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Leiden Central Station is the principal railway station in Leiden and an essential hub in the Dutch railway network. It opened on 17 August 1842 as the southern terminal of the first expansion of the Old Line (Oude Lijn), connecting Haarlem and Leiden. Over its history, the station has seen numerous transformations, reflecting changes in architectural trends, passenger needs, and cultural significance.

The original 1842 station, part of the Old Line, was modest but essential for connecting Leiden to the rail network. It was replaced in 1879 by a larger station designed by D.A.N. Margadant, which elevated Leiden’s status and hosted a historic 1910 meeting between Sigmund Freud and Gustav Mahler. Post-war, H.G.J. Schelling’s functional yet unpopular design replaced Margadant’s station. Overcrowding and its "ugly" reputation led to its eventual demolition.

The current station, designed by Harry Reijnders and completed in 1996, features a modern white lattice structure and a curved, shell-like entrance, creating a bright, open space. Its ticketing hall, lined with shops and restaurants, highlights its role as a multifunctional hub. Originally, it had a bold blue-and-white floor, later replaced with safer standard tiles.

Today, Leiden Central Station is more than a transportation hub—it is a symbol of the city’s connectivity and adaptability. Its historical significance, marked by architectural evolution and cultural milestones, makes it an integral part of Leiden’s identity. With its modern facilities and central location, the station continues to serve as a vital link for commuters and travelers exploring the Netherlands.

Nineteen mills have been built on the walls of Leiden. Only the Windmill de Valk stands today. The original mill, De Valck (the Falcon) was built in 1611 on the Valkenburger bulwark. It was replaced by a wooden tower mill in 1667. In 1743 a higher tower mill was installed. The mill had to be high above neighboring houses to catch the wind.

The ground floor of the mill and the two attached buildings held kitchens and living quarters for two families. Bedrooms were located on the first and second floors. The third floor was used for storage. The actual milling took place from the fourth floor (46 feet high) to the top of the mill (92 feet high).

The uppermost floor is called the cap loft. The cap, or roof of the mill, can be turned to catch favorable winds. A large round bearing with rollers is used. The sail axle turns in the cap. It has a nine-foot brake wheel and brake pads. The cap loft is closed to the public. The rolling wheels and gears make things a tad risky for tourists.

The hoisting loft holds the hoisting machinery that lifts sacks of grain to the top of the mill. Inside the mill is a system of hatches in a line, one above the other. The grain is hoisted through the hatches into silos. Grain is poured from the silos to the grinding stones in the stone loft. Only one pair of stones is used today.

The grinding loft is the miller's workplace. From the loft gallery, he judges the wind and turns the cap accordingly. By adjusting the sails, he can control the speed of the mill. Here is where the sacks are filled, weighed, and tested.

In the Windmill de Valk, the first, second, and third floors are exhibition rooms. The first floor holds the exhibit "The Mill, the symbol of Holland." The second floor tells the story of the Leiden Millers' guilds and the history of de Valk. The third floor features the entire history of milling and the different types of mills.

The living room is a formal family room, a parlor. The Windmill de Valk was turned into a municipal museum in 1966.

"Take the high ground" has long been a sound military doctrine. The viscount of Leiden, Halewijn I, understood this. He built the Fort of Leiden in 1060. But this was the Netherlands. There were no "high grounds." The fort was built as a keep, a round fortified tower. The structure's high ground was a motte, an artificial hill.

In the 11th century, the keep was rebuilt, first with volcanic tuff stone and finally with bricks. It was raised to a height of 30 feet by the 12th century. Ada of Holland, the daughter of Dirk VII, Count of Holland, took up residence in the keep. She and her husband, Louis II, Count of Loon, fought to keep her father's legacy.

The Fort of Leiden was captured by Ada's uncle William. Ada was evicted. In the 13th century, the castle became less and less important as a defense asset of Leiden. The city grew up around the base of the fort. The keep's interior, built against the inner walls, was partially dismantled. By the 17th century, it was merely a romantic symbol.

In 1651, it was decided to change the fort into a water tower for the city. The piping system leading to the city squares is still intact today. In 1662, a new portal, designed by architect Rombout Verhulst, was installed. Two other gates to the keep exist. At the south gateway, a plaque in Latin teaches basic grammar to Leiden students.

The Highland Church of Leiden has two histories; the Catholic and the post-Calvinist period. In 1314, the bishop of Utrecht, Gwijde of Avesnes, authorized the building of a wooden chapel on the "High Land" at the confluence of the Old Rhine and the New Rhine. The chapel was dedicated to Saint Pancras, martyred at the age of fourteen, around 300 AD.

