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The Franciscan Church Bell Tower, symbolically known as the Peace Bell Tower, was conceived by Franciscan Oko Skoko, the guardian of the Monastery of Saints Peter and Paul, as a monument of reconciliation in a city once divided by war. The current structure rises on the site of the original bell tower, which was destroyed during the shelling of 1992.

The new tower, completed in the early 2000s, is notably taller than its predecessor and now stands as the tallest structure in Mostar, reaching an impressive 351 feet. Visitors can take an elevator part of the way up, followed by a climb to the viewing platform at the top, which offers a breathtaking 360-degree panorama over the Old Bridge, the Neretva River, and the surrounding Herzegovinian hills.

Inside the tower, seven bronze bells resonate across Mostar. The complex also includes a Gallery of Peace, which hosts rotating art exhibitions and historical displays centered on themes of reconciliation and coexistence, and an Education Center that provides workshops, lectures, and community projects aimed at rebuilding trust among the city鈥檚 diverse communities.

The roots of the Catholic Church of Saint Peter and Saint Paul in Mostar trace back to the mid-19th century, when the Franciscan order鈥攁lready active elsewhere in Bosnia for centuries鈥攚as finally allowed to establish a permanent presence in the city. In 1856, Sultan Abdulmejid I issued the Reform Edict, granting Christians greater religious freedom across the Ottoman Empire.

This decree paved the way for the Franciscans to return and begin building a new spiritual and cultural centre in Mostar. Construction of the church and monastery began in 1866. Local craftsmen erected its sturdy walls using traditional methods, and by 1875, the new Franciscan complex was completed.

The complex suffered severe damage during the Bosnian War in 1992, when the original 19th-century structure was destroyed. Following the conflict, the Franciscan community undertook a full reconstruction effort led by architect Davor Smoljan, who designed a contemporary interpretation of the historic site.

Today, the restored complex features a modern monastery, a spacious sanctuary, and the Peace Bell Tower鈥攐ne of the tallest bell towers in southeastern Europe. Within the monastery, visitors can explore a library housing tens of thousands of volumes, reflecting the Franciscans鈥� enduring dedication to education and cultural preservation.

Not far from the world-famous Old Bridge in Mostar stands its smaller, charming counterpart 鈥� the Crooked Bridge. Spanning the Radobolja Creek, a quiet tributary of the Neretva River, this graceful stone arch is believed to predate the Old Bridge by a few years. Many locals say it served as a prototype for its larger sibling, built to test both design and technique before the grand project over the Neretva began.

The Crooked Bridge is a beautiful example of Ottoman stone craftsmanship, with its single semicircular arch rising elegantly about 14 feet above the water and stretching 28 feet across the creek. The bridge is made of finely cut local stone, its smooth cubes fitted tightly together with crushed stone filling the gaps. A gentle flight of steps on both sides leads up to the crest, where the curved footpath is paved with rounded cobblestones, typical of Mostar鈥檚 old quarter.

In December 2000, devastating floods washed away the Crooked Bridge, but it was carefully rebuilt soon after with the support of UNESCO and the Duchy of Luxembourg. Unlike the Old Bridge, where daring divers leap into the Neretva below, this smaller span offers a quieter reward 鈥� the gentle murmur of the creek, a tranquil view of stone and water, and the feeling of stepping across centuries of Mostar鈥檚 living history.

Dervi艧 Mehmed Zilli, the great 17th-century Ottoman traveler, once described the Old Bridge as a rainbow arch soaring up to the skies, extending from one cliff to another. The bridge stretches gracefully over the emerald Neretva River, linking the two halves of the city鈥檚 historic core.

The Old Bridge was built in 1566 on the orders of Suleiman the Magnificent, replacing a rickety wooden suspension bridge. It was designed by Mimar Hayruddin, a student of the legendary Ottoman architect Mimar Sinan. As legend tells it, Suleiman demanded perfection, warning Hayruddin: 鈥淏uild it, or die鈥�. Fearing failure, Hayruddin is said to have prepared his own funeral on the day the scaffolding was removed. But the bridge held鈥攁nd stood for more than four centuries, admired as one of the boldest feats of Ottoman engineering.

