BAEDEKER'S GUIDE BOOKS. 1 Oerman mark is equivalent to 1 shilling English^ 25 cents American^ 1 fr. 25 c. French^ 50 kr. Austrian^ 5b cents Dutch, 31 kopeks Russian. BELGIUM AND HOLLAND, with 6 Maps and 16 Plans. Sixth Edition. 1878. 5 marks/s., THE RHINE from KOTTERDAM to CONSTANCE (th/ ii Seven Mountains, Valley of the Ahk, Niedekwald, Moselle, Vo^/ l- CANic Eifel, Vosges 31ts., Palatinate, Black Forest, etc.), witn 2L Maps and 19 Plans. Sixth Edition. 1878. 6 marks. NORTHERN GERMANY, as far as the Bavarian and Austrian Frontiers, with 15 Maps and 27 Plans, sixth Edition. 1877. 5 marks. SOUTHERN GERMANY and AUSTRIA, including the Eastern Alps (the Ttkol, Styria, Carinthia, etc.), with 28 Maps and 27 Plans. Third Edition. 1873. 8 marks. NORTHERN ITALY, including LEGHORN, FLORENCE, Ravenna, and the Island of Corsica, and routes to Italy THROUGH France, Switzerland, and Austria, with 8 Maps and 30 Plans. Fourth Edition. 1877. b marks. 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July 1878, 1^1 Digitized by the Internet Archive in 2015 https://archive.org/cletails/belgiunnhollandOObaed OF THE UN IVELRSITY or ILLINOIS BELGIUM AND HOLLAND. MONEY-TABLE. (Comp. pp. XII, XXI.) English. Dutch. Belgian. German. American. t. d. cents. fr. cent. mark. p/g. dollar. cent. A 1 7n 12 ~ 25 — 20 4 76 lu — 11 40 23 75 19 — 4 53 18 10 80 22 50 18 — 4 29 17 10 20 21 25 17 4 5 lo 9 60 20 — 16 3 81 15 9 — 18 75 15 3 57 14 8 40 17 50 14 3 34 13 7 80 16 25 13 — 3 10 12 — 7 20 15 — 12 2 86 11 6 60 13 75 11 2 62 10 6 12 50 10 — 2 38 9 5 40 11 25 9 2 14 8 4 80 10 8 1 91 7 4 20 8 75 7 A i 67 6 3 60 7 50 6 1 43 5 3 ~ 6 25 5 1 19 4 — o z 40 5 — 4 95 3 — A 1 80 3 75 3 — 71 1 20 2 50 2 — 48 1 8i|. 1 ~ 2 15 1 70 41 1 7 96 2 ~~~ 1 60 38 1 — 60 1 25 1 "~~ 24 48 1 — 80 19 9 45 94 75 18 8 40 83 66 16 - - 7 35 - 73 - 58 - 14 6 30 62 50 12 5 25 52 41 10 4 20 42 33 8 3 15 31 25 6 2 10 21 16 4 1 5 10 8 2 LINEAR MEASURES. Metres (Dutch Ells). Parisian Feet. Prussian Feet. Viennese Feet. 1 2 3 4 5 6 7 8 9 10 20 30 40 50 60 70 80 90 100 3,08 6,16 9,24 12,31 15,39 18,47 21,55 24,63 27,71 30,78 61,57 92,35 123,14 153,92 184,71 215,49 246,28 277,06 307,84 3,19 6,37 9,56 12,74 15,93 19,12 22,30 25,49 28,68 31,86 63,72 95,59 127,45 159,31 191,17 223,03 254,90 286,76 318,62 3,16 6,33 9,49 12,65 15,82 18,98 22,15 25,31 28,47 31,64 63,27 94,91 126,55 158,19 189,82 221,46 253,10 284,74 316,37 BELGIUM AND HOLLAND. HANDBOOK FOE TEAVEUEES BY K. BAEDEKER. With 6 Maps and 16 Plans. FIFTH EDITION , REVISED AND AUGMENTED. LEIPSIC: KARL BAEDEKER. 1878. ''Go, little book, God send thee good passage, And specially let this be thy prayere Unto them all that thee will read or hear, Where thou art wrong, after their help to call, Thee to correct in any part or all." CH AUOEH. qi^. 93 PREFACE. The chief objects of the Handbook for Belgium and Holland are to supply the traveller with a few remarks on the progress of civilisation and art in these interesting coun- tries ; to render him as far as possible independent of the em- barrassing and expensive services of commissionnaires, guides, and other members of the same fraternity ; to place him in a position to employ his time, his money, and his energy to the best advantage ; and thus to enable him to derive the greatest possible amount of pleasure and in- struction from his tour. The Handbook has been compiled entirely from the Editor's personal observation , and he has used every en- deavour to furnish information acceptable to enlightened travellers of every class. The present edition , which cor- responds to the 14th German edition and the 9th French, has been carefully revised and remodelled from the most recent time-tables , catalogues , government statistics , and other sources. The Editor has also frequently availed him- self of the valuable information kindly afforded by tra- vellers, which he gratefully acknowledges. He ventures, however, to observe that those communications only which are founded on personal experience are acceptable. The introductory article on art has been contributed by Professor Anton Springer of Leipsic, and has been adapted for the use of English travellers with the kind assistance of Mr. J. A. Crowe, author of 'The Early Flemish Painters'. Other valuable remarks on many of the principal works of vi PREFACE. art mentioned in the Handbook are also from Professor Springer's pen. The arrangement of the pictures in some of the Belgian galleries is frequently changed; but, as a general rule, the data afforded by the Handbook will enable the traveller to dispense with the costly and often bewildering catalogues. The Maps and Plans, on which the utmost care has been bestowed, will prove of material service to the tra- veller when threading his way through the intricacies of the curious mediaeval cities of Belgium, or when entangled in the network of railways, rivers, and canals by which the Netherlands are overspread. Heights and Distances are given in English mea- surement. The Hotels indicated by asterisks are those which the Editor has reason to consider the most comfortable and worthy of commendation ; and in awarding these asterisks he has entirely disregarded the self-laudations of innkeepers and other persons of a similar class. The average charges and prices stated in the Handbook, although constantly tending to rise, will enable the traveller to form some idea of his probable expenditure. CONTENTS. Introduction. A. Belgium. Page I. Plan of Tour xi TI. Money and Travelling Expenses xii III. Passports, Custom House xii IV. Language xiii V. Churches, Picture Galleries, and Collections ... xv VI. Railways xvi VII. History and Statistics xvi B. Holland. I. Plan of Tour xxi II. Money and Travelling Expenses xxi III. Passports, Custom-House xxii IV. Language xxii V. Picture Galleries and Collections xxvi VI. Railways xxvi VII. Dutch Characteristics xxvi VIII. History and Statistics . xxxi Historical Sketch of Art in the Netherlands by Professor Springer xxxvli Belgium. Route Page 1. From London to Ostend 1 1. Slykens. Mariakerk. Middelkerk. Oudenburg ... 6 2. Blankenberghe and Heyst 6 1. From Blankenberghe to Ostend by the coast .... 8 2. Lisseweghe. Sluys 7, 8 3. From Ostend to Brussels by Bruges and Ghent ... 8 1. From Bruges to Blankenberghe and Heyst .... 8 2. From Ghent to Terneuzen 9 3. From Ghent to Bruges by Eecloo 9 4. From Ghent to Braine-le-Comte 9 4. Bruges 10 1. Damme 25 viii CONTENTS. R-oule Page 5. From Ostend or Bruges to Courtrai 25 1. From Lichtervelde to Dunkirk 25 2. From Dixmuiden to Nieuport 25 3. From Rosselaere to Ypres 26 4. From Ingelmunster to Deynze 26 5. From Ingelmunster to Oudenaerde 26 6. From Courtrai to Brussels 26 7. From Courtrai to Renaix 26 8. From Courtrai to Ypres 26 9. From Ypres to Poperinghe 29 6. Ghent 29 7. From Ghent to Courtrai and Tournai 46 1. Oudenaerde 46 2. From Mouscron to Lille 47 8. Tournai 47 9. From Ghent to Malines, or to Antwerp 50 1. From Ghent to Antwerp by the Waesland line ... 50 2. From Audeghem to Ath 51 3. From Dendermonde to Lokeren and to Alost ... 51 10. From London to Brussels via Calais 52 1. Lille 53 2. From Lille to Brussels 56 3. Chateau of Beloeil 56 4. From Ath to Jurbise 56 11. Brussels 57 12. From Brussels to Charleroi by Luttre 88 1. Battle Field of Waterloo 89 J 3. From Brussels to Antwerp by Malines 103 1. From Malines to Louvain 107 2. From Malines to St. Nicolas and Terneuzen .... 107 3. From Contich to Turnhout. Gheel 107 14. Antwerp 108 15. From Antwerp to Rotterdam 135 a. Railway Journey 135 1. From Roosendaal to Flushing 136 b. Steamboat Journey 137 16. From Antwerp to Aix-la-Chapelle by Mastricht . . 140 17. From Brussels to Braine-le- Comte and Mons . . . 140 1. From Mons to Paris 142 2. From Mons to Charleroi 142 18. From Ghent to Charleroi and Namur by Braine-le-Comte 142 1. From Manage to Mons 143 2. From Manage to Wavre 143 3. From Charleroi to Vireux 145 4. From Chatelineau to Givet 145 19. From Namur to Dinant and Givet 147 1. From Givet to Sedan 149 20. From Brussels to Luxembourg and Treves, via Namur . 149 1. Grotte de la Wamme. Rochefort. Trou de Han-sur- Lesse 150 2. From Marbehan to Virion 152 21. From Brussels to Liege by Louvain 154 1. From Louvain to Rotselaer, Aerschot and Herenthals . 154 2. From Tirlemont to Namur 155 CONTENTS. ix Route Page 3. From Landen to Aix-la-Chapelle 155 4. From Landen to Gembloux 155 22. Louvain 156 23. From Louvain to Cliarleroi 160 24. Liege and Seraing 162 25. From Liege to Marloie 171 26. From Liege to Mastricht 173 1. To Rotterdam by Venlo 176 27. From Lie'ge to Namur 176 28. From Lie'ge to Aix-la-Chapelle 179 29. From Pepinster to Spa and Luxembourg J81 1. Malmedv. Diekirch 184 30. The Valley of the Ambleve 186 Holland. 31. Rotterdam 189 32. From Rotterdam to The Hague, Leyden , Haarlem, and Amsterdam 197 33. The Hague 201 34. Scheveningen 218 35. Leyden 220 1. Katwijk aan Zee 225 36. Haarlem 226 37. Amsterdam 232 1. Excursion to Muiden|and Schellingwoude, etc. . . . 257 38. Broek. Purmerende. Hoorn 258 39. From Amsterdam to Alkmaar and the Helder. a. Steamboat Route by Zaandam 260 1. From Zaandam to Uitgeest 262 2. Egmond. Bergen . 263 b. Railway Journey by Haarlem 265 40. From Amsterdam or Rotterdam to Utrecht and Arnhem 266 1. From Gouda to the Hague 268 41. From Liege to Utrecht 271 42. Utrecht 272 1. The Chateau of Soestdijk 276 43. From x\rnhem to Cologne. 1. Via Emmerich and Diisseldorf 277 2. Via Cleve and Crefeld 278 44. From Anihem to Rotterdam. The Rhine and Lek . . 279 45. From Nymegen to Rotterdam. The Waal and Maas . . 281 46. From Cologne to Rotterdam by Venlo 283 47. From Arnhem to Zwolle and Kampen 287 1. Doesborgh. Xederlandsch Mettray 288 2. The Chateau of Loo 288 '6. From Zwolle to Amsterdam. Zuiderzee 289 X CONTENTS. Koute Page 48. From Amsterdam or Utreclit to Leeuwarden and Groiiiiigeii 289 1. The Pauper Colonies of Frederiksoord, Wilhelmineoord and Willemsoord 291 2. The Colonies of Veenhuizen and Ommerschans . . . 291 49. From Amsterdam to Harllngen and Groniiigen . . . 294 50. From Groiiingeii to Bremen 295 Index 297 Maps. 1. General Map of Belgium and Holland: before the title page. 2. Map of the Environs of Ostend and Bruges: between pp. 6, 7. 3. Map of the Battle-Field of Waterloo: pp. 88, 89. 4. Map of the Estuary of the Schelde and Maas : pp. 136, 137. 5. Map of the Meuse from Dinant to Li^cge : pp. 146, 147, 6. M ip of South & North Holland (Rotterdam, Amsterdam, ode of treatment in the disposal of groups, as well as in drawing and the treatment of drapery. A long interval elapsed ere painting acquired a style of its own, and until every trace of the plastic relief had dis- appeared. Such was the condition of the painter's art in the Nether- lands, when the two brothers Van Eyck made their appearance , but we are not in a position to indicate their immediate predecessors, nor to determine with certainty the circumstances of their early training. The two brothers Van Eyck were natives ofMaaseyck, nearMas- tricht, where Hubert, the elder, was born somewhere about the years 1360-70. Wolfram von P^schenbach, in his 'Perze- val', had already pronounced the painters of Mastricht and Cologne to be the best of his time, but how painting at Mastricht or Limburg was employed in Hubert's time we know not. Absolutely nothing is known of the course of Hubert's early training, of his school or early works. About the year 1420, we find him settled at Ghent, where a guild of painters had already long existed, along with his brother. Whether while here he was the teacher or the taught, whether the local influences of Ghent first modified his conceptions and method, or whether the guild in Ghent derived new light from him , cannot be determined. We know of only one work from Hubert van Eyck's hand, indisputably identified as his, and it IN THE NETHERLANDS. xH was painted in the cojicludiiig years of his life, and remains un- finished. This is the gigantic- Altar-piece which Jodocus Vydts com- missioned him to paint for the St. Bavon church in Ghent. In it he still clings to the traditional rules of composition in the observance of the severely symmetrical proportions of an architectural struc- ture. But while he fails to dispose the crowd of figures in separate groups, he succeeds in giving to the heads a portrait-like indi- viduality ; he is careful to render the varied texture of the draperies, and in modelling the nude figure he closely imitates nature in every minute particular. For example, in the figure of Adam (now detached from the original picture and preserved along with Eve in the Brussels Museum), even the short hairs of the arms and legs are carefully elaborated. But the most surprising innovation is in the colouring, to which he gave wonderful force and harmony, using it to give effect to an appearance of reality almost deceptive. The old belief that Hubert invented oil-painting cannot indeed be unreservedly accepted. But, although oil had long been in use as a vehicle, Hubert's merit is not the less conspicuous. Ho is still the first who adapted the invention to the purposes of art, by employing the fluid medium for the more subtle blending of colours. By this means he so far facilitated the process of painting, that the endea- vour to give a faithful, life-like rendering of nature was com- pletely successful. He possessed himself of the means by which alone effect could be given to the new impulse in art. We can have no better proof of the importance attached to this new method of painting introduced by Hubert, than in the sensation it made in Italy, where the invention and its publication were invested with tlie attributes of romance. Hubert's connection with his brother Jan van Eyck (born 1381 -1395) is involved in some obscurity, but the latter came to be regarded as the more capable of the two. Unjustly so, however, as tlie younger brotlier with his own hand bears record, in an inscription on the Altar-piece at Ghent, in these words: 'Hubertus — major quo nemo repertus', — thus showing that Hubert was at least his equal. We are, at the same time, very imperfectly informed of Jan's early training, though we know a good deal about his public career. While Hubert, it would appear, found favour with the wealthy burghers of Ghent, Jan took service in the courts, first of John of Bavaria, afterwards of Philip the Good. He lived for some years at the Hague, later in Lille, and after Hubert's death removed to Ghent, in order to finish the Altar-piece. In 1432 he migrated to Bruges, where he died on 9th July , 1440, about fourteen years after his brother. His peculiar art can best be studied in Bruges ; not that many of his works are to be found there, bnt that the self- same genius still pervades the place which inspired the school of early Flemish painters. Bruges still remains outwardly very much what it was in the 16th century. The old houses have lost HISTOI^ICAL SKETCH OF ART nothing of their character and dignity by contact with the newer buildings which have sprnng up in their midst; while, in the quiet of the comparatively forsaken thoroughfares , there is nothing to disturb the wanderer in quest of reminiscences of the Bruges of bygone days. Just as Nuremberg, some half-century ago, vividly re- called the age of Diirer, so in Bruges a perfectly clear conception may still be had of the period which witnessed the labours of the Eycks and Memling. But, in any case, two admirable works by Jan van Eyck in the Academy at Bruges afford a valuable opportunity of appreciating his art. In keeping with a strong determination towards a more portrait-like and realistic conception of nature, is the endeavour, observable in his method, after a greater fulness of outline and an exact rendering of textures. The direction of his aim is indicated by the fact of his having painted genre pictures with a deftnite motive — the 'Bathroom' for example. There can be no doubt that Jan van Eyck had pupils; but there can be as little doubt that there were painters, both in Ghent and Bruges, who adopted Van Eyck's method, and imitated his style, though not recognised as members of his school. Owing to the scanty information possessed of art in the Netherlands during the 15th century, nothing can be conclusively affirmed on the sub- ject. Petrus Cristus may be mentioned as a pupil of Jan van Eyck, at Bruges; as independent masters Gerhardt van der Meire and Hugo van der Goes, of Ghent. The people were as averse to centralisation in the domain of art-training as in the conduct of state affairs. While the Van Eycks were carrying their art from the Valley of the Mouse to Bruges and Ghent , anotlier great artist was founding a school of painting at Brussels. Koger van der Weyben is apparently identical witli tliat Rogelet de la Pasture who, in 1426, worked as a pupil of Kobert Campin at Tournay, and in 1432 was admitted as master in the Pain- ters' guild. We find Van der Weyden installed as painter to the town of Brussels in 1436. In 1450 he appears in Rome, as the first north- ern painter of undisputed fame whose name was honoured by the Italians, uncompromising though he was in adhering to the practice of his native art. On his return he again took up his abode in Brussels, still painting, and died in 1464. In the absence of any signature, his works are confounded with those of Jan van Eyck, with whom he had nothing in common , and with those of Memling, who was his pupil. They are, moreover, scattered far and near, and have to be sought for at Madrid, Rome, Frankfort, Munich, Berlin, etc. The Museum of Antwerp, however, j)ossesses in the Seven Sacra- ments one of the most prominent works of this master, who was peculiarly successful in depicting scenes of dramatic interest (Descent from the Cross) ; too often, however, his power of animated expression betrays a want of feeling for beauty of form, and is continually suggestive of tinted reliefs. IN THE NETHERLANDS. xliii Hans Memling, the pupil of Van der Weyden, bears the least possible resemblance to him. According to a legend, which in earlier times received general credence, Memling, having been wounded at the battle of Nancy, was carried to Bruges, where, in gratitude for the tender care bestowed upon him in the Hospital of St. John, he painted numerous pictures. This story may be placed in the same category as those of Diirer's malevolent spouse, and of the licent- iousness of the later Dutch painters. Memling was born (in GueldersV) about the year 1430 ; was, in 1472, already actively engaged as pain- ter ; in 1478 was permanently established in Bruges, a well-to-do house proprietor in the Ylaminckdamm (now Rue St. George) , and died in 1495. The little we know of him personally is in some mea- sure compensated for by the great number of his works still extant. Bruges, in particular, can boast of possessing literally a Memling museum. In the Academy Is the Triptych with the St. Christopher, in the Hospital of St. John the so-called St. John Altar, the Ad- oration of the Magi, the Madonna with Martin Nieuwenhoven, the portrait of Catharine Moreel , and, finally, the Ursula casket, the most ornate and captivating illustration of legendary lore bequeathed by the art of this early period. In Memling, indeed, it may be said the school of Van Eyck exhibits its highest attainments. Pure and luminous colouring is combined with correct drawing ; a keen percep- tion of Nature with a coherent sense of the beautiful. Crowe and Cavalcaselle in their history of old Flemish Painters, speak of Mem- ling as a lyric bard, and if his forms lack ideality, he knOAvs how to give them the impress of a winsome beauty. His Madonnas, whose golden hair falls over the shoulders , or is gathered up in luxuriant tresses, combine dignity with a sainted loveliness. Among later masters of this school may be mentioned Dieric Bouts, of Louvain (1465-1475), and Gheerardt David, of Bruges (1483- 1523), recently recovered from oblivion. The latter is a painter of the first rank, whose forte is in quiet Holy Family scenes, and in the tender sweetness of his female figures. In his constant occupation as a miniature painter he evidently originated the exceeding fineness of his manipulation, which envelopes his pictures as with a tender haze, and which, along witli otlier properties, entitles him to a place rather in the beginning than in the end of his school. We have, indeed, abundant cause to deplore the ravages of time, when we proceed to sum up the number of authenticated old Flemish pictures still in existence. Scarcely, indeed, do we possess mementoes of ten painters , such as enable us to form a really distinct and vivid conception of their character as artists; yet this old Netherlands school was busy for eighty years ; nor was its activity confined to Bruges and Glient alone, but was shared by Ant- werp, Brussels, and in the North by Leyden and Haarlem. One im- portant cause of this absence of reliable accounts, lay in the new direction taken by the Netherlands school of painting in the 16th xliv HISTORICAL SKETCH OF ART century, which liad the effect of depreciating the works of their predecessors in the general estimation , and finally of committing them to oblivion. For the Netherlands, like the rest of the North, became subject to the spirit of the Italian Renaissance. Under the Burgundian rule, literature had already been alienated from the popular sympathies, and even so it was now with pictorial art. Lw- cas van Ley den , and Quentin Massy s, of Antwerp (1466-1531), are the last distinguished masters who were not carried away by this current. The importance of the former, however, is chiefly due to his admirable engravings ; while Quentin Massys sometimes dis- plays a vigour of sentiment at variance with the hitherto habitual conception. Quentin Massys is, indeed, generally regarded as the connecting link between the old school of the Van Eycks and Rubens. Those Wiio would give themselves up to the enjoyment of art in their tour through the Netherlands, need hardly concern themselves about the Flemish Painters of the 1 6th Century. By the historian they cannot be overlooked, because they indicate the course taken by painting in the Netherlands ; but for the lover of art their indivi- dual works, owing to the incongruities apparent in them, are anything but satisfactory. These classical figures which they affect, this idealised drawing which they imitate, this parade of learning which they make, with their scraps of mythological lore, has the effect of a mask forcibly concealing all natural form. Just as we prefer the popular ballad to the Latin verse of our school days, so we prize the unadorned Flemish style more highly than unsuccessful imitations of the Italian. The 16th century was, it is true, of a different way of thinking, and hailed this inroad of the Renaissance upon their native art as a sign of progression I Antwerp especially was for a long time the capital of art in the Netherlands, whence Duke William of Bavaria, as well as the Emperor Rudolph II., the two most enlightened patrons of art among German princes, supplied their requirements; while Flemings, too, provided for England's needs. It is evident, then, that the Netherlands had no lack of renown nor yet of highly-gifted spirits, whose achievements, had a more auspicious fate attended them, would have been considerable. The earlier pictures of Gossaert, or Mabuse (painting from 1503 to 1532), please by force of their masterly modelling and intense col- ouring. Bernhard von Orley (1471-1541) turned his residence in Rome to good account in mastering the style of theRaphaelesque school, which both in composition and drawing he reproduced with considerable cleverness. If we can praise the industry only of Mi- chael van Coxcie (1499-1592), and find the insipidity in conception and the exaggeration of form in the work of Frans de Vriendt, surnamed Floris (1520-70), simply repulsive; if, again, Karel van Mander is famous principally for his literary acquirements, and H. Ooltzius for his versatility, still one branch of the art remains IN THE NETHERLANDS. xlv in which the Flemings achieved and sustained a marked success, viz. PoRTEAiTURE, represented in the 16th century by Jan van Scorel or Schoreel (1495-1562), Ant. Moor (1518-1588), the elder Peter Pourbus (1540-1580 ). and Geldorp. The earliest ap- proaches to genre and landscape painting which later attained to such majestic proportions must not be allowed to escape observation. Their germs are, in fact, already to be detected in the works of Van Eyck. The principle of a careful study of Nature, and delight in every phase of life, early asserted itself, giving to every object, how- ever insignificant, however obscure, an artistic charm. The pain- ting of still life, the pourtraying of those humorous incidents, never wanting in domestic life, which served to illustrate everyday life among the people, came early into vogae. though at first disagreeably qualified by the intermixture of the grotesque (in the shape of Devils' dances). Old Breughel (see below^) and Vinckeboons had already painted rustic subjects, Patinir of Dinant and Paul Bril landscapes, with richness of effect, and Roelant Savery animal pictures. Among all these painters , the members of the family of Brueghel or, as usually written, Breughel^ attract our interest most effectually. They not only afford the most striking example of that highly propitious practice, the hereditary prosecution of the same craft, but also excellently illustrate the transition from the old to the new style of art. Peter Breughel the elder, or ^ Peasant BreugheV (about 1525-69), the earliest representative of this race of paint- ers, travelled in Italy for the purpose of studying art, but re- mained faithful to the subjects and treatment of his native land. His figures are of a purely Flemish type, while his delicate colour- ing is content to reveal the study of nature in northern climes alone. Of his two sons Peter or ^Hell-fire' Breughel (1565-1637) and Jan or ^Velvet'' Breughel (1568-1678), the latter, who acquir- ed his surname from his partiality for wearing velvet, is the more important. He acquired eminence not only in paying homage to the widely-extended national taste for flower-pieces, but also by his landscapes, which are distinguished for the tender bluish tone of their middle distance and background (not, however, always true to nature), and for the marvellous finish of detail in the small figures occupying the foreground. The sons of the two brothers bore the same Christian names as their fathers, followed the same pro- fession, and perpetuated the manner of the Breughels down to the close of the 17th century. All previous attainments, however, sink into insignificance beside the extraordinary capacity displayed by the Flemish artists of the 17th century. The eighty years' revolt of the Dutch against Spanish oppres- sion was at an end. Though bleeding from a thousand wounds, the youthful Republic had triumphantly maintained itself , and con- quered for itself virtual recognition. Two worlds separate and distinct from one another were here compressed into their narrow confines. xlvi HISTORICAL SKETCFT OF ART Iii the still Spanish Netherlands , forming the Southern division, the old regime in politics as in faith remained intact; in the States General of Holland, not only a new form of government is estab- lished, hut new political and economical views, and a new form of faith, are in the ascendant. Both these worlds find in contemporary art a clearly- defined expression. The art of Peter Paul Rubens serves to glorify the ancient re'gime and the ancient faith , and was by this means in effect assimilated to the art of Italy, and beguiled by the mythological ideal. Dutch art, on the other hand, grew out of the new life and the new faith, and thus reflects the provincialism and civic pretensions which now became the characteristic features of the body politic. Here the schools of Haarlem, the Hague, Leyden, Delft, and Amsterdam, possess equal merit. Historical pictures are superseded by portrait groups of the civic functionaries and rulers ; the veil of mystery is withdrawn from the representation of sacred subjects, and, in its place, abare matter-of-fact andmodernised treat- ment is introduced, in conformity with the Protestant views of the 16th and 17th centuries, which regarded the IViblein a very different light from the old Church. An historical notice of the condition o\' national culture would not in itself serve to throw much light on the relations of Flemish and Dutch painting of the 17th century, but is, notwithstanding, not altogether superfluous. Such a study would be the means of putting in its true light, the contrast, so often overlooked, between Rubens and the Dutchmen. Irrespective of much superficial resemblance (e. g. a similar tone of colour), the two styles have entirely different sources and aims ; and while in the school of Rubens the old notions , old practices, disappeared, tliat art began to reveal itself in Holland which to this day is re- ceived with unqualified approbation. In the study of Rubens, the mind must frequently be guided by reference to history ; the Dutch, on the other hand, we hail as bone of our bone, and flesh of our flesh. Eubens. For centuries Cologne and Antwerp have contended for the hon- our of having given birth to the greatest of Belgian painters. Lat- terly, however, their claims have been surrendered in favour of the little town of Siegen, formerly in Nassau. Our artist's father, the Antwerp justice Johannes Rubens, being suspected of a leaning to- wards the Reformation, sought refuge in flight from the Spanish Inquisition, and joined the party of William of Orange. Arrived at the Rhine, where the emigrants assembled, he formed an inti- macy with Anna of Saxony, the crazy, sensuous wife of William, of such a nature as furnished the Prince with sufficient grounds for a divorce. The guilty lover was consigned in 1571 to the fortress Dillenburg. His wife, Marie Pypeling , who had followed him into exile, was induced by the severity of his punishment to forgive the oft'ender the disgrace he had brought upon her, and IN THE NETHERLANDS. xlvii to join him at Slegen, the place assigned to him in 1573 as his abode. Here accordingly, on 29th June , 1577, on vSS. Peter and PauFs day, Peter Paul Rubens was born. In the following year, John Rubens received permission to remove to Cologne. It is con- ceivable that his lot should have damped his ardour for service with the Princes of Orange, and encouraged a desire to be reconciled to the Spanish government. John Rubens, however, died pending tlie negotiations which ensued, but his wife finally made her peace with the Spanish ecclesiastical authorities, returned in 1588 to Ant- werp , and as a pledge for the genuineness of her conversion placed her son in a Jesuit school. In the character of the man, however, there was nothing Jesuitical; but in the sensuous splendour of iiis religious pictures, in the accessories of his classical representations, which however brilliant are often superficial, it is easy to discern the effects of his training in the then flourishing schools of the all powerful Jesuits. He received instruction in painting from Adrian van Noort, a thorough master of his art as we are assured, though no authenticated works of his are preserved, and from Otto van Veen^ commonly called Otto Venius, court-painter to the Dukes of Parma, and an ar- tist more distinguished for erudition than force of imagination. The Trinity (No. 314) and the Holy Family with the Parrot (No. 317; 'La Yierge au Perroquet ) in Antwerp Museum are reckoned among the first of Rubens's works. If this be really the case the painter must have developed some of his peculiar characteristics at a sur- prisingly early period, and to a great extent have acquired his style before his sojourn in Italy. In the year 1600, Rubens undertook, according to the then prevailing custom with artists, who looked upon Italy as the high school of art, a journey to the South. The follow- ing year we find him in the service of Duke Vincenzo Gonzaga ^ in his time the most pleasure-loving, most enthusiastic connoisseur of all princes, Rubens was sent in 1603 to Spain, as bearer of costly gifts, in the shape more particularly of numerous pictures, to the court of King Philip III. On his return he took up his abode suc- cessively in Mantua, Rome, and Genoa, until the year 1608, when he returned home. Now what did Rubens bear away as the fruits of his eight years' residence in Italy? It is of no great moment that several of his pictures savour of Italian prototypes; in his celebrated Descent from the Cross, we see a reflection of Daniele da Volterra's picture, in the Baptism of Christ (lost), of which the original drawing is pre- served, he produces single figures from Michael Angelo's battle- cartoon ; the Communion of St. Francis recalls a composition of Annibale Caracci; while a work of Titian served as model for the battle of the Amazons. It is of greater importance that Rubens was fortified by his Italian experiences in his resolution to rely mainly on ideas engendered by the study of mythological-historical subjects xlviii HI8T0KI0AL SKF/lCll OF ART for his inspiration, and to devote bis art to their illustration. By this means he establishes a bond of union between the art of Italy and that of the North , without in any wise sacrificing his individua- lity. Rather does a comparison with contemporary Italian painters show how far he surpassed them in virtue of his spontaneous sym- pathies and the abounding force of his character. Rubens, married in 1609 to Isabella Brandt, and again, after her death (16'26), to Helena Fourment^ in 1630, had settled in Antwerp, where he led an uncommonly active life. As he himself assures us, while in the service of the Regent Albrecht and his consort Isabella, he had one foot always in the stirrup, making repeated trips to London, Paris, and Madrid, and devoting as much of his time to politics as to art. Certainly the varied occupations of his life are not to be discovered in the astounding number of his works. Near a thousand pictures, many of them of colossal dimensions, bear his name. This amazing fertility may be explained by the circumstance that the numerous pupils who frequented his workshop were em- ployed upon his pictures, and that he himself possessed Avonderful rapidity ot execution. It is not an easy matter to render justice to Rubens in all cases, partly because so many works have been attri- buted to him with which he had very little to do, partly, also, be- cause his rendering of form frequently took directions repugnant to our modern notions. Perhaps in his mauuer of treating the female form only he can be charged with flagrant want of taste. The ca- pacity of depicting the unsullied purity of maiden beauty is one of the attributes in an artist we most prize, while, on the other hand, we naturally recoil from the spectacle of naked females disfigured by the labours of maternity. Nevertheless, we must not forget that in these coarse unwieldy shapes, in the ponderous limbs and violent action of these female forms so constantly recurring in Rubens' pic- tures, we behold the direct manifestation of such impassioned energies and irrepressible vitality as the master seeks to embody. Rubens' earlier pictures have this marked superiority over his later works, that with all their depth and warmth of colouring, they preserve a certain unity, and exhibit a broad but careful finish. The most important of the works executed soon after his return fron\ Italy is unhappily no longer in the possession of his native land, but rests in the Belvedere collection at Vienna. The central portion represents St. Ildephons receiving a rich chasuble from the Virgin ; on the wings are portraits of the donors , and on the outside the Rest on the Flight into Egypt, or the Virgin under the apple-tree. The painter is here seen at the apex of his artistic excellence, and never subsequently produced so perfect a work in so lofty a style. So long as Italian models were fresh iu his mind his imagination and his sense of form were chastened and refined, but at a later period they were not unfrequently somewhat too exuberant. Of similar beauty is the Doubting Thomas in the Museum at Antwerp, IN THE NETHERLANDS. xlix with the two accompanying portraits of Burgomaster Kockocx and his wife. The celebrated Descent from the Cross in the Cathedral and the Crucifixion in the Museum are also of the highest value as undoubtedly works of the artist's own hand. In his later large ecclesiastical paintings Rubens availed him- self to a large extent of the assistance of his pupils ; so that a less exalted idea of the master than he deserves may be derived from the study of these pictures. Another circumstance may help to lead the traveller in the Netherlands to a similar conclusion. Owing to the wide-spread renown of the artist, his works did not all remain at home , but found their way, even in his lifetime , far and wide. England, Madrid, Paris, Munich, Vienna, and St. Petersburgh con- tain, in their respective galleries, many of Rubens' choicest works. The Antwerp Museum, however, preserves a whole series of valuable pictures by the master, thus affording an opportunity of studying him on the spot where he achieved greatness. Though, however, it may not be possible to find unalloyed satisfaction in separate works of the master, no one can deny that Rubens is a figure of great historical importance. This is owing to the fidelity, with which he has adhered to the traditions of the national art, to the power, with which he has harmonised these traditions with an altered condition of art and life, and to the uni- versality which rendered him capable of working in every depart- ment and of making the age subservient to his purposes. He is master of the whole range of artistic material. To the greatest fer- tility in the domains of ecclesiastical art he adds an intelligent and enthusiastic appreciation of the ancient gods and heroes. He looks upon these latter more with the eye of a Virgil than of a Homer, and often depicts them in the spirit of an orator rather than in that of a poet. He shows that he has most affinity for the fleshy figures of the Bacchic myths, and paints them with a freshness and energy possessed by none of his contemporaries. His brush is as much at home in important historical compositions as in the richly coloured allegories, by which his age tried to make up to itself for the want of genuine poetic sensibility. He paints alike portraits and land- scapes, the battles of men and the fighting of brutes, the gallant love-making of the noble and the coarse pleasures of the vulgar. This versatility is peculiarly his own , although he possesses cer- tain characteristics in common with his contemporaries, just as he shares with them the same national atmosphere and the same tra- ditionary precepts. Rubens occupied this field along with several other painters. No wonder, then, that similar characteristics are observable in his works and those of others , and that they so closely resemble one another as occasionally to be confounded. Abraham Jansens (1587- 1631) comes very near to Rubens in freedom of brush and in the impassioned action of his figures. Indeed there were few of Baedeker's Belgium and Holland- 5th Edit. d 1 HISTOSICAL SKETCH OF ART Rubens' contemporaries who escaped Ms influence, pervading as it did the whole field of art, inspiring in an especial manner the engraver. The most notable of AntAverp artists who were contempo- raries of Rubens are Gerard Zegers (1591-1651), Theodore Rom- houts (1597-1637), Gaspard de Craeyer (1582-1669), who evinced in his quiet compositions a charming vein of thought , and Lucas van JJden (1595-1662), who painted in many instances the land- scape in the background of Rubens' pictures, as well as Fians Snyders (1597-1657), who placed his extraordinary talent for ani- mal painting at the disposal of the great chief. Of Rubens' most distinguished disciple, Anthony Van Dyck (born at Antwerp 1599, died in London 1641), owing to the shortness of his sojourn in his native city, few important works are retained. After being initiated in painting first by Henry van Balen^ later by Rubens, he visited Italy in his 24th year, where Genoa especially fascinated him , as it had done his master before him. From 1626 to 1632 he lived at Antwerp, after that in London, in the service of Charles I. It was not only the fashion then prevailing in aristocratic circles which engaged Van Dyck in portraiture. Portraiture made the strongest appeal to his proclivities as an artist. He does not shine in the invention of gorgeous or stirring scenes ; but in the refined and animated pour- trayal of distinguished personages in particular, there are few who are his peers. His portraits are not only instinct with life : they fascinate by their dignity of conception and grace of delineation, which, without sacrifice of truthfulness, impart a certain stateliness as well as heauty to the individual represented. In what a rare degree Van Dyck possessed this faculty is best seen in his admirable etchings which are still preserved, and in which he presents us with an invaluahle gallery of portraits illustrative of the 17th century. Of the remaining pupils of Rubens, few acquired distinction ; but, ov/ing to the copiousness of their works, they are by no means unimportant. They occupy in the department of religious art the entire century. From Diepenbeeck, Erasmus Quellinus^ and Cornelis Schut, Jacob Jordaens (1593-1673) may he distinguished by a marked individuality. No study in Italy had estranged his thoughts from his native art. His profession of the reformed faith made him unwilling to contribute to the exaltation of the Church's ideal, so he applied himself to depicting scenes from domestic life and the unrestrained mirth of popular festivities, and thus prepared the way for the for- mation of that school of genre painting , in which the art of the Netherlands subsequently acquired its chief renown. His often- repeated pictures of the crazy house concert ('as the old ones sung, so will the youngsters twitter'), for example, are well known. Jor- daens^ humour is unsophisticated ; his figures are as devoid of grace, as they well can be ; hut so surpassing is the quality of colour in his pictures that one must condone the vein of almost coarse vulgarity IN THE NETHERLANDS, li which runs through very many of them. Pictures by him at the Bosch, near the Hague, which celebrate the deeds of Prince Frederick Henry of Orange , show what he could accomplish as an historical painter, and belong to the very best contributions of the entire school. — Among the less-known though by no means unimportant pupils of Rubens is Jan van den Hoecke (1598-1651), who in delineat- ing scenes of quiet feeling runs his master very hard and, indeed, is not unfrequently mistaken for him. Even upon David Teniers (1610-1685), the greatest genre painter to whom the southern Netherlands have given birth, Rubens exercised an enduring influence. The fairs and rustic scenes which he delighted in depicting , fascinate not only by the spirit of con- viviality which animates them, but bear witness to a searching ob- servation of nature ; and the subtlety of colouring serves of itself to invest the scenes depicted with a true poetic charm. In gradation of tone, in wondrous harmony of colour, in artistic combination, he retains an undisputed supremacy. It is not less wonderful how he can by the most delicate modifications so manipulate a dominant tone of colour as to make it elfective, and how he can at his pleasure either assert or dispense with the most marked contrasts. The pictures of his fortieth year, where the peculiar silvery tone first appears , are those which afford the best insight into this painter's method and style. His works are unfortunately widely scattered, and are rarely to be met with in his native country. The same may be said of the majority of genre painters of the southern Netherlands. The neighbourhood of France lured away, if not the painters themselves, certainly many of their works ; nor were either wealth or love of art at this time sufficiently diffused in Bel- gium to allow of the creations of native art being retained in the land. In this respect painting was more advantageously circum- stanced in Holland. There it was uniuistakably associated with the people, and to this day indeed is identified with their habits and predilections. The greater number as well as the best of its pro- ductions are still retained in Holland, coveted though they be by the lovers of art from every quarter, who at last have learned to estimate them at their true value. Rembrandt. The grandeur of the 17th century school of Dutch painters has partially obscured the excellencies of their predecessors, and thrown into the shade what was of sterling value in the Dutch school be- fore Rembrandt's time. It is only in recent times that research has succeeded in bringing to light the earlier history of Dutch painting, and has surrounded Rembrandt, who hitherto had dazzled as the flash of a meteor in the horizon, with precursors and associates. Art flourished in the Dutch towns as early as the 15th century, but it would be more than difficult to separate it from the con- d* lii HISTORICAL SKETCH OF ART temporaiieous art of Flanders ; indeed, owing to the similarity of the two peoples, no very essential difference could have existed. When, accordingly, at the beginning of the 16th century, painting in the North became Italianised, the Dutch painters succumbed to the prevailing influence. It must be noted , however, that the parti- cular manner which most nearly responded to the national taste was generally preferred , and most successfully imitated; that of Caravaggio, for example, distinctly coarse as it is in its broad realism . After Karel van Mander, Heemskerk, and Bloemart, exponents of a more imaginative treatment, came Honthorst (Gherardo delle Notti) and his associates , whose art was entirely based upon this realism. These painters fearlessly grapple with nature; they con- cern themselves little about grace and beauty ; they do not despise what is vulgar and repulsive, if only it supplies life and energy. Lamp-light, abounding as it does in glaring contrast, served ad- mirably to enforce startling effects and an impassioned exuberance of expression often bordering upon distortion, and was freely resorted to with evident relish. Along with Caravaggio, another artist had considerable influence upon the Dutchmen, viz. Adam Ekheimer (1574-1620), of Frankfort, who, however, lived and died in Rome. He painted as if nature were only to be seen through a ca- mera obscura ; but his pictures are harmonised by the utmost mi- nuteness and indescribable delicacy of finish , and receive their compensating breadth from a masterly management of colour. Last- man, Poelenburgy Goudt, etc., learned from him. In the desperate struggle during the 16th century with the two- fold yoke of Spain, artistic enterprise in the Netherlands was ne- cessarily crippled. It is principally owing to this circumstance that so many Dutch painters found their way to Italy, and there com- pleted the training which their native land, sorely distracted as it was, could not afford them. But just as the Netherlands finally came forth from their eighty years' struggle as glorious victors, and in corresponding measure secured for themselves wealth and politi- cal power, while their antagonist, Spain, once mistress of the world, but now hopelessly impoverished, subsided into political insigni- ficance, Dutch Art received during and at the conclusion of the war its noblest impulse. It was now that the painters of the Netherlands were enabled correctly to discern what, amidst all the surrounding wealth of material, was best suited to their needs, and what form most strongly appealed to them ; they created, in a word, a national art. The war had made a nation of heroes. Stern necessity had steeled their courage and quickened their sense. Brave men, experienced in war as well as state affairs , pious of heart, yet joyous withal , met the eye at every turn. To pourtray these, not only as single and im- pressive jjersonalities , but assembled in groups, in the council- chaniber, or sallying forth to the tilting ground , or engaged in festive celebrations, was the artist's favorite task. IN THE NETHERLANDS. liii Pictures of a peaceful, happy life, the charms of existence amidst privacy and comfort, were doubly attractive in a time so heavily charged with fateful events. The pleasurable abandonment too, which, taking no thought for the morrow, is content to enjoy the passing hour, captivated the imagination and furnished material for numerous paintings. But the victorious Netherlanders not only created for themselves a new field of pictorial matter, in which national sentiment should find expression ; the appropriate form of expression was also provided. Though nearly all the Dutch painters are great colourists, some indispensable attributes of the artistic faculty are wholly wanting in them. The single figures lack ideal grace, the groups do not conform to the rules of perspective. On the other hand, they know how to impart such an artistic charm by means of colour alone, as effectually compensates for these defects. The use of the word -compensate', however, may mislead. It must not be inferred that any particular means of expression can singly avail in painting. The Italians are guided by established laws in the disposal of individual figures, as well as in composition, and rightly so ; for these laws were the product of their particular cul- ture and habits of mind. With equal right, however, the Dutch painters framed for themselves rules for the guidance of their art in harmony with national views and sentiments. It must not be supposed that these Dutchmen, after they had carefully completed the drawing of a picture, were content to overlay their pictures with colour for the sake of mere beauty of effect. They thought, they felt in colour, and composed in colour. The delicate gradation of colour, the disposal of light and shade in the mass, and chiaroscuro, are their natural means of expression. It is a matter of common observation that colour beautifies many an object which without it would be utterly insignificant, and to such objects the Dutch artists knew how to impart an ideal charm by the modulation of colour- tone. Household furniture, for example, was highly valued by the Dutchmen. In its carefully ordered splendour and subdued brightness were reflected the delights of peaceful domestic life. Applied to art-purposes, it transcended meaner objects only in so far as it was richer in colours than they : and thus it was with scenes from every-day life, which were in like manner idealised by this mysterious witchery of colouring. It is impossible to convey in mere words any adequate idea of the effect of colour thus wielded. The eye alone can comprehend it, and has its opportunity in the study of the various galleries of Holland. The ^Regenf and 'Doeien' pictures are among the most conspicuous creations of the Dutch school of painters. It was the custom for the presidents (Regents) of the various corporations , public and charitable institutions, to place in the guild-halls and shooting galleries (Doelen) portraits in gioups of members of the various guilds , especially of the shooting societies. Among the earliest iiv HISTORJCAL SKETCH OF ART pictures of this kind is the Commemoration Banquet of Bowmen, painted by Cornelis Anthonissen , in Amsterdam (1533); but it was later than this that the 'Regent-pieces' acquired their complete artistic significance. The Haarlem Museum possesses a 'Corpora- tion-picture' by Cornelis Corneliszoon^ dating from 1583, and four similar pieces by Frans Pieterszoon Grebber, the later of which are specially distinguished by the freshness of their colouring. In the hospital of Delft is a 'Regent-piece' by that prolific portrait- painter Mic/mc^ van Mierevelt (born in Delft, 1568; died 1651), who has been erroneously described as painter to William of Orange (assassinated 1584), It is a so-called anatomical lecture, in the painting of which Mierevelt's son, Peter, ^took part. Jacob Gerritsz Cuyp-f, founder of the painters' guild in Dort (born 1575), and Paul Moreelze, a pupil of Mierevelt, do not appear to have attempted the execution of the 'Regent' pictures proper ; the greater is the number thereof to be ascribed to Thomas (Theodore) de Keyser and Jan van Ravesteijn. Thomas de Keyser was born probably in 1595. He was the son of an architect of Amsterdam, Hendrik de Keyser, and began to paint in 1616. His master-pieces are preserv- ed in the new Stadhuis (town-hall) iu Amsterdam, and the gallery of the Hague. In the town-hall of the Hague, too, his contem- porary, Jan van Ravesteijn can best be studied. But the treatment of the 'Regent' pictures and portrait groups generally was brought to its highest perfection first by Frans Hals, of Haarlem (p. lix), and more especially by that greatest of all the painters of the north, Rembrandt. Slandered and grossly abused as Rembrandt has been by dilet- tanti scribes of the 18th century, the enthusiastic eulogium bestowed upon him by the youthful Goethe must be noticed as an ex- ceptional tribute. It is only in quite recent times that the research- es of Dutch savants, particularly of Scheltema and Vosmaerff, undertaken in a spirit of affectionate devotion, have vindicated the truth concerning him. Rembrandt Harmensz van Rijn, the son of a miller of Leyden, was born probably in 1607. That he first saw light in his father's mill is a story for which there is as little foundation as that he first studied art amongst his father's flour sacks. Jacob Zwanenburg, who had studied in Italy, and was mar- ried to a Neapolitan, and Peter Lastman were his first iiistructors. His earliest recognised work bears the date 1627; he removed to Amsterdam in 1630. Amsterdam had gradually outstripped the other towns of the Republic, and had become virtually its capital, ascendant not only in the domain of politics, but prescribing also the direction to be given to the study of art. A new and stately t The termination 'szen' or 'szoon', abbreviated 'sz\ which occurs so frequently in Flemish names, signifies son; thus Gerritsz = son of Ger- hard, Harmensz = son of Harmen or Herman. ft Rembrandt, sa vie et ses oeuvres , par C. Vosmaer. 2nd ed. The Sague, 1877. IN THE NETHERLANDS. Iv architecture, which subsequently exercised extraordinary influence in Germany, testifies to the splendour of the town at that period. Vondel, Huygens, and Hooft represent the muse of Poetry, while numerous engravers and painters, of whom several connected them- selves later with Rembrandt, such as ^S'. Koninck, Lievens, and Van VLiet, found employment in Amsterdam. Rembrandt very soon made himself famous as an artist; fortune smiled upon him, too, in his love affairs. From the year 1633 the face of a good-tempered, handsome woman appears from time to time in his pictures. This is Saskia van Vlenhurgh, the daughter of a Friesland lawyer, whom he brought home as his bride in 1634. The numerous portraits of Saskia. painted by the great artist with evi- dent gusto, have familiarised us with her countenance ; the best are those in the galleries of Dresden and Cassel. That in the Antwerp Museum is either a copy, or was painted from memory. After Saskia's death(1642), Rembrandt married a second and perhaps also a third time; but from that period private affairs took a turn for the worse with him. The great financial collapse, which since 1653 had continued in Amsterdam, bringing wide-spread and ruinous disaster upon the community, did not suffer our Rembrandt to escape. He was declared bankrupt in 1656, and an inventory of his effects was taken by the Commissioners of the 'desolate-boedelkamer', who brought them to the hammer in the following year. This inventory is still preserved, and is an all-sufficient reply to those who main- tained that Rembrandt was destitute of refined tastes. The walls of his spacious apartments were covered not only with works from his own and his pupils' liands, but such Italian masters as Palma, Giorgione, etc., were likewise represented. Moreover, in addition to antique busts and a collection of miscelltineous curiosities , he possessed a choice collection of engravings, which bear unan- swerable testimony to the refinement of his taste. In addition to all this, tlie confidential intercourse which he maintained with Huygens and Jan Six sufficiently belies the opinion once current as to Rem- brandt's low-lived habits. The close of his life found him poor and living in complete retirement; still busy notwithstanding, and still capable of laughter, as a portrait of himself from his own hand (painted about 1668), and now in a private collection in Paris, gives evidence. He died about 8th October, 1669, leaving two children behind him. In the works of Rembrandt three distinct methods of treatment are to be noted as succeeding each other. At the outset of his career, his pictures receive the full light of day, and at the same time a carefully blended manipulation. Subsequently lie delighted in a concentrated light, a prevalent golden tone, and in a more vigorous handling of the brush. About 1654 his pictures receive a still warmer and more subdued tone, and are brown even to dimness, but retain, nevertheless, an unfaltering breadth in exe- Ivi HISTORICAL SKETCH OF ART cution. These several metliods of Rembrandt are admirably il- lustrated ill his master-pieces exhibited in the various galleries of Holland. The 'Regent' picture in the Hague Collection, known as 'The Anatomical Lecture' , which contains portraits of Professor Nicholas Tulp, and the members of the Surgeons' guild, belongs to the year 1632. This picture is an excellent example of the master's art, which has enabled him to animate a momentary action of this portrait group with dramatic life, by force of a concentrated expres- sion and accentuation of tone. The 'Night Watch', preserved in the museum at Amsterdam, Rembrandt's greatest work, was painted ten years later. It bears the date 1642, and shows with what skill this master of chiaroscuro could, by its means, convert a prosaic occurren- ce, such as that of this band of citizen musketeers sallying forth from their guild-house, into a scene abounding in poetical expression, and exciting the liveliest emotions in the beholder. In the so-called 'Staalmeesters' picture, portraits of the syndics of the Clothmakers' guild in Amsterdam (belonging to the year 1661), the entire tone seems to be permeated by a golden-brown medium. Art has never again created a greater wealth of stirring imagery or poetry of colour so entrancing as these three pictures reveal to us. Unconsciously oar thoughts recur to Shakespeare's familiar creations, and we re- cognise in these two mighty art-champions of the north kindred natures and a corresponding bent of fancy. It must not, however, be assumed that Rembrandt contined liimself to the representation of 'Regent' pieces, portrait groups (as the 'Jewish bride' in the Van der Hoop Museum in Amsterdam), and single portraits i^e.g. Jan Six and Anna Six, in the collection of J. P. Six in Amsterdam). We possess many scriptural pictures by him, scenes from the New as well as Old Testament, for the most part scattered in other countries. The Hague, however, possesses examples of this class of pictures in 'Susanna at the bath', and 'Simeon in the Temple' (bearing the date 1631). Here, too, Rem- brandt preserves a mode of treatment peculiarly his own. In re- presentations of our Saviour's passion the tragic event is pourtrayed in a harsh matter-of-fact spirit, and might serve to illustrate the well-known hymn, '0 Head once full of bruises'. A serener, happier expression of solemnity prevails in the Parables , which enables us fully to realise their significance, often sufficiently obscure. Scenes from the youthful life of Christ have an idyllic charm of their own, and in all Rembrandt's religious compositions the en- deavour is apparent to bring them within the range of human apprehension — a fact important for a right understanding of the Protestantism of the 17th century. Rembrandt touched also the regions of Mythology ; but, as will be readily understood , with more doubtful success. On the other hand his landscapes, devoid of incident though they be, wide, unbroken, plain, exhibit the master's feeling for colour and poetical expression in the most favourable light. IN THE NETHERLANDS. Ivii It need hardly be mentioned that in order to become intimately, and as it were personally acquainted with Rembrandt, the collection of his etchings, over 300 in number, must be carefully studied. Among the best-known , the rarest and most beautiful, are 'Rem- brandt's portrait with the Sword', 'Lazarus Rising from the Dead', the 'Hundred Florin Plate' ('Healing of the Sick' ; the former name, by which it was popularly known in the 18th century, now no longer applies, inasmuch, as in 1867 the sum of 1000^. was paid for a single impression), 'Annunciation', 'Ecce Homo', 'The good Samaritan', 'The great Descent from the Cross', the portraits of Tolling, Bonus, Six, the landscape with the mill, and that with the three trees. A goodly array of pupils and imitators are gathered around Rem- brandt. His influence was not conlined to Amsterdam alone, but ex- tended to the neighbouring schools, that of Haarlem, for example. Amongst his more immediate followers may be mentioned Ger- brandt van den Eeckhout { [Q21-7A\ whose works frequently bear Rembrandt's name (the Museum of Amsterdam possesses one of the best of his pictures — The Adulteress), and Ferdinand Bol of Dordrecht (1609-81), who deserted his native style after the death of his master. The 'Regent' picture, formerly in the Lepers' Hospital, and now in the new Town Hall, at Amsterdam , belongs to his best time. Oovaert FLinck, of Oleves (1615-60), may be said almost to have rivalled Rembrandt at the outset of his career. Besides his two best 'Regent' pieces (that in the new Town Hall dated 1642, that in the Museum 1648), there is in the Museum of Amsterdam a scriptural picture by him. It represents Isaac in the act of blessing Jacob, a^ favourite subject with the school of Rembrandt. Amongst the number of Rembrandt's satellites are also Jan Lijvensz and Jan Fictoor or Victors, a name by which several artists are known ; Ph. Koninck^ the landscape painter; Salomon Koninck. whose scriptural pictures and portraits bear so strong a superficial resemblance to those of Rembrandt that they are often mistaken for his ; Jacob Backer, in- timately associated in his youth with Govaert Flinck, and his com- panion in Rembrandt's workshop; Nicholas Maes, of Dordrecht, whose best works belong to the time of his youth (1650-60), as, having in after-life settled in Antwerp, he seriously deteriorated under the influences of the school of Rubens; and lastly Karel Fabritius, who came to a premature end by a powder explosion in Delft (1654). Fabritius forms a link between Rembrandt and Jan van der Meer, of Delft, one of the most interesting of Dutch pain- ters, though until recently little known. He was a pupil of Fabri- tius, and died in 1696, and in the same year his effects were sold at Amsterdam. Young women engaged in all kinds of household work, or in the more congenial occupation of love-making, interiors, street scenes, and landscapes, are his favourite subjects, all wond- rously pure in colour, abounding in delightful effects of perspec- Iviii HISTORICAL SKETCH OF ART tive, full of life, at once truthful and oliamiing. entitling them to rank amongst the gems of Dutch art. Scarcely inferior to him is Peter de Hoogh , celebrated for his fascinating effects of light, whereby he is frequently confounded with Van der Meer of Delft (who again must not be confounded witli Jan van der Meer of Haarlem, a distinguished landscape painter). And last, but not least, of this artist array who, whether as pupils or followers, are associated with Rembrandt, comes GerardDow (born at Leydenl613 ; died 1680), the great master of minuteness of finish , whose 'Night Schools' , 'Maidens by candle light', and 'Hermits' are in so much favour with the public, commanding prices commensurate with the admiration bestowed upon them , though it must be said of his works that skilful and delicate manipulation takes the place of poe- tical expression, and that the range of his fancy is contracted in measure corresponding with his painstaking elaboration of finish. This latter quality, however, must receive its due meed of praise. On the other hand, Dow is connected with a number of painters of declining excellence, such as Frans van Mieris the Elder, of Ley- den (1635-81), Pieter van Slingeland, of Leyden (1640-91), God- frey Schalcken (born at Dordrecht, 1643; died at the Hague, 1706), A. van Gaesbeeck, and many others. It will be seen, then, that Rembrandt's influence was as weighty and comprehensive as the products of his easel were great in number and surpassing in quality. Painters of the most widely differing motives acknowledge him as their master and example, and he has led the way, not only in historical and portrait painting, but in landscape too , and in tlie so-called genre painting. In this respect Bartholomew van derHelst, to whom many would assign a place amongst the foremost realists next to Rembrandt, cannot compare with him. Van der Heist was born at Haarlem in 1613, and ended his days there in 1670, in the enjoyment of great wealth and general esteem. Nothing is known of his teachers, nothing of his relations with Rembrandt, whose path he appears to be continually crossing without compromising his independence. He was the favour- ite portrait painter of the wealthy burghers of Amsterdam, and confined himself almost entirely to the painting of 'Regent' pieces and portraits. His most celebrated work, The Arquebusiers' Banquet (1648), is in the Museum of Amsterdam (in addition to this are the Arquebusiers' Guild in the Stadhuis, 1639, and the 'Doelenstukk', 1657, in the Museum), where it confronts Rembrandt's 'Night Watch', thus bringing to view the points of difference between the two masters. Van der Heist presents to us Nature as she is, unrelieved, a bare reality. If Nature herself could paint she would have given us a picture such as Van der Heist's. It is otherwise with Rembrandt. Upon all his works he sets the seal of his individuality. As the reality presents itself to his eye, so he reproduces it with just that degree of truthfulness which his intention prescribes. Van der IN THE NETHERLANDS. lix Heist's are mere imitations, Illusive in their fidelity, but leading no enduring impression. Feans Hals, of Haarlem, a somewhat earlier painter, so far at least as the effects of his training in the great Master's school are con- cerned, is more akin to him than Van der Heist. Though of Haarlem parentage, he was born at Antwerp (about 1584). When he returned to Haarlem is not known. He married in 1610, unhappily as the event proved, for in 1616 he was brought before the Burgomaster for ill-treat- ing his wife, and had to promise to abstain for the future from 'dronkenschappe'. Of the joys of conviviality which he could so well depict he freely partook, and thus got into difficulties which his prolific pencil failed to avert. His goods and chattels were sold by auction in 1652 to pay his debts, and he became in his old age a pensioner of the State. His death took place in 1666, at the age of 82, his labours having extended over half-a-centui y. The earliest of his paintings known to us bears the date 1616, the Banquet of Officers of the George's Guild of Musketeers, in the Museum of Haar- lem , where the most considerable of this master's 'Regent-pieces' are collected. Amongst these the Assembly of Officers of the An- dreas Guild (1633), and Assembly of Officers of the George's Guild (1639), are the best. Rembrandt's influence is still apparent in pictures of the succeeding decade, without however impairing the individuality of the artist. The utmost vivacity of conception, purity of colour, and breadth of execution, which in his latest works betrays a handling of the brush so uncompromising that drawing is almost lost in a maze of colour-tone, are distinguishing character- istics of Frans Hals, who, besides the 'Regent-pieces' referred to, was the author of numerous portraits; and he has immortalised such popular figures as the 'Rommelpott-players', 'The tipsy old wife, Hille Bobbe', 'The jolly shoemaker, Jan Barentz', ready either for a drinking bout or for service in the fleet with Admiral van Tromp. His best known pupils are Adrian Brouwer (b. Haarlem, 1608; d. Antwerp, 1641?), and Adrian van Ostade (b. Haarlem, 1610; died there, 1685). As we do not possess more correct biographical data concerning the former of these, we must accept as true the stories told of him and his fellows by authors of the 18th century. He is his master's most formidable rival in the naive conception of national character, as well as in mere technical skill; and had he lived long enough to mature his natural powers, he must have borne away the palm now conceded to Adrian Ostade. In the earlier efforts of Adrian van Ostade, we are reminded of Brouwer; it was after the year 1640, or thereabouts, when the influence of Rembrandt was in the ascendant with him , that he first displayed those technical qualities and artistic predilections which have made him a favour- ite with the most fastidious connoisseurs. Grace and beauty are attri- butes which the forms crowded into his cottage interiors or animating his court-yard scenes certainly do not possess ; but they always abound Ix HISTORICAL SKETCH OF ART in lusty life, cliaracteristic and appropriate, whether playing cards, intent upon the enjoyment of pipe and glass, or dancing accompanied by the ever-present fiddler ; and with such marvellous effect is colour accentuated, so complete is his mastery of chiaroscuro, that nearly every picture may be said to provide a new 'feast for the eye'. WithOstade are connected his brother, Isaac van Os^ade (1620-57?), Cornells Bega (1620-64), and Cornells Dwsarf (1660-1704). And thus we are brought to the almost innumerable throng of Genre Painters, who have imparted to Dutch art its peculiarly dis- tinctive attributes, and have secured its greatest triumphs. It would be difticiilt to distinguish amongst the genre painters of Holland various degrees of excellence, inasmuch as each in his respective, and, as a rule, contracted sphere, has asserted an in- disputable supremacy. It is unfortunate that the greater number of their works have been transferred to foreign galleries , and are rarely to be met with in Dutch collections, so that Holland is no longer exclusively the place where the genre and landscape-pain- ters of the Netherlands can be studied. It must suffice, therefore, to mention the most conspicuous names. The genre painters are usually divided into several groups, ac- cording to the subjects which they make peculiarly their own ; pic- tures, for example, belong to the higher or lower genre as they set before us the more refined or coarser aspects of social life, the world of fashion, or the vulgar herd. These, however, are merely adventi- tious distinctions, and do not by any means sufficiently account for this latest development of Dutch art, resolving itself as it did into a number of local schools. Dirck Hals (probably a younger brother of FransHals, to whom many genre works by Dirck have been ascribed), Anton Palamedes, J. A. van Duck, Pieter Codde, and others, abound in pictures of soldiers and cavaliers contending with Yenus and Bacchus, or engaged in the sterner encounter of pitched battle and skirmish ; in illustrations, too, of the fierce licence engendered by the wars of the 17th century ; figures roaming hither and thither without restraint, lusty and light-hearted. In striking contrast to such scenes as these are the pictures of a peaceful and refined domestic life, oc- casionally disconcerted by the vicissitudes of love, which formed the favourite theme of Gerard Terhurg, born atZwoUe in 1608, a man who had travelled much and who was Burgomaster of Deventer when he died in 1681. He, together with his successors, Gabriel Metsu, of Ley- den (1615-67), Caspar Netscher (born at Heidelberg, 1639 ; died at the Hague, 1684), etc., are generally known as 'stuff' painters, owing to the attention they bestow upon drapery stuffs, especially silks and satins. It must be borne in mind, however, that in the absence of these external properties, thus carefully supplied , the refinements of life could not be invested with appropriate pictorial splendour. But that these painters were not the mere imitators of stuff and texture, that they were capable of emotion, and could give utterance IN THE NETHERLANDS. Ixi to the sentimeuts of romauce, will be sufficiently evident to those who study the 'Paternal Warning' of Terburg in the Museum at Amsterdam. As a portrait painter, too, Terburg has made a great reputation. (His 'Peace Congress of Miinster', his most celeb ated piece, was lately sold with the Demidoff collection for 182,000 fr.) Jan Steen, the so-called jolly landlord of Leyden (1626-79), was also a painter of social subjects, but in a line and in a manner quite his own. That he was a low-lived tippler is simply one of those wholly gratuitous slanders with which it was once the fashion to besmirch the painters of Holland. A jovial life was probably not repugnant to his tastes ; and what is more to our purpose is the fact that a spontaneous joyousness pervades his works, and a sparkling sense of humour too ; while as a colourist he must be looked upon as the foremost of the entire school. His pictures might be enti- tled comedies of life, in which man's follies are chastised with satire, and his weaknesses held up to ridicule, but without the glaring exaggeration and obtrusive moralising which make Hogarth's pictures (with whom Jan Steen has much in common) so unpleasant to look upon. Family feasts and merry-makings, the wedding of ill-assorted couples, quacks and their quackeries, lovelorn maidens ('hier baat geen medicijn, want het is minne pijn'), tavern brawls and suchlike scenes are his favourite subjects. Jan Steen has, and with justice, been likened to Moliere. The greater number and the best of his works are in England. He is very partially represented in the museums of Amsterdam and the Hague. The Due d'Aren- berg possesses in his Brussels collection one of the very rare scrip- tural pieces by this master, the 'Marriage at Cana'. Jan Steen is a solitary personage. He stands alone, and has no followers. So much the more numerous, and at the same time in- timately associated , are the painters whose genius found employ- ment in the domain of landscape, which they rendered with true artistic appreciation, and enriched as well as animated by the ad- dition of living forms. Very frequently these 'landscapes with figures' are the result of friendly co-operation. Thus Adrian van de Velde (1639-72), one of the most estimable as well as gifted of Dutch painters, supplied the figures for the landscapes of his master Wijnants, for Moucheron, and. even for Hobbema and Ruysdael. Philip Wouwerman (1620-68) has perhaps the greatest repu- tation for these figure pictures , of which some 800 may still be reckoned. Cavalry combats, hunting scenes, in which horses al- ways play a conspicuous part, he has repeated with endless varia- tions, without however passing the bounds of mediocrity. To enu- merate the names of all who occupied this particular field is simply impracticable, for it is precisely in this field that Dutch art was most prolific. We must, however, mention (as akin to the foregoing) Paul Potter (h. 1625; d. Amsterdam, 1654), chief of animal pain- ters, to whose pictures landscape lends idyllic charms, and whom we. HISTORICAL SKETCH OF ART. must accept as a classical example of the entire fraternity. A con- summate draughtsman, he was at least as eminent as a colourist, especially in his smaller pictures. Karel du Jardin {^i62b-7S\ an ex- uberantly fertile painter, owes his best qualities to the foregoing, but the inequality of his works shows his inability to resist other less favourable influences. Other 'idyllic' painters are Jan Asse- lyn (1610-60) and Nicolas Berchem (1620-83), both of Amsterdam. As landscape painters must be named Jan van Goyen of the Hague (1596-1666); Albert Cuyp of Dordrecht (1606-72), son of Jacob Gerritsz (p. Iv), also eminent as a painter of portraits and animals; Jan Wijnants of Haarlem (1600-70), famous for the number of his pupils and his own steady development; Aldert van Everdingen (Alkmaar, 1621-75); Jacob Ruysdael (born 1625, at Haarlem; d. 1681), 'excelling all other masters in a feeling for the poetry of northern landscape combined with the power of gra- phic embodiment' ; and Meindert Hobbema, whose merits have only recently come to be appreciated. Hobbema was born at Amsterdam, 1638, and died in 1709. His works exhibit a moderate talent only for composition : the same motive constantly recurs in his pictures (the figures are for the most part by another hand) ; but in delicacy and thoroughness of elaboration, more particularly in his treatment of atmosphere and light, his pictures must be highly prized as works of genius of the highest order. — Jan van der Meer of Haarlem (1678-91) shows himself near of kin to Jacob Ruysdael. Numer- ous other landscape painters remained true to their national sce- nery , but in many cases they lapsed into a kind of mannerism, Avhich is very apparent in the moonlight scenes of Aaart van der Neer (of Amsterdam, 1619-83). Fashion also now began to demand the study of Italian landscapes and in the second half, of the 17th cent, compositions of this kind are decidedly predominant. Among the earliest examples of this tendency are J«ni5o fr.) belongs to the original edifice. It contains a magnificent Renais- sance ^ Chimney- Piece occupying almost the entire side of the room, executed in 1528-29 by Guyot de Beaugvant , probably to commemorate the battle of Pavia, and the peace of Cambrai, by which France was obliged to recognize the dependence of Flanders. The lower part con- sists of black marble; the upper, which is of carved oak, was exe- cuted from designs by the painter Lancelot Blondeel and restored in 1850 by the sculptor Geerts. The statues, finely carved and nearly life- size, represent Charles V. (in the centre), his paternal ancestors Mary of Burgundy and Maximilian of Austria on the left, and his maternal an- cestors Ferdinand of Arragon and Isabella of Castile on the right of the spectator-, to the right and left of Charles are small medallions, held aloft by children , representing his parents Philippe le Bel and Johanna of Castile; also the armorial bearings of Burgundy, Spain, ,3), which consists of two entirely different parts. The pic- turesque fa(;.ade towards the Rue Haut-Port, constructed in 1481- 1533, in the florid Gothic (Flamboyant) style, from designs by Dominicus van WagJiemakere and Romhoudt Keldermans , was restored in 1829, and is again undergoing restoration; it is perhaps the most beautiful piece of Gothic architecture in Belgium. The E. fac^ade, towards the market-place, with its three tiers of coluuins one above the other, was constructed in 1595-1628, in the Renais- sance style. The 'Pacification of Ghent', a treaty drawn up by a congress of the Confederates who assembled here in 1576 with a view to expel the Spaniards from the Netherlands, was signed in the throne-room. In the lofty Council Chamber, now Salle des Manages , are some modern paintings and portraits of Austrian princes. The Archives are very important, containing documents reaching back to the 13th century. Opposite the N. fa(^ade of the Hotel de Ville is the Rue des Grainiers , ending in the Rue Basse , which we cross obliquely to the Rue du Serpent, leading to the Marche du Vendredi ( Vrydagmarket) (PI. C, 3), an extensive square, surrounded by antiquated buildings. The most important events in the history of Ghent have taken place here. Homage was here done to the Counts of Flanders on their accession , in a style of magni- ficence unknown at the present day, after they had sworn , ' alt St. Jacques. GHENT. 