Cathédrale Notre-Dame
Cathédrale Notre-Dame, Luxembourg City
Cathédrale Notre-Dame
Cathédrale Notre-Dame
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The World is My Oyster
Orlando, FL19,265 contributions
Spectacular Cathedral!
Sep 2021 • Couples
Truly one of the most beautiful buildings in all of Luxembourg. The architectural design is beautiful, inside as well as outside!
Written 8 September 2021
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
periandro
Luxembourg City, Luxembourg6,671 contributions
Stunning coalescence of styles in a splendid instance of religious architecture
Feb 2021
It's an impressive building visible from many points and which can be considered as a landmark of the city of Luxembourg. It was first built to serve as a Jesuit college. The construction works took place in the first quarter of the 17th century thus leading to a monastic college church in line with the Belgian Jesuit churches significant in the century concerned, much smaller in size than the temples existing nowadays. In accordance with the inscription which can be seen on the portal the said construction works were completed in 1621.
The ancient monastic church was constructed under Brother Jean du Blocq's design. The front door of that ancient building faces the rue Notre Dame. The portal itself is in baroque style albeit the ornamentation of its strapwork is in la Flemish renaissance style. It's a beautiful part of the church outer façade containing some different elements whose observation can make the architecture lovers be delighted. At each side of the door there is a niche whose top parts have a shell form. They are respectively flanked by two columns with corinthian capitals. The left niche contains the stone statue of St. Ignatius. That on the right houses the statue of St. Francis Xavier. Above them there are two sculptured medallions carved into the wall which supposedly represent the heads of two prophets. The door upper part is semicircular. It's profusely ornamented, two worshiping angels hovering in the spandrels of the archway. There is a third niche above that archway, in the middle of the pediment, inserted in it. That niche contains a statue of the Virgin with the Child. It's a sculpture in early baroque style representing the Immaculate Conception to whom the church is dedicated. At both sides of that statue there are other two representing the apostles St. Peter and St. Paul, respectively, and above the former there is one of St. Nicholas. In the wooden spandrel within the semicircle part of the entrance arch one can see the coat of arms of the Society of Jesus. Beneath that spandrel there is an inscription reading “Sit Nomen Domini Benedictum” followed by the consecration date, 1621. The whole forms a fabulous ensemble whose contemplation makes any sensitive person be enraptured. Unfortunately, that iconographic scheme couldn't be kept in its original artistic form and it had to be thoroughly renovated in the twenties and thirties of the twentieth century since erosion had largely damaged most of the statues.
Another part of the church exterior arousing the interest of anyone seeing it for the first time is the western portal in the new part of the building. Albeit it dates back to the first half of the twentieth century, its architectural arrangement and its iconography are based on those cathedral portals of the Middle Ages. The whole is of a spectacular beauty, particularly the monumental statue of Our Lady by the Luxembourgish sculptor Auguste Trémont, which dominates the entrance and constitutes an art work, and the bronze double doors by the same artist. They complement each other in their figurative style, and depict scenes from the old and new histories of salvation; that concerning the panels of the right door start with the Annunciation and ends with the Virgin's Assumption. One can admire the façade where the said double door finds itself, for instance upon realising that human creativity in architecture, painting, sculpture, music and craftsmanship has been incorporated into the biblical narration of the Creation.
Once inside, it can be observed that the specific character of the central nave is attributable to the late renaissance decorative style. The impressive size of the interior is something certainly enchanting the visitor. Before entering that building for the first time one cannot expect that he will be able to feel a marvellous grandiosity such as that appearing before him at the sight of the splendid spectacle which the cathedral inner part constitutes. It's a three-nave temple, the height of the central nave being a bit larger than that of the side aisles. Before a short passageway leading to the transept, whose vault is ornamented with paintings by Friedrich Stummel, there are six bays, the first of which, shorter than the others, contains the organ platform (triforium). It's obvious that the specific character of that church segment central nave derives from its late renaissance decorative style. The five round columns separating on each side of the nave the latter from the side aisles rest on high octagonal bases and are topped by capitals of doric inspiration. Those columns are enwreathed with unusual strapwork. The patterns of such a columns ornamentation were presumably drawn by Brother Jean du Blocq himself, who, as stated, had actually drawn the plan of the church. The nave vault is supported by pointed arches appertaining to the late gothic period. All in all therefore, one can observe in that section of the cathedral a tasteful blending of gothic traditional architectural elements with new forms of decoration in renaissance style.
