural details still echo the city’s former grandeur – even if their façades have been altered or rebuilt in later centuries. The layers of time are visible everywhere, and even outside the main tourist routes, the Old Town reveals corners that speak of Riga’s medieval and early modern identity. Below are a few more impressions from the very centre of the historical city.
A few more glimpses from the heart of Riga’s historical centre. As one might expect given the city’s layered past, a blend of architectural styles is clearly visible.
If we cross to the other side of the historic Old Town, moving away from the Daugava River and heading northeast from Town Hall Square, the cobbled lanes begin to open up, and the dense architecture gives way to greenery. Eventually, we reach a more spacious area where the old town begins to taper off, and in front of us appears a park. This is Bastejkalns Park – a narrow strip of greenery that follows the city canal, a quiet place filled with footbridges, benches, and low trees. Despite its central location, the atmosphere here is calm, almost intimate. It’s clearly a space not just for tourists, but also for locals – some strolling, others reading on benches, while a few simply pass through on their way home or to work.
At the edge of this park stands the Freedom Monument, impossible to miss – a tall, slender obelisk. Unveiled in 1935, the monument commemorates the soldiers who died in the Latvian War of Independence, fought between 1918 and 1920. It was a turbulent time, as the newly declared Latvian republic defended its sovereignty first against the Red Army, and later against German paramilitary formations operating in the region. After several key battles – including those at Riga and Cēsis – Latvia succeeded in securing its independence and signed a peace treaty with Soviet Russia. During the Soviet occupation, the monument became a quiet site of resistance – despite restrictions, people would still lay flowers at its base, often under the cover of darkness. Today, it remains the setting for national ceremonies, parades, the daily changing of the Honour Guard, and moments of quiet reflection.
The monument, designed by sculptor Kārlis Zāle is a carefully composed narrative in stone and bronze. At its base are sculptural groups depicting scenes from Latvian history – peasants at work, Latvian riflemen, allegories of sacrifice and spiritual freedom, and a grieving mother. In total, the monument features 13 sculptural groups and 56 individual figures, symbolising both the past and the ideals on which the Latvian state was built. At the very top stands the female figure known affectionately as Milda, holding aloft three golden stars representing Latvia’s historic regions: Kurzeme, Vidzeme, and Latgale.
Facing the monument, to your right, is a pale, elegant building – the Latvian National Opera. This neoclassical structure, built in the 19th century, is home to the country’s main opera and ballet stage and continues to serve its original cultural purpose. Designed by German architect Ludwig Bohnstedt, the building is known not only for its harmonious proportions but also for its excellent acoustics. On sunny days, you’ll often find people relaxing on the steps or nearby in the park – some awaiting a performance, others simply enjoying the atmosphere.
The Freedom Monument, and further on Bastejkalns Park, and the façade of the National Opera.
After a quiet moment by the National Opera, it’s worth turning and continuing along Brīvības iela, heading northeast. This is the main thoroughfare that connects the Old Town with the more modern parts of the city. As we walk, we pass through Esplanāde Park – a well-maintained green space with broad paths and sculptures, offering a welcome contrast to the cobbled streets and close architecture of the old centre. The route is straightforward – just keep going, and soon the first hints of Art Nouveau architecture begin to appear on the horizon.
After about fifteen to twenty minutes on foot, we arrive in the heart of Riga’s Art Nouveau District. This part of the city is renowned for its exceptional collection of turn-of-the-century buildings – especially along Alberta iela and Elizabetes iela, where ornate facades, sculptural details and decorative flourishes catch the eye at every step.
I’ve already written extensively about this district in a separate post – where you’ll find background on the architecture, historical context, and a guide to the most noteworthy buildings. You’ll find the link to that post below, after the photo gallery.
The Art Nouveau District in Riga, developed mainly in the early 20th century, reflects the city’s rapid economic growth at the time. Many of the buildings were constructed between 1899 and 1914, showcasing elaborate facades, flowing forms, and ornate decorative detail characteristic of the style.