6*. Route. 39 de hestaende wetten , voorregten , vryheeden en gewoonten vanH graefschap en van de stad Gent te onderhouden en te doen onder- houden' (to maintain and cause to be maintained all the existing laws, privileges, freedoms, and customs of the county and city of Ghent). Here the members of the mediaeval guilds, ' ces tetes dures deFlandre' , as Charles V. termed his countrymen, frequently assembled to avenge some real or imaginary infringement of their rights, and here the standard of revolt was invariably erected. One of the most disastrous civic broils took place here in 1341, when Gerard Denys at the head of his party, which consisted chiefly of weavers, attacked his opponents the fullers with such fury that even the elevation of the host failed to separate the combatants, of whom upwards of 500 were slain. Jacques van Artevelde, the famous ' Brewer of Ghent' (see p. 30), then in power, was after- wards assassinated by Denys. This fatal day was subsequently entered in the civic calendar as ^ Kwaede Maendag^ (Wicked Monday). Under the rule of the Duke of Alva his auto-da-fe's were enacted in the Marche du Vendredi, and many thousand Ghenters were then compelled to emigrate, thus leaving the city half untenanted. A statue of Charles Y. stood here down to 1796, when it was destroyed by the French sansculottes. It is now re- placed by a \)YonzQ Statue of Jacques van Artevelde (PI. 41), over lifesize, executed in bronze hy Devigne-Quyo, and erected in 1863. The powerful demagogue is represented fully accoutred, in the act of delivering the celebrated speech in which he succeeded in per- suading the citizens of Ghent and the inhabitants of Flanders to enter into an alliance with England against the will of the Count of Artois. The three reliefs on the pedestal have reference to the three most important treaties concluded by Artevelde in behalf of Flanders. — A view of the principal towers of the city is obtained from the N. side of the market. At the corner of a street on the W. side of the March^ du Ven- dredi is placed a huge cannon, called the ^ Dulle Griete^ (Mad Meg), 19 ft. long and 11 ft. in circumference (resembling ' Mons Meg', a similar cannon cast at Mons , and now in the Castle of Edinburgh). Above the touch-hole is the Burgundian Cross of St. Andrew, with the arms of Philippe le Bon ; the piece must there- fore have been cast between 1419 and 1467. It is said to have been employed at the siege of Oudenaerde in 1452. At the back of the E. side of the March(^ du Yendredi rises the Church of St. Jacques (PI. 20; C, 2, 3), said to have been founded in 1100. The present edifice dates from the end of the 15th or beginning of the 16th cent., but the towers are perhaps older. The Interior has recently been entirely restored, and contains several pictures by Jan van Cleef (d. 1716). In the* left aisle are two paintings by O. de Craeyer: Members of the Order of the Trinity ransoming Christian captives, and the Virgin. In the right aisle is the Departure of the youthful Tobias, by Jan Maes-Canini (d. 1856). The two pictures of 40 noute 6, GHENT. St. MichaeVs Chvrrh. Aposlles in the choir are by Van Hnffel (d. 1844). Near tlie pulpit is a statue of the Apostle James by Van Poucke (d. 1809). The Botanic Garden (Pton^enfia'n, PI. 33; C,.2), in the im- mediate vicinity, is the finest in Belgium. (^The entrance is at No. 21 Rue St. Georges, a street traversed by the tramway cars running to the Antwerp Gate.) It Avas founded in 1797, and is commonly known as the Baudeloohof. The hot-houses are extensive. — The suppressed Baudeloo Monastery contains the University Library (100,000 vols. ; 700 MSS., some of them very rare). The reading-room is open to the public. In the Maeche-aux-Geains (PI. C, 3) rises the *Church of St. Nicholas (PI. 24), the oldest in Ghent. It was founded in the 10th cent., but the greater part of the present building, which in the main is in the early Gothic style, probably dates from the beginning of the 15th century. The ten turrets on the lower tower have given rise to the bon mot: ^ Veglise a onze tours et dix sans (same pronunciation as cents) cloches\ The Interior has been modernised. Most of its venerable treasures of art disappeared from the church during the religious wars and the wild excesses of the iconoclasts , but have been partially replaced by modern works. High altar-piece by N. Roose (Liemaeckere, d. 1646), Call of St. Nicholas to the episcopal office. 2nd Chapel, to the right: Maes- Canini^ Madonna and Child with St. John. 3rd Chapel, on the left: Stef/aert^ Preaching of St. Antony. An inscription under a small picture on an opposite pillar in the nave records that Oliver Minjau and his wife are buried liere, '•eride hadden tezamen een en dertich kinderen'' (i, e., they had together one-and-thirty children). When Emp. Charles V. entered Ghent, the father with twenty-one sons who had joined the procession, attracted his attention. Shortly afterwards, however, the whole family was carried off by the plague. — The other pictures include specimens by J. van Cleef and Va7i den Heuvele. The stained glass in the windows of the choir is by Capronnier and Laroche^ 1851. On the Graslei, a quay behind the W. side of the Corn Market, there are several interesting old buildings. The handsome Skipper House (No. 15) was erected in 1531 by the Guild of the Skippers. *St. MichaePs Church (PI. 23 ; C, 4), a handsome Gothic edifice begun in 1445 (nave completed 1480, tower unfinished), was em- ployed in 1791 as a ' Temple of Reason', and lost most of its trea- sures of art at that period. The pictures which it now contains are, with the exception of a few by Van Dyck, De Oraeyer, etc., pro- ductions of the first half of the present century. (Sacristan 1 fr., more for a party.) N. Aisle, first entered in approaching from the bridge : 4th Chapel : Venius, Raising of Lazarus. 2nd: Be Craeyer., St. Bernard, St. Joseph, and St. George worshipping the Trinity. 1st: Van Balen^ Assumption. — The -Pulpit by Frank^ 1846, a masterpiece of taste and execution, rests on the trunk of a iig-tree in marble ^ Christ healing a blind man forms the principal group below ^ the staircase railings are of mahogany. — South Aisle. Model of the tower as origiuallv designed. Van Bocklwrst (d. 1671), Conversion of St. Hubert. S. Transept. Francois, Ascension; Lens^ Annunciation, N. Transept: '-'Van Dpck's celebrated Crucifixion, the only picture in Ghent by this master, is said to have been painted for the church in six Oudeburg. GHENT. 0. Rmde. 41 weeks, for 800 fl. A horseman extends the sponge to the Saviour with his spear ^ John and the Maries below, weeping angels above. Paelinck^ Finding of the Cross by the Empress Helena. Choir, To the right, 2nd Chapel: Van der Plaetsen, The Pope ex- horting Louis XI. to submit to the will of God, painted in 1838 •, Spagno- le.tfo. St. Francis. 3rd: De Craeyer^ Assumption of St, Catherine, one of the master's best works, 4th : Ph. de Champaigne., Pope Gregory teaching choristers to sing, 5th: Van Mander., St. Sebastian and S. Carlo Borromeo. 6th, at the back of the high altar : Van Bockhorst^ Allegory, Moses and Aaron typical of the Old Testament^ St. John, St. Sebastian, and the Pope typical of the New. 7th: Maes-Canini.^ Holy Family, 9th: Zegers, Scourging of Christ, 10th: Th. v. Thidden^ Martyrdom of St. Adrian. 11th : De Craeye)\ Descent of the Holy Ghost. Adjoining the Marche-aux-Grains on the N. lies the Marche- aux-Herbes (Groenselmarkt), on the left of which rises the exten- sive Grande Boucherie l^Groot Vleeschhuis, PI. 6 ; 0, 3) erected in 1408-17. An interesting mural painting in oil, executed by Nabor Martins in 1448, and recently restored, representing Mary and the Child with angels and the portraits of the donors (freely painted over^, was discovered in the old chapel of the building in 1854. — The members of the Ghent Guild of Butchers were known as 'Prince Kinderen' (Prince's children!, being the descen- dants of Charles Y. and the pretty daughter of a butcher, who secured for her son and his descendants the sole right of slaughtering and selling meat in the city. The son of the emperor had four sons, the ancestors of the four families of Van Melle, Van Loo, Minne, and Deynoot, of whom alone the guild consisted down to 1794. Crossing the bridge to the left we reach the Place de Pharailde, where in the corner to the left a gateway erected in 1689 by the sculptor Arthus Quellyn, but recently removed, led to the Marche - Aux - PoissoNS (PI. 35). — On the N. side of the Place^ at the corner of the Rue de la Monnaie, the Oudeburg (s'Oraven- kasteel, Oravensteen, Chateau cles Comtes ; PI. 12; C, 3), a massive old castellated-looking gateway , v/ith loop-holes , rises among a number of modern houses. It is a remnant of the ancient palace of the Counts of Flanders, where Edward III. with his Queen Philippa were sumptuously entertained by Jacques van Artevelde in 1339, and where their son John of Gaunt (i. e., Gand or Ghent] was born in 1340. Here, too, the beautiful Jacqueline, Countess of Holland, was kept a prisoner for three months by Philippe le Bon of Burgundy in 1424. The palace was built in 868, but the gateway not before 1180. A subterranean passage, 21/2 M. in length, leading to a point outside the city, and probably employed for admitting soldiers to the palace in case of an emergency, has recently been discovered here. In the Rue Ste. Marguerite (No. 5), which forms a continuation of the Rue de la Monnaie, is situated the Royal Academy of Art (PI. 2; B, 3; ring; fee Vo fr.), established in the old Augustinian Monastery, adjoining the inconsiderable Augustinian Church, and containing a Musee with about 250 pictures. There are no works 42 Route 6. GHENT. Academy. of pre-eminent merit, but the colleetion is worth a visit. Among the old works, besides a specimen of Ruliens^ are several by G. de Craeyer, who migrated from Brussels to Ghent in the latter part of his life, and died here in 1669 at the age of 87. The collection is arranged on the second floor. Room I. To the left: 94. Fr. Pourhus (d. 1580), Isaiah announcing to Hezekiah his recovery, with the miracle of the sun going ten degrees backward. On the wings a Crucifixion and the donor, the Abbot del Rio. 95. Fr. Pourhus^ Large winged altar- piece, with 22 scenes from the life of Christ; 46. P. Breughel (Hell- fire Breughel, p. xlv), Village feast; 51. M. de Vos (d. 1603), Holy Family. — To the right — Room II. (large, and lighted from the roof). To the left: 47. Peter Neefs the Elder fd. 1651), Peter liberated from the prison ; 15. T>e Craeyer^ St. John in Patmos ; *18. De Craeyer^ Solomon's Judgment, one of the artist's masterpieces; 1. 2'h. Boeyermans^ Vision of St. Mary Magdalene de' Pazzi; 75. Th. Romhouts (d. 1637), Allegorical representation of Justice, formerly in the Hotel de Ville ; 2. Th. Boeyermans, S. Carlo Borromeo dispensing the Sacrament to persons afflicted with the plague ; 39. Jan van Cleef (a pupil of De Craeyer, d. 1716), Holy Family, with the Infant Saviour haudin«r a wreath of roses to Joseph; 13. De Craeyer^ Tobias with the Archangel Raphael; 38. Peter Thys (d. 1679), St. Sebastian receiving the martyr's palm from angels ; 19. De Craeyer, Martyrdom of St. Blasiiis; 17. De Craeyer^ Resurrection; 56. W. Heda^ Still life ; 6. Jac. Jordaens (Introd. p. I), Christ and the Woman taken in adultery ; *9. Rubens^ St. Francis receiving the Stigmata, painted in 1637 for the Franciscan Church at Ghent, and similar to the picture in the Museum of Cologne; *14. De Craeyer^ Coronation of St. Rosalia : 11. Fr. Duchastel^ Procession in theM'arch^ du Vendre- di, at the reception of Charles II. of Spain as Count of Flanders (1666); 22. De Craeyer, The Virgin handing the scapulary to St. Simon Stock; 5. Jac. Jordaens^ 'First be reconciled with thy brother'; 4. Jordaens, St. Ambrose; 17. Adrkinvan Utrecht(d. 1653), Fish-dealer; 82. P. van den Avont (17th cent.). Holy Family in a landscape, surrounded by angels. — In the middle of the room : Fel. Boure, Boy lying in wait for a lizard (marble) ; Devigne-Quyo, Eve and the Serpent (plaster). On the other side of the entrance hall are two Rooms with Modern Pictures. These works date from the beginning of last cent, downwards, and include some by the professors of the Aca- demy, as well as many of the pictures to which prizes were aw arded at the triennial exhibitions held between 1792 and 1841. Among the best artists represented are J. Paelinck (1781-1839, a pupil of David, p. 62), Maes - Canini (d. 1850), Geirnaert (d. 1859), De Jonghe (d. 1844), Verveer, Bossuet, F, Jos, Navez (1787-1869), De Kouter. GHENT. 6. Route. 43 Braekeleer (1792-1839), H. Rohbe, J. P. Clays, Gallait, Nic. de Keyser, Schelfhout, Van Hove, and Schotel (three Dutchmen). The neighbouring street, Cour des Princes (PI. B, 4), derives its name from the old palace of the Counts of Flanders (p. 32). — A little farther on is the Rue du E tl>ot, leading to the city gate called Le Rabot (PL B, 4). Here in 1488 the army of Emperor Frederick III., advancing to support the claims of his son Maxi- milian (p. 19), made an assault which was successfully resisted. The old Flemish inscription on the outside of the gate records the bravery of the guilds which fought under Count Philip of Cleve. The extensive Beguinage, which formerly existed in this neigh- bourhood, has been removed to a site outside the town. Near the site of the old Beguinage, on the right bank of the Cou- pure, a canal completed in 1758, connecting the Ley with the great Bruges Canal (pleasant promenade in the evening), is situated the handsome Casino (PL 11 ; C, 5). It belongs to a horticultural society ( M acts chappy van Kruidkunde), and is employed for the famous an- nual flower-shows of Ghent. Ghent, which is not unfitly surnamed La Reine des Fleurs\ has a speciality for horticulture, and annually exports whole cargoes of camellias, azaleas, orange-trees, and other hothouse plants to Holland, Germany, France, and Russia. There are upwards of sixty nursery-gardens in the environs of the city. Nearly opposite the Casino, on the other side of the canal, rises the Maison de Force (PL 37), a prison formerly of European celeb- rity. The building, which can accommodate 1200 convicts, was begun under Maria Theresa in 1772, but not completed until 1825. A new wing has lately been erected, which contains 158 cells for solitary confinement, on the Auburn, or silent system. At present there are about 200 male inmates . mostly prisoners to w^hom the strict silent system is unsuited. — Near this is a new prison, the Maison de Surete, with 325 cells, accommodating 420 convicts. Belgium lias perhaps done more for the reform of the Prison System than any other country. The strict separation of the convicts by day and night, at work, at meals, at church, in the schools, or at exercise in the prison court, has been adopted throughout the land. The efforts made for the mental and moral improvement of the inmates merit all praise. The most important establishments next to those at Loavain and Ghent are the prisons at Antwerp, Mons, Arlon, Tournai, and Malines. Visitors (with the exception of superior prison officials) are not admitted without permission from the Minister of Justice at Brussels. The Kouter, or Place d'Armes (PL D, 4), is a large open space planted with a double row of lime-trees, where a military band plays on Sunday and Wednesday evenings in summer. On Sunday morn- ings an abundantly supplied flower-market is held here. On the E. side of the Kouter is the Cafe des Arcades (PL h), occupying the site of the house of the brothers Hubert and John van Eyck, where they painted their celebrated picture. — The S.W. corner is occupied by the Theatre (PL 42), erected by Roelandt in 1848, 44 Route 6. GHENT. Vniversify. The Palais de Justice (PI. 08), an imposing edifice by Roe- landt, completed in 1844, is bounded on two sides by the Ley. The chief facade to the N. has a peristyle of the Corinthian order, and is approached by a lofty flight of steps. The Salle des Pas Perdus (85 yds. long, 25 yds. wide), usually entered by a flight of steps from the Rue du Commerce, contains a few pictures. On the principal wall, opposite the entrance: G. de Craeper. Francis I, of France restoring his sword to the knight Lannoy after the Battle of Pavia (1525), Charles V. landing in Africa, Charles V, and his son Fer- dinand, three large pictures painted for the decoration of a triumphal arch, which the city erected at the entry of the Infante Ferdinand. In spite of the slightness of their execution, they are of great interest as bearing testimony to the pomp and luxviry, which were customary on occasions of this kind during the IGth century. Also some modern paintings : Math, van Br^e, Conclusion of the Pacification of Ghent in the Hotel de Ville ; L. de Gaeye., Charles Martel's victory over the Saracens near Tours and Poitiers (732); Van Sever do nek., Cavalry skirmish between the Flemings 'and Spaniards. The University (PI. 39; D,3^, another edifice by Roelandt, has its fa(^.ade , with a Corinthian peristyle , towards the Rue des Foulons or de rUniversito. The Aula, reached through a covered court and a vestibule, which is at present being decorated with frescoes by De Claesenaer , is a rotunda supported by marble co- lumns in the style of the Pantheon , and capable of containing 1700 persons. The inscription on. the chief fa<^.ade records the foun- dation of the building under William I., in 1826. The Natural History Museum is a collection of some merit ; there are also cabi- nets of Coins, Medals J and a few Roman antiquities. — An Ecole du Genie Civil and din Ecole des Arts et Manufactures are connected with the university. The number of students is about 450. The new Jesuit church of Ste. Barbe (PI. 17; E, 4), to the S. of the Kouter, on the other bank of the Ley, was built by Steyaert in the Renaissance style , and has a very finely proportioned, in- terior. The Church of St. Pierre (PI. 25 ; F, 4}, picturesquely situated on a height at the S. extremity of the town, is said to have been founded in 610 on the site of a temple of Mars. It has been several times renewed, the last occasion being from plans by Van Sante^ in 1629-1718, after its destruction by the iconoclasts in 1578. The interior contains a few pictures. South Aisle: Roose (De Liemaclere., d, 1646), IS'ativity of Christy Er. Quellyn (d. 1678), Triumph of the Catholic religion. — ^^okth Aisle: Van Thulden, Pictures representing the triumph of Eoman Catholicism. — Retro-Choir, to the right: Janssens, Liberation of Peter; Van den Avont., Holy Family, with dancing angels^ A. Janssens (d. i63\). Mira- culous Draught of Fishes, as an accessory to a large landscape. Also five small pictures by Va7i Durselaer. of the period of the Spanish supre- macy, illustrative of the virtues of the miraculous image of the Virgin on tiie altar. On the other side: Zegers, Raising of Lazarus ; De Craeyer, St. Benedict recognising the equerry of the Gothic King Totilas ; Reys- schoot (d. 1795), Landscape, the healing of a blind man as accessory; Janssens, Landscape with two hermits. — Isabella, sister of Charles V., and wife of Christian II. of Denmark, is interred in this church, but no monument marks the spot. Beguinage. GHENT 6. Route. 45 Tlie open space in front of tlie churcli has been formed by tlie demolition of part of the old abbey-buildings. Another part serves as a barrack. Ghent, like Antwerp and Brussels, possesses its Jardin Zoo- logique (PI. F, 3, 4), situated near the station of the government rail- way (admission 1 fr."). The interior of the neighbouring Church of St. Anne (PI. 14; E, 2), erected from Roelandfs designs in 1853, is gaudily decorated by Canneel. The Beguinages (Beggynhofen) of Ghent, two extensive nun- neries, founded in 1234 and 1235, are exceedingly interesting establishments. The name is derived by some autliorities from St. Begga., the mother of Pepin of Heristal, and by some from Le Begue., a priest of Liege (end of the 12th cent.) ; while others connect it with heggen., to beg. The ob- jects promoted by the B^^guirtages are a religious life, works of cha- rity (tending the sick), and the honourable self-maintenance of women of all ranks. They have passed almost scathless through the storms of centuries; Joseph II. spared them, when he dissolved the other religious houses, and they also remained unmolested during the French Revolution, their aim having steadfastly been the 'support of the needy and the care of the sick.' There are at present about twenty Beguinages in Bel- gium , with about 1300 members, nearly 1000 of whom are in Ghent. With the exception of those at Amsterdam and Breda, these institutions are now confined to Belgium, though at one time they were common throughout the districts of the lower Rhine. The members of a Beguinage must be either virgins or widows, and pay a yearly board of at the lowest 110 fr., in addition to an entrance fee of about 150 fr., devoted to defraying the expenses of the dwellings and the maintenance of the church. Two years of novitiate are necessary before they can be elected as sisters. They are subject to certain con- ventual regulations , and are bound to obey their superior, the Groot Jufrouw or Grande Dame (whom they elect themselves), but are unfetter- ed by any monastic vow. It is, however, a boast of the order that very few of their number avail themselves of their liberty to return to the world. (When a member leaves the order, her entry-fee is returned to her.) Le Grand Beguinage, the removal of which from its former position near the Porte de Bruges was necessitated by the con- struction of some new streets, was transferred in 1875 to the site secured for it on the N.E. of the town through the influence of the Due d'Arenberg. [To reach it take one of the tramway cars plying from the Church of St. Jacques to the railway stations for Eecloo and Antwerp (8 min. ; 20 c): about 3 min. walk from the termi- nus of the tramway line the narrow 'Oostacker-Straet' diverges to the right, by following which for 5 min. we arrive at the entrance ; comp. PI. D,l.] The Beguinage forms a little town of itself, enclosed by walls and moats, with streets, squares, gates, 18 convents, and a church, the last forming the central point of the network of streets. The houses, though nearly all two-storied Gothic brick buildings, present great variety of appearance and form a very picturesque ensemble. The Beguinage was planned by Verhaegen. The large Beguinage contains about 700 members. The younger 46 Route 7, OUDENAERBE. Sisters live together in the convents. After having been niemhers for six years, hovi^ever, they have the option of retiring to one of the separate dwellings, which contain rooms for two to four occu- pants. The doors of these houses are inscribed with a number and the names of tutelary saints. In many cases the Beguines have the society of other women who are not members of the order, such as an aged mother, or other friend or relative, whose board forms a small addition to their funds. Lace -making is the principal occupation of the Beguines, beautiful specimens of whose work (Kanten) may be obtained from the Grooi Jufrouw, opposite the entrance of the church, at much more reasonable prices than in the town. The Sisters must attend divine service twice or thrice a day, the first time at 5 a. m., the second at the hour of Vespers. The scene at the latter service is very picturesque and impressive owing to the black robes (failles) and white linen head-gear of the Sisters, dimly illuminated by the evening light and a few lamps. Novices have a different dress, while those who have been recently admitted to the order wear a w^reath round their heads. Le Petit Beguinage (entrance Rue des Yiolettes ; PI. E, F, 3) is similarly arranged, and contains about 300 members. 7. From Ghent to Courtrai and Tournai. Railway from Ghent to Courtrai (2772 M.) in li^lir. (fares 3 fr. 25, 2 fr. 35, 1 fr. 60 c.) ; from Courtrai to Tournai (19 M.) in 1 lir. (2fr. 15, 1 fr. 60, 1 fr. 10c. ). From Tournai to Brussels, see E.. 10. The line traverses a flat , uninteresting district , through which the Ley (^or Lys^ winds on the right. First stat. (5^2 M.) La Pinte. From La Pinte to Oudenaerde (11 M.) by railway in 50 min. (fares 1 fr. 80, 1 fr. 35, 90 c.). Oudenaerde, Fr. Audenarde (Pomme d'Or, Grand' Place; Saumon , Rue Haute, both near the Hotel de Ville; Hdtel de Bvnxelles^ with cafe, opposite the station), a very ancient town with 5300 inhab., situated on the Schelde, and possessing considerable manufactories of linen and cotton goods. It was the birthplace of Margaret of Parma, regent of the Netherlands under Philip II., a natural daughter of Emp. Charles V. and Johanna van der Gheenst. Under the walls of the town, on 30th June, 1708, the Allies commanded by Marlborough and Prince Eugene of Savoy gained a decisive victory over the French. Oudenaerde deserves a visit on account of its beautiful Hotel de Ville, or town-hall. The street to the right, nearly opposite the station, leads in 10 min. to the centre of the town. At the entrance to the town stands a monument in memory of volunteers from Oudenaerde who perished in Mexico w^hile serving under Emp. Maximilian, by Geefs, erected in 1867. We next reach the Place in which is situated the Town Jlall^ a small, but very elegant building, erected in the late Gothic style in 1525-30, and recently re- stored. The ground-floor consists of a pointed hall borne by columns, and above it are two stories with pointed windows. The tower which rises from the pointed hall in the centre of the facade is particularly rich. It consists of five stories, and is covered with a crown-shaped roof. The numerous statuettes with which the building was once embellished have all disappeared. We ascend the flight of steps opposite the Hotel Pomme d'Or, leading to the Salle des Pas Perdus , which contains a late Gothic chimneypiece. Passing through the door beyond , to the right, we find an TOURNAI. 8. Route. 47 attendant (50 c.), wlio open.s the council-chamber. The portal of this room, a master-piece of wood carving, was executed by Paul van Schelden in the Renaissance style in 1531; the handsome late Gothic chiisiney-piece dates from 1529. In the S.E. corner of the Place, to the right as we quit the town-hall, is the Church of St. Walburga.^ partly in the Romanesque style of the 12th cent., and partly in the Gothic style of the 14th and 15th , with a handsome tower. The Church of Notre Dame., 8 min. farther to the S., on the other bank of the Schelde, an interesting example of the transition style of the 13th cent., but with later additions, is now undergoing restoration. It contains two monuments of the 16th century. Bevond Oudenaerde the line proceeds via Renaix., Leuze (p. 56), Blafon (p. 56)*and JSt. Ghislain (p. 142) to Mons (p. 141). 77.2 M. Deurle ; Deynze, a town with an ancient church (branch- line thence to Thielt and Ingelmunster, see p. 26) ; (^19 M.) Waere- ghem, junction for the connecting line between Anseghem (p. 2()) and Ingelmunster (p. 26) ; Machelen ; Haerlebeke, where tobacco is extensively grown. 271/2 M. Courtrai, see p. 26. At Courtrai the Tournai line quits the flat land and enters an undulating and picturesque district. After 72^^^- train stops at (35 M.) Mouscron (the s mute), the Belgian douane for travellers arriving from France, where the Flemish language gives way to the French. From Mouscron to Lille in 37 min.; fares 2 fr. 20, 1 fr. 65, 1 fr. 20 c. Stations Tourcoing., Rouhaix., Lille (p. 53). Beyond Mouscron , between stat. Nechin and Templeuve , the Belgian line quits the province of West Flanders for that of HainauU (Germ. Hennegau). To the left rises Mont St. Aubert (p. 50), 325 ft. in height, also called Ste. Trinite ^ from the small church on its summit. It is 4 M. distant from Tournai , and is much visited for the sake of the fine view which it commands. Near Tournai the train crosses the Schelde , and finally stops on the handsome quay constructed by Louis XIV. 8. Tournai. Hotels. Hotel de l'Imp^iratrice (PI. a; A, 3), Rue de Manx 12; Singe d^Or (PI. b; B,3), Rue de la Tete d'Or 7-9, moderate; Hotel de la Pe- tite Nef (PI. c; B,2), Rue du Cygne 35; these three in the town. Hotel DE Bellevue (PI. d; C,2), (^uai Dumon 6. — Taverne Alsacienne^ Grand' Place. About 3-3V2 hrs. will suffice for a visit to the Cathedral, the Church of St. Quentin , and the pictures in the Hotel de Ville. — The Railway Station is in an old building on the Schelde (PI. C, 2; Ancientie Garej, but the new station {Nouvelle Station; PI. D, 3, 2) will shortly be opened. Tournai, Flem. Doornik, with 32,500 inhab., the most important and prosperous town of Hainault, and one of the most ancient in Belgium, was the Civitas Nerviorum of Caesar, and the earliest seat of the Merovingian kings. It was modernised under Louis XIV., and few traces of its venerable age now remain , with the exception of one or two interesting mediseval houses. The extensive new for- 48 Route 6\ TOURNAI. CdthedraL tiflcations , constructed by Vauban by order of that monarch , and extended after the second Treaty of Paris, are now demolished and converted into promenades. During a siege in 1581 by Alexander of Parma , the defence of the town was conducted by the Princess d'Epinoy, of the noble house of Lalaing , who is said to have com- bined the most undaunted bravery with all the circumspection of an experienced general. Although wounded in the arm, she refused to quit the ramparts , and did not surrender the fortress until the greater part of the garrison had fallen. — The pretender, Perkin Warbeck, was born here. The Schelde (Escaut) divides the town into two nearly equal parts , of which that on the left bank is by far the busier and more Important, though many transformations have taken place on the right bank since the new railway works have been in progress. The handsome, broad Quays, planted with trees , contribute not a little to render Tournai one of the pleasantest looking towns in Belgium. The river is generally crowded with barges, most of which are laden with coal from the mines of Mons, and are bound for Ghent and other important places on the river. The ^Cathedral (Notre Dame-^ PI. 4; B, 3), a noble example of the Romanesque style, stands out conspicuously among the mass of houses on the left bank. It is a cruciform basilica borne by pil- lars , with a passage round the choir and a series of chapels, and with live towers. The nave, which was not covered in until the 18th cent., dates from the middle of the 12th, and was probably consecrated in 1171. The transept was erected in the 13th cent, by French masters, on the model of the Cologne churches. The beautiful Gothic choir is of later date, and was consecrated in 1338, and the originally Romanesque fa(^ade was altered and pro- vided with a porch in the pointed style about the same period (comp. also p. xxxviii). The sculptures in the porch were executed at various periods from the 13th to the 17th century; the reliefs representing the Creation, Fall, and Expulsion from Paradise, attractive works by sculptors of Tournai about the year 1700 (see p. xl), deserve special attention. The Interior was purged in 1852 of the unsuitable additions with which it had been disfigured in the course of centuries, and is now strikingly impressive. It consists of nave and aisles 136 yds. in length; nave 78 ft. wide and 78 ft. high; breadth of transept 73 yds. ; height of choir 107 ft. The walls above the aisles are relieved by a triforium. The large chapel adjoining the left aisle was added in 1516-18. The capitals of the pillars, which are asso- ciated with columns, are particularly rich and varied. The propor- tions of the transept are more graceful, and the galleries lower. The clmrch contains few pictures. In the first chapel of the S. (right) Aisle, on the posterior wall, a Crucifixion by Jordaens. The chapel of the ]S[. Aisle contains some stained glass of the 10th century. — Iq the Tkansept, right, a Holy Family with a glory of angels, painted by M. de- St, Quentin. TOURNAI. S. Route. 49 Mgre in 1650. Most of the stained-glass windows were executed by Stuerhout of Haarlem about the year 1456. Their subjects refer to the history of the bishopric of Tournai, which received important privileges from King Chilperic for services rendered in the war he carried on against his brother, the Austrasian monarch Sigebert (right transept) in the 6th cent., and from Pope Eugenius III. (left transept) in the 12th century. — The I'ichly sculptured rood-loft, executed by Corn. Floris in the Renaissance style, which separates the choir from the nave, was erected in 1566; it is surmounted by a large group in bronze by Lecreux^ representing St. Mi- chael overcoming Satan. — The stained glass of the Choir by Capronnier (p. 68) is modern. Retro-Choir, beginning to the left beside the rood-loft : Lancelot Blon- deel (p. 21), Annunciation, Visitation, Nativity, etc. ; Gallait^ Christ re- storing the blind to sight, one of the master's earliest works (p. 63). Farther on, adjoining the high altar, is the Gothic Reliquary of St. Eleuthe- Wm.s , the first Bishop of Tournai (6th cent.), elaborately executed in gilt silver in the year 1247, and adorned with the figures of the Twelve Apostles. At the back of the high altar a monument by Duquesnoy (17th cent.) has been erected to the memory of all the bishops and canons of Tournai. On the other side of the high altar is the Reliquary of St. Fiat., of about 1280. — Then in the Chapel to the left, which is adorned with stained glass commemorating the Council of 1870, is a large picture by Rubens., Rescue of souls from Purgatory, a bold composition. The Sacristy contains a very valuable crucifix in ivory bv Duquesnoy. Tlie adjacent Belfry (PI. 3; B, 3) dates originally from 1187, but was partly rebuilt in 1391 and restored in 1852. The spire is modern (see p. xxxix). The ascent is recommended, particularly for the sake of the view of the cathedral (260 steps to the platform ; door-keeper at the entrance and custodian at the top, 25 c. each.). The triangular Grande Place (PI. B, 3) In the centre of the town is embellished with a Statue of the Princess d'Epinoy (PI. 20), in bronze, designed by Dutrieux. The heroic lady is re- presented in complete armour, with a battle-axe in her hand, lead- ing her fellow-citizens against the enemy (see p. 48). On the N. side of the Place is situated the church of *St. Quentin (PI. 12), sometimes called Ha petite Cathedrale, a remarkably elegant structure, erected about the same period as the cathedral. The fayade and interior form an excellent example of the transition style. The large paintings in the nave represent the Foundation of the Order of the Trinitarians for the purpose of ransoming Christian captives (1198), and the Battle of Lepanto (1571 ). The stained glass is by Bethune (1858). The buildings of the priory of the suppressed Monastery of St. Martin, situated in a garden on the S. W. side of the to vn, now serve as an Hotel de Villo (PI. 15; A, 3, 4), the tympanum of which contains the arms of the town, a tower with three lilies. The small picture-gallery (fee fr.) includes both ancient and mo- dern works. Among the former are a Virgin and a Descent from the Cross, wrongly ascribed to John van Eyck-., portraits attributed to Rembrandt, Rubens, and VanVyck; equestrian portrait of Louis XIV. by Lebrun. Among the modern works are : Qallait (b. 1810, at Tournai), Dead bodies of Counts Egmont and Hoorne ; Van Sever- donck, Defence of Tournai by the Princess d'Epinoy. Baedeker's Belgium and Holland. 5th Edit. 4 50 Route 8. TOURNAI. The church of St. Jacques (PI. 6 ; B, 2), dating from the 13th and 14th cent, and now in process of restoration, somewhat resem- bles that of St. Quentin. The pulpit is in the form of a huge trunk of oak, wreathed with vines, and adjoined by a grotto, all carved in wood. The side altar-piece to the left is a copy of Rubens' Pur- gatory in the Cathedral (p. 49). St. Brice, a church of tlie 12th cent., on the right bank of the Schelde, contained the tomb of Childeric (d. 480; father of Clovis), King of the Franks. A number of interesting curiosities , now preserved in the National Library at Paris, were found in a coffin here in 1655; among them were upwards of 300 small figures in gold, resembling bees, with which the royal robes are said to have been decorated. Napoleon , on the occasion of his coronation, preferred them to the ^/leurs de lys as insignia of the imperial dignity. These relics were the property of Archduke Leopold William Cd. 1662), stadtholder of the Netherlands. After his death they were presented by Emp, Leopold I. to the Elector of Mayence, who in 1664 sent them as a gift to Louis XIV. The old bridge called Pont des Trous (PI. 0, 1), which crosses the Schelde at the lower end of the town in three pointed arches, was built in 1290. Both ends are defended by strong towers. Stockings and carpets are the staple commodities manufactured at Tournai. The latter are generally known as Brussels carpets. The art of weaving carpets is said to have been brought to Europe by Flemings, who learned it from the Saracens at the time of the Crusades. Most of the carpets are made by the work-people in their own dwellings, and as there are few large factories in the town , it presents a much cleaner and pleasanter appearance than the other large industrial towns of Belgium. Mont St. Aubert (p. 47), sometimes called Ste, Trinite from the small church of that name on the top, commands a very extensive panorama, although only 325 ft. in height, being the only eminence in the district, and is well worthy of a visit. The summit is about 4 M. distant. Carriage in 3/^ hr. (3-4 fr.). 9. From Ghent to Malines, or to Antwerp. From Ghent to Malines (35 M.) in 13/4-2V2 hrs. ; fares 3 fr. 25, 2 fr. 25, 1 fr. 65c. ^ no express trains. From Ghent to Antwerp ( Waesland Railway: 31 M.; in 1V3-2 hrs. (fares 41/2, 3, 2 fr.). The crossing of the Schelde at Antwerp, which is included in the fare , occupies nearly 1/2 br. more. Carriages bad. This is the direct route. Travellers from Ostend or Bruges intending to take this route, book to Ghent only, where they take a fresh ticket at the station of the Waesland line, IM. from that of the Government-railway. The latter line conveys passengers to Antwerp via Malines (49 M.), a route which takes V2lir. longer (fares 5fr. 75, 4fr., 2 fr. 80 c.). From Ghent to Malines. The line crosses the Schelde. Stations Melle, Wetteren (where the strong ^UytzeV beer is brewed), and Schellebelle. Thus far the route is the same as that to Brussels DENDERMONDE. 9. Route. 51 (R. 3). Next stations Wichelen and Audeghem^ beyond which the train crosses the Dendre. From Audeghem to Ath railway in IV4 lir., via Alost (p. 9), Ninove^ Gvammont (noted for its black lace), and Lessines. 18 M. Dendermonde , Fr. Termonde (Plat d'Etain; Aigle; Demi-Lune), a small fortified town (8400inhab.) at the confluence of the Dendre and Schelde. Louis XIV. besieged this place in 1667, but was compelled to retreat, as the besieged, by opening certain sluices, laid the whole district under water. The Emp. Joseph II. caused the fortifications to be dismantled in 1784, but they w^ere reconstructed in 1822. The old church of Notre Dame possesses two good pictures by Van Dyck^ a Crucifixion, and Adoration of the Shepherds ; also a work by De Craeyer, and a Romanesque font of the 12th century. From Dendermonde to St. Nicolas, via Jlamme^ 12 V2 M., by railway in 38-45 min. (see below); to Lokeren, 82/4 M., in 1/2 lir. (see below) ; and to Alost, TV2 M., in 22 min. (p. 9). The train stops at several unimportant stations , of which Op- dorp is the last in Flanders, and Malderen the first in Brabant, and beyond them crosses the Serine and tlie Louvain Canal. 35 M. Malines, see p. 104. From Ghent to Antwerp. The train starts from the Station d^Anvers. Immediately on the right is the new B^guinage (p. 45). This line traverses the Waesland , or Pays de Waes, one of the most populous , highly cultivated , and productive districts in Europe. During the civil wars in Flanders , the Waesland was a sterile moor , but at the present day every square yard is utilised. The train traverses arable land, pastures, gardens, woods, and plantations in rapid succession, while comfortable farm-houses and thriving villages are seen at intervals. It is said that the attention usually devoted to a garden or a flower-bed is here given to every field ; for tlie natural soil, being little better tlian sand, requires to be artificially covered with garden-soil. The agriculture of this tract is therefore worthy of the notice of farmers. In other respects the country is uninteresting. 11 M. Lokeren (Hotel da Miroir, in the Grand' Place; Hotel des Stations) is a manufacturing town with 18,000 inhab. The Church of St. Lawrence contains some ancient and modern works of art. Extensive bleaching-grounds in the vicinity. Lokeren is the junction of the lines to Termonde and Alost (p. 9), and to Sel- zaete (p. 9). Stat. Mille-Pommes. 191/2 M. St. Nicolas (Quatre Sceaux , in the market; Miroir)^ a pleasant -looking town with 24,700 inhab. , is the busiest manufacturing place in the Waesland. In the market-place, 1/2 from the station, are situated the Hotel deYille and several mediaj- val dwelling-houses. One of the churches contains well-executed mural paintings by Guffens and Sweerts (p. 63), representing the 4- 52 Route 10. CALAIS. Seven Sorrows of the Virgin. Near St. Nicolas the train crosses the Malines and Terneuzen railway (p. 9). The last stations are Nieukerke, Beveren (a wealthy village with 6999 inhab., noted for its lace), Zwyndrecht, and Vlaamsch-Hoofd^ or Tete de Flandre^ the tete-de-pont of Antwerp, on the left bank of the Schelde, where a steam ferry-boat awaits the arrival of the train (p. 108). During the Siege of Antwerp (1832) the Dutch succeeded in cutting through the embankment above Tete-de-Flandre, in consequence of which the entire surrounding district, lying considerably below high-water mark, was laid under water to a depth of 4ft., and remained so for three years. Twelve Dutch gunboats cruised over the fields and canals, cutting off all communication with the city in this direction. The rise and fall of the tide covered a vast area witli sand ^ and the once productive soil, becom- ing saturated with salt-water, was converted into a dreary waste. Those parts from which the water was not thoroughly drained became un- healthy swamps, a disastrous result of the war felt most keenly in the environs of the city, where land was of great value. Enormous sums were expended on the work of restoration •, the repair of the embank- ment alone cost 2 million francs. Almost every trace of the calamity is now happily obliterated. 31 M, Antwerp, see p. 108. 10. From London to Brussels via Calais. Vid Dover and Calais, Brussels is reached in 9^/4 hrs. ; sea-passage 13/4-2 hrs. (fares 2Z, IO5. Qd. and \l. lis. 6d.). Luggage registered at London is not examined till the traveller arrives at Brussels. — (From London to Brussels via Dover and Ostend 2Z. 65. 9c?. and il. 135. 3c?. ^ by Gen. Steam Nav. Co. il. 3s. 8c?. and 18s. 10c?. — Comp. RR. 1, 3. — Brussels may also be reached from London via Antwerp by the Gen. Steam Nav. Co.'s steamers three times , or the 'Baron Osy' once weekly , direct from London to Antwerp ; or by the Great Eastern Rail. Co-'s steamers three times weekly from Harwich.) " Calais {Hotel du Buffet.^ at the station, conveniently situated ; Hotel Dessein and Hotel Meurice in the town, both of the first class. Hotels de Paris, de Londres, de Flandre, etc., of the second class. Two English Churches, one at Calais itself, the other in the Basse Ville), a fortified town with 12,850 inTiab., is an unattractive place, where few travellers will make a voluntary stay. The N. side is bounded by the Bassin ct Flot, the Fort de I' Echouage, and the Bassin du Paradis, To the right of the latter is situated the sub- urb of Courgain,, inhabited exclusively by a fishing and sea-faring community. The Quai de Maree affords a pleasant walk. The white cliffs of the English coast are visible in clear weather. The English residents at Calais still number nearly 2000, although they have comparatively deserted the town since the days of rail- ways. Many of them are merchants and manufacturers of lace. St. Omer, the first important station, is an uninteresting forti- fied town with 25,000 inhab. ; environs flat and marshy, but not considered unhealthy. The Cathedral is a fine structure in the transition style. The English Rom. Catholic Seminary here, at which O'Connell was educated, is now almost deserted. A number Picture Gallery. LILLE. 10. Route. 53 of Eiigiisli families reside at St. Omer for purposes of retrench- ment and education. English Church and resident chaplain. Stat. Hazebrouck is the junction of this line with the railways N. to Dunkirk, N.W. to Ypres (p. 28), and S. to Amiens and Paris. Lille. — Hotels. Hotel de l'Europe, Rue Basse 30, 31 ^ Villerot, Rue Esquermoise; Hotels de Gand, du Commerce, and de Bellevue in the Grand' Place; Hotel de Flandre et d'Angleterre, Hotel de Normandie, both in the Place de la Gare. Restaurants. Railway Buffet; also at the hotels. — Cafes. Or and Cafi^ Rue de la Gare 2^ at the Hdtel de Bellevue:, Richard^ opposite the station-, Cafi du Boulevart, corner of Rue Rationale and Boulevard de la Liberte. Cabs and Tramway, Place de la Gare. Post Office, Boulevard de la Liberte, near the Prefecture. English Church. Resident chaplain. Lille, originally Ulsle, Flem. Ryssel, the capital of the French Departement du Nord, with 160,000 inhab., formerly belonged to Flanders, but was taken by Louis XIY. in 1667, and was finally awarded to France by the Peace of Utrecht in 1713. It is a fortress of the first class, and is situated in a well-irrigated and fertile plain on the Beule , a navigable river with which numerous canals are connected. In 1856 the population numbered 78,000 souls, but has more than doubled since the extension of the fortilications in 1858. Since that period numerous handsome streets and squares have sprung up, particularly on the S. side of the town, to the right of the station. Lille is a very important manufacturing place. Its staple commodities are linen and woollen goods , cotton , cloth, machinery, oil, sugar, and chemicals. Leaving the station, we proceed in a straight direction to the Theatre (PI. 29), turn to the left through the Rue des Mameliers, passing the Bourse (PI. 5) , the court of which contains a bronze statue of Napoleon I. by Lemaire (1854J, and soon reach the Grand' Place, a Column in the centre of which commemorates the gallant defence of the town against the Austrians in 1792. On the side of the Place opposite the Rue des Mameliers rises the — Hotel de Ville (PI. 23), erected since 1846 in the Renaissance style, and containing a valuable Picture Gallery and * Collection of Drawings, the latter of which is the most important in France after that of the Louvre. These collections are on the 2nd floor, and are open to the public daily, except Mondays, 9-5 in summer, and 10-4 in winter. Entrance on the left side of the building, where a staircase ascends. Opposite the stair is a small collection of pictures of no great value, recently bequeathed to the city by A. Leleux. Passing to the left of this, we reach the — Musee de Peinture. I. Room. Several copies of old Italian works. Also (right) 135. G. Poussin (d. 1675), The Roman Campagna, a small picture^ without a number, Sandro Botticelli (d. 1510), Madonna and Child ^ 293. Guido Reni (d. 1642), Sibyl-, 448. Domenichino, Yictorj of Cupid; 221. Lan- franco (d. 1647), St. Gregory. — 2S4. L. Bassano (d. 1627), Christ driving the money-changers from the Temple-, 72. P. Veronese (d. 1588), Christ in the Sepulchre ^ over the door, 238. C. Maratti (d. 1713), Consecration 54 Route 10. LILLE. Picture Gallery. of the Temple of Peace-, 366. A. del Sario (d. 1530), Madonna and Child with St. John the Baptist; 281. Jac. Bassano (d. 1592), Interior of a house. — 283. Jac. Bassano^ Wedding; without a number, B. Gentile da Urbino^ Madonna and Child; 365. A. del Sario^ Madonna and Child with St, John and three angels ; 280. Jac. Bassano, Christ crowned with thorns ; 3. Cara- vaggio (d. 1609), St. John; 27X Piazzetta (d. 1754), Assumption. — 301. Tin- ioretto (d. 1594), Portrait of an old man. P. Veronese: 16. Eloquence, 71. Martyrdom of St. George, 74. Science. II. Room. 209. /. Jordaens., The prodigal; 354. D. Tenters Junr. (d. 1694), Temptation of St. Antony; 109. G. de Craeyer (d. 1669), Four mar- tyrs about to be buried alive. A. van Dycic (d. 1641), 149. Portrait, 150. Marie de M^dicis, 147. Christ on the Cross. 159. H. Flandrin (d. 1864), Building of the Tower of Babel; 148. A. van Dyck , Miracle of St. Antony of Padua (hungry ass kneeling before the host, disregarding oats offered to him) ; 208. Jordaens., Christ and the Pharisees ; 344. JSnyders, Wild boar hunt. — 547. Frans Hals (d. 1666) , Haarlem fishwoman ; 314, 313. Eubens (d. 1640), Prudence and Abundance. — Without number, G. ffonthorst, Silenus ; 310. Rubens, St. Francis and the Madonna ; 319. Ruisdael (d. 1681), Landscape: Rubens, 308. Descent from the Cross, 309. Death of Mary Mag- dalene; 151. Van DycTc, Coronation of the Virgin. — Rubens, 311. St. Bo- naventura, 312. St. Francis in the trance. III. Room. 37. Boilly, 28. Portraits of French artists; 51. /. de Boul- longne (d. 1634) , Soldiers casting lots for Christ's coat. — 173. Claude Lorrain (d. 1682), Harbour at sunset; 352. Stuerbout (d. 1470?), The well of life; 442. Wicar (the donor of the drawings mentioned below, d. 1834), Judgment of Solomon. — 83. Ph. de Champaigne , The good Shepherd; 531. Cast of Ghiberti's doors of the baptistery at Florence. In the corner is the entrance to the Mus6e Wicar (see p. 55). 401-418. Portraits by A. de Vuez (d. 1720), a French painter, many other of whose works are also preserved in this gallery; 436. L. J. Wa'tteau (d. 1798), Scene at the siege of Lille by the Austrians ; 285. After N. Poussin (d. 1665) , Finding of Moses ; 359. G. Tilborgh (d. 1678), Family scene. Also several bronzes. Copies and an original statue in marble by J. Samson (d. 1867). IV. Room. 357. D. Teniers senr. (d. 1642), Exorcism of evil spirits; 251. Molenaer (d. 1686), or Ryckaert, Carnival scene. — 429. F. Watteau (d. 1823), FSte champetre near Lille; 35. L. L. Boilly (d. 1845), Triumph of Marat. Adjacent is another entrance to the Musi5:e Wicar. — 81. Ph. de Champaigne, Annunciation; 356. D. Teniers senr., Witches'' meeting. — 537. Death of Cato of Utica, a bronze by Ph. Roland (d. 1816). V. Room. Modern pictures of the French school : 260. Ch. L. Miiller (born 1815), Madness of Haidee, from Byron's Don Juan; 137. C. D. Duran , Corpse of a murdered man carried by the brothers of mercy in the Campagna of Rome; 144. Duveau (d. 1867), Perseus and Andromeda; 261. Ch. L. Miiller, Gamblers ; 86. Coignard, Dutch cattle ; 104, G. Courbei, After dinner, — 63. J. Breton, Mt. Calvary; 14, Baudry (b, 1828), Punish- ment of an unchaste Vestal ; 362. Troyon, Forest scene at Fontainebleau ; 258. Mottez , Melilus , one of the accusers of Socrates, from whom the people recoil in disgust. — 115, David (d, 1825) , Belisarius reduced to poverty; 118. E. Delacroix (d. 1863), Medea; 195. Hockert (d. 1866), Ser- mon in Lapland; 49. Bouchot (d. 1842), Drunken Silenus; 306. Roqueplan (d. 1855), Death of Morris the hostage, from Sir Walter Scotfs Rob Roy ; 351, Steuben (d. 1856), Johanna the Insane, mother of Charles V, ; 288, A. de Pujol (d. 1861), Joseph in prison interpreting the dreams of the baker and butler; 7. Ansiaux (d. 1840), John the Baptist before Herod; 113. Daubigny, Sunersi. VI. Room. 216. /. Jouvenet , Christ healing the sick; 307. Salvator Rosa (d. 1673), Landscape. — 560. Ph. Rousseau, Kitchen. — 82. Ph. de Champaigne, Adoration of the Infant Christ; 220. J. Dupr^, Victory of the French over the English at Hondschoote, 1793. VII. Room. 65. ^ Velvef Breughel (d. 1625), Repose during the Flight into Egypt; 21. Berthelemy , Shipwreck. — 240. Mazerolle, Nero and Lo- custa experimenting with poison on a slave; 553. A. de Neuville, Recon- noitring in the Crimea. — 50. C. Boulanger (d. 1842), Fete de Dieu; Picture Gallery. LILLE. 10. Route. 55 160. Cfi. Fortin (d. 1865), Insurgents in the Vendee war; 143. Amaury Duval., Birth of Venus ; 79. Castiglione., HI Benedetto'' Animal piece; 156. Faccini (of Ferrara, d. 1577), St. Agatha the martyr healed hy St. Peter ; 247. P. Mignard (d. 1743), Girl. — 573, Goat-herd, a statue in marble by Feug^res des Forts. VIII. Room. Smaller pictures and copies: 317. After Rubens, The three Graces, an old copy from the original at Madrid. — We now return to the 4th Room and enter the — ■"■^Musee Wicar, a collection of upwards of 1400 drawings by the most celebrated masters, chiefly of the Italian school, formed by the painter /. B. Wicar (b. at Lille 1762, d. at Rome 1834), and bequeathed by him to his native city. It is arranged in schools , the masters of each being placed in accordance with the dates of their birth, and their names being in most cases inscribed on the frames. Beside the most important sketches are placed engravings from the corresponding pictures, afford- ing an opportunity for most instructive comparisons. This collection is open at the same hours as the picture gallery. Florentine School: Giotto (d. 1336), Seven figures of apostles; Fra Angelico da Fiesole (d. 1445), Monk praying; Masaccio (d. 1443), St. Luke, and several studies; Luca JSignorelli (d.* 1524); JS. Botticelli (d. 1515). Do7n. Ghirlandajo (d. 1498), Studies; Leonardo da Viiici (d. 1519), Distorted heads; Fra Bartolommeo (d. 1517), Monks, Madonna, etc.; Michael Angela Buonarroti (d. 1503), Architectural drawings, sketches, and designs for Roman and Floren^i^c buildings, upwards of 180 in number, including the plan of the vestibule of tlie Biblioteca Laurenziana at Florence; several drawings from the nude; instructions by Michael Angelo for the casting of a cannon; Letter of Francis I. of France to Michael Angelo; Andrea del Sarto (d. 1530). — Umbrian School: Pietro Perugino (d. 1524). Roman School: Raphael Santi (d. 1520), 68 drawings, chiefly designs for Madonnas and Holy Families , among which it is interesting to re- cognise the ideas reproduced in several of the master's most important works ; also studies for single ilgures , such as the violin-playing Apollo for the Parnassus, a group for the School of Athens in the Stanze of the Vatican, Oiulio Romano (d. 1540). — Sienese School: Sodorna (d. 1554). — Parmesan School: Correggio (d. 1534). — Venetian School: Tiziano Vecellio (d. 157G), Pahna Vecchio (d. 1548), Paolo Veronese (d. 1588). ~ Bolognese School: Lodovico (d. 1619) and Annihale (d. 1609) Caracci., Ouido Reni (d. 1642), and Guercino (d. 1666). — German School: Lucas Cranach (d. 1553); Albert Diirer (d. 1528), Holy Family; Hans Holbein junr. (d. 1554), Several figures of apostles. — Dutch School : Tmcas van Leyden (d. 1533); Rembrandt (d. 1674), Portrait. — French School: Callot (d. 1635), Nic. Poussi7i (d. 1665), David (d. 1825). The Hotel de Ville also contains the small Musie Ceramique , a col- lection of fine specimens of pottery; the Musde JVimismatiqiie, or collection of coins , in the same saloon ; the Mnsde EtJinographique in two saloons ; and a Musie Industriel. Leaving the Hotel de Ville, we now cross the large Place in an oblique direction to the Rue des Debris St. Etienne in the opposite corner, and proceed by this street, the Rue des Pretres , the Rue Basse (right), and the Rue du Cirque (flrst to the left) to Notre Dame- de-la-Treille (PI. 8), a very large and handsome church in the style of the 13th cent. , designed by the London architects H. Glutton and W. Burges, begun in 1855, but still unfinished. The Gothic church of Ste. Catherine (PI. 10) contains a high altar-piece by Rubens, representing the martyrdom of saints. The handsome Boulevard de la Liberie generally coincides with the boundary between the old town and the modern quarters which are built in the present Parisian style. In the boulevard is situated the spacious new Prefecture (PI. 26). 56 Route 10. ATH. The Forte de Paris (PI. 27), belonging to the old fortifications, hut spared on their remo^'al, was hiiilt in 1682 in the form of a triumphal arch in honour of Louis XIY. ■ — The cliurch of St. Sau- veur (PI. 16), situated in the Rue de Paris which leads from the arch to the centre of the town, dates from the 13th century. Beyond this church is the Rue du Priez, by which we may now regain the railway station. From Lille to Brussels (68 M., in 21/4-872 hrs. ; fares 8 fr. 30, 6 fr. 35, 4 fr. 35 c.). About 4 M. to the S.E. of stat. Ascq is situated the village of Bouvines, where Emp. OthoIV. was defeated by Philip Augustus of France in 1214. ' Baisieux is the last French, and Blandain the first Belgian station, at each of which there is a custom-house. 15 M. Tournai, see p. 47. Thence to Courtrai (50 mln.), see p. 47. Beyond Tournai the undulating and well-cultivated province of Hainault is traversed. Mont St. Auhert (p. 50) long remains con- spicuous to the left. Stations Leuze, a small town on the Dendre^ the junction of the line to Mons (p. 141), to the S. E. , and to Ghent (p. 47), to the N., and Ligne, which gives a title to the princely family of that name. 35 M. Ath (Cygne; Paon d'Or; Hotel de Bnixelles , near the station ; Hotel de T Univers, opposite the station), on the Dendre, formerly a fortress, with 8600 inhab., contains nothing to detain the traveller. Hie Hotel de Ville was erected in 1600. The church of St. Julian^ founded in 1393 , was re-erected in 1817 after a fire. The Tour de Burhant^ the most ancient structure in the town, dates from 1150. Numerous lime-kiJns in the environs. From Ath to Elaton, 111/4 M., railway in 38 min. (fares 1 fr. 45, 1 fr. 10, 70 c). — The stations are small and uninteresting, with the exception of (7M.)BeloeiI, a village with the celebrated chateau and estate of the Prince de Ligne, which has been in possession of the family upwards of 500 years, lying about 6 M. to the S. of Ath. The grandfather of the present proprietor, the well-known and talented general and statesman, gives a long account in his letters of this estate with its park and gardens. Delille, in his poem ' Les Jardins,' describes Beloiil as ' tout h la fois magnifique et cham- petre.'' The chateau contains numerous curiosities of artistic as well as historic interest; a considerable library, with many rare MSS.^ admirable pictures by Durei\ Holbein, Van Bpck, Velasquez^ Leonardo da Vinci, Michael Angelo^ Salvator Mosa, and a number of modern artists*, relics (fragments of the 'True Cross and the 'Crown of Thorns'), and numer- ous gifts presented to the family by emperors and kings, from Charles V. to Napoleon I. Admission to the chateau is rarely denied by the noble pro- prietor. Blaton is tlie junction for the lines to Leuze and Tournai, Pernwelz- Tournai, and St. GMslain-Mons (p. 47). From Ath to Grammont and Alost, see p. 9. From Ath to Jurbise in V2 hr. (fares 1 fr. 10, 1 fr. 75 c), by Maffles, Chlvres-Attres , Brugelette (with a large orphan-asylum conducted by nuns), Lens, and Jurhise, where the Brussels and Paris line is reached. From Jurbise to Brussels, see R. 17. 50 M. Enghien, the next important place, a town with 4000 in- Explanation of Nos. in tlie Plan of Brussels. 1. Abattoirs (Slaugliter-hoiises) B3, F2 2. Bains Leopold D 4 3. — St-Louis E5 4. — St-Saiiveur D3 5. Bibliotlieque Roy ale (Royal Library) D 4 6. Bourse (Exchange) C3 7. Casernes (Barracks) C 1.2, E 3, EF 3, C 5 8. Cathedral (St-Micliel et Ste-Giidule) . . . . . . E3 9. Chapelle de I'Expiation, or Ch. Salazar D4 10. Colonne dii Oongres E3 11. Conservatoire Royal de Mnsiqne D5 12. Ecole veterinaire B 5 13. Eglise du Beguinage C2 14. — St-Boniface E 6 15. — Ste-Catherine C2 16. — St-Jacques-sur-Caudenberg E4 17. — St-Jean et St-Etienne D5 18. — desJesuites F2, C4 19. — St-Joseph F4 20. — Ste-Marie F 1 21. — St-Nicolas ■ D3 22. — Notre-Dame de Bon-Secoiirs C3, 4 23. de la Chapelle C4 24. des Victoires D 5 25. Entrepot Royal (Custom House) C I 26. Etablissement Geographique (Yan der Maelen's) , . . B2 27. Galeries St-Hubert (Passage) D 3 28. Halles Centrales (Markets) C3 29. Hopital St-Jean (St John's Hospital) E2 30. Hotel du Gouvernement (Government Offices) . . . CD 4 31. — de Ville (Town Hall) \ . . . D3 32. Jardin Botanique (Botanic Garden) . . . . . . . E2 33. — Zoologique (Zoological Garden) G5 34. Institut des Aveugles (Blind Asylum) C 6 35. Maison du Roi , . , . D3 36. Manneken-Pis (Fountain) C4 37. Monnaies (Hotel des), or Mint D 3 38. Monument des Martyrs D 2 39. — of Counts Egmont and Hoorn D 3 40. Museum Bovie, rue du Trone, 207 F 6 — of Natural History in the Palais de I'lndustrie, No. 45, — Modern, see Palais Ducal, No. 50. 41 . — of Paintings (Picture Gallery) , D 4 42. — Wiertz , . . G 5 43. Observatory F2 44. Palais du Due d'Areiiberg D 5 45. • — de riiidiistrie D4 46. — de Justice (old) D4 47. (new) D 5 48. — de la Nation (Legislative Assembly) E 3 49. — du Comte de Flandre (Crown-Prince) E4 50. —Ducal E4 51 . — du Roi (Royal Palace) E 4 52. Prison des Petits-Carmes DE5 53. Porte de Hal (Museum of Antiquities) C6 Post Oflice in the Temple des Augustins see No. 73. 55. Station du Nord El 56. — du Midi B 5 57. — du Luxembourg F5 58. — de I'Allee-Verte (Goods Station) D 1 59. Statue of General Belliard ..." E4 50. — of Godfrey of Bouillon E4 61. — of Leopold I F6 -— of Prince Charles of Lorraine, in the Palais de I'Li- diistrie. — of the Anatomist Yesallus, in the Place des Barricades F2 64. Telegraph, Central Office El 65. Theatre Royal de la Monnaie D 3 66. - des Galeries St-Hubert D3 67. — du Pare E4,5 68. — Moliere ..." E5 69. — des Delassements El 70. — Lyrique D 1 71. — Alhambra D2 72. — des Yarietes D 1 73. Temple des Augustins, now General Post Office . . . D2 74. University D4 75. Yauxhall E4 Hotels. a. Bellevue E4 b. de Flandre E4 c. de TEnrope D4 d. Mengelle E4 e. de France E4 g. Windsor D4 h. de Snede D3 i. de rUnivers D2 k. de TEmpereur D2 1. de Saxe D2 a. Grand Hotel de Brnxelles C, D3 m. des Etrangers D3 n. de Hollande D4 0. de la Poste D3 p. de Brabant C3 q. Callo D3 r. du Grand Monarque . . . D3 s. du Grand Miroir . . . . D3 u. de Vienne D3 v. de Dunkerque C3 w. des Pays-Bas ..... D4 BRUSSELS. U. Route. 57 hab., many of whom are occupied in lace-making (_'poiiyt de Paris') possesses a chateau of the Due d'Aremherg , with park and gardens (^branch -line to Braine-le-Comte to the S. , and to Grammont and Ghent to the N. , p. 9). The train now quits the province of Hainault, and enters that of Brabant. 60 M. Kal ( Cygne Tro is Fontaines ; Z7?iiversj, a town situated on the Senne and the canal of Charleroi, with 8300 inhab., is cel- ebrated throughout Belgium as a resort of pilgrims , on account of the miracle-working image of the Virgin in the church of Notre Dame, an edifice in the purest Gothic style, begun in 1341, and consecrated in 1409. The church possesses numerous costly trea- sures presented by Emp. Maximilian I., Charles V., Pope Julius II., Henry VIII. of England, the Burgundian Dukes , and the Spanish governors. The altar is a fine Renaissance work in alabaster, dating from 1533. The font, in bronze, was cast in 1446. A monument in black marble, with the figure of a sleeping child, is dedicated to the son of Louis XL, who died in 1460. Another chapel contains 33 cannon-balls, caught and rendered harmless by the robes of the wonder-working image during a siege of the town. Stat. Loth. The country traversed is hilly. The line runs for some distance parallel with the canal of Charleroi. Stat. Ruys- broeck was the birthplace in the 14th cent, of the mysticist of that name. Near stat. Forest the train crosses the winding Senne, which waters a rich pastoral district. The train crosses the Boulevards of Brussels, commanding a view of the Porte de Hal (p. 79) to the right, and soon stops at the Station du Midi. Brussels, see below. 11. Brussels. French, Bruxelles. Arrival. There are lliree railway-stations at Brussels : 1. Station DU I^ORD (PI. E, 1) for Ostend , Antwerp (and Holland), Louvain, Liege, and Germany. 2. Station du Midi (PL B, 5) for Charleroi, ISTanmr via Bau- lers, Braine-le-Cointe (entrance by ticket-office in the chief front), Tour- nai, and France (entrance by ticket-oftice in Rue Fonsny). 3. Station du Luxembourg (PL F, G, 5) for Oitignies, Namur , Givet (France), Luxem- bourg , Bale (and Germany) ; but most of the trains on this line also start from the Station du Nord, There is also a fourth station (PL C, D, 1), used for the goods-traffic only. The Chemin de Fer de Ceinture con- nects the several railway-lines, and carries on a local traffic besides. — Cab with one horse from the station into the town 1 fr,, with two horses 1^ 2 fr. ; trunk iO c. : small articles free ^ the driver expects an additional fee. The traveller should insist on being driven to the hotel he has selected, and disregard any representations of the driver to the contrary. Hotels. Upper part of the Town , near the park : =''Bellevue (PL a ; E, 4), Place Royale 9^ -Hotel de Flandre (PL b^ E, 4), Place Royale 7-8 ; Hotel Mengelle (PI. d; E, 2) Rue Royale 75, to the N. of the Colonne du Congres ; ===Hotel de l'Europe (PL c-, D, 4), Place Royale 12; 'Hotel de France (PL e^ E, 3, 4), Montagne du Pare 4-8; 'Hotel Windsor (PL g; D, 4), Rue de la Regence 14. All these hotels are good, well situated, and expensive: R. 3-10 fr., B. 11/2-2, D. 4-6, L. 1, A. 1 fr. Grand Hotel Britannique, Place du Trone 3 (PL E, 5), behind the Royal Palace. Lower part of the Town: Grand Hotel de Bruxelles (PL a\ C,D,3), Boulevard Central, a handsome new establishment in the style of the 58 Route 11. BRUSSELS. Cafes. Grand Hotel at Paris. — 'Hotel de Suedk (PJ. li), Rue de FEvSque 31 , R. from 3 fr. , B. IV2, B. 41/2 fr. ; *H6tel dk l Univees (PI. i), Rue Neuve 38-40, D. 4 f r ; *H6tel de l'Empekeur (PI. k), Rue Neuve 63, D. 4fr. ^ -Hotel de Saxe (PI. 1), Rue Neuve 77-79, R. from 3 fr., L. and A. IV2, B. 31/2 fr. ; 'Hotel de Hollande (PI. n), Rue de la Putterie 61, an old-fashioned house, R. 3, B. IV2, A. 1 fr. ^ 'Hotel de la Poste (PI. 0), Rue Fosse-aux-Loups 28. — Geand Monaeque (PI. r), Rue des Fri- piers 17; Grand Miroir (PI. s). Rue de la Moniagne 28; Hotel des PoissoNNiERS, Rue des Eperonniers 26; Wellington, Rue l^euve 43; Ho- tel DES Pats-Bays (PI. w), Rue de THopital 28 ; Hotel de la Campine, Marche-aux-Poulets 45 ; Hotel de Bordeaux, Rue du Midi 135, rather out of the way; '''Hotel de Vienne (PI. u), Rue de la Fourche 24-26, no table d''h6te. Charges at the last-named hotels, R. IV2-2 fr. and upwards, B. 2-2V2 fr. — Near the Station du Nord : Grand Hotel Gernay, Boulevard Botanique 15 ; Hotel des Boulevards, Place des Nations 1 ; ^-'Hotel Li^:- GEOis, Rue du Progres, unpretending. — Near the Station du Midi : Ho- tel DES Acacias, de l'Eueope, de Calais, and others. A number of Pensions like those in Switzerland have also recently sprung up: Rue du Prince Royal 74; Rue de TEsplanade 3; Rue de Vienne 1 ; Rue du Commerce 61 (English landlady) ; etc. Restaurants. ■■'Mengelle^ RueRoyale 75, B. from 5 fr. ; "Perrin., Rue Fosse- aux-Loups 69, to theN. of the theatre, B. from 4 fr. ; Rodier de Gancale.^ Fosse aux-Loups 51; Restaurant du Grand Hotel., Boulevard Central; Fastrd^ corner of the Rue Leopold and Rue des Princes, near the Theatre ; '•'Dubost., Rue de la Putterie 23; Grand Restaurant des Provengaux^ Rue Royale 40; Caf^ Riche., Rue de l Ecuyer 23, corner of the Rue de la Fourche, B. from 4 fr. ; Duvivier., Place du Musee 20. All these are elegantly fitted up, and resemble the leading restaurants of Paris. The viands and wine are ex- cellent, but expensive. The portions are generally ample, so that one is enough for two persons. — Next to the above houses may be mentioned : Caf^ Am^ricain Rue Leopold 3; Grand Cafe de rOp^ra., Rue Leopold 2 and Rue de la Reine 13-15 ; Caf^ du Cercle^ Rue Leopold 1 ; Grand Ep^rou.^ Marche aux Herbes 105; Taverne Royale Galerie St. Hubert, Gal. du Roi 27; Caf^ Puth , Rue de Stassart 24) PI. E,5), B. from 3 fr. ; Restaurant du Commerce., Rue de la Fourche 31, B. from 1 to 7 p. m. 3 fr. ; Caf6 Central, Au Coin Central., Boulevard (Central, near the Exchange and much frequented during the hours of business. — Caf4 des Boulevards Place des Nations, near the Station du Nord,' B. 2 fr. ; Maison Roharf., Rue de la Fourche 41 (PI. B,3), Bejeuner IV2, B. 2 fr., plat du jour 75 c. 'Taverns' have of late years become very favourite resorts for gen- tlemen. Between 11 a. m. and 1-2 p. m. (dejeuner) and between 5 and 7 p. m, (dinner) a choice of three or four dishes , the plats du Jour, may always be obtained; the charges are dej. 3/4-I fr.^ D. 1-1 V4 fr. Soup or cheese (English, Butch, or 'Gruyere'') 40-50 c. extra. The visitor may dine, of course, at any hour. Waiter 15-20 c. — The following are English taverns, where good English beer is sold (30 c. per half pint) : "'Taverne du Globe, Place Royale 5; Carter''s English Tavern., Place du Musee, opposite the Palais de rindustrie; British Tavern, Place du Musee: Taverne Anglo-Beige., Rue de TEmpereur 12; Prince of Wales., Rue Villa Hermosa 8, first cross-street to the right in descending the Montague de la Cour ; Taverne de Londres., Rue de TEcuyer 25-27, a little to the S. of the theatre. Beer. English beer at the above-named taverns and at the best cafes ; Vienna, Bavarian, and Strassburg beer ( Vienne., Bavi^re., and Bock; 30-40 c. per glass) at the Taverne Si-Jean, Rue Saint-Jean, a little to the W. of the Montague de la Cour; Taverne de Vienne, Rue de la Madeleine 60, also to the W. of the Montague de la Cour ; Taverne de Strasbourg, Rue Leopold, at the back of the theatre ; also at the cafes. — Belgian beer (Faro, Louvain, Lambicq, and Uytzet) is largely consumed by the natives, but will probably be found unpalatable by the traveller. The Estaminets, or beer-houses, are very numerous. Cafes. '■ Mille Coloitnes and ■ Trois Suisses in the Place de la Monnaie, Theatres. BRUSSELS. 11. Route. 59 near the Theatre; Ca/^s AmMcain and du Cercle, see above; '■ Caf^ dii Orand Hdtel., Boulevard Central 23, to the N. of the Exchange ; Grand Caf4 Central., Boulevard Central 97, to the S. of the Exchange; Sesino^ Boulevard Central 3, near the post-office. Baths. Bains St. Sauveur (PI. 3; D, 3), Montagne aux-Herbes-Pota- geres 33; Bains Uopold (PI. 2; D, 4), Rue des Trois Tetes 8, both with good swimming basins, etc. Shops. The best are in the Rue de la Madeleine and Montagne de la Cour, the principal streets leading from the upper to the lower part of the city ; also in the Rue Neuve and Passage (p. 83). Prices always fixed. — Money Changers in the Montagne de la Cour, Marche-aux-Herbes, Rue des Fripiers, etc. Brussels Lace. The following are the most important houses for this speciality: Verdi Delisle (Compagnie des Indes)., Rue de la Regence 1; Doi- meries- Petit- Jean Rue Royale 2; Duliayon-Brunfaut., Rue Royale, 109; Brunfaut-Carniaux.