On the spandrels and archivolts as regards the triforium balustrade one can see some beautiful sculptures also in renaissance style typically made of alabaster. They represent particularly music playing angels and heads of cherubs which are reminiscent of early baroque. Those sculptures are a real work of art which reveals much sensitiveness and a perfect mastery of the art on their author's part. For this reason that masterpiece should be beheld attentively. That triforium is supported in the aisles by two three-centred arches respectively one on each side, while three semicircular arches support it in the nave. The latter are held up by two small candelabra-like and richly sculptured columns. Since the ribbed vault below the triforium is of late gothic style in the church part concerned one can again observe the coalescence of the late gothic and the new decorative style. The decoration concerned is really striking. It consists mainly in masks on the columns and pedestals.
The church was enlarged in the thirties of the twentieth century. That new part of the building consists of a spacious transept, a new chancel, two aisles, narrower than those of the ancient part, surmounted by galleries and a crypt with the burial vault of the Grand-Ducal Family. The harmonious architectural unity resulting from the combination of old and new parts of the building is outstanding. To pass from the ancient part to the new one there is a triumphal arch which forms a passageway. The ornamentation of that passageway ceiling is very attractive and very well executed. Among other elements that ceiling painting shows the images of six prophets and of the kings David and Solomon, everything conceived with much taste. There are also two splendid tapestries, one of each side of the passageway which are of a great artistic value. Besides, the mural paintings on the wall sections above the tapestries are wonderful. They depict some scenes of Jesus's life as per the Gospel. On the left section one can see, duly represented, some events in which Jesus child is told to have participated, and on the right side scenes from the Cana Wedding and of the Last Supper are portrayed. It's worth contemplating such beautiful art works for a while.
The church ground-plan is in the form of a Latin Cross, the nave of the new construction serving as a transept which takes up the entire inside width of the seventeenth century Jesuit temple. This section of the building isn't arched. Its coffered ceiling, somewhat higher than the central nave vault of the ancient part, increases the impression of space which contributes by the way to the appeasement and happiness of the visitor. A secondary room finds itself on either side of the new nave, as well as a gallery. The left gallery above the chapel of the Sacred Heart is destined to the Grand-Ducal Family, the other gallery being reserved for the choir of the cathedral. The whole formed by those galleries, the pointed arches in the form of which they open on the nave and the massive pillars supporting the mentioned arches is very imposing. The plastered coat on the wall above the galleries is adorned with coats of arms of the states, towns and abbeys of the former Duchy of Luxembourg and its neighbouring lands at the time of the election of the Comforter of the Afflicted as the patroness of the country in 1678. The high altar which the brothers Martel had manufactured in 1939 was replaced by another one consisting in a simple block of marble. That change took place upon the renovation of the chancel carried out by the architects Léon Loschetter and Michael Heintz so that it includes the modified liturgical demands established on the occasion of the Consilium Vatican II. In the axis of the altar at the far end of the chancel one can observe the image of the Comforter of the Afflicted. That image and the bishop's throne are precious items adorned with a great beauty. The statue portraying the said image is carved in polychromatic lime wood. Daniel Müller may be considered as the likely creator of this art work since it resembles much the image of the Immaculate Conception of Montaigu in Belgium and pursuant of the records the stated sculptor was asked by the Jesuits to carve several copies of our Lady of Montaigu in 1615. The same sculptor hew in 1616 the nice fountain finding itself in the left passageway and which therefore happily enough still exists. At first sight that fountain looks like a holy water stoup. Curiously, the statue of the Virgin is dressed in accordance with the relevant customs adopted in the late Middle Ages so that the stylized gowns are changed according to the different religious festivals and pilgrimages, which is something very interesting to see.
