Gothic architecture in the kingdom. It was commenced about the middle of the 13th century, and more than 80 years were required to finish it. All but the

tower and choir were burnt in 1533. The workmanship of the exterior is very elaborate and delicate. The interior is remarkable for its imposing simplicity. Its length is about 500 ft., and its breadth 250 ft. The height of the spire is 405 ft. Its chief attraction is the celebrated painting by Rubens, "THE DESCENT FROM THE CROSS," which is generally considered his master-piece. In the opposite transept is the "Elevation of the Cross," also by Rubens, and, over the high altar of the choir, is his famous painting, "The Assumption of the Virgin. In one of the chapels south of the choir, is another painting by Rubens, "The Resurrection."

Every morning, except Thursdays, from 9 to 12, curtains are drawn over these pictures, which are withdrawn at l'o'clock; but admission to the church can then be had only by ticket, which can be obtained close to the side door for 1 franc. A visit to the tower of the Cathedral costs, for one person, 75c., for two persons, 1 franc, and for three or more persons, 1.50 francs. The wood carving of the choir, which is mostly modern, is greatly admired.

In the exterior base of the tower is a memorial stone to Quintin Matsys, the painter-blacksmith, one of whose works in the latter capacity-some ornamental ironwork over a draw well-is in the immediate vicinity. From the top of the spire, whose elegance and beauty cannot be too much commended, a view over an immense tract of country may be obtained. The carillon, or chimes of this church, are very much admired.

There are 42 bells in the carillon. The pulpit is by Verbruggen, and the carved oak stalls of the choir by Geerts.

The CHURCH OF ST JACQUES, of the 15th century, is a fine structure, and naturally visited as the burial-place of Rubens. In a chapel named after him, lies the artist with his two wives, and some of his descendants. Over the altar is a picture of the Virgin and the Infant Jesus by Rubens, into which he has introduced portraits of his father, himself, and his two wives as saints, and of one of his sons as an angel. There are many other pictures by Van Dyck and other great Flemish masters. Admission, from 12 to 4, one franc each. The internal decorations of this church in fine marbles, stained glass, and wood carvings, are superior to those of the cathedral.

The Church of ST PAUL, of the 16th century, contains some excellent wood carvings; the principal altar in marble, crowned by a figure of St Paul by Verbruggen; the "FLAGELLATION," and an "Adoration of the Shepherds," by Rubens; "Christ ascending Calvary," by Van Dyck; and other paintings and sculptures. In an enclosure at the side of the church is a model of Calvary with figures of the Saviour, saints, angels, &c., and an imitation of the Holy Sepulchre.

The contents of the other churches may be very briefly indicated as follows:-in the church of St Charles Borromeo, a few pictures, and some good sculptures of Arthur Quellyn; in the church of St Andrew, three pictures of Erasmus Quellyn, a pulpit of curious design by Verbruggen, "The calling of Andrew," and, upon one of the pillars, on a small monument in marble to her memory, a portrait

of Mary Queen of Scots, falsely attributed to Van Dyck; in the church of St Augustine, over the great altar, the "Marriage of St Catherine," by Rubens, other pictures by Van Dyck, Jordans, and Spierings, and a pulpit by Verbruggen; in the church of St Anthony of Padua, the "Virgin handing the Infant Jesus to St Francis," by Rubens; and the "Saviour dead upon the knees of the Virgin," by Van Dyck.

The MUSEUM of PAINTINGS is in an old convent adapted, and partly rebuilt for its present purpose. Admission: 1 franc, from 9 to 5 in summer, from 9 to 4 in winter. In it are numerous pictures by Rubens, Quintin Matsys, Van Dyck, and all the principal painters of the Flemish School, of which an excellent catalogue, with ample critical and biographical information (in French), may be bought on the spot. Visitors who do not wish to purchase the catalogue, will find lists of all the pictures and sculptures in each hall, for the use of the public. The Museum Plantin, opened in 1877, is in the Marché de Vendredi, not far from the Place Verte. It contains a most interesting collection of antiquities, manuscripts, specimens of early printing, paintings, &c.

There are in the town several private collections of paintings, to which admission may be readily obtained.

The principal public place are Grand Place, in which is the Hotel de Ville (the large frescoes in the reception-hall are very fine), and several picturesque old houses, formerly belonging to different guilds; the Place de Meir, where the King's Palace is situated; the Place Verte, the old cemetery of the Cathedral where the colossal statue of Rubens, by Geefs, was inaugurated with

much ceremony, on the second centenary of his decease, in 1840. The street in which Rubens resided and died is named after him.