In 1377 a stone church was built to replace the wooden one. Parts of the 14th-century church can still be found in the modern structure. In 1470 Pope Paul II exempted Saint Pancras from the jurisdiction of the diocese of Utrecht.

Construction of a new church began. The ambulatory, transept, and choir were completed by 1500. The nave, vaults, bows, and balustrades were unfinished. The nave is perceptibly lower than the transept and choir.

The church had 24 altars, stained glass windows, frescoes, and statues. On or about 1525 AD, things changed forever with the Calvinist Reformation. In waves of violent iconoclasm, Churches were vandalized and looted. Saint Pancras came under the control of the Dutch Reformed Church. It was now known as the Highland Church.

Stripped and whitewashed, with plain glass windows and no altars, the new Highland Church was positively Minimalist. The exterior keeps the past features. There is a high Gothic choir and transept and a low nave. The partially wooden bell tower is short.

The Highland Church holds services. It is also a venue for conferences, concerts, and events.

Leiden claims to be the home of the best markets in Holland. Stroll along the canals of the city. Allow time to see it all, if not taste it all: the Butter Market, The New Rhine Market, and the Fish Market. Eat herring, fresh bread, syrup waffles (stroopwafels), and do not overlook the cheeses.

The people are almost as big a draw at the market as the produce. Families, seniors, tourists, students, hangover sufferers, friends, neighbors, and the international set, speaking Dutch, French, English, Spanish, jostling and joking. It is the Dutch street market experience, especially on weekends.

The Butter Market always seems to be busy. If one can pull oneself away from food for a moment, there is a mixture of boutiques and shops, offering nearly everything else. There are restaurants, pubs, cafeterias, terraces, open stalls, and flowers. Butter Market is not the largest market in Leiden, but it can be irresistible.

Leiden’s City Hall, or Stadhuis van Leiden, stands proudly as a symbol of the city’s rich history and architectural splendor. Located between Breestraat and Vismarkt, this iconic Renaissance structure has long been a focal point for both locals and visitors. Its intricate facade and storied past make it a treasured landmark in the Netherlands.

Constructed in the 16th century, the City Hall originally showcased a facade dating back to 1595, a period when Leiden’s civic leaders sought to celebrate the city’s recovery and newfound prosperity after the harrowing Siege of 1574. This Renaissance masterpiece, with its intricate details and Obernkirchener sandstone construction, was the collaborative work of architects Lieven de Key and Luder von Bentheim. At the time of its completion, it became the longest Renaissance facade in the Netherlands.

The City Hall is also deeply tied to the history of civil marriage, a Dutch innovation introduced due to the nation’s religious diversity. Among its most notable ceremonies were the marriages of Pilgrims William Bradford and Dorothy May, who would later carry this Dutch practice to America, shaping its early societal norms.

Tragically, much of the building was lost in a devastating fire in 1929, leaving only the facade intact. Under architect C.J. Blaauw’s vision, the structure was rebuilt, blending modern functionality with historic charm. The building’s new features, such as the reconstructed tower, retain a nod to its original design while incorporating influences from Muslim and Tudor styles, making it a unique visual treat.

Inside, the City Hall exudes the grandeur of its Renaissance origins, with richly adorned chambers and halls that continue to serve as venues for civic events and weddings. Beneath the building, a cozy restaurant adds a contemporary element, inviting locals and tourists to enjoy its vibrant atmosphere.

Today, Leiden City Hall remains a living piece of history, a place where past and present converge. Its resilience and adaptive reuse stand as a testament to Leiden’s enduring spirit, making it an essential stop for anyone exploring the city’s cultural heritage.

The Young Rembrandt Studio is at Langebrug 89 in Leiden. It is a narrow three story brick building dating from the 17th century. Here is where Rembrandt spent his early years, studying under his mentor and teacher, Jacob van Swanenburgh.

In the Rembrandt Studio today one may view a seven minute film, in Dutch or English. The film uses "video mapping" to introduce one to the youthful Rembrandt and the important figures in his early life. It examines his unique talent, the materials he used and his methods of work. It covers the first 25 years of his life and career.

Swanenburgh was registered as a teacher of young Rembrandt in 1620. For three years Rembrandt studied with Swanenburgh in this house in Leiden. It is not clear what effect Swanenburgh's work may have had on Rembrandt. Rembrandt's interest in use of light, shadow and artificial lighting could have come from his teacher.

The Dutch word for "images storm" refers not to the weather, but to the inundations of violent iconoclasts that accompanied the Calvinist Reformation in the Netherlands in the 16th century. All Catholic art and images were stripped and looted from the churches. Stained glass windows were boarded up.