There are some very splendid paintings in the cathedral. Worth being attentively observed are the Adoration of the Magi on the left wall of the nave, attributed to the school of Rubens in Antwerp, and on the opposite side the Immaculate Conception and Assumption dating back to the 17th century. On the same side as that where the Adoration of the Magi painting is there is also a a magnificent tapestry made in Brussels in the 17th century by J. Goenot depicting Moise before the burning bush. The stained-glass windows are also very nice. Some of them, made in the middle of the 19th century, depict the life of Our Lady. Some others were produced in the twentieth century. Among the latter, that representing St. Kunigunde embellishes the former left side chapel. That in the former side chapel on the right by the artist Emil Probst portrays St. Willibrord, remembered as the apostle founder of the Abbey of Echternach. The stained-glass window at the back of the gallery above the portal represents the Comforter of the Afflicted as patroness of the town of Luxembourg. It's an emblematic work handed by the Government of Luxembourg as a votive gift after the Second World War. Besides, the glass paintings of the monumental windows in the enlarged part of the temple amounts to the main artistic accent of the stated part. They give a special character not only to the chancel but also to the transept and the old part of the building and fill the whole interior with the festive radiance of a multicoloured tapestry. Among the said stained-glass windows those attributable to Louis Barillet are of quite a remarkable quality.
One can accede easily to the crypt from the western portal by going down a staircase leading to it from the hall or the antechamber. That crypt, dedicated to St. Peter, is a place of national importance inasmuch as it contains the burial vaults of the Luxemburgish bishops and the members of the Grand-Ducal Family. At each side of the entrance there is a bronze lion holding the Luxemburgish coat of arms. They are the work of Auguste Trémont. The burial vault itself is situated underneath the chancel of the ancient Jesuit church. Among other interesting elements in that crypt it's possible to watch also the tomb containing the remains of John of Luxembourg, King of Bohemia, known as John the Blind.
From the foregoing it comes out that the Church of Our Lady of Luxembourg is a stunning edifice due to both its size, its beauty and the successful combination of the old and new elements, which is crucially important for architectural design of the extension. That temple ranks among the most remarkable Luxemburgish architectural creations of the late sixteenth and early seventeenth century Flemish artistic tendencies in which the transition from the renaissance to the early baroque took place. Once inside, a feeling of peace together with charm and delight can be experienced thanks to the stupendous atmosphere and the rich and appropriate decoration there existing. Likewise, the outline of the new building in the townscape, with the harmonious variety of the pyramidal roofs is also marvellous. The Cathedral has therefore a fantastic profile thus making it an outstanding feature of the city of Luxembourg. On the basis of all the foregoing the visit of that church is thus a must while in Luxembourg or somewhere near its borders with the neighbouring countries.
The ancient monastic church was constructed under Brother Jean du Blocq's design. The front door of that ancient building faces the rue Notre Dame. The portal itself is in baroque style albeit the ornamentation of its strapwork is in la Flemish renaissance style. It's a beautiful part of the church outer façade containing some different elements whose observation can make the architecture lovers be delighted. At each side of the door there is a niche whose top parts have a shell form. They are respectively flanked by two columns with corinthian capitals. The left niche contains the stone statue of St. Ignatius. That on the right houses the statue of St. Francis Xavier. Above them there are two sculptured medallions carved into the wall which supposedly represent the heads of two prophets. The door upper part is semicircular. It's profusely ornamented, two worshiping angels hovering in the spandrels of the archway. There is a third niche above that archway, in the middle of the pediment, inserted in it. That niche contains a statue of the Virgin with the Child. It's a sculpture in early baroque style representing the Immaculate Conception to whom the church is dedicated. At both sides of that statue there are other two representing the apostles St. Peter and St. Paul, respectively, and above the former there is one of St. Nicholas. In the wooden spandrel within the semicircle part of the entrance arch one can see the coat of arms of the Society of Jesus. Beneath that spandrel there is an inscription reading “Sit Nomen Domini Benedictum” followed by the consecration date, 1621. The whole forms a fabulous ensemble whose contemplation makes any sensitive person be enraptured. Unfortunately, that iconographic scheme couldn't be kept in its original artistic form and it had to be thoroughly renovated in the twenties and thirties of the twentieth century since erosion had largely damaged most of the statues.
Another part of the church exterior arousing the interest of anyone seeing it for the first time is the western portal in the new part of the building. Albeit it dates back to the first half of the twentieth century, its architectural arrangement and its iconography are based on those cathedral portals of the Middle Ages. The whole is of a spectacular beauty, particularly the monumental statue of Our Lady by the Luxembourgish sculptor Auguste Trémont, which dominates the entrance and constitutes an art work, and the bronze double doors by the same artist. They complement each other in their figurative style, and depict scenes from the old and new histories of salvation; that concerning the panels of the right door start with the Annunciation and ends with the Virgin's Assumption. One can admire the façade where the said double door finds itself, for instance upon realising that human creativity in architecture, painting, sculpture, music and craftsmanship has been incorporated into the biblical narration of the Creation.
