The Visitor's Guide to Antwerp  

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The Visitor's Guide to Antwerp (1870) is a guide to Antwerp by John Van Mol

PREFACE . Towards the middle of the sixteentht century when our metropolis had just attained the apogee of its commercial prosperity, Louis Guicciardini of Florence, published a description of Antwerp in a style of charming simplicity. He thus left us a faithful picture of our city, of its monuments, of its institutions and of the mannery and customs of its inhabitants . This was the first Guide to Antwerp . We have no pretentions to the litterary talent of the Florentic gentleman , our intention is simply to make a modest but at the same time as perfect a sketch of our town as it is possible . JOHN VAN MOL. VDEDONCKER EVERMORCKENSC HISTORICAL NOTICE. I. Antwerp derives its name according to popular tradition from a giant named Antigon , who, in the time of Julius Cæsar, levied black mail upon the merchants, and cut off one hand from any unlucky wight whom he detected attempting to evade his exactions. Hence his castle received the name of hand from two Flemish words signi fying to throw the hand. No authentic document sup ports this tradition . The arms of the city certainly represent a castle surmounted by two hands, but these hands were only introduced about the fifteenth century when the love of the marvellous W11 werpen, — 1: 8 prevailed probably gave rise to the story of the giant. However, a proof, which may be taken for what it is worth, is found in the fact that the giant and his wife in card board it is true still inhabit the city, and on festive occasions shew themselves in public to the great amusement of the juvenile part of the population. There is , in reality, great uncertainty as to the origin of this ancient city. It is certain, however that it existed in the VII cen tury. St. Amand preached the Gospel and built the church of St. Peter and St. Paul here, in 641 ; St. Eloy, in his turn taught Christianity to the people of Antwerp , in the year 646 ; and there is still preserved a grant made by Rohingus, lord of Antwerp, to St. Willebrord, of the church built by St. Amand within the fortress In this deed, which was executed in the year 726, Antwerp is called Castrum Antverpis. - There still remain some vestiges of this fortress , the construction of which must date back to the IX century. A few fishermen , boat men and merchants who took up their abodes under the protection of the castle , in order to escape the incursions of the pirates who then frequently ravaged these parts, were probably the first inhabi tants of the place. Antwerp had already become one of the most flourishing ports of the North Sea when it was burnt down by the Normans in 835. The same ruthless invaders pillaged it , on three subsequent occasions , viz. in 863, 876 and 882. So great became the terror inspired by these terrible pirates , that the church for a long period added to its litanies this petition : From the fury of the Normans : Good Lord deliver us. The Emperor Arnold at length joined his troops to those of Lorraine, Bavaria and Saxony, when the allied armies marched against the Normans, whom they met and utterly defeated , in an engagement near Louvain. The old chroniclers state that one hundred thousand men perished in this battle. The destruction of the last vestiges of Roman civilization was the deplorable consequence of the Norman invasion. Nothing is known 9 of the history of our city during the tenth century, an age of barbarism and ignorance which we will pass over until the year 1008, when the Emperor Henry II erected the district of Antwerp into a marquisate , which he conferred upon Gothelon , surnamed the Great, count of Ardennes and Verdun. His successors were : (1049) Frederick of Luxembourg ; (1065) Godfrey the Bold ; (1070) Godfrey the Hunchback ; (1076) Godfrey of Bouillon. (1101) The illustrious deliverer of the Holy Sepulchre dying without issue, the Emperor Henry IV conferred the marquisate and the duchy of Lothier which he had possessed, upon Henry, count of Limbourg. This latter prince, when the aged Emperor fleeing from his rebellious son took refuge at Cologne, saved that place by garrisoning it by men at arms drawn from Antwerp. After the death ofhis father, the new Emperor deposed Henry and bestowed upon Godfrey the Bearded, count of Louvain , both the duchy and marquisate which thus passed to the house of Brabant (1106). II. During the reign of Godfrey the Bearded an adventurer named Tankelin came to Antwerp spreading certain doctrines , borrowed it is believed , from the system of the ancient Albigenses . He soon exercised a great ascendency over the multitude who believed him to be a prophet, in spite of the snares he laid for their credulity . He called himself the messenger of the Holy Ghost and the affianced of the Virgin Mary. The blindness of the people was so great that after having given him an armed guard, as to a sovereign, they went so far as to drink the water in which he had performed his ablutions, believing it to be a specific against all kinds of diseases . Although he