The pre-Reformation Saint Peter Church dated from about 1100 when the counts of Holland built a chapel on the site. The chapel was rebuilt in 1121. The current Church was completed in 1570, after 180 years of building. It opened for its first Protestant service in 1572.

Famed Dutch painter Rembrandt grew up and lived in the neighborhood of Saint Peter Church. His parents were married in the church in 1589. They are buried in front of the pulpit. Rembrandt frequented the church throughout his life. He was buried in Westerkerk in Amsterdam, in 1669.

In 1807 a devastating gunpowder explosion obliterated what was left of the stained glass windows. A major restoration was undertaken in 1880. The Saint Peter's Church was deconsecrated in 1971. With Government assistance, a long-term restoration was completed in 2010. Many artifacts, including a mummy, were unearthed.

John Robinson, the pastor of the "Pilgrim Fathers" of America, was buried in Saint Peter's Church. On October 3rd, each year, the people of Leiden offer thanks to God for saving the city in the Spanish siege of 1573. The proceedings are followed by eating herring and white bread with lots of beer.

In May 1620, aged 14, Rembrandt Hermannzoon van Rijn enrolled at the University of Leiden. The University was relatively young back then, having been founded by William, Prince of Orange, in 1575. It started as a Protestant university and was presented as a reward to the city for its resistance to the Spanish during the Eighty Years' War.

Rembrandt did not seem to have attended classes here, as they were not mandatory in the past. Curiously, the enrolled students were also granted rations of tax-free beer, which was quite an incentive.

Another curious fact is the name of Philip II of Spain, as the count of Holland, on the university foundation certificate. Leiden University became renowned during the Dutch Golden Age. Its original location was the convent of Saint Barbara. It then moved, in 1577, to the Faliede Bagjin Church, and in 1581, to the convent of the White Nuns.

Today, the convent of the White Nuns houses the university museum. The university library has more than five million books, fifty thousand journals, and an extensive collection of Western and Asian manuscripts, books, prints, drawings, photos, maps, and charts.

The University does not have a central campus, but its buildings are spread over the city. As a student, Rembrandt often drew and painted university subjects. He drew inspiration from the famous university Botanical Gardens and the Anatomical Theatre, as shown in his later paintings, "Saskia as Flora" and "The Anatomy Lesson."

The finest walk in Leiden may just be a stroll along the Rapenburg Canal. Johan Polyander van Kerckhoven, a 17th-century professor of Theology at Leiden University, claimed, "of all Leiden's streets and canals, Rapenburg is the most beautiful." He has never been proved wrong. Many others feel the same way.

The Rapenburg Canal was excavated in the 14th century to be part of the defenses of south Leiden. It begins at the Old Rhine. The canal then makes a crescent through the town back to the New Rhine. In a two-mile walk covering both sides of the canal, one may see 120 well-preserved 17th and 18th-century buildings.

The Siebold House (Siebolddhuis) was the home of Philip Franz von Siebold, a German physician, botanist, and traveler. It is now a museum of Japanese culture. The 17th-century Bibliotheca Thysiana houses the 2,500 books of scholar and respected teacher Johannes Thysius. The National Museum of Antiquities sits by the canal, founded by William I in 1818. The Academy Building of Leiden University dates from 1516.

Walking along the Rapenburg, one sees a strange gap in the row of buildings. The gap is Van der Werf Park. It was formed in 1807 by an explosion on a ship bound from Haarlem to Delft. The ship had a cargo of 37,000 pounds of gunpowder. Today, after all the mayhem, one may relax in the park and enjoy the most beautiful canal in Leiden.

The Rembrandt Statue in Leiden is a fitting homage to one of the city's most illustrious sons, Rembrandt van Rijn. Born in 1606, Rembrandt is celebrated as a master of the Dutch Golden Age and a pivotal figure in art history. The statue, crafted by Toon Dupuis, stands proudly in Rembrandtplaats, commemorating 400 years since the painter's birth. Unveiled in 2006 during city-wide festivities, the sculpture depicts Rembrandt engrossed in his craft, a portrayal that breathes life into his enduring artistic legacy.

What makes this statue particularly remarkable is its maintenance tradition: it is repainted annually, ensuring it remains vibrant and lifelike. This touch of care reflects Leiden’s pride in its historical and cultural heritage.

The statue's location in the heart of Leiden is surrounded by a blend of historic architecture, quaint canals, and lively streets. Visitors can enjoy a leisurely walk in the area, with nearby cafes and shops offering a taste of local flavors. Leiden's prominence as a center of art and science, home to the Netherlands' oldest university and landmarks like the National Museum of Antiquities, enhances the appeal of this destination.