Once inside, it can be observed that the specific character of the central nave is attributable to the late renaissance decorative style. The impressive size of the interior is something certainly enchanting the visitor. Before entering that building for the first time one cannot expect that he will be able to feel a marvellous grandiosity such as that appearing before him at the sight of the splendid spectacle which the cathedral inner part constitutes. It's a three-nave temple, the height of the central nave being a bit larger than that of the side aisles. Before a short passageway leading to the transept, whose vault is ornamented with paintings by Friedrich Stummel, there are six bays, the first of which, shorter than the others, contains the organ platform (triforium). It's obvious that the specific character of that church segment central nave derives from its late renaissance decorative style. The five round columns separating on each side of the nave the latter from the side aisles rest on high octagonal bases and are topped by capitals of doric inspiration. Those columns are enwreathed with unusual strapwork. The patterns of such a columns ornamentation were presumably drawn by Brother Jean du Blocq himself, who, as stated, had actually drawn the plan of the church. The nave vault is supported by pointed arches appertaining to the late gothic period. All in all therefore, one can observe in that section of the cathedral a tasteful blending of gothic traditional architectural elements with new forms of decoration in renaissance style.
On the spandrels and archivolts as regards the triforium balustrade one can see some beautiful sculptures also in renaissance style typically made of alabaster. They represent particularly music playing angels and heads of cherubs which are reminiscent of early baroque. Those sculptures are a real work of art which reveals much sensitiveness and a perfect mastery of the art on their author's part. For this reason that masterpiece should be beheld attentively. That triforium is supported in the aisles by two three-centred arches respectively one on each side, while three semicircular arches support it in the nave. The latter are held up by two small candelabra-like and richly sculptured columns. Since the ribbed vault below the triforium is of late gothic style in the church part concerned one can again observe the coalescence of the late gothic and the new decorative style. The decoration concerned is really striking. It consists mainly in masks on the columns and pedestals.
The church was enlarged in the thirties of the twentieth century. That new part of the building consists of a spacious transept, a new chancel, two aisles, narrower than those of the ancient part, surmounted by galleries and a crypt with the burial vault of the Grand-Ducal Family. The harmonious architectural unity resulting from the combination of old and new parts of the building is outstanding. To pass from the ancient part to the new one there is a triumphal arch which forms a passageway. The ornamentation of that passageway ceiling is very attractive and very well executed. Among other elements that ceiling painting shows the images of six prophets and of the kings David and Solomon, everything conceived with much taste. There are also two splendid tapestries, one of each side of the passageway which are of a great artistic value. Besides, the mural paintings on the wall sections above the tapestries are wonderful. They depict some scenes of Jesus's life as per the Gospel. On the left section one can see, duly represented, some events in which Jesus child is told to have participated, and on the right side scenes from the Cana Wedding and of the Last Supper are portrayed. It's worth contemplating such beautiful art works for a while.
The church ground-plan is in the form of a Latin Cross, the nave of the new construction serving as a transept which takes up the entire inside width of the seventeenth century Jesuit temple. This section of the building isn't arched. Its coffered ceiling, somewhat higher than the central nave vault of the ancient part, increases the impression of space which contributes by the way to the appeasement and happiness of the visitor. A secondary room finds itself on either side of the new nave, as well as a gallery. The left gallery above the chapel of the Sacred Heart is destined to the Grand-Ducal Family, the other gallery being reserved for the choir of the cathedral. The whole formed by those galleries, the pointed arches in the form of which they open on the nave and the massive pillars supporting the mentioned arches is very imposing. The plastered coat on the wall above the galleries is adorned with coats of arms of the states, towns and abbeys of the former Duchy of Luxembourg and its neighbouring lands at the time of the election of the Comforter of the Afflicted as the patroness of the country in 1678. The high altar which the brothers Martel had manufactured in 1939 was replaced by another one consisting in a simple block of marble. That change took place upon the renovation of the chancel carried out by the architects Léon Loschetter and Michael Heintz so that it includes the modified liturgical demands established on the occasion of the Consilium Vatican II. In the axis of the altar at the far end of the chancel one can observe the image of the Comforter of the Afflicted. That image and the bishop's throne are precious items adorned with a great beauty. The statue portraying the said image is carved in polychromatic lime wood. Daniel Müller may be considered as the likely creator of this art work since it resembles much the image of the Immaculate Conception of Montaigu in Belgium and pursuant of the records the stated sculptor was asked by the Jesuits to carve several copies of our Lady of Montaigu in 1615. The same sculptor hew in 1616 the nice fountain finding itself in the left passageway and which therefore happily enough still exists. At first sight that fountain looks like a holy water stoup. Curiously, the statue of the Virgin is dressed in accordance with the relevant customs adopted in the late Middle Ages so that the stylized gowns are changed according to the different religious festivals and pilgrimages, which is something very interesting to see.
