since it was painted. There are numerous other works of great merit, but it is sufficient to draw the attention of the tourist to the above as the principal.

The Church of St. Andrew was made a parochial church in 1529, by Margaret of Austria, the sister of Charles V. of Germany, on the occasion of her signing with Louisa of Savoy, Duchess of Angoulême, the mother of Francis I. of France, the treaty of Cambray, which, negotiated and concluded by the talents of two women, brought to a termination (though unfortunately but for a short time) the long pending wars between those powerful and rival princes. In this church are numerous marble altars of great beauty, and several fine pictures, the principal of which are the Martyrdom of St. Andrew, by Otto Vennius, and the Guardian Angel, by Quellyn. It also contains a portrait of Mary Queen of Scots, and a marble mausoleum executed to her memory at the expense of two English ladies.

The parochial Church of St. Paul was built in 1246 by Henry III., Duke of Brabant, and contains numerous fine paintings, among which are the Adoration of the Shepherds and the Scourging of Christ, by Rubens; the Descent from the Cross, by Cels; Christ in the Garden, and the Seven Works of Mercy, by Teniers the elder; Christ bearing the Cross, by Van Dyck; a Head of Christ, by Otto Vennius; Christ Crucified, by Jordaens; and St. Dominic, copied from Correggio, by Crayer. A globe, with Time holding an Arrow, which points to the hours in succession, forms the Clock, and is a curious piece of mechanism. Near the entrance of this church is the celebrated representation of Mount Calvary, beneath which is the Tomb of Christ, containing an image of the Saviour in a shroud of superb silk, surrounded by a vivid picture of Purgatory, the flames of which are reflected on every side, while the horridly grotesque expression of the tormented souls inspires, at first sight, a sentiment of involuntary awe, which stifles and subdues the perceptions of the ridiculous arising from a more detailed examination.

presenting the principal events of the life of St. Augustin, are not to be passed over without notice. The pulpit and the grand altar, the one carved the other sculptured by Verbruggen, are also much admired. The church of St. Anthony contains only two good pictures: a Dead Christ, by Van Dyck, and St. Francis receiving the infant Christ from the hands of his mother, by Rubens. The church of St. Charles Borromeo was formerly the most costly edifice of its size in Europe; it was commenced by the Jesuits in 1614, and finished in 1621. The most boundless expense was lavished on it; the finest marble was brought from Genoa or its construction, and the whole was completed from the designs of Rubens. The great altar was formed of marble, porphyry, jasper, and gold; and the shrines of the Virgin and St. Ignatius were of dazzling magnificence. But this splendid edifice was destroyed by lightning in 1748, and the present imitation of it in stone has supplied its place. The most remarkable pictures are Simeon in the Temple, by Delm; the Assumption, by Schut; and a Priest administering the Sacrament to a Knight, by Crayer. In the chapel of St. Ignatius is a communion-table of Carrara marble, sculptured in the finest style of art, by Van Papenhaved.

The Museum is the finest in the kingdom, and contains 127 pictures by the first masters of the Flemish school. Among them (in addition to the picture of the Fallen Angels we have before mentioned) are the Martyrdom of St. John, the Burial of Christ, and the Head of John the Baptist, by Quentin Matsys. The Holy Family, the Virgin interceding for the souls in Purgatory, the Communion of St. Francis, Jesus shewing his wounds to St. Thomas, the Adoration of the Magi, St. Anne teaching the Virgin to read (an exquisite picture of still life), Christ between the Two Thieves, and numerous others, by Rubens (the last mentioned picture is, perhaps the finest specimen of the artist's genius; the impenitent thief is depicted with a fidelity almost too horrible to be contemplated). The Dead Christ, Christ on the Cross, St. Catherine of Sienna, St. Dominic, and others, by Van Dyck. St. Luke before the Proconsul. The Charity of St. Nicholas to a Poor Family, and others, by Otto Vennius. The Last Supper, the Adoration of the Shepherds, and others, by Jordaens; the Resur

Magi, by Albert Dürer; Portrait of St. Ignatius surrounded by a garland of flowers, by Seghers and Schut. Some of the wall paintings are by De Keyser. The Chair of Rubens is likewise preserved here, and in an adjoining apartment is a fine collection of casts. In the garden of the Museum are several busts, and a bronze statue of Mary of Burgundy ornaments her tomb. She was drowned in attempting to save the life of her dog, whose image likewise forms part of the monument. Open to strangers without difficulty.