A visit to the Rembrandt Statue is more than just an encounter with a monument—it’s an invitation to explore the rich tapestry of Leiden’s past, where the legacy of one of the greatest artists in history continues to inspire.

Rembrandt Harmenszoon van Rijn was born in Leiden in 1606. His father was Harmen Gerritszoon van Rijn, a miller. Neeltgen Willemsdochter, daughter of a baker, was his mother. Rembrandt was their eighth and last born child. There were actually ten children, but two died in infancy, a common occurrence in those days.

Stand on the Rembrandt Bridge. The Rhine River flows beneath your feet. The view from here includes a windmill like the one Rembrandt's father operated. To the east are the streets of Galgenwater (Gallow Waters). There was a gallows here and hangings were not infrequent.

Leave the bridge. Walk south. Enter the Weddesteeg. Proceed to number 27. Here was Rembrandt born. The house is gone. Well, there is a house here, but it's not the one our man was born in. That was demolished years ago. But wait. There's a plaque over the front door. It reads, "Here was born on the 15th of July 1606 REMBRANDT VAN RIJN."

That's all there is to see here. Walk west. You come to Rembrandt Park. This is the likely location of Windmill de Rijn, Rembrandt's father's establishment. It too, is gone. In time Rembrandt moved to Amsterdam. He was enormously successful but not wise with money. He died in penury. His birth house is gone, his grave unmarked.

The Morspoort, a striking example of Mannerist architecture, is the western city gate of Leiden. Built in 1669 by master builder Willem van der Helm, this historic stone gate is located along the Morssingel Canal. With its octagonal dome and storied past, the Morspoort stands as a testament to Leiden's rich history.

The gate's name, "Mors," derives from De Morsch, a marshy meadow area outside Leiden, which also lent its name to the surrounding D’Oude Morsch neighborhood, the Morsstraat, and the Morsdistrict. The current stone structure replaced a wooden gate erected around 1611 during Leiden’s northern expansion. Together with the Zijlpoort, the Morspoort is one of only two surviving gates out of Leiden’s original eight city gates.

The Morspoort was more than just an entrance to the city—it also served as a prison for many years, further embedding its place in Leiden’s layered history. Both the gate and its accompanying bridge have been designated national monuments, ensuring their preservation.

In 1817, the Morschpoort Barracks were built on the Galgewater, serving as a hub for infantry and mounted units. Connected to the Wittepoort Barracks by the Rembrandt Bridge and a ferry, they played a key role in Leiden's military history until 1940, housing the 4th Infantry Regiment’s depot and training army cooks.

Leiden’s long-standing tradition as a garrison town came to an end in 1981, when the last military training operations at the Morschpoort Barracks were relocated to Haarlem. Despite its military presence fading, the Morspoort remains a tangible link to Leiden’s martial and civic past.

The Morspoort continues to charm visitors with its historical significance and architectural elegance. A key landmark in Leiden, it bridges the past and present, inviting exploration of the city's enduring heritage. Whether walking through its grand archway or admiring it from the canal, the Morspoort serves as a gateway not only to Leiden but to centuries of Dutch history.

Windmill De Put is a charming historical landmark on the northern bank of the Rhine in Leiden. The mill owes its name to Jan Jansz Put, the 17th-century miller who owned the original structure built on this site. Reconstructed in the 1980s, it stands as a tribute to Leiden’s rich history and the city’s reliance on wind power during its rapid expansion in the early modern period.

Constructed in the early 1600s, De Put is one of only nine remaining windmills in Leiden and is celebrated for its traditional Dutch design. Its tall wooden structure and iconic rotating blades embody classic windmill architecture. The surrounding area, now a serene park, enhances its picturesque appeal and provides visitors with a tranquil setting to enjoy this piece of living history.

What makes De Put particularly special is its operational status. Volunteers often open the mill on Saturdays, allowing visitors to explore its inner workings and learn about traditional milling techniques. Flour produced by the mill is also available for purchase, offering a tangible connection to its historical purpose. The mill operates when weather conditions permit, maintaining its role as a functional windmill while serving as an educational resource and cultural icon.

Entry to De Put is free, although donations are appreciated to support its maintenance. For the latest information on opening hours and activities, visitors are encouraged to check the mill’s website.

A symbol of Leiden’s historical identity, Windmill De Put is not only a beloved local landmark but also a testament to the Netherlands’ engineering heritage. Whether you’re a history enthusiast or simply looking to enjoy the scenic beauty of Leiden, a visit to Windmill De Put promises an enriching and memorable experience.