There are some very splendid paintings in the cathedral. Worth being attentively observed are the Adoration of the Magi on the left wall of the nave, attributed to the school of Rubens in Antwerp, and on the opposite side the Immaculate Conception and Assumption dating back to the 17th century. On the same side as that where the Adoration of the Magi painting is there is also a a magnificent tapestry made in Brussels in the 17th century by J. Goenot depicting Moise before the burning bush. The stained-glass windows are also very nice. Some of them, made in the middle of the 19th century, depict the life of Our Lady. Some others were produced in the twentieth century. Among the latter, that representing St. Kunigunde embellishes the former left side chapel. That in the former side chapel on the right by the artist Emil Probst portrays St. Willibrord, remembered as the apostle founder of the Abbey of Echternach. The stained-glass window at the back of the gallery above the portal represents the Comforter of the Afflicted as patroness of the town of Luxembourg. It's an emblematic work handed by the Government of Luxembourg as a votive gift after the Second World War. Besides, the glass paintings of the monumental windows in the enlarged part of the temple amounts to the main artistic accent of the stated part. They give a special character not only to the chancel but also to the transept and the old part of the building and fill the whole interior with the festive radiance of a multicoloured tapestry. Among the said stained-glass windows those attributable to Louis Barillet are of quite a remarkable quality.
One can accede easily to the crypt from the western portal by going down a staircase leading to it from the hall or the antechamber. That crypt, dedicated to St. Peter, is a place of national importance inasmuch as it contains the burial vaults of the Luxemburgish bishops and the members of the Grand-Ducal Family. At each side of the entrance there is a bronze lion holding the Luxemburgish coat of arms. They are the work of Auguste Trémont. The burial vault itself is situated underneath the chancel of the ancient Jesuit church. Among other interesting elements in that crypt it's possible to watch also the tomb containing the remains of John of Luxembourg, King of Bohemia, known as John the Blind.
From the foregoing it comes out that the Church of Our Lady of Luxembourg is a stunning edifice due to both its size, its beauty and the successful combination of the old and new elements, which is crucially important for architectural design of the extension. That temple ranks among the most remarkable Luxemburgish architectural creations of the late sixteenth and early seventeenth century Flemish artistic tendencies in which the transition from the renaissance to the early baroque took place. Once inside, a feeling of peace together with charm and delight can be experienced thanks to the stupendous atmosphere and the rich and appropriate decoration there existing. Likewise, the outline of the new building in the townscape, with the harmonious variety of the pyramidal roofs is also marvellous. The Cathedral has therefore a fantastic profile thus making it an outstanding feature of the city of Luxembourg. On the basis of all the foregoing the visit of that church is thus a must while in Luxembourg or somewhere near its borders with the neighbouring countries.
Written 12 March 2021
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
fiamma11
Vienna, VA3,477 contributions
Architecturally Interesting
Dec 2020
The artistry is attributed primarily to the German sculpt Daniel Muller; his work included the organ tribune. Decorations are in alabaster. This is a worthwhile venture when in Luxembourg City and a noteworthy example of late gothic architecture.
