The best running trails around Hasselt

A must-see tourist site.

Cycle bridge next to the road bridge. A beautiful structure for a safe crossing.

The small mining dump of Beringen has been transformed into a spectacular adventure mountain where young and old can enjoy themselves.

Homeleswijer is one of the characteristic ponds (wijers/ponds) you'll encounter during walks through the De Maten nature reserve in the Belgian province of Limburg. It lies within the watery landscape of the reserve, which is part of the larger De Wijers pond area, a network of natural and man-made ponds that originated from centuries-old fish farming traditions in the region. In De Maten, the Stiemerbeek stream and its tributaries formed the basis for pond complexes containing water features like the Homeleswijer. Dams and overflows made fish farming possible, creating a unique marsh and pond landscape full of reed beds, open water, and wet grasslands. Walking trails through De Maten—ranging from short loops to longer hikes—run along and around these ponds. They are true natural treasures: herons, waterfowl, and typical marsh plants can be found here, and information boards often line the path explaining the ecology and water management. Many walks along the Homeleswijer are signposted and start, for example, at the Slagmolen in Genk or at other access points in De Maten.

Along hiking trails in wooded and damp areas, they are sometimes immediately noticeable. Giant tree roots, rising straight up into the air, are exposed when a large tree has fallen. Where a massive trunk once stood, you now see an impressive wall of earth, roots, and stones. These natural sculptures tell a story of time, weather, and soil. The fall of such large trees often occurs in areas with wet or river-like soil, such as stream valleys and alluvial plains. The roots grow broadly but relatively shallow there because oxygen is scarce deeper in the soil. During heavy rainfall, high groundwater levels, or storms, the tree loses its grip and topples, pulling its entire root system out of the ground. The exposed root ball clearly demonstrates the complexity and branching of a mature tree's root system. Thick taproots extend into a network of fine root hairs, between which layers of soil, clay, and stones, have been pulled. Such a fallen giant reveals what normally remains hidden and offers a rare glimpse into the subterranean world of the forest. Ecologically, these fallen trees and their root balls are of great value. The root wall provides shelter for insects, spiders, and small mammals. Seeds can germinate in the loosened soil, while rotting wood returns nutrients to the soil. Over the years, moss grows over the roots, creating small micro-landscapes where new life can establish itself. For hikers, fallen giant tree roots are striking landmarks. They underscore the dynamic character of nature, and forests are not static backdrops but constantly in flux. What is a fallen tree today can be a breeding ground for young trees and plants tomorrow. In this way, loss becomes part of renewal. The sight of these giant roots is a reminder that even the largest trees are not invulnerable and that natural processes—wind, water, and time—continue to shape the landscape. In their silence, fallen tree roots tell a powerful story of transience and restoration.

The Bokrijk Open-Air Museum is a large and charming museum park in Genk (province of Limburg, Belgium) that offers a unique glimpse into rural life, crafts, and culture of the past. The museum is part of the broader Provincial Domain Bokrijk, a park of approximately 550 hectares where natural heritage and recreation converge. The open-air museum opened its doors to the public in 1958 when the province of Limburg initiated the project in response to the rapidly changing housing and landscape after World War II. The goal was to preserve historic buildings, traditional crafts, and agricultural elements before they were lost to modernization and urban expansion. In Bokrijk, you'll find more than 140 authentic historic buildings, including farms, mills, workers' houses, barns, and even an old church. Many of these buildings have been dismantled from their original locations and rebuilt brick by brick in the museum park to preserve them for future generations. The museum is divided into several themed areas, each showcasing a different aspect of rural life. Kempen – with a focus on crafts such as bread and textile production, and workshops where artisans demonstrate their techniques. Haspengouw – where costumes and living history actors bring life around 1900 to life, and you can see historic farms and animals. East and West Flanders – tranquil cultural landscapes with craft demonstrations by, for example, a herbalist, tanner, and miller. The Sixties – a unique exhibition that visualizes daily life in the 1960s with realistic settings such as a café, gas station, and living rooms. At Bokrijk, it's not just about buildings but also about experience and participation. Visitors can view historical crafts up close or actively participate in workshops such as bread baking or pottery making. There are also educational trails with various signposted walks through the museum itself. Besides the open-air museum itself, the grounds offer much more. De Wijers – a large pond area that you can explore, among other things, via the Cycling Through Water attraction, where you literally cycle through the water. Bokrijk Arboretum — a remarkable botanical garden with a collection of trees and shrubs that can be admired year-round. Open-air playground — the largest free playground in Flanders, popular with families with children. The park itself is accessible year-round, but the open-air museum has a seasonal opening: it is open from April 5th to November 2nd between 10:00 AM and 6:00 PM, except Mondays outside school holidays. The Bokrijk Open-Air Museum offers a comprehensive journey through time through Flemish rural life, from centuries-old farms and craft traditions to daily life in the 1960s, in a way that is educational, interactive, and appealing to all ages.