At the time, it was the widest man-made stone arch in the world. The structure measures 13 feet wide and 98 feet long, rising 78 feet above the Neretva. Framing each end are two fortified towers鈥攖he Helebija Tower to the west, which once contained a prison, and the Tara Tower to the east, now home to the Museum of the Old Bridge. Their pale limestone walls blend with the cliffs, reinforcing the bridge鈥檚 elegant silhouette.

After 427 years, the bridge was tragically destroyed during the Bosnian War in 1993. Its loss shocked the world. Yet hope followed: a meticulous UNESCO-led reconstruction, completed in 2004, used original materials and techniques, with stones quarried from the same site as in the 16th century.

Each summer, the bridge becomes a stage for bravery. Locals and professionals dive from its summit into the icy river below, continuing a 450-year tradition. It even hosts a stop on the Red Bull Cliff Diving World Series, where elite athletes take the plunge without ropes or harnesses.

So, as you stand here listening to the river echo beneath the arch, imagine the footsteps that have crossed this bridge over the past 450 years 鈥� merchants, soldiers, lovers, families, and now you. The Old Bridge has witnessed it all, and still rises proudly above the Neretva, ready for the next chapter.

The Old Bazaar Kujund啪iluk has been in business since the 16th century, dating back to the Ottoman era when it served as the bustling commercial heart of the city. At its peak, more than 500 workshops and tradespeople operated here, and the street still preserves much of its historic character and charm.

Just a few steps from the Old Bridge, Kujund啪iluk winds its way through a car-free area of the Old Town. Traditional shops line the cobbled street, where artisans sell handcrafted items from small, one-room boutiques. Here, visitors can find copperware, carpets, scarves, jewellery, clothing, ceramics, and decorative hookahs, along with stalls offering spices and other local crafts. Lively caf茅s and restaurants add to the atmosphere, making it a bustling place to stroll, shop, and sample local flavours.

Beyond the classic souvenirs, the bazaar also features antique and curiosity stalls selling vintage photos, books, coins, and even military memorabilia such as helmets and cartridge casings. You may also spot local coppersmiths engraving designs by hand 鈥� a craft for which this market has long been known. Bargaining is common, and many vendors expect a bit of friendly haggling.

The Koski-Mehmed Pasha Mosque is one of Mostar鈥檚 most distinctive landmarks, known for its elegant silhouette above the Neretva River. Although its minaret is not the tallest in the city, its vantage point overlooking the Old Town gives it one of the most memorable views in Mostar, especially for those who climb to the top for a panoramic look over the Old Bridge and the river valley.

Commissioned by Koski Mehmed Pasha, a high-ranking Ottoman official linked to the court of Lala Mehmed Sokolovi膰, the mosque was built between 1618 and 1619. Though Koski Mehmed Pasha passed away before its completion, his family ensured the project continued, and a small religious school was later added, establishing the site as an early centre of learning in the city.

The mosque is a fine example of classical Ottoman architecture found in Bosnia and Herzegovina. A single, domed prayer hall forms the core of the structure, preceded by a charming three-domed porch and a slender minaret. Its design is believed to have been inspired by the older Karag枚z Bey Mosque, though the minaret here is simpler, lacking the ornate stalactite-style carvings that often decorate minaret balconies elsewhere.

Inside, the mosque is noted for its beautifully carved mihrab and wooden minbar, enhanced by soft painted ornamentation that enriches the space without overwhelming its calm atmosphere. Heavily damaged during the 1993 conflict, the mosque underwent a careful restoration.

While the mosque once held valuable Qur鈥檃nic manuscripts and prayer rugs, many of these have since been relocated for preservation. Today, the highlight for most visitors is the minaret viewpoint, offering one of the most breathtaking perspectives in Mostar鈥攚here the city鈥檚 old stone roofs, the Old Bridge, and the emerald ribbon of the Neretva come into a single unforgettable frame.

The Bi拧膰evi膰 House is one of the finest surviving examples of traditional Ottoman residential architecture in the city, offering a rare glimpse into family life during the 17th century. Built in 1635 along the banks of the Neretva River, it reflects the layout and character of the old mahallas鈥攏eighbourhoods that developed rapidly during the Ottoman era. From the street, these houses appeared modest, often only one or two storeys high, yet inside they revealed refined craftsmanship, careful design, and a strong sense of privacy.