Written 19 December 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
Susanne A
Avesta, Sweden1,236 contributions
Lovely Cathedral 🙏❤️
Sep 2020 • Solo
Visited this Beautiful church and lit a candle, as I always do when I’m travelling. For the moment they are renovate parts of the church but there’s plenty of space to sit down and just take a breath, pray or whatever your needs are 😇
Written 3 September 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
Georges V
Antwerp, Belgium278 contributions
An interesting place to visit
Aug 2020
The cathedral has been renovated recently, which gives the old building an aspect of too clean. You wouldn't believe it is that old.
But it is still worth the effort to visit. As many other tourist attractions in Luxembourg City, you get a detailed overview of the history of the building and the country in general.
But it is still worth the effort to visit. As many other tourist attractions in Luxembourg City, you get a detailed overview of the history of the building and the country in general.
Written 24 August 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
Nadia Huberty
Frisange, Luxembourg9 contributions
Worth the visit
Aug 2019
This is the big church in Luxembourg located on the main road by the valley. It's impressive from the outside and has the iconic architecture of Luxembourg. You can also go inside from the other entrance and check it out. Worth a visit if you're in the area.
Written 6 May 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
GoGo2SlowGo
Denton, TX1,521 contributions
Beautiful church with a rich history
Aug 2019
The oldest church is Luxembourg is St. Michael's but Notre Dame might be more visited by tourists. It was originally a Jesuit church and its design is gothic. Pope Pius IX, in 1870, gave the church its name as the Cathedral of Notre-Dame. It was the Church of Our Lady before that. The church is beautiful both inside and out and still serves as the only cathedral in Luxembourg. It’s worth a visit along with St. Michael’s Church.
Written 22 March 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
1991KEB
Navarre, FL1,236 contributions
Humble and peaceful
Mar 2020
This is a church that feels loved and gives you a sense of peace when you enter. The oldest part of the. Hour h is the former Jesuit college started in 1594 when the Jesuits settled in Luxemburg. The stain glass windows behind the alter were breathtaking. I lit two candles my St. Joseph. This church is located right in the center of the city and was easy to walk to. The ceiling with the Saints from the old testament were amazing.
Written 15 March 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
Ukleba
Tbilisi, Georgia675 contributions
Amazing
Mar 2020 • Friends
Very beautiful cathedral in the center of the city. It is free to enter and there are two floors to visit.
Written 11 March 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
IRISHYIDDO
London, UK252 contributions
Peaceful
Mar 2020 • Family
Lovely church ..Very peaceful..Light a candle and enjoy the beautiful windows ..Right in the centre of Luxembourg
Written 8 March 2020
This review is the subjective opinion of a Tripadvisor member and not of TripAdvisor LLC.
How do you access the stairs to access the crypt from the INSIDE the church?
Irish_Kiwi77
Wellington, New Zealand1,209 contributions
Yes inside the church and on the right
tundracamry
Phoenix, AZ7 contributions
Can you please advise what hotel you stayed. Also is this Notre Dame just like Paris which is so amazing.
I stayed at Francis hotel. It's in the main square on place de armes. Bit pricy 80€ night. But walking distance from station and main attractions - so a plus. Breakfast is included. Rooms are very nice.
Frequently Asked Questions about Cathédrale Notre-Dame
- We recommend booking Cathédrale Notre-Dame tours ahead of time to secure your spot. If you book with Tripadvisor, you can cancel up to 24 hours before your tour starts for a full refund. See all 9 Cathédrale Notre-Dame tours on Tripadvisor
- According to Tripadvisor travellers, these are the best ways to experience Cathédrale Notre-Dame:
- Luxembourg and Dinant Day Trip from Brussels (From €64.10)
- Run the Lights (From €45.78)
- Private tour Luxembourg & Dinant from Brussels Full day (From €878.85)
- Exclusive: Private tour Luxembourg & Dinant from Brussels Full day (From €933.78)
- Romantic Luxembourg Private City Exploration Game (From €7.62)
- Hotels near Cathédrale Notre-Dame:
- (0.14 km) Grand Hotel Cravat
- (0.15 km) Hotel Simoncini
- (0.16 km) Hotel Vauban
- (0.25 km) La Pipistrelle
- (0.29 km) Le Place d'Armes Hotel
- Restaurants near Cathédrale Notre-Dame:
- (0.08 km) Clairefontaine
- (0.13 km) Batucada
- (0.16 km) L'Annexe
- (0.17 km) Golden Bean - The Coffee Experience
- (0.10 km) Delirio Culinario