It’s difficult to capture Riga in a single post – a city so rich in history, architecture and symbolism. In this piece, I’ve taken you on a walk through time – from the city’s Hanseatic roots and Lutheran heritage to the powerful symbolism of the Freedom Monument.
Along the way, I’ve left out a few prominent sites – not because they aren’t worth seeing, but because they didn’t quite belong to the route I followed. One of them is Riga Castle, the city’s historic fortress on the banks of the Daugava. On each of my visits, it’s been under renovation – inaccessible and wrapped in scaffolding, impossible to photograph. Another is the Nativity of Christ Orthodox Cathedral, whose golden domes rise above Esplanāde Park. Majestic and unmistakable, it represents a very different strand of the city’s spiritual and architectural heritage – one that stands apart from the Lutheran skyline of the Old Town, yet very much belongs to Riga’s layered identity. And then there’s the striking Latvian Academy of Sciences – a towering Soviet-era structure built in the 1950s. With its heavy, symmetrical design and sharp verticals, it stands as a clear expression of Socialist Realist architecture. Locals refer to it with a mix of irony and familiarity, and it remains one of the most recognisable silhouettes on the city’s skyline. Today, it houses a scientific institution and offers a viewing platform from its upper floors – a vantage point that looks out across the rooftops of the Old Town and beyond. For more photos, follow the link to my RIGA photo gallery.
Helsinki is a city I visited once, almost by accident – yet it left a lasting impression. With its mix of neoclassical order, Nordic modernism, and bold new architecture, the Finnish capital quietly tells a story of history, and design-driven identity.
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My holiday plans for this year have taken an unexpected turn. I had intended to fly to Tallinn, exploring Estonia on my own, before joining a coach tour of Finland organised by a friend. Sadly, that part of the trip has fallen through. Still, I’m determined to continue with my visit to Estonia. I’ll likely spend a few days travelling around, though the idea of a day-trip ferry to Helsinki is rather tempting. I visited the city about a year and a half ago with the same company. Back then, I wrote a few posts about places worth seeing and shared some thoughts on Finland’s history, but I never actually captured my impressions of Helsinki itself. It seems the perfect moment to capture my impressions – a way to reflect on that first encounter and to better plan what to discover next time.
When you sail from Tallinn to Helsinki by ferry, one of the first things you notice is that the city is not only situated on the mainland but also scattered across numerous islands. In fact, there are around 330 of them – ranging from tiny islets, some with no buildings or just a single house, to larger islands like the one home to the Suomenlinna fortress.
Although we visited Helsinki in the height of summer – and even nearby Riga was basking in a heatwave – the Finnish capital welcomed us with overcast skies, a fine drizzle, and a cool 17 degrees Celsius. At this latitude, such weather is quite normal, although the city does occasionally enjoy hot, sunny days.
Suomenlinna, a sea fortress spread across several islands just off the coast of Helsinki. Originally constructed by the Swedes in the mid-18th century to defend against Russian expansion, it later fell under Russian control before finally becoming part of independent Finland. Today, Suomenlinna is a UNESCO World Heritage Site, with its impressive bastions, historic dockyards, and a residential quarter accessible by a short ferry ride from the city centre.
Helsinki is home to around 650,000 people, while the greater Helsinki metropolitan area encompasses over 1.5 million residents — roughly a quarter of the country’s total population. Finland itself has a population of about 5.6 million, and covers an area of approximately 338,000 square kilometres, making it one of the most sparsely populated countries in Europe.
When approaching Helsinki by ferry, the first thing you notice is the cathedral towering over the city skyline. Later, you realise it is a Protestant cathedral, specifically Lutheran. This is hardly surprising, as Finland is one of the Nordic countries (not to be confused with Scandinavia), where Lutheranism has a long-standing tradition. Approximately 65–70% of Finns belong to the Evangelical Lutheran Church of Finland.