^ Rue de Ligne 32; Baert., Rue Fosse-aux-Loups 75; Fuerison , Rue de TEcuyer 38 ; Junekers , Rue du Midi 132 ; Rohyt , Rue de Laeken 140; Le Roy ^ Rmq de Brabant 96; Darterelle Lion., Rue des Plantes 5. The lace is less expensive than formerly , as the flowers or ' sprigs ' are now sewn upon a ground of tulle instead of one made by hand. The flowers are either manufactured with the bobbin (Jleurs en plat) or with the needle (fleurs en point). About 130,000 women are employed in this manufacture in Belgium , and the value of their work is about 50 million fr. annually. Booksellers. KiessUng et Co.., with lending library, Montagne de la Cour 72; Muqnardt Rue de la Regence 45; Office de Publicity (Lebegue & Co.), Rue de la Madeleine 46. Engravings: Ooupil et Co.., Montagne de la Cour ; Giruzet., Rue de TEcuyer. Post Office. The central office is now in the old Augustinian Church (PI. 73; p. 84), Boulevard Central; open from 5 a. m. to 8 p.m. There are also numerous branch-offices, open from 7. a. m. to 7 p.m., all with telegraph offices. — Pillar letter-boxes in all the principal streets. Telegraph-Office. Central office (PL 64) at the Station du Nord^ Rue de Brabant; 'bureau\ succursales' at the other railway - stations , the above-mentioned post-offices, etc. Cabs. The smaller cabs with one; horse hold 1-3 persons, and the larger with two horses hr.ve rooms for 4 persons. Each vehicle contains a tariff. Gratuity of 15-25 c. to the driver usual. Within the city, including the suburbs (see reverse side of tariff), d Pheure., one-horse 1, two-horse 2, at night (11. 30 to 6 oclock) 2 and 2V2 fr. for the first 1/2 br. ; for each additional 1/4 hr. 40, 50, 60, 75 c. respectively; drive of one hour in the Allee Verte, the Bois de la Cambre, or the boulevards, 2 and 3 fr. ; each additional 1/4 50, 75 c. Large articles of luggage 10 c. each ; the driver is bound to put it on and take it off the cab. The fares of the '•Voitures de luxe\ superior vehicles, with coachmen in livery, and of the open Voitures dM^^, are one-half higher. Tramway ( Chemin de Fer AmMcain). Brussels possesses a very complete network of tramways, which are marked in the Plan, their central point being in the Boulevard Central, near the new Exchange (PI. 6). The cars run every 10 or 20 min. ; fares 10-55 c. (1st class 5c. extra) according to the distance traversed. Numerous Omnibuses also traverse the town in every direction. Theatres. ThSdtre Roijal de la Monnaie (PI. 65; I),3), Place de la Mon- naie, open daily, except Saturdays, in autumn, winter, and spring. This theatre is supported by the king (100,000 fr.) and the city, and is not in- ferior to the largest theatres in Europe. Performances begin at 1. and last till 11 or later. Fauteuils d'orchestre i-.nd premieres loges 6 fr. ; balcon (reserved seats in front of the best boxes) and secondes loges 5 fr. ; parquet (between the stalls and pit) 4fr. ; secondes loges, at the side, 31/2 fr.; troisiemes loges and parterre (pit) 2 fr. ; seats previously secured ('en location') cost 1/2- 1 fi'- each additional; bureau de location open daily 12-3 o'clock. — TMdtre des Galeries St. Hubert (PI. 66; operas, dramas, 60 Route 11. BRUSSELS. Concerts. comedies , vaudevilles), in tbe Passage of that name (p. 73) ^ best boxes 4 fr. — TMdtre du Pare (PI. 67), comedies , vaudevilles , dramas ; stalls 5 fr. — Tben TMdtre des Fantaisies Farisiennes^ Rue d'Arenberg 5 (vaude- villes , operettas) , best seats 4 fr. ^ TMdtre de la Ee7iaissance, Rue de Brabant^ Alhambra National^ Bouffes Bruxellois^ etc. Concerts in winter in the new Conservatoire de Musique (PI. 11 ^ D, 5), Rue de la Regence, at the corner of the Petit-Sablon, given by the mem- bers of Conservatoire Royal de Musique; admission i-6 fr. — • 'Concerts populaires et classiques' generally twice a month, on Sundays at 1 p.m., in the Theatre du Cirque. Open-air concerts in the Park every evening in summer (1st June to 31st August) at 8 p.m. ^ at the Vaiixhall (PI. 75 5 E, 3, 4), at the N.E. corner of the Park, concert by the orchestra of the royal theatre at 8 p.m. (1 fr.) ^ at the Jardin Zoologique (PI. G, 5), on Sun. and Thurs. at 3 p.m. Popular Festivals. Church festival about the end of July, and anniver- sary of the Revolution, 23rd-26th Sept. (Procession in the Cathedral), on which occasions, Flemish merriment becomes somewhat boisterous. Embassies. American^ Rue de Stassart 14; Austrian^ Rue du Montoyer 79; British^ Rue du Trone 42; Butch ^ Rue Montoyer 32 ; French^ Place de rindustrie 14; German., Rue du Commerce 54 (consulate, Rue da Boulet 8). Swiss, Rue des Come'diens. English Church Service at the new English Church in the Rue Stassart (formerly Rue du Tir, PI. E, 6), completed in 1874; at the Chapelle Roy- ale, adjoining the 3iuseum; at the Protestant Church in the Boulevard, de rObservatoire , and at the Protestant Church in the Rue Belliard, French and German services in the three last-named churches. Flemish Protestant services at Rue Blaes 70, and Quai au Sel 8. — Synagogue, Rue de Baviere. A new building (p. 79) is in course of construction. Collections, Museums, etc. : — Armour and Antiquities at the Porte de Hal (p. 79), daily 10-3, ex- cept Saturdays and Sundays. Biblioth^que Koyale (p. 69), daily 10-3. Botanical Garden (p. 85), daily till dusk; admission to the hothouses by payment of a fee, 10-12 and 2-4 (not on Sandays). Exchange (p. 84), daily; business hours 1-3 p.m., corn exchange later. Hotel de Ville (p. 81); interior best seen before 9 a.m. or after 4 p.m. Afus^e Wiertz (p. 86), daily 10-4. Natural History Collectio7i (p. 75), daily 10-3. Palais Arenherg (picture gallery, p. 77) , shown on week-days, 10-4, in the absence of the Duke; visitors write their names in a look at the porter's lodge ; fee 3-5 fr. Palais Ducal (frescoes in the large hall ; p. 65), daily 10-4. Palais Royal (p. 1-5), shown in absence of the king only, and by special permission of the 'marechal du palais", or minister of the household. Picture Gallery (p. 70), daily 10-3, 4, or 5. Picture Gallery, Historical (p. 7b), daily 10-4 or 10-5. Pictures, Historical, in the Palais de Justice (p. 78), daily, fee 50 c. Pictures, see also Musee Wiertz, Palais Arenberg, Palais Ducal. Zoological Garden (p. 86) daily, admission 1 fr. ; aquarium 50 c; the latter lighted with gas on concert-evenings (several times a week in summer). Principal Attractions : Park (p. 64) and its environs; Congress Column (p, 66); Cathedral (p. 61); Museum (p. 70); Market-place and Hotel de Ville (p. 80); Mannikin Fountain (p. 88); Rue Neuve and Martyrs' Monimient (p. 83) ; Boulevard Central and New Exchange (p. 84) ; Galerie St. Hubert (p. 83), in the evening by gaslight; Musee Wiertz (p. 86); Antiquities at the Porte de Hal (p. 79).' Brussels, tlie capital of Belgium, the residence of the royal family, and seat of government, is situated nearly in the centre of the kingdom, on the small river Senne, a tributary of the Schelde. The city consists of the lower part on the N.W. side, traversed History, BRUSSELS. 11. Route. 61 by several canals and ramifications of the Senne , most of which are now vaulted over, and the upper part on the S.E. side, covering the slope which gradually rises from the river. In 1876 the popu- lation was 183,080, or including the eight suburbs (named from the N. towards the E., Schaerbeek ^ St-Josse-ten-Noode , Etterheek^ Ixelles, St-Gilles, Anderlecht^ Molenbeek-St-Jean. La eA;en) 384,848. There are upwards of 3000 German and 6000 English residents. Most of the latter reside in or near the Quartier Leopold (p. 86), the highest and pleasantest part of the town. At the end of the 6th cent, a hermitage of the Christian Apostle St. Gery stood on an island in the Senne, and a few huts sprang up on a small marshy piece of ground adjacent to it (broek^ marsh ; broeksele, dwelling on the marsh, whence the present name of the city). In the 10th cent, the village had assumed the dimen- sions of a town. In 1044 it was considerably extended and sur- rounded by walls, and soon became an important station on the great commercial route betw^een Bruges and Cologne. The princes and nobility erected their mansions on the heights rising gradually from the Senne, and after the 12th cent. Brussels became the re- sidence of the Dukes of Brabant. The Burgundian princes, who subsequently resided here, were generally surrounded by a large retinue of French knights , in consequence of which , even at that period, French became the most fashionable language among the nobility of the Netherlands. The character of the city and its in- habitants thus gradually developed itself, the court and the nobi- lity, with their French language and manners, being established in the upper part, while the lower quarters were chiefly occupied by the trading community and the lower classes , whose language and character were essentially Flemish. These characteristics of the upper and lower parts of the city are recognisable at the present day. The former , which was rebuilt after a great conflagration in 1731, contains the Royal Palace, the Chambers, the handsome Rue Royale, nearly 1 M. in length , recently enlivened by some very attractive shops, the Rue de la Loi and the Rue Ducale with the ministerial offices , the Place Royale with the largest hotels, the aristocratic Quartier Leopold, the Avenue Louise, etc. The well-known ball given by the Duchess of Richmond on the eve of the Battle of Waterloo took place in the house in the Rue Royale nearest to the former Porte de Schaerbeek. The streets descending from the Rue Royale to the lower parts of the town present a busy commercial appearance. The spacious market-place, with the magnificent Hotel de Yille and the mediseval guild-houses, presents a very striking picture, and affords an idea of the ancient glory of the city , but the irresistible advance of modern improvement has left few other relics of anti- quity. The most recent step in this direction has been the con- struction of the new Boulevard Central (p. 84). 62 Route 11. BRUSSELS. History. French is the language of the upper classes, Flemish that of the lower. Most of the citizens, especially those engaged in trade, know both languages; but persons of the lower classes occasionally do not understand French, whilst many of the upper are entirely Ignorant of Flemish. Good French is spoken and written by the higher ranks at Brussels, but their accent differs slightly from the Parisian, and they sometimes use provincialisms. Uneducated Flemings have a difficulty in pronouncing c/i and thus, Sarles instead of Charles, zuze instead of juge; and their French is usually interlarded with Flemish expletives. Brussels has many points of resemblance with the French capi- tal, and is not unfitly termed a 'Paris in miniature'. The Park and theBois de laCambre may be regarded as representing the garden of the Tuileries and the Bois de Boulogne ; while in the boulevards, the cafes, the shops, and the public amusements , the resemblance is more apparent. Brussels possesses many educational advantages, living is somewhat less expensive than at Paris, and the prome- nades and chief objects of attraction are within comparatively a nar- row compass. The Belgians are generally good musicians, the opera and concerts are excellent, and the military band of the 'Guides' is one of the most celebrated in the world. Sketch of Art in Brussels. During the two golden ages of Flemish art in the 15th and again in the 17th cent., Brussels held a subordinate position , when compared with other Belgian towns, such as Ghent , Bruges , and Antwerp ; but the appointment of Roger van der Weyden the Elder to the office of civic painter in 1436 (p. xlii) is sufficient proof that art was not neglected here. The prosecution of the fine arts, as indeed that of liberal pursuits in general , fell entirely into abeyance in the 18th century. The name of Brussels, however, again became known in connection with painting after the year 1815, when Jacques-Louis David, the famous head of the modern French school, banished from Paris as a regicide, took up his abode here. David was too old to found a new school, but it was owing to his influence that the classical style remained longer dominant in Brussels than in other Belgian ait centres. Navez, Portaels, Mathieu, who flourished here during the third and fourth decades of the present century , are good representatives of the correct and careful, though at the same time cold and lifeless style which then prevailed at Brussels , particularly in the domains of sacred art. In the remarkable revolution in taste and practice which took place in Belgium after 1830, Brussels took little part, the move- ment being headed by Antwerp. The political importance and wealth of the city, however, has assembled here the chief colony of artists in Belgium, though it is impossible to class them together as forming a school. History, of Art. BRUSSELS. 11, Route. 63 The most distinguished names ahout 1840-50 are those of Louis Gallait (b. at Tournai 1810) and Eduard Biefve (h. at Brussels, 1808), whose 'Abdication of Charles V (p. 75) and 'Compromise of the Belgian Nobles' (p. 78) won them ardent admirers far beyond the confines of Belgium. Gallait in particular cultivates a care- ful naturalism, coupled with the utmost attention to details , in which, however , he still falls far short of the technical skill of the present day. The fact of their having given expression to national ideas, and celebrated the praises of f^gmont in particular, has con- tributed not a little to the popularity of both these masters. At one period Gallait was very partial to a kind of sentimental style, which in some cases degenerated into the melodramatic. In a later generation the following have acquired eminence as historical and genre painters: SLingeneyer , Markelboch, Wullfaert (a pupil of Gallait), De Vriendt, Madou (d. 1877), and Stallaert. Emile Wauters is the most distinguished living painter who can be said to belong to a properly indigenous school. The French influence, which has already submerged the national literature, promises grad- ually to supersede the national art as well. This is shown by the increasing resort of Belgian artists to Parisian studios, by their not unfrequent migrations to Paris, and lastly and mainly by their ready acceptance of the traditions observed by Parisian artists since the time of the Second Empire. Leading representatives of this French element on Belgian soil are the genre painters Alfred Stevens and Willems, the first of whom in particular is more at home in Paris than in his native country. Another style, marked by its correct drawing and resembling the German school, is exemplified by G. Guffens and J. Swerts, who have made many conjoint efforts to naturalise fresco painting in Belgium (Antwerp, p. 132; Ypresp. 28; Courtrai, p. 26). — As a specialist may be mentioned the animal-painter E. Verboeck- hoven^ with whom the names of Robbe and Tschaggeny may be coupled. In landscape-painting Belgium has no contemporary artists who can be compared with those of Holland (comp. p. 196). The eccentric painter Wiertz, nearly all of whose works are col- lected and preserved in a gallery of their own (p. 86) , occupies a perfectly unique position. Although naturally quite capable of acquiring the technical skill of Rubens, to which indeed he in some measure attained , Wiertz was unfortunately led by personal disap- pointment and literary quarrels to embark on an entirely mistaken career, bordering on madness. The art of Sculpture is pursued at Brussels with great success, as is proved by such names as Eug. Simonis, A. Fraikin and Jehotte. Still happier results have been attained by sculptors in ecclesias- tical art, particularly in wood-carving , in which Belgium has re- gained some of its 17th cent, reputation. Its chief seats are Brussels and Louvain, and its mo-t eminent masters Geerts and the brothers 64 Route 11. BRUSSELS. Park. Goyers (p. 160). The works of this school are so frequent in new and restored churches, that it is superfluous to adduce examples here. In Architecture the Gallic proclivities of the people are shown by the overwhelming number of houses in the so - called French Renaissance style which have sprung up within the last few years and completely altered the appearance of the old Brabant capi- tal. It must be mentioned on the other hand that models have also been sought in the elegant Flemish houses of the 16th cent., in which the most striking feature is the small proportion borne by the breadth to the height. As an example of this Flemish Renais- sance it may suffice to note the house built by Beyaert, mentioned on p. 84. The *Park (PI. E , 4) , situated between the Rue Royale, Rue Ducale, Rue de la Loi, and Place des Palais, and laid out by Maria Theresa in 1774, is an attractive spot, although of limited extent (500 yds. in length, 300 yds. in width). It forms the central point of the upper part of the town , and is an admirable adjunct to the rows of stately houses around it. Two only of the statues which adorn the fountains are worthy of notice, the Diana and Narcissus of the fountain opposite the Palais de la Nation, both by Grupello (18th cent.). A small basin in one of the hollows is dedicated to the memory of Peter the Great, near which is a Mag- dalene by the sculptor Duquesnoy. The bust of the Czar was presented to the city by Prince Demidoff. The sculptures at the en- trance opposite the Palace, by Poelaert and Melot^ represent Sum- mer and Spring. The park is a fashionable resort in summer on Sundays from 1 to 2.30 p.m., and on week-days from 3 to 4 p.m., when a military band plays. There is also music here on most summer evenings at 8 o'clock (at the Yauxhall, p. 60). The park is {•losed about an hour after dusk, when a bell is rung to apprise visitors of the approaching hour. During the eventful 23rd-26th of September, 1830 , the park was one of the principal scenes of the conflict. Prince Frederick of the Netherlands entered Brussels with an army of 10,000 men on the 23 rd, and occupied the palace and park. He was , however , unable to pass the barricades which guarded the streets , and evacuated the park on the night of the 26th. This action destroyed the last chance of an amicable com- promise between the Dutch Government and the Belgian insurgents. A little to the W. of the Park rises the marble Statue of Count Belliard (PI. 59), a French general (d. 1832), who was ambassador at the newly constituted court of Belgium in 1831-32, by Geefs. The most important of the buildings surrounding the Park are the Royal Palace on the S., the Ducal Palace on the E., and the Palais de la Nation on the N., opposite the Palais du Roi. The W. side is bounded by the Rue Royale, running nearly N. and S. Palais DiicaL BRUSSELS. 11. Route. 65 The Palais duRoi (PL 51; E , 4) consists of two buildings erected during the last century, which were connected by an intervening- structure adorned with a Corinthian colonnade in 1827. The palace (adm., see p. 60). which has recently been entirely remodelled, contains a number of apartments handsomely litted up, and a con- siderable number of ancient and modern pictures. The best among the former are specimens of Buhens , Van Dyck . Hobbema , and Frans Hals ; among the latter are works of De Braekeleer . Coomans^ Gallait, Verboeckhoven, and Wappers. A flag hoisted on the palace announces that the king is either here or at Laeken. Adjoining the Royal Palace, at the corner of the Rue Ducale. is situated the Palais Ducal, or Palais des Academies (PI. 50; E, 4), formerly that of the Prince of Orange. It was erected at the national expense, and presented to the Prince, afterwards King William IL (d. 1849), in 1829. Since 1832 it has been the property of government. The ground-floor now contains a Musee des Pldtres, or collection of casts of antique and modern sculptures (open daily, 10-4). The building is at present being arranged for the reception of the Academic Roy ale des Lettres, Arts., et Sciences, and the Academic Royale de Medecine. The Musee Moderne , formerly iij this palace, is now united with the old Museum (p. 74). The Grande Salle on the first floor, a very handsome room, has been decorated by Slingeneyer with twelve finely - executed mural paintings, representing the most important events in the political and social history of Belgium. 1. The ancient Belgians under Ambiorix swearing to deliver their country from the Roman yoke, B.C. 54^ 2. Clovis at the battle of Zulpich, vovving to introduce Christianity, A.D. 496; 3. Influence of Char- lemagno. the Emperor in ^he school of Heristal , 768-814: 4. The cul- minating period of chivalry : Godfrey de Bouillon visiting the Holy Se- pulchre after the conquest of Jerusalem , 1099 ^ 4. Culminating period of civic prosperity : Jacques Van Artevelde advising the Flemish towns to remain neutral in the wars between France and England, 1337 ; 6. Cul- minating period of the power of the guilds : Anneessens (p. 79), the energetic defender of the rights of the guilds against the Austrian supre- macy, before his execution. 1719; 7. Establishment of the present royal family, 1831 ; 8, The fine arts : Albert and Isabella of Austria, after their entry into Louvain, attend the historical teaching of .Justus Lipsius ; 9. 3Iusic : Willaert, Cle'ment, Lassus, Gretry, etc. ; 10. Ancient art : Philippe le Bon of Burgundy visiting John and Margaret Van Eyck ; on the wall a portrait of Hubert Van Eyck-, 11. 3Iodern art; Rubens returning to his native country, and received by Van Dyck, Snyders, Jordaens, etc. ; 1'2. Xatural science : Vesalius the anatomi'^t on the field of battle as the military physician of Charles V. The garden which surrounds the palace is adorned with the Victor, a statue in bronze by J. Geefs, and Cain, by Jehotte. In the Rue de la Loi, which skirts the N. side of the park, rises the Palais de la Nation (PL 48; E. 5), erected by Maria Theresa in 1779-83 for the assemblies of the old Council of Brabant, used as the Palais des Etats Generaux from 1817 to 1830, and now for the sittings of the Belgian Senate and the Chamber of Deputies. The reliefs in the pediment, by Godecharle (1782), are illustrative of the administration of justice. Baedeker's Belgium and Holland. 5th Edit. 5 66 Route 7 7. BRUSSELS. Colonne du Congrh. On the ground-floor is a handsome Vestibule, from which the chamber of the deputies is entered to the right, and that of the senate to the left. The vestibule, v\ hich is open to the public, is adorned with modern ^''sta- tues in stone. Left: Pepin of IlerisUil (d. 714), major-domo of the Austrasian Empire (p. 271), by Simouis ; Theodoric of Alsace, Count of Flanders (d. 1168, p. 10), by Jehotte; Count Baldwin IX. of Flanders Cd. 1206), the Greek emperor, by /. Geefs. Right: Duke John of Brabant (d. 1294, the victor at Worringen) , by GeeHs; Philip the Good (d. 14G7), Duke of Burgundy, by De Cuyper; Emp. Charles V. (d. 1558) , by Bebay. In the centre are four allegorical iigure;^; in plaster: Freedom of the Press, of Religion, of Asso- ciations, and of Instruction. — In tlie Comjiittee-Rooms of the deputies: E. SUngeneyer ^ Don John of Austria after the Battle of Lepanto^ Starck, Leopold II. swearing to maintain the constitution in 1865, containing numerous portraits^ Odevaere ^ Battle of Waterloo, the Prince of Orange wounded, a work of no great artistic merit. The statue of King Leo- pold I, over the seat of the president is by W. Geefs. — The Hall of THE Senate is embellished with 15 portraits of celebrated Belgians, by Gallait. In the conference-chamber: Nicaise De Keyser ^ Last portrait of Leopold I. ^ portraits of presidents of the senate^ pictures by Ver- hoeckJwven., Fourmois.^ etc. The public are admitted to the sittings of the Chambers (entrance at the back of the building, in the Rue de FOrangerie), which visually begin about 2 p. m., and last till 5 p.m. (daily, except Sund. and Mond., from Nov. to May). The buildings adjoining the Palais de la Nation on the E. and AV. are occupied by government oflices. — Opposite, in the N.E. angle of the park, stands the building known as Vauxhall (PI. 75; E, 3,4; corap. p. 60j, partly occupied by the Cercle Artistique et Litteraire ; near it is the Theatre du Pare (PI. 67). At Rue Ducale No. 32, bis (PI. F, 3), Th. Sniaelen, the painter, has erected a wooden house in the old Flemish style, chiefly witli original materials. It is built and fitted up as a painters' guild- house, and is called T' Lucashuys (St. Luke being the patron saint of painters). The interior is also worth seeing (10-5 ; 1/2 fr.J. In the Rue Royale (PI. E, 4-1), midway between the Rue de la fiOi and the Boulevard Botanique, is situated the Place du Congres, adorned with the '''Colonne du Congres (PI. 10), a monument erected to commemorate the Congress of 4th June, 1831, by wlrich the pre- sent constitution of Belgium was established, and Prince Leopold of Saxe-Cobourg elected king. The column, of the Doric order, 285 ft. in height, is surmounted by a statue of the king in bronze, by W. Geefs. The nine figures in relief below, representing the different provinces of Belgium, are hy Simonis. The female figures in bronze at the four corners are emblematical of the Liberty of tlie Press, the Liberty of Education, both by Jos. Geefs, the Liberty of Associations, by Fraikin, and the Liberty of Public Worship, by Simonis. The names of the members of the Congress and of the provisional government of 1830 are recorded on marble tablets. The summit, which is reached by a spiral staircase of 192 steps (trifling fee to the custodian), commands a magnificent panorama. The foundation-stone of the column was laid by King Leopold I. in 1850, and the inauguration took place in 1859. At the foot of the Cathedral. BRUSSELS. 11, Route. 67 fliglit of steps which descend to the lower part of the town are situated two Marches Converts. The ^Cathedral [Ste. Oudule et St. Michel; Pl„ 8; E, 3) in the vicinity, situated on a somewhat abrupt slope overlooking the lower part of the town, and below the level of the Rue Roy ale, is an im- posing Gothic church consisting of nave and aisles, with a retro- choir, and deep bays resembling chapels. The church was com- menced in the 12th cent., on the site of an earlier building, con- secrated in 1047. A few remains of the transition style of this period are still traceable iu the retro-choir. The rest of the choir, the transept, the arcades of the nave, atid the S. aisle are Early Gothic, and were completed in 1273. The N. aisle, and the vaulting and windows of the nave were constructed between 1350 and 1450. The windows of the high choir and the unfinished W. towers date from the 15th cent., the large (N.) chapel of the Sacrament from 1534-39, the (S.) chapel of Notre Dame.de Delivrance from 1649- 53 , and the whole was restored in 1848-56. The fag.ade in its principal features rather resembles the German than the French Gothic style. The W. entrance is approached by a handsome flight of steps, completed in 1861. The Interior (the works of art are shown from 12 to 4 only, when 1 fr., or, if a party, 50 c. each, must be contributed to the funds of the church, i)esides which the sacristan expects a fee for opening the chapels ; entrance by the S. transept) is of simple but noble proportions, and measures 118 yds. in length by 55 yds. in breadth. The nave rests on twelve round pillars and six buttresses, the choir on ten ronud c ilunins. TJie beautiful "'Stained Glass dates from different periods, from the iljth cent, down to modern times. The finest is that in the 'Chapkl of the Sacrament (N. ^ adjoining the choir on the left), consisting of five windows presented in 1540-47 by five of the most powerful Roman Catholic poten- tates of Europe, in honour of certain wonder-working Hosts (comp. p. 76). Each window bears the portraits of the donors : 1st window (beginning from the left), John III. of Portugal and his queen Catherine, a sister of Charles V. ^ 2nd, Louis of Hungary and his queen Maria, another sister of Charles V; '3rd, Francis I. of France and his queen Eleonora , a third sister of Charles V. ^ 4th, Ferdinand I. of Austria, brother of Charles V. ^ 5th (above the altar) Charles V. and his queen Eleonora Louise. The first two windows were executed by Jan Haeclc from designs by Michael Coxcie, the third is by Bernard van Orley^ and the 5th is a skilful modern reproduction (1848), by Capronnier from designs by "Navez, of the old one, v\ hich had been unfortunately destroyed. The representations in the i pper half of the windows depict the story of the Hosts, which were stolen by Jews and sacrilegiously transfixed in their synagogue. The scoffers were so terrified by their miraculous bleeding that they determined to restore them-, but their crime was denounced and expiated by death at the stake. The top of the 5th window represents the adoration of the Sacred Hosts. The altar in carved wood (by Goyers^ 1849) is beautifully executed. The windows of the Chapel or Notre Dame de Delivrance (S. side), executed in 165G by /. de la Baer of Antwerp, from designs by Theod. van Thulden.^ are inferior both in drawing .'And colouring to those jast described. They represent episodes from the life of the Virgin, with portraits of Archduke Leopold (d. 1662), Archduke Albert (d. 1621), and the Archduchess Isabella Clara Eugenia (d. 1633) ^ then Emp. Ferdinand 11. (d. 1658) and Leopold I. (d. 1705). The same chapel contains a ''Monument in marble, by ^Y. Geefs to Count Frederick Merode, who fell in a skirmish 5* 68 Route 11. BRUSSELS. Banque Nationale. with ihe Dutch at Berchem in 1830. The armorial bearings of the Merode family have the commendable motto: ^Plus d'honneur que d''honneurs\ Over the monument, the Assumption, a large modern picture by Navez. This chapel also contains a marble monument to Count Philip Merode (d. 1857), an elder brother of the last named, a well-known Belgian states- man, by Fraikin, and one of the Spanish general Cou7it Isenhurg-Qrenzau (d. 1664Y the last of a noble Khenish family. The five stained glass windows of the High Choir, dating from the middle of the 16th cent., contain portraits of Maximilian of Austria and his queen Mary of Burgundy ^ their son Philippe le Bel and his queen Johanna of Castile; Emp. Charles V. and Ferdinand, sons of the latter; and Philip II., son of Charles V., with his consort Mary of England. — Below is the monument of Duke John II. of Brabant (d. 1312) and his duchess Margaret of York, in black marble, with a recumbent lion in gilded copper, cast in 1610 ; opposite to it, the monument, with recumbent ligure, of Archduke Ernest (d. 1595), brother of Emp. Rudolph II. and stadtholder of the Netherlands. Both monuments were erected by Arch- duke Albert (brother of Ernest) in 1610. A white marble slab covers the entrance to the burial-vaults of the princes of the House of Austria. The Retko-Choir contains some stained glass, executed hy Capronnier from designs by Navez. and wanting in depth of colouring. — In the chapel behind the high altur is a Renaissance altar from the Abbaye de la Cambre (p. 88). The stained glass, bearing the arms of the Merode family, is also by Capronnier. Transept, 'Stained glass: Charles V, and his queen, with their patron saints (N.)-, Louis III. of Hungary and his queen, by Bernard van Orley^ 1538 (S.). Opposite the N. chapel, winged picture representing scenes from the life of St. Gudule, by Coxcie (1592); opposite the S. chapel. Crucifixion, by the s;niie artist. The well-executed and richly-coloured stained glass in the Nave is all by Capronnier. having been presented by wealthy Belgian citizens, and put up in 1860-70. The window of the W. Portal, a Last Judgment by F. Florh, remarkable for the crowd of figures it contains, dates from 1528, but has been frequently restored. Four of the statues of the Twelve Apostles on the pillars of the nave (Paul, Bartholomew, Thomas, Matthew) are by Jer. Duquesnoy ; three others (John, Andrew, Thaddseus) are by Fayd'^herhe (d. 1694). The ''Pulpit., originally in the church of the Jesuits at Louvain, was executed in 1699 by the celebrated Verhruggen. It is a representation in carved wood of the Expulsion from Paradise. Among the foliage are all kinds of animals, — a bear, dog, cat, fox, eagle, vulture, peacock, owl, dove, squirrel, ape eating an apple, etc. Above is the Virgin v/ith the Child, who crushes the head of the serpent with the cross. — In the aisles: confessionals by Van Delen (18th cent.); in the S. aisle is the monument of Canon Triest (d. 1846), noted at Brussels for his benevolence, by Fug. Simonis; a marble monument to Count Cornet, by Oeep, 1872 (Faith'supporting old age and elevating youth). The govern- ment and the city have for many years expended considerable sums annually on the embellishment of the sacred edifice. The handsome new "building opposite the cathedral, to the N., is the Banque Nationale (PI. 4; E, 3), one of the most admirable modern buildings in Brussels, designed hy H. Beyaert and Janssens^ and completed in 1864, exhibiting a free treatment of the Louis Seize style. The sculptures which adorn the facade (over the pedi- ments allegorical figures of Industry and Commerce) are hy Houstout. The Place Poyalb (PI. E, 4), adjacent to the S.W. corner of the Park, owes its present appearance to the architect Guimard, 1778. On the left stands the church of St. Jacques sur Caudenberg (Froidmont^ 'cold mountain' ; PI. 16), a handsome and chaste edifice Pnl. de V Industrie. BRUSSELS. 11. lioide. 69 with a portico of the Corinthian order, erected by Guhnard in 1776-85 on the site of an old Augustinian abbey. Above the portico are sta- tues of Moses by Olivier, and David by Janssens. The tympanum contains a fresco on a gold ground , by Portaels, representing the Virgin as the comforter of the afflicted (1852). The interior contains, to the right and left of the choir, allegorical figures of the Old and New Testament, by Godecharle. In front of the church rises the equestrian '^Statue of Godfrey de Bouillon (PL 60), the hero of the first Crusade, grasping the banner of the Cross in his right hand, probably the finest modern Belgian work of the kind, designed by Simonis. It was erected in 1848, on the spot where, in 1097, Godfrey is said to have exhorted the Flemings to participate in the Crusade, and to have concluded his appeal with the words 'Dieu li volt' (God wills it). The archway opposite, to the left, leads to the Palais de I'ln- dustrie (PI. 45; D, 4), dedicated in 1829 'Industriae et ArtibuSy an extensive building, with two projecting wings which form a court facing the street and separated from it by a railing. It contains the polytechnic school and royal library, adjoining which, in the Ancienne Cour (see p. 70) to the E. , are the picture-gallery and the natural history museum. — The court is adorned with a statue in bronze (by Jehotte, 1846) of Duke Charles of Lorraine, who was stadtholder of the Netherlands for 40 years (1741-80) under Maria Theresa. The principal building, facing the visitor, contains the Royal Library (PL 5; admission, see p. 60), which consists of two departments; (1) MSS., and (2) printed books, maps, engravings, etc. The Department of the MSS. consists chiefly of the celebrated Biblio- Iheque de Bourgogne. founded in the 15th cent, by Philippe le Bon, Duke of Burgundy, and contains aboiit 22.000 MSS., comprising many of great value. It is especially rich in missals, some of which are illuminated with beautiful miniatures of the old Flemish school. Worthy of notice are: the missal of the Dukes of Burgundy, by Attavante of Florence (1485), afterwards in possession of Matthew Corvinus, King of Hungary^ the chronicles of Hainault in seven folio volumes with miniature illustra- tions, and an illustrated title-page (the author Jacques de Guise presenting his work to Philip the Good), ascribed, though without sufficient grounds, to Roger van der Weyden ; and a copy of Xenophon's Cyropcedia, used by Charles the Bold. Also, 'Pardon accovde par Charles V. aux Gantois' (p. 32) of 1540, MSS. _ as far back as the 7th cent., playing-cards manu- factured at Ulm in 1594, autographs of Francis I., Henri IV., Philip II., Alva, Luther, Voltaire. Eubens, etc. Most of the books in the Burgun- dian Library are bound in red morocco. The most valuable MSS. have twice been carried away to Paris by the French. The Department of the Printed Books (400,000 vols.) is in the left wing of the Palais de Tlndustrie. The original nucleus of the collection was the library of a M. van Hulthem, purchased by the state in 1837 for 315,000 fr., and incorporated with the old municipal library. The Cham- bers grant an annual subsidy of 60-65,000 fr. for the support of the Library. The admirably-arranged Collection of Engravings (100,000 in number) is worthy of notice, — The Collection of Coins is also of importance. On the ground-floor is the Musee de l'Industrib, a valuable collection of drawings, models, scientific instruments, etc., connected with the new Ecole Industrielle (open 11-5). 70 Route 11. BRUSSELS. Picture Gallery. L'Ancienne Cour, a building adjoining the Palais de I'Industrie on the E., was the residence of the Austrian stadtholders of the Netherlands after 1731, when the old ducal palace (in the present Place Royale) was destroyed by fire. Part ol" the ground-floor is now fitted up as a library, the upper story contains a picture-gallery (Miisee), and the buildings in the court a cabinet of natural history. The chapel, on the right of the entrance, erected in 1760, was converted into a Protestant place of worship in 1803, and is com- monly called VEglise du Musee. Divine service in English, French, and German is performed here every Sunday. The ** Musee de Peinture (PI. 41; D, 4) is growing in im- portance every year. Formerly inferior to the gallery at Antwerp, it must now be considered as the chief collection in Belgium. The Early Flemish School of the 15th cent, is represented by various important pictures, such as Adam and Eve by Hubert van Eyck, Ma- donna by Petrus Cristus (No. 42), and the Legend of the lying empress and the innocent nobleman by Dieric Bouts (Nos. 30, 31). Flemish art of the 17th cent, has also, through judicious purchases, gradually come to be most favourably represented. The pictures by Rubens at Brussels cannot indeed be compared, either in number or beauty, with those at Antwerp ; but his Adoration of the Magi (No. 290) ranges among the finest treatments of this subject. The full-length portrait of Willem van Heythuysen (No. 416) and a half- length portrait (No. 415) by Frans Hals^ the portraits by Van der Heist (Nos. 205, 206) and Dow (No. 186), and the large Village Feast by Tenters (No. 449) may also be specified. — Good Cata- logue ^ by E. Fetis, 1 fr. The Entrance is in the semicircle of the Place du Muse'e, out- side the railing which encloses the court. Admission, see p. 60. Ascend by the staircase to the left, at the foot of which there is a statue of Hercules by Delvaux. At the top we first reach a Corridor, hung with Flemish tapestry of the 17th century. It also contains some sculptures, chiefly by modern Belgian artists : W. Gecfs, C. A. Fraikin (Cupid taken cap- tive), Ad. Fassin^ J. de Braekeleer, Eug. Simonis , J. J. Jacquet^ Jos. Geefs (d. 1860; Satan, one of his best-known works), Earth. Prison^ etc. Room I. Early German School, masters chiefly unknown. To the right, obliquely opposite the entrance: *19. H. Holbein the Younger (?), Portrait of Sir Thomas More; 4, 5. Earth, de Bruyn (School of Cologne), Portraits of a man and woman. — To the right. Early Italian Pictures of the 14th and 15th cent. : 11, 12. Carlo Crivelli, Madonna, St. Francis, both on a gold ground. — Farther on : 334. Perugino (?), Madonna with the Child and St. John, enclosed by a garland of fruit in terracotta as a frame. 362. Christ. Amberger (1490-1563), Portrait; Luc. Cranach the Elder, 364. Por- trait of Dr. John Scheuren ; 365, 366. Adam and Eve. Picture Gallery. BRUSSELS. 11. Route. 71 Room II. Early Flemish School of the 14-16th centuries. Most of the masters here also are unknown, as the number of pictures of this period which have come down to us certified by external evi- dence (i.e. by signature or documents) is comparatively limited. To the left: 1. Herri de Bles, Temptation of St. Anthony; *23. Memling^ Portrait; 15. Jan Gossart^ surnamed Maftwse (1470-1532), Mary Magdalene washing the feet of Christ in the house of Simon the Pharisee, w 1th the Raising of Lazarus on the left wing, and the Assumption of Mary Magdalene on the right; 28. Joachim de Pate- nier^ Piet^. Nos. *21, *22. Memling, Portraits of W. Moreel, a patrician of Bruges, and his wife, 'models of plain burgess simplicity'; 29. Mar- tin Schoen (d. 1488, Upper Rhenish School), Mocking of Christ; 42. Petrus Cristus (according to Weale), Virgin and Child. Nos. 30, 31. Dieric Bouts, Justice of Otho III. The subject is a mediseval tradition that the Emp. Otho beheaded a nobleman who had been tinjustly accused by the Empress, but his inno- cence having been proved by his widow submitting to the ordeal of fire, Otho punished the empress with death. This picture was originally hung up in the judgment-hall of the Hotel de Ville at Louvain, accoi-ding to an ancient custom of exhibiting such scenes as a warning to evil-doers. No. *13. Hubert van Eyck, Adam and Eve, two of the wings of the celebrated Adoration of the Immaculate Lamb in the church of St. Bavon at Ghent (see p. 33) , ceded by the authorities to government, as being unsuitable for a church, in return for copies of the six wings at Berlin. 'It would be too much to say that Hubert rises to the conception of an ideal of beauty. The head (of Eve) is over large, the body protrudes, and the legs are spare, but the mechanism of the limbs and the shape of the extremities are rendered with truth and delicacy, and there is much power in the colouring of the flesh. Counterpart to Eve, and once on the left side of the picture, Adam is equally remarkable for correctness of proportion and natural realism. Here again the master's science in optical perspective is conspicuous, and the height of the picture above the eye is fitly considered'. — Crowe and Cavalcaselle., Early Flemish Painters, 1872. — (Comp. p. xli.) At the back are figures of the Erythraean Sibyl with a view of Ghent, and the Cumiean Sibyl, with an interior, by Van Eyck. To the left and right of Bouts's picture of Otho III. : 34-41. School of Eager van der Weyden, History of Christ, of little value. No. 26. Bern, van Orley (1470-1548), Holy Family; 2. Pieter Breughel the Elder ('Peasant Breughel', see p. xlv), Massacre of the Innocents, naively represented as occurring in the midst of a snow- clad landscape (original at Vienna) ; *48. Unknown Master, Descent from the Cross. — 369. B. van Orley, Portrait of Guillaume de Nor- man, 1519; 27. B. van Orley, Portrait of a physician; 25. B. van Orley, Mourning over the body of Christ, with portraits of the don- ors on the wings. Nos. 458, 459. Portraits of Maximilian II. and Anne of Austria as children; 3. Peter Breughel, the Founder ('Hell-fire Breughel', see p. xlv), Fall of the rebellious angels; 17. Jan van Hemmessen (an 72 Route 11. BRUSSELS. Picture Gallery . unimportant imitator of Qiientin Matsys), Passion ; 20. Lambert Sustermann^ known as L. Lombard (d. 1560; pupil of Mabuse), Last Supper; 33. Roger van der Weyden (?), Head of a weeping woman; 24. Jan Mostaert (of Haarlem, 1474-1555), Miracles of St. Benedict; 368. B. van Orley, Trials of Job ; 14. Jan van Eyck (more probably by Gerard David, according to Mr. Crowe), Adoration of the Magi, the figures somewhat stiff though not unnatural, the colouring vigorous. Room 111. Pictures by masters of the 16th and 17th centuries, chiefly ceremonial and battle pieces, by SaLlaert, Van Alsloot, Van Tilborgh {^17 t\i cent ), and Peter Snayers (of Antwerp, 1593-1663). Also, 196. Frans de Vriendt, usually called Floris (nourished at Antwerp 1520-70, the chief of the Flemish painters under Italian influence of the IGth cent.). Last Judgment; Frans de Vriendt, Holy Family; 163-165. Michael (Joxcie, oi van Coxcyen (Malines, 1499-1592), Last supper. Death of the Virgin, Crown of Thorns. Room IV. Nos. 142-151 . Philip de Champaigne (b. 1602 at Brus- sels, d. in 1674 at Paris, where he had long resided). Ten scenes from the life of St. Benedict, of which the first, St. Benedict in the cavern, is the best; 152. Ph. de Champaigne, Portrait of himself. No. 169. Gasp, de Craeyer (b. 1582 at Antwerp, d. 1669), Assumption of St. Catherine. The Museum contains in all 13 pic- tures by this master. No. 414. Gov. Flinch (^f), Portrait of a lady ; 420. Melchior de Hondekoeter (p. 242), Entrance to a park; 122. F, Bol, Philosopher. Room V. No. 116. Nic. Berchem (1623-83), Landscape with ruins; 276. Jan van Ravesteyn (p. 212), Female portrait; 413. (/. de Craeyer, Adoration of the Shepherds; 167. De Craeyer, Mira- culous draught of fishes, one of the painters best works ; 109. L. Bakhuizen [f], Sea piece; 275. Jan van Ravesteyn^ Portrait of a woman; 105. Jan Asselyn (1610-60, painted first in Amsterdam and afterwards in Italy), Ferry; 168. De Craeyer, Martyrdom of St. Blaise, paiuted in 1667 when the artist was 86; 178. De Craeyer, Conversion of St. Julian ; 424, 425. Thos. de Keyser (p. liv), Two female portraits; 289. Rubens, Coronation of the Virgin; *119. 120. Ferd. Bol (p. Ivii), Portraits of a man and w^oman , both painted in 1660; 118. Biset (d. 1685), William Tell; 341. 342. Martin de Vos (1531-1603 ; the best pupil of Frans Floris), Portraits of a man and woman ; 253. Peter Neefs the Elder (d. 1651), Interior of Antwerp Cathedral ; 422. Jan van Huchtenburgh (1646-1733; Amsterdam), Cavalry engagement. Room VI. (Large Gallery), divided by clustered columns into five sections. — We first enter, to the left, the — First Section. To the right and left of the entrance : 141, 140. Ph. de Champaigne, SS. Stephen and Ambrose. Then farther on, to the left : 217. Jordaens (p. 1), Allegorical representation of fertility; 216. Jordaens, St. Martin casting out a devil ^ 294, 295. Peter Paul Picture Oallery. BRUSSELS. //. Route. 73 Rubens^ Portraits of the Archduke Albert and his consort, the In- fanta Isabella (p. xvii); 287. Rubens, Assumption of the Virgin, the principal figure poor, painted for the church of the Jesuits at Antwerp; 191, 190. Ant. van Dyck, St. Francis of Assisi and St. Anthony of Padua; 288. Rubens, Pieta ; 220. Jordaens, Vanity of the world, an allegory; 337. Otto Venlus (^0. van Veen, b. 1558 atLeyden, d. 1629 at Brussels), Christ bearing the cross. — 237. Peter Meert (1718-69, Brussels), The masters of the Guild of Fishmongers in Brussels ; 285. Rubens, Way to Golgotha, painted in 1637 for the Abbey of Afflighem ; 453. Corn, de Fos (1585-1651), The painter and his family. — 286. Rubens, Christ hurling thunderbolts against the wicked world, while the Virgin and St. Francis are interceding, painted for the Franciscans of Ghent; 292. Rubens, Venus in Vul- can's forge; 291. Rubens, Martyrdom of St. Livinus, whose tongue the executioner has torn out and oifers to a hungry dog, one of the great master s most repulsive pictures, painted for the Churcli at the Jesuits at Ghent ; 2iS. Jordaens, Satyr and peasant; 179, J)e Craeyer, Jac. van Artois, and G. Seghers, Conversion of St. Hubert; *290. Rubens, Adoration of the Magi, painted for the Ca- puchin friars of Tournai ; 338. Otto Venius , Mystic marriage of the Infant Saviour with St. Catherine. Second Section : Portraits of Archduke Albert and his consort Isabella. — Passage leading into the rooms devoted to modern pic- tures (p. 74). Third Section : Left wall: 192. A. van Dyck (p. 1), Portrait of Delafaille, burgomaster of Antwerp ; 419. Hobbema (p. Ixii). Wood at Haarlem; *277. Rembrandt, Portrait of a man, 1641 ; 180. Alb. Cuyp (p. Ixii), Stable; 418. Corn, de Heem, Fruit and flower piece. '^449. David Tenters the Younger, Flemish village feast; 350. Wynants, Landscape; 261. Ant. Palamedes Stevens (i^^^^-^Qi), Male portrait; 296. Jac. van Ruysdael, Landscape; 219. Jordaens, Triumph of Prince Frederick Henry of Nassau, a fine sketch (comp. p. 218); 450. Tenters the Younger, Picture Gallery of Archduke Leopold WHliam, 1651. — Right wall, returning to the upper end : *447. Jan Steen, The gallant offer; 297. Jac. van Ruysdael, Land- scape; Art van der Neer, Pleasures of winter; *232. Nic. Maes, Old woman reading ; 346. Em. de Wit, Interior of the church at Delft ; HS8. A. van Dyck, Martyrdom of St. Peter; *437, *438. Rubens, Portraits of Charles de Cordes and his wife; 324. Tenters the Younger, The five senses ; 314. Fr. Snyders (p. 1), Game and fruit, 259. Adr. van Ostade (p. lix). Peasant eating herrings; 433. Isaac van Ostade, Woman winding yarn; *121. Ferd. Bol, Saskia van Ulenburgh, Rem- brandt's first wife ; 320. Jan Steen, The feast of kings ('Le roi boit'); 430. Mich, van Musscher {d.. 1713), Portrait of an engraver; 319. Jan Steen, The operation; 189. Vaii Dyck, Drunken Silenus; 347. Phil. Wouwerman, 215. Karel duJardin, 451. W. van de Velde the Younger, 306. G. Schalcken (Light effect), and other Dutch painters. 7 4 Route 11. BRLlSSELS. Picture Gatlery. Fourth Section. Left wall: 410. Nic. Bcrchem., 244. Jan Mo- lenaer, De Heem^ De Wit; *423. Karel du Jardin, Returning to the stable; *416. Frans Hals^ Portrait of AVilliam of Heythuysen, founder of the hospital of that name at Haarlem ; 450, his. David Teniers the Younger., Yiew of a village; 325. Teniers, The village doctor; 239. G. Metsu, Breakfast; 318. JanSteen^ The 'Rederijker' (i.e. rhetoricians, or members of 'Rederijkamern'; these were literary clubs or debating societies, well known in the 16th and 17th cen- turies, which met on festive occasions to hold recitations and debates); *205. Bart, van der Heist, Portrait of himself; 348. Wouiverman ; *186. Dow ^ The painter drawing a Cupid by lamplight; 206. Barth. van der Heist, Portrait of a woman; 254. A. van der Neer, Moonlight scene ; 293. Rubens, Martyrdom of St. Ursula and her companions, a small sketch ; 26? ; Unknown Master, Portrait of a man; 326. Teniers, Flemish landscape; 128, Adr. Brouwer, Brawl in an alehouse. — Right wall, from the top of the room: 252. P. Neefs, Interior of Antwerp Cathedral ; 421. M. d' Hondekoeter, Cock crowing; Jan -Zire;w(;/iei ('Velvet Breughel', p. xlv), Autumn; 409. Pieter Aertsen (1507-72), The cook; 455. Wynants , Landscape; 440. Jac. van Ruysdael, The Haarlemer Meer ; 268. Fr. Pourbus, Portrait; *415. Frans Hals, Portrait of J. Hoornebeek, professor of the University of Leyden ; 250. Moucheron, Landscape with stag- hunt; 429. Ant. Moro, Portrait of the Duke of Alva; 260. Isaac van Ostade, Travellers resting ; Pli. Koninck, P. Neefs, and others. Fifth Section. Italian and Spanish pictures of little importance : 236. Parmeggianino, Holy Family ; 335. Andrea del 8 art o{^f), Jupiter and Leda (described by Mr. Crowe as an inferior school-piece) ; 281, 282. Tintoretto, Portraits; 199. Claude Lorrain, Landscape; 235. Maratta, Madonna with the Child and St. Francis ; 339. Velasquez, Two children; 251. Murillo, Franciscan monk ; 185. Dosso Dossi{^>), Jesus in the house of Simon the Pharisee. — Narrow wall: 130. P. Veronese, Juno strewing her treasures on Venice. Farther on : 132. P. Veronese, Holy Family with SS. Theresa and Catherine; *135. Ann. Caracci. Diana and ActJBon ; 113. Baroccio, Calling of Peter and Andrew; 158, 157, 159. At. Sanchez Coello, Portraits of Margaret of Parma, Joanna and Maria of Austria, daughters of Charles V. •, 131. Paolo Veronese, Adoration of the Shepherds ; 355. Italian School (16th cent.), Madonna with the Child and St. John. We now retrace our steps to the second section of this hall, and turn to the right into the Gallery of Modern Paintings. The subject and painter of each picture are indicated by inscriptions. Room I. From the right : Jaroslaw Czermak (a pupil of Gallait), Spoils of war in the Herzegovina; P. J. Clays, Roads of Antwerp ; Jacques-Louis David, Portrait of a boy. — H. Leys, Studio of the painter Frans Floris ; J. B. Madou, Casting lots ; Ch. de Groux, The drunkard. — Louis Robbe, Cattle; J. van Bree, Sixtus V., when a boy, herding swine ; Van Eycken, Descent from the Cross ; Picture Gallery. BRUSSELS. Route. 75 H. Leys^ Joyful entry of Charles V. into Antwerp (comp. p. 118); de Braekeleer, The geographer. Room II. To the right : L. de Winne , Full-length portrait of Leopold I. ; Gallait, Leopold II. and his queen. Room III. H. Leys^ Funeral mass in honour of Berth, de Haze, armourer of Antwerp. — Andre Hennebicq, Labourers in the Roman Campagna; Ch. Ooms^ The forbidden book. — Gallait, Art and Liberty. — Henri Bource, Bad news ; Th, Fourmois^ Mill; Ferd, Pauwels^ Widow of Jaques van Artevelde. Room IV. (large room). From the right : P. J. Clays^ Calm on the Schelde ; J. B. Madou, Festival interrupted ; Ch. Tschaggeny, Diligence in the Ardennes. Above the last, Th, J. van Bree., In- terior of St. Peter's at Rome on Corpus Christi Day. — Fr. Stroobant^ Guild-houses in the market-place at Brussels ; Alf, Stevens, Lady in a light pink dress; Eug, Verboeckhoven, Flocks of sheep; Jos. Stevens, Streets of Brussels in the morning. *Louis Gallait, Ab- dication of Emperor Charles V., a master-piece of composition, drawing, and colouring (1841) : Charles V. is under the canopy of the throne, supported on the left by William of Orange, at his feet kneels his son Philip II., on the right is his sister Maria of Hungary in an arm-chair, to the left Cardinal Granvella. — Fr. de Groux, .Junius preaching the Reformation at Antwerp ; P. J. Clays, Coast at Ostend; Ed. Hamman, Adrian AVillaert playing the organ in the monastery at Bruges. — Van Lerius^ Erasmus ; J. H. de Haas, Cattle piece ; Ferd. de Braekeleer, Distribution of fruit at a school ('le compte de la mi-careme') ; J. Coomans, Loving cup; Nic. de Keyser, Justus Lipsius. — Ad. Billens, Recruiting in the Austrian Netherlands ; G. Wapjpers, Charles I. on his way to the scaffold ; Al. Markelboch, Rhetoricians of Antwerp preparing for a disputation (comp. p. 74); Jos. Stevens, Dog-market in Paris; Eug. Dela- croix, Sketch for the ceiling of the Apollo saloon in the Louvre ; Fourmois, Landscape; Ingres, Virgil; Will. Roelofs, Landscape; E. Wauters, The Prior of the Augustinian monastery to which Hugo van der Goes had retired tries to cure the painter's madness by means of music ; Eug. Verboeckhoven, Shepherd in the Roman Campagna ; Ft. Willems , Bridal toilette ; Fourmois , Marsh ; L. Gallait, Johanna the Mad. Some other rooms, not yet opened, are destined to contain the picture by Biefve noticed on p. 78; and the pictures by Wappers (Revolution of 1830), Nic. c?e /ire?/.sef (Battle of Worringen), Decaisne, and others, formerly in the Church of the Augustinians (p. 84). The Natural History Collection on the ground -floor (ad- mission, see p. 60) is the most extensile in Belgium. The minera- logical department embraces a considerable collection of minerals from Russia, presented by the Prince of Orange, a very complete col- lection of fossils found in Belgium, curiosities of the flint period, etc. Above the Nat. Hist. Collection, on the second floor, there is at 76 Route 11. BRUSSELS. University. present a Galerie Historique, containing pictures and busts relat- ing to events or persons of importance in the history of Belgium, some of them possessing artistic merit. Admission, see p. 60. The University (PI. 74 ; D 4), an 'universite libre', established in the old palace of Cardinal Granvella, Rue de I'lmperatrice, near the Palais de I'lndustrie, was founded by the liberal party in 1834, as a rival of the Roman Catholic University of Louvain (p. 159). It comprises the faculties of philosophy, the exact sciences, juris- prudence, and medicine, and a separate pharmaceutical institution. The Ecole Polytechnique ^ founded in 1873, embraces six depart- ments : mining, metallurgy, practical chemistry, civil and mechan- ical engineering, and architecture. The number of students is above 650, and the staff of professors 52. The court is adorned with a Statue of Verhaegens (d. 1862), one of the founders, who, as the inscription records, presented a donation of 100,000 fr. to the funds, by Geefs. A few paces from the University, in the Rue des Sols, is the so- called Chapelte Salazar, or cle V Expiation (PI. 9 ; D, 4), erected in 1436 as an 'expiation' for a theft of the host from St. Gudule in 1370 (see p. 67), and occupying the site of the synagogue where the sa- cred wafers were profaned. It has recently been thoroughly restored; the interior is gaudily ornamented (mural paintings by G. Payen). ^Ve now return to the Place Royale and follow, to the right (S.), the Rue de la Regence (PI. D, 4, 5), in which, immediately on the left, stands the Palais du Comte de Flandre (PI. 49). A large building opposite, intended for art exhibitions and similar pur- poses, is now in progress. By following the same street a little farther we reach the place called Petit Sablon, with the church of Notre Dame des Victoires on the right, and the palace of the Due d'Arenberg on the left. Notre Dame des Victoires (PI. 24; D, 5), also called Notre Dame du Sablon, was founded in 1304 by the guild of Cross-bow- men, to commemorate (accordiiig tO tradition) the Victory of Wor- ringen gained by Duke John I. of Brabant over the Count of Guel- ders and the Archbishop of Cologne in 1288. The present structure, however, dates entirely from the 15th and 16th centuries. The Interior, which has been recently restored, measures 71 yds. in length by 28 yds, in breadth (61 yds. across the transepts). A tablet of black marble in the S, transept records that the remains of the author Jean-Baptiste Rousseau, who died in exile at Brussels in 1741, were trans- ferred hither in 1842 from the Church des Petits-Carmes (see p. 77). — The adjacent 1st Chapel in the S. Aisle contains the monument of Count Flaminio Gamier, secretary of the Duke of Parma, consisting of six re- liefs in alabaster from the life of the Virgin (about 1570). The 2nd Chapel contains a monument erected in 1856 to Aug. dal Pozzo, Marquis de Voghera (d. 1781). commander of the Austrian forces in the Netherlands — The burial-chapel (17th cent.) of the Princes of Thurn and Taxis, in the N. Transept, sumptuously adorned with black and white marble, contains sculptures of no artistic merits a St. Ursula over the altar, by Hen. Duquesnoy, merits attention ; on the right is an angel holding a torch, by GrupeUo; in the dome are numerous family armorial bearings. Fal. Arenherg. BRUSSELS. 11. Route: 77 — The Choik contains old (but restored) mural paintings of saints, and stained glass of the 15th century. — The pulpit, carved in wood, is borne by the symbols of the four Evangelists. The Palace of the Due d'Arenberg (PL 44; D, 5), erected iii 1548, restored in 1753, with a modern right wing, was once the residence of the celebrated Count Egmont. It contains a small but choice picture-gallery (admission, see p. 60). The Pictures are all in excellent preservation, and furnished with the names of the artists. Rubens , Three portraits and two sketches; A. van Dyck.^ Portrait of a Due d'Arenberg; Jordaens^ 'Zoo de ouden zongen, zoo piepen de jougen' (when the old quarrel, the young squeak); Teniers, Playing at bowls, Peasants smoking, Vendor of plaster figures; A. Brouwe}\ Tavern interior; /. van Craesheke. His own studio; A. Cuyp^ Horses; Sal. Koning^ Tobias restoring sight to his father; O. Dow, Old woman sitting at a table covered with gold ; H. Berckhevden, Inner court of the Exchange at Amsterdam; Jan van der Meer of Delft, Young girl; P. Potter, Eest in a barn; Jan Steen, Marriage at Cana ; A. van Ostade, Interior of a taA''ern; Metsu, Billet-doux; Evei'dinge7i,'WvAQriA\\\ Rui/sdael, Water- fall-^ Van der JVeer, Quay by moonlight (1644): IV. Maas, Portrait of a man; Uchtevfeld, Interior of a kitchen; Fr. Hals. Portrait of a man, a fragment, commonly known as 'the drinker'. The collection of early Flemish paintings formerly on view here was presented by the late Due d'Arenberg to Government, and is now in the Museum. The other apartments contain magnificent ancient and modern furni- ture, Etruscan vases, antique statuettes, busts in marble. The library contains a cast of the admirable head of a Laocoon (the original is at one of the duke's country-residences), found about the year 1710 under a bridge in Florence, and purchased by an ancestor of the duke. (A cast of the head of the well-known Roman Laocoon is placed beside it for comparison.) The adjoining Gardens are kept in admirable order (fee 1 fr.). A few houses above the palace, to the left, is the prison of Les Petits Carmes (PL 52; D, 5), the front of which (set apart for female convicts) was built in 1847 Dumont in the English Gothic style. It is fitted up with cells for solitary confinement. A Carmelite monastery formerly occupied this site. Somewhat higher up stood the house of Count Kuylenburg, memorable under PhilipII. as the place of assembly of the Netherlands nobles who began the struggle against the supremacy of Spain. Here, on 6th April, 1566, they signed a petition {^Request' ) to the viceregent Margaret of Parma (natural daughter of Charles Y. and sister of Philip XL), praying for the abolition of tlie inquisitorial courts, after which between three and four hundred of the confederates proceeded on horseback to the palace of the Duchess. At the moment when the petition was pre- sented , Count Barlaimont , one of the courtiers , whispered to the princess , whose apprehensions had been awakened by the sudden appearance of the cortege, ^Madame, ce n^est qu^une troupe de gueux' (i.e., beggars), in allusion to their supposed want of money. The epithet was overheard, and rapidly communicated to the whole party, who afterwards chose it for the name of their faction. On the same evening several of their number, among whom was Count Brederode, disguised as a beggar with a wooden goblet (jatte) in his hand, appeared on the balcony of the residence of Count Kuylen- burg and drank success to the ' Gueux ' 5 while each of the other 78 Route 11. BRUSSELS. Palais de Justice. confederates, in token of his approval, struck a nail into the goblet. The spark thus kindled soon burst into a flame, and a few years later caused the N. provinces of the Netherlands to be severed from the dominions of Spain. The Duke of Alva, after having ordered Counts Egmont and Hoorne to be arrested in the above-mentioned house, and the flag of Spain to be again displayed, gave vent to his indignation by ordering it to be razed to the ground. The Grand Sablon ( Groote Zaevelplaets PI. D, 4;, the largest Place in the city, is adorned with an insignificant monument erected by the Marquis of Aylesbury in 1751, in recognition of the hospi- tality accorded to him at Brussels. The old Palais de Justice (PL 46), a dingy edifice, entered from the Rue de Ruysbroeck , stands on the N. side of the Grand Sablon. It was formerly a Jesuit monastery. The facade, with a portico in front in imitation of the temple of Agrippa at Rome, is turned towards the small Place on the north-west. In this Place rises the marble statue of Alex. Gendebien (d. 1869"), a member of the provisional government of 1830, by Ch. Vanderstappen, erected in 1874. The hall of the Cour de Cassation (concierge in the lobby to the right, fee 50 c), contains the ^Compromise (1565), or Petition of the Belgian nobles , a well-known picture by E. de Biefve, painted in 1841 by order of the Belgian Government. Count Hoorne is represented as signing the document, Egmont in an arm-chair ; at the table Philip de Marnix , in a suit of armour ; in the foreground William of Orange, in a blue robe ; beside him, Martigny in white satin, and behind him the Due d'Arenberg. The Count Brederode, under the portico to the left, is inviting others to embrace the good cause. — The Palais de Justice also contains the Archives of the kingdom. In the Rue Haute, or Hoogstraet, in the immediate vicinity, is situated the Gothic Notre Dame de la Chapelle (PL 23; C, 4); begun in 1216 on the site of an earlier chapel; the choir and transept date from the middle of the 13th cent., and the nave and W. towers were completed in 1483. The Interior (concierge, Rue des Ursulines 24} is worthy of a visit on account of the numerous frescoes (Chapelle de la Sainte Croix, to the right of the choir) and oil paintings (14 Stations of the Cross) by Van Eycken (d. 1853). The second chapel in the S. Aisle contains the tomb of the painter Peter Breughel ('Velvet Breugher), with a picture by him (Christ giving the keys to Peter). In the 4th Chapel, ''De Craeyer^ Christ appearing to Mary "^Magdalene. — Adjoining the principal ^ entrance is the monument of the painter Lens^ 'regenerateur de la peinture en Belgique' (d. 1822), by Godecharle. In the corner, tomb of a Pastor Willaert with a female figure in an attitude of prayer, by TuerUnckx. — The 1st Chapel in the Atsle contains the tomb of the painter Sturm (d. at Rome, 1844), v^ith medallion portrait by TuerUnckx. In the N. chapel of the choir • Landscapes by /. van Artois (d. 16G5) and Achtschelling (d. 1731); Monument of the Spinola family by Plumiera (d. 1721). On a pillar a monument, with bust, to Duke Gh. Alex, de Croy (d. 1624). A tablet of black marble at the back of the pillar, put up by Counts Merode and Beaufort in 1834, bears a long Latin inscription to the memory Francis Porte de Hal. BRUSSELS. //. Route. 79 Anneessens, a citizen of Brussels, and a magistrate of the Quarter of St. Nicholas, who was executed in the Grand Marche in 1719 for presuming to defend the privileges of the city and guilds against the encroachments of the Austrian governor (the Marquis de Frie'). — N. side-altar, Van Thulden^ Intercession for souls in Purgatory. S. side-altar, De Craeyev. S. Carlo Borromeo administering the Sacrament to persons sick of the plague. — The Choir has recently been decorated with tine polychromic paintings hy Charle- Albert. The somewhat incongruous high altar was executed from designs by Rubens. — The carving on the pulpit, by Phimiers., represents Elijah in the wilderness. The Rue de la Regence leads from tlie Petit Sablon (p. 76) past the new Conservatoire de Musique (PI. 11 ; D, 5) and the uncom- pleted new Synagogue, to the new Palais de Justice. The new Palais de Justice (PL 47; D, 5), designed on a most ambitious scale by Poelaert, has been in progress since4866. Tlie substructions rendered necessary by the unevenness of the site has added greatly to the magnitude of the task. Tlie ground plan forms a huge rectangular area, 200 yds. long by 187 yds. broad, or about 37,000 sq. yds. in extent, of which 5000 are taken up by side-rooms , vestibules , galleries , and the Salle des Pas Perdus (waiting hall). The principal front faces the Rue de la Regence. The general architecture of the building, an imita- tion of the Grffico - Roman , in which all curved lines have been avoided , and the rectilineal termination of the porch , which is enclosed by huge pilasters , impart to the edifice an air of plain severity in admirable keeping with its destination. The centre of the rectangle, occupied hy the vast Salle des Pas Perdus, is to be surmounted by a larg^e dome or pyramid , 400 ft. high , the exact form of which has not yet been decided. An effort will be made to complete the work in 1880, the jubilee year of Belgium's existence as an independent kingdom. The cost will probably exceed 50,000,000 fr, (2,000,000 L). The Porte de Hal (PL 53 ; C, 6), at the S. extremity of the inner town, is the sole remnant of the old fortifications. It was erected in 1381 , and "-to centuries later became the Bastille of Alva during the Belgian 'reign of terror'. It is a huge square structure with three vaulted chambers , one above the other , and a projecting tower. The interior, fitted up as a *Museum oi Weapons AND Antiquities in 1847, has recently been somewhat altered. Admission, see p. 60. The name and origin of the various objects are inscribed on tickets attached to them. Ground Floor. /. Room. Several casts (Assyrian obelisk, the column of Igel near Treves, etc.), Roman antiquities, inscriptions , altars , and old cannon. — //. Room. Font of 1149; tombstones from the abbey of Villers (p. 160) ^ cast-iron work of the 15tli and 16th cent, t, Flemish and German stonev/are of the i6th cent., old breech-loading cannon, a car- ronade found in 18 ';8 in the well of the chateau of Bouvigne (p. 133), in- to which the French had thrown it together with the defenders of the castle in 1554; engraved and enamelled copper grave-slab of the 16th cent. ; model of the old Bastille at Paris. — ///. Roo7n. Cabinets and carved door of the Renaissance period; Gothic monnment. 80 Route 11 BRUSSELS. Porte de Hal. First Floor. Chiefly weaponji and suits of armour, most of which are arranged round the room in the form of trophies. The hall is divided into three sections by six pillars. The stuffed horses on the right and left of the entrance are those on which the governor Archduke Albert of Austria and his consort Isabella rode on the occasion of their public entry into Brussels; opposite the entrance is a mounted equestrian figure in an Italian suit of armour, beside which is an Arabian shirt of mail. In the first section formed by the pillars (r.) : glass cabinets with artisti- cally wrought and chased weapons and armour ; at the window, a Renais- sance helmet, richly ornamented wdth reliefs (David, with the head of Goliath, and Saul; Judith with the head of Holophernes), and said to have belonged to Charles V. ; beside it, steel gauntlet with gilded orpam^n- tation which was used by Charles V. and the Archduke Albert; German, Italian, and Spanish armour of the 15th and 16th centuries; the cloak and bow of Montezuma (d. 1520), the last emperor of Mexico ; shield of wood and leather used hy crossbow-men, 14th century. In the window-niche, helmets and other pieces of defensive armour. — In the second section are old firearms, artillery models, old Roman weapons, and weapons of the flint period. — The third section also contains armour, including a tournament suit of Philip II. of Spain , simply but handsomely orna- mented, and a shirt of mail of the L7th century.^ At the windows, Oriental weapons. Handsome chimney-piece from the chateau of Montaigle (p. 147). Second Floor. Smaller medieeval works of art, including the Renais- sance period and the ITtli and 18th centuries. On the right glass-cabinets with silver, gold, and crystal goblets, enamel, trinkets, medals, and seals; furniture (Charles V.\s cradle); pottery and fayence; tapestry of the 15th and 16th cent. , one piece of which represents the battle of Nieuport (16CI0) ; stained glass. In the window-niche, Limoges enamels; large crucifix inlaid with carved mother-of-pearl ; fine woven fabrics and embroidery. In the glass-cabinet opposite , reliquaries of the 12th and 13th centuries; life-size head of Pope St. Alexander, 13th cent.; small reliquary with enamelled figures of the Apostles, whose heads are in relief; a crystal cross with statuettes in ivory, 17th century. Then handsome late Gothic altars in carved wood, with scenes from the life of the Virgin and Christ, the 'marytrdom of the Maccabees, by JoJm Bovremans^ 1493, and the martyrdom of SS. Ludgerus and Agnes of 1530; handsome carved confessional, etc. — In the third of the sections formed by the pillars, also furniture; fine specimens of smith's work in a glass case. Above, tapestry of the 16th cent., representing the Descent from the Cross. Farther on, a glass cabinet containing finely executed works in ivory, including: 48c. Diptych of the 9th cent., with representations of (1.) Christ in triumph and (r.) the Annunciation and the Visitation: 47c. the famous Romanesque Diptychon Leodiense^ two tablet.s of carved ivory executed at the beginning of the 6th cent., with scenes f)om the Passion, purchased for 20,000 fr. Third Floor. Greek and Roman antiquities and ethnographicnl ob- jects, including the mummy of a priestess in its original coffin covered w^ith hieroglyphics. The Boulevards, see p. 85. In the centre of the lower part of tlie town lies the '^'^Place de FHdtel de Ville, or market-place (PI. D, 3), 120 yds. long and 74 yds. wide, in which rise the Hotel de Ville and several old guild-houses. It is one of the finest mediseval squares in existence, presenting a marked contrast to the otherwise modern character of the city, and occupies an important place in the annals of Belgium. In the spring of 1568 twenty-five nobles of the Netherlands w^ere be- headed here by order of the Duke of Alva , the most distinguished Hdtel de Villi BRUSSELS. 11. Route. 81 victims being Lamoral, Count Egmont, and Philip de Montmorency, Count Hoorne. The *Hdtel de Ville (PI. 31 J is by far the most interesting edifice in Brussels, and one of the noblest and most beautiful build- ings of the kind in Belgium. It is of irregular quadrangular form, 66 yds. in length and 55 yds. in depth, and encloses a court. The principal facade towards the market-place is in the Gothic style, the E. half having been begun in 1402, the W. in 1443. The graceful tower, 370 ft. in height, which, however, for some unex- plained reason does not rise from the centre of the building, was completed in 1454. The flrst architect is said to have been Jacob van Thienen (1405) , who was succeeded by Jan van Ruysbroek (1448), a statue of whom adorns the first niche in the tower. The sculptures and mouldings were destroyed by the French sansculottes in 1792, but restored by Jaquet in 1853. The fa(jade is at pre- sent undergoing restoration. The open spire, which was damaged by lightning in 1863, terminates in a gilded metal figure of the Archangel Michael, which serves as a vane, 16 ft. in height, but apparently of much smaller dimensions when seen from below. It was executed by Martin van Rode in 1454. The back of the Hotel de Ville dates from the beginning of the 18th century. In the court are two fountains of the 18th cent., each adorned with a river- god. The concierge (fee 1 fr.), who lives in the passage at the back, shows the Interior of the Hotel de Ville (see p. 60). The rooms and corridors contain several pictures (Stallaert ^ Death of Eberhard T'serclaes, 1388, a magistrate of Brussels ^ Goomcms^ Defeat of the Huns at Chalons, 451), and portraits of former sovereigns, among whom are Maria Theresa, Francis II., Joseph II., Charles VI., Charles II. of Spain, etc. ^ in the following passage, the Emperor Charles V., Philip III. of Spain, Philip IV., Archduke Albert and his consort Isabella, Charles II. of Spain, and Phi- lip II., the latter in the robe of the Golden Fleece. In the spacious Salle du Conseil Counts Egmont and Hoorne were condemned to death in 1538. The abdication of Emp. Charles V. is sometimes stated also to have taken place in this saloon (1558), but it is well ascertained that the scene of that event was the old ducal palace in the Place Royale, burned down in 1731. The abdication is represented on a piece of ta- pestry in the council-hall; in front is Charles V., beside him Mary of Hungary, before him Philip II., in the background Alva in a red cloak. Another piece represents the Coron-ation of Emp. Charles VI. at Aix-la- Chapelle; on the other side is the 'joyeuse entrde' of Philippe le Bon of Burgundy, i. e., the conclusion of the contract of government between the sovereign, the clergy, the nobility, and the people. On an adjacent table is the key of the city, of chased and gilded copper, which was pre- sented to the regent on that occasion. The ceiling-paintings represent mythological subjects by Janssens (ITth cent.). — The large Banquet- Hall, 65 yds. long and 27 yds. wide, recently decorated with beautifvil Oothic carved oak, also deserves notice. — The Salle d'Attente contains views of old Brussels, before the construction of the present new and spacious streets (pp. 84, 85), l)y /. B. van Moer, 1873. The Tower (the key of which is generally entrusted by the con- cierge to one of the porters in the neighbourhood, 1 fr.) commands an admirable survey of the city and environs. To the S. the Lion Monument on the Field of Waterloo is distinctly visible in clear weather. The best hour for the ascent is about 4 p.m. Baedeker's Belgium and Holland. 