Ottoman homes were positioned with great care: each residence was oriented to capture the most scenic views, especially the river, without obstructing a neighbour鈥檚 view, as required by law. Entry from the street led into a walled courtyard, a transitional space protecting family life from the outside world. Separate rooms were designated for guests and for daily family living.

Inside the Bi拧膰evi膰 House, the contrast between the plain exterior and the richly decorated interior becomes immediately clear. Visitors step through a simple entrance into a world of carved wooden ceilings, built-in cabinets, and a beautiful room with pointed arch windows dramatically cantilevered above the rushing Neretva. The high enclosing walls and shaded stone courtyard with its softly bubbling fountain create a peaceful, secluded atmosphere.

The house remains privately owned by the Bi拧膰evi膰 family, who have converted it into a small museum. At the entrance, guests are provided with Turkish slippers to protect the carpets. Rooms are furnished with divans, oriental rugs, embroidered textiles, and framed Arabic calligraphy. Visitors are welcome to take photographs, and one of the charming touches is the opportunity to try on traditional clothing stored in antique chests鈥攑erfect for a memorable photo.

The Karadjoz-Beg Mosque is one of the most significant Ottoman-era landmarks in Mostar, built in 1557. Its prominent dome and tall minaret make it stand out in the city鈥檚 skyline, and it is widely regarded as the largest mosque in the Mostar region. The site reflects layers of early religious history in Mostar, although the often-repeated claim that it was built directly over the Church of Saint Stephen is not firmly substantiated.

An Arabic inscription on the mosque鈥檚 cornerstone states that it was commissioned by Mehmed Bey, son of Abu al-Sadat. Some historians suggest he may have been related to Grand Vizier R眉stem Pasha, although records of this family connection are unclear and remain a subject of scholarly discussion. What is certain, however, is recorded in the inscription itself鈥攓uite literally set in stone.

The mosque鈥檚 design is linked to the architectural school of Mimar Sinan, the chief imperial architect of the Ottoman Empire, whose influence shaped many of the finest mosques of the 16th century. While it is unlikely Sinan personally designed the mosque, its composition reflects the style of his workshop. The layout follows a classical Ottoman plan: a single-domed prayer hall, fronted by a double portico. The inner portico carries three small domes supported by four slender marble columns, while the outer portico rests on octagonal pillars, creating a refined threshold from courtyard to interior.

The main dome sits atop an eight-sided drum pierced with windows and pointed arches that allow soft daylight to filter into the prayer hall. The mosque sustained damage during World War II, and again in the 1993 conflict, but a comprehensive restoration鈥攃ompleted in July 2004鈥攃arefully returned it to its 16th-century character.

Today, the Karag枚z Bey Mosque remains a cornerstone of Mostar鈥檚 spiritual and architectural heritage, admired for its balanced proportions, cultural importance, and lasting presence.

The Muslibegovi膰 House offers one of the most elegant insights into late Ottoman-era life in Mostar. It belonged to the distinguished Muslibegovi膰 family, a noble lineage of Herzegovina with a long-standing presence in the region. Built in the second half of the 18th century and later expanded, the residence reflects the family鈥檚 status, taste, and cultural refinement, with many of its original furnishings, artworks, and household items carefully preserved.

Today, the complex is a national monument and museum. The property consists of a traditional Ottoman residence with two courtyards, enclosed spaces that ensured privacy and comfort. A major extension carried out in 1871鈥�1872 added new rooms to both floors. This expansion introduced subtle elements of Western influence, reflecting the changing tastes of the late Ottoman period, just before the arrival of Austro-Hungarian rule.

Architecturally, the Muslibegovi膰 House is regarded as one of the finest surviving examples of Ottoman residential design in Bosnia and Herzegovina. Inside, visitors will find richly furnished salons, carved wooden ceilings, embroidered textiles, and traditional divans lining the walls. The museum section displays treasured family heirlooms, including an 1855 Qur鈥檃n manuscript and a finely decorated 1866 saber, which are among its most valuable artefacts.

Part of the residence now operates as a small hotel with twelve rooms, allowing guests to immerse themselves in the setting of a historic Ottoman household.