preached continency, he at the same time gave himself up to the greatest excesses. When Godfrey took measures to put an end to these disorders , 10 ―― the people were in a state of complete demoralization. Tarkelin died assassinated ; but his doctrines , propagated by other sectarians, made such alarming progress , that it was found necessary to send for St. Norbert, the founder of the order of Premonstrians , to bring back the erring population ( 1124) . The heresy soon disappeared before the persuasive preaching of the good missionary , and the veneration he inspired reflected on the entire order. Great riches were bestowed upon some Premonstrian monks who had settled at Kiel ( 1 ) . The Canons of St-Michael's chapter, founded by Godfrey of Bouillon, granted them their church , and the new monastery took the name of St- Michael's Abbey ( 1126) . The events of the reigns of Godfrey II and Godfrey III who suc ceeded Godfrey the Bearded , are of little interest in the history of Antwerp. Henry I , surnamed the Warrior, occupied the latter years of his life in reviving commerce and in embellishing his towns, whose privileges he extended . Antwerp was enlarged by more than one half ( 1201 ) and received from him its first Charter (1220) . Passing over the names of Henry II and III we reach the reign of John I ( 1267) . The memorable battle of Woeringen made him master of Limbourg (1288) , and won for this chivalrous prince the surname of the Victorious. Amongst the duke's chief followers in this campaign were the Cross -bowmen of Antwerp, who particularly distinguished them selves. Antwerp obtained from him an important charter, and two years afterwards ( 1290) , a code of our penal laws was promulgated under the title of the Keure of Antwerp. John died of a wound received in a tournament ( 1294) . The reign of John II who succeeded him was a very stormy one. The town of Mechlin had then become the rival ofAntwerp. The duke tried to gain its favor by conferring great privileges upon it ; amongst others , the markets for oats , salt and fish, to the detriment of Antwerp which had possessed this monopoly since the year 1230. Mechlin (1 ) A hamlet near Antwerp, burnt down in the XVI century by Martin Van Rossm . ] 11 repaid these favors with ingratitude by killing the Chief Con stable (1303) , and closing its gates against the duke, who was forced to convoke the armed men of his cities . Antwerp, as may easily be imagined, hastened to the prince's assistance and the town being narrowly blockaded , was at length forced to capitulate. Notwithstanding the rebellion , Mechlin retained its entrepots. The large communes were agitated by internal strife . The people aspired to the office of alderman , a privilege hitherto only enjoyed by the nobility ( 1 ) . The revolt broke out at Antwerp, and was simultaneously propagated at Louvain, Bois-le-Duc and Brussels , the tradesmen of the latter city marched out against the duke with their banners flying. John's energy triumphed over the Brusselers ; but in order to face the danger, he was obliged to grant concessions to the other towns. Antwerp received from the duke the confirmation of its privileges and further franchises. An era of prosperity opened with the accession of John III , whose reign was filled by useful reforms and great events. In order to extend the commerce of the principal towns whose industry rivalled that of Flanders , he espoused the cause of Edward III king of Eng land against Philip of Valois ; and Edward landed at Antwerp in 1338 with the flower ofthe English nobility. He resided more than a year at St. Michael's Abbey, where he had an interview with Artevelde and assured great privileges to our commerce. The fitting out of his expedition and the presents he had made having exhausted his treasury, he applied to one of our merchants (4 ) Amongst the noble families whose history is closely connected with that of our city the VAN DE WERVES hold the first rank. We find them in the tenth century as Burgraves of Antwerp, possessing their feudal castle. During the whole of the middle age the VAN DE WERVES shared with the BODES, the VOLKARTS, the VAN LIERS and and others, the most eminent dignities and posts in the Commune. In the XVI and XVII centuries the VAN SPANGENS, HALMALES , DELLAFAILLES, VAN STRAELES, also filled the elevated functions of the magistracy, and rendered signal services to the popular cause. 