A splendid building is in course of erection destined to receive this and the Oudheden Museum and the Academy of Painting.

Oudheden Museum (antiquities) of old furniture, arms, pictures, &c., at the Steen, a remnant of the old castle, near Fishmarket.

There are several private Collections, which are shewn to travellers with great readiness; the most remarkable is that of M. Van Lancker, in the Place de Mer, which is rich in most carefully selected specimens of the best masters. There is also a Museum of Natural History in the Rue du Convent, which is worthy of attention. There is a public Academy for paintings, sculpture, architecture, and engraving, which was originally founded in 1454, and was taken under the immediate patronage of royalty in 1817. An immense number of young artists study there. A society for the encouragement of the fine arts has long been established, which distributes prizes every third year to artists of merit; the allotting of the prizes is preceded by an exhibition, to which none but the works of living and native artists are admitted.

The Citadel (which has been pulled down and replaced by fortifications now in course of construction, surrounding the town), was originally built in 1568, by Pacciotto and Cerbelloni, under the direction of the Duke of Alva; it was of immense strength in the form of a pentagon, with six bastions, which command each other, and are defended by deep and broad trenches. This fortress formerly contained the Bagne, or place of detention for criminals condemned to hard labour. It contained 15 wells, and a handsome Church, in which protestant service is now performed. When Carnot was governor of Antwerp, under Napoleon, he spared no pains to strengthen these fortifications, and succeeded, as

he thought, in rendering them impregnable, but they opposed a very ineffectual resistance to the progress of the English arms in 1814, when the town was taken, after a bombardment which nearly destroyed the whole of the docks.

But the event which gives the citadel of Antwerp its greatest interest in modern times, is its siege and surrender to the arms of France at the close of the year 1832. From the period of the revolution, which divided Belgium from Holland in 1830, the Dutch had retained possession of the citadel, which commands not only the navigation of the Scheldt, but holds the entire city of Antwerp at its mercy. The forts below the town were also in the hands of the Dutch, under General Chassé; so that the late monarch had the control of the commerce of Antwerp as effectually as at any period during his reign. To put an end to the incongruous state of things, after upwards of two years spent by Great Britain and France in fruitless endeavours to effect a pacification between the parties, these two powers resolved upon employing force to compel the King of Holland to relinquish a position which gave him so decided an advantage, and which also kept both countries in a state of agitation and warlike preparation, the evils of which were not very inferior to those of war itself. A combined English and French squadron therefore despatched to blockade the mouth of the Scheldt by sea, while an imposing French force, under Marshal Gerard, proceeded to lay siege to the citadel and the adjacent forts by land.

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The French army was much larger than was deemed necessary for the mere reduction of the fortress, but the Prussians had established a large corps of observation on the right of the Meuse, and the King of Holland, on his side, had levied a powerful force, which was kept ready for action within a few leagues from Antwerp; consequently in order to be ready for every contingency, the army under Marshal Gerard was such as to ensure its success; it consisted of nearly 50,000 infantry, 6,000 cavalry, and a tremendous train of artillery. The siege of 1832 commenced on the 29th November, and terminated on the 23rd of January, 1833, in the surrender of the garrison. The French, under Marshal Gerard, amounted to 66,000 men. The late Duke of Orleans commanded the troops

