Histoire - Passage du Nord

The Passage du Nord, a Brussels dream of the Belle Époque

In the early 1880s, an ambitious idea emerged in Brussels: to link Rue Neuve with the newly created Boulevard du Nord—today Boulevard Adolphe Max—by means of a covered arcade. The project is launched on the site of the former Banque de Belgique building, dissolved in 1880. The “Société Anonyme du Musée et Passage du Nord” is promptly created, raises the necessary funds and obtains the required permits.
Construction begins in August 1881. Within weeks, the foundations rise; within months, the structure takes shape—full steam ahead in the age of the Industrial Revolution.

By April 1882, the first curious passers-by venture through the passage, still dusty from the works. On 25 May 1882, barely a year after construction began, the Passage du Nord is officially inaugurated.
A technical feat for its time, celebrated by the press and by the 200 workers who brought it to life:
5,400 m³ of masonry, 200 tonnes of iron, vast ambition and a heritage that still stands proudly today.

Few people know that the upper floors originally housed both a museum and a theatre—the very heart of the project. The Société Anonyme du Musée et Passage du Nord aimed to create a lively cultural hub where art, entertainment and commerce would coexist within a single architectural setting.

The metal lettering still visible on the façade is the last surviving trace of this museum.
In parallel, three theatres followed one another in quick succession: Théâtre Bébé, Théâtre du Nord and later the Nouveau Théâtre. This last venue was directed by Jean-Joseph Gaston Mouru de Lacotte, a theatre and film producer and stage director. In 1897, he undertook major renovation works, creating a large rectangular hall and a promenade, providing a total of 638 seats. Like the museum, the theatre eventually disappeared after barely a quarter-century of uneven success.
The shopping arcade, however, endured—continuing to connect, welcome and intrigue through the ages.

TIMELINE

1867

1867 – 1871 – Vaulting of the Senne

The Senne, once the city’s central river, was covered for reasons of hygiene and public health. The project, led by Mayor Jules Anspach, aimed to improve Brussels’ sanitation and modernise its centre. The river was channelled underground, and grand boulevards (such as Boulevard Anspach) were created in its place. This transformation marked a turning point in Brussels’ urban planning, leaving almost no visible trace of the Senne in the city centre.

1868

1868 – Birth of the City Beautification Policy

With the vaulting of the Senne and the creation of the central boulevards, Brussels launched a comprehensive policy of sanitation and beautification. Between 1867 and 1871, Mayor Jules Anspach, supported by King Leopold II, oversaw the demolition of around a thousand unhealthy houses and encouraged, through competitions (1872–1876), the construction of buildings along the new thoroughfares, giving architects full scope for creativity. This project transformed the centre of Brussels, cleared of the open-air Senne, into a healthy and modern space. This renewal inspired the bourgeois elite and helped shape Brussels’ image as a major European capital, combining functionality, aesthetics, and prestige.

1872

1872–1874 – Construction of the Hôtel Métropole building by architect Antoine Trappeniers

A prominent neighbour of the Passage du Nord, the Hôtel Métropole was built between 1872 and 1874. Designed by architect Antoine Trappeniers, this monumental eclectic-style building quickly became a symbol of the capital’s urban renewal. It reflected the ambition to make Brussels a prestigious and welcoming city for the elite and travellers. Its construction perfectly illustrates the city’s dynamic creativity and innovation during this period.

1873

1873–1875 – Construction of the House of Cats

Located at No. 1 Boulevard Anspach, the House of Cats is an iconic work by architect Henri Beyaert, master of eclectic architecture in Belgium. Built between 1874 and 1875, it was owned by the Société Anonyme du Passage du Nord and remains an architectural gem attracting attention to this day.

1881

1881 – Start of construction of the Passage du Nord

In July 1881, the Bank buildings and their courtyard, located on the future site of the Passage du Nord, were demolished. A few weeks later, in August, the foundations began to rise, reaching the pavement level by September. On 4 December, the press reported enthusiastically: “There is no one in Brussels who has not noticed the speed with which the construction of the covered passage has been carried out; it is a true feat accomplished by the contractor Mr Mortiaux.”

1882

25 May 1882 – Official inauguration of the establishment

By April 1882, curious visitors were already exploring the Passage du Nord, still covered in dust. On 25 May 1882, barely a year after construction began, the building was officially inaugurated. A technical feat for the period, praised by the press and celebrated by the 200 workers who built it: 5,400 m³ of masonry, 200 tonnes of iron, an extraordinary ambition… and a legacy still alive today. Architect Rieck was congratulated not only for the exemplary speed of the works but also for making the most of the 1,640 m² site, fitting in a remarkable number of facilities. The press hailed him for providing the capital with a “curious”establishment that would enhance Brussels’ appeal.

1882

1882 – Opening of the Museum

Unlike the centrally located Galeries Royales Saint-Hubert built thirty years earlier, the Passage du Nord occupied a less advantageous position. To compensate, its founders implemented a bold strategy: they integrated a cultural and recreational complex featuring both a museum and theatre into the passage. The aim was to attract a new audience and encourage visitors to explore the 32 shops planned in the gallery – a clever way to bring the new commercial district to life. They presented their initiative enthusiastically: “This museum, so admirably located in the very centre of Brussels, accessible to all budgets, young and old, in fine or foul weather, will inevitably become the meeting place for Brussels residents, passers-by, and foreigners seeking real, decent, and inexpensive recreation; the museum will fill this gap in the capital’s leisure offerings.” With an entry fee of one franc and opening hours from morning until 11 pm, the establishment had much to offer. A place of discovery, relaxation, and entertainment, designed to showcase the Passage du Nord far beyond its commercial function.