12 B who was rich enough to be able to lend him 18,500 pounds sterling. De la Pole was the name of this Antwerp Rothschild. John died in 1355 without male issue. He was succeeded by his eldest daughter Jane, married to Wenceslas. By the Duke's last will, his second daughter Margaret, who had married Louis of Maele, Count of Flanders , was to enjoy a dower of 120,000 crowns. Wenceslas, a weak and irresolute prince , soon made an enemy of his brother-in-law by refusing payment of the sum due to his wife. The Count of Flanders , who also held the lordship of Mechlin, penetrated into the heart of Brabant and entered Brussels in triumph (1356) . A shameful peace was concluded at Ath in the following year. Besides Mechlin, Antwerp and its dependencies had to pass under the rule of the Count of Flanders , as the marriage portion assigned to Margaret, and the commune received orders to make formal submission to the new sovereign. Louis of Maele was eager to make his entrance into Antwerp, and promised his new subjects to maintain the privileges granted by the Dukes at different periods ; but slighting his engagements, he soon deprived the town of the three free markets restored by John IIl and gave them back to Mechlin. The people revolted, and Louis, irritated at the resistance he met with, came to Antwerp with a considerable force. The chief personages of the city were arrested and taken to the fortresses of Flanders ; the scaffold was erected on the great market- place. Under specious pretexts, the charters relating to the entrepots were abolished and Flemings came and occupied the most important dignities of the city. The revolt, repressed for an instant by terror, broke out again with fresh fury. The new magis trates were put to death, and suspected persons were given up to the fury of the populace. The tumult went so far that the church thought it necessary to interfere, and the city was laid under an interdict. Louis de Maele died in 1384. The marquisate then fell to Mar garet of Flanders , the wife of Philip the Bold, duke of Burgundy. The duchess Jane had remained a widow, and being childless , the 13 - great business of her old-age was to insure her inheritance to her niece Margaret. She abdicated her duchies in 1404 , and the young duke Anthony, chosen by Margaret to succeed her, governed the country in his mother's name, under the title of Rewaert or Regent (1404 to 1406) . Jane died in 1406 , and Anthony who was recognized as sovereign, obtained at the same time the duchy of Limbourg and the marquisate of the Holy Empire. This prince, who remained a Frenchman at heart, attended less to the affairs of his country than to those of France, and met with his death at the battle of Azincourt ( 1415) . Antwerp obtained from him, for 2000 crowns, the restitution ofthe entrepots which had occasioned so much strife. His son John VI who succeeded him, had married his first cousin Jacqueline of Bavaria, heiress to the provinces of Hainault and Holland ; their painful quarrels disturbed the whole country. The marquisate of Antwerp, which an article of the Joyous Entry sworn to by John III , declared annexed for ever to Brabant, was on the point of being again separated from it by the duke, out of hatred to the States that protected Jacqueline ; to be given over to John, to whom he had already sold Holland. The foolish conduct of John IV so incensed the States , that they conferred the regency upon ! ' hilip of St-Pol. The duke, who was reconciled to the States in the following year, acquired new glory by founding the University of Louvain ( 1426) . Philip of St- Pol succeeded him in 1427, and, like him, died without issue ( 1430) . The throne became vacant ; Philip the Good, the eldest of the house of Burgundy, was put in possession of the rich inheritance of the younger branch, and successively of the other Belgian provinces , which were thus united under one sceptre. These provinces were then so flourishing that Philip of Commines calls them, The garden of the Promised Land. "" III. With the exception of a riot caused by the establishment of a new tax, and for which riot the people of Antwerp were heavily - 14 fined, few remarkable events characterized the reign of Philip the Good ( 1430-67) . It would be useless to speak here of the wars of Charles the Bold, which exhausted his treasury and his army, and in which he met with his death (1477). The acts of disorder and violence to which the great towns gave themselves up on the news of the duke's death, are well known. The young duchess Mary was kept a prisoner by the people of Ghent, who, long bowed down under the iron hand of Charles , now raised their heads ; at Antwerp as well as at Ghent, the passions of the populace broke loose . Certain magistrates, accused of malversation, were tortured and beheaded. Louis XI took advantage of this excitement, which his emissaries stirred up to seize the southern provinces. The only chance of safety left for the Duchess was to marry a prince capable of defen ding her states. She decided in favour of Maximilian of Austria, to whom her father had destined her ( 1477) . The reign of this good princess was but short ; she died in her 25th year from the effects of a fall while hunting, leaving two children , Philip and Margaret. In her was extinguished the powerful house of Burgundy, whose sceptre passed to the house of Austria. Maximilian held the regency ofthe country during the minority of Philip, surnamed the Hand some, who married in 1496 Jane of Spain, daughter of Ferdinand and Isabella . Charles V was the issue ofthis marriage (1500.) The commerce of our city, at this period , attained the apogee of its splendour. Hitherto Bruges had been justly called the Venice of the North; but the revolt of that city against Maximilian gave it a fatal blow. This prince granted to Antwerp all the privileges that Bruges