Helsinki Cathedral on approach to Helsinki and from the Senate Square beneath. Built in neoclassical style, it was designed by Carl Ludvig Engel and completed in 1852. Originally built as a tribute to the Grand Duke of Finland, Tsar Nicholas I of Russia, it was known as St. Nicholas’ Church until Finland’s independence in 1917. From the outset, it was consecrated for use by the Evangelical Lutheran denomination, which is the majority religion in Finland. Lutheranism is one of the largest Protestant denominations, with diverse practices and beliefs, but united in the core doctrines established by Martin Luther. It has a significant following, especially in Germany and the Nordic countries (Denmark, Norway, Sweden, and Finland).
However, the first cathedral you encounter on your way towards the city centre is Orthodox – a striking reminder of Finland’s historical ties to Russia. Finland was once part of the Russian Empire, a chapter of history still visible today. As of 2024, Russian speakers constitute approximately 1.8% of Finland’s population (around 1,2 thousand people). Russian is now the most commonly spoken foreign language in Finland. In Helsinki, the proportion is even higher. About 3.1% of the population (around 21 thousand people), identify Russian as their mother tongue. The Russian-speaking community is diverse, comprising not only ethnic Russians but also Ingrian Finns and migrants from former Soviet republics such as Estonia and Ukraine. Alongside Lutheranism, the Orthodox Church holds an important position in Finland. Its principal place of worship in Helsinki is the Uspenski Cathedral – the largest Orthodox church in Western Europe.
The Uspenski Cathedral completed in 1868. It is the largest Orthodox church in Western Europe. Designed by the Russian architect Alexey Gornostaev, the cathedral features thirteen golden cupolas, symbolising Christ and the twelve Apostles, and a red-brick façade. The interior is adorned with ornate icons, gilded chandeliers, and intricate frescoes. The Uspenski Cathedral not only serves the Orthodox community of Finland but also stands as a reminder of the country’s time as part of the Russian Empire.
Helsinki – Architecture, History, and Modern Identity
Another striking feature you immediately notice in Helsinki, especially when comparing it to other European capitals, is its distinctive architecture. I am not an architect by training, but through my travels across Europe, I have learned to recognise the classical architectural styles — Romanesque, Gothic, Renaissance, and Baroque among them. I can easily distinguish the architecture of cities like Rome, Paris, London, the Low Countries, Germany, and Central Europe in photographs. In Helsinki, however, you encounter none of these familiar styles. The city is constructed in an entirely different manner. Its urban landscape is shaped predominantly by more modern architectural movements.
Helsinki was founded in 1550 by King Gustav I of Sweden, intended as a trading rival to the prosperous Hanseatic city of Tallinn across the Gulf of Finland. For centuries, however, Helsinki remained a small, rather unremarkable town. It was only in 1812, after Finland became an autonomous Grand Duchy under Russian rule, that Helsinki was designated the new capital, replacing Turku. This shift triggered a period of rapid development, with much of the city being built almost from scratch in the early 19th century. As a result, Helsinki lacks the medieval architecture typical of many older European capitals, and instead features a cityscape dominated by neoclassical, Art Nouveau, and modernist styles.
Much of Helsinki’s architectural character is defined by neoclassicism, a style introduced in the early 19th century when Finland was part of the Russian Empire. The city’s Senate Square, dominated by the Helsinki Cathedral, is a prime example of this period, designed to echo the splendour of St Petersburg. However, Helsinki is equally famous for its embrace of Art Nouveau, or Jugendstil, at the turn of the 20th century. Later, functionalism became a defining feature of Helsinki’s landscape, especially in the 1930s, with an emphasis on clean lines, practical forms, and minimal ornamentation. Alvar Aalto, Finland’s most celebrated architect, played a crucial role in shaping this movement.
A shining example of Helsinki’s commitment to innovative, human-centred design is the Oodi Central Library, opened in 2018 to celebrate Finland’s centenary of independence. Oodi is far more than a traditional library: it is a vibrant public space reflecting the Finnish belief in openness, education, and community.
