was the earliest 1 tained from their fe regarded by them a and wealth. It c tower, from whence and in which was citizens to arms, an on the top was ca Gantoises, as a trop town, under Philip been re-gilt. Its h one, it having origi at Constantinople, f. by the men of Br crusade as soldiers Flanders. It is no deposited in the low the title deeds and top a magnificent vi trance to it lies thro who charges 2 francs reply was made by atrocious minister, destroy the city, " d'Espagne pour fair 1 (How many skins take to make such king, pointing out t Beffroi, and punning The Cathedral of Gl Gothic buildings in B church dedicated to S of St. Bavon in 1540 thither the collegiate saint, and 19 years af dignity of a cathedral ing was commenced i in the beginning of t majestic effect which i produce is much impa area around and in fro able for its elegance; ascent to the platform 446 steps; the view fr extent and beauty. TI into three aisles by a elegant columns. On each side are disposed tricht, which town the artists were born, Above this picture are three smaller ones by the same artists; the centre represents Christ on a throne, holding a crystal sceptre, surmounted by a large sapphire; the transparency of the crystal is represented with an effect almost magical: the left-hand picture is an exquisite representation of the Virgin, and that on the right is an equally fine figure of St. John the Baptist. These four pictures, whether considered with reference to the date of their execution, or to their intrinsic merit, must rank among the most valuable in Belgium. In the fourteenth chapel is a fine picture by Rubens, representing the Reception of St. Amand in the Abbey of St. Bavon, after he had given all his property to the poor. The fifteenth contains the Resurrection of Lazarus, by Otto Vennius, the master of Rubens, and also Judas Maccabeus seeking a place of Burial for his Soldiers. In the sixteenth is the Martyrdom of St. Lieven, the patron of Ghent, by Seghers. The seventeenth has a copy from Rubens' picture of the Martyrdom of St. Catherine, the original of which is in the Church of St. Catherine, at Lille. In front of the chapel is the mausoleum of Bishop G. Van Eersel, executed by Charles Van Pouche and F. Janssens, after the designs of the former. The nineteenth chapel contains the Seven Works of Mercy, by Coexie; in the twentieth is the font in which Charles V. was baptised; the twenty-first has the Assumption of the Virgin, by Crayer; in the twenty-second is one of the finest productions of Crayer, representing St. Machaire praying for the cessation of the plague; before the altar is a bas-relief in white marble, by M. Portois, representing the body of St. Machaire carried in procession. The altar-piece of the twenty-third chapel represents St. Stambart carrying burning coals on an unconsumed surplice to St. Sandoalt; this picture is by Van Huffel. The twenty-fourth and last chapel contains a Descent from the Cross, by one of the most beautiful in Belgium. It is composed of white marble and oak. The tree of life supports the pulpit, and covers the sounding-board with its branches. At the foot of the tree is seated a figure of Time, represented as a venerable old man, whose eyes are covered with a thick veil, which he is lifting up in order to contemplate the features of Truth, who presents herself before him as a beautiful woman, holding an open book, in which are traced the words "Surge qui dormis illuminabit te Christus," "Arise thou that sleepest, Christ shall give thee light." At the foot of each staircase are two angels. The four fronts of this exquisite piece of workmanship, which cost 37,000 florins (£2,960), are ornamented with bas-reliefs in white marble. Another most perfect work of art in this cathedral is the mausoleum of Bishop Triest, by Jerome Duquesnoy; it consists of a statue of the bishop contemplating the cross borne by our Saviour. On the opposite side is a figure of the Virgin, and two small angels are stationed at the bottom of the mausoleum. The visitor should not leave St. Bavon without descending into the Crypt, a low subterranean arch under the choir. It is divided into five chapels, adorned with paintings, and containing the tombs of John and Hubert Van Eyck, an his sister, also a painter, who might be reckoned an enthusiast in the art, as she rejected all offers of marriage, in order to devote herself entirely to its study. The Church of St. Nicholas is one of the most ancient in Ghent. It was burned in 1120, but re-built on the same plan. This edifice suffered much in the religious wars. The church of St. Pierre is a building of the seventeenth century. It is approached through a beautiful square, and contains a few good paintings by Crayer, Janssens, &c. The Church of St. Michael, in the centre of the city, is remarkable for the elegance and lightness of its architecture, of a mixed style, partly floridGothic, partly Renaissance, which is seen to advantage from the open space in which it is situated. The square tower which surmounts the church, was begun in 1440, and was to have been carried to a height of 400 feet, but the design has never been completed. In the twelfth chapel of this edifice, is a magnificent picture of the Crucifixion, by Van Dyck, the only work of this master which is to be found in any of the public buildings of Ghent. Each of the chapels, which are twelve in number, contain one or more pictures of various merit. It will be sufficient to direct the attention of the amateur to the Annunciation, by Lens, and the Assumption, by François, both in the newly finished chapel, to the right of the cross of the church; the Apotheosis of St. Catherine in the third chapel, by Crayer, and the Finding of the Cross, by the Empress Helena, whose figure, represented in the picture, was furnished by the Empress Josephine, who sat for the model. There are also in this church numerous paintings by Belgian artists, and a St. Francis, of Paula, by Ribera. The organ recently erected in this church is remarkable for its sweetness. The pulpit of massive mahogany is handsome. The other principal churches worth visiting are those of Saint Pierre, St. Nicholas, and St. Jacques; this latter church is situated in a vast square. It was destroyed in 1720, and afterwards rebuilt. St. Jacques has two good paintings of Van Cleef, and some monumental sculpture of merit from the chisel of Van Poucke. The Church of St. Martin has a magnificent painting of the Resurrection, by Crayer, said to be his master-piece. The Dominican Oratory deserves to be inspected on account of its bold and lofty wooden vault, designed by the Dominican Francis Romain, in 1700. The Béguinage.