in the trenches. The best proof that could be given of the determination and bravery with which General Chassé and his 4,500 men had defended the trust confided to him, was found in the state of the fortress when entered by the victors; all the places which had been built and considered bomb-proof were discovered to be in a state of utter devastation; heaps of ruins, black and smoking from recent conflagration, marked where buildings had previously stood, and even the hospital which contained the sick and wounded, and amputated soldiers, and which was so placed as to be, at least comparatively secure, was found to have been so injured as to threaten momentarily to fall upon the heads of the inmates; the loss of the besieged was stated at 90 killed, 349 wounded, and 67 missing; that of the French, 108 killed and 687 wounded. The order of the day of the French Marshal stated that 14,000 metres (beween eight and nine miles) of trenches had been opened during the siege, and 63,000 cannon halls fired at the citadel. An application through a lacquai de place to the Hotel de Ville will obtain an admission to see the citadel.

The Hotel de Ville is situated in the principal market-place, in which the markets are held every Wednesday and Friday. It was built 1581, and enlarged in 1713, by pulling down twenty-nine houses. It has a carved front of 250 feet, and is adorned with statues of the Virgin, Justice, and Prudence, with their attributes. In this building is an extensive Public Library, and a collection of ancient and modern Pictures.

The Bourse, which was burnt down 1858, was principally remarkable as having been the model from which Sir Thomas Gresham formed his design for the Royal Exchange of London; it was finally completed in 1584. It was 180 feet long by 140 feet wide. The handsome new Exchange is by Schadde.

The form of the City of Antwerp resembles a strung bow, the string being represented by the Scheldt; it contains 23 public squares and upwards of 200 streets. The most beautiful is the Place de Meir, in which is the royal Palace purchased by Napoleon and furnished y him for his own residence. It contains a few fine paintings. In the Place Verte, a square handsomely planted with trees, are held on the 17th of May, and on the

16th of August, fairs which last 30 days, for merchandise of all kinds; here also is the handsome building inhabited by Carnot, while governor of Antwerp. In a small court out of Place Vendredi, is an old House, the front of which is embellished with a figure of Hercules accompanied by a woman, bearing the inscription "Labore et Constantia." It was from 1565 the printing office of Christopher Plantin (printer to Philip II.) and his successor, Moretus. The house, with its treasures, was sold by its last owner to the city. and now forms the Musée Plantin, containing the old furniture, 14,000 letters of scholars, some of their portraits, with the Polyglot printed by Philip II. In Rue Leys (formerly Rue de la Station) is the handsome House of the late Baron Leys (born here 1814), containing his frescoes and other works. Some of his productions are in the Town Hall. The House of Rubens still exists, in a street which now bears the name of the great painter. His country house was at Stein. His tercentenary was kept 1877, when his bust was placed in the City Museum. He executed 2,700 works (700 being drawings and sketches), of which 300 are lost.

The town also contains several Theatres, the new Flemish one being remarkably fine, a Circus for the exhibition of horsemanship, an Athenæum, a Mont-de-Piété, a Foundling Hospital, four Asylums, one of which is for foreigners, and five Hospitals. The numerous associations called "harmonies," will afford great pleasure to the lover of music. There are public Baths in the Place Verte and in the Esplanade. Antwerp is the birth-place of Crayer, Rubens, Van Dyck, Jordaens, the two Teniers, and Ommegank, all painters of the first class; Edelink, the engraver; Ortelius, the geographer; Grammage, Butkers, Sanderus, and Vammeteren, historians; Moretus, the printer; and Stockmans, whose legal decisions are of the greatest authority in the Belgic courts. The Park is situated just outside the gate leading to Brussels. About 8 miles south-west is Rupelmonde, with its statue to the inventor of Mercator's map. On the line to Maestrecht is Lier or Lierre (Station), 9 miles; with silk factories, and good pictures by Rubens and Merling at St. Gomer's old church. Hotel d'Anvers.

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