It leads out of the Place de Meir. The house is No. 7. The Zoological Gardens, and the Park, afford very pleasant promenades. They are extensive, and beautifully laid out, and the collection is among the best in Europe. The buildings are mostly new and good, the lion house being even better than that in London. The NEW EXCHANGE, a fine structure, built in 1875, is near the Place de Meir.

In addition to Matsys, and Van Dyck, already mentioned, Antwerp has produced the following painters of celebrity: Jordaens, the younger Teniers; Gaspard de Crayer; and Denis Calvart, the master of Guido Reni.

The distance FROM ANTWERP TO ROTTERDAM by railway is 59 miles. Time 3 hours. Fares, first class, 9.80 francs; second 7·70 francs; third, 4.90 francs.

NOTE.-Travellers intending to stop at Rotterdam should register their luggage at Antwerp to the Bourse Station at Rotterdam, the other station being half an hour's drive from the hotels.

The route as far as the frontier of Holland, Esschen (17 miles), and in fact all the way to Rotterdam, is over a flat and uninteresting country. At ROOSENDAEL, one hour from Antwerp, the luggage is examined, and all passengers get out. Passengers going to Flushing and London change here.

The route passes DORT, one of the oldest towns in Holland. Population, 24,000. It was originally the residence of the Counts of Holland, and in 1572, the first meeting of the states-general was held here, at which the independence of the seven united provinces was declared.

The

principal public buildings are the town hall and the old Gothic church, 300 feet in length, and 150 feet in width. The enormous timber rafts from the Upper Rhine are brought here for sale.

The city is now situated upon an island, the great inundation of 1421, in which upwards of seventy villages were destroyed and 100,000 people drowned, having separated it from the mainland. Trains often go by way of BREDA, which is on a side line about half way between Antwerp and Rotterdam.

For description of Rotterdam see Route 95.

The railway crosses the river at Rotterdam on a superb new bridge, and trains stop first at the new station of Rotterdam Bourse, which is the most convenient for travellers going to the hotels; the next the general station, being nearly half-an-hour's drive from any of the hotels.

ROUTE 90.

BRUSSELS TO THE FIELD OF WATERLOO.

HIS excursion may be made either with a carriage or by the coach, which leaves Brussels every morning, or by railway (nine trains daily; time, 30 minutes, distance 9 miles). A coach from the stand will cost less than one engaged from a stable, but the horses are not so good, and frequent attempts at imposition, such as setting travellers down at the village of Waterloo instead of at Mont St Jean, are made. The distance is ten miles.

The road lies through the forest of Soignies. The view of Brussels, before the entrance of the forest, is much admired; but after this nothing but a wood presents itself for seven miles, occasionally relieved by scattered hamlets. The traveller emerges from the forest near the village of Waterloo, where he will pause a moment to read the tablets in the little church, the affectionate tributes of their surviving companions to the memory of a few of those "who gloriously fell in the battles of Quatre Bras and Waterloo. Wellington's head quarters before and after the battle were here in the Post House opposite the church.

A little over a mile from Waterloo is the hamlet of Mont St Jean, containing nothing remarkable to attract the attention of the tourist. At this place the road is divided. The branch on the left conducts to Jemmapes, and that on the right to Nivelles. Half a mile in advance of the village is the farm house of Mont St Jean, on the road to the farm of La Haye Sainte, and in the immediate rear of the British position. Pursuing the first named road, and passing by the farm of Mont St Jean, the forest disappears, the road suddenly rises, and an easy ascent leads to a kind of ridge. This ridge and the ground behind it were occupied by the British army. Many objects remain to enable the tourist to form a correct idea of the positions of the two armies, and the very places on which the various scenes of this memorable contest were enacted. On the top of the ridge formerly stood a solitary tree; it was removed by order of the Duke of Wellington, and converted into several articles of household furniture to adorn Waterloo Hall at Apsley House. This was the centre of the British position, and the Duke of Wel

lington was posted near this spot during the greater part of the day. The British lines extended along the ridge to the right and left, defended on the left by a hedge which stretches from Mont St Jean towards Ohain. On the extreme right, following the natural direction of the ridge, they turned back towards Brussels, and were protected by a ravine. In front is a valley, not regularly formed, but with numerous windings and hollows. It varies in breadth from a quarter to half a mile. This was the scene of the conflict. The opposite ridges, running parallel to Mont St Jean, were occupied by the French.