Oodi, Helsinki’s Central Library opened in 2018, redefines the concept of a public library, offering not just books, but a gathering space for people of all ages. Designed by the Finnish firm ALA Architects has a wooden façade, crafted from Finnish spruce. The interior is open, airy, and flooded with natural light, housing not only reading areas but also cinemas, recording studios, meeting rooms, and creative workshops.
We explored Helsinki with a guide, but we also had some free time, so I wandered around the central part of the city with my camera. Here a few photos I took – images of buildings and streets that particularly caught my eye and sparked my interest.
The Finnish Parliament House – an example of 1920s Classicism, designed by architect J.S. Sirén and completed in 1931.
The Finnish Parliament, officially known as the Eduskunta, is Finland’s national legislative body. It was established in 1906, replacing the former Diet of Finland. The creation of the Eduskunta marked a major democratic reform, introducing universal suffrage and making Finland one of the first countries in the world to grant women the right to vote. The Eduskunta operates as a unicameral parliament, composed of 200 members elected for four-year terms through a proportional representation system.
Helsinki Central Railway Station was designed by Finnish architect Eliel Saarinen and officially opened in 1919. The building is constructed from Finnish granite and features a large clock tower and four stone figures holding spherical lamps at the main entrance. It replaced an earlier station built in 1862, which had become too small for the city’s needs. The architectural style combines elements of national romanticism and early modernism.
Helsinki Central Railway Station serves as the main railway hub in Finland, handling approximately 200,000 passengers per day. It is the starting and ending point for most long-distance and commuter train services operated by VR Group, Finland’s state-owned railway company. Finland’s railway network covers around 5,900 kilometres, with the majority of the tracks being electrified and designed for both passenger and freight traffic. The network connects Helsinki to major cities such as Tampere, Turku, Oulu, and Rovaniemi, and also includes international services, such as the Allegro train linking Helsinki with St Petersburg (suspended since 2022).
The Ateneum, the Art Museum of Helsinki, is housed in a historic building completed in 1887, designed by Finnish architect Theodor Höijer. The structure is an example of late 19th-century neo-Renaissance architecture, characterised by its symmetrical form, classical proportions, and ornate detailing. The façade is richly decorated with sculptures and reliefs created by Finnish artists Carl Eneas Sjöstrand and Ville Vallgren, symbolising themes of art, science, and education. Above the main entrance, there is a Latin inscription: “Concordia res parvae crescunt,” meaning “In harmony, small things grow.” The building was originally constructed to house several institutions related to the arts, including the Finnish Art Society and the School of Drawing.
The Ateneum is one of Finland’s most important art museums. It forms part of the Finnish National Gallery and is renowned for housing the largest collection of classical art in the country. The museum’s extensive holdings span from the 19th century to modern times, with a strong emphasis on Finnish national romanticism. Among its highlights are works by leading Finnish artists such as Akseli Gallen-Kallela, Helene Schjerfbeck, and Eero Järnefelt. The collection also includes significant international masterpieces by artists such as Vincent van Gogh, Edvard Munch, and Paul Cézanne
Helsinki – Architecture, History, and Modern Identity
Kiasma, Helsinki’s Museum of Contemporary Art, is housed in a distinctive modernist building designed by American architect Steven Holl. The building was completed in 1998 following an international architectural competition. The name “Kiasma” refers to the Greek word “chiasma,” meaning “crossing,” reflecting both the layout of the building and the interaction between art, architecture, and the city.
Kiasma forms part of the Finnish National Gallery and focuses on contemporary art from Finland and around the world. Its collection primarily features works created from the 1960s onwards, encompassing a wide range of media including painting, sculpture, photography, video, and installations. The museum aims to promote awareness and understanding of contemporary art and regularly hosts temporary exhibitions, performances, and interdisciplinary events. Kiasma is regarded as one of the leading institutions for contemporary art in the Nordic countries.
