at Emmaus, by Herreyres; the portraits of Luther, | James; it is of great extent, and adorned with a Calvin, Erasmus, and the other now celebrated reformers, contained in a picture representing our Saviour disputing with the Doctors, by Franck, the elder. The tomb of Ambrose Capello, 7th bishop, deserves particular praise, the pulpit, also by Werbruggen, the white marble figure sculptured by Scheemakes, on the tomb of Van Delft; the mausoleum of the printer, Moretus, enriched by the pencil of Rubens, and an exquiste picture of the Marriage of Cana, by Martin de Vas. This cathedral formerly contained 32 altars, all of white marble, but one only escaped the devastating fury of the revolutionary mob.

Near the foot of the tower, outside the cathedral, is the tomb of Quentin Matsys, with this inscription:"Connubialis amor de mulcibre fecit

apellem."

This epitaph commemorates the fact of Matsys having abandoned his original trade of a blacksmith, in order to study painting and render himself worthy of the hand of his beloved, the daughter of Flors, a painter, who had resolved to have none but an artist for a son-in-law. After indefatigable study for many months, Matsys began to hope that he should succeed in his new undertaking, but had not determined in what manner to make his first attempt to win the professional approbation of Flors, when being one day in the artist's study, his attention was struck by a singular painting called the Fallen Angels, which Flors had just finished, after immense labour, and which he considered as his masterpiece. Actuated by a sudden and irresistible impulse, Matsys seized a pencil and painted an enormous bee crawling on the thigh of one of the Angels. Such an exploit would have ruined the young aspirant with most artists, but Flors had seen enough to appreciate the talent

displayed in the execution, and not only forgave

the singular manner of its development, but rewarded the artist with his daughter's hand. The picture is still preserved in the Museum. Near this tomb is the famous well, the iron work of which was entirely made by Matsys with the hammer, and without the use of files, proving that he was as eminent in his original trade as in his adopted profession. On Sundays and high festivals the masses of the great German composers are admirably performed in the cathedral.

The church next in importance is that of St.

number of Ionic columns in marble, supporting the great entrance; the marble gallery and the grand altar, inlaid with white and black marble, and supported by twisted columns, are perfect specimens of art. In this church is the tomb of Rubens; near it is a picture by himself, representing the infant Jesus sitting on his mother's knees, surrounded by a number of figures, all of which are portraits of the painter, his wives, and family; one of the females represents the original of the celebrated chapeau de Paille. The pulpit, chastely and elegantly sculptured by Willemsens, merits attention, as do all the windows. The various chapels, 28 in number, are built with marble of different colours; in that dedicated to the Holy Sacrament, is a splendid picture of the Last Supper, by Otto Vennius, and three admirable pieces of sculpture, viz., St. Peter, by Werbruggen; St. Paul, by Willemsens; and the First Person of the Trinity, by Quellyn; and in that of St. Roch is a magnificent picture of the saint, by Seghers. The Last Judgment, by Van Heemsen, is a singular picture, deserving attention from the peculiarly vivid tint which the robes have retained, though more than 300 years have elapsed 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 Cambay, 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 ot 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 | ing the Sacrament to a Knight, by Crayer. In the

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 of the

same.

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; a Holy Family, the Virgin
interceding for the souls in Purgatory, the Com-
munion 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); a
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
Venius; the Last Supper, the Adoration of the
Shepherds, and others, by Jordaens; the Resur-
rection, by Martin de Vos; the Adoration of the
Magi, by Albert Dürer; Portrait of St. Ignatius
surrounded by a garland of flowers, by Seghers
and Schut; &c. 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 ornamenting her tomb.
was drowned in attempting to save the life of her
dog, whose image likewise forms part of the monu-
ment. This Museum may always be visited by
strangers without difficulty.