A little in front of the spot where stood the Wellington tree, and close by the road, is La Haye Sainte, the object of the second attack in the middle of the battle. The back part of the building was much shattered by the cannon and musket balls, and the interior witnessed the most dreadful carnage. Near this farm also took place the conflict between the Imperial Guards and the British, which decided the fate of the day.

To the right, and in the centre of the valley is Hougoumont, a farm-house, the orchard of which was surrounded by a wall.

The

French made a desperate attempt to get possession of it in order to turn the English flank, but were repulsed after great slaughter on both sides. On the left is the farm of Ter-la-Hay, where the ground becoming woody and irregular, presented a strong position for the termination of the British lines.

On the road to Charleroi, and on the ridge exactly opposite to the British centre is La Belle Alliance, now an inn. It was the position of Bonaparte during the greater part of the engage

ment.

Between La Belle Alliance and La Haye Sainte, are two monuments; one to the memory of Sir A. Gordon, and the other to some officers of the German Legion.

Lion Mount. This is a vast accumulation of earth, beneath which lie, indiscriminately heaped together, the bones of the slainfriends and foes; a flight of steps leads to the top, from whence an extensive view is obtained. It is surmounted by the figure of a lion, of cast iron, intended to stand over the spot where the Prince of Orange was wounded. It was in front of and on each side of the spot, now covered by this mound, that the desperate charges of the French cavalry were made, just before the appearance of Blucher with his Prussians.

Much controversy has arisen as to the numbers engaged on each side in the battle of Waterloo. The best authorities fix the strength of the French army at from 72,000 to 74,000, that of the allied army at 69,894, of which 25,389 were British troops.

The loss of the French army in killed and wounded, was 18,500, taken prisoners 7,800. The loss of the Allies was 23,185.

ROUTE 91.

BRUSSELS TO GHENT, BRUGES AND OSTEND.

78 miles; first class, 8.65; second, 6.50; third, 4.30.

EAVING Brussels from the Northern Railway Station, and passing Laeken and Denderleeuw Junction, we reach ALOST (18 miles), (Hotel: Pays Bas), a town of 18,500 inhabitants, on the river Dender. In the unfinished church of St Martin is the picture by Rubens of St Roch interceding with our Saviour to stay the plague at this place. Passing several places of no interest we reach GHENT (36 miles), (Hotels: see "HOTEL LIST"). PRINCIPAL OBJECTS OF INTEREST, Churches, St Bavon, St Michel; Hotel de Ville, Belfry, Béguinage.

Note.-By taking a cab at the station one may see tolerably well all that is worth seeing here in three or four hours.

Cab fares, 1 franc the course, 1.50 the hour.

This is the chief city of East Flanders, situated in a fine plain at the confluence of the Scheldt and the Lys. It is of great antiquity, and under the Spanish dominion was one of the greatest cities in Europe. It early acquired a reputation for its cloths-the wool for which was in great part supplied from England and retained it until a comparatively late period. The arrogant and turbulent disposition which seems always to have characterized opulent and flourishing Flemish communities soon manifested itself here; and was the cause of the continued tumults and troubles,

of which its eventful history consists.

After a long decadence, its trade and manufactures considerably revived under the government of William I., who was inaugurated here, as King of the Netherlands, in 1815; and in 1830, at the time of the separation from Holland, it was the first manufacturing town in the country. No two names of their period stand out more prominently in history as popular leaders, than those of two of its citizens-Jacques Van Artevelde, "the Brewer of Ghent," who was murdered in 1344, through suspicion of his designs; and his son, Philip Van Artevelde, who was killed in the battle of Roosebeke, in 1382, fighting at the head of the Gantois against the French, and Louis de Maele.

The Cathedral Church of St Bavon, is one of the grandest and finest in Belgium; and the great height of its nave, rising above all the other buildings of the town, makes it the most conspicuous object for many miles round. The crypt dates from 941; the nave from 1228; the choir from 1274; and the tower from 1534. The tower was reduced by a fire in 1603 from its original height of 365 ft. to 272 ft. Philip the Good, Duke of Burgundy, held a chapter of the Order of the Golden Fleece in it in 1445; and Philip II. of Spain held another in 1559, of which memorials remain in the escutcheons of the knights, under the windows of the choir. The most prized picture here, is "Lamb," the chief work of the brothers Van Eyck, the first painters in oil, who were born here, and are buried in the crypt. There are 24 chapels in the church, the brass gates of which are highly ornamental; in one of them is a Rubens, "St

the