1884

1884 – Closure of the museum and theatre

The metal lettering still visible on the façade is the last witness of the Musée du Nord – a discreet but eloquent remnant of a time when the establishment offered a remarkably wide range of activities: concert hall, industrial exhibits, modern inventions, art cabinet, curiosities, antiquities, chemistry and physics experiments, lectures, games of skill, and the famous “baby theatre” with its restaurant. This ambitious yet eclectic profusion ultimately worked against the venue. Lacking a clear direction and sometimes coherence, the museum struggled to retain its audience. Just two years after its inauguration, it closed, and its empty spaces were quickly put up for sale or rent.

1888

1888 (21 May) – Opening of the Castan Museum

On 21 May 1888, Richard-Hans-Maurice Castan, a “wax modeller” from Germany, opened his wax museum in the former Musée du Nord. His 1891 catalogue promised visitors a gallery of contemporary figures: kings, princes, dignitaries, writers, and musicians, about thirty in total. In addition, there were “amusing groups” depicting everyday life, sometimes comical, along with a collection of death masks: Dante, Pius IX, Beethoven, Henry IV, Napoleon… again around thirty in number. The tour concluded with a striking series of criminals, heads moulded from life after execution, including the much-debated head of Robespierre. Nearly 160 pieces made up this cabinet of curiosities.

1892

1892 – Purchase of the Passage du Nord by Léon Fontaine van der Straeten

The cultural ambitions of the Musée and Théâtre du Nord struggled to attract an audience. Debts mounted, and the Passage du Nord was nearly mortgaged. It was in this context that Léon Fontaine stepped in. Discreet but determined, he saved the building from an uncertain fate. His acquisition of the Passage du Nord was part of a career solidly rooted in the economic and social networks of the time. Thanks to him, the Passage du Nord endured through the decades. Today, his descendants remain its owners and devoted guardians.

1893

1893 – Demolition of the Augustinian Church

The former Augustinian Church, built in the 17th century on Rue du Fossé aux Loups, was closed along with the convent in 1796. It became a Protestant temple in the 19th century before being secularised after Belgium’s independence. In 1893, the church was demolished to create Place de Brouckère. The vaulting of the Senne and construction of the central boulevards proved fatal to this Francart masterpiece. Demolition began in June 1893 and was completed in September. Fun fact: its façade was relocated to Ixelles, Place de la Trinité, at the end of Rue du Bailli.

1897

1897–1904 – Creation of the Nouveau Théâtre

In 1897, the Nouveau Théâtre replaced the Théâtre Bébé. Significant works were carried out to create a large rectangular hall and a promenade, with a total of 638 seats. The theatre was then run by Jean-Joseph Gaston Mouru de Lacotte, director, producer, and filmmaker. The programming targeted a more intellectual audience, staging works by major authors: Maeterlinck, Lemonnier, Ibsen… Like the museum, the theatre ultimately disappeared after only a quarter of a century, leaving a checkered history.

1908

1908 – The final years of the cultural project

In 1905, A. Lemonnier attempted to revive the Nouveau Théâtre with popular comedy, but the initiative failed. A few months later, it reopened as La Comédie Mondaine, offering revues such as Bruxelles sans façon. After Lemonnier’s death and a brief continuation by his widow, the cultural project ended in April 1908. The theatre and museum spaces were partially demolished to expand the Hôtel Métropole. This disappearance illustrates the failure of the original cultural vision: making culture the backbone of the Passage du Nord never found its audience. After nearly twenty-five years of museum and theatre experimentation, only commercial activities endured.

1910

1910 – Demolition of the domes

Due to their poor condition, the domes atop the main façade on Boulevard Adolphe Max had to be dismantled. The rapid construction of the Passage du Nord, typical of the period’s major projects, likely caused structural defects leading to their premature deterioration. The restoration carried out in 2024 faithfully reconstructed these architectural elements, respecting original plans and techniques while correcting structural flaws to preserve the façade’s integrity and historic character.

1993

1993 – Listing

The following elements are now protected: exterior façades, shopfronts, interior façades, glass roofs, and flooring. This listing aims to preserve period architectural elements and requires, for any alterations, that restoration follows the original plans and specifications. Any work affecting a listed part must be approved by the Commission des Monuments et des Sites of the Brussels-Capital Region.

2022

2022 – Twinning with the Passage Balthus

In 2022, the Passage du Nord was officially twinned with the Passage Balthus in Autun, France. This partnership reflects a shared desire to create links between European historical galleries and passages, highlighting often-overlooked architectural heritage. Together, we help create a true cultural route of covered passages. Beyond borders, these twinnings remind us that our galleries are not just places of passage or commerce, but spaces of memory, encounter, and knowledge transfer.

2024

2024 – Passage du Nord awarded the Prince Alexandre de Mérode Heritage Prize 2024

The Passage du Nord received the prestigious 2024 Prince Alexandre de Mérode Heritage Prize. This award recognises the restoration of the domes and putti on the Boulevard Adolphe Max façade. The prize is awarded by the Royal Association of Historic Houses of Belgium, which, since 1934, has worked to preserve, defend, and promote private historical heritage and surrounding natural sites. A recognition shared with all those who contributed to this incredible restoration.

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