The best cycling routes around Destelbergen

Over the centuries, the people of Ghent remain true to their reputation as stubborn rebels. They even rise up against their own prince, Emperor Charles V. However, this goes one step too far: the people of Ghent are publicly humiliated, and the Roland Bell – a symbol of Ghent's independence – is removed from the Belfry. The once powerful city-state is brought to its knees, both figuratively and literally. Economically, things also gradually worsen. The city loses its access to the sea, and the population halves. It is only in the second half of the 18th century that an economic upswing occurs. Under Dutch leadership, Ghent gets its own university in 1816. As a reminder of this, a statue of King William I, founder of the university, was erected on De Reep. Ten years later, the city becomes a seaport again with the Ghent-Terneuzen Canal. Source: https://visit.gent.be/de/wissenswertes/praktische-auskuenfte/warum-gent/gent-im-laufe-der-jahrhunderte

The history of Ghent begins in the year 630, when Saint Amandus decides to build an abbey at the confluence (or 'Ganda') of the rivers Leie and Scheldt. Almost 1400 years of history are still omnipresent in the city today: a medieval castle in a moat, an imposing cathedral, a belfry, three beguinages,… You will not find such a high density of history per square meter anywhere else as in the historic district of Ghent! From 1000 to approx. 1550, Ghent was one of the most important cities in Europe. Ghent was larger than London and only had Paris 'above' it. The 60,000 inhabitants the city had in the 14th century vehemently defended their rights: the counts and princes had to experience firsthand that the proud and rebellious Ghent citizen does not give up his acquired privileges and freedoms without a fight. Until the Battle of the Golden Spurs in 1302, the city was ruled by a few wealthy merchant families. As they generally preferred the French king to the Count of Flanders, they were given the derogatory nickname 'Leliaerts' by the people, derived from the lily (NL: lelie) on the French coat of arms. In the course of the increasing political power of the craftsmen and guilds in the 14th century, Ghent gained a more democratic leadership. As England blocked the import of raw materials for the vital textile industry, Ghent, during the Hundred Years' War (out of necessity), sided with England (1338-1345). The wealthy cloth merchant Jacob van Artevelde led the resistance against Count Louis of Nevers, a vassal of the French king. In 1345, the 'wise man' was murdered by his fellow citizens. His great significance is evident from the fact that Ghent is still referred to as 'Artevelde City' today. Ghent had to give up its alliance with England and recognize the King of France. In 1407, the seat of the Council of Flanders, the highest judicial body of the county, moved from Bruges to the Count's Castle. Dutch became the lingua franca. Source: https://visit.gent.be/de/wissenswertes/praktische-auskuenfte/warum-gent/gent-im-laufe-der-jahrhunderte

Sint Baafsplein The St. Bavo Square is a spacious rectangular square situated between the west facade of the Gothic St. Bavo Cathedral (to the east) and the belfry with the Cloth Hall (to the west). This square originated in 1897 during the reconstruction work at the foot of the belfry, with the disappearance of the Regnessestraat and the Sint-Jansstraat, which led from the belfry to the Nederpolder and the current St. Bavo Cathedral, respectively. The demolition of these streets was part of the project by Mayor Baron E. Braun to clear part of the old city center and thus create the famous sight with the three famous towers of Ghent. In 1899, the Royal Dutch Theatre was founded on the site of the Regnessestraat. Furthermore, the north side of the current square is occupied by a row of colorful bourgeois houses in the eclectic style from the first quarter of the 20th century. The other side (south side), the preserved street side of the disappeared Sint-Jansstraat, is built with spacious 18th-century mansions and bourgeois houses, among which the so-called Hotel Hamelinck stands out. Additionally, between them are heavily modified facades from the 18th and 19th centuries, behind which old cores are presumably hidden. Directly opposite the Royal Dutch Theatre, in the middle of Sint-Baafsplein, is a rectangular lawn with a monument dedicated to Jan Frans Willems (1798–1846), created by Isidoor De Rudder and inaugurated in 1899: a granite pedestal with a relief bust of J.F. Willems, depictions of his most important works, and mentions of his collaborators. On top of the pedestal stands a group of white marble symbolizing the awakening Flanders: a young man, symbolizing Flemish genius, awakens a maiden representing Flanders. Source: https://www.gent-geprent.com/straten-van-gent/straten-n-z/straten-s/st-baafsplein

The St Baafsplein is a spacious rectangular square located between the west facade of the Gothic St. Bavo's Cathedral (to the east) and the Belfry with the Cloth Hall (to the west). This square originated in 1897, as part of the transformation works at the foot of the Belfry, due to the disappearance of the Regnessestraat and the Sint-Jansstraat, respectively leading from the Belfry to the Nederpolder and to the current St. Bavo's Cathedral. The demolition of these streets was part of the project by mayor baron E. Braun to free up a part of the old city center, which created the renowned view with the three famous towers of Ghent. In 1899, the Royal Dutch Theatre was established on the site of the Regnessestraat. Furthermore, the north side of the current square is occupied by a series of colorful bourgeois houses in eclectic style from the first quarter of the 20th century. The opposite side (south side), which is the preserved street front of the disappeared Sint-Jansstraat, is built with spacious 18th-century mansions and bourgeois houses, among which the so-called Hotel Hamelinck particularly stands out. In addition, between these, there are heavily modified 18th and 19th-century facades behind which old cores are very likely hidden. Directly opposite the Royal Dutch Theatre, in the middle of the St. Baafsplein, there is a rectangular lawn with a monument dedicated to Jan Frans Willems (1798-1846), sculpted by Isidoor De Rudder and inaugurated in 1899: a granite pedestal with a relief of a bust of J.F. Willems, representations of his main works, and mention of his collaborators. On the pedestal rests a group in white marble, as a symbol of awakening Flanders: a young man symbolizing Flemish genius, awakens a maiden representing Flanders.

The Louisa d’Havé Bridge is a sleek, modern bicycle and pedestrian bridge that connects the banks of the Scheldt River. Its open steelwork and soft curves give the bridge an almost floating appearance above the water. From the center, you have a clear view of the quays, residential areas, and the gentle flow of the Scheldt.

Best to check openings hours before you go, because the bar is not always open.

Pleasant, safe and smooth route

beautiful gravel track towards the Kalkense Meersen