She

In the Church of the Augustines is an admirable picture by Van Bree, a living artist. It represents the Baptism of St. Augustine, and is remarkable for the beauty of its colouring. The Martyrdom of St. Apollonius, by Jordaens; St. Augustine's Vision, by Van Dyck; and a series of designs representing 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 Werbruggen, 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 this 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 for its construcThere are also several private collections, which tion, and the whole was completed from the designs are shewn to travellers with great readiness; the of Rubens. The great altar was formed of marble, most remarkable is that of M. Van Lancker, in the porphyry, jasper, and gold; and the shrines of the place de Mer, which is rich in most carefully Virgin and St. Ignatius were of dazzling magnifi- selected specimens of the best masters. There is cence. But this splendid edifice was destroyed by also a Museum of Natural History in the Rue du lightning in 1748, and the present imitation of it Convent, which is worthy of attention. There is a in stone has supplied its place. The most remark- public Academy for paintings, sculpture, architecable pictures are Simeon in the Temple, by Delm; ture, and engraving, which was originally founded the Assumption, by Schut, and a Priest administer-in 1454 and was taken under immediate patronage

of royalty in 1817. An immense number of young | by sea, while an imposing French force, under artists study there. A society for the encourage- Marshal Gerard, proceeded to lay siege to the ment of the fine arts has long been established, citadel and the adjacent forts by land. 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.

is adorned with statues of the Virgin, Justice, and Prudence, with their attributes. The whole front is covered with ornamental sculpture. 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 commenced in 1531, burnt down in 1583 and finally completed in 1584. It was 180 feet long by 140 feet wide, surrounded by 44 stone columns, supporting a gallery. It had two towers, with a clock and a sun-dial. Above the Exchange was the Academy of Painting, and beneath it were subterranean warehouses for the use of the merchants.

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 by 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 the square, called the Place Vendredi, is a house, the front of which is embellished with a figure of Hercules accompanied by a woman, bearing the inscription "Labore et Constantia." This was formerly the printing house of Christopher Plantin and his successor Moretus.

The town also contains a Theatre, 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. 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 house of Rubens still exists; the street in which it is situated now bears the name of the painter. The numerous associations called "harmonies," in which the best

compositions of the best masters are admirably performed by amateurs, will afford great pleasure to the lover of music. There are public baths in the Place Verte and in the Esplanade. The environs of Antwerp afford beautiful walks, particularly in the park, which is situated just outside the gate leading to Brussels. About 8 miles south-west is Rupelmonde, with its statue to Mercator, the inventor of Mercator's map projection.

Between Antwerp and Malines the scenery is rather pretty. The land is well cultivated, and there are several picturesque-looking old châteaux on both sides of the line.

The stations are Vieux Dieux, Contich (junetion for Turnhout), Duffell.

Malines, or Mechlin (for description of which see Route 1). This is the central station to which the Brussels, Antwerp, Ostend, and Cologne lines converge. Passengers from Antwerp or Ostend going to Cologne, change trains at this station.

The guards will always promptly answer this question:-Change t'on de convois ici pour Cologne?

ROUTE 5.
Bruges to Courtray.

Bruges. See preceding Route.

Thourout Station. A small town situated in a fertile district, remarkable for the manufacture of coarse woollen cloth and excellent lace. Here is a branch to Ostend. Its only objects of attraction are the large Collegiate Church and Stadthuis. The Castle of Wynendale is close by. It was in this place that the Bishop of Lincoln and his colleagues negotiated the marriage of Edward, Prince of Wales, with the daughter of Philip, King of France, and that of Edward I., the Prince's father, with the sister of that monarch.

Lichtervelde Station, the junction of a line to Dixmode and Furness.

Roulers Station. A small town picturesquely situate on the Mander, amidst beautiful meadows. The church of St. Michael, to the rear of the west side of the market-place, a small structure with a beautiful spire, and the Stadthuis, an old building situated in the market-place, are worth a visit.

Iseghem Station, of no importance, where the railway crosses the Lys, and arrives at