5th Edit. 6 82 Route 11. BRUSSELS. Guild Houses. [Opposite tlie Hotel de Yille is the Halle au Pain (PI. 35), better known as tlie Maison du Rol , formerly the seat of some of the government authorities, and lately demolished for the sake of a complete restoration. Counts Egmont and Hoorne passed the night previous to their execution here , and are said to have been conveyed directly from the balcony to the fatal block by means of a scaffolding, in order to prevent the possibility of a rescue by the populace. The building w^as erected in 1514-25, partly in the Clothic and partly in the Renaissance style, and rebuilt in 1767 in egregiously bad taste. Beneath the statue of the Virgin is the inscription, 'A peste, fame et hello libera nos Maria pacis\ com- posed for the statue of the Infanta Isabella in 1624. In front of the Maison da Roi stood formerly the Monument of Counts Egmont and Hoorne , which has been temporarily removed. It was erected at the expense of the city and the government in 1864, to the memory of these illustrious patriots, who were ' unjustly executed by the Duke of Alva, 5th June, 1568', as the French and Flemish inscriptions record. The lower part is a fountain, above wiiich rises a square pedestal in the later Gothic style. The two small bronze figures on the right and left are soldiers of the corps commanded by the two counts. The colossal figures in bronze above represent Egmont and Hoorne on their way to execu- tion. The whole was designed by the eminent sculptor Fraikin\. — The *Guild Houses in the Grande Place are well worthy of notice. They were re-erected at the beginning of last century, after having been seriously damaged during the bombardment by Louis XIV. in 1695. The old hall of the Guild of Butchers on the S. side is indicated by a swan. The Hotel des Brasseurs, recently restored with considerable taste, bears on its gable an equestrian statue of Duke Charles of Lorraine (p. 69), designed in 1854 by Jaquet. On the W. side is the Maison de la Louve, or Hall of the Archers, which derives its name from a group representing Romulus and Remus with the she-wolf. To the left of the Louve is the Hall of the Skippers, the gable of which resembles the stern of a large vessel, with four protruding cannon ; to the right of the Louve, the Hall of the Carpenters (1697) , richly adorned with gilding. The extensive building occupying almost the entire S.E. side of the square was formerly the public Weighing House. At the back of the Hotel de Yille, about 200 yds. to the S.W., at the corner of the Rue du Chene and the Rue de FEtuve, stands a diminutive figure, one of the curiosities of Brussels, known as the Mannikin Fountain (PI. 38; C, 4). He is a great favourite with the lower classes, and is invariably attired in gala-costume on all great occasions. When Louis XV. took the city in 1747, the mannikin wore the white cockade, in 1789 he was decked in the colours of the Brabant Revolution, under the French regime he adopted the tricolours, next the Orange colours, and in 1830 the blouse of the Revolutionists. He now possesses eight different suits, each of which is destined for a particular festival, and even boasts of a valet, who is appointed by the civic autliorities and receives a salary of 200 fr. per annum. 8ome years ago an old lady bequeathed him a legacy of 1000 Martyrs' Monument. BRUSSELS. 11. Route. 83 llorius. In 1817 the figure was carried off by sacrilegious hands, and his disappearance was regarded as a public calamity. The perpetrator of the outrage, however, was soon discovered, and the mannikin reinstated amid general rejoicings. In the Rue Marche - aux-Herbes, near the N.E. corner of the Grande Place, is the entrance to the Galerie St. Hubert, or Passage (PI. 27; D, 3), constructed in 1847, a spacious and attractive arcade with tempting shops (234 yds. in length, 26 yds. in width, and 59 ft. in height). It connects the Marche-aux-Herbes with the Rue des Bouchers (Galerie de la Reine), and farther on with the Rue de I'Ecuyer (Galerie du Roi). In the afternoon between 1 and 3 o'clock , especially in w'et weather, the passage is a favourite promenade of the exquisites of Brussels, while at a later hour the working-classes flock to it to rejoice in the brilliant gaslight, and to gaze admiringly at the shop-windows. (Cafes, shops, and theatre, pp. 58, 59.) About 150 yds. higher, in the Rue de la Madeleine, and also in the Rue Duquesnoy and Rue St. Jean, are entrances to the Marche Convert (PI. D, 4), an extensive market-place for fruit, vegetables, and poultry, erected in 1848. Like the Halles Centrales (p. 85), it is well worth visiting in the early part of the morning. A gallery in the interior, chiefly occupied by dealers in flowers and game , runs round the whole building. Adjoining this gallery is another occupied by dealers in second-hand books. In the busy Place l>e la Monnaie rises the royal TheS-tre de la Monnaie (PI. 65), with a colonnade of eight Ionic columns, erected in 1817. The interior was remodelled after a lire in 1855, and can contain 2000 spectators. The basrelief in the tympanum , repre- senting the Harmony of Human Passions, by Simonis, dates from 1854. — Opposite the theatre is the Hotel de la Monnaie^ or Mint, which will shortly be converted into a General Post Office. — Cafes^ see p. 58. From the Place de la Monnaie the handsome Rue Neuye (PL D, 2), one of the chief business streets of Brussels, leads towards the N.E. in a straight direction to the Station du Nord. In this street, to the right, is the new Galerie du Commerce (PL D, 2), a glass arcade, similar to the Galerie St. Hubert (see above), but smaller. Turning to the left at the end of the Galerie du Commerce , or following the next side-street to the right in the Rue Neuve, we reach the Place des Martyrs , built by Maria Theresa , in the centre of which rises the Martyrs* Monument (PL 38 ; D,2), erected in 1838 to the memory of the Belgians who fell in Sept., 1830, while fighting against the Dutch. It represents liberated Belgium engraving on a tablet the eventful days of September (23rd to 26th); at her feet a recumbent lion, and broken chains and fetters. At the sides are four reliefs in marble : in front the grateful nation ; on the right the oath taken in front of the Hotel de Yille at the beginning of the contest; on the left the conflict in the Park (p. 64); at the back the 6* 84 Route 11. BRUSSELS. Exchange. consecration of tlie tombs of the fallen. The monument was de- signed and executed by W. Geefs. The marble slabs immured in the sunken gallery record the names of the 'martyrs', 448 in number. An entirely modern feature in the lower part of the city is formed by the *New Boulevards ( PI. B, C, D, 2-5), which lie to the W. of the Rue Neuve and the Place de la Monnaie , and extend from the Boulevard duMidi (near the Station du Midi) to the Boule- vard d'Anvers (near the Station du Nord), traversing the Senne, now vaulted over and intersecting the whole town. The construc- tion of the street and the covering in of the bed of the Senne, for a distance of 1 Y3 M., were carried out by an English company. The names of the boulevards are Boulevard du Nord^ Boulevard de la Senne, Boulevard Central, and Boulevard du Hainaut. The pleasing variety of the handsome buildings with which they are flanked is in great measure owing to an offer by the municipal authorities of premiums, varying from 20,000 fr. downwards, for the twenty finest facades. The Boulevard du Nord (PI. D, 2) and the Boulevard de la Senne (PI. D, 2) meet at the beginning of the Boulevard Central, by the Church of the Augustinians (^Temple des Augustins; PI. 73), erected in the 17th cent. , and now serving temporarily as the Bureau central des posies. — The tall and narrow house, to the N.E. of the church, N. 1, Boulevard du Nord, built by Beyaert in 1874, received the first prize in the above named competition. In the centre of the city, between the Boulevard Central (PI. C, 3) and the Rue des Fripiers, rises the *New Exchange {Bourse de Commerce-, PI. 6), an imposing edifice in the style of Louis XIV., designed by Suys. Its vast proportions and rich orna- mentation combine to make the building worthy of being the com- mercial centre of an important metropolis. The principal fa(;ade is embellished with a Corinthian colonnade , to which a flight of twenty steps ascends. On each side is an allegorical group by J. Jaquet. The reliefs in the tympanum, also by Jaquet, represent Belgium with Commerce and Industry. The two stories of the building are connected by means of Corinthian pilasters and col- umns. Around the building, above the cornice, runs an attic story , embellished with dwarfed Ionic columns , and forming a curve on each side between two pairs of clustered columns. The effect is materially enhanced by means of numerous sculptures. The principal hall, unlike that of most buildings of the kind, is cruciform (47 yds. by 40 yds.), and covered with a low dome (about 150 ft. high) in the centre, borne by twenty-eight columns. At the four corners of the building are four smaller saloons. Two marble staircases ascend to the gallery, which affords a survey of the principal hall , and to the other apartments on the upper floor. The cost of the whole structure has amounted to 4 million francs. Botanic Garden. BRUSSELS. 11. Route. 85 On the W. side of the Boulevard Central are the recently finished Halles Centrales (PI. C, 3), a covered provision-market resembling its namesake at Paris , but on a mucli smaller scale. A morning walk here will be found interesting. In approaching from the Boulevard Central through the Rue Gre'try, we have the meat, poultry, and vegetable market on the left, and the fish-market on the right. At the end of the latter the baskets of fish arriving fresh from the sea are sold by auction to the retail - dealers (comp. p. 5). The auctioneer uses a curious mixture of French and Flemish, the tons being named in French and all intermediate numbers in Flemish. French alone is used at the auctions in the poultry and vegetable market. Beyond the Halles rises the Church of Ste. Catherine (PI. 15; C, 2), on the site of the old Bassin de Ste. Catherine, designed by Poelaert, in the French transition style from Gothic to Renaissance. The Egllse du Beguinage (PI. 13) in the vicinity contains a colossal statue of John the Baptist by Puyenbroek, and an entomb- ment by Otto Venius. The old ^Boulevards, or ramparts, were levelled about the beginning of the century and converted into pleasant avenues, which have a total length of 41/2 miles. They are thronged with carriages, riders, and walkers on tine summer evenings, and present a gay and animated scene, especially on the N. and E. sides. The portion between the Observatoire (PI. 43 ; F, 2) and the Place du Trone (PI. E, 5), adjoining the palace-garden, is also much fre- quented from 2.30 to 4 p.m. (chairs 5-10 c). The traveller who has a few hours at command is recommended to walk round the whole town by the Boulevards , a pleasant circuit occupying 11/2-2 hrs., which, however, he may shorten by availing himself of the tram- way on the S. and W. sides. The French language and manners will be observed to predominate^^on the N. and E. sides, while most of the frequenters of the lower Boulevards belong to the poorer classes and speak Flemish. Immediately to the E. of the Station du Nord, on the right, rises the Hospital of St. John (PI. 29; E, 2), completed in 1843, an imposing structure, admirably fitted up, and capable of accommodat- ing 600 patients (admission 9-5 o'clock, 1 fr. ; guide On the opposite slopes are the grounds of the Botanic Garden (PI. E, 23, with hothouses (erected in 1826). Admission, see p. 60. At the upper end of the Botanic Garden the Boulevard is in- tersected by the Rue Royale (p. 66), at the N.E. end of which rises the handsome new Church of St. Mary (PI. 20 ; F, 1), an octagonal edifice in the Romanesque style , designed by Overstrae- teuj but not yet completed. The dome and each angle of the 86 Route IJ. BRUSSELS. Musee Wiertz. octagon are surmounted by slender open towers. Charming view hence of the Valley of the Senne. — Beyond the church is a covered market. On the right side of the Boulevard , immediately above the Porte Rue Royale, is the Chapelle de VObservatoire, a small Pro- testant church, which is used by a French and an English congre- gation. • — To the right, higher up, lies the circular Place des Bar- mcADES (PI. F, 2), adorned with a statue of the anatomist Vesalius (b. at Brussels in 1514), by Geefs. Extensive alterations are being made at present in the quarter of the town beyond. — On the op- posite side of the Boulevard rises the Observatory (PI. 43), erected in 1837, and presided over by Quetelet (d. 1874) down to 1873. To the E. of the Boulevards extends the new and handsome, but somewhat monotonous Quartier Leopold. In the heart of it stands the church of St. Joseph (PI. 19 ; F, 4), a Renaissance building of 1849 , by Suys. The facade and the two conspicuous towers are constructed of blue limestone. The altar-piece is a Holy Family by Wiertz. On the E. side of the Quartier Leopold lies the beautiful *Zoological Garden (PI. G, 5) , entered from the Rue Belliard (admission 1 fr., aquarium 1/2 ^^-l- Concerts several times weekly in summer. Skating-rink. Good restaurant in the garden. (Tram- way, comp. Plan of Brussels.) On an eminence near the Zoological Garden and the Station du Luxembourg rises the '^Musee Wiertz (PI. 42; G, 5; entrance in the Rue Vautier) , a building in the form of an artiticial ruin, surrounded with grounds. It was formerly the country residence and studio of the painter of that name (b. 1806 ; d. 1865), after whose death it was purchased by government (admission, see p. 60). It contains almost all the productions of this highly - gifted but eccentric master, who could not be induced to dispose of his works. Interesting catalogue , containing also a sketch of the artist's life, We first enter two rooms containing designs and sketches in colours. To tlie right is the principal saloon, which contains seven large pictures : 4. One of the great of the earth (Polyphemus devouring the companions of Ulysses), painted in 1860^ 8. Contest of good with evil, 1842^ 52. The last cannon, 1855^ 1. Contest for the body of Patroclus, 1845 •, 14. The beacon of Golgotha^ 16. The triumph of Christ, 1848. The following are smaller works: 26. Vision of a beheaded man-, 25. Lion of Waterloo^ 24. Orphans, with the inscription 'Appel a la bienfaisance ' 5. Forge of Vulcan (1855?);, 21. Hunger, Madness, and Crime-, in the corner, 94. Cu- riosity; 19. Eesuscitation of a person buried alive; 22. The suicide; 95. Concierge; 26. 'Le soufflet d'une dame Beige'; 28. Napoleon in the infernal regions; 76. Portrait of the painter, etc. In the open space in front of the Station du Luxembourg (PI. 57), a Statue of John Cockerill (d. 1840) , the founder of the iron-works of Seraing (p. 170), was erected in 1872. The lofty limestone pedestal is surrounded by figures of four miners. The inscription is: travail, intelligence'. Laektn . BRUSSELS. 11. Route. 87 The Rue du Luxembourg leads direct to the Boulevards. lu the latter, farther to the S.W., Is the Place de Namur, which is embellished with a monumental Fountain (PI. E, 5) and a bust of M. de Brouckere, an able burgomaster of Brussels (d. 1860), erected on the site of the former gate (PI. E, 5). — A little farther on , the Avenue du Bois de la Cambre (p. 88) diverges to the left. Then, to the right, is the Hospice Pacheco (PI. D, 6), founded in 1713 by Isabella Desmares, widow of Don Aug. Pacheco, for neces- sitous widows and spinsters above 50 years old. The present building dates from 1835. — Further to the right the Gendarmes' Barracks. Finally, on the left, is the Porte de Hal Q^. 79). The Boulevards now turn abruptly to the N.W. On the right stands the Blind Asylum of the Philanthropic Society of Brussels (PI. 34 ; C, 6), a brick Gothic building with a clock-tower, designed by Cluysenaer (1858]. On the left is the Cite Fontainas (PI. B, 6), an asylum for teachers and governesses unprovided with situations. — Farther on is the Station du Midi (PI. A, 5, 6), whence diverge the broad Avenue du Midi, the continuation of which is the Rue du Midi, ending behind the Bourse (p. 84), and the Boulevard du Hainaut (p. 84). — [At the N. end of the Avenue du Midi is the Place Rouppe (PI. C,4), embellished with a fountain monument to N.J. Rouppe, burgomaster of Brussels from 1830 to 1838, by Fraikin]. — Farther along the Boulevards stands the Ecole Veterinaire (Pi. 12), and beyond it are the extensive Abattoirs (slaughter- houses, PI. 1). Near the latter begins the Canal, 45 M. in length, which connects Brussels with the Sambre near Charleroi. Finally, the spacious Caserne du Petit Chateau and the Entrepot Boyal (PI. 25 ; C, 1), or custom-house, with its spacious warehouses. Near the Boulevard d'Anvers (PI. C, D, 1), and immediately ad- joining the custom-house, is the beginning of the Allee Verte, a double avenue of limes extending along the bank of the Willebroeck Canal, which connects Brussels with Malines and Antwerp. The trees were planted in 1707, and were considerately spared by Mar- shal Saxe in 1746 during the siege of Brussels in the War of the Austrian Succession. This avenue was formerly the most fashion- able promenade at Brussels, but is now completely deserted. Two tramway lines , starting from the Boulevard Central by the new Bourse, convey passengers to Laeken. At the end of the All^e Verte a bridge crosses the canal, the road beyond which leads in a straight direction to Laeken, a suburb of Brussels with 17,800 inhab., and a royal chateau. The road leads to the new Church of St. Mary, a bizarre edifice, designed by Poelaert. The interior is finely proportioned. The place of the choir is occupied by an octagonal structure , forming the royal burial vault and containing the remains of Leopold I. (d. 1865) and his Queen Louise (d. 1850). 88 Roiiie 11, BRUSSELS. The clmr(^hyard of Laeken has sometimes been styled the Ph'e- Lachaise of Brussels ; but it will bear no comparison with the great cemetery at Paris, either in extent or in the interest of the mon- uments. A small chapel here contains the tomb of the singer Malibran (d. 1836), adorned with a statue in marble by Geefs, and several other monuments by the same eminent sculptor. The Ch&teau (accessible during the absence of the royal family), ^/^M. to the N. of the church, was erected from a design by Duke Albert of Saxony when Austrian stadtholder of the Netherlands in 1782. In 1802 Napoleon purchased it for the Empress Josephine, and occasionally occupied it himself; and it was here in 1811 that he planned his Russian campaign. In 1815 the chateau became the property of the Crown. It contains many objects of art. The park and gardens deserve a visit. The pleasantest promenade in the environs of Brussels is the *Bois de la Cambre, on the S. E. side, being a part of the Foret de Soignes, converted into a beautiful park resembling the Bois de Boulogne of Paris , under the auspices of M. Keilig, a landscape gardener. It covers an area of 450 acres, and is reached from the Boulevards by the broad and handsome Avenue Louise (PI. D, E, 6), or Avenue du Bois de la Cambre, l'/2 M. in length, which is flanked by a number of handsome new houses. Before the Bois is reached, on the left, is the old Abbaye de la Cambre, below the road, now a military school. A tramway line, starting from the Place du Palais, on the S. side of the park, traverses the Boulevard de Waterloo and leads through the Avenue Louise to the entrance of the park , where there are several caf(^s and restaurants. In the park itself is the 'Laiterie', and farther on, by the small lake, the 'Trianon' restaurant. 12. From Brussels to Charleroi by Luttre. Battle Field of Waterloo. 35 M. Railway in 2-23/4 hrs. ^ fares 3 fr. 95, 2 fr. 95 c., 2 fr. - This line, which has been recently opened, affords a new and convenient route to the Field or Waterloo, especially for a single traveller. Those who merely desire a general view of the battle-field should take the train to Braine VAlleud, whence the hill of the lion is 1 M. distant. The walk described below, from Waterloo to Mont St. Jean, La Haye Sainte , La Belle Alliance , Plancenoit , and back by Hougomont and the Lion Hill to Braine VAlleud, in all 7-8 M., is, however, far more interesting. If the walk be prolonged from Plancenoit to the S. to Genappe, the whole distance will be about 12 M. — A coach leaves Brussels daily (except Sun- days) at 8.30 a.m. for Waterloo, allowing 2-3 hrs. to visit the battle- field, and arrives again in Brussels at 4 p. m. It starts from the Hdtel de Saxe, Rue Neuve 77-79, calling at the principal hotels in the upper town. One-horse carriage from Brussels to Waterloo, 20 fr. two-horse, 30 fr. The train starts from the Station du Midi at Brussels (p. 57), find traverses a pleasant country, passing through numerous cut- tings. StSitions Forest- Stalle, Uccle, Calevoet, a^nd Rhode-St. Genlse. AVATERLOO. 12. Route. 89 91/2 M. Waterloo, celebrated for the great battle of 18th June, 1815, and the head-quarters of the Duke of Wellington from 17th to 19th June. The small village church, erected in 1855, on the Brussels and Charleroi road, ^/^ M. from the station, contains Wellington's bust , by Geefs , and numerous marble slabs to the memory of English officers. One tablet is dedicated to the officers of the Highland regiments, and a few others to Dutch officers. The garden of a peasant (a few paces to the N. of the church) contains an absurd monument to the leg of the Marquis of Anglesea (d. 1854), tlien Lord Uxbridge, the commander of the British cavalry, who immediately after the battle underwent the amputation. The monument bears an appropriate epitaph, and is shaded by a weeping willow. The proprietor of the ground, who uses all his powers of persuasion to induce travellers to visit the spot, derives a considerable income from this source. Battle Field. A visit to Mont St. Jean, the two monuments on the battle-field, tlie Lion, and the farms of La Haye Sainte and Hougomont, occupies 2 hrs. ; to La Belle Alliance and Plancenoit 2 hrs. more. The traveller will, however, obtain a general survey of the field during the first 2 hours. G-uides. The annexed plan and the following brief sketch of the battle will enable the visitor to form a distinct conception of the positions occu- pied by the respective armies without the services of a guide. The usual fee for the principal points of interest is 2fr. ; if the excursion be extended to Plancenoit and the chateau of Frichemont, 3-4 fr. ^ but an agreement should invariably be made beforehand. Relics. Old bullets, weapons, btittons, and other relics are still occa- sionally turned up by the plough, but most of those which the traveller is importuned to purchase are spurious. Inns at Mont St. Jean : Ildtel Mont St. Jean and (to the right where the road to Nivelles diverges from the Namur road) Hdtel des Colonnes, where Victor Hugo is said to have finished his 'Miserables'. On the mound of the Lion, 'Hdtel du Musee^ moderate. Sketch of the Battle. A detailed history of the momentous events of 18th June, 1815, would be beyond the scope of a guide-book; but a brief and impartial outline, with a few statistics derived from the most trustworthy English and German sources, may perhaps be acceptable to those who visit this memorable spot. The ground on which Wellington took up his position after the Battle of Quatre Bras was admirably adapted for a defensive battle. The high road from ^sivelles and Genappe unite at the village of Mont Saint Jean, whence the main route leads to Brussels. In front of the village extends a long chain of hills with gentle slopes, which presented all the advantages sought for by the Allies. The undulating ground behind this range afforded every facility for posting the cavalry and reserves so as to conceal them from the enemy. In this favourable position Wellington was fully justified in hoping at least to hold his own, even against a stronger enemy, until the assistance promised by Bliicher should arrive. The first line of the Allied army, beginning with the right wing (on the W.) was arranged as follows. On the extreme right were placed two bri- gades of the British household troops, consisting of two battalions of Foot- Guards under Gen. Maitland, and two battalions of the Coldstream Guards under Gen. Byng. Next came a British brigade of four battalions under Gen. Sir Colin Halkett, adjoining whom were Kielmannsegge with five brigades of Hanoverians and a corps of riflemen, Col. Ompteda with a bri- gade of the German Legion, and finally Alten's division. The whole of this portion of the line occupied the hills between the Nivelles and Genappe roads. Beyond the latter (i.e., farther to the E.) Kemp was stationed with 90 Route 12. WATERLOO, Sketch of the 28th and 32nd regiments, a battalion of the 79th, and one of the 95th Rifles. Next came Bj^lant with one Belgian and five Dutch battalions, sup- ported by Pack's brigade, posted a short distance in their rear, and consist- ing of the 44th. These four battalions had suffered severely at Quatre Bras and were greatly reduced in number, but their conduct throughout the battle abundantly proved that their discipline and courage were unimpaired. Beyond the Netherlanders were drawn up Besfs Hanoverians and Picton's infantry division, the latter partially composed of Hanoverians under Col. von Vincke. Next to these were stationed Vandeleur's brigade, the 11th, 12th, and 16th Light Dragoons, and finally on the extreme left (to the E.) three regiments of light cavalry, consisting of the 10th and 18th British, and the 1st Hussars of the German Legion. The first line of the Allies was strengthened at various distances by Grant's and Doernberg's cavalry brigades, consisting of three English regi- ments and three of the German Legion respectively, and posted near the Guards and Sir Colin Halkett. Next to them came a regiment of Hussars of the German Legion under Col. Arentschild ; then, fo the E. of the Genappe road, two heavy brigades, the Household and the Union, to sup- port Alten's and Picton's divisions. The former of these brigades was com- posed of the 1st and 2nd Life Guards and the 1st Dragoon Guards under Lord Ed. Somerset ^ the latter of the 1st Royal Dragoons, the Scots Greys, and the Irish Inniskillens, commanded by Gen. Sir W. Ponsonby. Besides the first line and the troops destined to cover it, various other forces were distributed as the circumstances and the formation of the ground required. Thus a brigade under Col. Mitchell, Sir Henry Clinton's division, Du Plafs German brigade, Adam's light brigade, and Halkett's Hanoverians were drawn up on the W. side of the Nivelles Chaussee and near the village of Merbe Braine. Finally the reserve of Brunswickers and Netherlanders, comprising infantry and cavalry, formed a line between Merbe Braine and Mont St. Jean, supported by Lambert's British brigade of three regiments, which had just arrived by forced marches from Ostend. — The artillery, consisting chiefly of British troops, were distributed as occasion required. Every batterv present was brought Into action during the day, and nobly fulfilled its duty. In front of the centre of the Allied army lay the Chateau of Hougo- mont^ which with its massive buildings, its gardens and plantations, formed an admirable point Oi'appui for the defence of the heights above. It was garrisoned by two light companies under Lord Saltoun, and two under Col. Macdonnel, strengthened by a battalion of Nassovians, a comjiany of Hano- verian riflemen, and about 100 men of the German Legion. This point holds a prominent place in the history of the battle, both on account of the fury with which it was attacked by the French, and the heroic and success- ful defence of its occupants. Farther to the left, and nearer the front of the Allies, lay La Haye Sainie , a farm-house which was occupied by 400 men oi" the CTerinan Legion under Major von Baring, but after a noble de- fence was taken by the French. The defence of the farms of Papelotte and La Haye on the extreme left was entrusted to the Nassovian Brigade under Duke Bernard. Napoleon's army was drawn up in a semicircle on the heights to the E. and W. of the farm of Za Belle Alliance , about one mile distant from the Allies. It was arranged in two lines, with a reserve in the rear. The first line consisted of two corps d'armee commanded by Reille and D'Erlon respectively, and flanked by cavalry on either side. One corps extended from La Belle Alliance westwards to the Nivelles road and beyond it, the other eastwards in the direction of the chateau of Frichemont. The second line was composed almost entirely of cavalry. Milhaud's cuiras- siers and the light cavalry of the guards were drawn up behind the right wing , Kellermann's heavy cavalry behind the left. A body of cavalry and a portion of Lobau's corps were also stationed in the rear of the centre, whilst still farther back the imperial guard, consisting of infantry and artillerv, were drawn up in reserve on each side of the chaussee. The Duke of Wellington's army consisted of 67,000 men, 24,000 of whom were British, 25,800 troops of the CTcrman Legion, Hanoverians, the Battle, WATERLOO. 12. Route. 91 Brunswickers, and Nassovians, and about 17,800 Netherlanders- Of these 12,400 were cavalry, 5,600 artillery with 156 guns. — The army brought into the field by Napoleon numbered 71,900 men, of whom 15,700 were cavalry, 7,200 artillery with 246 guns. — Numerically, therefore, the dif- ference between the hostile armies was not great, but it must be borne in mind that no reliance could be placed on the Netherlanders, most of whom fled at an early stage of the battle. The staunch Dvitch troops who formed part of this contingent did their utmost to prevent this das- tardly act, but their efforts were unavailing. Had they formed a separate corps they would have been most valuable auxiliaries, but when mingled with the Belgian troops their bravery was utterly paralysed. Practically, therefore, the Duke's army consisted of barely 50,000 men, composed of four or Ave different elements, and a large porportion of them were raw recruits , whilst the soldiers of Napoleon constituted a grand and admirably disciplined unity, full of enthusiasm for their general , and conlident of victory. The superiority of the French artillery alone was overwhelming. After a wet and stormy night, the morning of the 18th of June gave some promise of clearing, but the sky was still overcast, and rain con- tinued to fall till an advanced hour. The ground, moreover, was so thoroughly saturated that the movements of the cavalry and artillery were seriously obstructed. This was probably the cause of Napoleon's tardiness in attacking the Allies, and of the deliberation with which he spent several of the best hours of the morning in arranging his army with unusual display. It is not known precisely at vi^hat hour the first shots were fired-, some authorities mention 8 o'clock, others half-past eleven or twelve, while the Duke himself, in his published despatch, names ten as the hour of the commencement of the battle. It is, however, probable that the actual fighting did not begin till between eleven and twelve. The first movement on the part of the French was the advance of a division of Reille's corps d'armee under Je'rome Buonaparte, a detach- ment of which precipitated itself against the chateau of Hougomont, and endeavoured to take it by storm, but was repulsed. They soon renewed the attack with redoubled fury, and the tirailleurs speedily forced their way into the enclosure, notwithstanding the gallant resistance made by the Hanoverian and Nassovian riflemen. The British howitzers, however, now began to pour such a deadly shower of shells on the assailants that they were again compelled to retreat. This was but the prelude to a series of reiterated assaults, in which the French skirmishers in over- whelming numbers were more than once nearly successful. Prodigies of valour on the part of the defenders, vigorously seconded by the artillery on the heights, alone enabled the garrison to hold out until the victory was won. Had the French once gained possession of this miniature for- tress, a point of vital importance to the Allies, the issue of the day would probably have been very different. Whilst Hougomont and its environs continued to be the scene of a desperate and unremitting conflict, a second great movement on the part of the French was directed against the centre and the left wing of the Allies. Supported by a cannonade of 72 pieces, the whole of Erlon's corps and a division of Kellermann's cavalry, comprising upwards of 18,000 men, bristled in columns of attack on the heights above La Haye Sainte, pre- senting a magnificent but terrible spectacle. Their object was to storm La Haye Sainte, break through the centre of the Allied army, and attack the left wing in the rear. At the moment when Ney was about to begin the attack , Napoleon observed distant indications of the advance of new columns on his extreme right, and an intercepted despatch proved that they formed a part of the advanced guard of Billow's Prussians, who were approaching from Wavre. The attack was therefore delayed for a short time, and Soult despatched a messenger to Marshal Grouchy, directing him to manoeuvre his troops so as to intercept the Prussians. Owing, however, to a series of misunderstandings, Grouchy was too far distant from the scene of action to be of any service, and did not receive the order till seven in the evening. 92 Route 12. WATERLOO. Sketch of It was about two o'clock when Ney commenced his attack. The four divisions of Erlon's corps moved rapidly in four columns towards the Allied line between La Have Sainte and Smouheu. Papelotte and Smoulien were stormed by Burette's division, but the former was not long maintained by the French. Donzelafs division took possession of the gardens of La Haye Sainte, notwithstanding the brave resistance of a Hanoverian bat- talion, while the two other French divisions, those of Alix and Marcog- net, pressed onwards without encountering any obstacle. Hardly had the two latter opened their fire on Bylant's Netherlandish contingent, when the Belgians were seized with a panic and thrown into confusion. All the eftorts of their officers and the remonstrances of their Dutch com- rades were utterly unavailing to reassure them, and amid the bitter execrations of the British regiments they fairly took to flight. Picton's division, however, now consisting solely of the two greatly-reduced brigades of Pack and Kemp, and mustering barely 3000 men, prepared with un- daunted resolution to receive the attack of the two French divisions, numbering upwards of 13,000 infantry, besides cavalry. The struggle was brief, but of intense fierceness. The charge of the British was irresist- ible, and in a few moments the French were driven back totally dis- comfited. The success was brilliant, but dearly purchased, for the gallant Picton himself was one of the numerous slain. During the temporary con- fusion which ensued among Kemp's troops, who, however, soon recovered their order, the Duke communicated with Lord Uxbridge, who put him- self at the head of Lord Edward Somerset's Household Brigade, consisting of two regiments of Life Guards, the Horse Guards, and Dragoon Guards. Meanwhile, too, a body of Milhaud's cuirassiers had advanced somewhat prematurely to La Haye Sainte and endeavoured to force their way up the heights towards the left centre of the Allied line. These two move- ments gave rise to a conflict of unparalleled fury between the elite of the cavalry of the hostile armies. For a time the French bravely persevered, but nothing could withstand the overwhelming impetus of the Guards as they descended the slope, and the cuirassiers were compelled to fly in wild confusion. Somerset's brigade, regardless of consequences and en- tirely unsupported, pursued with eager impetuosity. At this juncture two columns of the French infantry had advanced on Pack's brigade. The bagpipes yelled forth their war-cry, and the gallant Highlanders dashed into the thickest of the fight, notwithstanding the terrible majority of their enemy. This was one of the most daring exploits of the day^ but the mere handful of Northmen must inevitably have been cut to pieces to a man, had not Col. Ponsonby with the Inniskillens , the Scots Greys, and the Royal Dragoons opportunely flown to the rescue. The cavalry charge was crowned with brilliant success, and the French infantry were utterly routed. Pack's troops now recovered their order, and were re- strained from the pursuit, but Ponsonby's cavalry, intoxicated with suc- cess, swept onwards. The Royals encountered part of Alix's division, which was advancing towards Mont St. Jean, where a gap had been left by the flight of the Belgians. A fearful scene of slaughter ensued, and the French again endeavoured to rally. This charge was simultaneous with that of Lord Uxbridge on the cuirassiers, as mentioned above. At the same time the Greys and Inniskillens, who were in vain commanded to halt and rally, madly prosecuted their work of destruction. Somerset's and Ponsonby's cavalry had thus daringly pursued their enemy until they actually reached the French line near Belle Alliance. Here, however, their victorious career was checked. A fresh body of French cuirassiers and a brigade of lancers were put in motion against them, and they were compelled to retreat with considerable confusion and great loss. At this crisis Vandeleur's Light Dragoons came to the rescue, and the tide of the conflict was again turned; but the French, whose cavalry far outnumbered those of the Allies, again compelled the British to abandon the unequal struggle. Retreat was once more inevitable, and the loss immense, but the French gained no decided advantage. Vandeleur himself fell, and Ponsonby was left on the field dangerously wounded. While the centre and left of the Allied line were thus actively en- the Battle. WATERLOO. 12. Route. 93 gaged, the right was not suflfered to repose. At a critical juncture^ when Lord Saltoun and his two light companies were suffering severely in the defence of the orchai'd of Hougomont, and had heen reduced to a mere handful of men, a battalion of Guards vmder Col. Hepburn was sent to their relief and drove off the French tirailleurs, whose loss was enormous. The chateau had meanwhile taken fire, and the effects of the conflagration were most disastrous to the little garrison, but most fortunately for the sufferers the progress of the flames were arrested near the doorway where a crucifix hung. The sacred image itself was injured, but not destroyed, and to its miracul(«)us powers the Belgians attributed the preservation of the defenders. There was now a pause in the musketry fire, but the cannonade on both sides continued with increasing fury, causing frightful carnage. Erlon's and Reille's corps sustained a loss of nearly half their numbers, and of the former alone 3000 were taken prisoners. Nearly 40 of the French cannon were moreover silenced, their gunners having been slain. Napoleon now determined to make amends for these disasters by an overwhelming cavalry attack, while at the same time the infantry divisions of Jerome and Foy were directed to advance. Milhaud's cuiras- siers and a body of the French Guards, 40 squadrons in all, a most mag- nificent and formidable array, advanced in three lines from the French heights, crossing the intervening valley, and began to ascend towards the Allies. During their advance the French cannonade was continued over their heads, ceasing only when they had nearly attained the brow of the opposite hill. The Allied artillery poured their discharge of grape and canister against the enemy with deadly effect, but without retarding their progress. In accordance with the Duke's instructions, the artillerymen now retreated for shelter behind the line ^ the French cavalry charged, and the foremost batteries fell into their possession. The Allied infantry, Germans as well as British, had by this time formed into squares. There was a pause on the part of the cavalry, who had not expected to find their enemy in such perfect and compact array ^ but after a momentary hesitation they dashed onwards. Thus the whole of the cuirassiers, fol- lowed by the lancers and chasseurs swept through between the Allied squares, but without making any impression on them. Lord Uxbridge, with the fragments of his heavy cavalry , now hastened to the aid of the infantry, and drove the French back over the hill; but his numbers were too reduced to admit of his following up this success, and before long the French, vigorously supported by their cannonade, returned. Again they swept past the impenetrable squares, and again all their efforts to break them were completely baffled, while their own ranks were terribly thinned by the fire of the undaunted Allies. Thus foiled, they once more abandoned the attack. Donzelat's infantry had meanwhile been advancing to support them, but seeing this total discomfiture and retreat, they too retired from the scene of action. The Allied lines were therefore again free, and the cannonade alone was now continued on both sides. After this failure, Napoleon commanded Kellermann, with his dragoons and cuirassiers, to support the retreating masses, and Guyot's heavy cavalry of the Guards advanced with the same object. These troops, con- sisting of 37 fresh squadrons, formed behind the shattered fragments of the 40 squadrons above mentioned, and rallied them for a renewed attack, and again the French line assumed a most threatening and imposing aspect. Perceiving these new preparations, the Duke of Wellington con- tracted his line so as to strengthen the Allied centre, immediately after which manoeuvres the French cannonade burst forth with redoubled fury. Again a scene precisely similar to that already described was re-enacted. The French cavalry ascended the heights, where they were received with a deadly cannonade, the gunners retired from their pieces at the latest possible moment, the French rode in vast numbers through the squares, and again the British and German infantry stood immovable. The cavalry then swept past them towards the Allied rear, and here they met with partial success, for a body of Netherlanders whom they had' threatened at once began to retreat precipitately. As in the earlier part of the da,y, Lord Uxbridge flew to the rescue with the remnants of his cavalry, 94 Roiite 12. WATERLOO. Sketch of vigorously seconded by Somerset and Granf, and again the French liorse- men were discomfited. Lord Uxbridge now ordered a brigade of Belgian and Dutch carbineers, v/ho had not as yet been in action, and were stationed behind Mont St. Jean, to charge the French cavalry who had penetrated to the allied rear; but his commands were disregarded, and the Netlierlanders took to flight. A body of Hussars of the German Legion, however, though far outnumbered by their enemy, gallantly charged them, but were compelled to retreat. The battle-field at this period presented a most remarkable scene. Friends and foes, French, German, and British troops, were mingled in apparently inextricable con- fusion. Still, however, the Allied squares were unbroken, and the French attack, not being followed up by infantry, was again a failure. The assail- ants accordingly^, as before, galloped down to the valley in great confusion, after having sustained some disastrous losses. Lord Uxbridge attempted to follow up this advantage by bringing forward a fresh regiment of Hanoverian Hussars, but he was again doomed to disappointment; for the whole troop, after having made a pretence of obeying his command, wheeled round and tied to Brussels, where they caused the utmost con- sternation by a report that the Allies were defeated. During the whole of this time the defence of Hougomont had been gallantly and successfully carried on, and Du Plat with his Briinswickers had behaved with undaunted courage when attacked by French cavalry and tirailleurs in succession. The brave general himself fell , but his troops continued to maintain their ground, whilst Adam's Brigade ad- vanced to their aid. Overwhelming numbers of French infantry, how- ever, had forced their way between them, and reached the summit of the hill, threatening the right wing of the Allies with disaster. At this juncture the Duke at once placed himself at the head of Adam's brigade and commanded them to charge. The assault was made with the utmost enthusiasm, and the French were driven from the heights. The entire Allied line had hitherto held its gr(mnd, and Hougomont proved impreg- nable. Napoleon therefore directed his efforts against La Haye Sainte, a point of the utmost importance, which was bravely defended by Major von Baring and his staunch band of Germans. Ney accordingly ordered Do^zelafs division to attack the miniature fortress. A furious cannonade opened ui)on it was the prelude to an attack by overwhelming numbers of tirailleurs. The ammunition of the defenders was speedily exhausted, the buildings took fire, and Baring with the utmost reluctance directed the wreck of his detachment to retreat through the garden. With heroic bravery the major and his gallant officers remained at their posts until the French had actually entered the house, and only when farlher resist- ance would have been certain death did they finally yield (see p. 90) and retreat to the lines of the Allies. After this success, the French pro- ceeded to direct a similar concentrated attack against Hougomont, but in vain, for arms and ammunition were supplied in abundance to the little garrison, wliilst the cannonade of the Allies was in a position to render them efficient service. La Haye Sainte, which was captured between 5 and 6 o'clock p.m., now became a most advantageous point cfappui for the French tirailleurs, in support of whom Ney, during upwards of an hour, directed a succession of attacks against the Allied centre, but still with- out succeeding in dislodging or dismaying the indomitable squares. Their numbers, indeed, were fearfully reduced, but their spirit was unbroken. There was, moreover, still a considerable reserve which had not yet been in action, although perhaps implicit reliance could not be placed on their steadiness. It was now nearly 7 o'clock p.m., and the victory on which the French had in the morning^ confidently reckoned was entirely un- achieved. Meanwhile Bliicher, with his gallant and indefatigable Prussians, whose timely arrival, fortunately for the Allies, prevented Napoleon from employing his reserves against them, had been toiling across the wet and spongey valleys of St. Lambert and the Lasne towards the scene of action. The patience of the weary troops was well-nigh exhausted. ' We can go no farther', they frequently exclaimed. 'We mi($t\ was Bliicber's reply. the Buttle. WATERLOO. /2. Route. 95 ' I have given Wellington my word, and you won't make me break it ! It was about 4.30 p.m. wlien the first Prussian battery opened its fire from the heights of Frichemont, about 2i|4 miles to the S.E. of the Allied centre, whilst at the same time two cavalry regiments advanced to the attack. They were first opposed by Domont's cavalry division, beyond which Lobau's corps .approached their new enemy. One by one the dif- ferent brigades of Billow's corps arrived on the field between Frichemont and Planchenois. Lobau stoutly resisted their attack, but his opponents soon became too powerful for him. By 6 o'clock the Prussians had 48 guns in action, the balls from which occasionally reached as far as the Genappe road. Lobau was now compelled to retreat towards the vil- lage of Planchenois, a little to the rear of the French centre at Belle Alliance. This was the juncture, between 6 and 7 o'clock, when Ney was launching his reiterated but fruitless attacks against the Allied centre, 2i|4 miles distant from this point. Napoleon now despatched eight bat- talions of the guard and 24 guns to aid Marshal Lobau in the defence of Planchenois, where a sanguinary conflict ensued. Hitler's brigade en- deavoured to take the village by storm, and succeeded in gaining posses- sion of the churchyard, but a furious and deadly fusillade from the houses compelled them to yield. Reinforcements were now added to the combat- ants of both armies. Napoleon sent four more battalions of guards to the scene of action, while fresh columns of Prussians united with Killer's troops and prepared for a renewed assault. Again the village was taken, and again lost, the French even venturing to push their way to the vicinity of the Prussian line. The latter, however, was again reinforced by Tip- pelskirch's brigade, a portion of which at once participated in the struggle. About 7 o'clock Zieten arrived on the field, and united his brigade to the extreme left of the Allied line, which he aided in the contest near La Haye and Papelotte. Prussians continued to arrive later in the evening, but of course could not now influence the issue of the battle. It became apparent to Napoleon at this crisis that if the Prussians succeeded in capturing Planchenois , while Wellington's lines continued steadfast in their position, a disastrous defeat of his already terribly reduced army was inevitable. He therefore resolved to direct a final and desperate attack against the Allied centre, and to stimulate the flagging energies of his troops caused a report to be spread amongst them that Grouchy was ap- proaching to their aid, although well knowing this to be impossible. Napoleon accordingly commanded eight battalions of his reserve Guards to advance in two columns, one towards the centr ' of the allied right, the other nearer to Hougomont , while they were supported by a reserve of two more battalions, consisting in all of about 5000 veteran soldiers, who had not as yet been engaged in the action. Between these columns were the remnants of Erlon's and Reille's corps, supported by cavalry ^ and somewhat in advance of them Donzelat's division was to advance. Mean- while the Duke hastened to prepare Ihe wreck of his army to meet the attack. Du Plat's Bruns wickers took up their position nearly opposite La Haye Sainte, between Halkett's and Alten's divisions. Maitland's and Adam's brigades were nominally supported by a division of Nether- landers under Gen. Chasse, while Vivian with his cavalry quitted the extreme left and drew up in the rear of Kruse's Nassovians, who had already suffered severely, and now began to exhibit symptoms of wa- vering. Every available gun was posted in front of the line , and the orchard and plantations of Hougomont were strengthened by reinforce- ments. The prelude to the attack of the French was a renewed and furious cannonade, which caused frightful havoc among the Allies. Don- zelat's division then advanced in dense array fi'om La Haye Sainte, in- trepidly pushing their way to the very summit of the height on which the Allies stood. At the same time several French guns supported by them were brought within a hundred yards of the Allied front, on which they opened a most murderous cannonade. Kielmannsegge's Hanoverians suffered severe loss, the wreck of Ompteda's German brigade was almost annihilated, and Kruse's Nassovians were only restrained from taking to flight by the efforts of Vivian's cavalry. The Prince of Orange then ral- 96 Route 1t>. WATERLOO. Sketch of lied the Nassovians and led them to the charge, bat they were again driven back, and the Prince himself severely wounded. Du Plat's Brunswickers next came to the rescue and fought gallantly, but with no better result. The Duke, however, rallied them in person, and the success of the French was brief. At the same time the chief fury of the storm was about to burst forth farther to the right of the Allies. The Imperial Guard, com- manded by the heroic i^ey, Friant, and Michel, and stimulated to the ut- most enthusiasm by an address from Napoleon himself, formed in threaten- ing and imposing masses on the heights of Belle Alliance, and there was a temporary lull in the French cannonade. The two magnificent columns, the flower of the French army, were now put in motion, one towards Hougomont and Adam's brigade, the other in the direction of Maitland and his Guards. As soon as the Guards had descended from the heights, the French batteries recommenced their work of destruction with terrible fury and precision, but were soon compelled to desist when they could no longer fire over the heads of their infantry. The latter had nearly attained the summit of the heights of the Allies, when the British gunners again resumed their work with redoubled energy, making innumerable gaps in the ranks of their assailants. Ney\s horse was shot under him, but the gallant marshal continued to advance on foot ; Michel was slain, and Friant dangerously wounded. Notwithstanding these casualties, the Guards gained the summit of the hill and advanced towards thai part of the line where Maitland's brigade had been ordered to lie down behind the ridge in the rear of the battery which crowned it. The Duke commanded here in person at this critical juncture. The French tirailleurs were speedily swept away by showers of grape and canister, but the column of French veterans continued to advance towards the apparently unsupported battery. At this moment the Duke gave the signal to Maitland, whose Guards in- stantaneously sprang from the earth and saluted their enemy with a fierce and murderous discharge. The ctfect was irresistible, the French column was rent asunder and vainly endeavoured to deploy ; Maitland and Lord Saltoun gave orders to charge, and the British Guards fairly drove their assailants down the hill. — Meanwhile the other column 'of the Imperial Guard was advancing farther to the right, although vigorously opposed by the well-sustained fire of the British artillery, and Maitland\s Guards returned rapidly and without confusion to their position to pre- pare for a new emergency. By means of a skilful manoeuvre. Col. Col- borne, with the 52nd, 71st, and 85th now brought his forces to bear on the flank of the advancing column, on which the three regiments simul- taneously poured their fire. Here, too, the British arms were again suc- cessful, and frightful havoc was committed in the French ranks. A scene of indescribable confusion ensued, during which many of Chasse/s Nether- landers in the rear took to flight, knowing nothing of the real issue of the attack. At the same time Maitland and his Guards again charged with fierce impetuosity from their ' mountain throne \ and completed the rout of this second column of the Imperial Guard. In this direction, therefore , the fate of the French was sealed , and the Allies were tri- umphant. Farther to the left of the Allied line, moreover, the troops of Donzelat, Erlon, and Reille were in the utmost confusion, and totally un- able to sustain the conflict. On the extreme left, however, the right wing of the French was still unbroken, and the Young Guard valiantly defended Planchenois against the Prussians, who fought with the utmost bravery and perseverance notwithstanding the fearful losses they were sustain- ing. Lobau also stoutly opposed Billow and his gradually increasing corps. Napoleon's well-known final order to his troops — ' Tout est per- du ! Sauve qui peut ! ' was wrung from him in his despair on seeing his Guard utterly routed, his cavalry dispersed, and his reserves consumed. This was about 8 o'clock in the evening, and the whole of the Allied line, with the Duke himself among the foremost, now descended from their heights, and, notwithstanding a final attempt at resistance on the part of the wreck of the Imperial Guard, swept all before them, mounted the enemy's heights, and even passed Belle Alliance itself. Still the battle, raged fiercely at and around Planchenois, but shortly after 8 o'clock the the Battle. WATERLOO. 12. Route. 97 gallant efforts of the Prussians were crowned with success. Planchenois was captured, Lobau and the Young Guard defeated after a most obstinate and sanguinary struggle, the French retreat became general, and the vic- tory was at iength completely won. Xot until the Duke was perfectly assured of this did he finally give the order for a general halt, and the Allies now desisted from the pursuit at a considerable distance beyond Belle Alliance. On his way back to Waterloo, Wellington met Bliicher at the Maison Rouge, or Maison du Roi, not far from Belle Alliance, and after mutual congratulations both generals agreed that they must advance on Paris without delay. Bliicher, moreover, many of whose troops were comparatively fresh, undertook that the Prussians should continue the pursuit, a task of no slight importance and difficulty, which Gen. Gneise- nau most admirably executed, thus in a great measure contributing to the ease and rapidity of the Allied march to Paris. So ended one of the most sanguinary and important battles which history records, in the issue of which the whole of Europe was deeply interested. With the few exceptions already mentioned, all the troops concerned fought with great bravery, and many progidies of valour on the part of regiments, and acts of daring heroism by individuals, are on record. The loss of life on this memorable day was commensurate with the long duration and fearful obstinacy of the battle. Upwards of 50,000 soldiers perished , or were 7iors de combat , whilst the suflerings of the wounded baffle description. The loss of the Allies (killed, wounded, and missing) amounted to 11,426 men. Of these the British alone lost 6932, including 456 officers ; the German contingents 4494, including 246 officers. The total loss of the Prussians was 6682 men, of whom 223 were officers. The ISTetherlanders estimated their loss at 4000 from the 15th to 18th June. The loss of the French has never been ascertained with certainty, but probably amounted to 30,000 at least, besides 7800 prisoners taken by the Allies. About 227 French guns were also captured, 150 by the Allies, the rest by the Prussians. Napoleon's errors in the conduct of the battle were perhaps chiefly these, that he began the battle at too late an hour of the day, that he wasted his cavalry reserves in a reckless manner, and that he neglected to take into account the steadiness with which British infantry are wont to maintain their ground. The Duke of Wellington is sometimes blamed for giving battle with a forest in the rear, which would preclude the pos- sibility of retreat ^ but the groundlessness of the objection is apparent to those who are acquainted with the locality, for not only is the Foret de Soignes traversed by good roads in every direction, but it consists of lofty trees growing at considerable intervals and unencumbered by underwood. It is a common point of controversy among historians, whether the victo- rious issue of the battle was mainly attributable to the British or the Prussian troops. The true answer probably is, that the contest would have been a drawn battle but for the timely arrival of the Prussians. It has already been shown how the Allied line successfully baffled the utmost efforts of the French until 7 p.m., and how they gloriously repelled the final and most determined attack of the Imperial Guard about 8 o'clock. The British troops and most of their German contingents, there- fore, unquestionably bore the burden and heat of the day ; they virtually annihilated the flower of the French cavalry, and committed fearful havoc among the veteran Guards, on whom Napoleon had placed his utmost re- liance. At the same time it must be remembered that the first Prussian shots were fired about half-past four, that by half-past six upwards of 15,000 of the French (Lobau's corps, consisting of 6600 infantry and 1000 artillery, with 30 guns ; 12 battalions of the Young Imperial Guard, about 6000 men in all ^ 18 squadrons of cavalry, consisting of nearly 2000 men) were drawn off for the new struggle at Planchenois, and that the loss of the Prussians was enormous for a conflict comparatively so brief, proving how nobly and devotedly they performed their part. The Duke of Wel- lington himself, in his despatch descriptive of the battle, says ' that the British army never conducted itself better, that he attributed the success- ful issue of the battle to the cordial and timely assistance of the Prus- Baedekkr's Belgium and Holland, 5th Edit. 7 98 Route 72. MONT ST. JEAN. BnUlc Field sians, that. Billow's operation on the enemy's Hank was most, decisive, and, would of itself have toi-ced the enemy to retire, even if he (the Duke) had not been in a situation to make the attack which produced the final result'. The French Colonel Charras^ in his ' Campagne de 1815 (pub. at Brussels, 1858), a work which was long prohibited in France, thus sums up his opinion regarding the battle : ' Wellington par sa tenacite inebranlable, Bliicher par son activite audacieuse, tous les deux par Fhabilite et Faccord de leur manoeuvres ont produit ce resultat'. — The battle is usually named by the Germans after the principal position of the French at Belle Alliance, but is is far more widely known as the Battle of Waterloo, the name given to it by Wellington himself. About halfway to Mont St. Jean, which is about 3 M. from Waterloo, is the monument of Col. Stables, situated behind a farm- house on the right, and not visible from the road. The road to the left leads to Tervueren, a Royal chateau, once the property of the Prince oi' Orange. The royal stud was kept here till 1857, when it was transferred to the old abbey of Gemhloux (p. 150). The road from Waterloo to Mont St. Jean (^Hotel des Colonnes, p. 89) is bordered by an almost uninterrupted succession of houses. At the village, as already remarked , the road to Nivelles diverges to the right from that to Namur. To the right and left, immediately beyond the last houses, are depressions in the ground where the British reserves were stationed. About -/3 M. beyond the village we next reach a bye-road, which intersects the high-road at a right angle , leading to the left to Wavre, and to the right to Braine I'Alleud. Here, at the corner to the right, once stood an elm, under which the Duke of Wellington is said to have remained during the greater part of the battle. The story, however, is entirely unfounded, as it is well known that the Dnke was almost ubiquitous on that memorable occasion. The tree has long since disappeared under the knives of credulous relic- hunters. On the left, beyond the cross-road, stands an Obelisk (PI. i) to the memory of the Hanoverian officers of the German Legion, among whose names that of the gallant Ompteda stands first. Opposite to it rises a Pillar (PI. k) to the memory of Colonel Gor- don, bearing a touching inscription. Both these monuments stand on the original level of the ground, which has here been consider- ably lowered to furnish materials for the mound of the lion. In this neighbourhood Lord Fitzroy Somerset, afterwards Lord Raglan, the Duke's military secretary, lost his arm. About a hundred paces to the right rises the Mound of the Belgian Lion (PI. 1), about 200 ft. in height, thrown up on the spot where the Prince of Orange was wounded in the battle. The lion was cast by Cockerill of Liege, with the metal of captured French can- non, and is said to weigh 28 tons. The French soldiers, on their march to Antwerp in 1832, hacked off part of the tail, but Marshal Gerard protected t1ie monument from farther injury. The mound commands the best survey of the battle-field, and the traveller who is furnished with the plan and the sketch of the of Waterloo. LA HAYE SAINTE. 72. Route. 99 battle, and has consulted the maps at the Hotel du Mus^e, will here be enabled to form an idea of the progress of the fight. The range of heights wliich extends past the mound, to Ohain on the E. and to Merbe-Brame on the W., was occupied by the lirst line of the Allies. As the crest of these heights is but narrow, the second line was enabled to occupy a sheltered and advantageous position on the N. slopes, concealed from the eye of their enemy. The whole line was about V/oM. in length, forming a semicircle correspond- ing to the form of the hills. The centre lay between the mound and the Hanoverian monument. The chain of heights occupied by the French is 1 M. distant, and separated from the Allied position by a shallow intervening valley, across which the French columns advanced without manoeu- vreing, being however invariably driven back. The Allied centre was protected by the farm of La Haye Sainte, situated on the right of the road, about 100 paces from the two monuments. It was defended with heroic courage by a light battalion of the German Legion, commanded by Major v. Baring, whose narrative is ex- tremely interesting. After giving a minute de.scription of the locality and the disposition of his troops, he graphically depicts the furious and repeated assaults suc- cessfully warded off by his little garrison, and his own intense excitement and distress on finding that that their stock of ammunition was nearly expended. Then came the terrible catastrophe of the buildings taking fire, which the gallant band siicceeded in extinguishing by pouring water on it from their camp-kettles, although not without the sacrifice of several more precious lives* " Many of my men he continues, " although covered with wounds, could not be induced to keep back. ' As long as our officers fight, and we can stand was their invariable answer, ' we won't move from the spot ! ' I should be unjust to the memory of a rifle- man named Frederick Lindau, if I omitted to mention his brave conduct. He had received two severe wounds on the head, and moreover had in his pocket a purseful of gold which he had taken from a French ofticer. Alike regardless of his wounds and his prize, he stood at a small side- door of the barn, whence he could command with his rifle the great en- trance in front of him. Seeing that his bandages were insufficient to stop the profuse bleeding from his wounds, I desired him to retire, but he positively refused, saying : ' A craven is he who would desert you as long as his tiead is on his shoulders ! He was, however, afterwards taken prisoner, and of course deprived of his treasure. " He then relates to what extremities they were reduced by the havoc made in the building by the French cannonade, and how at length, when their ammunition was almost exhausted, they perceived two fresh columns marching against them. Again the enemy succeeded in setting the barn on fire, and again it was successfully extinguished in the same manner as before. "Every shot we fired increased my anxiety and distress. I again de- spatched a messenger for aid , saying that I must abandon the defence if not provided with ammunition , — but in vain '. As our fusillade diminished , our embarrassment increased. Several voices now ex- claimed : 'We will stand by you most willingly, but we must have the means of defending ourselves ! ' Even the ofticers, who had exhibited the utmost bravery throughout the day, declared the place now untenable. The enemy soon perceived our defenceless condition, and boldly broke open one of the doors. As but few could enter at a time, all who crossed the threshold were bayonetted, and those behind hesitated to encounter the same fate. They therefore clambered over the walls and roofs, whence 100 Route r2. LA HAYE SATNTE. Battle Field they could slioot down my poor fellows with impunity. At the same time they thronged in through the open barn, which could no longer be de- tended. Indescribably hard as it was for me to yield, yet feelings of humanity now prevailed over those of honour. I therefore ordered my men to retire to the garden at the back. The effort with which these words were wrung from me can only be understood by those who have been in a similar position."" As the passage of the house was very narrow, several of my men were overtaken before they could escape. One of these was the Ensign Frank, who had already been wounded. He ran through with his sabre the first man who attacked him, but the next moment his arm was broken by a bullet. He then contrived to escape into one of the rooms and con- ceal himself behind a bed. Two other men fled into the same room, closely pursued by the French, who exclaimed: 'Pas de pardon a ces brigands verts!'' and shot them down before his eyes. Most fortunately, however, he remained undiscovered until the house again fell into ovir hands at a later hour. As I was now convinced that the garden could not possibly be maintained when the enemy was in possession of the house, I ordered the men to retreat singly to the main position of the army. The enemy, probably satisfied with their success, molested us no farther." The door of the house still bears traces of the French bullets. Several of the unfortunate defenders fled Into the kitchen, adjoining the garden at the back on the left. The window was and is still secured with iron bars, so that all escape was cut off. Several were shot here, and others thrown into the kitchen well, where their bodies were found after the battle. An iron tablet bears an inscription to the memory of the oflicers and privates who fell in the defence of the house. Farther to the W. are Papelotte^ La Hoye, and Smouhen^ which served as advanced works of the Allies on their extreme left. They were defended by Nassovians and Netherlanders under Duke Bernhard of Saxe-Weimar, but fell into the hands of the French about half-past 5 o'clock. The defenders of Goumont, or Hougomont, another advanced work of the Allies, situated about 7-2^. to the S.W. of the Lion, were more fortunate. This interesting spot formed the key to the British position, and had Napoleon once gained possession of it, his advantage would have been incalculable. The buildings still bear many traces of the fearful scenes which were enacted here. It is computed that throughout the day the attacks of nearly 12,000 men in all were launched against this miniature fortress, notwithstand- ing w^hich the garrison held out to the last (see below}. The orchard and garden were taken several times by the French, but they did not succeed in penetrating into the precincts of the build- ings. The latter, moreover, caught fire, adding greatly to the em- barrassment of the defenders, but happily the progress of the flames was arrested. Hougomont was at that time an old, par- tially dilapidated chateau , to v^hich several outbuildings were attached. The whole was surrounded by a strong wall, in which numerous loop-holes had been made by express orders of the Duke in person, thus forming an admirable though diminutive stronghold. of Waterloo. HOUGOMONT. /:?. Route. 101 Notwithstanding these advantages, however, its successful defence against the persistent attacks of overwhelming numbers was solely due to the daring intrepidity of the little garrison. The wood by which it was once partially surrounded was almost entirely de- stroyed by the cannonade. The loop-holes, as well as the marks of the bullets, are still seen, and the place presents a shattered and ruinous aspect to this day. The orchard contains the graves of Capt. Blackman, who fell here, and of Sergt. Cotton, a veteran of Waterloo who died at Mont St. Jean in 1849 (V2 fr. is exacted from each visitor to the farm). Hougomont is about 1 M. from stat. Braine I'Alleud (see p. 103). Prodigies of valour were performed by the Coldstreams and their auxiliaries at Hougomont, and fortunately with a more successful result than that which attended their heroic German allies at La Haye Sainte. At one critical juncture the French were within a hair's breadth of capturing this fiercely-contested spot. They forced their way up to the principal gate, which was insufficiently barricaded, and rushing against it in dense crowds actually succeeded in bursting it open. A fearful strug- gle ensued. The Guards charged the assailants furiously with their bayonets, whilst Col. Macdonnel, Capt. Wyndham, Ensign Gooch, Ensign Hervey, and Serg. Graham, by dint of main force and daring courage, contrived to close the gate in the very face of the enemy. — At a later hour a vehement assault was made on the back-gate of the offices, the barricades of which threatened to yield, although crowds of the assailants were swept away by a well-directed fire from the loop-holes. At the same time one of" the French shells set fire to the buildings, and the flames burst forth with an ominous glare. Sergt. Graham immediately requested leave of Col. Macdonnel to retire for a moment, which the latter accorded, although not without an expression of surprise. A few moments later the gallant sergeant re-appeared from amidst the blazing ruins, bearing his wounded brother in his arms, deposited him in a place of safety, and at once resumed his work in strengthening the barricades, where the danger was rapidly becoming more and more imminent. Suddenly a French grenadier was seen on tlie top of tlie wall, which he and his comrades were in the act of scaling. Capt. Wyndham, obsei-ving this, shouted to Graham: 'Do you see that fellow?' Graham, thus again interrupted in his work, snatched up his musket, took aim, and shot the Frenchman dead. No others dared to follow, the attack on the gate was abandoned by the enemy, and the danger again successfully averted. Similar attacks were launched against the chateau with unremitting energy from half-past 11 in the morning until nearly 8 in the evening, but were repelled with equal success. Most fortunately for the defenders, their supply of ammu- nition was abundant. Had it been otherwise, Hougomont must inevitably have met with the same fate as La Haye Sainte^ Napoleon would then have been enabled to attack the Duke's right flank, and the Allies would most probably have been defeated, or rather virtually annihilated. The neighbourhood of Hougomont is said to have been the scene of the following well authenticated anecdote. Colonel Halketts brigade, consisting of raw levies of troops, most of whom now faced an enemy for the first time, were exposed to a galling fire from Cambronne's brigade, which formed the extreme left of the enemy's line. Halkett sent his skirmishers to meet the vanguard of the French, somewhat in advance of whom Gen. Cambronne himself rode. Cambronne's horse having been shot under him, Halkett immediately perceived that this was an admir- able opportunity for a ' coup de main calculated to inspire his troops with confidence. He therefore galloped up alone to the French general, threatening him with instantaneous death if he did not surrender. Cam- bronne, taken by surprise, presented his sword and surrendered to the gallant colonel, who at once led him back to the British line. Before 102 Route 12. BELLE ALLIANCE. Battle Field reaching it, however, Halkett's horse was struck by a bullet and fell. Whilst struggling to disengage himself, he perceived to his extreme morti- fication that the general was rapidly walking back to his own troops ! By dint of great efforts, however, he succeeded in getting his horse on his legs again, galloped after the general, overtook him, and led him back in triumph to his own line. — The troops commanded by Cambronne were a brigade of the Imperial Guard, whose boast had ever been: 'Za Garde meurt, mais ne se rend pas T The fleld-road to Belle Alliance from the gate of the farm skirts the wall to the left. It soon becomes narrower, and after leading about 50 paces to the right passes through a hedge, traverses a field, and passes an embankment. After a walk of 5 min. a good path is reached, leading to the high road in 12 min. more. Coster's house (see below) lies to the right. In a straight direction the road leads to Planchenois (see below). Belle Alliance is sit- uated on the left. This name is applied to a low white house of one story on the road-side, now a poor tavern, 1 M. to the E. of Hougomont. A marble slab over the door bears tlie inscription: '-Rencontre des ge- niraux Wellington et Blucher lors de la m&niorable hataille du 18. Juni 1815., se saluant mutuellernent vainqueurs\ The statement, however, is erroneous. It is well ascertained that Blucher did not overtake the Duke until the latter had led his troops iir far as La Maison du Roi, or Maison Rouge^ on the road to Genappe, about 2 M. beyond Belle Alliance, where he gave the order to halt. This was the scene of the well-inown anecdote so often related of the Duke, who when urged not to expose himeelf unne- cessarily to danger from the fire of the straggling fugitives, replied : 'Let them fire away. The victory is gained, and my life is of no value nowl' The house of Belle Alliance was occupied by the French , and their lines were formed adjacent to it. Napoleon's post during the greater part of the battle was a little to the right of the house, and on the same level. On the N. side of Belle Alliance a lield-road diverges from the high road, and leads to Plancenoit, or Planchenois^ a village situ- ated 1 M. to the S.E., w^hich the traveller who desires to appreciate the important part acted by the Prussians in the battle should not fail to visit. To the left, on a slight eminence near the village, rises the Prussian Monument (PI. m), an iron obelisk with an appropriate inscription in German. It was injured by the French when on their way to the siege of Antwerp in 1832, but has since been restored. The battle between the French and the brave Prussians raged with the utmost fury at and around Plancenoit from half-past six till nearly nine o'clock. Nine regiments of infantry, a regiment of hussars, and the cavalry of the 4th corps d'armee commanded by Prince William of Prussia were engaged in the action, and fiercely contested the possession of the village. The churchyard was the scene of the most sanguinary struggles, in which vast numbers of brave soldiers fell on both sides. The village was captured several times by the Prussians, and again lost^ but they finally gained possession of it between 8 and 9 o'clock. The combatants of both armies in this conflict were all comparatively fresh, and the fury with which they fought was intensified by the bitter hostility of the two nations, and a thirst for vengeance on the part of the Prussians for pre- vious reverses. The victory on this part of the field was therefore achiev- ed towards 8 o'clock , and the defeat of the French was rendered doubly disastrous by the spirited and well organised pursuit of Gneisenau. of Waterloo. NIVELLES. i2. Route. 