-The community of Béguines was founded by St. Bagge, Duchess of Brabant, and sister of Philip of Landen. The community is peculiar to the Netherlands. Clement V. issued a bull against these sisters, but John XXII. revoked it, and accorded them many indulgences. It is one of the few nunneries not swept away by the fury of the French revolution, or suppressed by Joseph II. Their existence received a legal ratification in 1826. The sisters are bound by no Vow, and may return to the world at any time. Their chief duty is to attend to the sick and visit the hospitals, where they are constantly to be met with. In the order are persons of the highest families and wealth. The sisters in Ghent amount to about one hundred, whilst their entire number 66 ...... Un peu de baume à la souffrance, The Hôtel de Ville is situated partly in the Rue Haute Porte, and partly in La Marché-au-Beure. The portion standing in the former street, built in the Gothic style of architecture, presents a magnificent appearance, and is adorned with exquisitely wrought ornaments. It has two façades, built at intervals between 1482 and 1620, after several plans, by as many architects. The turret or tribune at the corner was built in 15271560 by Eustace Polleyt, and is in the richest flamboyant Gothic style. The other façade, built between 1600 and 1620, has columns of three different orders of architecture, one surmounting the other. In the Salle du Trone, so celebrated in the annals of Ghent, was signed the treaty known as the "Pacification of Ghent," drawn up, in 1576, by the congress of confederates, who assembled to adopt measures calculated to drive the Spaniards out of Belgium. Two modern paintings are to be seen in the interior of the building, which will not elicit very much admiration. Palace of Justice.-This striking building by Rôlands, is situated in the Rue du Théâtre. The ground floor is used as the Exchange, and the upper chamber as Courts of Justice. Palace de l'Université.-Founded by William I. King of Holland, in 1826. It is a beautiful and modern edifice, having a splendid Corinthian portico, modelled from the Pantheon, at Rome, and is built on the site of the Jesuits' College. The principal hall, and the amphitheatre, in which the academé meetings are held, can accommodate from 1,600 to 1,700 people, and is richly ornamented and embellished. The Museum of Natural History is not less remarkable for its extent than for the richness of its collection. The University contains a library, open to the public each day from nine to twelve and from two to five o'clock, unless on Sundays and feast-days. This library contains 60,000 volumes, and very many precious manuscripts. The Jardin Botanique, instituted in 1797, belongs to the University, and is one of the finest in Belgium. It contains a collection of 8,000 plants, of 1,000 different species. Maison des Bateliers, on the Quai aux Herbes, is an old and picturesque edifice, built in 1513, The Halle aux Draps will also repay notice. Maison de Detention, a house of correction, situated on the north side of the city, on the Coupurea canal, which is bordered by a double row of large trees. It was constructed in 1773, in the reign of Maria Theresa, and forms a perfect octagon, in the centre of which is a spacious court, communicating with the different quadrangles of the establishment. Each quadrangle or ward has a yard, and in the centre of that belonging to the female ward is a large basin of water, in which the female prisoners wash the linen of the whole establishment. Each prisoner sleeps alone in a small but well-aired room, and is employed during the day in working at whatever trade or business he or she is most competent to do. Of the produce of this labour, five-tenths are retained by government when the prisoners are merely detained correctionally; six-tenths when they have been sentenced to hard labour. The remainder is divided into two portions; half is given to the prisoners weekly for pocket money, and the other given to them at the expiration of the term of their imprisonment, to assist in their re-establishment in the world. Religious service and instruction are provided and attended to in an admirable manner; and if prisoners are found ignorant of the first elements of knowledge, as reading, writing, and arithmetic, they receive instruction in the various branches. Insubordination or refractory conduct is punished by solitary confinement. The shop for refreshments sold to the prisoners is kept under strict regulations by the officers of the establishment, and the profits are employed as rewards for the most industrious and well-behaved prisoners. The new part of the building, which has been recently completed, has cost upwards of £40,000, and the whole edifice is calculated to receive two thousand six hundred prisoners. Le Kauter, or Place d'Armes, is a large square planted with trees. It is a beautiful promenade, and has a military band usually playing there on summer evenings. The Marché au Vendredi (Friday's Market), a vast square, so called from the day on which the fair is held. It is remarkable as having been the spot where the trades' unions of the middle ages planted their standards and rallied to arms. On it the ceremonial of inaugurating the Counts of Flanders was celebrated with a gorgeous and luxurious grandeur, unequalled at the present day. This spot is also identified with one of the most painful and tragic reminiscences connected with the history of Ghent. It is celebrated as being the scene of an internecine slaughter, in which fifteen hundred citizens were slain by fellow-citizens. The weavers and fullers constituted the two factions, and the former were led on and headed by Jacques Van Artavelde, called the Brewer of Ghent, in the corporation of which body he enrolled himself, though descended from one of the first families in Flanders. The day, to mark the sanguinary and disgraceful work, was called Evil Monday, in the annals of the town. On that spot, and on that day forty years after, Philip, the son of that Jacques, was saluted Protector of Ghent, and received the oath of fidelity from his townsmen on the occasion of |