At the entrance of the Fishermen´s Bastion (Halászbástya), which is one of the most popular spots of the Castle District among tourists.

Almost fairytale like in appearance, its decorative white rampart and flowing staircases stretch alongside the eastern front of the Mátyás Templom. According to tradition, the area directly behind the church housed a local fish market during medieval times - hence the name of the Bastion. During the 18th century, the Guild of Fisherman are also said to have traditionally defended this part of the castle wall.

The Fishermen's Bastion was designed by Frigyes Schulek and was built in 1905, for purely ornamental reasons.

The Bastion is made up of seven round towers (of which four are visible in this photo) - each one symbolising the seven Magyar tribes that effectively gave rise to the nation a thousand years earlier.

One of the most famous and decorated churches in Budapest is Matthias church (Matyas Templom), which is situated in the castle district on the Buda side.

Officially named as the Church of Our Lady, it has been popularly named after King Matthias Corvinus (Good King Mátyás) who ordered the construction of its original southern tower. In many respects, the 700 year history of the church serves as a symbol (or perhaps a reminder for Hungarians) of the city's rich, yet often tragic history. Not only was the church the scene of several coronations, including that of Charles IV in 1916 (the last Habsburg king), it was also the site for King Mátyás' two weddings (the first to Catherine of Podiebrad and, after her death, to Beatrice of Aragon).

The darkest period in the church's history was the century and a half of Turkish occupation. The vast majority of its ecclesiastical treasures were shipped off to Pozsony (Bratislava) and following the capture of Buda in 1541 the church spent life as the city's main mosque. To add insult to injury, ornate frescoes that previously ordained the walls of the building were whitewashed and interior furnishings stripped out.

Although following Turkish expulsion in 1686 an attempt was made to restore the church in the Baroque style, historical evidence shows that the work was largely unsatisfactory. It was not until the great architectural boom towards the end of the 19th century that the building regained much of its former splendour. The architect responsible for this work was Frigyes Schulek.