103 The French retreat , which soon became a disorderly sauve qui pent., followed the road to Genappe , a village about 4 M. to the S. of Plance- noit. Near Genappe , where the road was blocked with cannon and waggons, the Prussians captured Napoleon's travelling carriage, which the emperor had probably just quitted in precipitate haste, as it still con- tained his hat ;\ud sword. Genappe is a station on the Mons and Wavre railway (see p. 143). Continuation of Railway Journey. Tlie next station beyond Waterloo is (11 M. from Brussels) Braine I'Alleud (Hotel du Midi; Hotel de VEtoile), a manufacturing town with 6000 inhab., whence the mound of the lion f p. 98) on the field of Waterloo , which is visible to the left, is 1^2 ^1- distant. The road to it leads directly N. from the station. Next stations (141/2 M.) Lillois, (17V2 M.l Baulers, the suburb of (18 M.) Nivelles (Hotel du Mouton Blanc), the junction of the Manage and Wavre line (p. 143"). Nivelles, Flem. Nyvel , on the Thines , a manufacturing town with 5,000 inhab. , owes its origin to a convent founded here about the middle of the 7th cent, by Ida, wife of Pepin of Landen. The Romanesque church of the convent, built in the 11th cent., still exists, but the interior suffered defacement in the 18th century. The tower was re- stored in 1859, after a fire, with little success. The treasury contains many interesting objects. To Flettrus- Tamines, I91/2M., see p. 143. Next stations (23 M.^ Ohaix-Buzet, and (251/2 M.) Luttre , the junction of our line with the Ghent and Braine-le-Comte railway, which the train now follows to — 341/2 M. Charleroi, see p. 144. 13. From Brussels to Antwerp by Malines. 27V2 M. Railway to Malines in 22-40 uiin. (lares 1 fr. 45, 1 ir. 10, 70 c.)-, to Antwerp in I-IV2 hr. (fares 3 fr. 25, 2 fr. 45, 1 fr. 60 c). Ex- press fares one-fourth higher. The train starts from the Station du Nord. Travellers starting from the Station de Luxembourg change carriages at (2 M.^ Schaerbeek (p. 154). A fertile and grassy plain, through which the Senne winds, is traversed. — 41/2 M. Haeren, and — 6I/4 M. Vilvorde, a small town on the Senne, one of the most ancient in Brabant, with an extensive penitentiary. A melancholy interest attaches to Vilvorde as the scene of the martyr- dom of William Ttndale , the zealous English Reformer and trans- lator of the Bible. He was compelled to leave England on account of his heretical doctrines in 1523, and the same year he completed his translation of the New Testament from the Greek. He then began to publish it at Cologne, but was soon interrupted by his Romish antagonists, to escape from whom he fled to Worms, where the pu^blication was completed in 1525. Copies soon found their way to England, where prohibitions were issued against them, in consequence of which most of them were burnt. ^ They have done no other thing than I looked for observed the pious translator, on hearing of this i 'no more shall they do, if they burn me also I' Notwithstanding the vehement opposition of Archbp. Warham. Card. Wolsey, and Sir Thomas More (who vainly endeavoured to refute the 104 Route 11. MALINES. From Brussels new doctrine in 7 vols.), four new editions rapidly found their way to England. In 1529 Tyndale began to publish the first four books of the Old Testament at Antwerp, to the British merchants settled at which town he now acted as chaplain. He was at length arrested through the treachery of a spy, and sent to Vilvorde, where he was imprisoned for two years. He was then tried, and condemned as a heretic. On 6th Oct., 1536, he was chained to the stake, strangled, and finally burnt to ashes. His last words were: 'Lord, open the King of England's eyes!' He was a man of simple and winning manners, indefatigable industry, and fervent piety. His New Testament, which was translated indepen- dently of his illustrious predecessor Wycklifl'e , and his still more cele- brated contemporary Luther, forms the basis of the Authorised Version. It is a remarkable fact, that the year after his martyrdom the Bible was published throughout England by royal command , and appointed to be placed in every church for the use of the people. We catch a distant view here, on the right, of Ferck (3M. from the railway), a village near whicli David Teniers the Younger (d. 1685; buried in the church of Perck) lived in his house of Dry Tor en. Farther on, near (8 M.) Eppeghem, stands the old chateau of Steen, purchased by Rubens in 1635 as a summer resort, at a cost of 93,000 florins. — 10 M. Weerde. The huge tower of the cathedral of Malines now becomes conspicuous in the distance. The train crosses the liOiivain Canal. 121/2 M. Malines, Flem. Mechelen,. Hotel Buda, opposite the cathedral lower, R. tl. ; Hotel de la Coupe, near the Cathedral-, Hotel de la Campine, Hotel de la Couronne, both opposite the station. '■B^Jeiinev de Malines'' is a favourite local dish (pig's feet and ears). ' Kestauvant at the slation. Two or two aud a half hours .sulUcc to visit the Cathedral and see the paintings by Uub(>ns in the churches of .St. Jean and Notre Dame. The station of Malines, the focus of the four most important railways in Belgium (to Brussels, to Ghent, to Antwerp, and to LicgeJ, possesses extensive railway workshops, and generally pre- sents a busy scene. The convenience of passengers who have to fihange carriages is not much consulted here, as they are frequently set down in the midst of a sea of rails , at a considerable distance from the ' salle d'attente', and may easily mistake the trains. The ancient town of Malines (40,100 inhab.), situated on the Dyle.^ which flows through the town in numerous arms and is crossed by 35 bridges, is the seat of a cardinal archbishop, the primate of Belgium. Notwithstanding its broad and regular streets, hand- some squares, and fine buildings, it is a dull place, and totally destitute of the brisk traffic which enlivens most of the principal Belgian towns. The unenterprising character of the inhabitants is more tersely than politely described in the monkish lines men- tioned in the Introduction. In order to reach the town, which is more than 74 M. from the station , we follow the broad Rue dCEymont bearing to the right, traverse the Place of that name, cross the Dyle, and proceed in the same direction through tlie Brulstraet^ leading to the Grande Place (PI. C, 3), where a Statue (PI. 20) by Tuerlinckx of Malines was to Antwerp. MALINES. 13. Route. 105 erected in 1849 to Margaret of Austria (d. 1530), daughter of Maximilian I. and Mary of Burgundy (p. xvii), celebrated as regent of the Netherlands and instructress of Charles V. The circle de- scribed on the ground round the monument indicates the size of the cathedral clock (see below). The Place still boasts of several mediaeval buildings. The old Cloth Halt (PI. 10), begun in 1340, but left uncompleted, with a superstructure of the Kkh cent., is now used as the Guard House. To the left of it are remains of a late Gothic Palais de Justice, begun byKeldermann in 1530. The Hotel de Ville (PI. 18), between the Grande Place and the cathedral, was entirely remodelled during the last century. Opposite this building, and standing a little way back from the Place, is an old late Gothic building called the ^Schepenen-Huis' (or house of the bailiffs), with the inscription 'Musee' (PI. 21; C, 3), containing a collection of civic antiquities, reminiscences of Margaret of Austria, a few ancient and modern pictures (including a small Crucifixion by Rubens), etc. (The concierge lives in the market-place, No. 2, next door to the Hotel de Ville; ^j^h.'). The *Cathedral of St. Rombold (St. Rombaut, PI. 4; closed from 12 to 2.30, and after 5.30 p. m.), begun at the end of the 12th cent., completed in 1312, but to a great extent rebuilt, after a lire, in the 14th and 15th centuries, is a cruciform Gothic church with a richly decorated choir and a huge unfinished W. tower (324 ft. in height, projected height 460 ft.). The face of the clock on the tower is 49 it. in diameter. The church was almost entirely erected with money paid by the pilgrims who flocked hither in the 14th and 15th centuries to obtain the indulgences issued by Pope Nicholas V. On the increase of the hierarchy of the Netherlands in 1559 (p. xvii), the Cathedral of St. Rombold was raised by Pope Paul IV. to the dignity of being the archiepiscopal metropolitan church. The first archbishop was Ant. Perrenot de Granvella, the hated minister of Margaret of Parma, who was shortly afterwards created a cardinal. The church is now undergoing a thorough restoration. The Interior of the church (length 306 ft., nave 89 ft. high) is imposing, and worthy of its archiepiscopal dignity. It is adorned by several admirable pictures, the finest of which is an *Altar-piece by Van Dyck, representing the Crucifixion, in the S. transept, painted in 1628, and successfully cleaned in 1848. This is one of the finest of the master's works, and is worthy of the most careful inspection. The composition is extensive and skilfully arranged: the profound grief and resignation depicted in the countenance of the Virgin are particularly well expressed. (The picture is covered; sacristan's fee 1 fr.) — In the N. (1.) transept: Quellin, Adoration of the Shep- herds. — In the N. aisle, 1st chapel on tl\e left (reckoned from the chief entrance), Wouters^ Last Supper; opposite is a monument in marble to Archbp. Mean (d. 1831), who is represented kneeling 106 Route 13. MALINES. From Brussels before the Angel of Death, executed by Jehotte, a sculptor of Li^oje. ■ — • In the S. aisle : 25 scenes from the history of St. Rombold, ex- tending from his appointment to the office of bishop down to his martyrdom and the miracles wrought by his relics (Flemish school of the 14th cent., restored in 1857). — The Pulpit, carved in wood, like those in the principal Belgian churches, by Boeckstuyns of Malines, represents the Conversion of St. Paul. Above, John and the women at the foot of the Cross; at the side, Adam and Eve and the serpent. By the pillars are statues of the Apostles (17th cent.). The large modern stained glass windows in the tran- sept were executed to commemorate the promulgation of the new dogma of the immaculate conception of the Virgin, that at the N. end by J. F. Pluys of Malines , and the one opposite by his son L. Pluys. — The Choir contains handsome modern carved stalls in the Gothic style. To the left in the retro-choir, near the N. portal, high up, is a Circumcision by M. Coxcie, 1587. Farther on are a number of large pictures, chiefly by Herreyns (d. 1827) and other painters of the early part of the present century, representing scenes from the life of St. Rombold. The Ascension in the chapel at the back of the high altar is by Paelinck (d. 1839). The ad- joining chapel contains the altar of St. Engelbert, Bishop of Cologne, with a chased brazen antependium or frontal, executed from Min- guay's designs by L. van Ryswick of Antwerp (1875). The choir also contains several monuments of bishops of the 17th cent., and windows filled with modern stained glass. St. Jean (PI. 6 ; C, 3), near the Cathedral , is an insignificant church, remarkable only for a picture by Rubens, *High-altar piece with wings , a large and fine composition, one of tlie best of the painter's ceremonial works. On the inside of the wings : Behead- ing of John the Baptist, and Martyrdom of St. John in a cauldron of boiling oil. Outside: Baptism of Christ, and St. John in the island of Patmos, writing the Apocalypse. The two latter are in the master's best style. Below is a small Criiciflxion, probably also by Rubens. To the left in the choir is Christ on the Cross , by Ch. Wauters, 1860. In the chapel on the left, Christ and the dis- ciples at Emmaus , by Herreyns. The pulpit in carved wood, by Verhaeghen, represents the Good Shepherd. The confessionals, the carved wood on the organ , and several other pieces of carving are by the same sculptor. The Sacristan (V2'l f^O li^^s in the Klapgat, adjacent to the church. At the N.W. angle of the town are situated the church of St. Catherine (PI. 5 ; C, 2) and that of the Grand Beguinage (PI. 3; B, 2), containing pictures by L. Frauchoys, Moreels, De Craeyer, Th, BoyermanS; E. Quellyn, and others; the latter is also embel- lished with sculptures by L. Fayd'herbe and Duquesnoy. The church of St. Peter and St. Paul (PI. 9) contains pictures by Th. Boyermans, P. Eyckens, J. Coxcie, and others, and sculptures by Yerbrugghen (pulpit) and J, Geefs (apostles). to Antwerp. MALINES. 13. Route. 107 On our way back to the station we now visit the church of Notre Dame (PI. 7; B, 4) , a late Gothic building of the 16th cent., recently restored. A chapel behind the high altar contains Rubens' ^Miraculous Draught of Fishes , a richly coloured picture , with wings, painted in 1618 for the Guild of Fishers, from whom the master received 1000 florins for the work (about 90L). In the 3rd chapel of the retro-choir is the Temptation of St. Antony by M. Coxcie; high-altarpiece, a Last Supper by E. Queliyn] pulpit and statues by G. Kerricks. The sacristan will be found at No. 58 Milsenstraat, the street opposite the chief portal. The church of Notre Dame d'Hanswyck (PL 8) contains two large reliefs by L. Fayd'herbe and a pulpit by Verhaeghen (d. 1735). The neighbouring Botanic Garden (PL C, 4; admission 50 c.) contains a bust of the botanist Dodonaeus, a native of Malines (b. 1517). Count Mansfield, the celebrated general in the Thirty Years' War, and Michael Coxcie, the imitator of Raphael, were also born here. The Dyle , which unites with the Nethe, 6 M. below the town, to form the Rupel, is affected by the rise and fall of the tide. Mechlin lace , which once enjoyed a high reputation, is still manufactured here, but cannot compete with that of Brussels. Fkom Malines to Louvain (15 M.) railway in 40 min. (fares 1 fr. 70, 1 fr. 35, 90 c). Stsiiions Haec/U : Wespelaer^ with a country-seat and park mentioned by Delille (born 1738). Ttie line crosses tlie J)t/le^ skirts the Antwerp-Louvain Canal (built in 1750) and reaches stat. Louvain (p. 156). From Malines to Ghent ^ see R. 9. Fkom Malines to St. Nicolas and Tekneuzen. Railway to (21 M.) St. Xicolas in 1 hr. (fares 2 fr. 70, 2fr., 1 fr. 35 c.); thence to Terneuzen (21 M.) in L/i hr. by the Dutch line (fares 2 fl. 95, 2 11. 15, 1 fl. 45 c). .Stations Ilonibeek ^ TJiisselt ^Willebroek (on a canal which connects the Senne with the Riipel) , Puers. The train traverses a pleasant district, and crosses the broad Schelde , commanding ;i, view of its picturesque wooded banks. To the left, on the left bank of the river, is stat. Tanitse^ a manufacturing town with 10,000 inhab.; then stat. St. Nicolas (junction for Ghent and Antwerp, p. 51), St. Gilles La Clingc (Belgian custom- house), LIulst (Dutch custom-house). Axel ^ Slu(/,^kill ^ 'Terneuzen (see p. 9). Soon after quitting Malines, the train crosses the Nethe and reaches (18 M. ) Duffel. To the riglit rises the old Gothic chateau of Ter-Elst. Then (201/.2 M.) stat. Contich. Fkom Contich to Turnhout by a branch-railway in IV'ihr. Sta- tions Lierre (15,000 inhab.), junction for Antwerp, Diest, and Hasselt (p. 140); ]V(/len^ Bouwel., Herenthals, to which a line runs from Louvain (p. 156; omnibus from Herenthals to Gheel, see below); Lichtaert^ T/delen^ and lastly Turnhout, the chief town of the district, with 13,500 inhab., a prosperous place, with cloth and other factories, and an estalDlishment for rearing leeches. Beyond Turnhout the line crosses the Dutch frontier to Tilburg (see p. 284). Omnibus twice daily from Herenthals (in i^Z-ihr., fare Ifr. 30 c. ; car- riage 12 fr. there and back) to Grheel ('-Hotel de la Canipine; Annes de Turnhout).^ a small town which derives its principal interest from the colony of lunatics (about 800 in number) established here and in the neigh- bouring villages. The district throughout which they are distribvited is about 30 M. in circumference, and divided into four sections, each with a physician and keeper. The patients are first received into the Injirmerie ^ where their symptoms are carefully observed for a time, after which they are 108 Route 14. ANTWERP. entrusted to the care of a nourricier^ or hdte^ who generally provides occu- pation for them. They are permitted to walk about without restraint within the limits of their district, unless they have shown symptoms of violence or a desire to escape. This excellent and humane system, although ap- prehensions were at one time entertained as to its safety , has always been attended with favourable results. — The handsome late Gothic Church of St. Dymphna (who is said to have been an Irish princess , con- verted to Christianity, and beheaded at this spot by her heathen father) contains a tine "altar, with the apotheosis of the saint. The choir con- tains the reliquary of the saint , painted with scenes from her life, pro- bably by a contemporary of Memling. In the choir - chapels are two curious old "cabinets, adorned with finely-executed carving and painting. A painted group in stone , protected by a railing , in the vicinity of the church, bears a Flemish inscription, recording that St. Dymphna was beheaded on this spot , 30th May, 600. The town originally owed its repu- tation for the successful cure of lunatics to this saint , whose shrine was believed to possess miraculous powers. Branch line also from Contich to fioow, which has also communi- cation with Oude-God and Berchem. Beyond stat. Oude-God (Vieux-Dieu) numerous country-seats are passed. We now pass through the new advanced fortifications round Antwerp. 261/2 M. Berchem^ the head-quarters of the French during the siege of the citadel in 1832. 271/2 M. Antwerp, see below. 14. Antwerp. Fr., A^wers ; Span., Amberes. Railway Stations, i. The principal station (PI. F, 2), for Malines (Brussels, Louvain, etc.), Hasselt - Mastricht, Tiirnhout-Tilburg , Iloosen- daal (Flushing and Rotterdam) is near the Zoological Garden (a new station in the Place de la Victoire projected). — 2. The direct trains to Ghent through the Waesland (R. 9) start from the station at Vlaamsch Hoofd (p. 52), on the opposite bank of the Schelde. Ferry-steamboat from the S. end of the quay. Hotels. St. Antoine (PI. a; F,5) Place Verte 40^ *Grand Laboureuk (PI. b^F, 4), Place de Meir 26; 'Hotel de l'Europe (PI. c; F, 5), Place Verte 38; charges at these, R. 21/2-8 fr. and upwards, B. I1/2, D. 3-4, A. 1 fr.; •Hotel de la Paix (PI. d ; F, 5), Rue des Menuisiers 9, less expensive. — Hotel de Flandres (PI. g; E, 5), Place Verte 9; Grand Miroir (PI. h; E, F, 6), Vieux Marche-au-Ble 58, well-spoken of; Bien-Etre, or Lands Welvaert (PI. i; F.4), Rue Courte Claires, near the Exchange, R. 2, D. 2V.ifr.; CouRKiEii (PL k ; F. 5), Rempart du Lombard 52, near the Hotel St. Antoine : Hotel de la Couronne (PL m ; F,5), Rue des Israelites 6 ; Commerce, Rue de la Bourse 10 ; Fleur d Or, Rue des Moines 1, near the Place Verte ; these last unpretending. — On the Schelde: Hotel du Uanemark (PL p; E,6), Quai Van Dyck 11; Hotel du Rhin (PL f; E,6), Quai Van Dyck 1, moderate; Hotel d'Anoleterre , C^uai Van Dyck 5. In the vicinity; Hotel de Hollande (PL 1 ; F, 5), Rue de LEtuve 2. Restaurants. ■' Bertrand , Place de Meir 11, dear, dinner 5 fr. and upwards ; Rocher de Cancale, adjoining the exchange and the Place de Meir, D. from 2 fr., plat du jour 80 c.: Grand Cafi de FUnivers^ Place Verte, E. side, plat dn jour (11. 30 a. m. to 3 p. m.) 80 c, plat du soir (6-9 p. m.) 1 fr., D. 3-7 p. m. 3 fr. ; Rhei/ujau^ adjoining the entrance to the exchange from the Place de Meir ; also the hotels above mentioned. Oysters at the Croix Blanche., Hotel de Danemark^ and other restaurants on the quays. — Cafes : de VEmpereur., Place de Meir 19 ; de I Univers, Suisse^ Frangais.) and Alsacien^ in the Place Verte. Ices (75 c.) at all the cafes in summer. — Beer: 'Sodalit^., opposite the Jesuits' Church, once a guild- hall ; also at the Taverne Alsacienne and the cafes. Baths. The best at the three hotels first mentioned, y 1 o- Oia„.(lj' fn-Kle eiaiJ dAm IJ " " d'lnfanterie . 5.5. l3Gne4je Sf. Charles . E^lises : li^ St. Jatdj'eQ . 15 AnyHcxxxne \ia St.Antainfi J7 St.Auffustcn, . 18 St.Anvccrul \!d des CaiiTveUtes 2 1 .5t. Ch-arles ( Jendtes ) 22 St. Giearge ... 'Z'iSt.JcLcqices '2A! St, Joseph ( Theresiames 25 StJ'cml (JtanzzmcaoLs ) 'lifR'otestimte 27 Redentptirriste I'&FjTdrepSts 2i) &(ncreniement . oOHaUe mw paisaons . ^LHarmoTde WlHapitaJ St.Eli^aledv ?>3 " " inUxtaire '^^Tlotel de Yille . 35 Jardtn hotcadquje . 36 " " zoolofficpie "ilMaviaTi Ihiiens . . 38 " " Mzjiseatupif \iQOrpJielmat Terlmck ^WaUris du Rai . . 42 " " de Justice . 9tZPo.y which the gallery is entered, indicate the apprecinl with which the art of Brabnnt has been received at Vienna, London, T'ari.^, Amster- dam, Bologna, and Rome. The minuter details are not iutelligit>]e without a key (which may be purchased in the museum for 1 fr.). Tlie Museum contains about 650 pictures , many of them col- lected from the suppressed monasteries and churches of Antwerp ; and they are admirably and appropriately arranged in the old monastery church. The collection of works of the Flemish school is ample and excellent. Both the early painters, who are usually classed as belonging to the school of Van Eyck, and the later, headed by Rubens, are admirably represented. Specially noteworthy are the following : St. Barbara, by John van Eyck (No. 410); the Seven Sacraments, by Roger van der Weyden; the Entombment, by Quentin Massys (No. 245) ; the Cruciflxion, by Van Dyck (No. 406) ; St. Francis, by Van den Hoecke ( No. 381 ) ; and, among the spe- cimens of Rubens, the Portraits of Burgomaster Rockockx and his wife (wings of No. 307), the Pietfi(No. 300), and St. Theresa (No. 299). The number of other than Flemish pictures is very limited ; conspicuous among them are a Crucifixion by Antonello da Messina (^0. 4), and the Fisher-boy by Frans Hals ( No. 1(S8). — The modern pictures, which the Museum owes to the members of tlie Academy, are not seen to the best advnntage, interspersed, as many of them are, with the earlier works of art. The Catalogue of the Antwerp Museum was the tirst to be ar- ranged oit scientitic principles , and it is still considered a model work of the kind (4 fr. ; abridgment 1 fr.). The names of the painters are also attached to the pictures. I. Saloon. Beginning on the left: 215. Jordaens, Last Supper; 368. VanBree, Mubens' Death, painted in 1827. — Above: Rubens, Baptism of Christ, with life-size figures (much painted over). 327. Com. Schut , Martyrdom of St. George, a tine and well executed composition, one of his best works. 479-482. O. van Veen (Otto Venius, or Vaenius, p. xlvii), four pictures: Zacchseus in the fig-tree, Call of St. Matthew, Beneficence of St. Nicholas, St. Nicholas saving his flock from perishing by famine. The composition, co- Museum. ANTWERP. U. Route. 1 21 louring, and drawing of these pictures bear testimony to the pain- ter's live years residence in Italy. In tlie centre of this wall: **297. Rubens, Christ crucified be- tween the two thieves ('le coup de lance'), a very celebrated picture. This picture is remarkable for its dramatic effect, and is by no means deficient in sentiment. Longiniis, the Roman officer, mounted on a grey horse , is piercing the side of the Saviour witli a lance. The penitent thief, a grey-haired man, is invoking the Saviour for the last time. To the left in the foregrou-nd stands the Virgin Mother, whom Mary the wife of Cleophas in vain endeavours to console. Farther back, St. John leans against the cross of the impenitent thief, weeping. Mai-y Magdalene, on her knees at the foot of the Cross, implores Longinus to spare the sacred body of her master. This is considered by many to be Rubens' chef (Voeuvre, and deserves the minutest inspection. There is no inaccurate drawing here, as in almost all the master's other works, and at the same time the composition and colouring are inimitable. The writhing agony of the impenitent malefactor, whose legs a soldier has just broken, is depicted with startling fidelity, whereas the expression of the other is composed, although worn by suffering. The profile of the Magdalene is remarkably beautiful, expressive of horror and supplication, without being distorted. The whole composition is a striking example of that marvel- lous boldness of imagination in which Rubens is unrivalled. 48. De Braekeleer , Defence of Antwerp against the Spaniards (4tli Nov., 1576). At the entrance to the 2nd Saloon, on tlie left, stands the chair occupied by Rubens as Dean of the Guild of St. Luke in 1635. Above it, 333. Portrait of Herreyns (d. 1827); on the other side, 486. Portrait of Van Bree (d. 1839), two di- rectors of the Academy (the next was Wappers, who was succeeded by Nic. de Keyser, the present director, p. 119). To the right of the door , 626. Arthur QuelUn Elder ^ St. Sebastian, a statue in wood. Then, 21. Th. Boeyermans (d. 1678), The Pool of Bethesda. *221. Jordaens, Adoration of the Shepherds ; above it, 508. Zegers, Nnptials of the Virgin. *298. Rubens, Adoration of the Magi, painted in 1624. This gorgeous and imposing composition, on a similar scale with the Elevation of the Cross, but far less impressive, contains about twenty figures over life-size, besides camels and horses in the suite of the Three Kings , crowded into the picture , while the sumptuousness of the cos- tumes and vessels gives the whole an overloaded effect. The king holding Ihe goblet is a somewhat av.'kward figure. It must, however, be ad- mitted that the work exhibits marvellous freedom and boldness of out- line, great skill in arrangement, and a wonderful variety of attitude — all genuine attributes of Rubens. The picture is said to have been painted in a fortnight. On the right and left of the last : 372-74 M. von Coxcie (d. 1592), Martyrdom of St. George; 53. De Craeyer, Elijah fed by ravens. 282. Erasmus QuelLin (17th cent.), The Pool of Bethesda, a picture of vast dimensions (29 ft. in height) ; the head of this picture (No. 283) hangs to the right of the door. In the centre of the first saloon : Kiss , Amazon flgliting with a panther, a small replica of the marble group in the museum at Berlin ; Willemsens (d. 1702), Bust of Rubens. II. Saloon. On the left, 172. Fyt , Two sleeping hounds, with game; 77. Mart, de Vos, Christ convincing the doubting 122 Route 14. ANTWEUP. Museum. Thomas ; on the wings the Baptism of Christ and the Beheading of John the Baptist; *104. Corn, de Vos (d. 16511, Portrait of a functionary (knaep , i. e. 'knave') of the Corporation of St. Luke, painted in 1620. The artistically executed cups of gold and silver on the table at which he stands were gifts to the Academy from princes and sovereigns. 315. Rubens, Descent from the Cross, a small repetition of the picture in the cathedral ; QbO Rubens, Portrait of Gasp. Gevaerts; 377. J. van Craesbeeck, Interior of a tavern. '^SOO. Rubens, 'Christ a la Paille', the body of Christ resting on a stone bench covered with straw , partially supported by Joseph of Arimatha^ia, and mourned over by the Virgin , with St. John and Mary Magdalene. On the wings the Virgin and Child, and St. John the Evangelist. This most interesting altar-piece shows by its carefully executed de- tails that it is one of the master's earlier works, produced before he had adopted his bold and dashing touch. Here, too, we have a full and flowing outline and admirable ease of attitude , but there is no symptom of the master's subsequent abuse of his power, in producing overwhelming masses of flesh and crowds of figures in forced postures. A happy mean is here observed , and there is greater beauty and sentiment than in his later works. The colouring is delicate and harmonious. The weeping Mary Magdalene is a particularly expressive figure. 8. iV. Berchem, Return from the meadows; *188. Frans Hals^ Half-length portrait of a tisher-boy (the 'Strandlooper van Haar- lem') ; 357. Titian, Pope Alexander VI. presenting the Bishop of Paphos, a member of the noble family of Pesaro, to St. Peter, on the occasion of the appointment of the bishop as admiral ; *Hobbem,a, Mill. **245, 246, 248. Quentin Massys, The dead Saviour, a scene (technically termed a 'Pieta') between the Deposition from the Cross and the Entombment. It was formerly an altar-piece in the cathedral, completed in 1508, and universally regarded as the master's chef d'ceuvre. Centkal Pictuke. The funeral cortege is represented as halting at the foot of Mt. Calvary, whilst on its way from the Cross to the Se- pulchre. The dead Saviour is partially supported by Nicodemus , on whose right Joseph of Ariniathsea supports the head with one hand, while with the other he removes the remaining shreds of the crown of thorns. The mother in an agony of grief kneels near the body of her Son, and is supported by St. John. On the left Mary Magdalene , to her right Salome. The corpse itself bears evident traces of the master's anxiety to attain ana- tomical accuracy. Its attitude is rigid, the countenance distorted by the pangs of the deatli-sti-uggle. The face of the Virgin is almost as pale as that of the dead body itself. The man with the turban, bearing the crown of thorns , appears rather indignant than mournful. The expres- sion of Joseph of Arimatheea is that of pain mingled with benevolence. St. John has the rigid and almost square features , disfigured by grief, which had become the usual type of the apostle in the earlier period of art. The Wings, which are less satisfactory than the central picture, represent the martyrdom of St. John the Baptist and St. John the Evangelist. In the former Herod is represented banqueting in an open hall, whilst the daughter of Herodias brings in the head of the Baptist. The task of depicting frivolity and vanity in the countenances of the king and the hardened mother, contrasted with an expression of greater feeling in the Museum. ANTWERP. Id. Route. \ 23 daughter, has evidently been attempted by the master, though not very successfully. The motion of the girl, intended to be light and elastic, is hard and forced. Some of the heads, however, are admirably finished. — The other wing represents St. John in the cauldron of boiling oil. The executioners, in the costume of Flemish peasants , with their sun-burnt, muscular arms, are attending actively to the lire. In the background the Emp. Domitian appears, mounted on a white horse, and attended by eight horsemen. Below the picture is placed the painter's tombstone, a copy of which is mentioned on p. 117. 399. Van de Velde, Calm sea ; 348. David Tenters the Youn- ger, Old woman ; 347, 346. Teniers, Small landscapes (Night and Morning); 345. Flemish tavern ; 390. A. vari der Neer, Moonlight scene; *405. After Van Dyck, Portrait of Cssar Alexan- der Scaglia, the Spanish ambassador at the Congress of Miinster (original in the possession of Mr. Baring, London). — *381. Jan van den Hoecke, St. Francis of Assisi adoring the Virgin and Child. — *293. Rembrandt, Portrait of Saskia van Ulenburgh , his first wife, a repetition with alterations of tlie famous picture at Cassel (1633), and painted, according to Vosmaer, about 1642. *404. VanDyck, The dead Saviour (Tieta'), painted soon after his return from Italy (1628). The Virgin is represented supporting the head of the dead Christ on her knees ^ St. John shows the wound made by the nail in the left hand to two angels, one of whom veils his face. The features of Christ bear traces of intense physical suffering. St. John and the angel Avhose beau- tiful face is visible wear an expression of profound grief, which however they can still express in words , whereas the anguish of the Virgin is unutterable, her head is thrown back, her arms wildly extended. The picture is chaste , the colouring subdued (now unfortunately faded) ^ yet the tendency of the master's school to a full and somewhat sensual out- line is apparent, although the work is by no means deficient in sentiment. 399. Jan Steen^ Rustic wedding; 646. Jac. von Ruysdael, Waterfall. *307. Rubens, The doubting Thomas, on the wings half-length portraits of the Burgomaster Nic. Rockockx (p. 115) and his wife Adrienne Perez. The portraits are far finer than the fig- ures in the central picture (comp. p. 115). 503. J. Wynants and Adrian van de Velde, Landscape with cattle; 26. J. and A. Both, Italian scene ; 54. J. deHeem, Fruit; 107. Corn, de Vos, St. Norbert receiving tlie Host, and Sacred Vessels hidden during a time of war and heresy ; 358. Valentin, Card-players. End wall: 108. Corn, de Vos, Adoration of th^Magi; 336. Sny- ders, Dead game. Side wall : 31. P. Breughel the Younger, Bearing of the Cross. — P. D. Rijng, Still-life. *306. Rubens, The Virgin instructed by St. Anna, a very at- tractive group ; colouring mellow and harmonious. 464. Bern, van Orley (d. 1541) and Joachim de Patinir, Adoration of the Magi. *403. Van Dyek, Entombment. 402. After Rubens (original at Windsor), Portrait of Malderus (d, 1633), Bishop of Antwerp, attributed in the catalogue to Van Dyck, 124 Route 14. ANTWERP. Museum. 406. Van Dyck, Christ on the Cross, a small picture , of ghast- ly, but most effective colouring; the full outline of the body, however , hardly accords with the suffering expressed by the fea- tures. Human resignation is admirably expressed , but there is perhaps a deficiency in divine dignity. *305. Rubens, Communion of St. Jerome. The figure of the saint, who is receiving his last sacrament , produces a most painful impression. The picture was executed in 1619, and Rubens' receipt for the price is still preserved ('seven hondert en vyftig gulden, tot volcomen hetalinghe van een stuck schilderye door myne handt ge- maeckV, i. e. 'seven hundred and fifty florins , in full payment for a piece of painting done by my hand'). 112. Frans de Vriendt, or Frans Floris (1520-70), Fall of the Wicked Angels, painted in 1554, and highly esteemed by his con- temporaries. This extensive work i,s crowded with figures falling headlong in every conceivable attitude , and is destitute of any depth of perspective. Many of the figures are beautiful , even in their distorted positions. A fly painted on the leg of one of the falling angels has given rise to the absurd story that it was painted by Quentin Massys , and that Floris, whose daughter Mtissys was wooing, having been deceived by it, was satisfied with this proof of his skill , and gave his consent to the mar- riage. The name of the painter whose daughter Massys perhaps married (see p. 117) is unknown, while Floris was only 10 years old when Mas- sys died. *299. Rubens, St., Theresa interceding for souls in purgatory, one of the most pleasing pictures of the artist's later period ; 401. Van Dyck, Christ on the Cross, at the foot of which are St. Catherine of Siena and St. Dominicus , with a stone bearing the inscription, 'iVe patris suimanibus terra gravis esset, hoc saxum cruel advolvebat et huic loco donahat Antonius van Dyck\ in allusion to the history of the picture, which was executed for the Dominican Nunnery in 1629 (when Van Dyck was in his 30th year), at the dying wish of the artist's father. 83. Martin de Vos, Christ and the Pharisees ('Render therefore unto Ciesar'), painted in 1601. — 185. Ant. Goubau, Art studies in Rome, 1662. In the centre of this long room : De Bay, Elder , Girl holding a shell to her ear. Rauch , Victoria distributing wreaths. W. Geefs, Genovefa. III. Saloon. On the left, 228. A. Key, Portrait of the Smidt family; 229. Key, Smidt's second wife; 186. Goubau, Piazza Navona at Rome. Copy of the Adoration of the Lamb at Ghent (p. 33). 72-74. M.de Vos, Triumph of Christ, a winged picture; 467. Isaac van Ostade, Winter scene; 113. Fr. Floris (De Vriendt), Adoration of the Shepherds; 171. Fyt (d. 1661), Eagles fighting; 314. Rubens, The Trinity. The dead Saviour is represented in the arms of God the Father, while the Holy Ghost hovers above ; an unpleasing group and partly a failure (comp. p.xlvii). 103. Martin Museum. ANTWERP. 14. Route. 125 de Vos (d. 1603), Temptation of St. Anthony ; 495. Dav. Vincke- boons [d. 1629), Flemish festival. 493. Verschaeren (d. 1863), Portrait of Herreyns, the paint- er; 647. Fr. Snyders ^ Fishmonger's shop. Below, 316-318. Rubens, Three sketches of triumphal arches, executed in 1635 for the city of Antwerp on the occasion of the triumphal entry of Ferdinand, Archduke of Austria, the Victor of Nordlingen and Calloo. Six other sketches are in the Hermitage, St. Peters- bourg. One of the arches was to have been 80 ft. high and 60 ft. wide. 265. Murillo (?), St. Francis. — *313. Rubens, Christ on the Cross. IV. Saloon. On the left, 349. Terburg, Mandoline player; 500. Wouwerman , Riders reposing ; 7. L. Backhuysen, Dutch vessel of war; 183. Gossaert (Mabuse), Virgin and Child; — 492. Verlat, Portrait of the painter Lies (;1866) ; *237. H. Leys (d. 1869), Rubens at a fete in the garden of the Guild of Arquebusiers ; 288. Er. Quellin, St. Bernard; 269'. B. P. Ommeganck [d. 1826), Landscape with cattle ; Dekker, Landscape ; 238. Lies , Prisoners of war ; 50. H. Decaisne (d. i8b2), Mater Dolorosa ; Wappers, The brothers De Wit in prison; 239. Lies, 'The enemy approaches I ' ; 642. Koekkoek, Landscape ; 371 . M. van Coxcie, Martyrdom of St. Sebastian ; 640. J. L. David, Study of a head ; — *312. Rubens, Holy Family , 'La Vierge au perroqueV, so called from the parrot at the side, one of his earlier works, presented by him to the Guild of St. Luke, on his admission as a member, in 1631, and hardly inferior in composition and colouring to his more celebrated w^orks (comp. p. xlvii). — 614. Pieron (d. 1864), Flemish landscape. V. Saloon. At the entrance: *530 , 531, 255, 256. Four admirable little pictures on two diptychs, almost resembling minia- tures. On one of them Mary is represented with a lofty and rich crown , standing in the interior of a Gothic church ; on her right arm the Child half wrapped in the swaddling-clothes. On the back, the Saviour in a white robe with the letters Alpha and Omega, and P. and F. (Pater et Filius) on a ground of red tapestry; beneath are the armorial bearings of the two donors , date 1499. The other diptych bears the portraits of the donors , Abbots of the Cistercian Monastery of Les Dunes near Bruges. These works were formerly attributed to Memling, but are now believed to have been executed by Cornelius Horebout, a master who flourished at Bruges about the end of the 15th century. Most of the pictures in this saloon were bequeathed to the Mu- seum in 1840 by the Burgomaster Van Ertborn , whose bust stands in the middle of the room. Beginning on the left: — 222. Jordaens , Portrait of a lady; 196. G. Hoeckgeest (17th cent.), Interior of the Nieuwe Kerk at Delft ; 324. Schalcken, Old and young man ; 321. Sal. Ruysdael , Stillwater; 437. W. van ^iier^'s (1662-1747), Fish-dealers; 502. J. Wijnants ^nd A. van 126 Route U. ANTWERP. Museum, de Velde, Landscape ; 466. Adr. van Ostade^ Smokers ; 319. Rubens and J. Breughel, Dead Christ mourned over by saints; above it: 407. A. van Dyck, Portrait of a girl, the dogs by Fyt; 69. Sim. de VLieger (17th cent.), Calm; 398. A. van de Velde, Landscape; 70. Aryde Fois (17th cent.). Old woman holding a flask ,; 46. Albert Cuyp , Two riders; 125. Corn. Dusart, Rustic interior; 118. Berckheyde, Amsterdam with the town-hall; above it, 489. C. L. Verboeckhoven , Seapiece. 257-260. Simone Martini of Siena (d. 1344), Annunciation in two sections, Crucifixion, and Descent from the Cross, formerly at Dijon ; 383-385. Gerard van der Meire, Bearing of the Cross, a triptych; 412. Good copy from John van Eyck, Virgin in a red mantle , the Child with a parrot and flowers, on the left St. Dona- tian, presenting wax-tapers; on the right the Canon de Pala (the donor) in a white robe, kneeling and holding a breviary and a pair of spectacles in his hand ; beside him St. George in full armour. The original is in the Museum at Bruges (p. 23). 223. Justus of Ghent (?), Adoration of the Shepherds; 387. Gerard van der Meire (?) , Christ in the sepulchre ; *241 , *242. Quentin Massys, Christ and Mary, two heads remarkable for their beauty and dignity, once erroneously ascribed to Holbein. 43. L. Cranach, Charity. — Then — 29. Dieric Bouts (?) , St. Christopher ; 42. Cranach , Adam and Eve ; 397. Roger van der Weyden (?), Portrait of Philip the Good of Burgundy (under glass); *410. John van Eyck, St. Bar- bara, unfinished sketch of great beauty ; 181. J. Gossaert (Mabuse), Ecce Homo; 243. Quentin Massys, Magdalene with the box of ointment; 3. Fra Angelico da Fiesole, St. Ambrose refusing Emp. Theodosius admission to the church at Milan on account of the massacre at Thessalonica ; 28. Dieric Bouts (?), Madonna; 253. School of Roger van der Weyden, A canon of St. Norbert; *396. Roger van der Weyden , Annunciation , a small picture of most delicate execution , formerly in the Convent of Lichtenthal near Baden-Baden, once erroneously attributed to Memling (under glass). *4. Antonello da Messina (who is said to have visited Flanders, probably attracted by those pictures of Van Eyck and his school which had found their way to Italy, for the purpose of learning the new method of painting in oil), Mt. Calvary, Chri^^t on the Cross with the malefactor at each side; in the foreground SS. Mary and John. The picture (which bears the date 1475) presents a curious combination of the Flemish minuteness of detail with Italian forms and treatment of the nude. 250. Quentin Massys, Head of Christ. 411. John van Eyck, Madonna in a blue robe, and the Child in her arms playing with a rosary; to the right a fountain ; her feet rest on rich drapery held by two angels behind her. The picture, which bears the painter's name and motto, and the date 1439, has considerable resemblance to the so-called Museum. ANTWERP. 14. Uoute. 127 Madonna of tlie Seminary in the Archiepiscopal Museum at Cologne. 32. Petrus Cristas (?), St. Jerome; 124. A. Diirer (?)) ^^ortrait of Elector Frederick III. of Saxony, in grisaille ; 386. Gerard van der Metre (?), Christ on the Cross. *393. Roger van der Weyden , Sacrament of the altar , flanked by two wings representing the six other Romish sacraments. The scene is in a spacious Gothic church, the architecture of which seems to unite the groups. This picture, the gem of the burgomaster's collection, is brilliantly executed. The crucifixion in the foreground introduces an effective dramatic element into the picture ; and the spec- tator can hardly fail to sympathise with the distress of the women mourning there, as well as with the holy joy which lights up the features of the dying persons receiving the extreme unction. The angels above the various groups, robed in symbolical colours, are particularly well drawn. 204, 205, 206. Lucas van Leyden, SS. Luke, Mark, and Mat- thew ; 33. Fr. Clouet (b. about 1510, a French artist, who follow- ed the Flemish school of painting), Portrait of Francis II. of France when Dauphin; 199. Holbein {^f)^ Portrait of a man; above, 244. Quentin Massy s ^ The miser ; 5. Antonello da Messina, Portrait; 389. Gerard van der Metre (?), Portrait of a woman (companion to No. 388) ; 47. Herri de Bles, The Rest in Egypt. — 198. Holbein (?), Portrait of Erasmus of Rotterdam ; 224. Justus of Ghent (?), The Benediction; 180. Jan Gossaert (Mabuse) , The just judges; 263, 264. Jan Mostaert, Portraits of a man and woman; 179. Ma- buse. The four Maries coming from the sepulchre ; 254. School of Roger van der Weyden, Portrait of a member of the Croy family. 338. Steen , Samson and the Philistines ; 295. Rembrandt^ Portrait of a Jew ; 34. Gonzales Coques, Portrait of a lady ; 294. Rembrandt, The young fisherman ; 320. Jac. van Ruysdael (p. Ixii), Landscape, one of the earliest works of the master, and still reveal- ing strongly the influence of J. Wynants ; 9. Nic. Berchem, Pillage ; 497. Weenix, Harbour in Italy; 615. Rembrandt's School, Head of an old man ; 501. Wouwerman, Horsemen reposing. Private Picture Galleries. — Mme J. J. Wuyts, Rue du Jardin 12 (near the Rue Zirk, PI. E, 5), possesses a collection of about 100 pictures , by old painters , arranged in a hall lighted from above. The catalogue attributes some of them to the great masters : Rubens (Madonna), Van Dyck, Tenters (The jealous wife) , Rem- brandt (Portrait of a girl), Thorn, de Keyser, Jan. <5ieen (The doctor's visit), Hobbema, Maes, Brouwer , Velasquez (several portraits), Murillo, etc. The fees for admission are devoted to charitable purposes. M. NoTEBOHM, Rue du Fagot 3 (PI. D, E, 5, 4; daily except Thursdays and Fridays), possesses about 60 good modern pictures : *P. Delaroche, Holy Family ; Ary Sc.heffer, Faust and Marguerite , The king of Thule ; Bellange, Napoleon visiting the wounded after the battle of Austerlitz ; Gallait , The happy and unhappy mother ; Koekkoek, Landscapes ; Lessinq, Luther burning the papal bull ; 128 Route 14. ANTWERP. Jesuits' Church. Leop. Robert^ Neapolitan lishermeii playiiij? the mandoline ; Gude^ Calame^ Landscapes; J. A. van der Ven, Eve and the Serpent, a marble statue. In a separate room, eight ancient works : Murilto^ Assumption ; Stingelandt, Portraits. Between the Museum and the Cathedral lies the former Jesuits* Church {^St. Charles Borromee , PL 21), built in 1614-21 by the Jesuit Fr. Aguillon from plans by Rubens, and sumptuously adorned with marble and w^orks of art. Rubens himself furnished for it no fewer than 39 pictures. The structure was unfortunately struck by lightning in 1718 and burned to the ground, with the exception of the choir with its two side-chapels containing three large altar- pieces (Assumption, Miracles of St. Ignatius Loyola, and St. Francis Xavier), now preserved in the Belvedere Gallery at Vienna. The church was rebuilt in the style of the original edilice, though with less magnificence. Handsome facade. Pleasing bell-tower in the Renaissance style. The Interior is in the form of a basilica with galleri; s. Round the walls, to a height of about 10 ft. from the floor, runs a handsome carved wooden wainscoting with medallions represent- ing scenes from the lives of SS. Ignatius and Francis Xavier, by Baurscheidt (d. 1745) and Van der Voort (d. 1737). The high altar was designed by Rubens. Over the altar the three following paintings are exhibited alternately: C. Schut (^di. 1655), Madonna enthroned; Zegers, Christ on the Cross; Warpers, The Virgin interceding. The statues of SS. Francis Borgia and Francis Xavier are by A. Quellyn, those of SS. Ignatius and Aloysius by A. Collyns de Nole (17th cent.). The Virgin's Chapel still contains some speci- mens of the marble decoration of the building of 1618. The Chapel of St. Francis Xavier contains a painting by Zegers, St. Francis kneeling before the Virgin. In the Sacristy is a handsome ivory crucifix of the 17th century. The Longue Rue Neuve leads hence to the right to the ^Bourse, or Exchange (PL 8; E, F, 4, 5), re-erected in 1869-72 on the site of a fine late Gothic structure of 1531 which was burned down in 1858. The new edifice, designed by Jos. Schadde, is in the same style as its predecessor, but on a much larger scale, and has an entrance on each of the four sides. The hall, which is covered with glass, is 56 yds. long and 44 yds. wide, and is surrounded by a double arcade borne by 68 columns, opening towards the centre in Moorish-Gothic trefoil arches. Above these is a gallery borne by 38 columns , adjoining which are the Tribunal de Commerce and the Telegraph Office. The ceiling is borne by an elegant wrought Iron framework , and the walls are adorned with the arms of Ant- Averp , the Belgian lion, and the arms of the different provinces of Belgium. In the angles between the arches are the arms of the chief seafaring nations. St. Jacques. ANTWERP. 14. Route. 129 The *Church of St. Jacques (PI. 23; E, 4), in the late Gothic style , was begun in 1491 from designs by Her. de Wagemakere^ but was still unfinished in 1530 when the work was discontinued. In 1602 after the subsidence of the religious troubles of the latter half of the 16th century, the works were resumed, and the church completed in 1656 (the chief portal being added in 1694). It is a cruciform structure , flanked with chapels on each side and in the choir also, and is the principal church in Antwerp after the cathedral, which it far surpasses in the sumptuousness of its monuments and decorations. The wealthiest and most distinguished families at Antwerp here possessed their burial-vaults, private chapels , and altars, the most interesting of which is that of the family of Rubens, in the choir , at the back of the high altar. The principal entrance is on the S. side , in the Longue Rue Neuve (open for the inspection of the works of art between 12 and 4 p. m, ; sacristan's fee , according to tariff, 1 pers. 1 fr., 2 pers. 11/2? 6tc. ; visitors knock at the door). The Interior , which is of harmonious proportions, is partly lighted by * stained glass windows, both ancient and modern, the former having been chiefly executed by A. van Diepenbeeck (d. 1657) and Van der Veeken^ the latter by J. Capronnier (p. 67). S. Aisle. On the first pillar by the W. entrance, is a Resur- rection by Van Balen ; above it , the ^Portrait of this master and his wife, by Van Dyck (?). — 1st Chapel : A. van Dyck, St. George and the dragon; opposite, wooden figure of St. Sebastian, by A. QueUyn ; monument of Bogaerts , the author (d. 1851), with his portrait by De Keyset. The reliefs , representing scenes from the Passion , in this chapel and several of those following are by J. Qeefs and De Cuyper. — 2nd Chapel : M. de Vos, Temptation of St. Antony. Monument of the Burgomaster Van Ertborn (p. 125), with a Madonna by Guido Reni. — 3rd Chapel : E. Quellyn, St. Rochus cured of the plague, 1660. This and the two following chapels contain twelve small scenes from the life of St. Rochus , executed in 1517, works of no great merit. — 4th Chapel: Altar-piece and pictures opposite, by 0. Venius. — 5th Chapel: Fr. Floris, Women occupied with the Infant Christ and St. John ; opposite, monument of Churchwarden Nicolas Mertens (d. 1586) and his wife , with portraits, by Ambr. Francken (d. 1619), — 6th Chapel: M. Coxcie, Baptism of Christ ; Martin de Vos , Martyrdom of St. James ; Fran- ken, Winged picture. Transept : Marble statues of the Apostles by Van der Voort (d. 1737), Kerrickx (d. 1719), De Cuyper, and others. To the right and at the beginning of the choir : Resurrection by E. Dujardin (1862), and Assumption by Boeyermans (1671). In the S. arm: Elevation of the Cross, a high -relief by Van der Voort, 1719. Above the portal : Honthorst, Christ expelling the money-changers from the Temple, the wings by De Craeyer. Baedeker's Belgium and Holland. 5th Edit. 9 130 Route 14. ANTWERP. St. ^Torques, Choir. Tlie high altar is by Ikens , the ornamentation by Ker- rickx, L. Willemssens (d. 1702), etc. The choir-stalls were carved by the oldeT and younger Quellyn. The stained glass window is by Van Diepenbeeck, 1644. — The S. transept is adjoined by the — Chapel of the Host, containing a marble altar and statues of SS. Peter and Paul, by P. Verhruggen (d. 1686), L. Willemssens^ and Kerrickx. The pictures are by Van Dale , B. van Orley (after Raphael), P. Thys (d. 1682; Adoration of the Host), etc. The *Stained glass of 1626 represents Rudolph of Hapsburg giving his horse to the priest carrying the monstrance , with the donors below. Retro -Choir. — By the wall. Confessionals by A. Quellyn^ Willemssens , and others. Above the first of these : Oouban (d. 1618), Dead body of Christ; M. de Vos, Ecce Homo (1562); Verlinde, Madonna (1870). — 1st Chapel: Van Balen (d. 1632), Trinity; opposite. Calling of St. Peter to the Apostleship, arbi- trarily ascribed to A. van Noort (p. xlvii). Below, after Van Dyck^ Christ on the Cross (original in the Museum). — On the wall of the choir opposite : Corn. Schut , Mary weeping over the body of Christ. — 2nd Chapel: Zegers , St. Ivo ; below, a marble- relief by Scheemakers (1700). — 3rd Chapel: Zegers, Appearing of Christ. Van der Voort , Christ scourged , a group in marble ; bust of Christ wearing the crown of thorns, by A. Quellyn the Younger; Coronation of the Virgin , Nativity, and Adoration of the Magi, winged picture by A. Janssens (d. 1631). 4th. ^Rubens Chapel. The tomb of the illustrious painter (d. 30th May, 1640, at the age of 64) was covered by a new tombstone in 1755, bearing a long inscription in Latin. The altar-piece of this chapel is a fine work by Rubens. The Holy Child is represented sitting in the lap of the Virgin in an arbour, and worshipped by St. Bonaventura. Behind the Madonna is St. Jerome, while on the other side is St. George with three holy women. According to tradition these saints are all family portraits. St. Jerome is said to be the father of Rubens, St. George the painter himself, and the three women his two wives and Mademoiselle Lunden , whose portrait in the l^ational Gallery at London is famous under the name of the 'Chapeau de paille\ The tradition is , however , doubtful, for the exe- cution of the work differs from that usual with Rubens in his later years, in which alone the portraits could have been painted. The beautiful marble statue of the Virgin, the two angels , and the upper portion of the altar, are probably the work of Luc, Faydherbe {d. 1694), with whom Rubens was intimate. On the right and left are the monuments of two female descendants of Rubens, executed by W. Geefs in 1839 and 1850. Also, Th, Rombouts , Mystic betrothal of St. Catherine. 5th Chapel : Jordaens , S. Carlo Borromeo among persons sick of the plague, praying to the Virgin. — 6th Chapel: Van Lint, St. Peter taking leave of St. Paul; A, Francken^ Entombment, and the Risen Saviour appearing to Mary Magdalene. — 7th Chapel : Theatre, ANTWERP. 14. Route. 131 Victor Wolfvoet (ilth cent.), Meeting of the Women. Moons (d. 1845), Christ and the Disciples at Emmaus. — On the wall of the choir, opposite: Peter Thys (d, 1692), The Trinity, and Abra- ham's Sacrifice. The Chapel of the Virgin, in the N. transept, contains stained glass by De la Baer (1641); also, A. Quellyn the Elder ^ Pieta , a painted sculpture in wood , and Joseph with the Child ; monument of Mich. Peeters and his wife, by Van der Voort (1701). N. Transept, i^bove the portal, J. Honthorst., Christ among the Doctors in the Temple ; on the wings, Zegers^ Annunciation, and Adoration of the Magi. Thys, Assumption of the Virgin ; Em. Quellyn the Younger, Death of St. Francis. — On the pillar, 0. Schut, Body of Christ on the knees of the Virgin. N. Aisle. 1st Chapel: Coberger, St. Helena giving the Cross to her son theEmp. Constantine. — 2nd Chapel: M. de Vos, Glory, a winged picture; Peter van Avont (d. 1652), Madonna and the Child in a garden , surrounded by angel musicians ; stained glass representing the Last Supper, with portraits of the donors. — 3rd Chapel: *B. v. Orley, Last Judgment; on the wings St. George and the Burgomaster Rockocx , the donor of the picture, with his three sons ; and St. Catherine and the wife of the burgo- master , with their eleven daughters. — 4th Chapel : Van Balen, Adoration of the Magi ; Ryckaertj Portrait of J. Doncker and his wife (above their tomb). — 5th Chapel : Altar-piece of no great merit; M. de Fos, Mary entering the Temple. — 6th Chapel: Tomb of the Spanish general DelJ^ico (d. 1693). — In the nave, pulpit by Willemssens. At the E. end of the Longue Rue Neuve rises the new Flemish Theatre, or Schouwburg (PI. 52; E, 3), erected by Dens in 1869-72. Inscription on the W. side , towards the Place de la Victoire : 'Vrede baart kunst, kunst veredelt het volk' (peace begets art, art ennobles the people). A few streets farther N. is situated the small church of St. An- toine (PI. 16; D, 3), or Church of the Capuchins, erected in 1589, and containing two valuable pictures. On the W. wall of the left aisle, *Christ mourned over by his friends and two angels , by Van Dyck. In the choir, the first picture on the left, St. Anthony receiving the Infant Jesus from the arms of the Virgin, by Rubens. Parallel with the Longue Rue Neuve runs the street called Place de M:eir (PI. F, 5, 4), one of the broadest in Antwerp, formed by the arching over of a canal , and fianked with handsome new houses. In this street is the Royal Palace (PI. 41) , erected in 1755 from plans by Baurscheidt for aw^ealthy citizen of Antwerp. No. 52, a little farther to the E. , is Rubens' House (PL 37), with two Corinthian columns , and richly decorated. It was built from the designs of Rubens himself in 1611, altered in 1703, and 9* 132 Route U. ANTWERP. St. Andrew's Church. restored in 1864. On the top stands a bust of its former illustrious owner, who died here on 30th May, 1640. The French Thetoe Royal (PI. 51-, F, 4) was completed in 1834. Over the windows of the circular part of the structure on the W. side are niches containing busts of the most distinguished drama- tists and composers of all nations. On the parapet above are the nine Muses. The Botanic Garden (PI. 35 ; G, 5), which is well kept and contains a fine palm-house, is adorned with a statue of the botanist P. Coudenherg , who flourished at Antwerp in the 16th cent. , with De Cuyper, In the immediate vicinity is the St. Elizabeth Hospital (PI. 32). — The triangular Place St. Georges (PI. 45) is embellished with an Equestrian Statue of Leopold I. (PI. 45), in bronze, designed by J. Geefs. The stone pedestal bears a double inscription , in Flemish and French. The new Bank^ now in process of construction between this place and the Avenue des Arts , was designed by Beyaert , who has employed the Flemish Renaissance style in this case also (comp. p. 64). The Gothic Church of St. George (PI. 22; G, 5), consecrated in 1853, with its two lofty spires, contains fine mural *Paintings by Guffens and Swerts, representing St. George on horseback, Christ, the Evangelists, etc. (description on the right by tlie entrance). The Church of the Augustinians (PI. 17; F, 5), erected in 1615, possesses a large altar-piece with numerous figures, by Ru- bens , representing the 'Nuptials of St. Catherine with the Infant • Jesus'. This excellent work is unfortunately in bad preservation. Also, to the right of the principal entrance: Cels (1778), Elizabeth and. Mary ^ Lens (d. 1872), Presentation in the Temple. On the left : Van Bree., Bapti.sm of St. Augustine. Farther on, to the right, the Martyrdom of St. ApoUonia as an altar-piece, by Jordaens; to the left. Van Dyck., The Vision of St. Augustine. On the right of the choir a modern chapel in the Romanesque style, with frescoes by Bellemans. The Church of St. Andrew (PI. 14; F, 6), erected in 1514-23 in the late Gothic style, also contains some works of art. The pulpit, in carved wood, is by Van Geel and Van Hool (18th cent.). St. Peter and St. Andrew are represented in a boat on the sea, from which they are summoned by the Saviour; life-size figures, finely exe- cuted. In the N. Chapel of the Choir: Govaerts, Flight into Egypt-, Zegers., St. Anna instructing the Virgin. Choir: 0. Venius^ Crucifixion of St. Andrew; Erasmus Quellyn (d. 1678), Guardian angel of youth. S. Chapel of the Choir: Franck., Last Supper (altar -j)iece) ; Zegers^ Raising of Lazarus; B. Quellyn.^ Christ at Emmaus; E. Quellyn., Holy Family. By the choir are two statues, (left) St. Peter by A. Quellyn the Younger., and (right) St. Paul by Zielens. In the Transepts several modern pictures, by Vei-lat, Van Eycken., and others. Side-altar on the S.: Pepyn., Crucifixion; on the N., Franck., St. Anna teaching children, a work with numerous figures. The aisles contain a number of large modern pictures. On a pillar in the S, Transept is a small medallion-portrait of Mary Queen of Scots (by Poiirbus)^ with an inscription, in memory of that un- fortunate sovereign and two of her ladies-in-waiting who are interred here. Zoolog. Garden. ANTWERP. 14. Route, 133 The adjacent Rue cles Chevaliers terminates towards the N., beyond the Rue des Tailleurs, in the Place du Vendredi (comp. PL F, 6), on the left side of which is the recently opened *Musee Plantin, established in the house of the celebrated printer Christ. Plantin (1514-89), who setup his printing office at Antwerp in 1555. From 1579 until recently the business was carried on without interruption in the present building, at first by Plantin himself, and afterwards by the family of his son-in-law Moretus. The bouse was purchased by the corporation of Antw^erp in 1875, with its antique furniture, tapestry, paintings (90 portraits, including 14 by Rubens and 2 by Van Dyck) , and other collections , and now affords a unique picture of the dwelling and contiguous business premises of a Flemish patrician of the end of the 17th century. Adm. daily 10-4, 1 fr. ; Sun. and Thurs. Ground Floor. Room I. : Interesting tapestry. Room II, contains pictures, all of wMcli bear the names of their subjects and painters. On the right, Rubens^ Justus Lipsius, Adriana Gras, P. Plantin, Chrisl. Plantin and others^ Van Di/ck^ Balth. Moretus. Also specimens of Title- pages and Vignettes, partly by Rubens, who, as appears from receipts which are still preserved, frequently drew designs for printers. In the centre, under glass: Designs for Plantings printing-office by Er. Quellpn, B. van Orley^ Rubens^ and others. Room III. : Copies by Rubens of Italian portraits, including Pope Leo X. after Raphael. In the centre: Miniatures from the 10th to the 15th cent. specimens of Plantings printing. — We now cross the mediJEval-looking Court, where we see numerous repe- titions of Plantings motto, 'Lahore et 'constantia', and enter the Proof- readers' Room, containing a fine old desk ; then the Printing- Office, where everything is left arranged as if work were to beresumed to-morrow. — The rooms on the First Floor contain proofs, autographs, wood-cuts, copper- plates by Rubens, Jordaens, Van Dyck, etc., and numerous fine specimens of early printing. The old fortifications of the city have been converted into hand- some, broad boulevards, or Avenues^ since 1859 (comp. p. 111). Numerous imposing edifices have been constructed here, such as the Bank, mentioned on p. 132 and as yet unfinished, and the new Palais de Justice (PL 42 ; H, 5) by Baeckelmans, in the style of Louis Treize. The site of the Lunette d'Herenthals is now occupied by the new Park (PL G, H, 3), the ornamental water for which is fur- nished by the old moats. At the W. corner of the park is the mo- nument of the Flemish poet Theodore van Ryswyck (d. 1849), erected in 1864. In the Avenue Louise Marie is a statue of the painter Hendrick Leys (PI. G, 4), by Ducaju, erected in 1874. — At the end of the park stands the new Church of St. Joseph (PL 24 ; H, 2), built by Gife in the Romanesque style, and embellished with frescoes (scenes from the Passion) and stained glass. Farther to the W. , on the other side of the Avenue des Arts, rises the bronze Statue of Teniers (PL 47), also by Ducaju, erect- ed in 1867. Flemish theatre (PL 52), see p. 132. The ^Zoological Garden ('/)iereniwm', PL 36), founded in 1843, lies on the E. side of the city, beyond the railway-station. It con- 134 Route 14. ANTWERP. Docks. siats of a small park, with a flue collection of animals and a cabinet of natural history, and is one of the best in Europe. Admission 1 fr. Concerts in summer on Tues. and Thurs. afternoons or evenings. The old E. suburb of Borgerhout is adorned with a Statue of Carnot^ the defender of the city in 1811 (comp. PI. F, 1). In the former Berchem suburb, to the S. of the entrance to the Boulevard Leopold, rises the Monument of Van Schoonheke (PI. 50; H, 2), one of the most distinguished citizens of Antwerp about the middle of the 15th cent., and near it a colossal statue, designed by Ducaju, of Boduognatus (PI. 44), a Belgian chief, who opposed the invasion of Julius Caesar. Visitors who wish to inspect the new and formidable circumvallation of Antwerp may make use of one of the tramway lines which connect the interior of the city with the various gates, e.g. the Poi'te de Maliries (in the former suburb of Berchem, comp. PL H,4), which is itself interest- ing in an architectural point of view. Along the Schelde extend the handsome and busy Quays, con- structed by Napoleon in 1802, stretching from the Arsenal (PI. F, G, 7) on the S. to the (3/4 M.) docks on the N. The drawbridges over the canals, which formerly served as a harbour, are thoroughly Dutch in character. Indeed the whole appearance of the town as viewed from the river is exceedingly picturesque, though unfor- tunately many of its characteristic attractions are being swept away to admit of the extension and levelling of the quays. The traveller may descend the Place Verte to the Schelde by the Rue Reinders and the Marche au Lin, and through the Porte de VEscaut, a gateway adorned with sculptures, and bearing an inscrip- tion dedicated by the ^Senatus Populusque Antwerp tenses' to the ^Magnus Philippus\ This prince was Philip IV., great-grandson of the Emp. Charles V., who reigned from 1621 to 1665, and under whom Spain entirely lost her prestige, having been deprived of Portugal in 1640, and finally of the Netherlands in 1648. The Marche-aux-Poissons (Fl. 30; E, 6), presents a busy and amusing scene between 7 and 9 a. m. , when the fish-auctions take place (p. 5). — The building adjoining the market on the E., flanked with towers at the corners, and called the Steen (PI. E, 6), originally formed part of the Castle of Antwerp, which remained in the hands of the lords of the soil till 1549, when Charles V. made it over to the burghers of Antwerp. It was afterwards the seat of the Inquisition , and is now occupied by the recently founded Museum van Oudheden (entrance at the back, in the Rue du Steen ; admission 1 fr. , Sundays 10-3 free), a collection of antiquities, handsome furniture of the 15th -17th cent., weapons, and old views of Antwerp. The court is adorned with columns from the old exchange (comp. p. 128). The *Docks (PI. A, B, C, 4, 3, 2) lie at the N. end of the Vlaamsch Hoofd. ANTWERP. 14. Route. 135 quays. The two older basins, the Grand and Petit Bassin, were constructed hy Napoleon (1804-13), at a cost of 13 million francs, in consequence of a decree of 21st July, 1803, constituting Antwerp the principal naval station of the N. coast of France. The small dock is capable of containing 100, and the largest 250 vessels of moderate tonnage. The accommodation afforded by these docks proving insufficient, the Bassin du Kattendyk, 770 yds. long and 110 yds. wide, was begun in 1859. Adjoining it are the Bassin aux Bois, the Bassin de la Campine, and the Bassin du Canal , all of large dimensions ; and farther extensions are projected , in order to keep Antwerp abreast of her formidable Dutch rivals. Sailors of many different nationalities are encountered here, and the signboards over the shops enumerate their commodities in English, Spanish, French, etc. Between the two older docks rises the Maison Hanseatique (PI. 31), a massive and venerable building, with a portal of 1568 (on the Quai Hambourg), originally employed as the warehouse of the Hanseatic cities. It bears the inscription : Sacri Romani Imperii Domus Hansae Teutonicae (date 1564), with the armorial bearings •of the three cities of the League. It is named the ^Osterlingshuis^ by the Flemings. In 1863 it was ceded by the Hanseatic towns to the Belgian government, as an equivalent for all river-dues exigible from their vessels in future. The upper dock is flanked with a row of substantial buildings, used as bonded warehouses , or Entrepots , which are connected with the railway-station by several lines of rails. Extensive rail- way magazines are being built in the vicinity. A good survey of Antwerp is obtained from Vlaamsch Hoofd, or Tete de Flandre, on the left bank of the Schelde , to which a steamer crosses from the S. end of the quay every 1/4 hr. (6 c). Napoleon considered this a more advantageous site than that of Antwerp, and proposed building a town here. It was also recently proposed to construct the new docks here. During the siege of Antwerp in 1832 (p. 110) the Dutch cut through the dyke above Vlaamsch Hoofd , thereby laying the whole of the sur- rounding country, even the high-road, under three feet of water, so that no vehicle could reach the tete-de-pont of Antwerp. Twelve Dutch gun- boats cruised over the polders or fields, which lie much lower than the sea-level. In this condition the environs remained for three years. The soil, covered with sea-sand by the action of the tides, and impregnated with salt, was rendered quite unfit for cultivation, and in many places resembled the sea-shore. The restoration of the dyke alone lias cost 2,000,000 fr. 15. From Antwerp to Rotterdam. (A.) Railway Journey. 62 M. Railway in 33/4-4 hrs. ; fares 11 fr. 40, 9 fr., 5 fr. 70 c. (or 5 n. 50, 4 fl. 30, 2 fl. 70 cents). The only points of interest on the line are the handsome bridges over the Hollandsch Diep , the Maas at Dord- recht, and the Lek at Rotterdam. The steamboat (p. 137) is preferable to the railway in fine weather, where time is no object. 136 Route 15. ROOSENDAAL. From Antwerp Tl\e Railway at first traverses the unattractive moor country of the Belgian province of Antwerp. — 71/2 M. Eeckeren — 10 M. Cappellen (with severarcountry seats). About 3 M. to the N.W., just beyond the Dutch frontier, lies the village of Putten, in the churchyard of which is buried Jacob Jordaens (d. 1673), the painter, who was denied a grave within the territory of Antwerp owing to his having been a Protestant; the old tombstone is still preserved, and a bronze bust by Lambeaux was set up in 1877. — 1572 M. Calmpthout. — '20'/2 M. Esschen (Belgian custom-house). 251/2 M. Roosendaal, the Dutch custom-house , and junction of the Belgian line with the Dutch lines to Breda (15 M., in 1 hr., via Etten; Breda, see p. 284) and Flushing. From Roosendaal to Flushing (Vlissingen^ 47 M.) by railway in 2- 21/2 lirs. (fares 3 fl. 75, 3 fl., 1 fl. 85 cents). This line affords direct com- munication between the Rhine and the N. Sea, so that Flushing bids fair to become a rival r x Antwerp as a seaport. It traverses the Dutch pro- vince of Zeeland (soe below). Stat. Wouw^ then — 8 M. Bergen op Zoom (IJof van Holland; Prins van Luyk)^ the capital (9700 inhab.) of a province which came into possession of the Elector Pa- latine by marriage in 1722, but reverted to Holland in 1801. The strong forti- fications constructed by Cloehorn, the famous Dutch general of engineers, were dismantled in 1867. The Stadhuis contains several portraits of Mar- graves of the province, and a fme chimney-piece of the 16th cent., for- merly preserved in the markgrave's palace, which is now used as bar- racks. The church was enlarged in the 15th cent., but never completed; it now possesses two transepts, but no choir. Between stations Woensdrecht and Rilland the line crosses the Kreek Rak (p. 138), an arm of the Schelde now filled up , and traverses the ' Ver- dronken Land' (p. 139). To the left rises Fort Bath. Stations Krabbendijk., Kruiningen (where the Beveland Canal is crossed), Vlake., Biezelinge^ and — 31 M. Goes (Hotel Zoutkeet)., or Tergoes., the capital (6100 inhab.) of the island of Zuid- Beveland^ with valuable archives, and an ancient chateau of Countess Jacqueline of Bavaria called the Oosteinde, now an inn. The train commands a view of the lofty Gothic church , consecrated in 1422, with a tower over the centre of the transept. The Court Room in the Hotel de Ville is fitted up in the Louis XV. style, and contains paintings in grisaille by J. Geeraerts. The line then traverses a fertile district, passing ''S Heer Arendskerke, and crosses Het Sloe^ an arm of the Schelde, by an embankment connecting the islands of Zuid-Beveland and Walcheren. Stat. Arnemwiden^ then — 43 M. Middelburg (-Hotel de Ahdij ; Hdtel de Flandre; R. and B. IV2 tl.), the capital of the Province of Zeeland, with 16,000 inhab., and the birth- place of Hans and Zach. Jansen, the inventors of the telescope (about 1610). The town is connected vv ith Flushing by means of a canal. In the market- place rises the handsome late Gothic Town Hall , erected in 1468 by Charles the Bold , Duke of Burgundy , and adorned with 25 statues of counts and countesses of Flanders and Zeeland. In the interior are some antiquities, and a fine court -room with well-preserved panelling of the 16th century. — The New Church (Nieuwe Kerk), which with the Ahdij Kerk (choir) formed the old abbey church, contains the monuments of John and Cornelius Evertsen, two Dutch naval heroes, who fell in 1666 while fighting under Admiral Ruyter against the English \ also the tomb of Count William II. of Holland (d. 1256), who was elected German emperor in 1250. — The Ahdij (abbey) was built in the 12th, 14th, and 15th cent., and restored after a conflagration in 1568; in the court is a door in the Renaissance style. This monastery and that of Klosterrath in the province of Limburg are the only old conventual buildings in Holland. Tlie interior is now occupied by the Provincial Council (p. xxxvi). The large hall contains some fine tapestry representing the battles between to Rotterdam. FLUSHING. 75. Route. 137 the maritime provinces and the Spaniards, executed at Middelburg at the end of the 16th cent., by Jan de MaegJit. — The town possesses a few picturesque old houses. 