Since the 7th century, a devotion to Saint Quentin existed along the Helbeek. Around 1100, Hasselt became a parish, with a Romanesque church, which from 1218 onwards was under the patronage of Herkenrode Abbey. Of the Romanesque church, only the lower part of the 12th-century tower remains. The upper part was built in the early Gothic style around 1250. In the second half of the 14th century, construction began on the chapels along the aisles. These gradually increased in number. The nave, transept, and choir were constructed between 1406 and 1448. The vaults date from a building campaign in the mid-15th century. In the second half of the 15th century, the chapels along the aisles were enlarged in a uniform manner; this effectively gave the church a five-aisled design. In 1510, an ambulatory with transept chapels was built. The spire dates from the 18th century. From 1862 to 1879, the building was restored by architect J. Delsaux. The additions of the stair turrets on the west facade, as well as the finals and gargoyles, date from this period. During excavations in the church, following the installation of underfloor heating, traces of a structure were discovered that can be dated to the 9th century. Postholes from heavy wooden uprights indicate that the structure must have been 6 to 7 meters wide and at least 9 meters long, with a narrower east side. The building lay parallel to the foundations of the later Romanesque church. These may be traces of a wooden chapel that preceded the Romanesque church. Several graves also date from the same period. Inventory of Immovable Heritage: Saint-Quintinus Cathedral, https://id.erfgoed.net/erfgoedobjecten/22097

About the wall paintings discovered in the cathedral. On the northwest crossing pillar in the nave, near the Cornelis Chapel, are the depictions of Saints Cornelius and Anthony. Cornelius, as a bishop, is dressed in an alb, dalmatic, cope, and miter. In his right hand, he holds the episcopal crosier; in his left, he carries his personal attribute, the horn; first half of the 15th century (143 x 69 centimeters). Anthony is depicted as a hermit in a brown robe and cowl, the habit of his order, the Antonites. In his right hand, he carries the abbot's crosier; in his left, a prayer book and a bell, with which the Antonites announced their arrival to plague victims. At his feet are visible flames, which refer to the Saint Anthony's fire, a formidable contagious disease; first half of the 15th century (150 x 66 centimeters). On the second column on the south side, the martyr Saint Lucy is depicted. She wears a robe and a wide cloak, holding a book in her right hand. She stands between two executioners dressed in short tunics and pointed shoes; the inscription reads: SAN[C]T[A] LUCIA, 15th century (120 x 124 centimeters). Discovered during plaster removal work in 1887. Restoration probably by Cornelis Leegenhoek in 1936. Godfried Guffens designed the static figures of saints in the choir and the murals in the baptistery, depicting the Baptism of Christ, the Crucifixion, the Expulsion of Adam and Eve from Paradise, and finally, the figures of the first eight bishops of the diocese of Liège (1876-1879). Inventory of Immovable Heritage: Murals of St. Quintinus Cathedral, https://id.erfgoed.net/erfgoedobjecten/301476