The Finnish National Theatre building, located in the centre of Helsinki next to the Central Railway Station, was completed in 1902. It was designed by architect Onni Tarjanne in the national romantic style, which draws inspiration from medieval architecture and traditional Finnish design. Built from Finnish granite, the building features castle-like towers, rugged stone facades, and decorative details. A statue of Finnish author Aleksis Kivi, created by sculptor Wäinö Aaltonen, stands prominently in front of the theatre, symbolising the importance of the Finnish language and culture.
The Finnish National Theatre is the country’s oldest Finnish-speaking professional theatre, founded in 1872. It played a crucial role in promoting the Finnish language and national culture during a time when Finland was still part of the Russian Empire. Originally operating in different venues, the theatre moved into its current building in 1902. Today, it continues to serve as a leading cultural institution, offering a wide repertoire that includes classical Finnish dramas, contemporary plays, and international productions. The statue of Aleksis Kivi stands in front of the Finnish National Theatre because Kivi is considered the father of Finnish-language literature and one of the most important figures in the development of Finnish national identity. His novel “Seven Brothers” (Seitsemän veljestä, 1870) was the first significant novel written in Finnish, at a time when most literary works in Finland were published in Swedish. Kivi’s efforts helped establish Finnish as a literary language and inspired the cultural movement that eventually led to Finland’s independence.
Musiikkitalo, or the Helsinki Music Centre, is a modern concert hall and music venue located in central Helsinki. Designed by LPR Architects, the building was completed in 2011 following an international architectural competition. Its exterior features large glass surfaces and a green pre-patinated copper façade. The main concert hall, seating 1,704 people, is designed in a vineyard-style layout to provide optimal acoustics and sightlines. The vineyard-style layout refers to an arrangement where the audience surrounds the stage on multiple sides, seated on gently rising terraces. The building also houses five smaller halls, each tailored for specific types of performances, including chamber music, organ recitals, and amplified music. The renowned acoustician Yasuhisa Toyota contributing to the project.
Musiikkitalo serves as a central hub for Finland’s musical life. It is home to the Helsinki Philharmonic Orchestra, the Finnish Radio Symphony Orchestra, and the Sibelius Academy of the University of the Arts Helsinki. The venue hosts over 1,000 events annually, ranging from classical and jazz concerts to educational programs and public events, many of which are free to the public . The centre aims to make music accessible to all and includes facilities such as a café, restaurant, and music shop. In January 2024, Musiikkitalo unveiled its new concert organ, the largest modern concert hall organ in the world.
The National Museum of Finland, located in central Helsinki, was designed by architects Herman Gesellius, Armas Lindgren, and Eliel Saarinen. Constructed between 1905 and 1910, the building is an example of the National Romantic style, drawing inspiration from medieval Finnish castles and churches. Its granite façade and the tower reflect Finland’s national identity and heritage. The interior features Art Nouveau elements, including vaulted ceilings adorned with frescoes by Akseli Gallen-Kallela, depicting scenes from the Kalevala, Finland’s national epic.
Established in 1893 and opened to the public in 1916, the National Museum of Finland presents the country’s history from prehistoric times to the present day. Its collections include archaeological artifacts, coins, medals, weapons, and items of folk culture. The museum also hosts temporary exhibitions and educational programs. The museum is currently closed for renovation and expansion, with reopening plans postponed indefinitely due to budget cuts.
Before the museum was closed, I managed to visit it and take plenty of photos. When you only have one day in a place – especially when travelling with an organised group – you need to optimise your time carefully. I often use the free time to explore an interior I find interesting. This time, I chose the National Museum, simply because I knew very little about Finland’s history and wanted to learn more – and, in hindsight, it was an excellent decision. I have not yet written a full post about the museum, but you will find quite a few photos from my visit in my Helsinki gallery.
Below are a few more photos showcasing Helsinki’s architecture.
Helsinki is a city where history, architecture, and modern identity blend seamlessly. From its neoclassical heart to bold contemporary designs, the Finnish capital reflects both a deep respect for tradition and an openness to innovation. Exploring Helsinki’s streets reveals a unique cultural landscape shaped by its Nordic heritage, periods of foreign rule, and a strong national spirit.