47 M. Flushing, Dutch Vlissingen (Duke of Wellington; Hdtel du Com- merce)^ a seaport town with 9,700 inhab., once strongly fortified, is situated on the S. coast of the island of Walcheren, at the mouth of the Schelde. The quays and docks, near the railway-station, have recently been much extended, the Dutch government hoping by this means to attract to Hol- land part of the Antwerp trade. In 1559 Philip II. embarked at Flushing, never again to return to the Netherlands. He is said to have been ac- companied thus far by Prince William of Orange, and to have reproached him with having caused the failure of his plans. The prince pleaded that he had acted in accordance with the wishes of the States , to which the disappointed monarch vehemently replied: 'iVb los Estados., ma vos.^ vosT After the Gueux had taken Briel, Flushing was the first Dutch town which raised the standard of liberty (in 1572). — Admiral de Ruyter^ the greatest naval hero of the Dutch, was born here in 1607 (d. 1676). He was the son of a rope-maker, but his mother, whose name he assumed, was of noble origin. His greatest exploit was the ascent of the Thames with his fleet in 1667, demolishing fortifications and vessels of war, and throwing London into the utmost consternation. A few weeks afterwards, however, peace was declared at Breda, and the achievements of the Ad- miral were thus terminated. A monument was erected to his memory in 1841 near the harbour. Flushing was also a place of some importance during the Napoleonic wars. It was bombarded and taken by the English fleet under Lord Chatham in 1809, on which occasion upwards of a hun- dred houses, the handsome town-hall, and two churches, were destroyed. This was the sole and useless result of the English expedition to the is- land of Walcheren, undertaken by one of the finest British fleets ever equipped, the object of which was the capture of Antwerp. Opposite Flushing, on the left bank of the Schelde, rises Fort Breskens, which commands the mouth of the river. From Flushing to London , via Queenborough (Sheerness) , daily in summer, a route opened in 1875. Fine, large steamers. Average pas- sage, 8-9 hrs.^ railway fi-om Queenboro' to London in 1^/4 hr. The railway next traverses a wooded district. — 301/2 M. Ouden- bosch; 351/2 M. Zevenbergen. — (The Belgian Grand Central Rail- way continues to Moerdijk on the Hollandsch Diep, whence a steam- boat starts for Rotterdam twice a day.) — 39 M. Zwaluwe, where the line joins the Mastricht Rotterdam Railway, see p. 285. (B). Steamboat Journey. Steamboat fdaily), preferable to the railwav-route in fine weather, in 9hrs. (21/2 or IV2 fl.) from the Quai Van Dyck^CPl. E, 6), morning tide. The steamers are well fitted up, and provided with restaurants. Agents at Antwerp Van Moeiien & Co.., corner of the Quai Van Dyck and the Ca- nal au Beurre i at Rotterdam Verweg tt Co.^ Boompjes (PI. D, 6). — In stormy weather some parts of the voyage are apt to be disagreeable to persons liable to sea-sickness. The Steamboat threads its way between the nine islands form- ing the Dutch province of Zeeland , the character of which is indicated by its heraldic emblem of a swimming lion, with the motto : Luctor et Emergo. The greater part of the province lies consider- ably below the sea-level , the only natural elevation being a few dunes, or sand-hills on the W. coast of the Islands of Schouwen and Walcheren. The rest of the province is protected against the encroachment of the sea by vast embankments, the aggregate length 138 Route 15. CALLOO. From Antwerp of which amounts to 300 M., while the annual repairs cost a million florins (85,000 L). The most massive of these bulwarks are on the S.W. coast of the Island of Walcheren. Part of the embankment gave way in 1808, in consequence of which the whole island , in- cluding the town of Middelburg (p. 136), was laid under water. The group of islands has probably been formed by alluvial depo- sits. The islands are separated from each other by the different em- bouchures of the Schelde, which are frequently so broad that the low banks can hardly be distinguished by the steamboat-passenger. The land is extremely fertile and admirably cultivated, producing abundant crops of wheat and other grain. Immediately after the departure of the steamboat, the passenger obtains a final view of Antwerp, extending in a wide curve along the bank of the Schelde , above which rise the bold steeple of the Cathedral, St. Paul, St. Jacques with its low, massive tower on the left, and St. Andrew, the most conspicuous church to the right. On the N. the city is bounded by the Docks (p. 134). "Near the docks, in 1831, Lieutenant van Speyk, a gallant Dutch naval officer, sacrificed his life in vindication of the honour of his flag. A storm had driven his gunboat on shore, and a crowd of Belgians imme- diately hastened to the spot to secure the prize, calling on the comman- der to haul down his colours and surrender. The devoted Van Speyk, preferring death to capture, fired his pistol into the powder-magazine, which exploded instantaneously, involving friends and foes, as well as himself, in one common destruction. On the opposite back lies Fort Oosterweel [or Austruivel) then, below Antwerp, tlie Fort du Nord (or Ferdinand'), beyond which Fort Calloo rises on the left. At this point, between Calloo on the left and Oorderen on the right bank , Duke Alexander Farnese con- structed his celebrated bridge across the Schelde, in 1585, during the siege of Antwerp (see p. 110). All communication between the besieged and their confederates in Zeeland was thus entirely broken off. The citizens used every means in their power to destroy this formidable barrier, which was defended by numerous guns. After many fruitless attempts, the fire-ship of the Italian engineer Giambelli at length set the bridge on fire, and blew up a portion of it so unexpectedly that 800 Spaniards lost their lives. The besieged, however, were not in a position to derive any advantage from this signal success, and their auxiliary fleet anchored below Fort Lillo was too weak to attack the enemy single-handed. The damage to the bridge was speedily repaired, and Antwerp, notwithstanding a most obstinate defence , was shortly afterwards reduced by famine. On the left lower down , lies Fort Liefkenshoek , on the right Fort Lillo, both commanding the course of the river, and both re- tained by the Dutch till 1839, when they were ceded to Belgium (comp. p. xix). Then, on the left bank, Doel, a little beyond which is the Dutch frontier. The first Dutch place at the entrance to the Kreek Rak, a nar- row branch of the Schelde which was filled up when the railway to Rotterdam. WILLEMSTAD. 15. Route. 139 embankment was constructed (p. 136), is Fort Bath, where the English fleet landed in 1809. It was a place of importance during the Dutch-Belgian contests of 1831 and 1832. The steamer con- tinues to skirt the S. coast of the island of Zuid-Bev eland ^ and at Hansweerd turns to the right into the Beveland Canal which intersects the island, having been constructed in 1866 to compensate for the filling up of the Kreek Rak. The E. coast of the island of S. Beveland, called the ' Verdronken Land' (literally ^drowned land'), once a fertile agricultural tract, was inundated on 2nd Nov., 1532, in consequence of the bursting of a dyke, when 3000 persons are said to have perished. At the N, end of the canal, which is 5 M. in length , and is crossed by the railway to Goes (p. 136), lies Wemeldingen. the landing-place for Goes. The steamer now traverses the broad expanse of the Ooster- Schelde in a N. direction, and enters the narrow Canal de Keete, which separates the islands of Tholen and Duiveland. To the right, at the entrance , is situated Stavenisse, the landing-place for Tholen, a small town on the E. side of the island. The vessel next touches at Zyp. on the left, at the end of the canal, w hence an omni- bus runs to Zierikzee (Hotel Van Oppen) ; the lofty square tower of the cathedral is a conspicuous point. To the right is the island of Philippsland. In 1575 the Canal de Keete was the scene of a famous exploit by 1700 Spanish volunteers under Reqnesens., the successor of the Duke of Alva, who crossed it with intrepid bravery, partly by wading and partly by means of small boats, notwithstanding the incessant and galling fire of the Flemish defenders of the island , many of whom crowded round the assailants in boats. The capture of Zierikzee was the reward of this determined attack. We now quit the ramifications of the Schelde, and enter those of the Maas , the first of which is the Krammer , the next the Volkerak. The entrance to the Hollandsch Diep , as this broad arm is named , is defended by two blockhouses. Fort Ruyter on the right, and Fort Ooltgensplaat on the left. Willemstad, a fortress with walls and ramparts erected by Prince AVilliam I. of Orange in 1583, next becomes visible. In 1792 it was bombarded by the French for a fortnight without success. The steamer traverses the broad Hollandsch Diep for some distance, which is sometimes pretty rough. As Moerdijk (jp. 137) is approached, a view is obtained of the handsome railway-bridge which crosses the Diep between Moerdijk and Willemsdorp (see p. 285). The steamer now turns to the left into the Dordsche Kil, a very narrow branch of the Maas. In 1711. John William. Prince of Orange, was drowned in crossing the Diep at Moerdijk, when on his way to the Hague to meet Frederick William I. of Prussia, with a view to adjust the difficulties of the Orange succession. Here we observe a long series of the windmills which constitute one of the most picturesque features of Dutch scenery. Many of them are saw-mills, 140 Rou(e If}. HASSELT. also sometimes furnished with steam-engines, while others are cement-mills. Dordrecht (p. 285); thence to Rotterdam (1 hr.], see R. 46. 16. From Antwerp to Aix-la-Chapelle by Mastricht. 91 M. Railway in 41/2 -5 hrs. (fares 12 fr. 80, 9 fr. 80, 6 fr. 40 c. ^ in the opposite direction 10 marks 30, 7 m. 90, 5 m. 20 pf). Stations (51/2 M.) Bouchout, and (91/2 M.) Lierre (Flem. Li€r\ where the line crosses the Contich and Turnhout branch-railway (p. 107) and the Nethe. Lierre contains 15,700 inhab., and possesses several silk-factories. Tlie church of St. Gommarius, begun in 1445, completed in 1557, contains several fine stained-glass windows, three of which were presented by the Emp. Maximilian. Environs flat and uninteresting. Next stations (14 M.) Berlaer, Hey st- op -den- Berg, with leather factories and considerable traffic in cattle and grain ; Boisschot ; (26 M.) Aerschot on the Demer , where the railway crosses the Louvain and Herenthals line (p. 154), with a Gothic church con- taining a rich screen and handsome choir-stalls of the 15th century. The line now follows the valley of the Demer. Stations Testelt ; (341/2 M.) Sichem, whence omnibuses run to the pilgrimage church of JSotre Dame de Montaigu, IY2 M. distant; (371/2 M.) Diest, with 7200 inhab., and many breweries and distilleries. The train crosses the Demer. Stations Zeelhem, Schuelen, and Kermpt. 50 M. Hasselt (Hotel ManelJ , the capital of the province of Limburg, with 11,500 inhab., was the scene of a victory gained by the Dutch over the Belgians on 6th Aug., 1831. The railway unites here with the older branch-line from Landen to Mastricht. From Hasselt to LUge^ see R. 41 ^ to Eindhoven and Utrecht, see R. 41. Stations Diepenheek , Beverst , Munsterhilsen (Liege - Utrecht line, p. 271), Eygenbilsen, Lanaken (Belgian frontier station), and — 621/2 M. Mastricht, see p. 173. The Meuse is crossed here. Stat. Meerssen, Valkenhurg (French Fauquemont, with picturesque ruins peeping from the trees on the right of the line), Wylre, Simpel- veld (on the Dutch and German frontier), and — Aix-la-Chapelle, see Baedeker s Rhine. 17. From Brussels to Braine-le-Comte and Mons. Railway to (19 M.) Braine in 34 min. or 1 hr. (fares 2 fr. 15, 1 fr. 60, 1 fr. 10 c.) ; to (38 M.) Mons in 1 br. 5 min. or 2 hrs. (fares 4 fr. 30, 3 fr. 25, 2 fr. 15 c). Express fares one-fourth higber. Trains start from the Station dn Midi at Brussels (p. 57). From Brussels to (9 M.) Hal, see p. 57. — The Mons train diverges here to the S. from the Tournai line (R. 7), and proceeds by stations Lembecq and Tuhize (a short tunnel) to — 19 M. Braine-le-Comte, Flem. '8 Graven Brakel, a town with MONS. 17. Route. 141 6400 iiiliab., the junction of theEnghien-Grammont-Ghent (p. 9), tlie Manage-Charleroi (p. 143), and the Brussels-Erquelinnes line (p. 143), which follows the direction described in R. 18 to station Ecaussines , and then proceeds south via Baume and Bonne-Espe- ranee. From Brain e-le-Oomte to Erquelinnes, 26 M. The next station in the direction of Jurhise and Mons is — 221/2 M. Soignies, a town with 6759 inhah., possessing a vener- able abbey-church (St. Vincent) in the Romanesque style, perhaps the most ancient building in the kingdom, founded about 650, and erected in its present form in the 12th century. Many of the tomb- stones in the churchyard date from the 13th and 14th centuries. Extensive quarries of mountain-limestone in the neighbourhood. — Branch-line to Houdehg and Baume (see above). The line then describes a wide curve, in a direction nearly opposite to that of Mons, to (301/2 ^^0 stat. Jurbise, where the connecting lines to Ath-Tournai (p. 56) and St. Ghislain (p. 142) diverge. 38 M. Mons, Flem. Bergen (Couronne, in the market; Cerf ; France; Taverne Allemande), on the TrouUle, the capital of Ifai- naultj with 24,250 inhab., owes its origin to a fortress erected here by Caesar during his campaigns against the Gauls. Prince Louis of Orange surprised the town on 24th May, 1572, and maintained it against the Duke of Alva till 19th September, thus giving the northern provinces an opportunity of shaking off the Spanish yoke. Mons was captured by Louis XIV. in 1691, restored to the Spaniards in 1697, and again occupied by the French from 1700 to 1707. It fell into the possession of Austria in 1714, and was twice afterwards taken by the French, in 1746 and 1792. The fortifica- tions, which were dismantled by the Emp. Joseph II., but recon- structed in 1818, have again been removed. The most interesting edifice at Mons is the late Gothic Cathedral of St. WaltrudefSte. Waudru), situated on the left as the town is en- tered from the station. It was begun about 1450, but not completed till 1589. The projected tower was never built, and the church pos- sesses a small spire only. The exterior is somewhat disfigured by modern additions, but the interior is a model of boldness and ele- gance. The slender clustered columns are without capitals, rising immediately to the vaulting and keystones. The church contains several monumental reliefs of the 15th and 16th centuries, those of the latter period being by Jacob van Breuck 5 some good stained glass (Crucifixion , Maximilian and his consort Mary of Burgundy, with their sons) of the latter half of the 16th cent. ; and an inter- esting canopy. The church formerly belonged to a semi-conventual establishment, founded by St. Waitrude, for ladies of noble rank, who devoted one half of the day to religious, and the other half to secular pursuits, and were permitted to marry. Orders of this practical character appear to have been common in Belgium in the 142 Route 17. MONS. middle ages (orders of St. Begga at Andenne, of the B^giiines at Ghent, Bruges, etc., see pp. 178, 45, 24). To the left of the cathedral , and on the highest ground in the town, rises the Beffroi^ or belfry, belonging to the old palace, which is now fitted up as a lunatic asylum. The tower, which is said to occupy the ancient site of the castle of CiBsar, was erected in 1662, and contains a 'carillon', or set of chimes. The Hotel de Ville^ a tasteful late Gothic edifice, was begun in 1458. The tower was added in 1718. A handsome monument , by Frison , was erected here in 1853 to the memory of the celebrated composer Orlando di Lasso , or Roland de Lattre^ who was born at Mons in 1520. — A monument in memory of King Leopold I. was unveiled in 1877. Mons is the centre of a great coal-mining district. The yield of the mines of Hainault averages 12 million tons, valued at upwards of 180 million francs per annum, while the whole kingdom of Belgium produces not more than 15 million tons in all. Of the 110,000 miners in Belgium three-fourths belong to Hainault alone. The richest coal-field in the vicinity is the Bassin du Flenu near Jemmapes, to the left of the road. Near Malplaqnet^ 3 M. to the S.E., Marlborough and Prince Eugene gained a victory over the French in 1709, but not without a loss of nearly 20,000 men. In the vicinity, Pichegru defeated the Duke of York on 18th May, 1794, capturing 60 guns and 1500 men. At Jemmapes 3 M. to the W., Dumouriez, with an army of 50,000 men, defeated 22,000 Austrians under the Duke of Saxe-Teschen, who was compelled to retreat beyond the Meuse, 6th Nov., 1792. From Mons to Paris there are two railways. The more direct is by Hautmont^ St. Quentin., Noi/on, Compiegne^ and Creil (160 M. ^ fares 30 fr. 10, 22 fr. 60 c). The other line leads via St. Ghislain, QuUvrain Valenciennes., Douai. Arras. Longueau (Amiens), and Creil (177 M. : fares 35 fr. 40, 26 fr. 55 c). From Mons to Manage., see p. 143. From Mons to Charleroi (32 V4 M.) by railway in 2 hrs. (fares 3 fr. 25, 2 fr. 45^ 1 fr. 60 c.). Stations Cuesmes-Trieu, Hyon., Harmignies., Estin- nes; (12 M.) Bonne Esperance., whence a branch-line leads to Erquelinnes ; Binche^ a town with 1000 inhab. , where the female part of the com- munity is chiefly engaged in the manufacture of 'fleurs a plaf for the Brussels lace-makers^ (19V2 M.) i5«wme (p. 141)^ (201/2 M.) Mariemont^ con- nected by means of a branch-line with La Louviere (p. 143). Near Marie- mont are the ruins of a chateau erected by the i*egent Mary of Hungary in 1548, but burned down six years later by Henry II. of France. Stations CarnUres., PUton (branch -lines to Manage, p. 143; to Gosselies, p. 144;' and to Bonne Esperance, see above), Fontaine VEvkque^ Marchiennes, and Charleroi (see p. 144). 18. From Ghent to Charleroi and Namur by Braine-le-Comte. Railway to Charleroi (651/2 M.) in 21/2-33/4 hrs. (fares 7 fr. 55, 5 fr. 65, 3 fr. 80 c.) ; to mmur (90 M.) in 31/4-51/2 hrs. (10 fr. 5, 7 fr. 55, 4 fr. 15 c). Ghent) see p. 29. The train crosses the Schelde, and at stat. QUATREBRAS. 18. Route. 143 Melle diverges to the S. from the Brussels line (R. 3). Stations Landscaiiter y Moortzeele ^ Scheldewindeke , Baeleghem; (14 M.) Sottegherrij a small town with 2500 inhab. and several boot and shoe manufactories. In the market rises a statue of Count Egmont (p. 82} , who once owned a chateau here, of which there are still some remains. The Count and his wife, Sabine of Bavaria, and their two children are interred in the parish church. Our line is crossed here by the Brussels and Courtrai line (p. 24). 151/2 M. Erweteghern, (I872 M.) Lierde-Ste. Marie; (221/2 M.) Grammontj Flem. Geerardsbergen, an industrial place with 8900 in- hab., on the slope of a hill, whence a line runs to the N. by Ninove to Denderleeuw (p. 9), and another to the S. by Lessines to Ath (p. 56). The train enters the province of Hainault. Stations Viane^ Moerbeke, Gammerages, Herinnes. Near (321/2 M.) stat. Enghien (p. 56) our line is crossed by the Brussels and Tournai railway (R. 10). 37 M. Rebecq-Rognon ; then — 401/2 M. Braine-le-Comte (p. 140). The line to Charleroi and Namur now diverges from that to Mons (R. 17). Carriages are sometimes changed here. . Stat. Ecaussines possesses extensive quarries of blue limestone, which is cut in slabs and exported under the name of Flemish gra- nite. Railway hence to Baume and Erquelinnes (p. 141). Beyond stations Marche-les- Ecaussines and Familleureux the train crosses the Charleroi Canal, and near Manage enters a rich coal district. 491/2 M. Manage is the junction of our line with those to Mons, Piston (p. 142), Ottignies, and Wavre. From Manage to Mons (15V2 M.) a brancli railway (in I-IV2 hr. ; fares 1 fr. 80, 1 fr. 35, 90 c), used chiefly for goods-traffic, intersects a valuable coal-field, called 'Xe Centre\ the products of which are brought into the market by means of an extensive network of railways. In connection with the coal-mines there is a rapidly increasing iron-industry. Stations La Louviere ^ Bois-du-Luc^ Bracquegnies ^ all with extensive mines ; then Havri^ where the old chateau of that name rises to the left ; Obourg^ noted for its tobacco, and Nimy. The Haine.^ a rivulet from which the province derives its name (Hainault)^ is occasionally visible. From La Louviere a short line diverges to Bascoup and Mariemont (p. 142). Mons^ see p. 141. The Manage and Wavre Railway (in IV4 - IV2 hr. 5 fares 2 fr. 90, 2 fr. 15, 1 fr. 45 c.) is the prolongation of this line to the N. , but the trains do not always correspond. At stat. Seneffe^ a battle was fought in 1674 between Prince Conde and William III. of Orange ; and the Austrians were defeated here by the French under Marceau and Olivier on 2nd July 1794. Stations (241/2 M.) Nivelles (p. 103) and (25 M.) Baulers, the junction of this line with that from Brussels to Luttre and Charleroi (p. 144) ; via ^^ivelles to Fleurus (p. 161), 15 M. in 3/4 hr. 30 M. Genappe (Hdtel des Voyageurs)., a village with 2(X)0 inhab., is frequently mentioned in connection with the Battle of Waterloo (comp. p. 103). About 4 M. to the S. is situated Q,uatrebras, which derives its name from the 'four arms' of the roads diverging hence to Charleroi, Nivelles, Brussels, and Namur. Here on 16th June, 1815, a battle was fought between Ney's division and a part of the British army with its Ger- man and Belgian contingents. The French numbered about 17,000 men, the Allies 18,000; but of the latter 8000 only were British and German, and on the remaining 10,000 no reliance whatever could be placed. Practi- 144 Route /(S. CHARLEROI. From Ghent cally, therefore, the Allies were far outnumbered. At first, shortly after 2 p.m., the success of the French, who were opposed by the Belgians only, was complete ; but their progress was soon arrested by the British and German troops, and the battle raged with the utmost fury till dusk. Prodigies of valour were, as usual, performed by the 93rd Highlanders; and most of the German troops (Hanoverians and Brunswickers) behaved with great bravery, although young and inexperienced. At one juncture the Duke of Wellington himself became involved, and only escaped by putting his horse to full gallop. About 4 o'clock the gallant Duke of Brunswick fell, while endeavouring to rally his troops. Towards the close of the battle the tide of success turned decidedly in favour of the Allies, i^^ey, to his great indignation, now learned that Erlon''s corps, which had at first been ordered to support him , and would doubtless have ensured the victory to the French, had received fresh orders from Napoleon to move towards St. Amand to ojjpose the Prussians there. The brave marshars discomfiture was complete, his troops were totally defeated, aud under cover of the increasing darkness they retreated to their original position at Frasne. The village of Frasne^ the head-quarters of Ney on 16th June, lies 3/4 M. beyond Quatrebras, in the direction of Charleroi. The spirited pursuit of the French by the Prussians on the night after the Battle of Waterloo extended thus far, a distance of more than 6 M. from the battle-field. The ruined abbey of Villers (p. 160), is situated about 3 M. to the W. of Genappe. Next stations Bousval ^ Court St. Etienne (p. 160), where the train reaches the Charleroi and Louvain line, and — 38 M. Ottignies. Thence to Wavre and Louvain, see p. 160. Beyond Manage are stations Gouy - lez - Pieton , Pont -a- Celles, aud (571/2 M.) Luttre (p. 103). Tlie train traverses a more hilly district , describing numerous curves , and crossing the Charleroi Canal several times. Beyond a deep cutting, a beautiful undulating and wooded district is entered. Near stat. Gosselies is the town of that name on an eminence ; (62 M.) Roux; (641/2 M.) Marchiennes- au-Pont (to Mens, see p. 142); all of which places were the scene of sharp skirmishes between the Prussians and French on 15th June, 1815, the day before the Battle of Ligny (p. 161), a village which lies 41/2 M. to the N. E. of Gosselies. The environs of Marchiennes and Charleroi are remarkable for their picturesque scenery and industrial activity. Wooded hills, thriving villages, and well-cultivated fields are passed in rapid suc- cession, while the lofty chimneys of coal-mines, furnaces , iron- foundries, and glass-works are seen in every direction. There are no fewer than seventy different seams of coal in the vicinity of Char- leroi, some of which extend to a depth of 3000 to 4000 ft. The numerous barges on the canal give additional life to the scene. The line now reaches the Sambre , which it crosses repeatedly before arriving at Namur. 66 M. Charleroi {* Hotel Dourin ; Grand- Monarque) , a town with 14,000 inhab., the central point of the Belgian iron industry, was founded by Charles II. of Spain in 1666 , in honour of whom the name (Charnoy) of the village which then occupied the site was changed to Charleroi. Under Louis XIY. it was fortified by Vauban. In 1794 it was besieged four times by the French , to whom it was to Natnur. NAMUR. 18. Route. 145 ultimately surrendered on the eve of the Battle of Fleurus (p. 161 ), after the garrison had been reduced to the utmost extremities. On 23rd May, 1794, the French were totally defeated here by the Austrian Gen. Kaunitz, who captured 25 guns and 1300 prisoners. The fortifications were reconstructed in 1816, but are now converted into promenades. Near the station is a prison in the Gothic style. Charlerol - Erquelinnes - Paris., in 6'/2-8 hrs., see Baedeker^s Paris. Charleroi- Wavre - Louvain., see p. l60. Charleroi-Vireux (401/2 M.) in 21/4 lirs. (fares 5 fr. 50, 3 fr. 90, 2 fr. 60 c). From (8 M.) stat. Berz4e branch-lines diverge to Beaumont and LanefFe^ from (14 M.) stat. Walcourt two others diverge to Philippeville and Morialm^^ see below^ from (30 M.) stat. Mariemhourg another to Chimay, a town with 2970 inhab., where the park and chateau of the prince of that name are situated, and to Hastiere. 4O1/2 M. Vireux., tlie French frontier- station, lies on the Meuse, above the fortress of Givet (p. 149). Beyond Vireux the line proceeds to Rheims and Paris. Beyond Charleroi the Namur train crosses the Philippeville road, and passes the numerous metal -works of (681/2 M.) Couillet and (7OY2 ^1-) Chdtelineau. Opposite the latter lies the busy little town of Chdtelet, with 4000 inhab. Chatelineau -Givet (34 M. •, in 2 hrs.), a branch-line (fares 4 fr. 20, 3 fr. 10, 2 fr. 10 c), traversing a busy manufacturing and mining district, and connected by another branch with Walcourt (see above). Doische is the last Belgian, G'ivet the first French station. The mines and manufactories gradually disappear. The Sambre winds peacefully through beautiful grassy valleys, sometimes skirt- ing wooded hills. To the riglit of (75 '/.2 M. ) stat. Tamines is situated the suppressed abbey of Ste. Marie d'Oignies, now an extensive mir- ror-manufactory. — [Branch-lines from Tamines to Fleurus (p. 160), 51/2 ^••) ^iid ^19, Auvelais to Jemeppe-sur- Sambre and Gembloux (p. 150), 8 M.] — To the right of stat. Floreffe, picturesquely situat- ed on an eminence, rises a seminary for priests, formerly a Premon- stratensian Abbey (in the 'rococo' style). The valley of the Sambre here is thickly studded with ancient chateaux , modern villas , and manufactories. 90 M. Namur, Flem. Namen. — 'Hotel d'Harsuamp. Marche'-aux- Arbres 4, R. and L. 3, D. 3- B. lV'4 fr. ; Hot. de Hollande , Rue des Fosses 27; Hot. Rechter, Couronne Rocher de Cancale, des Messageries, all opposite the station. Good Restaurant at the station. Namur, the capital of the province, with 27,000 inhab., has al- ways been a point of strategic importance owing to the natural ad- vantages of its situation. It is situated at the confluence of the Sambre and Meuse., which are crossed by several stone bridges, and presents a very picturesque appearance, especially when seen from the right bank of the Meuse. In the time of the Romans it was the capital of the Aduatici, a race descended from the Cimbri and Teuton!. Caesar (De Bell. Gall. ii. 29) records , that , after he had defeated the Nervii on the Sahis (Sambre), the Aduatici, their allies, ^cunctis oppidis castellisque desertis, sua omnia in unum oppidurn, egregie natura munitum contulerunV. This 'one town, admirably fortified Baedeker's Belgium and Holland. 5th Edit. 10 146 7,9. Route. NAMUR. by nature', was the ancient Namur, which must therefore have been a place of importance as early as B.C. 56. On quitting the station , near Avhich is a Statue of Leopold 1. by Geefs, erected in 1869, we first incline to the left, and then turn to the right into the wide Rue de Fer, at the end of which the Rue St. Jacques diverges to the right and the Rue des Fosses to the left. In a line with the Rue de Fer runs the Rue de I'Ange, which we follow, turning to the right either at the first cross street (Rue Haute Marcelle) or the second (Rue de la Croix"), both of which lead to the Place Sl Aubain, where the Cathedral is situated. The Cathedral (St. Aubain, or St. Alban), built in 1751-72 from tlie designs of Plzzonl, a Milanese architect, is a handsome Renais- sance edifice, with a douie and a fine interior. At the sides of the high altar are statues of St. Peter and St. Paul in marble, by Del- vaux, from whose chisel are also the figures of the four fathers of the church, Ambrose, Gregory, Jerome, and Augustine. The left transept contains the marble monument of a Bishop de Pisani (d. 1826), by Parmentier of Ghent. At the back of the high altar is a tombstone erected by Alexander Farnese to his ^amatissimo avunculo' Don John of Austria, the conqueror at Lepanto, who died in his camp near Bouge , ^/^ M. to the N. E. of Namur, 20th Aug., 1578. The pulpit, of carved wood, is by Oeerts (1848). The treasury contains many objects of value. The church of St. Loup , situated in the Rue du ColMge, a continuation of the above-named Rue de la Croix, erected in 1621- 53 in the style peculiar to the order of the Jesuits, is borne by twelve massive pillars of red marble. The choir is entirely covered with black marble, and the vaulted ceiling with sculptures. A large hole in the latter, made by a shell, is a reminiscence of the siege by Louis XIV. in 1692. The Rue de I'Ange ends in the Grande Place, on which stands the Hotel de Ville, embellished by four Ionic columns. — Opposite is the Rue du Pont, leading to the bridge over the Sambre. Just before the bridge, on the left, stands the Musee Archeo- logique, which contains numerous antiquities found at Namur and in the environs, some of them of a very remote period (open to the public on Sundays, 10-1 ; to strangers daily on payment of a fee J. The Citadel, on the right bank of the Sambre, between that river and the Meuse, into which it flows, was erected in 1794 on the site of the castle of the Counts of Namur, and has been fre- quently strengthened since 1817. The summit commands a fine view of the valleys of the Sambre and Meuse. Permission to visit it must be obtained at the office of the commandant. Rue des Fosses 20 (near the theatre, at the back of the Hotel d'Harscamp). The two rivers unite at the foot of the Citadel. Namur has at different periods sustained numerous sieges, the most notable being those by Louis XTV. in 1697 and William ITL YVOIR. 19. Route, 147 of Orange in 1695, inconsequence of which but little of the old town has escaped destruction. The Beffroi., or Belfry, erected in the 11th cent, (restored in the 15th), and the Palais de Justice (for- merly the monastery of St. Albinus) , dating from 1464, are almost the only old buildings which have survived. The cutlery of Namur enjoys a high reputation, and is said to be not inferior to the English. On 20th June, 1815, the Liege and Brussels Gates of Namur were the scenes of hotly contested engagements between the rear- guard of the French corps under Grouchy and the advancing Prus- sians. A monument in the Churchyard ^ about 1 M. beyond the Brussels Gate, was erected in memory of the fallen in 1857. Railway to Luxembourg and Treves, see R. 20 ; to Li^ge , see R, 27; to Tirlemont, see p. 155; to Dinant and Givet, see below. 19. From Namur to Dinant and Givet. Railway to (ITVu M.) Dinant in 1 hr. (fares 2 fr. 25, 1 fr. 70, 1 fr. 10 c.)-, to Givet in IV2 hr. (fares 4, 3, 2 fr.). The railway affords but little view of the beautiful valley of the Meuse. The left bank of the river is recommended to the notice of pedestrians. The village inns on the banks of the river are generally good, but are often full in summer. The Steamboat Service between Namur and Dinant was tentatively revived in the summer of 1877. Vessels leave Namur at 9 a.m. and 4. 30 p.m. ^ Dinant at 6 a.m. and 1, 30 p.m. (in spring and autumn once a day only). The valley of the Meuse above Namur is narrow , and enclosed by wooded hills and frowning cliffs. The banks are enlivened with picturesque villages and country-houses. Immediately after quitting the station, the train crosses the Meuse, remaining on the right bank until Dinant is nearly reached. Stations (2 M.) Gambes, (5 M. ) Dave (see below), Lustin, (IOY2 M.) Qodinne, (121/2^. ) Yvoir^ and (17^2 M.) Dinant (see below). The following villages on the banks of the Meuse are seen by the pedestrian only, or the traveller by boat: 1. La Plante, a long village, the usual limit of the walks of the townspeople of Namur; r. Dave^ with an ancient chateau entirely restored, near which rises a liuge and preci- pitous rock ; r. Taillefer, with iron-foundries 5 r. Frene, with interesting rocks and grottoes 5 1., opposite the latter, Profondeville^ with marble- quarries; 1. Rivi^re^ with the chateau of M. Pierrepont; r. Godinne (in the neighbourhood of which, near the rock Frappe-Cul, is the cavern of Chauveau) ; 1. Rouillon^ with the chateau of M. Demanet. The scenery between Rouillon and Dinant is remarkably picturesque. Above the village rises a precipitous tuffstone-rock, named La Roche aux Corneilles ('Roche aux Chauwes'' in the patois of the district), from the flocks of jackdaws which generally hover round it. The rock is seen to the best advantage by the traveller descending the river. R. Yvoir^ at the influx of the Boeq\ connected by means of a hand- some new bridge with Monlins^ on the opposite bank, a suppressed Cister- cian Abbey converted into a foundry (1 hr. from which, in the valley of the Floye which opens here, is the ruined castle of ''Montaigle^ the finest relic of the kind in Belgium)-, 1. AnMe; r. Houx; r. Poilvache^ with the ruins of a fortress on a lofty rock, destroyed by the French in 1554, Somewhat higher up arc the ruins of the Tour de Monay. 10* 148 Route 19. DINANT. L. Bouvigne, one of the most venerable towns in the district, which was formerly engaged in constant feuds with Dinant, has now dwindled down to a mere village. The old ruined tower of Crevecoeur is a conspicuous object here. A romantic story attaches to it in connection with the siege of the town by the French in 1554. Three beautiful women are said to have entered the tower with their husbands , who formed part of the garrison , resolved to participate in the defence and to animate the de- fenders by their presence. The latter, however, after a heroic resistance, perished to a man, the three unhappy widows being the sole survivors. Determined not to fall into the hands of the enraged and brutal soldiery, they threw themselves from the summit of the tower in sight of the be- siegers, and were dashed to pieces on the rocks below, R. Dinant (*Hdtel des Posies; Tete dfOr, pension 7 fr. ; Dr. "William's hydropathic establishment), a town with 6100 inhah., is very picturesquely situated at the base of barren limestone cliffs, the summit of which is crowned by a fortress. The river is spanned by an ancient bridge. In 1467 the inhabitants of Dinant, having roused the anger of Philippe le Bon , Duke of Burgundy , by acts of insubordination, paid dearly for their temerity. The Duke, accompanied by his son Charles the Bold , who succeeded him a few years later , marched against the town, besieged and took it, and treated the townspeople with great cruelty. He is said to have caused 800 of them to be drowned in the Meuse before his own eyes. The unfortunate town was pillaged and burned, and the walls demolished. In 1554 a similar fate overtook it, when it was taken by storm by the French under the Due de Nevers , and plundered. In 1675 the town was again taken by the French. The 'dinanderies' , or chased copper- wares of Dinant were formerly in high repute. The 'couques de Dinant' are cakes not unlike gingerbread. The church of Notre Dame, a handsome edifice of the 13th cent, in the Gothic style, but with a few remaining traces of the transition period, has been recently restored. The sculptures of the S. portal are worthy of notice. The tower is upwards of 200 ft. in height. At the back of the church are steps in the rock, 408 in number, leading to the citadel. Fine, but limited view from the top. A good view is also obtained from the suburb of -6^^. Medard on the left bank. Dinant was the birthplace of Ant. Jos. Wiertz^ the painter (1806-65; comp. p. 86), some of whose works are in the possession of families in the neighbourhood. Carriage to Han (p. 151) in 4 hrs. (25 fr.). The road leads by Celle^ and passes Ardenne and Ciergnon, both belonging to the private domains of the king of Belgium. The picturesque lower part of the valley of the Lesse begins at Ardenne. From Dinant to Givet the line follows the course of the Meuse. Stations (26 M.) Hastiere and (281/2 M.) Heer-Agimont (Belgian douane). Pedestrians may walk through the suburb of Rivage , a succession of houses and villas picturesquely situated, and then, 1 M. above Dinant, pass through a kind of natural gateway, formed by detached masses ofrock on the left and a bold and isolated pinnacle of rock on the right, called SEDAN. 19. Route. 149 the Roche a Bayard (the name of the horse of the 'Qiiatre Fils d'Ayinon'). In the vicinity are quarries of black marble, near which is Anseremme ('Inn), a pretty village w^ith overhanging clifls. (The traveller who de- sires to walk through the whole of the picturesque part of the valley should cross the river here by boat and then follow the left bank. Road bad at places.) The Lesse falls into the Meuse at Anseremme. Beyond this point the road ascends. The finest point on the road is the Chateau of Fretjr., the ancestral seat of the Beaufort-Spontin family, with well-kept gardens , situated at the foot of wooded hills on the left bank of the river. Immediately oppo- site to it rise precipitous rocks of grotesque shapes , occasionally over- hanging the river. The banks are picturesquely flanked by lofty clifl's from this point to Falmignoul. [About 6 M. to the S. of Falmignoul lies Beauraing (Hotel du Centre) , with the magnificent old chateau of the Due d'Ossuna, recently restored ; thence to Givet 5V2 M., the French fron- tier lying a little more than halfway.] The road next leads by Waulsort (].), with a chateau and beautiful gardens, Hastiere (1.) with two good inns, and Hermeton (1.)- On the right bank are Blaimont., and then Heei\ where red marble is quarried. A fine view of Givet with its fortifications and the windings of the river is obtained from the summit of a hill rising above the road as the town is approached. 71/2 M. Givet., see below. 31 M. Givet (*Montd'Or j Ancre), with 4000 iiihab., situated on the Meuse, wMcli is crossed by a bridge here, is the first French town on the line (French custom-house), and consists of Givet-St. Hilaire on the left bank, at the base of a hill on which Charlemont lies, and Givet- Notre-Dame on the right bank. Both parts of the town are strongly fortified , and almost entirely surrounded by moats. The composer Mehul (d. 1818) was born here , and a statue has been erected to his memory. The chateau of Beauraing, see above. Givet is connected with Charleroi by two railways, the Vireux- Charleroi , and the Morialme - Chatelineau line (p. 145); by the former the journey occupies 4^4, by the latter 2^/4 hrs. Railway from Givet in 21/2 hrs. to Sedan (Hotel de V Europe), a small town and fortress, prettily situated, where a memorable battle took place between the Germans and French on 1st Sept. , 1870, terminating in the total defeat of the latter and the capture of the emperor and 88,000 men (including 1 marshal, 39 generals, 230 staff-officers, and 3000 other of- ficers). The French army numbered 124,000 men, the German 240,000, but part of the latter only was actually engaged. Carriages and guides to the battle-field may be obtained at the hotel. 20. From Brussels to Luxembourg and Treves, via Namur. Rochefort. Han-sur-Lesse. Railway to Luxembourg (137 M.) in 6V2 hrs. (fares 16 fr. 30, 12 fr. 10 c, 8 fr.) ^ from Luxembourg to Treves (32V2 M.) in IV2-2V2 hrs. (fares 4 marks 20, 2 m. 90, 1 m. 90 pf.). The Station de Luxembourg is in the Quartier Leopold (see Plan of Brussels). The first stations , Boitsfort and Groenendael, (coach to Waterloo, see p. 88), with their pleasant woods and picturesque chateau-like villas, are favourite resorts of the citizens of Brussels for picnics and excursions. From the next stat. La 150 Route 20. MARCHE. From Brussels Hulpe, a glimpse is obtained to the right of the Mound of the Lion (p. 98) on the distant field of Waterloo. On the left, near Rixen- sart, is the chateau of Count Merode. 15 M. Ottignies is the point of intersection of the Louvain- Charleroi (p. 160) and Louvain-Manage-Mons (p. 144) lines. Then Mont St. G'uibert with pretty environs. On the right is the chateau of Birhaix with well-kept gardens. At Chastre the Province of Brabant is quitted, and that of Namur entered. — 24M. Gembloux, junction for the lines to Fleurus and Ramillies-Landen (p. 155) and to Jemeppe sur Sambre (p. 145). An old abbey here contains the roy- al agricultural institution. Stations St. Denis-Bovesse and Rhisne. The train passes through several cuttings in the blue limestone rocks, and affords a strikingly picturesque view of — 341/2 M. Namur (see p. 145). The line now intersects the Forest of Ardennes, a wild, mountainous district, affording many picturesque views. Immediately after quitting Namur the train crosses the Meuse and commands another remarkably fine panorama of the town audits citadel. Next stations Naninne, Assesse, Natoye. — 521/2 M. Ciney, formerly the capital of the Condroz (Condrusi of the Romans), as the district between the Meuse and Ourthe was once called. (Route to Huy and Landen, see 178.) Stations Haversin and (65 M.) Aye, from which an omnibus runs (in 1/2 hr. ; 1/2 fr.) to — Marche (Cloche dC Or), the chief town (2700 inhab.) of the Famene , a productive agricultural district. Marche was formerly a fortress. Lafayette was taken prisoner by the Austrians here in 1792. The village of Waha , U/2 M. to the S., contains a small and simple Romanesque church, which was consecrated in 1051. 66^/2 M. Marloie, where the direct line to Li^ge (Ligne de VOurthe) diverges (p. 172). The line now descends considerably, and affords a beautiful view of the valley of the Wamme to the left. IQM. Jemelle, with numerous marble and limestone quarries and lime -kilns, lies at the confluence of the Wamme with the Lomme, a tributary of the Lesse. Jemelle is the station for the small town of Rochefort, from which it is about 3 M. distant. Omnibuses from the two hotels of Rochefort are in waiting at the station (in 20-25 min,, V2 fr.). In summer the vehicles go on to Han-sur-Lesse (40 min. more-, there and back 3 fr.), staying there long enough to allow a visit to the famous grotto. Tourists usually lunch at Rochefort in returning. Rochefort ("BOfel Byron, R. and A. 2 fr. ; dejeuner a la fourchette 2 fr. ; Hdtel de VEtoile), with 2360 inhab., and once the capital of the County of Ardennes, occupies on elevated site on the Lomme, commanded by the ruins of an old castle (private property, no admission). The environs are remarkable for a number of curious caverns in the lime- stone rock, many of which have been made accessible. The entrance to the *Grotte de Rochefort, one of the finest and most easily visited, is at the upper end of the town. It is the property of a M. ColUgnon, who discovered it, and keeps the paths in the interior in good condition (ad- mission 5 fr., fee of 1 fr. to guide extra). A visit to it takes 1V4-2 hrs. The stalactites are purer and even more varied than those in the grotto to Luxembourg. ST. HUBERT, 20. Route. 151 of Han, though the latter is far more imposing. The 'Salle des Merveilles' and 'Salle du Sabbaf, the finest points , are illuminated with magne- sium lights the height of the latter is revealed by means of a lighted balloon. A visit to the more distant and less easily accessible grotto of Han should on no account be omitted. The village of Han-sur-Lesse lies 31/2 M. to the S. S. E. of Rochefort. The road to Han diverges to the right at the Hotel Byron in Rochefort from the high-road (which continues straight on to St. Hubert^ see below), and cannot be mistaken. (Before the 5th kilometre-stone stands a finger-post indicating the road to Hame- renne and Rochefort, which pedestrians may take on their way back.) — Guides (the brothers Lanoy) are procured at the Hotel Bellevue in Han. Admission for a single visitor 7 fr, ^ two or more, 5 fr. each ; 2 fr. more is exacted for awakening the echoes by a pistol-shot, for 1-4 pers., and 50 c, for each additional person; fee to the guide extra). The entrance to the grotto lies about I1/2 M. from Han (carriage-road in course of construction), on the other side of the hill, which here stands directly in the course of the Lesse, and is completely undermined by the subterranean channel of the river. This passage is called the "Trou de Han, or de Belvaux and is nearly 1 M. in length. The cavern consists of a series of chambers^ opening into each other, and varying in height. The numerous stalactite-formations have been fancifully named in ac- cordance with their forms, Trdne de Pluton^ Boudoir de Proserpine ^ Ga- lerie de la Grenouille., etc. The most imposing chamber is the '''ISalle du Ddme.^ which rises to a height of 160 ft. A visit to the cavern is extremely interesting, and occupies 4 hrs., but it is attended with some little diffi- culty and fatigue owing to the slippery nature of the ground. Visitors emerge at the other end in a boat. August, September, and October are the best months for inspecting the cavern ; in spring the swollen state of the river often renders access impossible. The cave has been visited by tourists since 1814. The stalactites have unfortunately been sadly blackened by smoky torches, but the grotto is now lighted by lamps, while naphtha is used for illuminating the finer points. — Scarcely 1/2 M, farther is the Perte de la Lesse^ also well worth a visit, where the river dashes into a subterranean abyss. At Eprave., 2 M. to the N. W. of Han, at the confluence of the Loimne and the Lesse^ there is another grotto which is frequently visited. Valentin GuMt^ the innkeeper and guide, will be found obliging and well informed (fee IV2-2 fr.). Next Stat. Grupont. The train follows the sinuosities of the Lomme. To the left, on a rocky buttress, rises the strikingly pictu- resque Chateau Mirwart, with its four tow^ers. From (84 M. ) stat. Poix an omnibus runs (in 1 hr.; 75 c.) to St. Hubert (Hotel du Lux- embourg), a town with 2480 inhab., celebrated for the chapel con- taining the relics of the saint who has given his name to the place. The abbey has been converted into a Reformatory for young crimi- nals. The Churchy in the Flamboyant style, with its double aisles and interesting crypt, dates from the 16th cent, (facade and towers erected in 1700). A. chapel on the left near the choir contains a *sarcophagus adorned wdth eight basreliefs by W. Geefs. St. Hubert, the tutelary saint of sportsmen, was once a profligate and impious prince , who did not scruple to indulge in the pleasures of the chase even on the solemn fast -days appointed by the Church. While thus irreverently engaged on the holy fast of Good Friday , he suddenly beheld the miraculous apparition of a stag with a cross growing oat of its forehead between its antlers. Thus warned by Heaven of the danger of adhering to his sinful courses, he at once desisted from the hunt, vo- luntarily relinquished all the honours and advantages of his noble rank, and determined thenceforth to devote himself to a life of piety and self- 152 Route 20, LUXEMBOURG. From Brussels abnegation. He accordingly presented the whole of his fortune to the Church, became a monk , and founded the abbey and church which are still called by his name. The holy man is said to have enjoyed miracu- lous powers during his life-time, and long after his death numerous mir- acles were wrought by means of his relics. Unfortunately the latter, which once conferred their benefits on crowds of pious pilgrims who flocked hither to be cured of their diseases , were burned together with the church by the fanatical puritans of the 16th century. ^Notwithstanding this irreparable loss, however, a peculiar sanctity still attaches to the former scene of the saint's pious labours. 90 Y2 Libramont (branch-line towards the E. to Bastogne, 17 Y2 M.), the watershed between the Lesse and the Semois, is the station for Recogne, a village to the right, on the road to Bouillon (see below) and Sedan, the route by which Napoleon III., accompanied by French and Prussian officers and a Belgian escort, proceeded to Libramont on 4th Sept., 1870, to take the train for Germany; (96 M.) Longlier, the station for Neufchdteau (Hotel des Postes), a small town of 2000 inhab., once fortified, which lies M. to the right; (106 M.] Marhehan (*Cornet's Inn), with a new church. From Marbehan to Virton (157-2 M.), branch-line in 1 hour. Stations Poncelle ^ Croix Rouge^ Ethe ^ and Virton C Cfieval blanc; Croix cfOr)^ a prettily situated little town with 2400 inhab., whose chief occupation is farming and cattle-breeding. From Marbehan (diligence in 3 hrs. , fare 2 fr. 20 c), from Neuf- chateau (see above), and from Poncelle roads lead to Florenville C'Poste; Hdtel du Commerce)^ a small town near the French frontier, from which many pleasant excursions may be made into the forest of Ardennes. The winding valley of the Semois^ the brook on which Florenville lies, is very picturesque. About 4V2 M. S. of Florenville stand the ruins of the abbey of Orval^ founded in 1124, the church having been being rebuilt in the t6th and ITthcent.; adjacent is a tolerable inn. — The i-oad from Floren- ville to (15V2 M.) Bouillo7i passes through beautiful beech and oak woods. Napoleon III. spent the night of 3rd-4th Sept. 1870 in the ''Hotel de la Poste at Bouillon. From Bouillon to stat. Libramont (see above) diligence in 4 hrs., fare 3 fr. GO c. Next Stat. Hahay-la-Neuve. 11972 M. Arlon, Flem. Arel C^'Hotel deV Europe; *H6tel du Nord), a prosperous little town with 6800 inhab. , situated in a well cultivated plain, 1330 ft. above the sea-level, is the capital of the Belgian province of Luxembourg. It was the Orolaunum Vicus of the Antoninian itinerary, and was once fortified. Fine view from the church. A branch-line diverges here to Longwy and Lon~ guyon^ where it joins the Ardennes line (Thionville-Mezieres). 1251/2 Sterpenichj Bettingen (Luxembourg doi^ane ; luggage, however , not examined before arrival at Luxembourg) , Capellen^ Mamer, and Bertringen. 137 M. Luxembourg, formerly Lutzelhurg (*Hdtel de Cologne; Hotel de Luxembourg ; Hotel de V Europe ; Hotel des Ardennes), a town with 15, 000 inhab., and a fortress of the Germanic Confedera- tion down to 1866 , is the capital of the small Grand Duchy of the same name, under the supremacy of the King of Holland. The Ober- stadt, or upper part of the town, Luxembourg properly so called, is to Treves. LUXEMBOURG. 20. Roide. 153 of considerable extent, situated like a mountain-stroKgliold upon a rocky table-land, which is bounded on three sides by precipices 200 ft. in height. In the narrow ravine of the Petrushach and the Alzeite, a second quarter of the town has sprung up. This Vnier- stadt consists of Pfaffenthal on the N., Clausen on the E., and Grund on the S. , separated by the Bock (see p. 139), all busy commercial parts of the town. The valley of the Alzette , forming a natural moat for the fortress , is sprinkled with houses , and occasionally intersected by the walls of the fortifications. This combination of mountain and valley, enlivened with numerous groups of trees and gardens, and diversified wath indented cliffs and imposing defensive structures, presents a strikingly beautiful appearance , especially when seen from the Treves road , near Fort Dumoulin. The grandeur of the scene is considerably enhanced by the vast Viaducts of the railways to Treves and Diekirch , and the co- lossal Petims- Viaduct, which spans the ravine between the railway- station and the S. side of the Oberstadt. The fortifications , which were condemned to demolition in 1867, but most of which have been left standing owing to the great expense attending their removal , are now all accessible ; and a visit to them is interesting, as Luxembourg had long been con- sidered one of the strongest fortresses in Europe. The fortifications, wliich are partly bewn in tlie rock, have been added to at various periods during the last five centuries , and the different parts of the defences have derived their names from the suc- cessive occupants of the town who constructed them. Thus Henry IV., Count of Luxembourg (d. 1312 as Henry VH., Emp. of Germany), and his warlike son , the blind King John of Bohemia (d. 1345), and sub- sequently the Burgundians. Spaniards, French. Austrians, and Prussians. In 1684 the fortress was besieged and captured by Louis XIV., after which Vauban re-constructed a great part of the works. On 7th June, 1795, the Austrian Marshal Bender surrendered Luxembourg to the French republi- cans. Carnot, the eminent general of engineers, called Luxembourg 'la plus forte place de TEurope apres Gibraltar, le seul point d'appui pour attaquer la France du C(3te de la Moselle'. The Bock, a narrow ridge of rock projecting far into the valley of the Alzette, is honeycombed with casemates and loopholes, which command the valley towards the N. and S. The high road to Treves winds over this ridge. On the E. slope stands a tower belonging to old fortifications of the 14th cent., locally known as the Melusinen- thurm. There are few other attractions. The Spanish governor Count Mans- f eld (1545-1604) once possessed a magnificent chateau here, but every vestige of the building has disappeared, with the exception of a few fragments of the walls and two gateways. The gardens and parks formerly surrounding the chateau have survived in nothing but the name, which is now applied to a shady promenade on the slope near the Treves Gate, where a remarkably fine view is enjoyed. Those who have sufficient leisure will be amply rewarded by a walk through the entire valley. 154 Route 21. TIRLEMONT. From Brusseh A small collection of pictures, bequeatlied to tlie town in 1855 by M. J. P. Pescatore, is open to the public. Fro)n Luxemhourg to Spa, see R. 29-, to Metz^ by Thionville, see Bae- deker'' s Rhine. At Stat. Oetringen the line enters the pretty valley of the Sire. At the foot of a wooded hill to the left lies the chateau of Villers^ with its park, the property of the family of that name. On the right Schuttrmgen , with a chateau. 150 M. Roodt. From Ollingen to Betzdorf the line runs on the right bank of the Sire. Stat. Wecker. The line now crosses the Sire four times, and at stat. Mertert enters the valley of the Moselle. Beyond (I6O72 M.) Wasserhillig^ at the confluence of the Sauer and Moselle, the last station before Prussia is entered, lies the village of Igel^ where the famous *Column of Igel, one of the finest Roman monuments on this side of the Alps, 75 ft. in height, is visible from the train. Opposite Conz the line unites with the Saarbriicken-Treves railway. 170 M. Treves {Hotel de Treves; Maison Rouge; Luxemburger Hof ; Stadt Venedig ; the last nearest the station), charmingly situated on the Moselle, and interesting on account of its Roman and other antiquities, see Baedekers Rhine. 21. From Brussels to Liege by Louvain. G2 M. Railway in 2i 4-3 hrs.^ fares 7 fr. 20, 5 fr. 40, 3 fv. 60 c.^ express one-fonrtli higher. The train starts from the Station du Nord , and traverses an agricultural and partially wooded district. Stations Schaerbeek^ w here the Malines line diverges ; Die^/icm, with paper-manufactories; Saventhem^ the parish-church of which contains a good picture by Van Dyck, representing St. Martin dividing his cloak, a gift of the master himself ; Cortenberg, Velthem, Herent. 18 M. Louvain, see R. 22. Bkanch-line hence to the N. to Rotselaer and (10 IM.) Aerschot, a station on the Antwerp and Hasselt line (p. 140), and thence to Herenthcils on the Turnhout and Tilburg line (p. 107). From Louvain to Charleroi., see R. 23. From Louvain to Malines., see R. 13. Beyond Louvain the Norbertinian abbey of Pare , fouTtded in 1131, is seen on the right. Stat. Vertryck. 29^2 Tirlemont, Flem. Thienen (Hotel du Nouveau Monde^ near the station ; Hotel de Flandre , in the market-place; Cerf; Homme Sauvage; Restaurant at the station), a clean and v/ell-built, but dull town with 12,700 iiihab., was once like Louvain occupied by a much larger and wealthier population. The walls, which are nearly 6 M. in circumference , now enclose a large extent of arable land. In the spacious market-place is situated the church of Notre Dame du Lac , founded in 1298, enlarged in. the 15th cent., but not yet completed. The adjacent Hotel de Ville has been recently restored. The Church nf St, Germain, situated on an eminence. to Li6gt. LANDEN. 2/. Route. 155 probably dates from the 12th cent. ; high- altar-piece a Pieta , by Wap'peTS. The celebrated Jesuit Bollandus (d. 1655) was a native of Tirlemont. He was the first compiler of the Acta Sanctorum^ and his successors who continued the work styled themselves Bol- landists. From Tiklemont to Namur (27i/2 M.) by railway in 1 hr. 40 min. (fares 3 fr., 2 fr. 25, 1 fr. 55 c.)- Stations unimportant. Ramillies is tlie junction of the Landen and Gembloux line (see below). Namur^ see p. 145. Beyond stat. Esemael the line intersects the plain oiNeerwinden (the village lies to the left), the scene of two great battles. In the first of these , on 29th July , 1693 , the French under Marshal Luxembourg defeated the Allies under William III. of Eng- land. In the second the French under Dumouriez and Louis Phi- lippe (then ^General Egal.ite\ afterwards king of France) were de- feated by the Austrians under the Prince of Cobourg (great-uncle of the late king Leopold), and driven out of Belgium. 38 M. Landen, the junction of several lines, is historically interesting as the birth-place of Pepin, the majordomo of the royal domains of the Franconian monarch Clotaire II. He died here about the year 640, and was buried at the foot of a hill which still bears his name. His remains were afterwards removed to Nivelles (p. 103), where his consort Ida (d. 659) founded a convent. His fifth lineal descendant was Charlemagne, who ascended the throne of the vast Franconian empire 128 years later. From Landen to Aix-la-Chapelle by a branch-line in 3-4V4 hrs, (fares 8 fr. 60, 6 fr. 70, 4 fr. 30 c). This route is somewhat shorter than the main line via Liege, but presents fcM^er attractions. 6 M. St. Trond, or St. Truyen (Hdtel du Commerce)., the most important station, with 11,160 inhab., possesses several old churches (Notre Dame, Gothic, restored; St. Martin, Romanesque). I71/2 M. Hasselt., and thence to Mastricht and Aix-la- Chapelle, see p. 140. — About IV2 M. to the W. of St. Trond is the small town of Leau, Flem. Zont-Leeuw (Restaurant of Line de Waters)^ formerly a fortress, with handsome late Gothic Town-hall (16th cent.) and the Gothic church of '''St. Leonhard (13th and i4th cent.), the latter con- taining carved altars with early Flemish paintings, and a magnificent tabernacle sculptured in stone, 100 ft. high, one of the finest works of the Belgian Renaissance (1554). From Landen to Gembloux (22V2M.) (Fleurus Sind Cfiarleroi) by railway in 1 hr. (fares 3 fr. , 2 fr. 20, 1 fr. 45 c). Stations (12 M.) Ramillies (see above), Gembloux (p. 150), Fleurus., and Charleroi (see p. 144). Landen is also the junction for u line coming from Ciney, which intersects the Namur-Liege line at Huy (see p. 178). Next stations Gingelom, Rosoux, and Waremnie, beyond which the line crosses an ancient and well-preserved Roman road, called by the country-people Route de Brunhilde , which extended from Bavay (Bavacum Nerviorum) , near Mons , to Tongres, 9 M. to the N.E. of Waremme. The latter v/as the capital of the ancient pro- vince of Hesbaye , the natives of which were once remarkable for their strength and bravery, as the old proverb, ^ Qui passe dans le Heshain est comhattu V endemain\ suggests. Beyond stat. Fexhe the land of the Brabanters , a somewhat phlegmatic race of Germanic origin, is quitted, and that of the active and enterprising Celtic 156 Rouie 22. LOUVAIN. History. Wallooi»s entered. A smiling and highly cultivated district is ex- changed for a scene of industrial enterprise. Numerous coal-mines, foundries, and manufactories are passed in the vicinity of Ans, which lies 490 ft. higher than Lie'ge. (Branch-line to Tongres, p. 271.) Stat. Haut-Pre. The line now descends rapidly (1 : 30) , affording a fine view of the populous city of Liege and the beautiful and populous valley of the Meuse. A large brick building on the hill to the left is a military hospital. 62 M. Liege, see p. 162. 22. Louvain. Hotels. Hotel de Suede (PI. a), comfortable^ Couk de Mons, in a side-street off the Marclie-aux-Poissons ^ Hotel du Nord, well-spoken of, and Hotel du Nouveau Monde, botb at the station. — Bouri\^ Restaurant^ Rue de la Station 111^ Cafe Maihieu.^ same street, opposite the theatre. The beer of Louvain , which is much esteemed by the Belgians, is a sickly beverage. Bavarian beer may also generally be obtained. — (7a&.s, or Vigilantes., 1 fr. per drive. — Tramioay from the station to the Hotel de Ville, and the Porte de Bruxelles. Attractions: Hotel de Ville, exterior (p. 157); St. Pierre, under the guidance of tlie sacristan (p. 157) . Halles , exterior (p. 159) ; choir-stalls at St. Gertrude's (p. 159). Louvain, Fiem. Leuven or Loven, on the Dyle, which flows through part of tlie town and is connected by a canal with the Rupel, an affluent of the Schelde, is a dull place with 32,900 inhab. The greater part of the space enclosed by the walls built in the 14th cent, is now used as arable land. The ramparts surrounding the walls have been converted into promenades, upwards of 5 M. in circuit. The name of the town is derived from Loo, signifying a wooded height, and Feen, a marsh, words which are also combined in Venlo. In the 14th cent., when Louvain was the capital of the Duchy of Brabant, and residence of the princes, it numbered 44,000 inhab., most of whom were engaged in the cloth-trade, and the town contained no fewer than 2000 manufactories. Here, as in other Flemish towns, the v/eavers were a very turbulent class, and always manifested great jealousy of the influence of the nobles in their civic administration. During an insurrection in 1378, thirteen magistrates of noble family were thrown from the window of the Hotel de Yille, and received by the populace below on the points of their spears; but Duke Wenceslaus besieged and took the city, and compelled the citizens to crave his pardon with every token of abject humiliation. The power of the nobles soon regained its ascendancy, and their tyrannical sway caused thousands of the industrious citizens to emigrate to Holland and England whither they transplanted their handicraft. From that period may be dated the decay of Louvain. A large new railway station is at present in course of erection. St. Pierre. LOUVAIN. 22. Route. 157 111 front of it stands a monument to Sylvaan van de Weyer (d. 1874), a native of Louvain, who was one of the most ardent promoters of the revolution of 1830, and became the ambassador of the pro- visional government at the London Conference. The statue is the work of J. Geefs. The Rue de la Station , on the right side of which is the Theatre^ built by Lavergne in 1864-67, leads straight to the Place de I'Hotel de Ville (^Grande Place-, PI. D, E, 3). The **H6tel de Ville (PL 20), a very rich and beautiful example of late Gothic architecture, resembling the town-halls of Bruges^ Ghent (in the older part), Moiis, and Oudenaerde, but surpassing them in elegance and harmony of design, was erected in 1448-63 by Matthew de Layens. The building consists of three stories, each of which has ten pointed windows in the principal fa<^ade, and is covered with a lofty roof surrounded with an open balustrade. At the four corners and from the centre of the gables rise six slender octagonal turrets , terminating in open spires. The three different fai^ades are lavishly enriched with sculptures. The statues on the lower story represent celebrated citizens of Louvain, those on the upper the sovereigns of the land. The prominent corbels which support the statues are embellished with almost detached reliefs, representing scenes from Old and New Testament history, in some cases with mediaeval coarseness. These sculptures had suffered greatly from exposure to the weather, and were carefully restored in 1842 by Goyers. The Interior is uninteresting. Most of the apartments are fitted up in a modern style, and adorned with pictures by Venius , Be Craei/er, Miereveldt.^ etc. On the second floor is a small museum containing an Ascension by Mich. Coxcie., and a model and plan, by Layens., of the pro- jected towers of St. Pierre. Those parts of the original sculptures of the facade which could not be made use of in the restoration are also preserved here. The Gothic Church of St. Pierre (PI. 16 ; E, 2, 3), opposite the Hotel de Ville, a noble cruciform structure flanked with chapels, was erected in 1425-97 on the site of an earlier building. The unfinished W. tower does not rise beyond the height of the roof. The Interior (sacristan 72"! fr- ; more for a party) is 101 yds. long and 29V2 yds. broad. The choir is separated from the nave by an elaborate Juhe^ or Rood Loft, in the Flamboyant style, executed in 1490, consisting of three arches adorned with statuettes, and surmounted by a lofty cross. The twelve-branched Candelabrum was executed by John Massy s. Nate. Vestibule inside the principal portal finely carved in wood, 16th cent. 1st Chapel on the N. side : late Gothic font in copper, formerly furnished with a lofty and heavy cover, which was removable by the still preserved cast iron handle, by J. Massy s. — The following chapels on the same side contain marble sculptures in the rococo style. 158 Route 22. LOUVAIN. St. Pierre. Tlie 1st Chapel on the S. side contains an altar-piece copied from the original of De Craeyer , which was carried off by the French, and is now at Marseilles, representing S. Carlo Borromeo administering the Sacrament to persons sick of the plague. An old winged picture by Van der Baeren (1594), the Martyrdom of St. Dorothea ; statue of St. Charles, by Cli. Oeerts (1855). The 2nd Chapel (that of the Armourers) contains a curious, blackened image of Christ, which is regarded with great veneration In consequence of the legend that it once caught a thief who had sacrilegiously entered the church. The railing is adorned with armour and cannon. The Pulpit, carved in 1742 by Berge, a work of very ques- tionable taste, represents Peter's E'enial on one side, and the Con- version of St. Paul on the other. The lifesize wooden figures , are overshadowed by lofty palm-trees , also carved in wood, and the whole is coated with brown varnish. The 3rd Chapel contains a picture ofMemling's school, represent- ing the consecration of a cook as bishop, under Gregory V. Retro-Choir. 5th Chapel : *Dieric Bouts (of Haarlem, born in 1391, settled at Louvain, and died there in 1479), Martyrdom of St. Erasmus, a painful subject; in the background the Emperor, richly attired, with three attendants ; the scene is represented in a carefully executed landscape with blue mountains in the distance ; on the wings, St. Jerome on the left and St. Anthony on the right. — 6th Chapel : De Craeyer, The Holy Trinity. *Dieric Bouts., Last Supper, painted in 1467. This is the central picture of an extensive altar-piece, the wings of which are preserved in the museum at Berlin (Feast of the Passover and Elijah in the wilderness), and in the Pinakothek at Munich (Abraham and Melchisedech, and the Gathering of manna). The symbolical character of the composition is of course not traceable in the central piece alone. One charac- teristic of Dieric's style is his attempt at individualisation by making the complexions of the faces strikingly dissimilar. The signature 'Memling' is spurious. 7th Chapel: *Quentin Massys, Holy Family (1509). The principal picture represents tlie Virgin and Child, with two other holy women, and children, who appear to be learning to read. Behind them are four men, standing by an edifice in the Italian style, through the arches of which a distant landscape is visible. On the wings are the Death of St. Anne, and the Expulsion of Joachim from the Temple, the former particularly fine. This work differs very materially in character from the celebrated Pieta at Antwerp (p. 122). Its tone is sprightly and pleasing, while in drawing and colouring it is hardly inferior. 8th Chapel : Descent from the Cross, after Roger van der Wey- den, a winged picture on a golden ground, with the donors at the sides, bearing the doubtful date 1443, but probably a late and reduced repetition of a picture in the Museum at Madrid. The same chapel contains the tombstone of Henry I., Duke of Brabant (d. 1235), the founder of the church (the pedestal is modern). Vniversity, LOUVATN. 22. Route. 1 59 9th Chapel: Handsome marble balustrade by Du Quesnoy (17th cent.), representing Children playing, Confession, Baptism, and Communion. In the choir, opposite, stands a beautiful Gothic Tabernacle (50 ft. in height), by Layens (p. 157), executed in 1450. — The N. transept contains a good copy of Van Dyck's Raising of the Cross, and a painted wooden statue of the Virgin and Child, of 1442. The Church of St. Gertrude (PI. 12; D, 2) was erected in the Flamboyant style, at the close of the 15th cent., with the exception of the choir, which was added in 1514-26. It contains *choir-stalls, beautifully executed in the florid Gothic style in tlie 16th cent., which are considered the linest in Belgium ; they are embellished with statuettes and 28 reliefs representing scenes from the life of the Saviour. In the sacristy is preserved a reliquary of the 14th century. (Sacristan at No. 22, near the principal portal.) The Church of St. Michael (PI. 15 ; E, 3), erected by the Jesuits in 1650-66, contains modern pictures by Matthieu , De Keyser, Wappers, and others. The facade is worthy of notice. The Church of St. Quentin (PI. 17 ; D, 4), on an eminence near the Porte de Namur (founded in 1206, re-erected in the 15th cent.), and that of St. Jacques (PI. 13 ; D, 2), possess several pictures of the school of Rubens. The latter is adorned with several modern works, and a St. Hubert by De Craeyer, and contains also a fine Tabernacle in stone executed in 1467. The Halles (PI. 25 ; D, E, 3), 66 yds. long and 151/2 yds. wide, were erected as a warehouse for the Clothmakers' Guild in 1317, and made over to the university in 1679. The upper story was added in 1680. The interior is disfigured by alterations and additions, but the arches and pillars of the hall on the ground -floor still bear testimony to the tlie wealth and taste of the founders. The Library^ one of the most valuable in Belgium (70,000 vols., 400 MSS.), is adorned witli a sculptured group representing a scene from the Flood, executed by Geerts in 1839. The entrance-hall contains portraits of former professors, and a large picture by Van Bree, Christ healing the blind, painted in 1824. The University, founded in 1426, was regarded as the most famous in Europe in the i6th cent., and the theological faculty in particular was remarkable for its inflexible adherence to the orthodox dogmas of the Church. The number of students is said to have exceeded 6000 at the period when the celebrated Justus Lipsius (d. 1606) taught here. Under Joseph II. its reputation somewhat declined, but it continued to exist until the close of last century. So extensive were its privileges, that no one could formerly hold a public appointment in the Austrian Nether- lands without having taken a degree at Louvain. After having been closed by the French republicans , the university was revived by the Dutch government in 1817. A philosophical faculty was afterwards in- stituted, notwithstanding the determined opposition of the clergy, and complaints to which the innovation gave rise are said to have contri- buted in some degree to the Revolution of 1830. Since 1836 the univer- sity has been re-organised, and has assumed an exclusively ecclesiastical character. It now possesses five faculties, and is attended by 1000 stu- 160 Route 23. LIGNY. dents, many of whom live in three large colleges (PMagogies dti St. Esprit^ Marie- Tlidrese, Sind Adrien VI). — The technical academy connected witli the university (Ecole du G&nie Civil^ des Arts et Manufactures et des Mines) is rapidly increasing. The Penitencier, a prison for solitary confinement , is in the Boulevard du Jodaigne, between the Porte de Tirlemont and Porte de Pare. It was opened in 1860, and is tlie largest in Belgium, having room for 634 convicts. The Maison d' Arret (PI. 21), com- pleted in 1869, has accommodation for 204 prisoners. Louvain possesses important establishments for the manufacture of carved church furniture, one of the largest of which is that of Goyers Frcres, Rempart de Tirlemont (comp. p. 64). ^Caesar's Castle\ as the ancient stronghold of the counts and dukes, situated on an eminence near the Porte de Malines , was called, has al- most entirely disappeared. It derives its name from an unfounded tra- dition that it was originally erected by the great Roman general. The Emp. Charles V. and his sisters were educated in this castle by the learned Adrian Dedel, who was afterwards elevated to the papal throne as Adrian VI. 23. From Louvain to Charleroi. 40 M. Railway in 2i/.i-3 hrs. fares 5 fr. 20, 3 fr. 90, 2 fr. 60 c. The line passes several places memorable in the campaign of 1815. The country traversed is at first flat. Stations Heverle^ with a chateau and park of the Due d'Arenberg ; Weert St. Georges, (Jastuche; (14^2 M.) Wavre ^ to which the Prussians retreated after the battle of Liguy, with a handsome mouument by Van Oemberg, 1859,- Limal ; (18 M.) Ottignies, where the Brussels and Namur line is crossed (p. 150); Court St. Etienne, La Roche. The train now passes close to the imposing ruins of the Cister- cian abbey of ^Villers, founded in 1147 and destroyed in 1796, and stops at (25 M.) Stat. Villers-la-Ville. The ruins lie about Y4 M. to theN. of the station. The road to them skirts the Thyle. At the entrance to the abbey is *Dumont's Jnn , where each visitor pays fr. Beyond the court is the rectangular Refectory, a tasteful structure in the transition style, with two rows of windows. The Cloisters, chiefly Gothic, date from the 14th -16th cent., and are adjoined by the Gothic Church, erected in 1240-72, with sub- sequent additions. The latter contains tombstones of Dukes of Brabant of the 14th cent. The old breAvery in the transition style is also worthy of notice. An eminence outside the Porte de Bru- xelles, to the W., commands a good survey of the whole ruin. 271/2 M. Tilly is believed to have been the birthplace of the general of that name. 29 M. Marbais-, 301/2 M. Ligny, famous for the battle of 16th June, 1815, see below. — 33 M. Fleurus (p. 161); junction for the lines to Gembloux-Ramillies-Landen (p. 155), to Tamines (p. 145), and to Nivelles-Baulers (p. 103); Ransart; 38 M. Lodelinsart, a busy place with coalmines and glass-works. LIGNY. 23. Route. 161 Battle Fields. This district is famous in military annals as the scene of a number of important battles, the last and greatest of which was that of Ligny. Sombreffe, near Marbais, and 6 M. from Quatrebras (p. 143), was occu- pied on 15th June, 1815, by the 2nd and 3rd Prussian corps d'armee under Marshal Bliicher, who late in the evening received intelligence that Gen. Billow with the 14th corps could not come to his assistance as originally concerted. The brave marshal accordingly resolved to fight alone, if ne- cessary. Wellington had agreed to co-operate with Bliicher, but the British troops were too far distant to render assistance whilst those whose position was nearest to the Prussians were fully occupied at the Battle of Quatrebras. It is well authenticated that the Duke expressed his disapprobation of Bliicher's position, observing to the Marshal that 'with British troops he would have occupied the ground differently'. The chief disadvantages of the ground occupied by Bliicher near St. Amand and Ligny, which he regarded as the keys of his position, were, that there was too little security in the direction in which the commu- nication with the British was to be maintained, and that the villages in advance of the line were too distant to be reinforced without enormous loss. It is also on record, that the Duke, after his interview with the Marshal on the morning of the simultaneous battles, remarked to one of his staff, 'The Prussians will make a gallant fight; they are capital troops, and well commanded; but they will be beaten.' And the Prus- sians did fight most gallantly, well sustaining the military reputation of their country; their officers too, including the high-spirited old Mar- shal himself, acted their part most nobly. But their utmost efforts were fruitless ; they sustained immense loss, were overmatched, and finally re- pulsed, but not conquered. According to the official statistics of both sides the total force of the French at Ligny amounted to 71,220 men, with 242 guns, that of the Prussians to 83,410 men , with 224 guns , but a large proportion of the French army was composed of veteran soldiers, while most of the Prussian troops were comparatively young and inexperienced. The French artillery was also numerically superior, and far more advantageously placed. The retreat of the Prussian army on the night after the Battle of Ligny, by Tillp and Mont St. Guibert to Wavre (p. 160), is perhaps without parallel in the annals of military warfare. So perfect was the order and so great the skill with which it was effected, that next day the French were entirely at a loss to discover in which direction their enemy had disappeared, and at length came to the conclusion that they must have taken the direction of Namur. It was not till late on the afternoon of the 17th that the real route of the Prussians was discovered , and Marshal Grouchy was dispatched in pursuit of Bliicher. The parts acted by the different armies were now interchanged. Napoleon and Ney , united, now proceeded to attack Wellington , while Bliicher formed the 3rd corps d'arm^e under Thielmann at Wavre, in order to keep Grouchy in check, and himself hastened onwards with his three other corps towards Belle- Alliance, where he arrived on the evening of the 18th, in time to act a most prominent and glorious part in a victory of incalculable importance to the fate of the whole of Europe (p. 102). About IV2 M. to the S. of Ligny lies Fleurus, celebrated for the battles of 1622 and 1690. On 26th June, 1794, a battle also took place here between the Austrian army under the Prince of Cobourg , and the French under 3Iarshal Jourdan, in which the latter gained an advantage. The Austrians had stormed the French intrenchments, captured twenty guns, and driven the French back to Marchiennes-au-Pont (p. 144), when the Prince owing to some misunderstanding , ordered his troops to re- treat. This false movement, as the event proved, ultimately contributed to the loss of the whole of Belgium. It is a curious historical fact, that on this occasion a balloon was employed by the French in order to reconnoitre the Austrian position, but with what success it does not appear. 40 M. Charleroi, see p. 144. Baedeker's Belgium and Holland. 5th Edit. 11 162 24. Liege and Seraing. Railway Stations. 1. Statiori des Guillemins (PI. A, 1, 2), on the left bank of the Meuse, for Aix-la-Chapelle , Brussels, Namur, Paris, and Luxembourg (Ligne de r'Ourthe)^ 2. Station de Longdoz (PI. C, 4), on the right bank, for Mastricht, Namur, and Paris; 3. Station de Vivegnies^ on the S.E. side, a long way from the centre of the town, for the Dutch trains. — A Central Station was opened in 18^7, near the Palais de Justice. Hotels. 'Hotel de Suede (PI. a). Rue de THarmonie 7, near the theatre; '^Hotel d'Angleteure (PI. b). Rue des Dominicains, R. 8 fr. ; Hotel DE l'Europe (PL c). Rue Hamal 6, these two at the back of the theatre; -Grand Cerf (PL f). Rue de la Cathedrale 15, R. and B. 2V'2 fr. ; Hotel dk France (PL g). Rue de la Cathedrale 17; Hotel de l'Allemagne, Place du Theatre 8; Hotel Deux Fontaines, see below; Hotel Schiller (PL d), Place du Theatre; Pommelette (PL e) , Rue Souverain Pont 44, noisy; Grand Monarque, opposite, No. 33; Mohren, an unpretending German inn. Rue du Pont d'Avroy 31; Pavillon Anglais, Place St. Lambert: Hotel de Dinant, Rue St. Etienne. The Hotels de Paris, du Chemin DE Fer, des Nations, and de l'Univers near the principal station (Guille- mins) and the Hotel de l'Industrie at the Gare de Longdoz are convenient for travellers arriving late or starting early by railway. Kestaurants. '■'Berncnj^ Rue des Dominicains 22 (first-class, dear); '-Cafe Vinitien^ 1)V the theatre; Deux Fontaines (PL h; also a hotel, ascend to the N.W. by the theatre); Caf^ du Palais. Place St. Lambert 70. Cafes. ■•Cafe Venitien, by the theatre; Cafe de la Renaissance^ also a restaurant, in the Passage. Beer. ''Mohren^ Rue du Pont d'Avroy 31, Vienna beer, also dining- room (hotel, see above); Taverne Anglaise^ by the theatre (D., from 12 to 3, 2-3 fr., 'plat du jour"" 1 fr., pint of pale ale 30 c.)^ Taverne de Stras- bourg^ Rue Lulay. '^^ " Closed Carriages. Two-horsi Cabs. Tariff for one or more persons : A, By time : 1 hour . Open Carriages, One-horse 2 fr. — c. 50 - 50 Two-hoi'se 3 fr. — c. 50 3 - Double 50 - fares One-horse 1 fr. 50 c. 2 fr. 50 ( Each additio- nal 1/2 lir. — - 75 - 1 - 25 B. Per drive : In the town . 1 - — - 1-50 To the Citadel or the Char- treuse . . 2 3 Waiting, each hr., one-horse 25, two-horse from 11 p.m. to 6 a.m. Tramway. From the Place du Thedtre (PL E, 2, 3) to the stations Guillemins (PL A, 2) and Longdoz (PL C, 4), and to the N.E. suburb of Sf. Leonard (PL G, 6). Comp. the Plan. Weapons. Liege contains 180 manufactories of arms , or rather magazines of arms, for the pieces are made and mounted by mechanics in their own houses. — We may mention a few of the chief stores, a. Weapons of war: Bresse, Laloux Gpaix F 3 C2 D2 F2 E3 C2 E2 El D3 C5 D2 E3 C3 6 6 F2 E 1 £4^ 11 S-t.J(Wffiijes 12 St.J&arv J.3 StJ^artirv . 14- St Jric<>Za* 15^^.A«ti 16.yt7%<»Zten. 17 SfJRjsntacLey 18 St Sei'vcdy WJJyitrepat ZOEveche Z^Fatiderie' de Cccnons 2i2SdpitaL iicdvtcca'e. *l\^lIospiee. de Bavicre 25 " desFemmeslicurnbleMS^ 26 " desSommestimrab. D 4 27 ' des Orplielins F2 28 " de^ Saicnds-ymtets F 2 i^mtei de -ynze F3 30 " I^avmdal . F 3 ^{.Jardcn, d' aectanoUboutiaTh , AB 3 32 l)otcadque CI ^TtMoaacTacixa'e didrmes' df^VjStat G^6 Z^MoTd deFiBtd F* 5 Moiruments : 35 Statue de ChccrlenwLfjne C 2 Sff " ^iW^TTrf D3 37 " Gritrr E 2 38 ms^e ... ... F 4 39/Vty " d'-Angleterre E 2 C " de L HvLTope. E 2 d ' ScTdUer E3 ie " 6. MASTRICHT. From Liege vince of Limburg, witli 28,900 inliab., lies on the left bank of the Meuse, and is connected with the suburb of Wljk on the right bank by means of a bridge of nine arches, built in 1683. It was formerly one of the strongest fortresses in Europe, but is no longer used for military purposes, and the works are being demolished. Mastricht was besieged by the Spaniards , under the Duke of Parma, during four months, in 1579. The garrison consisted of 1000 soldiers (French, English, and Scotch), 1200 of the towns- people, and 2000 peasants from the environs. Notwithstanding the tenfold numerical superiority of the Spaniards, they were repulsed nine times by the sallies of the Intrepid defenders. At lengtli, greatly reduced in numbers, and exhausted by famine, the garrison was compelled to succumb. The victors wreaked their vengeance on the ill-fated burghers witli savage cruelty. The greater part of the population , which is said to have comprised 10,000 weavers alone (?), perished by fire and sword, or in the waters of the Meuse. The value of the spoil was estimated at upwards of a million ducats , but the success of the Spaniards was purchased by a sacrifice of 8000 men. The fortress has sustained numerous other sieges , of which the three most memorable terminated with its capitulation , viz. that of 1632 by Prince Henry of Orange, that of 1673 by Louis XIV., and that of 1748 by the French under Marshal Saxe. Mas- tricht was almost the only town in the S. part of the Netherlands which was successfully maintained by the Dutch against the Bel- gian insurgents after the eventful month of September, 1830. The Stadhuis, or Hotel de Ville, with its clock-tower , situated in the great market-place, was erected in 1659-64, and contains several pictures of the Dutch School and well-executed tapestry (1704), representing the history of the Israelites in the wilderness. The town-library is also in this building. By following the street immediately opposite the Hotel de Ville, and afterwards turning to the riglit, we reach t]\e square, in which stands the Church of St. Servaas. The Cathedral of St. Servaas belongs in its older parts to the 1 1 th or 12th cent., but the interior was subsequently restored in the Gothic style. One of the altar-pieces is a Descent from the Cross by Van IJyck. The Church-Treasury f >%/i«/Aamer), which since 1873 has occupied a chapel of its own, and is shown to visitors for a fee of V2 A- 7 is worthy of inspection. The most interesting object which it contains is the late Romanesque reliquary of St. Servaas (12th cent.), in the form of a church, 5 ft. 9 in. in length, 19 in. in breadth, and 27 in. high. It is executed in gilded and enamelled copper, and embellished with filigree work and precious stones. The Church of Notre Dame, or Lieve Vrouwenkerk, a late Roma- nesque edifice of the Uth cent., has been disfigured by subsequent additions, especially the unsuitable vaulting of last century. The principal attraction at Mastricht is the subterranean laby- to Mastrichl. PETERSBERG. 26. Route. 175 rintli of sandstone quarries whicli honeycomb tlie *Petersberg in every direction , having been worked for upwards of a thousand years. A visit to them occupies 172"*^ ^ii's. We leave the town on the S. by the Peter's Gate, near which the cliief guide (J. Dorlo) lives. After about 10 min. we pass the village of Petersdorfj with a conspicuous modern brick church, and in about 15 min. more arrive at the suppressed Servite monastery of Stavanden^ now the property of a private club (Casino) ; admission, however, is seldom denied to strangers (refreshments, fine view). The entrance to the Petersberg is close by. The Petersberg range , extending from Mastricht to Liege , is composed of a soft, yellowish, sandy and calcareous stone, or chalky tufa , which has been deposited by the water of the ocean , and contains numerous conchylia, fragments of coral, sharks' teeth, fossil turtles, bones of a gigantic marine monster resembling a crocodile , and other traces of its remote subaqueous origin. Many of these interesting fossils are preserved in the collection at Liege (p. 166), and others may be seen at the Athenaeum at Mastricht. The so-called orgues geologiques , cylindrical openings of 1-7 ft. in diameter, and generally vertical, perforating the formation to a vast depth, and now filled with clay, sand, and rubble, are a singular phejiomenon which has not yet been satisfactorily explained. It is conjectured that they were originally formed by submarine whirl- pools , the action of which is known to produce circular orifices in rocks of much harder consistency , and that they were afterwards enlarged by the percolation of water. The economical value of the stone consists in the facility with which it is sawn into symmetrical blocks, and in its property of hardening on exposure to the atmosphere. The galleries , which vary from 20 to 50 ft. in height, are supported by pillars averaging 15 ft. in diameter, left for the purpose. The first excavations are believed to have been made by Roman soldiers , and the same systematic mode of working has been observed ever since that period. Guicciardin'i s (p. xiii) description of the quarries three centuries ago is still applicable. 'Viscera montis scatent lapide quodam molli, arenoso, et parvo negotio sectili, cujus ingens as.sidue hie effoditur copia, idque tain accurata conser- vandi et montis ct fudientiuni cuva, tamqiie altis, longis , llexuosis , et periculosis quoqiie meatill)us.'' The galleries constitute a vast labyrinth , of about 12 M. in length , and 7 M. in breadth, and are all so exactly similar in ap- pearance, that their intricacies are known to a few experienced guides only. Most of the entrances are closed , as adventurous travellers have not unfrequently perished in the foolhardy attempt to explore the quarries alone. The dead bodies, wliich have occa- sionally been found in the more remote recesses, have been preserv- ed from decomposition by the remarkable dryness of the air, and the lowness of the temperature. Tliousands of names are rudely 176 Route 26, MAASEYCK. scratched on the pillars, and a genuine inscription of the year 1037 is even said to have been discovered. During the bloody wars of the 17th cent, the caverns were used as a place of refuge by the inhabitants of the surrounding districts. One of the phenomena pointed out by the guides is the gradual formation of a small natural reservoir in the roots of a fossil tree, by the dropping of water from the branches , which still remain embedded in the ceiling, the intermediate part having been removed in the course of the excavations. A curious effect is produced by the guide leaving the party temporarily and carrying his torch into the side galleries , from which its light shines into the central one from time to time. The soft, friable nature of the stone deadens every sound, so that his footsteps soon seem as if far in the distance. The invariable temperature in the quarries is about 55^ Fahr. , and the change from the heat of a blazing sun to the coolness of the caverns is very perceptible. Railway/ to Aix-la-Chapelle^ Hasselt^ and Antwerp^ see R. 16. To Rotterdam by Venlo (1401/2 M.) by Dutch railway in 6V2-7 hrs. (fares 11 fl. 60, 9 fl. 25, 5 fl. 75 cents). As far as Venlo the line runs towards the IS^., following the course of the Meuse, which however is rarely visible. Stations Bunde^ Beek-Elsloo^ Geleen^ (14 M.) Sittard (='H6tel Hahnen) , Susteren (from which a diligence runs several times daily in 1 hr. to the small town of Maaseyck, 5 M, distant, on the left bank of the Meuse, the birthplace of the brothers Van Eyck^ to whom a handsome monument in marble was erected here in 1864^ railway to Hasselt, see p. 140); then Echt^ Maashracht^ and — 2;)V2 M. Roermond (De Gouden Leeuw; Hotel de VEmpereur)^ a small town with 9000 inhab., at the confluence of the Roer and the Meuse, possessing considerable cloth factories. The Minster^ formerly the church of a Cistercian nunnery, consecrated in 1224, and recently restored , is a good example of the transition period. St. Cfiristopher's is adorned with several paintings. Next stations Swalmen. Reuver, Ter/elen, and (44 M.) Venlo (p. 284). Thence to Rotterdam, see R. 46. 27. From Liege to Namur. 371/2 M. Railway in 11/4-2 hrs. (fares 5 fr., 3 fr. 80, 2 fr. 50 c; express 6 fr. 20, 4 fr. 70 c). This line is part of that from Cologne and Liege to Paris. This part of the valley of the Meuse is remarkably picturesque and attractive. Bold cliffs , ruined castles , rich pastures , and thriving villages are passed in uninterrupted succession, while numerous coal-mines and manufactories with their lofty chimneys bear testimoiiy to the enterprising character of the inhabitants. The whole district is densely peopled, the land well cultivated, and the scenery pleasantly diversified with hop-gardens , corn-fields , and meadows, but many of the prettiest points are unfortunately missed by the railway traveller. The quarries on both banks yield excellent marble. Ougree and Seraing (p. 169) are stations on the right, Tilleur HUY. 27. Route. 177 and Jemeppe stations on the left bank of the river , all remarkable for their picturesque situation , and their numerous manufactories and coal-mines. 7 M. Flemalle , a considerable village, "where a branch-line, constructed mainly for goods traffic, crosses the river. Farther on , to the right , on a precipitous rock rising almost immediately from the river, stands the chateau of Chokier, with its red tower and massive walls, dating partly from the last century. It is the ancient seat of the Surlet de Chokier family, a member of which was regent of Belgium for five months previous to the election of King Leopold. Then , at some distance from the river, on the left, the castle of Aigremont , with its white walls , rising conspic- uously on the crest of a lofty hill, belonging to Count d'Outremoiit. It is said to have been originally erected by the Quatre Fils Ay- mon , four traditionary heroes of the middle ages. In the loth cent, it formed the central point of the warlike exploits of William de la Marck, the 'Wild Boar of the Ardennes' (p. 187). To the left, opposite Stat. Engis, stands the chateau of Engihoul, at the base of a limestone rock. In 1829 numerous fossil bones were discovered by Dr. Schmerling in the limestone rocks around Engis, which led him to the conclusion that a prehistoric race of human beings had once peopled this district. Stat. Hermalle , with a handsome chateau and park, is another picturesque spot, between which and Neuville the scenery is less attractive, and the banks are flatter. 14 M. Amay, a village at some distance from the river, possesses a Romanesque church with three towers. Neuville, a modern chateau, beyond which the scenery again becomes more picturesque, lies nearly opposite stat. Ampsin, where a ruined tower stands on the bank of the river. The train continues to skirt the hills on the left bank, of which no view is obtained. 18 M. Huy, Flem. Hoey C^Aigle Noir , pension 6 fr. ; Mouton Bleu), is a town with 11,500 inhab. , on the right bank of the Meuse (station on the left bank), at the mouth of the Hoyoux. The Citadel, constructed in 1822, but now condemned to demolition, rises from the river in terraces. The works are partially hewn in the solid rock, and command both banks of the river. The hills on the left bank are here 1/2 M. distant from the river. The "^Collegiate Church (Notre Dame), a fine structure in the most perfect Gotliic style, was begun in 1311, but renewed after a fire in the 16th century, and recently restored. Handsome W. portal with good sculptures. In 1868 a statue by J. Geefs was erected here, on the promenade skirting the Meuse, to Jos. Lebeau, a Belgian statesman, born at Huy in 1794, one of the most zealous promoters of the election of King Leopold. The abbey of Neufmoustier , founded by Peter the Hermit ( d. 1115), formerly stood in one of the suburbs of Huy , and the great preacher of the Crusades was himself buried here. A statue Baedeker's Belgium and Holland. 5th Edit. 12 178 Route 27. ANDENNE. has been erected to Mm in the garden of the old ahbey. This was one of no fewer than seventeen religious houses which Huy possessed under the regime of the bishops of Liege , although the population of the town was then about 5000 only. From Huy to Landen, 2V/-z U., in IV4-IV2 lir. (fares 2 t'v. 50, 1 fr. 90, 1 fr. 25 c). The train may he taken either at the station of Stafte (see below), a suburb on the left bank of the Meuse, or at Huy-Tilleul, to the S. of the town. The two stations, which are IV4 M. apart, are connected by a bridge across the Meuse. — At (33/4 M.) i/o/m, with a rained castle, the line begins to ascend the picturesque valley of the Mehaigne^ a tri- butary of the Meuse. Stations: Huccorgne; Fumal^ with an old castle; Fallais, with a Romanesque church , and the ruins of a castle destroyed by Louis XIV. ; Braives-Latinne. The country now becomes flat. The last stations are Avenues^ Hannut. Avernas - BertHe. Then Landen. see p. 155. Fkom Huy to Ciney, 28V2 M. , in 2^/2 hrs. (far6s 2 fr, 90, 2 fr. 15, 1 fr. 45 c). Trains start from Tilleul (see above). — The pleasing valley of the Hoyoux^ which the train ascends, is also interesting for the pedestrian. — 3^ 4 M. Barse. — 7 M. Modave^ whence a visit may be paid to the Chateau of Modave, situated on a lofty rock, built by the Counts Marchin in the ITth cent., and now the property of M. Braconnier of Liege. Then, Cla- viev-Terwagne^ Avins-en-Condroz^ Havela/ige, Hamois^ Emptinne. — Ciney ^ s. p. 150. 191/2 Statte, a suburb of Huy on the left bank of the Meuse, and junction of the line from Landen to Ciney, which here crosses the river (see above, and comp. map). 2OY2 M. Bas-Oha^ with an old castle now restored, and vine- yards on the neighbouring hills. On the height opposite are the scanty ruins of the castle of Beaufort, destroyed in 1554. 25 M. Andenne-Seilles. On the left bank, where the railway- station is situated, lies the straggling village of Seilles, the last in the district of Liege. There are several lime-kilns here, and a chateau restored in the style of the 15th century. The columns of the Palais de Justice at Liege (p. 164) are of the blue limestone quarried in this neighbourhood. Opposite Seilles, and connected with it by means of an iron bridge, lies Andenne, with 7100 inhab., a busy town, with paper, fayence, and other manufactories. Down to 1785 a religious establishment of 32 sisters of noble family, who were not bound by any vow to abstain from matrimony, had existed here for upwards of a thousand years. It is said to have been found- ed by St. Begga, a daughter of Pepin of Herstal (p. 155), and the order was probably identical with that of the Beguines, who are also permitted to marry. The establishment was transferred to Namur by Emp. Joseph II. 29 M. Sclaigneaux is the station for Sclayn, a pretty village on the opposite bank. At stat. Nameche, another pleasant village in the midst of fruit-trees, the river is crossed by an iron bridge. On the opposite bank lies Samson, a village at the foot of a beautiful white cliff of limestone. Above Samson are situated a modern chateau and the ruins of an ancient castle, believed to date from the 7th cent., or an even earlier period. Near it, in 1858, was discovered a Fran- conian burial-place, in which upwards of 250 skeletons with wea- MARCHE-LES-DAMES. 27. Route. 179 pons and ornaments were found. A long breakwater here projects into tlie river in order to deepen the navigable channel. The rocks between Sclayn and Namur are not unlike the curious formations of the 'Saxon Switzerland'. On the left rises the chateau of Moisn 'd ; then that of Brumagne, the property of Baron de Woelmont. 32 M. Marche-les-Dames^ adjoining which are the ironworks of Enouf^ is charmingly situated. The chateau of the Due d'Arem- berg, with its terraced gardens, peeping from amidst groups of trees on the rocky slope, occupies the site of an abbey founded in 1101 by 139 noble ladies, the wives of crusaders who had accompanied Godfrey de Bouillon to the Holy Land. 371/2 M. Namur, see p. 145. 28. From Liege to Aix-la-Chapelle. 341/2 M. Railway to Verviers (151/2 M.) in 35-60 min. (fares 1 fr. 80, 1 fr. 35, 90 c. ^ expre,ss one-fourth higher); from Verviers to Aix-la- Chapelle (19 M.) in 40-65 min. (fares 5 fr. 25, 3 fr. 75, 2 fr. 65 c). In the reverse direction : express from Aix-la-Chapelle to Liege 4 marks 60, 3 m. 40 pfennings; from Cologne to Liege 13 m, 70, 9 m. 90 pf . ; from Cologne to Brussels 21 m., 15 m. 40 pf. (The German mark, worth Is. Engl. , is divided into 100 pfennings.) Several express trains have ftrst- class carriages only as far as Verviers , beyond which, however, they always consist of three classes. — Herbesthal is the Prussian frontier- station, where small articles of luggage are examined; that in the luggage-van is not examined till the traveller arrives at Aix-la-Chapelle (or at Cologne, if booked to, or beyond Cologne). The country traversed by the line between Liege and the Prussian frontier is remarkable for its picturesque scenery, busy manufactories, and pretty country houses , while the engineering skill displayed in the construction of the line is another object of interest. This part of the line, 24 M. in length, cost upwards of 25 million francs. The picturesque stream which the line crosses so frequently is the Vesdre, and pleasant glimpses of its wooded banks are obtained on both sides of the train. The rock penetrated by most of the tunnels is a bluish limestone, fre- quently veined with quartz, and often used for building purposes. This is the most beautiful part of the journey between England and Germany, and should if possible be performed by daylight. The Bergisch-Markisch Railway also has a line between Verviers and Aix-la-Chapelle (l-li '4 hr. ; fares 2 fr. 60, 2 fr. 15, 1 fr. 50 c; or 2 m. 10, l.;m. 70, 1 m. 20 pf.). It diverges at stat. Dolhain (p. 180) from the Rhenish line and near stat. Welkenraedt passes the Einehurg ^ or Emma- burg, once a country-residence of Charlemagne, where his secretary Egin- hard is said to have become enamoured of the emperor's daughter Emma, whom he afterwards married. Near the next station JIontzen-Moresnei, on the Belgian and Prussian frontier, is situated the neutral territory of Moresnety a tract about 3 M. in length, and V2 M. in breadth, in which lie the valuable zinc-mines of the Altenberg^ or Vieille Montagne, the prop* erty of a company whose works are near Liege. Station Bleyberg^ then Aix-la-Chapelle (Templerbend-Station) •, see Baedeker's Rhine. Through- trains of the Bergisch-Markisch Railway from Brussels to Diisseldorf go by this line (express from Calais to Berlin^ via Scherfede., in 20^/4 hrs.). The train starts from the Station des Ouillemins at Liege, crosses the handsome Pont du Val BenoU, passes stat. Anglear (junction of the Ligne de VOurthe, for which see p. 171), and crosses the Ourthe near its confluence with the Vesdre. 180 Route 28. VERVIERS. 2V2 M. Chenee (4400 inhab.), at the mouth of the Vesdre, is a busy manufacturing place with iron-works and the extensive zinc- foundry of the Vieille Montague Co. — Branch-line to Battice. 41/2 M. Chaudfontaine C^Grand Hotel des Bains; Hotel d'An- gleterre), a small and beautifully situated watering-place, attracts numerous visitors from Liege. The thermal spring (104^ Fahr. ) used for the baths is situated on an island in the Vesdre, which is connected with the bank by a handsome suspension-bridge. Chaud- fontaine, like the German watering-places, boasts of a 'Cursaal' situated near the station, in the garden of which concerts are given in summer. From the back of the church a pleasant path, provided with seats, leads to the top of the hill (10 min.), which rises above the village and commands a fine view of the valley of the Vesdre. On the rocks to the right, beyond the tunnel, is perched the tur- reted old castle of Le Trooz, which has been used for upwards of a century as a manufactory for boring gun-barrels. Beyond it is the station of the same name. Several other prettily situated chateaux are passed. Then stat. Nessonvaux. 12^/2 M. Pepinster, with 2400 inhab., the junction for Spa and Luxembourg (see R. 29), is said to be derived from 'Pepin's terre', the district having anciently belonged to the ancestors of Charlemagne. Stat. Ensival , on the left, is almost a suburb of Verviers. 151/2 M. Verviers {flotel du Chemin de Fer^ Hotel d'Allemagne, both at the station ; Pays-Bas, in the town ; Railway Restaurant^ dear), with 39,616 inhab., is a town of modern origin, containing numerous extensive manufactories, which have flourished here since the 18th century. Cloth is the staple commodity of the place. Up- wards of 350,000 pieces are manufactured annually in Verviers and the environs, worth 80 million francs. The water of the Vesdre is said to be peculiarly well adapted for dyeing purposes. Beyond Verviers the train passes through seven tunnels and crosses several bridges within a short distance. Stat. Dolhain, the last in Belgium, a modern place, picturesquely situated in the valley of the Vesdre, occupies the site of the lower part of the ancient city of Limburg. On the height above it stands the conspicuous castle of Limburg^ the ancestral seat of the ancient ducal family of Limburg , from which the counts of Luxembourg and the German emperors Henry VII., Charles IV., Wenceslaus , and Sigismund were descended. The castle belonged to the ancient capital of the fertile Duchy of Limburg, of which but few traces now remain. The city possessed a cathedral and five other churches, and occupied the entire breadth of the valley of Dolhain. In 1288 it was sacked by Duke John I. of Brabant after the Battle of Worringen , it was afterwards taken and pillaged at different times by the Dutch , the Spaniards, and the French, and was at length entirely destroyed by Louis XIV. in 1675. A number of well-built houses have sprung SPA. 2.9. Route. 181 up within tlie walls of the ancient fortifications, from whicli peeps forth the old Gothic Church of St. George. On a rocky eminence stands a small modern chateau. 221/2 M. Herbesthal, the first Prussian station, is the junction for E'w^m (train in 1/4 hr.). The custom - house formalities cause a detention of about 10 min. here. Beyond stat. Astenet^ the train crosses the Gohl Valley by a viaduct of seventeen double arches, 125 ft. in height. Beyond stat. Ronheide it descends an incline to — 34^2 Aix-la-Chapelle (see Baedeker's Rhine~). Railways thence to Mastricht, see R. 16; to Cologne^ Diisseldorf^ etc., see Baedeker's Rhine. 29. From Pepinster to Spa and Luxembourg. 891/2 M. Railway from Pepinster (p. 180) to Spa (71/2 M.) in 1/2 lir. (fares 70, 55, 35 c.)^ from Spa to Luxembourg (82 M.) in 41/2 lirs. (fares 12 fr. 10, 9 iFr. 10, 6 fr. 45 c). Express fares 1/4 higher. Belgian state railway as far as Trois Vierges or Ulflingen, and afterwards the Alsace-Lorraine and Luxembourg line. — Seats on the top of the carriages pleasant in fine weather. The valley of the Hoegne^ which the railway ascends, is enclos- ed by picturesque and wooded hills, and enlivened by a succession of country-houses, gardens, and manufactories. Near (2^/2 M.) Theux^ a small town with several cloth-factories and iron-works , rises a hill laid out in pleasure-grounds, to the left, in which stands the extensive ruined castle of Franchimont, destroyed as early as 1145 by a Bishop of Liege. The last proprietor is said to have been a robber-knight , who possessed vast treasures buried in the vaults beneath his castle, where they remain concealed to this day. The tradition is gracefully recorded by Sir Walter Scott in his lines on the Towers of Franchimont, — 'Which, like an eagle's nest in air, Hang o'er the stream and hamlet fair. Deep in their vaults, the peasants say, A mighty treasure buried lay, Amass'd through rapine and through wrong By the last lord of Franchimont". 41/2 M. La Reid, where the small river Chawion (picturesque valley, 21/2 M. from La Reid) flows into the Hoegne. 71/2 M. Spa. — Hotels. Hotel de Flandre, Rue du Vauxhall^ Hotel d'Orange, Rue Royale^ Hotel des Pats Bays, Rue du Marche; Grand Hotel Britannique, Rue de la Sauveniere; Hotel du Midi, Avenue du Marteau , R. 3 fr., D. 4V2 fr. i Hotel de Bellevue, same street;, Hotel DE l'Europe, Rue de la Sauveniere ^ Hotel Baas, Place Royale ; Hotel de York, Rue de la Sauveniere:, Hotel du Palais Royal, Rue du Marclie; Hotel Lerot-Taylor, Rue du Marteau : Hotel Royal, Place Pierre le Grand; Hotel de Portugal, Place Royale ^ Hotel de Laeken, Rue du Marche:, Hotel des Etrangers, Rue du Marches Hotel Victoria, Rue Louise; Hotel du Louvre (with restaurant), Rue d'Amontville ; Hotel des Deux Fontaines, Place Pierre le Grand; Hotel de Cologne, Rue du Fourneau; Hotel des Quatre Saisons (with restaurant). Rue Royale : Hotel de la Chaine d'Or, Rue du Blarteau ; Hotel du Nord, Rue de la Cascade 5 Hotel de Londres, Rue du Marteau. Table d'hote generally 182 Route 29. SPA. From Spa at 5 o'clock. — Omnibuses from the principal hotels are in waiting at the station. Restaurants. Casino^ see below; at most of the above-named hotels; others at the G&roiisiere^ the Scniveni^re^ and Barisart^ all dear. Carriages. There are three kinds of carriages, viz. with one horse and seats for two persons, with one horse and seats for three, and with two horses. The following are the fares for these different vehicles: ''Tour des Fontaines'' (a visit to the different springs; 2 hrs.) 6, 8, 10 fr. ; to Sort and Francorchamps^ returning via Sanveniere (3V2 hrs.), 12,'14. 18 fr.; Theux and Franchimont (2V2 hrs.) 8, 10, 12 fr. \ Grotte de Remouchamps (3 hrs.) 18, 20, 25 fr. ^ Cascade de Coo (Sirs.) 16, 18, 25 fr., via Stavelot 18, 20, 30 fr. Horses. Ponies ('bidets''), of a peculiar variety and as sure-footed as asses or mules, are much used-, ride of 2 hrs. 5 fr. ; each additional hour 2 fr. ; Grotte de Remouchamps 15 fr. ; Cascade de Coo 15 fr. etc. Visitors' Tax. Since the suppression of gaming the directors of the baths have exacted the following charges from frequenters of the Casino, the general resort of visitors: 1 pers. for 8 days 9, 2 pers. 16, 3 pers. 22 fr.; for 15 days, iiyh, 20, and 4IV2 fr. ; for the season 50, 79, and 100 fr. Day tickets cost fr. Chair at the concerts, for non-subscribers, 25 c.-, arm-chair 50 c. Concerts. In the Promenade des Sept Heures in the afternoon from 1. 30 to 3. 30, and in the evening from 6. 30 to 8. 30. ^^o music in the forenoon, when visitors walk in the woods or frequent the baths. English Church Service, in the handsome English Church in the Bou- levard des Anglais, opened in 1876; Sunday services at 8. 30, 11. 30, and 7; daily at 8. 30 a. m. Spa (820-1080 ft. above t"he sea-level), a small, attractive looking town with 6000 inhab., prettily situated at the S. base of wooded heights, consists, like other watering-places, chiefly of hotels and lodging-houses, while numerous shops and bazaars with tempting souvenirs and trinkets, a pleasure-seeking throng in the promenades, and numbers of importunate valets-de-place and persons of a similar class, all combine to indicate that character which occasioned the introduction of its name into the English language as a generic term. This, the original and genuine 'Spa', the oldest European watering-place of any importance, has flourished for a century and a half, and was the Baden-Baden of the 18th century, the fashionable resort of crowned heads and nobles from every part of Europe. Peter the Great was a visitor here in 1717, Gustavus III. of Swede-n in 1780, the Emp. Joseph II. and Prince Henry of Prussia in 1781, and the Emp. Paul, when crown-prince in 1782; to whom might be added a long list of members of the noble families of England , France, Germany, and still more distant countries, who have patronised Spa and benefited by its waters. After the French Revolution its prosperity began to decline, but it has of late regained much of its popularity, and many new buildings have accordingly sprung up. It is now frequented by upwards of 20,000 visitors annually, nearly half of whom are Belgians. The pretty painted and varnished woodwares offered for sale everywhere are a speciality of Spa (ath at Scheveningen, visit the Huis ten Bosch on the way back, and roach the Picture Gfillery at the Hague between 10 and 11 o'clock. The Hague (100,300 iiihab., i/^rd Rom. Cath.) , Fr. La Haye, originally a hunting- seat of the Counts of Holland, whence its Dutch name 'S Graven Hage (i.e. 'the count's enclosure', or 'hedge'), has for centuries heen the favourite residence of the Dutch princes. From the 16th cent, downwards it was the political capi- tal of the States General, and in the 17th and 18th centuries was the centre of all their most important diplomatic transactions. Owing, however, to the jealousy of the towns entitled to vote in the assembly of the states, the Hague was denied a voice in that body, and therefore continued to be 'the largest village in Europe', as it has sometimes been called, until Louis Bonaparte , when king of Holland , conferred on it the privileges of a town. Its aristocratic and prosperous appearance is due solely to the presence of the court and the numerous nobles and diplomatists who reside here, and not to the internal resources of the town itself. No town in Holland possesses so many broad and handsome streets, lofty and substantial houses , and spacious and imposing squares as the Hague. The N.E. quarter of the town, with the Vijverherg, the Kneuterdijk, the Voorhout, and the Noordeinde, is especially remarkable in this respect. The neighbourhood of the *yiJVEii (i. e. fish-pond ; PI. C, D, 3), a sheet of water nearly in the middle of the town , enlivened by an island and swans, and partly surrounded by fine old avenues, is the most fashionable quarter. The water is kept in motion by artificial means, freshwater being pumped by a steam-engine on the Dunes into the Vijver and the canals. The impetus thus given to it causes a slight stream towards Rotterdam , where the water is finally pumped out into the Maas. Binnenhof. THE IIAGLIE. 33. Route. 203 On tlie S.E. side of the Vijver is situated the Binnenhof (PL C, D, 3), an irregular pile of buildings, some of them of medicEval origin , and once surrounded by a moat. The square formed by these buildings is entered by several gates. Some of the municipal aud ministerial offices are situated here. In the centre of the square stands the old Hall of the Knights (PI. 33), a brick building of the 13th cent., resembling a chapel , with lofty gables and two turrets; it now coiitains the Archives. On the right and left sides of the Binnenhof are the halls where the two Chambers of the States-General hold their sittings (PI. 39; No. 20, in the corner; custodian 25 c). The history of the Republic, during its most glorious period, was sullied by two dark tragedies, of which the Binnenhof was witness. The influential Jo/m van Oldenbarneveld , the Grand Pensionary, or prime minister, of Holland, having incurred the displeasure of Prince Maurice of Orange by his opposition, the stadtholder, during a meeting of the States General, caused 01denbarneA''eld to be arrested, together with his learned friends Grotins and Hogerheets., the Pensionaries of Rotterdam and Leyden. The two latter were conducted to the castle of Loevenstein (p. 28'")), while the Grand Pensionary himself was condemned to death, 'for having conspired to dismember the States of the Netherlands, and greatly troubled God's Church' (comp. p. xxxii). On 24th May, 1619, the unfortunate minister, then in his T2nd year, was executed on a scaffold erected in the Binnen- hof, after having written a touching vindication of his innocence to his family, and solemnly declared on the scaffold that 'he had ever acted from sincerely pious and patriotic motives'. The other tragedy alluded to is the death of De Witt, which took place in the immediate neighbour- hood of the Binnenhof (see p. 211). Passing through the N. E. gate of the Binnenhof, which is adorned with the arms of the County of Holland , we reach a house standing alone on the left, No. 29, with an en trance- court enclosed by a railing. This is the Mauritshuis (PL 25; D, 3), erected by Prince John Maurice of Nassau , the Dutch governor of Brazil (d. 1679), and now containing the celebrated ** Picture Gallery (Koninklijk Kdbinet van Schilderijen). The collection is open daily, Monday to Friday 10-4 in sum- mer, 10-3 in winter (Oct. - April), Saturdays 10-2, Sundays 12-30 to 3 or 4-, It is closed at Easter, on Ascension Day, for two days at Whitsuntide, for tv.o at Christmas, and on New Year's Day. The nucleus of the Gallery of the Hague consists of collections made by the princes of the House of Orange. As early as the first half of the 17th cent. Frederick Henry (d. 1647) and his consort Amalia of Solms-Braunfels ordered so many pictures from Dutch and Flemish masters that they left no fewer than 250 works to be divided among their four daughters (1675). William III. formed a collection at the Chateau of Loo, which on his death was sold at Amsterdam. The Stadtholder William V. (1748-1806) also gradually collected about 200 pictures, many of which are still in this gal- lery. To the purchase of the Slingelandt collection the gallery Avas indebted for a number of its finest works. The flight of the Prince of Orange in 1795 , on the approach of the French troops, 204 Roiite 33, THE HAGUE. Museum. was followed by the removal of the pictures to the Louvre. In 1815 a partial restitution took place, but 68 works still remained in Paris. In 1817 the gallery contained only 173 pictures, but this number was rapidly increased by the zealous and su(;cessfiil exertions of King William I. The catalogue now numbers up- wards of 300 paintings , of which 200 belong to the Dutch school, 40 to the Flemish , 45 to the Italian , and 21 to the German. Rembrandt and Potter are the princes of the collection. The five works by Rembrandt are all among the best specimens of his early manner. Jan Steen , Terburg, Gerard Dow, Adrian van Ostade , and Adrian van de Velde are also represented by master- pieces. The finest landscapes are those of the three Ruysdaels ami of Van der Meer of Delft, a painter who has only recently obtained the fame he deserves. — P^xcellent catalogue in French, by Vict, de Stuers (1874), 172^. 5 abridgment in Dutch (1876), 50 c. Ground- Floor. — Room I. Flemish School. In the centre: 215. Rubens, Portrait of his confessor Michael Ophoviiis, after- wards Bishop of Bois-le-Duc; 206, ter. Van Dyck , Magdalene. On the walls, beginning to the right of the door: 217. Rubens, Departure of Adonis (copy?); 218. After Rubens, Angelica and the Hermit (from Ariosto) ; 223. David Teniers the Younger (p. 11), The good kitchen; above, 221. Frans Snyders (p. 1), Kitchen with game and vegetables, the figure by Rubens; *203, 204. A. van Dyck, Portraits, once erroneously called the Duke and Duchess of Buckingham, now cata- logued, in accordance with the coat of arms in the corner, as 'Sir . . . Sheffield' and his wife 'Anna Wake ; 224. D. Teniers the Youn- ger, Alchemist; 206, bis. Van Dyck, Portrait in grisaille of An dr. Colyns de Nole, a sculptor of Ant- werp. By the window, 9. and 10. Two good heads in terracotta of the Admirals De Ruyter and Van Gent. Left Wall : *214, *214. Rubens, Isabella Brant and Helena Fourment, the master's first and second wife, both admirably executed; 222. Fr. Snyders, Stag- hunt, the landscape and figures by Rubens; *209. Jacob Jordaens (p. 1), Faun and nymph, half-figures life-size, boldly drawn, one of the best works of the master; *206. Van Dyck, Portrait of the Antwerp painter Quintyn Simons, one of the finest portraits painted by the master before he went to England; 216. Rubens, Adam and Eve in Eden ; 205. Van Dyck, The Huygens family, six separate medallions, probably from a ceiling ; 207. Frans Franken Junr. and 1 Rubens I s md Van Dyck. 11 IV bein. [ III o Ve.stibiile. W Museum. THE HAGUE. 33. Route. 205 Fr. Pourbus Jr. , Ball at the court of the archducal pair Albert and Isabella, about 1615. Room [II. On the right: 201. Phil, de Champaiyne (p. 72), Portrait of Jacob Govaerts ; 202. Gonzales Cocx or Coques (Antwerp, about 1614-84) , Interior of a picture -gallery ; 210. J. Jordaens^ after Rubens, Yenus, Cupid, Nymphs, and Satyr; opposite, 19, bis. Cornells van Haarlem (1562-1638), Marriage of Peleus and Thetis ; 34, a, b, c. Hendrik Goltzius (ibbS- iQil) , Mercury, Hercules, Minerva; 166. Ezajas van de Velde^ Dinner, 1614; 168, bis. Adrian van der Venne, Dancing peasants, in grisaille. Room III. On the right: 235, 236. Adam Elzheimer (p. lii), Italian landscapes; 200. ^ Velvet^ Breughel (p. xlv) , Paradise. Left wall : 19. Cornelis van Haarlem, Massacre of the Innocents. In the middle of the room : 40, bis, 40, ter. Marten Heemskerk van Veen (p. 229), Nativity, and Adoration of the Magi; on the back, Annunciation. Opposite: 226. Roger van der Weyden (p. xlii). Descent from the Cross (according to Mr. Crowe a school-piece); 237. Hanti Holbein the Younger, Female portrait, painted in the artist's early period, when he still resided at Bale; 240. Holbein. Portrait of a man, an excellent specimen of his later style; 95. Ant. Moro (Sir Anthony More), Portrait of a man ; 249. Italian School, Por- trait of Ginliano da Sangallo , the architect (ascribed by Burger to Albert Diirer) ; 239. Holbein, Portrait of Jane Seymour, wife of Henry YTII. ; 238. Holbein, Portrait of Robert Cheseman ; 245. Rottenhammer. Repose on the Flight into Egypt (landscape by Jan BruegheV); 248. Early German School, Portrait of a man; 241. Copy after Holbein. Portrait of Erasmus of Rotterdam ; 212. P. Pourbus (p. 22), Moses delivering the Tables of the Law to the Israelites ; 225, ter. Frans Floris (p. 72), Venus and Adonis. Room IV. : Portraits of Princes of the House of Orange, their relatives, and other celebrated personages, including Nos. 15, 16. Admiral De Ruyter and his son, by Ferd. Bol; Nos. 76-84. by Mich, van Mierevelt of Delft (p. 199); and others by Ravesteyn (p. 212). The names of the persons represented are inscribed on the frames. First Floor. — Ante-Room, beginning with the left wall, at the window : 47. Melchior de Hondekoeter (1636-95 ; p. 242), The 'Raven in peacock's feathers'; 6. Lud. Bakhuizen (1631-1708), Dutch harbonr; 38. Jan. Davidsz de Heem (1600-74), Garland of flowers and fruit; 21. Albert Cuyp (j^. IxiiJ, Portrait of Seigneur de Roovere, overseer of the salmon fisheries at Dordrecht; 70. Jan Lingelbach (1625-87), Charles II. embarking for England; 55. Jan van Huchtenburgh (1646-1733), Convoy attacked by sol- diers in ambush; 5. L. Bakhuizen, William III., King of England, disembarking at the Orange-Polder on his return from England in 1692; 128. (T^od. -ScMc/cen (1643-1706), Toilette of a young lady ; 93c. Jan Miense Molenaer (d. 1668), Village fete. — Right wail, 206 Route 33. THE HAGUE. Museum. again beginning at tlie window: 14. Abraham BLoemaert (1564- 1658), Banquet of the gods at tlie marriage of Peleus ; 96. Paut IV 1 Potter V Rembr, Anatomy Staircase. VI I II VII Moreelze (p. liv), Portrait of Amelia Elizabeth, Countess of Hanau; 184. Phil. Wouwerman (p. Ixi), 'Un manege en pleine campagne' (an equestrian puts his steed through its paces , before a lady seated in a carriage drawn by six grey horses); 97. Moreelse^ Portrait of Countess Ernestina of Ligne-Arenberg ; 180. Wynants, View on the dunes, the figures by Lingelbach; 33. Cesar van Ever- dingen (Alkmaar, 1606-79; elder brother of the celebrated landscape painter) , Diogenes 'seeking for a man' in Haarlem Market-place, with portraits of Grand Pensionary Steijn and his family; 9. Nicholas or Claes Pietersz Berchem (1620-83; p. Ixii), Pastoral scene, of nnnsnalsize; 11. Berchem, The ford, Italian landscape ; 64. Ph. A'onmcA; (1619-89), Mouth of a river ; 51, ter. Honthorst (p. 191), Little girl plucking fruits; 195. Unknown artist, Portrait of Grand Pensionary Jan de Witt. Among the busts we may mention that of William the Taciturn, by Hendrik de Keyser (p. 191). Room I. (comp. Plan p. 205). To the right: 105, a. Anth. Pa«rrmecZes2 (1604-80), An officer; 28, a. Gerard Dow (1613-75), Study ; 37, a. Frans Hals (the son ?) , Breakfast. — Right wall : 66. Jan Lievensz (?), Portrait of a man; 95, bis. Moreelse^ Portrait of the artist. **115. Rembrandf s celebrated School of Anatomy, painted for the Amsterdam guild of surgeons in 1832, and intended to adorn the Anatomical Room ( 'Snijkamer' ) at Amsterdam along with other pictures of a similar nature (see p. Ivi). These, however, whether of later or earlier date , have been completely eclipsed and con- signed to oblivion by this masterly group of portraits. Burger has justly characterised this picture as the truest and most lifelike representation of the 'working of intellect' ever produced. The painting remained in the School of Anatomy till 1828, when it was purchased by King William 1. for 32,000 fl. 'This picture represents the celebrated anatomist Nicolaus Tulp, a friend and patron of Rembrandt, in a vaulted saloon, engaged in ex- plaining the anatomy of the arm of a corpse. He wears a black cloak with a lace collar, and a broad-brimmed soft hat. With his half-raised left hand he makes a gesture of explanation, while with his right he is dissecting a sinew of the arm of his subject. The corpse lies on a table before him. To the right of Tulp is a group of five tignres; and two other men are sitting at the table in front. These listeners are not students, but members of the guild of surgeons of Amsterdam, as shown by a paper held by one of them. They are attending to the lecture with Museum. THE HAGUE. 33. Route. 207 very various expressions. They are all bare-lieaded , dressed in black, and with turned-over collars, except one who still wears the old-fashioned, upright ruff. There are perhaps other persons present in the hall , a,s Tiilp appears to be looking beyond the picture , as if about to address an audience not visible to the spectator; and it is here worthy of remark that Rembrandt's compositions are never imprisoned in their frames, but convey an idea of a wide space beyond them. It is somewhat singular that the spectator seems hardly to notice the corpse lying before him at full length, the feet of which he can almost touch, although it is strongly lighted in contrast to the surrounding black garments and most faith- fully presents -the peculiar hue of a dead body, leaving no doubt that it was painted from nature as well as the living heads. The admirable art of the composition consists in its power of riveting the attention to the living in the presence of death. The painting is signed at the top, ' Rembrant^ 1632\ Burger. Musees de la Hollande. 61. Thomas de Keyser (1595-1679; after Hals and Ravesteyi) the most important of the early Dutch portrait painters), Portrait of a magistrate, 1631 ; *32. Gerbrand van den Eeckhout (p. Ivii), Ado- ration of the Magi. — Opposite, third wail : — *105. Adrian van Ostade (p. lix), The Fiddler. An itinerant fiddler, standing in front of an old and weather-beaten house, is delighting a numerous aadience with his skill. The representa- tion of the scene in the open air has given the artist an opportunity of introducing the most varied effects of the reflection of light. Few of Ostade's works can compare with this in freshness of composition and finish of execution. It was painted in 1673, when the artist was in his the sixty-third year. *62. Thomas de Keyser, Tlie four burgomasters of Amsterdam receiving the news of the arrival of Marie de Medicis (1638 ), per- haps merely a sketch for a larger work, but painted with great vigour; *185. Phil. Wouwerman, Landscape, known as 'The Hay- cart'; 117. Rembrandt, Portrait of a young man, perhaps the artist himself, painted, according to Vosmaer, about 1630; *165. Adrian van de Velde (p. IxiJ, Beach at Scheveningen , enlivened with (diarming groups of figures , and an aerial perspective perhaps unequalled by tlie painter in any other work ; 17. Jan and Andries Both, Italian scene ; *104. Adrian van Ostade , Interior , with eight figures, assembled for the purpose of smoking, singing, and drinking; or Worship of Bacchus and Apollo (1662) ; 134. Jan Steen, Dentist. Room II. On the right : *28. G. Dow, The young house-keeper. A lady with a child in the cradle, and an attendant, a carefully exe- cuted pictvire. The work, also known as 'The Household', is one of the gems of the collection, and is of equal merit with the celebrated 'Drop- sical Lady' in the Louvre. It is dated 165S, *113. Paul Potter, Landscape with cows and pigs; 73. Gabriel Metsu (p. Ix), Huntsman. *116. Rembrandt, Susanna, on the point of stepping into her bath, is alarmed by the presence of the two elders (of whom one only is distinguishable in the shrubbery). Placed alongside of the School of Anatomy and the Simeon , the merits of this painting are too often overlooked. Yet Susanna, strongly relieved against a dark background, is one of the most attractive female figures ever 208 Route 33. THE HAGUE. Muf^eum. painted by Rembrandt, not, indeed, in the sense of classical beauty of form, but owing to its extraordinary truthfulness to nature. In all probability the painter's wife Saskia stood to him as a model. 170. Ary de To^'s (1641-98?), Huntsman; 18. Jan d^ud Andries Both, Italian scene. **114. Rembrandt, Presentation in the Temple, nsually called ill Holland 'Simeon in the Temple', the earliest important com- position of the artist known, painted soon after he settled at Am- sterdam. 'In tli& middle of the Temple, tlie fantastic architecture of which is lost in the darkness, the light is concentrated on a group of seven per- sons. Simeon with eyes raised towards heaven , and wearing a robe glittering with gold, is represented kneeling, with the infant Christ in his arms; the Madonna, in a light blue robe, with folded hands is also kneeling; while Joseph on his knees offers the sacrificial doves. A little to the left, as a counterpoise to Simeon, is the high-priest, with a long flowing robe, and almost turning his back to the spectator, raising his right hand, which gleams in the strongest light, in an attitude of bene- diction. Behind the Virgin are two rabbis. To the left, in the back- ground of the aisles, several groups are observed in the twilight, and to the right in the chiaroscuro are a number of people ascending and descending a stair. On the same side, quite in the foregroimd, are two venerable old men sitting on a bench. The back of the bench bears the monogram R. II. (Rembrandt Harmensz) and the date 1631. This ad- mirable little work, of the master's earliest period , already exhibits the bold touch and the striking effects for which Rembrandt is famous , but the Madonna, who stands in the full light, is somewhat cold and insigni- ficant in character". Burger. Musees de la Hollande. 59. Karel du Jardin , Shepherdess spinning. At the first win- dow: 24. Phil, van Dyck (1680-1752; an imitator of Adrian van der Werff) , Lady playing the lute; Frans van Mieris Senr. (p. Iviii), *87. Portraits of the painter and his wife; 86. Portrait of Professor Florentiiis Schuyl of Leyden ; 131. Schalcken, Yenus ; *85. Fr. van Mieris Senr., Soap-bubbles; 29. Ger. Dow (p. IviiiJ, Woman with a lamp. At the second window : 26. Phil, van Dyk, Book-keeper; *164. A. van de Velde, Wooded landscape with cattle, small in size, but full of life and charming in colour. Second Wall : *182. Ph. Wouwerman, The departure; *72. John Ver Meer, usually called Van der Meer of Delft (p. Ivii), View of Delft; *112. Paul Potter (i^. Ixi), 'La Vache qui se mire', a herd of cattle by a river, with the form of a cow reflected by the water in the foreground, and men bathing behind, 1648; *181. Ph. Wouwerman, The arri val; 40. Co?', i/eem, Fruit ; 186. Ph. Wowtyerman, Large battle-piece ; in the corner: 71, a. Nic. Maes (p. Ivii), Diana and her companions; 179. Jan Wynants (p. Ixii), Edge of a forest. Third Wall: 162. Jac. Uc/i er- book of Isabella of Castile (^14o0), a Gospel of the 10th cent., a Psalter of the 12th cent. etc. also merit inspection. The most valuable objects are exhibited under glass. The valuable collection of Coins, Medals, and Gems in the same building is open on Mondays, Wednesdays, and Fridays, 10-3 o'clock. It contains upwards of 40,000 coins and medals, and 300 cameos, most of them antique, including tlie Apotheosis of the Emp. Claudius, one of the largest known ; also a collection of Syrian and Babylonian seals and dies. The following are among the finest: Head of Hercules^ bnst of Bac- chus ; Faun attempting to rob a Bacchante of her robe ^ reversed lyre with horns represented by two dolphins , crowning the head of Cupid with roses, grouped artistically with the panther of Bacchus, holding the thyrsus in its front paw ^ mask with large beard and open mouth ; Venus and Cupid; Cybele riding on the lion; giant dragging a griffin from a cavern; helmeted head in profile, with long beard; Homer as a statue; several portrait-heads ; head of Medusa, in the most beautiful cornelian, a modern work. The catalogue of the director gives full particulars about every object in the collection. The Korte Yoorhout, with its beautiful avenue of chestnuts, is adorned with an octagonal sandstone monument (PI. 3 a; D, 3) to iJuke Charles Bernhard of Saxe- Weimar {^d. 1862), who distinguish- ed himself in the Dutch service at the Battle of Waterloo in 1815, in the battles against the Belgian insurgents in 1831, and in the East Indian Wars of 1849. — On the E. side of the place stands the Palace of Prince Frederick of the Netherlands, the king's uncle. — In the S.E. angle is the Theatre (PI. 31 ; D, 3). On the Prinsessen-Gra(dit is the Cannon Foundry (PI. 20), beyond which is the Museum Meerma.nno-Westreenianum (PI. 7a; E, 2), a somewhat motley collection of MSS., specimens of early typography, coins, ancient vases, a few small ancient sculptures, Japanese curiosities, etc., bequeathed by Count xMeermann (d. 1816) and Baron Westreenen (d. 1850). The most interesting MSS. are a fragment of an Old Testament of the 5th cent. ; a book of the Gospels of the 9th cent. ; a Flemish Bible in rhyme, of 1332 ; a French Bible with miniatures by Jan of Bruges, executed iu 1371 for Charles V., the Wise, of France; the Ethics of Aristotle in French, of 137(j, with miniatures in grisaille ; French translation of Au- gustine's 'De Civitate Dei"", with numerous miniatures (end of the 15th, or early in the IGth cent,); and several others of the early Flemish and Dutch schools. Among the specimens of TrpoGRAPHr are several block- books, such as were common at the close of the middle ages, particularly in Holland ; incunabula of Gutenberg and Gaxton^ etc. Unfortunately the museum is open only on the first and third Thursday of every month, Park. THE HAGUE. 33. Route. 217 10-4 o'clock. Tickets are issued on the previous day, 10-3 o'clock, by the director of the library (p. 216). The visitor is conducted through the museum by an attendant. Tlie Willems-Paiik(P1. C, 1), a circular Flace enclosed by pleas- ant houses and gardens, at the N.W. corner of the town, on the way to Scheveningen , is adorned with the imposing "^National Monument (PI. 25 a j , begun in 1863 and inaugurated in 1869, to commemorate the restoration of Dutch independence in 1813 and the return of Prince William Frederick of Orange, who after- wards became king. On the massive substructure rises a lofty rectangular column bearing a smaller one whicli is adorned yvith the arms of the kingdom and the seven provinces, the whole being crowned with a Batavia in bronze , holding a banner in her right hand and a sheaf of arrows in the left, with the lion of the Nether- lands at her feet. On the side facing the town Prince William Frederick is represented in his coronation robes, swearing to main- tain the constitution. At the back are Gysbert Karel van Hogen- dorp, Fr. Ad. van der Duyn , and Count L. van Limburg-Styrum, the leaders of the rising in November, 1813. The ligures on the narrow sides are emblematical of Liberty and Law. All these ligures are in bronze, having been modelled by Jaquet and Van Kempen. Two reliefs on the round part of the pedestal represent the rising of the people and the arrival of the king. The whole monument was designed by W. C. van der Pieterszen and Koel- man. — Near it is De Boer's Bazaar (p. 202). Like other Dutch towns, the Hague possesses a number of large benevolent institutions of all kinds. The Zoological - Botanic Garden (PI. E , 2j is a favourite place of recreation, but contains few animals. Admission 50 c. ; those who make a prolonged stay at the Hague may subscribe. Concert on Monday and often Friday evenings, admission 1 11.. (restaurant in the garden J. In the vicinity is a station of the canal- boats to Scheveningen. To the S. of the Zoological Garden is the Maliehaan, the drill- ing-ground of the garrison. Farther on begins the celebrated and beautiful *Park (het Bosch), a plantation intersected by avenues in different directions, and about 3 M. in length. In the centre is a large garden belonging to the Nieuwe Societeit (p. 211), to which admission is granted only on introduction. On Sundays from 2 to 4, and on Wednesdays from 6 to 8 o'clock, a band plays here and attracts numerous visitors. On the 8. W. side the forest is con- verted into a deer-park (Hertenkamp), where there are regular avenues of stately old trees near the road , while the more remote parts are in their primitive and natural condition. Comp. tlie small map on the Plan. Near the N.E. corner of the Park, about 172^^1- ^^^^ tli^ Hague, is situated the Huis ten Bosch, i. e. the 'House in the Wood', a 218 Rotite 34. SCHEVENINGEN. royal villa, erected l>y the widow of Prince Frederick Henry of Orange (p. xxxii) in memory of her husband. The Interior is worthy of a visit, but in summer, during the resi- dence of the royal family, is shown from LO to 12 o'clock only. (Visitors ring at the door in the right wing; fee 1 tl. for 1-3 pers., 2 fl. for a larger party.) The Dining Room is embellished with grisailles by De Wit (1749) of Meleager, Atalanta. Venus. x\donis, and Genii, painted in imitation of bas-reliefs, and producing an almost perfect illusion; it also contains Chinese, Saxon (Meissen), and Delft porcelain. In the Chinese Room is some tapestry of rice-paper of the 18th cent. ; on the table is arranged a collection of miniatures of celebrated persons. The Japanese Room contains bright-coloured embroidery with birds and plants, presented to Prince William V. of Orange in 1795, Japanese cabinets, etc. The chief attraction is the Orange Salooti^ an octagonal hall adorned with scenes from the life of Prince Frederick Henry, painted by artists of the School of Rubens (comp. Introd.. p. li), and lighted partly by the cupola above, and partly from the sides. The walls are about 50 ft, in height, the lower part being covered with canvas, while the upper part is of wood. The best of these paintings is that which covers the principal wall, by Jordaens., representing the triumph of the young prince over vice, sickness , and other enemies of youth. The others contain several bold and finely conceived groups, but exhibit numerous traces of the inaccurate drawing of Rubens'* school, while the general efl'ect is far from pleasing. The following is a pleasant Excubsion which may be made from the Hague (2-3 hrs. driving). Along the road to Leyden ('Straatweg naar Leiden'; PI. G, 21, through the Park, and then by the 'Papenlaan' to Voorschoten (p. 200) and the Leidsche Darrij returning by the ^Laan van Nieuiv OoHeinde\ , The estates of Prince Frederick of the Netherlands, on the Leyden road, can be visited only when the prince is absent. 34. Scheveningen. Comp. Plan of the Hague ^ p. 200. There are three conveyances between the Hague and Scheveningen: (1) Tramway^ see p. 201. (2) Omnibus every hour (in V2 hr.), fare to the Hotel de la Promenade 10, to the Bath-house 20 (after 5.30 p. m. 25) cents, starting from the Plaats at the Hague (W. side of the Vijver), and from the Bath-house at Scheveningen. There is unfortunately no direct omnibus-communication between the railway-station at the Hague and Scheveningen. (3) 'Gondola'' on the new canal 12-14 times daily in 25 min., fare 15 c.^ landing-place at the Hague at the Prinsessen-Gracht, near the Zoological Garden. Cabs^ see p. 201. Hotels. *H6tel d'Okange, built by a company and opened in 1874, a large house situated on the Dunes, with about 180 apartments, including drawing-rooms, reading-rooms, etc. ^ R. from 21/2, D. at 5 o'clock 21/2- 3 fl.,'B. 75, A. 50 c. — Near this hotel is the Pavilion, a building con- taining twelve distinct suites of furnished apartments for families, each of which is let for 1500-1800 fl. for the whole season. — -Grand Hotel DES Bains (Ilet Badhuis), the property of the city of the Hague, an exten- sive winged building, also on the Dunes, containing upwards of 100 rooms at 11/2 fl. and upwards per day, B. 60 c, D. at 5 o'clock 21/4 fl. , A. 30 c, porter extra (farther particulars, see tariff). A band plays every evening on the terrace, from 7 to 10 o'clock, for which each visitor is charged lV2fl. weekly. Reading-room per day 25 c., week 75 c, fortnight 11/4 fl. — Hotel des Galeries, a large new building, the end of which looks towards the sea, with restaurant, cafe, and shops on the ground- SCHEVENINGEN. ^14. Route. 219 floor; R. from 2 fl., extja bed 1 fl. daily, A. 1 fl. 75 c. weekly. — *H6tel Garni, the property of a company, with about 19() room.s , R. 1 fl. and upwards, good cuisine, D. 13/4-2 fl., B. 60, A. 25 c. , pension without room 3V4 A- per day. — Hotel Rauch, new, and TIotel Zeerust with terraces, also situated on the Dunes, to the right and left at the end of the principal street of the village. — Hotel Bellevue, at the N, end of the village, not far from the Hotel Garni. — In the village, Belve- dere, with a caf^. On the old road to the Hague (half-Avay point of tramway route). Hotel de la Promenade, see below. — Crowds of Dutch visitors from all parts of the country, most of whom dine at one of the hotels, spend the evening at Scheveningen on Sundays. — Private Lodgings. Numerous new villas between the village and the large Bath- house, and a few on the Dunes. Most of the lodgings in the village are poorly fitted up, and the air is less pure than on the beach. A distinct bargain as to charges should be made, and when adjusted its terms should be put in writing. The traveller may prefer to take up his quarters at the Hague, and visit Scheveningen for the purpose of bathing only; but in order that this arrangement may be satisfactory he should have a carriage at his disposal. The full benefit of the sea-air is of course only enjoyed by those who live on the Dunes. Baths. Machine with awning 70, without awning, generally used by gentlemen, 50c.; subscription for 20 baths with towels 10 or 7 fl.; small machine, which is conveyed to the water's edge only, with one towel, 20 c. ; subscription for the whole season 7'/2 fl.; fee 10 c. for each bath, or 1 fl. 20 c. for 20 baths. Gentlemen bathe on the N., ladies on the S. side of the Bath-house. Most of the charges at Scheveningen are about one-quarter higher than at Ostend or Blankenberghe , the favourite Belgian watering-places; they are reduced at the opening and towards the end of the season. Warm Baths of salt-water (75 c. and fee), vapour-baths, etc. at the Bath-honse, well fitted up. Bath Physician, Dr. Mess^ villa on the Dunes- Post and Telegraph Offices, in the chief street of the village, and at the large Bath-house. Donkeys. Per V'j 20 c, Vz day 1 fl. 25 c. ; with small carriage, per hour 50 c, ^{2 day 2 fl.; carriage and pair of donkeys, per hour 75 c, \h day 21/2 fl. Boating hardly obtainable. Tents, 'pavilions', and chairs may be hired on the beach. 'Le Petit Courrier' contains a list of visitors. English Church at the Hague. There are two roads between the Hague and Scheveningen : 1. The Old Road, paved with 'klinkers', constructed in the middle of the 17th century, leaves the town by the N.W. gate ( PI. C, 1), and is shaded by trees and provided with a tramway- line. On the right, between the old road and the Canal, lie the Scheveningsche Boschjes, a park with numerous line old oaks, affording beautiful walks. On the left is the royal chateau of Zorg- vliet, once the residence of Cats, the Dutch statesman and poet (d. 1660). Farther on , we pass a row of villas , including Klein Zorgvliet, now Hotel de la Promenade (half-way house on the tram- way route). Distance from the Scheveningen Gate at the Hague to the beginning of the village l '^ to t^e beach 21/4 M. 2. The New Road leads direct from the N. end of the town (PI. E, 1 ) to the Bath House, skirting the canal at first, and cross- ing it halfway. This route, on which a tramway also runs, is un- interesting and shadeless. Scheveningen , sometimes called Schevelingen , is a clean lisli- 220 Route 34. SOHEYENINGEN. ing-village with 8000 inhab., consisting of neat brick houses, and sheltered from the sea by a lofty Dune. The late Gothic church, which was consecrated in 1472, with its pointed spire, once stood in the middle of Scheveningen, but on 1st Nov. 1570 a spring- tide swallowed up one-half of the village, consisting of 125 houses, so that the church now staiuls at the W. end. Behind the village the ground rises gradually, so that no view is obtained of the sea until the top of the Dunes is reached. Aii undulating Terrace, paved with bricks, extends along the top of the Dunes from the village to the Hotel d'Orange (about 1 M.), and forms an admirable promenade. Lower down, on the side towards the sea, another paved road, finished in 1877, connects the village with the large Bath-lioiise. At the S.W. extremity of tlie Terrace stand the Lighthouse (Vuiirtoren), and the Monument^ an obelisk erected in 1865 in commemoration of the return of William I. after the French occupation (p. xxxiv). Near the church are the Hotels Zeeriist and Kauch. Farther on are numerous villas, the Grand Hotel des Bains, and the other hotels mentioned above, round which cluster numbers of new villas. A little behind is a new German Protestant Church, with two towers. Scheveningen has increased very rapidly within the last few years. The large Bath-house or Grand Hotel des Bains is the great rallying- point of visitors. The Terrace in front of it increases to a breadth of 50 paces. Scheveningen possesses upwards of a hundred fishing-boats (pinken), the cargoes of which are sold by auction on the beach immediately on their arrival, the sale being announced by a public crier. The scene on snch occasions is often very picturesque and amusing. The herring- fishery is also prosecuted with consici- erable success, many of the 'pinken' occasionally venturing as far as the N. coast of Scotland. A great advantage which Scheveningen possesses over the other watering places on the N. Sea is the proximity of the Hague and the beautiful woods a little way inland, which afford a variety of shady walks. In 1673 Admiral de Ruyter defeated the united fleets of France and England off the coast near Scheveningen. 35. Leyden. Hotels. Hotel Verhaaf de Gouden Leeuw (PI. a), H<3tel Levedag (PI. d), Hotel Smits ue Zon (PI. b), all in the Breedestraat ^ R. and B. IV2 fl. — Logement den Burg (PI. c), near the Burg. Cafe-Restaurant. ' Zomerzorg ^ near the railway-station, with a plea- sant garden, containing a large pond with gold fish, which are protected by wires from the attacks of gulls. Cafe Suisse^ Breedestraat 84. Beer at De JongH^ Nieuwe Rijn 5, near the Hoogstraat (PI. E, 3). Cab from the station to the town 60 c, per hour 1 fl. LEYDEN. 35. Route. 221 Leyden, one of the most ancient towns in Holland (although probably not the Lugdunum Batavorum of the Romans), with 40,700 inhab. , is sufficiently extensive to accommodate 100,000, a number it boasted of when at the height of its prosperity. In 1574 the town sustained a terrible siege from the Spaniards, which lasted for four months. William of Orange then caused the dykes to be l^ierced , and the country being thus inundated , he relieved the besieged by ship. Leyden was the birthplace of several of the painters of the 16th and 17th centuries: Lucas van Leyden, Joris van Schooten , Jacob van Swanenburgh , the great Rembrandt van Rijn, Jan Steen, Jan van Goyen, Frans van Mieris, Peter Slinge- landt, etc. It possesses , however, only a few specimens of their works. The Rhine, or rather the comparatively unimportant arm of that river which alone retains the name, flows through Leyden, resembl- ing a canal, and destitute of current except at low tide when the sluices at Katwijk are opened (p. 225). The town still presents many picturesque mediaeval features, and although most of the quaint old decorations are in the question- able taste of the 17th cent., they bear testimony to the former prosperity of the citizens, and their appreciation of artistic forms. The most ancient edifice in Leyden is the Burg (PI. 9 ; E, 4), situated on a mound of earth in the centre of the town. It is of circular form , and was undoubtedly founded at a very early date. The chroniclers connect it with Drusus and the Anglo-Saxon Hengist. It first appears in authentic history during the 10th century. The building, now unskilfully restored and adorned with pinnacles, belongs to the garden of the Hotel Burg (admission 10 c. for persons not staying at the hotel). Near the Burg is situated the Church of St. Pancras, or Hoog- landsche Kerk (PI. 2 ; F, 4), a late Gothic stone edifice erected on the site of an earlier building in the 15th cent., and recently re- stored. It is a large basilica with nave and aisles , with a transept also flanked with aisles. The nave, which has not been carried up to the projected height, is covered by a wooden roof of barrel- vaulting. The arms of the transept, the fa(^ades of which are richly decorated, are surmounted by singular-looking towers. The spa- cious interior is supported by thirty-eight massive buttresses. By one of these is the insignificant monument of the burgomaster Yan der Werff (d. 1604), who in 1574 gallantly defended the town during the siege by the Spaniards. A few paces to the S.W. of the Burg is a bridge with a covered wooden portico built in 1825, and used as a Corn Exchange (PI. 13 ; E, 4), leading to the Breedestraat ('Breestraat'), the principal street in Leyden, which, with its continuation the Oude and Nieuwe Hoogewoerd, intersects the whole town in the form of an S. ' In this street, on the right, rises the long Stadhuis (PI. 20 ; 222 Route 36. LEYDEN. Museum of Antiquities. E, 4), a quaint, but picturesque building in the later style of the 16th cent., with a lofty flight of steps. Over the side-entrance on the N. is the following inscription: 'nae sWarte hVngernoot gebraCht had tot de doot binaest zes dVIzent MensChen, aLsH god den heer Verdroot gaf hi Vns Weder broot, zo VeeL WI CVnsten WensChen' (i. e. literally: When the black famine had brought to the death nearly six thousand persons, then God the Lord re- pented of it, and gave us bread again as much as we could wish ). This inscription, which refers to the siege of 1574, is a chro- nogram, the capitals (^among which W is reckoned as two Vs) recording the date, and the 131 letters the number of days during which the siege lasted. The accuracy of this enigmatical record has never been impugned, but the traveller will probably be puzzled if he attempts to verify it for himself. The pictures formerly preserved at the Stadhuis are now chiefly in the new Museum (p. 2'24). At the W. end of the Breedestraat is the Museum of Antiquities, or Museum van Oudheden (PI. 16), open on Sund. 12-7, and on Tuesd., Thursd. , and Sat. 11-4 o'clock, but shown at other times on payment of a fee (50 c. for 1-2 pers.). It occupies eleven rooms, and is most valuable in the Egyptian department. Ground Floor. Room I. (r.): Indian idols in stone, Brahma, the 'Creator', Vishnu with the trunk of an elephant, the 'Destroyer', resting on skulls, in numerous examples of various sizes (sun, water, and fire ^ or power, wisdom, and justice; or the past, the present, and the future:, i. e. the Indian Trinity, often represented as a body with three heads) ; an idol in the form of a bull of lava ; relics from Carthage ^ custodian of a temple, a quaint figure with a sword. — Rooms II. and ///. ; Greek and Roman antiquities, statues, and inscriptions. — Room IV.: Egyptian antiquities, hieroglyphics, sarcophagi, statues, four statues from the entrance to the catacombs, votive tablets, Sphinx, captive Jews escorted by armed Egyptians, sun-dials. First Floor. Rootn I.: Household gods of the Egyptians, papyrus scrolls, coffins, mummies, dogs, cats, fishes, crocodile, ibis, well-preserved heads of mummies, with teeth, earrings, and hair. — Rooms II. and ///. ; Egyptian mummies, ti-inkets, scarabaei, necklaces, bracelets, rings, miri-ors, etc., all about 3000 years old. — Halfway up the next staircase is an extensive collection of Egyptian MSS. on papyrus. — Rooms IV. and F. ; Roman and Etruscan sarcophagi and monuments, cinerary urns in niches like the Roman columbaria. Second Floor. Casts from the antique; Greek, Roman, and Etruscan bronzes, weapons, helmets; Greek and Roman vases in the ancient and more modern style ; models of ancient tombs. Third Floor. Cork models of ancient structures; models of lake dwellings in the Lake of Zurich ; model of a 'gianfs grave' in the pro- vince of Drenthe (p. 292); Teutonic idols and relics from the same district. The Natural History Museum (PI. 15; C, D, 4), Rapen- burger Gracht, No. 28, open to the public daily, except Sundays, 12-4 o'clock, is established in a building admirably adapted for the purpose. It is one of the finest collections of the kind in Europe, and is particularly well supplied with specimens of the products of the Dutch colonies in the E. and W. Indies. The cabinet of stufted birds includes the collection of M. Temmiuck University. LEYDEN. 35. Route. 223 (d. 1858), one of the greatest of Euroi^ean ornithologists. The cabinet of Comparative Anatomy is considered one of the most complete in the world. The Church of St. Peter ( PL 1 ; D, 4j , erected in 1315 , with double aisles, is the largest church at Leyden, and the last resting- place of many distinguished men. The monument of the celebrated physician Boerhave (d. 1738) bears the modest inscription: '■ Salutifero Boerhavii genio sacrum\ Other mon- uments record the names of Dodonaeua , Spanheim , Meerman , Clusiu,^., Scaliger, and other Dutch savants. The inscription on that of Prof. Luzac states that he perished in the explosion of 1807 (p. 225). A house in the Klok-Steeg, immediately adjoining the Pieters- Kerk-Plaats, bears an inscription to the effect that John Robinson^ the leader of the first Puritan party banished from England , lived, taught, and died here (1611-25). The present house , however, was not built till 1683. According to a popular tradition, Prince William of Orange, after the siege of 1574, offered to rev/ard the citizens for their gallant conduct in the defence by exempting them from the pay- ment of taxes for a certain number of years, or by the establish- ment of a university in their city. The latter alternative is said to have been preferred, and the prince accordingly founded a High School^ or University, in 1575. Its fame soon extended to every part of Europe. Hugo Grotius and Cartesius (Descartes), the greatest scholars of their age, Salmasius, Scaliger, Boerhave, Wyttenbach, and others resided and wrote here, and Arminius and Gomar, the founders of the sects named after them (p. 287), were professors at the university. Lord Stair (d. 1695), the celebrated Scottish jurist, spent several years in exile at Leyden, whence he accompanied his future sovereign William of Orange to Great Britain in 1688. Leyden still enjoys a high reputation as a seat of learning, especially as a school of medicine and natural science, owing to the very extensive collections which it possesses. Most of the professors (35, students 800) teach at their private residences (some of them still in Latin) ; a few only deliver lectures in the university - building itself (^Academie, PI. 8 ; C, 5, E, 5). The hall of the Senatus is adorned with portraits of all the professors, from Scaliger down to those last deceased. Niebuhr in his Uoman History expresses his opinion that no locality in Europe is so memorable in the history of science as tliis venerable hall. The Library (PL 26 ; D, 5), the oldest and richest in Holland, contains upwards of 300,000 vols, and 5600 valuable MSS. Considerable sums of money have recently been granted for the erection of new buildings and the improvement of the collections. In February 1875, the university commemorated the three-hundredth anniversary of its foundation. The Botanic Garden (PL C, 5), open to the public daily till 1 o'clock, is arranged according to the systems of LLune and Jus- 224 Route 35. LEYDEN. New Mmeum. sieii, and kept in excellent order. The collection of exotics, chiefly from the E. Indies, is very fine. The hothouses contain examples of the cinnamon-tree, the quinine tree, the coffee-plant, the cotton-tree, the mahogany-tree, the New Zealand flax-plant, the papyrus-tree, the bamboo, the sago-shrub, the camphor-tree, the 'fly-catcher', the arrowroot-plant, the tamarind-shrub, palms, etc. — The new Observatory, which enjoys a considerable reputation, is situated close to the Botanic Garden. In the Nieuwe Hoogewoerd, the E. prolongation of the Breede- straat, No. 108, is the Ethnographical Museum (PI. 14), open daily (50 c. each person). The nucleus of the collection is a valuable assortment of Japanese curiosities brought to Europe by Col. von Siebold, who acted as a physi- cian in Japan from 1822 to 1830, at a period when that country was not accessible to Europeans without danger. After the death of the founder in 1866 his collection was purchased by government. It comprises a domestic altar, which is said to be the only one in Europe, figures of saints, images in bronze, surgical instruments, fans, parasols, magnets, toys, bons-bons, musical instruments, numerous objects in bamboo, ana- tomical figures, two siiits of armour, flags, pictures, an idol, carefully wrought nets, numerous Japanese books, models of a country-house, etc., beautifully embroidered articles of dress, ornaments, pipes, knives, scissors, amulets, paper, playing cards, articles manufactured of straw, travelling- boxes, brooms, silk, fancy-articles, model of a burial-ground, altar from Thibet, paintings in curiously carved gilt frames, etc. The collection also contains numerous curiosities from Sumatra, Florida, Celebes, New Guinea, the Aroe I.slands, etc., which have been added to it within the last few years. The recently formed municipal Museum fPl. 25; D, 2), in the Lakenhal (or cloth -hall, erected in 1640), Oude Singel 32, contains' a multifarious collection of antiquities connected with Leyden, and also a few interesting pictures, most of which were brought from the Stadhuis. It is open daily, 10-4 o'clock, admis- sion 10 c. ; Sundays , and 3rd Oct., the anniversary of the raising of the siege in 1574, free. Catalogue 30 c. Vestibule. Stained glass of the 16th century, representing the counts and countesses of Holland (in brown monochrome). First Floor. In the middle of the large hall iwo glass-cases, con- taining (left) gold and silver plate belonging to the municipality, of the 17th and 18th cent., and (right) glass of the same period, relics of the siege, coins, medals. The walls are hung with numerous portraits and 'Regent' or corporation pictures. To the right, on the end wall: 11. Gov. Flinck, Portrait of a iman ; to the right of it, 7. Adr. Brouioer, Rustic scenes left, Dom. van Tol (pupil of Dow), Woman baking pancakes, and four boys. To the left: 143. Unknown painter. Regent piece of 1618. The tapestry opposite the entrance, numbered 166, and representing the relief of Leyden, was executed in 1587. — The contents of the side-rooms are similar. Upper FIoor. The pictures here, chiefly arquebusier and regent pieces, are more interesting and important. On the principal wall, facing the entrance : Van Brie (p. 112), Burgomaster van der Werff offering his bodv to the starving citizens, who demand the surrender of the town or the '.satisfaction of their hunger, a large but mediocre work. To the left and right are six pictures of arquebusiers (Nos. 40, 37, 34, 38, 36, 39), painted in 1626 and 1628 by Joris van Schooten (b. at Leyden in 1587)-, the execution is good and the heads are full of expression, but there is no attempt at artistic grouping. On the end wall to the left: 32. Van Ruine. LEYDEN. 36. Route. 225 Schooten, Representation of the misery that reigned during the siege ^ 71. Sortie 5 70. Peter van Veen (1570-1639, Leyden), Arrival of the Water Gueux ; Medallion portrait of Burgomaster Van der Werif, in terracotta (17th cent.). On the end wall to the right : 17. Lucas van Leyden (1492- 1533^ distinguished as an engraver), Last Judgment, the only authenticated large painting by this artist. To the right and left, Cornells Engelhertsz (1468-1533, Leyden) , 9. Crucifixion with numerous figures , and wings representing Abraham's Sacrifice and the Miracle of the Brazen Serpent, 10. Pieta , with six scenes from the life of Christ. The small adjacent room contains five singular pictures by Is. Claesz. van Swanenhurgh (d. 1614), father of Rembrandt's master, Jac. Isaacsz. van Swanenburgh, representing the old cloth manufactures of Leyden and the entrance of Flemish cloth-makers. — The rooms "Bdjoining on the other side contain a collection of old weapons and standards, and the banners used in 1874 at the celebration of the tercentenary of the raising of the siege. The promenades near the Rijnburg Gate (PI. 0, 1), by which we enter the town from the railway station, are adorned with a modern statue of the celebrated physician Herman Boerhave (PL 24; see p. 223), modelled by Prof. Strackee. Beyond it is the new Academic Hospital, and, in the distance, the new Military Hospital. On the right and left sides of the Steenschuur Canal are two large open spaces (on one of which some buildings connected with the university have recently been erected), planted with trees, and partially used as an esplanade, called the Ruine (PI. E, 5). They were formerly covered with houses, and derive their present name from an appalling calamity, which took place on 12th Jan., 1807. Owing to some act of negligence, a barge laden with seventy casks of gunpowder, lying in the neighbouring canal, took fire and exploded with fearful violence about half past 4 in the afternoon. Numerous houses and streets were instantaneously converted into a heap of ruins, while human beings, horses, carts, etc. were hurled into the air and dashed to atoms. Three schools with their pupils and teachers were entirely destroyed, and many hundreds of the other inhabitants also perished. In addition to this disaster a conflagration broke out, and raged in this quarter of the town with the utmost fury, having unfortunately extended to several large magazines of train-oil. Upwards of 800 of the finest houses in Leyden were either totally destroyed , or had to be taken down in consequence of the damage sustained. Katwijk aan Zee (Hotel des Bains) lies at the embouchure of the Rhine, 6 M. to the N. W. of Leyden (in summer, steamboat twice a day^ cab 5 fl. 50 cts.). A canal closed with huge gates here assists the sluggish river to empty itself into the sea. The mouth of the Rhine was completely obstructed by sand in consequence of a hurricane in the year 839, and from that period down to 1807 its waters formed a vast swamp, which is now almost entirely drained (p. 200). At length at the latter date the evil was remedied by the construction of a large canal with three locks, the first of which was furnished with two, the second with four, and that next to the sea with five pairs of gates. During high tide the gates are closed in order to exclude the water, which rises to the height of 12 ft. on the outside, while the level of the canal on the inside is much lower. At low Baedeker's Belgium and Holland. 5th Edit. 15 226 Route 36. HAARLKM. History. tide the gates are opened for 5-6 hours in order to permit the accumulated waters of the Rhine to escape, and the masses of sand thrown up by the sea are thus again washed away. It is computed that 100,0(X) cubic ft. of water issue from the gates per second. In stormy weather, when the wind blows towards the land, the tide does not fall sufficiently to admit of the gates being opened. The dykes constructed at the entrance to the canal and on the sea-shore are of most imposing dimensions. The founda- tions consist of piles driven into the loose sand, upon which a massive superstructure of masonry is placed. These magnificent works, undertaken during the reign of King Louis Napoleon by the engineer M. Conrad (p. 227), are the finest of the kind in Europe, and have recently been strengthened in consequence of an outlet of the Haarlemmer Meer having been conducted to this point. The neighbouring kilns convert the heaps of shells thrown up by the sea into lime, which is used in the construction of the dykes. Katwijk is much frequented by Dutch visitors as a sea-bathing place in summer. Endegeest^ a country-house with pleasant grounds, halfway between Leyden and Katwijk, was for many years the residence of Descartes (Car- tesius), who wrote his chief mathematical and philosophical works here. 36. Haarlem. Hotels. Hotel Funokler (PL a^ B, 3), in the Kruisstraat, V2 M. from the station, R. IV4 fl- , L. 30, B. 70, A. 25 c., D. 2 fl. ; Gouden Leeuw (PL c. ^ B, 2; Lion d!'Or), also in the Kruisstraat, a little nearer the station: Leeuwerik (PL b ; B, 3), a few paces beyond Hotel Funckler, a commercial inn, R. and L. 1 tl. 50 c. — Hotel van den Berg and 't Wapen van Amster- dam, outside the town, near the park, ar« two good houses for a pro- longed stay. — On the right , at the egress from the station , are several cafes, where accommodation for the night may also be procured. Cabs. With one horse: from the station to the town with 561bs. of luggage 60 c. to the Pavilion (p. 230) 80 c. ; extra luggage, 20 c. per 561bs. •, per hour, in the town 1 fl., outside the town IV2 fl. Haarlem^ with 34,100 inhab., the seat of the governor of the province of N. Holland, one of the cleanest and most attractive towns in Holland , and possessing several thriving manufactories, lies on the Spaarne , which flows through the town in a curve. The old ramparts have been converted into public promenades. The town is surrounded by well-kept private gardens and pleasure- grounds. Haarlem was for a long period the residence of the Counts of Holland. Like Leyden, it sustained a most calamitous siege during the War of Independence , and was taken after a siege of seven months (1572-73) by the Spaniards under Frederick of Toledo, son of the Duke of Alva. The defence, though ineffectual, was most heroic, even the women, led by Kenau Simons Plas- selaar, taking a share in it. UpAvards of 10,000 of the in- habitants perished on this occasion, and the commandant, the Protestant clergy, and 2000 of the townspeople were executed by order of their conqueror. Four years later the Spaniards were ; again expelled. The town attained the height of its prosperity in the first quarter of the 17th cent., when its school of art was also of some importance. Cornells Corneliszoon , Hugo Goltzius . H. C. de Vroom , P. Soutman , the two Grebbers j the Groote Kerk. HAARLEM. 36. Route. 227 eminent Frans Hals, and other artists flonrished here at that period. The Kniisweg and its prolongation, the Krnisstraat. lead from the station to the o^^^O <^hief market-place. On the left, half- way, stands the Episcopal Museum (PI. 1 ; B. 2). a collection of Dutch ecclesiastical antiquities, which is however much inferior to that of Utrecht. Admission Mon. to Frid. (holidays excepted^ 10-5 o'clock, 25 c. The Groote Markt (PL B, C, 4^. in which are situated the Groote Kerk. the Stadhuis. the old Fleshers' Hall, a quaint Renais- sance edifice of the end of the 16th cent., and the old town-hall, now the Guard House, dating from 1250. lies nearly in the centre of the town. The Groote Kerk (St. Bavo; PL 5: B. C. 4^ is an imposing and lofty cruciform church, erected at the close of the 15th century, with a tower 255 ft. in height, completed in 1516 (extensive view from the summit ; the sacristan demands 1 fl. for the ascent). IxTERioK (sacristan's house on the S. side of the choir). The vaulting rests on twenty-eight columns, on which ancient paintings have lately been brought to light. The nave and choir were apparently meant to be covered by stone vaulting, but are provided merely with a wooden roof of cruss-vaulting. dating from the beginning of the 16th century. The roof above the intersection of the nave and transept is. however, of stone. The late Gothic choir-stalls, and the brazen screen separating the choir from the nave, are adorned with the arms of various donors. By one of the pillars is a monument to the memory nf Conrad (d. ISOS), the engineer who constructed the locks of Katwijk (p. '2'36). and his coad- jutor Brunings (d. iS05). The small models of ships suspended from the adjoining arch commemorate the loth Crusade, under Count William 1. of Holland. They date from IGOS. the {originals having fallen to decay. By tho choir is the tomb of Bilderdijk the poet (d. iS3i). The pulpit in carved wood, with its handsome brass railings, dates from 1435. A cannon-ball in the wall is a reminiscence of the Spanish siege. The group in marble below the organ represents ecclesiastical poetry and music, expressing their gTatitude to Haarlem for the erection of the organ. A slab on a pillar near it marks the tomb of Coster (see below). The Organ, constructed in 173o-3S by Christ. Miiller. and thoroughly restored in iS6S. was long considered the largest and most powerful in the world, and still ranks as one of the Imest instruments in existence. Public recitals take place on Tuesdays and Thursdays. 1-2 o'clock- at other times the organist may be engaged to play for a fee of 13 il.. which admits one or more persons. The organ possesses 4 keyboards, &4 stops and 5000 pipes, the largest of which is 15 inches in diameter and 32 ft. long. Under the skilful hand of the organist the tone ranges from an exquisite 'piano" to the most overv\-helming 'thunderstorm" with which the performance gener- ally concludes. The hautbuis . piano-forte, trumpet, whistle, etc. are imitated with marvellous accuracy, and the mimic chiming of hells is so perfect that the audience are tempted to doubt whether it is really pro- duced by means of organ-pipes. The full capabilities of the vast instru- ment are. however, rarely brought into action during the public recitals. In the large market-place in front of the church rises a hronze Statue of Coster [Fl. 2; B, 41, dcsiunied by Boyer. and erected in 1856. The people of Haarlem claim for their countryman Lourenz Janszoon of Haarlem, surnamed Coster (i.e. 'sacristan", from the office he held iu 15* 228 Route 36. ilAARLEM. Town Hall. the Groote Kerk), tlie honour of having been the real inventor of printing. They assert that is proved by old documents that Coster discovered the art of cutting letters on w^ooden tablets and taking impressions from them , as early as 1423. The '■Spiegel onzer Behoudenis' (mirror of our salvation), preserved in the Stadhuis at Haarlem, vv^as printed in this manner. Coster then proceeded to use separate and movable types made of wood, and afterv^^ards of lead and zinc. Although this may leave little doubt, therefore, that he w^as the first inventor of printing, there is no foundation for the story that the secret was betrayed by an assistant of Coster to Gutenberg (1440) at Mayence. It is probable that the latter arrived at the same results by his own independent efforts, and it is certain that he was much more successful in his practice of the art. Indeed the very existence of Coster has of late been called in question. The house in which Coster was born (?}, opposite the Groote Kerk on the N. side, is adorned with his bust with a Latin in- scription. Opposite the principal fai^.ade of the Groote Kerk rises the Town Hall (PI. 11; B, 4), originally a palace of the counts of Holland, hut remodelled in 1633. The ^Museum recently estab- lished here is open daily 10-3 (admission 25 c. ; on Sundays 12-4, gratis; catalogue 25 c). It contains a small but valuable picture gallery, the only one where it is possible for the traveller to become thoroughly acquainted with the jovial Frans Hals , the greatest colourist of the Dutch painters next to Rembrandt. On entering the building from the market-place we ascend the stair- case on the left , and reach a vestibule, the beams of which date from the 13th cent. ; on the walls are some portraits and coats of arms of Counts and Countesses of Holland , and also a modern picture of the Defence of Haarlem (p. 226). "We cross this room obliquely and ring the bell of the museum. The Entrance Room and the following Ante-Room contain a few portraits and unimpor- tant corporation pictures. In a passage, 105. Schoreel (p. 275), Adam and Eve. The walls of the Principal Room are covered by large corpora- tion and 'Regent' pieces , including no fewer than eight by Frans Hals , which enable us accurately to trace the different stages of his development. No. 54, representing a Banquet of the officers of the 'St. Jorisdoele', or Arquebusiers of St. George (the third last picture on the left side), v/as painted in 1616, in his thirtieth year, and is distinguished by the depth and vigour of its colouring, in which it surpasses even his later works. No. 55, the same sub- ject, with different portraits (nearly opposite), and No. 56 (last picture but one on the left), the Banquet of the officers of the Arquebusiers of St. Andrew ('Cloveniers Doele') , were painted in 1627. Ilis best period was probably about 1630, when he painted his finest work, No. 57 (in the centre of the left wall), representing an Assembly of the officers of the Arquebusiers of St. Andrew, with fourteen life-size figures, comprising the colonel Jan Claaszoon Los, three captains, three lieutenants, two ensigns, and five sergeants. The next in order of time are (right wall): Museum. HAARLEM. 36. Route. 229 58, Officers and sergeants of the Arquebusiers of St. George, 1639; and 59, The governors of the Elizabeth Hospital , 1641, which savours strongly of Rembrandt's style. Then, after a long interval, which the biography of the master has not explained, at the age of 80, he painted No. 60 (left wall, immediately on entering), The governors of the hospital for old men, and 61, The lady managers of the hospital for old women, both in 1664. In the middle of the first end wall hangs No. 70, a corporation piece attributed to Earth, van der Heist, but more probably by Ravesteyn. The ordinary visitor will probably concentrate his attention on the pictures by Hals, but the other corporation pieces here are also of great interest to the student of art, as they afford a complete histo- rical survey of this style of painting from 1583 to the close of the 17th century. No. 23, by Cornelis Corneliszoon, was painted in 1582; 26, by the same, in 1599 ; by Frans Pieterszoon de Grebber, 46(16001, 47 (1610), 48, and 49 (both in 1619, fresher in colour than the first); by Cornelis Engelszoon Verspronck, 114 (1618); by Joannes Verspronck, 118 (1642) and 119; by Pieter Klaasz. Sout- man, 108 (1642) and 109 (1644); by Jan de Bray, who painted under the influence of Frans Hals, 11 and 12, Governors and lady managers of the Orphanage (1663 and 1664, both in the last room). The following pictures are also of some importance: 52. Pieter de Grebber (son of the above-named Frans de Grebber), Emperor Bar- barossa and the Patriarch of Jerusalem lending their arms to the town of Haarlem (in the style of Rubens) ; by Marten Heemskerk (1498-1574), 63-69, among which the best are 63, St. Luke painting the Virgin, and 67, Ecce Homo, a winged picture ; 82. Pieter Last- man (teacher of Rembrandt), Nativity ; 7. J. Berckheyde, Studio of Frans Hals : about twenty young painters are sitting round a table and drawing from nature, while Frans Hals stands near the door talking to Phil. Wouwerman, who has paid him a visit. The last- mentioned pictures are all in the last room , which also contains specimens of Coster's printing (p. 227) exhibited under glass. The attendant also shows a collection of Antiquities relating to Haarlem, weapons, glasses, and instruments of torture. The HoFjE VAN Beeresteyn (PI. 4; C, 2) in the Heeren- straat, near the railway station, a beguinage founded by members of the family whose name it bears, also contains some admirable portraits by Frans Hals. Admission on week-days , 25 c. ; closed on Sundays and festivals. Portraits of Nicolaas van Beeresteyn and liis wife, of 1629. The Family van Beeresteyn in a garden, a valuable group of portraits, in wMcli tlie artist has been especially happy in pourtraying the artless joy of children. The celebrated 'Young GirF, one of the best portraits of the 17th cent. ^ in spite of the unbecoming dress, the beauty of the head is most striking. — Unfortvmately the sale and dispersal of these pictures seems only a question of time. Teyler's Museum (PI, 12; C, 4) in the Damstraat, at the back 230 Route 36. HAARLEM. The Park. of tlie Groote Kerk, contains a Physical Cabinet with collections of clieniical , optical, hydraulic , and other instruments , and the most powerful electric batteries in Europe ; a Geological Cabinet, with mineral and fossils (including a fossil plesiosaurus) ; a Collection of Pictures, consisting of upwards of 80 modern pictures (by Eeck- hout, Schelfhout , Koekkoek, Schotel , Verveer, J. Koster, Ten Kate, Mesdag , Van Hove , Boshoom , etc. ; catalogue) , exhibited in a room lighted from the roof ; a valuable Collection of Drawings and Sketches by old masters; and a considerable Library. The collections are open to visitors from Monday to Friday (festivals excepted), and the Library on Wednesdays , Thursdays , Fridays , and Saturdays from 1 to 4 o'clock (25 c). The Museum was founded in con- sequence of a bequest of Peter Teyler van der Hulst (d. 1778), a wealthy Haarlem merchant, who left half of his property to be devoted to the promotion of science, and the other half to the poor. A certain sum is annually set apart for the purchase of prizes to be competed for by scientific essayists. The *Park of Haarlem (or Hout, i.e. wood), on the S. side of the town, is a beautiful and extensive plantation of fine old beeches, intersected by walks , enlivened by tame deer , and provided with cafes and other places of holiday resort. A monument was erected here in 1823 on the spot where Coster first cut his wooden types. In this wood , about M. from the Houtpoort ('wood gate'), and 11/4 M. from the railway station , is situated the Pavilion (Paviljoen Welgelegen', PI. A, B, 7) , a chateau erected by the wealthy banker Mr. Hope of Amsterdam in the Italian style, after- wards purchased by Louis Napoleon, king of Holland, and now the property of government. The entrance is on the S. side, where two approaches lead to the Picture Gallery ('s Rijks Museum), containing about 300 w^orks of Dutch and Belgian artists, many of them mediocre (open to the public on week-days from 10, on Sun- days and holidays from 12. 30 to 4 o'clock ; no fee ; catalogue 50 c). Room I. (beginning on the left): 60. J. J. Eeckhout, Marriage of Duke Jobn IV. of Brabant witli the beautiful Jacqueline of Bavaria^ 216. Piene- ?nan, Battle of Waterloo at the moment when the Prince of Orange, after- wards King William II. (d. 1849) , is wounded , Wellington and his staft" in the centre, a very large picture, 30 ft. in length, 21 ft. in height. On the right and left of the entrance to the 2nd Room, 276, 275. Versteegh, Effects of light and shade ^ 249. P. J. Schotel, Coast of Zeeland. R. Room II., beginning on the left: 169. G. J. J. van Os, Flowers and dead game; 283. J. Oyshert Vogel, Moors of N. Brabant-, 279. Sol. Leon. Verveer., View of Noordwyk ; above, 268. E%ig. Verboeckhoven, Horses attacked bv wolves; 168. Van Os, Large flower-piece; 297. Willem Roelofs, Environs" of The Hague; 172. Jos. Paelinck (d. 1839), Toilet of Psyche; 295. Hendrik W. Mesdag, Beach at Scheveningen in winter; 102. Ten Kate, Guard-room; 298. Phil. Sadie, Gleaning; above, 240. Radin Saleh (a Javanese prince). Buffaloes fighting with lions; 267. Hendrik A. van Trigt, Teaching the catechism in a Norwegian village church ; 302. D. van Lokhorst, Sheep in a fold, life-size; 257. Stroebel, The masters of the stamp-office in the cloth-hall at Leyden, 17th cent. L. Room III. To the left: Godecharle, Girl drawing water (a sculpture in marble); 271. Eug, Verboeckhoven , Landscape with cattle; 73. Will. Horticulture. HAARLEM. 36, Route. 231 G'rM^/^er, Bremerhaven ; 294, L. Apol^ Forest landscape in winter; 25. JoJm Boshoom^ Church at Breda; 118. Corn. Kruseman., Philip II. taking leave of William of Orange in 1559 (see p. 137) ; 108. /. Kohell (1779-1814), Oxen driven to pasture; 247. /. C. Schotel (p. 286), Rough sea; 253. Corn. Springer., Town-hall at Veere; 49. TT. A. van Deventer, Beach at Katwijk ; 131. B. L. Maes (1794-1856), The Good Samaritan; 243. An. ScJiel/kouf, Winter; 129. L. Lingeman, Consultation of a lawyer; 275. Wouter Vev- scJmur. Horses; 145. F. J. Navez.^ (p. 62), Meeting of Isaac and Rebecca; 133. /. H. L. Meyer, Storm on the French coast; 288. Wappers (p. 112), Van Dyck falling in love with a girl whom he has taken as a model for a Madonna; 132. J. H. L. Meyer., Wreck of the steamer 'Willem I.' on the coral reef of Lucipara in 1837; 244. Schelfhout., Winter scene; 116. Kruseman., Entombment of Christ; 72. /. C. Oreive, Evening on the beach. Adjoining this room is a Rotunda, containing 30 Views from Java by Paij'en., and a bust of Christ by L. Royer. The ground-floor of the same building contains the Colonial Museum , founded in 1871 (entered from the great avenue ; open daily 1-4, 25 c. ; catalogue 25 c), which contains a copious col- lection of the prodjicts of the Dutch colonies, chiefly those in the E. Indies. Director M. F. W. van Eeden. The Bleaching Grounds of Haarlem were a source of great emolument to the inhabitants before the discovery of bleaching linen with chlorine, and derived their advautage from the peculiar properties of the water in the neighbourhood. The linen brought to them from different parts of the continent was afterwards ex- ported as 'Dutch linen'. Haarlem is famous for its Horticulture. The flower-beds of the numerous nursery - gardens display their gayest colours and diffuse their most delicious perfumes about the end of April and the beginning of May. Whole fields of hyacinths, tulips, auri- culas, carnations, etc., grouped iu every variety of colour, are seen on the S. and W. sides of the town. Many of the finest gardens in Europe are supplied with roots from Haarlem, and Holland claims the merit of having promoted horticulture to a greater extent than any other country in the world. One of the leading firms is that of E. H. Krelage Son, who possess a beautiful winter-garden and hothouses to the S. of the town, Kleine Houtweg 146-150 (PI. A, 2; visitors admitted on writing their names in the visitors' book, best hours 10-12, 2-4, and in summer 6-8 also; fee to the gardener who acts as a guide). In 1636 and 1637 the flower-trade in Holland assumed the form of a mania, and tulips became as important an object of speculation as rail- way-shares and the public funds at the present day. Capitalists, mer- chants, and even private individuals entirely ignorant of floriculture, traded extensively in bulbs, and frequently amassed considerable fortunes. The rarer bulbs often realised enormous prices. It is recorded, for ex- ample, that a 'Semper Augustus' was sold for 13,000 fl. , an 'Admiral Liefkenshoek' for 4500 fl., a 'Viceroy' for 4200 fl., etc. A single Dutch town is said to have gained upwards of 10 million fl. by the sale of tulip-roots in one year, and a speculator at Amsterdam realised 68,000 fl. in four months in the same manner. At length, however, a corresponding reaction set in, Government declared that the contracts made were illegal, and the mania speedily subsi l 3d. The prices fell so rapidly that many of the bolder speculators were totally ruined, and before long a root of the 232 Route 36. HAARLExM. highly-prized 'Semper Augustus' might be purchased for 50 fl. About a century later a similar phenomenon occurred in the trade in hyacinths, and an official list of 1731 mentions a 'Bleu Paste non plus ultra' as having been sold for 1600 florins. The library of Hr. J. H. Krelage con- tains an interesting collection of works relating to the tulip trade. The most attractive place in the Environs of Haarlem (see Plan, p. ir»6), which are much admired by the Dutch, is the beau- tiful village of Bloemendaal, with its numerous country-residences and park-like grounds, situated 3 M. to the N. W. of Haarlem, at the back of the Dunes (cab 4-5 fl. ; omnibuses run frequently in summer, starting from the Haarlem railway-station, 25 c). One of the highest points of these sand-hills is the Brederode'sche Berg^ or Blaauwe Trappen, about 2 M. from Bloemendaal , and close to the lunatic asylum of Meerenberg and the picturesque red brick ruins of the chateau of Brederode, once the seat of the powerful counts of that name (p. 78). (Near the ruins is a good inn, called the Velserend.~) The extensive view to the east embraces the admi- rably cultivated and partially wooded plains of N. Holland, Haarlem, the Haarlemmer and Wijker Meer, the Y, Amsterdam, the innu- merable windmills of Zaandam, the undulating and sterile sand- hills, and the sea. From the Dunes near the village of Overveen ( 1 1/2 to the W. of Haarlem), passed on the road to Bloemendaal, a similar prospect may be enjoyed. Zandvoort, 6 M. to the S. W. of Haarlem (diligence in summer, 50 c. ; cab 4-5 fl.), a village on the extreme margin of the chain of sand-hills, has lately become a rival of Scheveningen as a sea- bathing place, and attracts numerous visitors from Amsterdam, but is quieter and less expensive. Board and lodging at the *Bath House 4 fl. a day and upwards; in the smaller house adjacent, 3 fl. ; apartments may also be procured in the village. Bath 60 c. , and fee 15 c. 37. Amsterdam. Railway Stations. 1. Holland Station (PL A, 2), for Haarlem, Alkmaar, Leyden, the Hague, and Rotterdam^ 2. Rhenish Station (PI. H, 5), for Utrecht, Gouda, the Hague, Rotterdam, Arnhem, Germanj, and Belgium. 3. Oosterdok Station (temporary, PI. E, F, 2) for the new line to Utrecht (junction at 'S Hertogenbosch, p. 271), and Amersfoort (Groningen, Salz- bergen, etc., p. 289). A central station is now being erected on the Y, on the N. side of the town (comp. p. 253 ; and Plan, D, E, 2). Hotels. ^'Amstel Hotel (PL a^ H, 5), the property of a company, with baths, telegraph, etc., near the Rhenish Station, wliere an omnibus is in waiting; R. IV2 fl- and upwards, B. 75, L. 50, A. 25 c. , table dliote at 5.30, 21/2 fl. ; 'Tays-Bas (PL b; E, 5), Doelenstraat 21; 'Brack^s DoELEN Hotel (PL c; E, 5) and Rondeel (PL d; E, 5), both in the Doelen- straat; -Keizerskroon (PL e ; D, 4), Kalverstraat 71; Bible Hotel (PL f; D, E, 3), Warmoesstraat, patronised by English and American travellers, R. 2 fl., B. 80 c.; De Oude Graaf (PL h; D, 4), -Hotel and Cafe Neuf, R. and B. 1 fl. 90, D. with wine 2 fl. 50 c, both in the Kalverstraat; Hotel Central (PL p; D, 2), Haringpakkerij , with view of the Y, R. and B. from 1 fl. 60, L>. 2 fl. 50 A. 25 c. ; -Hotel Haas (PL m; D, 3), Papenbrugsteeg; *Stad Elberfeld (PL i; E, 4) , Achterburgwal , com- mercial; -Oldewelt (PL g; D, 8), Nieuwendijk 100. The following have restaurants, but no table d'hote: De Munt (PL k ; E, 5), Schapenplein, AMSTERDAM. 37. Rovte. 233 patronised by French travellers; Hotel du Cafe Fran^ais (PI. I>, 4), and PooLSCHE Koffijhuis, both in the Kalverstraat; Hotel Rembrandt (PI. F, 5), Rembrandtplein ; Hotel Vermunt, Hotel Wapen van Fries- land, both in the Warmoesstraat (PL E, 3, 4). Restaurants (often crowded about 5 p. m. ; preferable to dine at hotel). Be Karseboom^ '^Oude Graaf., Diligentia '■ Cafe Stiisse^ all in the Kalver- straat. Cafe-Restaurant Reinsberg, same street No. 53, and T/ie American Pastry Cook^ do. No. 48. Het Vosj'e^ in the Rokin, near the dam •, De Pool (Hammann) , also in the Rokin. Restaurant in the Zoological Garden^ see p. 254. — Oysters, fish etc.: Van Laar ^ Wolhoff^ Hoek all in the Kalverstraat, the first near the Dam, oysters 80 c. to 1 tl. per dozen. — Beer. -'Port van Cleve^ adjoining the post-office, opposite the Nieuwe Kerk, one of the most frequented cafes in the town (glass of beer 12, beefsteak 70 c); Schwab^ Merctirius^ Polman^ Krassnapolsky^ all in the Warmoes- straat; ''Louron., on the Dam; Roetemeijer., Amstelstraat; Roscamm, Damrak ; Komeet^ Gravenstraat. — Cafes. ''Poolsche^ Fra7igais, ''Suisse.^ '■'JVeuf^ Reins- berg, and Nieuwe Amsterdam' sche all in the Kalverstraat; ''Caf4. Vondel^ near'the Park of that name (p. 255). — Tea Gardens. The Tolhuis (p. 258), commanding a fine view, is a very favourite resort. — Confectioner. Ilartmavn.^ Kalverstraat. — Liqueurs. Wynand-Fockink. a firm founded in 1679; the retail business is carried on in curious old premises in the Pylsteeg (entrance from the Damstraat; PI. E, 4), which are much fre- quented during the business hours of the Exchange (Curacao, •Ilalf-en- half\ 'Maagbitter'). Baths. Swimming Baths in the Y, near the W. Dock (PI. C, 1). Warm Baths in the Rokin, opposite the bank (PI. E, 5); on the Heerengracht, near the Leliegracht (PL C, 4) ; at Brack's Doelen-Hotel, etc. Shops. The best are on the Nieuwendijk and in the Kalverstraat, Damstraat, and Paleisstraat. Photographs at //. Parson^s, Kalverstraat 218. Money Changers. Kramer d- Co.^ Vijgendam, between the Dam and the Damstraat (PL D, E, 4); Anspach (t Donk, Nieuvvczijds-Voorburgwal, near the post-office. Theatres (the larger are closed in summer). Stads Schouwburg (Fl. 69; D, 6), in the Leyd'sche Plein; Grand Theatre (PL 70; F, 5), in the Amstel- straat. The former is chiefly devoted to the Dutch drama; opera once weekly; ballet occasionally. Performances begin at 7.30 p. m. The charges for admission vary. — Salon des Varietes (PL 72; F, 5), in the Amstel- straat, is a popular resort, where smoking and drinking form part of the entertainment. — Het Paleis voor Volksvlijt (Palace of Industry, PL 57; G, 6), is a large establishment capable of holding 12,000 persons , where concerts (50 c), operettas, etc. are frequently given (well worth seeing; comp. p. 252). — Van Lier\^ Summer Theatre., in the Plantaadje, Fransche Laan (PL G, 3) and many others. Concerts. In the Park (p. 254), usually classical music, on Sundays in the forenoon and at 8 p.m., and often during the week; admission generally 1 fl._ At the Paleis voor Volksvlijt., see above. In the Zoological Gardens (p. 254), in summer. In the Linnaeus Garden (p. 255). At the Vondelspark (p. 255). At the Tolhuis (p. 258), in summer, occasionally. Steamboats to Alkmaar (p. 262), 3 times a day ; to Zaandam . see p. 260, nearly every hour; to the Tolhuis., see p. 258; to Purmerende (p. 260) 6 times; to Kampen and Zwolle (p. 289), daily; to Leyden once daily, except Sundays; io Rotterdam (p. 189) once daily; to Hoorn (p. 260) once daily , except Sundays ; to Harlingen (p. 259) daily ; to London twice weekly; to Hull twice weekly. (Consult the Officieele Reisgids, mentioned at p. xxvi). Cabs. Per drive 1-3 pers. 80 cts., 4 pers. 1 fl. : from the Dutch to the Rhenish station 1 fl. Per hour 1 fl. 20 c, each additional 1/4 br. 80 c. The drivers are bound to furnish the hirer with their number and a copy of the tariff, and are forbidden to demand a fee, though they usually expect one. Cab-stand in the Dam only (p. 236). Omnibuses. The vehicles of the Amsterdam Omnibus Company run from the Dutch railway-station to the Dam after the arrival of each train, 234 Route 37. AMSTERDAM. Museums, etc. and return from the Dam 20-30 min. before tlie starting of the trains, fare 15 c. •, large luggage not taken. They also ply on the following lines (fare 15 c): 1- Dam (PL D, 4), Rembrandtsplein (formerly Botermarkt), Artis (Zoological Garden), Muiderpoort (PI. I, 3), and on concert evenings as far as the Linnseus Garden^ 2. Dam, Eembrandtsplein, Frederiksplein, Weesperbarriere (PI. H, 5) ; and others. Tramway (comp. the Plan): From the Dam, through the Spuistraat and the Leid'sche Straat to the Vondelspark (PI. D, 4, 5, 6, 7), 15 c. • from the Leid'sche Barriere, past the Frederiksplein (PI. 57 ^ G 6) to the W. entrance of the Middellaan, near the Zoological Garden 15 c. Post Office (Post-Kantoor, PI. 59; D, 4) in the Nieuwezyds Voorburgwal, at the back of the Palace. — Telegraph Office, adjacent to the post-office, open day and night. There are several Post and Telegraph branch-offices. English Church (PI. 19). — Preshyterian Church in the Begyn Straat. Collections, Museums, Galleries, etc. Antiquarian Society (p. 251), daily 1-4; admission 25 c. Arti et Amicitiae, historical picture gallery (p. 251), daily 10-4; ad- mission 25 c; sometimes 50 c. Artis, see Zoological Garden. Bli7id Institution 256), Wednesdays, 10-12. Botanical Garden (p. 254), daily; admission 25 c. Custom House ^ see Entrepot. Dock-Yard, Government (p. 254), daily, 9-12 and 1V2-5; fee 50 c. Entrepot, Government (p. 253), daily. Exchange (p. 238), daily; business-hour 1-2V2; admission after 1.15 p. m. 25 c. Library (municipal), on the Heerengracht , near the Heerenstraat, daily 10-3, but in July and August tvi^ice a vy^eek only. Linnaeus Garden (p. 257), outside the Muiderpoort (PI. I, 3), on the Water-graafsmeer, daily by paying a fee; concerts in summer (June, July, August), on Tuesdays at 7. 30 p. m. Museum, Fodor (p. 249) daily, except Tuesdays, from 10 (Sundays from 11) to 3 or 4; admission on Sundays 25 c, on other days 50 c. '^'^ Museum, Rijks, in the Trippenhuis (p. 239), week-days from 10 a.m., Sundays from 12, to 3 or 5 p.m., according to the season; no fee; comp. p. 239. -"Museum Van der Hoop (p. 247), week-days from 10 a.m., Sundays from 12, to 3 or 4 p. m., according to the season. Admission on Svindays 10 c, Mondays 25 c., on other days 50 c. Oudheidkundig Genootschap, see Antiquarian Society. Palace, The (p. 237), daily; fee for one person 50 c, and 50 c. more for the ascent of the tower C'^view). Pictures, see Arti et AmicitiEe and Museums. Six\ Hr. van, Picture Gallery (p. 250), daily. Stadhuis (p. 238), daily, best before or after office hours (9-4); fee 50c. Toion Hall, see Stadhuis. '''Zoological Garden (p. 254), daily, admission 50 c; open in summer from 6 a.m. to 10 p.m., but the larger animals not visible after 7 p.m.; caf^-restaurant (open after 10 a. m.) in the garden; concerts in summer on Wednesday evenings and Monday forenoons. Principal Attractions: ''Museum in the Trippenhuis (p. 239); Mu seum van der Hoop (p. 247); Palace (p. 237; *view from tower); "Zoolo- gical Garden (p. 254); Walk on the Buitenkant, the Ooster and Wester- dok (p. 253); ferry to the Tolhuis (p. 258). Amsterdam, the commercial capital of Holland, consisted of a few fishermen's huts on the Zuiderzee at the end of the 12th century. About 1204 a castle was built here byGijsbrecht II., lord of Amstel, and the dam was constructed which has given its name to the city. In 1275 Count Florence V. of Holland granted the town exemption from the imposts of Holland and Zeeland, and in 1311 it was filially united with Holland. In the 14th cent. Situation. AMSTERDAM. 37. Route. 235 the town began to assume greater importance, and was sought as an asylum by exiled merchants of Brabant. In 1421 one-third of the town was destroyed by a conflagration, but its prosperity soon returned, and at the beginning of the Spanish troubles Am- sterdam had become a very important city. In 1490 the Emp. Maximilian I. gave the city the privilege of using the Imperial Crown as the crest in its armorial bearings. The real importance and prosperity of Amsterdam date from the close of the 16th cent., when the Spanish w^ar had ruined Antwerp, and the horrors of the Inquisition had compelled -numbers of enterprising merchants and skilful manufacturers to seek a new home in Holland. Between 1585 and 1595 the town was nearly doubled in extent, and was greatly favoured by Prince Maurice of Orange. The conclusion of peace shortly afterwards (1609) and the establishment of the E. Ind^ia Company combined to raise Amsterdam within a very short period to the rank of the greatest mercantile city in Europe. Ex- ternal circumstances , such as the attempt of William II. of Orange to occupy the city with his troops (1650), and the danger threatened by the campaign of Louis XIV. (1672), did not seri- ously affect the prosperity of the inhabitants. After the dis- solution of the Dutch Republic in 1806, Amsterdam became the residence of King Louis Napoleon (1808), and subsequently the third city in the Empire of France (1810-13). The trade of the city revived rapidly after the restoration of the country's indepen- dence, and may be expected to receive an additional impetus from the opening of the North Sea Canal (p. 265). Being the chief mart for the colonial produce of the Dutch colonies in India (Java coffee, sugar, rice, spices, etc.), Amsterdam is now one of the most important commercial places in Europe. Its industries are also considerable, including refineries of sugar and camphor, tobacco and cobalt blue manufactories, diamond polishing mills, etc. Amsterdam lies at the influx of the Amstel into the Y (or //), as this arm of the Zuiderzee which forms the harbour is called. In 1877 the population was 296,200 (65,000 Rom. Catholics, 30,000 German and 3500 Portuguese Jews). The city, which contains 30,000 houses, is in the form of a semicircle, the diameter being formed by the Y. Tlie entire circumference is about 9 M. Canals of various sizes intersect the city in every direction, and divide it into 90 islands, which are connected by means of nearly 300 bridges. The walls are enclosed by the Buitensingel^ a broad moat or canal, 6Y2 long, concentric with which there are three other large canals Avithin the city, viz. the Prinsen, Keizers, and Heeren Gracht, flanked with avenues of elms, and presenting a pleasant and at places a handsome and picturesque appearance. The finest buildings, including many in the peculiar Dutch brick- style of the 17th and 18th centuries, are on the Keizers and Heeren Gracht, each of which is 49 yds. in breadth. The other Grachten 236 Route 37. AMSTERDAM. Situation. (70 in nnml>er) are connected with these, and are bordered witli handsome rows of houses, constructed of red brick. Within the last few years the town has been considerably extended on the S. side between the Amstel and the Vondelspark, and on the E. side where many new streets have been built. The houses are all constructed on foundations of piles, a fact which gave rise to the jest of Erasmus of Rotterdam, that he knew a city whose inhabitants dwelt on the tops of trees like rooks. The upper stratum of the natural soil is loam and loose sand, upon which no permanent building can be erected unless a solid substruc- ture be first formed by driving piles (14-20 ft. long) into the firmer sand beneath. The operations of the builder below the surface of the ground are frequently as costly as those above it. In the year 1822 the great corn magazine, originally built for the E. India Company, literally sank into the mud, the piles having been inade- quate to support the weight of the 3500 tons of grain which were stored in the building at the time. The city has also been fre- quently endangered by the ravages of wood-worms. The cost of the works connected with the bridges, canals, and dykes, is esti- mated at several thousand florins per day. The safety of the city depends on the security of these works, any defect in which would expose Amsterdam to the risk of being laid many feet under water. The Amstel is 9 ft. in depth, the canals generally 3-4 ft. only, while the bottom consists of an equally thick layer of mud, which is stirred up by every barge that passes. Dredging machines are constantly engaged in removing the mud, which is either used as manure or as soil for tracts reclaimed from the sea. In order to prevent the entire stagnation and consequeiit unhealthiness of these vast volumes of water, a supply of pure water from the Zuiderzee is constantly introduced into the canals by means of a shaft. The entire want of spring-water at Amsterdam is a serious dis- advantage to so large a city. The houses are all provided with cis- terns for rain-water , which is used by the citizens of all classes for culinary purposes. The water used for drinking is conducted to Amsterdam by means of pipes from a reservoir , 7 acres in area and 20 ft. deep, situated in the Dunes 41/2 M. above Haarlem, and 131/2 M. from Amsterdam. Amsterdam forms the central point of the national system of fortification, and in case of necessity the whole of the environs can be laid under water by means of an extensive series of locks. It is also defended on the land-side by a series of detached forts. In time of peace the garrison consists of barely 1000 men. The Dam (PI. D, 4), one of the largest squares in Amsterdam, situated nearly in the middle of the city , on the W. side of the ancient dam, or embankment, to which the city owes its origin, is still the chief centre of business. It is surrounded by the royal palace, the new church, the Exchange, and several private houses, Palace. AMSTEUDAM. 37. Route. 237 and from it diverge the Kalverstraat with its attractive shops and numerous hotels , the Damstraat , the Paleisstraat, and the Nieu- wendyk, the last leading to the Dutch station. The Dam is embellished with a lofty Monument, crowned with a goddess of Concord , known as Het Metalen Kruis, erected in 1856 to commemorate the events of 1830 and 1831. The statue of Concord is by L. Royer, and the whole was designed by the ar- chitect Tetar van Elven. The *Palace (^JHet Paleis, PI. 55 ; D, 4), erected by Jac. van Kampen in 1648 as a town-hall, at a cost of 8 million florins, is the finest edifice at Amsterdam. It rests on a foundation of 13,659 piles; length 88 yds., width 69 yds., height of toAver (containing chimes) 187 ft. It was presented by the city to King Louis Napo- leon as a residence in 1808. The massive and sober building was admirably adapted for a town-hall, but standing in the open market- place and having no principal entrance, it is unsuitable for a palace. The gables are embellished by well-executed reliefs by Arthur Quellin. celebrating allegorically the glories of the great commer- cial city and 'queen of the seas'. The whole arrangement and fitting up of the Interior (entered from the side opposite the Dam ; admission, see p. 234) also carry us back to the days when the representatives of a wealthy and powerful municipality congregated here. All the apartments are richly adorned with sculptures in white marble by Arthur Quellin and his assistants, which produce a very imposing general etfect and reveal when examined in detail great vigour of execution and duly-restrained picturesqueness of treatment. The bas-reliefs and ornamentation in each room have reference to the use to which it was formerly applied. Thus in the 'Desolate Boedelkamer', where cases of bankruptcy were settled, we see a representation of the Fall of Icarus, while the ornamental moulding consists of rats and mice gnawing empty boxes and papers. The sculptures in the old court-room, called the Viersc/iaar , are especially fine. The frieze, which depicts Brutus ordering his son to execution, the Judgment of Solomon, etc., is supported by Caryatides. The magnificent Council Chamber is one of the largest in Europe, being 100 ft. in height, 39 yds. long, and 19 yds. broad. Over the principal entrance and opposite to it are flags and trophies taken from the Spaniards and Indians. The flag used by Gen. Chasse at the siege of Antwerp is also preserved here. The following are the best of the pictures scattered throughout the different rooms: F. Bol, Fabri- cius in the camp of Pyrrhus ^ G. Flinck, Marcus Curius Dentatus as a husbandman; Wappers and Eeckhout, Self-sacrifice of Van Speyk (p. 138). The deceptive paintings of De Wit (imitations of sculptures) are also worthy of notice. They are among the finest works of this master. The Tower terminates in a gilded ship. The ='=View embraces the city with its narrow streets, broad canals bordered with trees, innumerable houses with quaint forked chimneys, a forest of masts, the Docks, Zuider- zee , the reclaimed Haarlemmer Meer , and the environs covered with gardens and studded with numerous windmills and distant spires. To the W. the lofty roof of the church spire of Haarlem is visible, and the silvery thread of the canal, running parallel with the high road and the railway, may be traced from Amsterdam to Haarlem. To the E. and S. E. the towers of Utrecht and Amersfoort are visible; to the N., beyond the blue Y, an arm of the Zuiderzee, glitter the red roofs of Zaandam ; Alkmaar, still farther distant, is also distinguishable. The Nieuwe Kerk (PI. 23; D, 4), a late Gothic (cruciform structure, erected in 1408-70, and restored after tires and outrages 238 Roule 37 AMSTERDAM. Zeemamhoop. in 1578 and 1645, is one of tlie finest cliurclies in Holland. The W. tower, which had hitherto been uncompleted beyond the lower story, was raised to the height of tlie nave in 1847. The Interior (sacristan at the S. E. corner of the Dam, No. 6; 25 c.) is covered with a vaulted wooden ceiling, and contains remnants of some fine old stained glass, representing the raising of the siege of Leyden (p. 222). The pulpit "by Vinckenbrinck^ executed in 1649, is beautifully carved. The nave is separated from the choir by a brazen screen, 13 ft. in height. The place of the high altar is occupied by the monument of the celebrated Admiral de Rui/ter, who died in 1676 of wounds received at the victorious Battle of Syracuse. On a pillar in the choir is the bust of Admiral Wouter Beniinck. who fell in the naval battle near the Dogger- bank in 1781. Another monument is to the memory oi Admir&l Johan van Galen., who died in 1653 at Leghorn, of wounds received in the naval battle near that town. The monument of Admiral Vcm Kinshergen^ to the left of the entrance to the church, by F. J. Gabriel, was erected in 1819. Opposite to it is the monument of the gallant Van JSpeyk (p. 138), who in 1831 "maintained the honour of his country's Hag at the cost of his life'. A pillar in the S. aisle, adjoining the screen, bears an inscription to the memory of Joost van den Vondel (d. 1679) , the famous Dutch dramatist. At the corner of the Dam and the Kalverstraat is situated the building of the Zeemanshoop ('seaman's hope' , PI. 76; D, 4), a society consisting of upwards of 600 members, many of whom belong to the best families of Amsterdam. Those who are captains recog- nise each other's vessels at sea by the flag of the society. As every member's flag bears his number on the lists of the society, the name and destination of the vessel, although beyond hailing dis- tance , are easily ascertained , and a report of the meeting is then sent home. A fund for the widows and orphans of seamen is also connected with the society. Visitors may generally obtain access to the building by applying to the custodian in the forenoon (fee 50 c). Opposite the Palace, on the N.E. side of the Dam , rises the Exchange (X>e Beurs , PL 5 ; D, 4) , a handsome structure with an Ionic colonnade , resting on a foundation of 3469 piles , completed in 1845. The hall in the interior is covered with glass. During business-hours (admission, see p. 204^; most of the principal mer- chants and brokers, as well as a number of sea-faring men, will be seen assembled here , transacting their business in eager , but sub- dued murmurs. The mercantile and stock -broking departments are of equal importance. During one w^eek in August and Sep- tember (the time when the Kermis used to be celebrated) the Ex- change is converted into a playground for boys , whose delight on these occasions is unbounded. The tradition is, that boys playing here were once instrumental in discovering a conspiracy of the Spaniards against the city of Amsterdam in 1622, and that this privilege was accorded to the children of the citizens in comme- moration of the incident. The original town-hall having been converted into a palace, the old Court of Admiralty in the Oiidezijde-Yoorburgwal is now used as a *Stadhuis (PL 64; E, 4; admission^ see p. 234; visitors ring Rijks Museum. AMSTERDAM. :^7. Rrmte. 239 in the court to the left), wliich contains a great number of excellent shooting-gallery and corporation pictures, as well as other works of art and antiquities. In the Burgomaster's Room: '"'US. F. Bol , Four governors of the leper hospital, seated at a table covered by a Persian table-cloth, and receiving a boy who is brought in by an attendant, dated 1649 (p. Ivii) ; opposite, 'Hj. Frans Hals, Corporation picture, comprising thirteen officers of arquebusiers , painted at Amsterdam in 1637 , and perhaps a more meritorious work than the celebrated picture by Van der Heist in the Museum; 30, 31. Van der Heist, Corporation pieces, each containing four Regents with attendants, and painted in the artist's later style, 1655 and 1656; 20. Lingelbach, View of the old Stadhuis on the Dam during its construction; 22. Jac. van der Ulft, View of the Stadhuis after its com- pletion; 21. Pieter Saenredam^ View of the Town Hall burned down in 1651. — Among the other pictures in the Stadhuis the following may be mentioned: 1. (in the antechamber) Cornelis Antho7iiszen , Banquet of arquebusiers , painted in 1633, and one of the earliest corporation pic- tures, of which there a.re many old examples in the Stadhuis; 7. Ger. Honthorst, Marie de Me'dicis, the widowed Queen of France, 1638; 13. Barth. van der Heist, Shooting-gallery piece with thirty-two figures, the earliest known work of this master, 1639; 18. Govaevf Flinck, Four full- length figures of officers of the 'Kloveniers Doelen', 1642; ='-72. Fiinck, Corporation picture with twelve figures, 1645; 38. Thomas de Keyser^ Corporation piece with twenty-three figures, 1633. The upper floor contains a collection of weapons and antiquities, among which are the large drinking-horn with St. George and the dragon represented in Van der Heist's Banquet of Arquebusiers in the museum (see p. 240); also models of the principal locks and waterworks in the vicinity of Amsterdam. On the E. side of theKloveniersburgwal, not far from the town- hall , is situated the Trippenhuis , so named after its former pro- prietor the burgomaster Trip, which now contains the **Rijks Mu- seum (PI. 46 ; E, 4) , the finest picture-gallery in Holland (ad- mission, see p. 234). The museum was founded by King Louis Napoleon, who caused those works of art belonging to the Prince of Orange which had not been removed to Paris to be collected in the Huis ten Bosch at the Hague (p. 218), and afterwards to be taken to Amsterdam when his residence was transferred to that city in 1808. The collection has since been greatly Increased by pur- chases , gifts , and bequests. — The Director of the Museum is Professor John WUliam Kaiser ^ well-known for his admirable etchings of Rembrandt's works. The excellent catalogue in French and Dutch , with numerous facsimiles of monograms (6th ed. 1876 ; 1 11.), comprises the names of 538 pictures, belonging almost without exception to the Dutch schools of the 17th and 18th centuries. The Museum possesses two of Rembrandt's finest works, the so-called 'Night WatcV (1642) in his second, and the 'Staalmeester' or 'Syndics' (1661) in his latest style; to these a study of a head, painted in 1641 , has been recently added. Van der Heist is nowhere seen to so great advantage as here; his Banquet of Arquebusiers (1648) and his Presidents of the Guild of St. Sebastian (1659), not to speak of eight single portraits, are among the best productions of Dutch art. The Fete of Govaert Flinck must be ranked in the same category. 210 Roule 37. AMSTEKDAM. Rijks Museum. The last-mentioned in his 'Isaac blessing Jacob', and Gerbr. van den Eeckhout in his 'Woman taken in adultery', furnish examples of the scriptural subjects characteristic of the school of Rembrandt. Among early masters Mierevelt^ by whom there are six excellent portraits here, is best represented. Among the genre painters figure Gerard Dow., Fr. van Mieris Sen. , Jan Steen^ Terhurg, Metzu, etc. — Almost all the pictures bear the name of the artists on their frames. (Owing to the want of space, a new and spacious museum, in which all the dilferent public collections in the city will be united, is now in course of erection ; see p. 252.) First Floor. After ascending the short and narrow staircase, we turn to the left into the — I. Room, the right and left walls of which are almost covered by the two most famous pictures in the gallery. On the right is hung: **348. Rembrandt's so-called Night Watch, painted in 1642, the master's largest and most celebrated work (11 by 14 ft.), placed almost touching the ground so as greatly to enhance the appearance of energetic movement. It repre- sents Captain Frans Banning Cock's company of arquebusiers emerg- ing from their guild - house (doele) on the Singel , where the picture was preserved till the beginning the 18th century. In the middle, in front, marclies the captain in a dark brown, almost black costume, at Ms side Lieutenant Willem van Ruitenherg in a yellow buffalo jerkin, both figures in the full sunlight, so that the shadow of the captain's hand is distinctly traceable on the jerkin. To the left of the captain are an arquebusier putting on his weapon and two children, of whom the one in front, a gaily attired girl, has a dead cock hanging from her girdle (perhaps one of the prizes). On a step behind them is the flag-bearer Jan Visser Cornelissen, The other side of the picture is pervaded with similar life and spirit, from the lieutenant to the di*ummer Jan van Kampoort at the extreme coi-ner, who energetically beats his drum to urge on the company. In an oval frame on a column in the background are inscribed the names of the members of the guild. The remarkable chiaroscuro of the whole picture has led to the belief that Rembrandt intended to depict a nocturnal scene, but the event represented really takes place in daylight, the lofty vaulted hall of the guild being lighted only by v/indows above, to the left, not visible to the spectator, and being therefore properly obscured in partial twilight. The peculiar light and the spirited action of the picture elevate this group of portraits into a most effective dramatic scene, which ever since its creation has been enthusiastically admired by all connoisseurs of art. This picture should be seen late in the afternoon (admission in summer till 5 p.m.), as the light then suits it best. Opposite this picture is: **141. Bartholomew van der Heist, 'De Schuttersmaaltijd', or Banquet of the Arquebusiers (schutters) of Amsterdam, who on 18th June, 1648, are celebrating the con- clusion of the Peace of Westphalia in the St. Jorisdoele, or shooting- gallery of St. George. The twenty-five 'schutters', life-size portraits, are sitting or standing around a richly furnished table in brisk and joyous mood. In the right corner is Captain Wits, in black velvet with a blue girdle, holding a silver drinking-cup (the original now preserved at the Stadhuis) in one hand, and presenting the other to Lieutenant van Waveren, who wears {i handsome pearl-grey doublet, richly brocaded with gold. In the centre Museum. AMSTERDAM. 37. Route. 241 of the picture is the ensign Jacob Banning, while to the left a number of other arquebusiers are seen drinking and chatting. The heads are marvellously life-like, and the drawing bold and minutely correct. The details are perhaps more to be admired than the aggregrate effect, which is somewhat marred by the uniformly distributed light and the want of contrast. The hands are strikingly true to nature and characteristic of their owners, and it has been not inaptly remarked that if they were all thrown together in a heap there would be no difficulty in restoring them to the figures to which they respectively belong. Comp. p. Iviii. Of the other pictures in this room, all portraits, the following are most worthy of mention. To the left on entering: 146, 147. Van der Heist, Portraits; 181,182. Ger. Honthorst, ^PruiGe Fred- erick Henry of Orange and his consort Amelia of Solms ; 244. Mich. Mierevelt, Prince Maurice of Orange ; 248. Mierevelt. Cats, the poet; 522. Dutch Master of Rembrandt's period, Portrait of Peter van Uitenboogard, treasurer of the Province of Holland, an at- tractive picture of the highest merit, showing no trace of Rembrandt's influence; 359. (?o(i. /S?c/ia^cfeen (1643-1706), William III. , King of England ; 149. Van der Heist, Portrait of Andr. Bicker, Burgo- master of Amsterdam. Above the 'Schuttersmaaltijd' (No. 141): 316. Jan van Ravesteyn (p. 212), Portrait of a man ; 245. Mierevelt ^ Prince Frederick Henry of Orange; 179. Honthorst, Prince Wil- liam II. of Orange ; 317. Ravesteyn^ Portrait of a woman. On the wall to the right of the entrance: 117. Aart de Gelder (Dordrecht, 1645-1727), Peter the Great of Russia; 265. P. Moreelse (Utrecht, 1571-1638), Mary of Utrecht, wife of Oldenbarneveld ; 243. Afiereve^f, William I. of Orange, the 'Taciturn' ; 145. Van der Heist, Princess Maria Henrietta Stuart , widow of William II. of Orange, and daughter of Charles I. of England, an important work. We now cross the lobby to the room on the other side. II. Room : **349. Rembrandt , Directors of the Guild of the Clothmakers (de Staalmeesters , literally 'stampmasters'), painted in 1661. Four of the directors are sitting at a table covered with an Oriental cloth, while a fifth appears to be rising impatiently from his seat. In the background is a servant of the guild. Notwithstanding the simplicity of the colours, the prevailing broAvn hue of the picture, and the absence of strong light , the master has succeeded in producing what may be termed his usual poetry of colour , combined with the most life-like fidelity. Compared with these heads, the neighbouring portraits appear cold and lifeless. Comp. also p. Ivi, 43. F. Bol, Portrait of the sculptor A. Quellin; 143. 144. Van der Heist , Portraits of Admiral Aart van Nes and his wife, with a quay in the background by Backhuizen. 274, 275. A. Mijtens , Portraits of Admiral van Tromp and his wife. *195. Karel du Jardin (1625-78) , Five directors of the spin- ning-factory sitting and standing at a table, and a servant, 1669. The connoisseur will be surprised to find this fine corporation picture painted by the well-known painter of pastoral subjects. Van der Baedeker's Belgium and Holland. 5th Edit. 16 242 Route 37. AMSTERDAM. Museum. Helstj Portrait of Bicker, a magistrate of Muiden, whose corpulence does not appear to depress liis spirits. *142. Van der Heist ^ Four presidents of the St. Sebastian Arquehusiers, seated at a table and examining the plate belonging to the guild ; to their left is a maid-servant, carrying a large drink- ing-horn, 1657. 91. Drost or Fabritius , Beheading of John the Baptist; 1. Cristoforo AUori, Judith with the head of liolofernes ; 375. Jan Steen^ Portrait of the painter; 365. Jan van Schuppen, Portrait of Prince Eugene of Savoy; 246. Mierevelt, Prince Philip William of Orange; 505,506. Portraits of Counts Henry and. Ernest Casimir of Nassau. Middle Floor. To the left of the staircase, above the door, 32. Nic. Berchem^ Landscape with Boaz and Ruth. I. Room. To the right of the door : *178. Melchior dC Monde- koeter (b. at Utrecht in 1836, d. at Amsterdam in 1695), Pelican^ ducks, and peacock, known as 'la plume flottante'. -No one ever painted cocks and hens, ducks and drakes, and parti- cularly chickens, so admirably as Melchior Ilondekoeter. He understands these families as thoroughly as the Italians their Holy Families, and ex- presses the maternal love of the hen as admirably as Raphael has done in the case of his Madonnas. The scene presented to us here vies in tenderness with that of the Madonna della Sedia. The hen crouches carefully with outspread wings , from beneath which peep the heads of the chicks, while on her back is perched her favourite child, her 'bam- bino' ^ and the good mother takes care not to make the slightest move- ment. Of the eight pictures by Hondekoeter in the Museum of Amster- dam, 'the floating feather' is the most famous. The faintest breath of wind would blow it away.' Burger. Musses de la Hollande. 228. J. Lingetbach (1625-87) , Port on the Mediterranean ; 291. Dav. Teniers jun. (p. li), The mason's hour of rest; 198. K. du Jardin, Muleteers in a tavern; 139. J. Davidsz de Heem (1600-74), Flowers and fruit; 362. Sdialcken, Fire and light ellect. Farther on , right wall: 272. MuriUOj Annunciation; 175. Hondekoeter, Ducks, goose, and pigeon; 102. A. van Dyck, William II. of Orange and his bride Princess Mary Stuart; 267. Moreelse, The little princess; 177. Hondekoeter, Hen guarding her chickens from a peacock ; 136. Frans Hals (p. 228), The merry toper. By the tirst window: 64. Adrian Brouwer (p. lix). Village carousal; 369. Pieter van Slingeland (IQAO-^i) , The rich man; 26. N.Berchem, Small Italian landscape ; 442. Aryde Fo^s (p. 208), The merry llddler; 283. Caspar Netscher (1639-84), Mother with her two children; 427. A. van de Velde (j^. Ixi), Ferry; 65. A. Brouwer, Peasants quarrelling ; 392. D. Teniers jun. , Village inn ; *240. Oabr. Metsu , The old toper, admirably painted and in good preservation; 464. Ph. Wouwerman , Landscape with a cavalier and huntsmen. By the middle window, to the right: 254. W. van Mleris (1662-1747), Poulterer; 305. Paul Potter (j^. Ixi) , Shepherd^s hut; 193. K.duJardin, Portrait of himself , admirably drawn, Museum. AMSTERDAM. 37. Route. 243 but feebly coloured; 293. Isaac van Ostade (p. Ix), Tbe merry peasant; *378. Jan Steen, The parrot-cage, sometimes called 'tbe backgammon player', the best picture by this master in the col- lection. It is not easy to describe the subject of this scene , the master having followed his favourite practice of combining several different episodes. The girl feeding the parrot, with her back to the spectator, is at least the principal figure. 468. Ph. Wouwerman, The shying grey horse ; 282. C. Netscher^ Portrait of Constantine Huygens, the poet. — To the left, 88. G. Dow, Hermit; 393. Tenters jun. , Temptation of St. Anthony; 270. Moucheron and A. van de Velde, Italian scene; 100. Cornells Dusart (1660-1704; p. Ix), Village tavern; 465. Ph. Wouwerman, Stag-hunt; 69. ^ Velvet' Breughel (jp. xlv), Repose on the flight into Egypt ; 252. Frans van Mieris sen. (?), Lute player; 288. A. van Ostade (p. lix), Studio. By the third window: 309. Paul Potter, The hay-cutters; 466. Ph. Wouwerman, Heron-hawking; 401. Dom. van Tol, The captive mouse; 441. Ary de Vois, Fish-dealer; 470. Ph. Wouwerman, Horses being watered ; 380. Jan Steen, Rustic wedding ; 268. P. Moreelse, Frederick V. of the Palatinate, the 'Winter king' of Bohemia; 431. A. van der Venne (The Hague; 1589-1665), Prince Maurice lying in state; 422. W. van de Veldejun., Seaport; 478. Jan Wijnants (p. Ixii), Cattle; 251. Frans van Mieris sen., Lady writing, with a page in attendance ; 89. G. Dow, The inquisitive one, a young girl at a window with a lamp in her hand , and a group sitting at a table in the background. Left wall : 437. David Vinckeboons (p. xlv) , Prince Maurice going to the cliase ; 30. N. Berchem, Herd crossing a ford ; 28, 27. Berchem, Winter scenes ; *338. Jacob van Kuysdael, Waterfall ; *379. Jan Steen, Quack doctor, a picture full of humour, and cleverly, though hastily, executed ; 29. Berchem, The three shepherds, Italian evening scene in the style of Both; 184. Pieter de Hoogh or Hooch (p. Iviii), Portrait of the painter at the age of nineteen ; 238. Jan van der Meer van Haarlem (p. Ixii), The sleeping shepherd. Then on the wall by the entrance : 280. Aart van der Neer (p. Ixii), Winter scene. Lud. Bakhuisen, 10. After the storm, 9. Harbour of Amsterdam. 475. Jan Wynants and A. van de Velde, Hilly landscape with hunters; *447. Jan Weenix (1644-1719), Dead birds with ape and dog. II. Room. On the left: Hondekoeter, 173. The philosophical magpie; 174. The villa. 101. A. van Dyck, Portrait of Jac. van derWerff, Burgomaster of Antwerp. — 417. Velasquez (?), Tlie In- fante Charles Balthazar of Spain; 426. W. van de Velde, A strong breeze; 70. ^ Velvet' Breughel (p. xlv), Latona and the peasants ; 363. G. Schalcken, Youiig man lighting his pipe, and another joking with a girl ; 360, Schalcken, Tastes differ, one boy eating an egg, another porridge, and an old man in night-cap and specta- 16* 244 Route 37. AMSTERDAM. Museum. cles looking on; 223. Jan Lievensz (1607-72), Portrait of Van den Vondel, the poet; 266. Moreelse, The pretty shepherdess ; 424. W. van de Velde, Bringing the 'Royal Prince', a captured English man- of-war, into port (see below) ; 477. J. Wynants, The cottage farm ; 239. G. Metsu, Repast, badly preserved ; 191. Jan van Huymm (1682-1749), Flowers; 462. Ph. Wouwerman , Riding-school; 423. W. van de Velde , Naval battle between the Dutch Admiral de Ruyter and the English Admiral Monk in 1666 (which lasted four days, and was witnessed by the artist in person; the 'Royal Prince', mentioned above, is represented in the act of striking her flag); 289. A.vanOstade, Travellers resting ; *382. Jan Steen, The baker Oostward ; *377. Jan Steen, Eve of St. Nicholas, a favourite subject of the master; *448, 449. Jan Weenix, Game and fruit; *87. G. Dow, Evening school, celebrated for the effects of light and shade produced by four candles and their different shadows {purchased in 1808 for 17,500fl.) ; *31. N. Berchem, Italian land- scape ; *90. G. Dow, The burgomaster Pieter van der Werff of Ley- den and his wife in a landscape by N. Berchem , the burgomaster's head particularly life-like. J an van der Hey den, 155. Draw-bridge; 156. Stone bridge. *396. Gerard Terbury, Paternal advice, one of the most celebrated pictures of the master, but unfortunately somewhat damaged. Room III. In the corner to the right on entering: 361. God. Schalcken, The smoker; 247. Mereveif , Portrait of Oldenbarne- veld (p. 203); 205. Thos. de Keyser 207), Family of Rombout Hoogerbeets. — Left wall : 426. J. Victors (p. Ivii), Joseph in prison interpreting dreams ; Quiryn Brekelenkamp (pupil of G. Dow), 67. The chimney-corner; 60. Interior. 50. Jan and Andr. Both, Farm courtyard. — Third wall : **111. Govert Flinch, At- quebusiers of Amsterdam celebrating the conclusion of the Peace of AVestphalia (I6Y2 ft- by 8Y2 f*-)? artist's greatest work, painted in 1643. — By the window, crayon portraits by Liotard (Geneva, 1702-90). We now return, and enter the rooms to the right of the staircase. At the entrance : 104. Dying Saviour, after Van Dyck. Room I. contains a collection of 64 pictures, bequeathed by L. Dupper , a picture-fancier of Dordrecht (d. 1870), and valued at 25,000 Beginning on the left: 35. Job Berckheyde (Haarlem, 1630-93), The town-scales of Haarlem; 33. N. Berchem and J. van der Hagen, Landscape; 231. Lm^ci6ac/i , Dentist on horseback in an Italian market-place; 204. Jan van Kessel (1648-98), Forest; 5. Jan Ass elyn (^iQ 10 -QO), Cavalry engagement; 11. L. Backhuisen, The Zuyder Zee; 122. Jan van Goyen (p. Ixii), The Meuse at Dordrecht. Second wall: Terburg, 895. Portrait of the artist's wife ; 394. Portrait of the artist himself. 99. Corn. Dusart (p. Ix), Village festival ; 124. Jan van Goyen, Old oaks ; 77. A. Cuyp (Dordrecht, Museum. AMSTERDAM. 37. Route. 245 1605-91), Mountain scene ; 230. Linpe?6ac/i, Encampment; 480. Hendrick Martensz Zorgh , Lute-player; 233. F. van Mieris sen., Fragility,- 384. Jan