had enjoyed . The troubles of which this latter town then became the scene caused many of the merchants , to emigrate ; the silting up of its port hastened its ruin ; and the merchants of the Hanse Towns abandoned it completely for Antwerp, which offered fewer obstacles with a port always easy of access . The writers of the XVI century enumerate with enthusiasm the marvels of art executed in the manufactories of Antwerp ; master pieces of goldsmiths' work, which even to this day excite admiration ; armour, tapestry, mirrors , satin and brocaded velvets . We must not 15 1 forget precions stones ; the art of cutting diamonds just then discovered at Bruges, became to that town and to Antwerp a new source of wealth. "" We may believe says M. d'Herbouville, prefect of the Two Nethes under the empire that the inhabitants of Antwerp were manufacturers rather than shippers ; bankers and brokers rather than merchants . The republics of Italy who traded with India by Egypt and the Red Sea,, before Vasco de Gama had doubled the Cape of Good Hope, doubtless transported to Antwerp the products of Asia. These goods were consigned to the Antwerp merchants ; or to the factors of the Hanse Towns established in the house of the Oosterlings , which served as the factory, exchanging them for articles furnished by the North in abundance. The Flemings contributed their linen , tapestry and cloth , of which they had the monopoly, until Elizabeth of England , skilfully taking advantage of the troubles in the Low Countries, induced these industrious artisans to settle in her country . Antwerp was thus the entrepot of the North and South, and all the resources of commerce and art accumulated there caused an immense amount of riches to flow into that city After the discovery of the Cape of Good Hope, the Portuguese, who had monopolized the trade of the Indies also brought their produce to Antwerp, where they established a factory which still bears the name of Portugal house (1) . 93 . "" - "" The English did important business with Antwerp as early as the XIV century ; proofs of this are found in Edward's voyage in 1338 ; this monarch imported here 20,000 sacks of wool. " A report of the commercial movement of the port of Antwerp towards the middle of the XVI century states that 2,500 vessels were often seen at the same time in the Scheldt . England, Spain and Portugal were the usual destinations of these vessels. The two latter countries especially, suddenly enriched by the conquest of the Indies and a part of America, but deprived of manufactures and ( 1 ) Now the station for the fire- brigade. 16 cong art, even drew from our provinces furniture and household utensils . Antwerp received weekly, from the Walloon provinces and from the North of France , 2,000 large waggons heavily laden, and we may say there was no part of Belgium that did not feel the effects of this brisk traffic . " ( 1) IV. (1) MOKE. Histoire de Belgiqu , p. 36. Philip the Handsome, dying at Bruges in 1506 , the government of our provinces was confided to his sister Margaret of Austria during the minority of Charles V. This prince ascended the throne in 1515, and the prosperity of Antwerp greatly increased during his reign. The fortunes amassed by the merchants of that period surpass all belief. It is stated that John Daens, one of these wealthy mer chants on the occasion of Charles V dining at his house burnt, on a log of cinnamon wood, a bond for 2,000,000 florins which the Emperor owed him, saying . " I am more than paid by the honor your Majesty has done me to day. The Venetian ambassador Marino Cavalo said , that Antwerp grieved the Italians , who saw Venice surpassed . " The greatest event of this reign was Luther's reformation, to which the power of Charles V could oppose but a feeble resistance ; and which was rapidly propagated from Germany to the Low Countries, notwithstanding he bloody repression it there met with. By its commercial relations with the former of these countries , Antwerp soon became the centre of reunion for Lutherans , Calvinists and Anabaptists . Charles V caused edicts to be published punishing the innovators with death ; a price was set upon the heads of the protestant preachers , and horrible tortures signalized this period of the history of our city. On the 25th of October 1555 , Charles V abdicated the government of our provinces in favor of his son Philip II , and abandoning royalty retired to live and die a simple (monk_in a convent of Estrama dura (1558). 17 Philip II returned to Spain after having confided the regency of the Low Countries to Margaret of Parma his natural sister, (1560) . The period approached when a terrible struggle was to take place between the government and the nation. Nothing then predicted the part our city was to take in the revolutionary tempest which muti lated our monuments, decimated the people, and finally destroyed our commerce by the closing of the Scheldt. Our increasing prospe rity augmented the number of inhabitants ; the census of 1568 gives the number at 105,000 ; and quite a new town had just been built by Gilbert Van Schoonbeke on the spot now occupied by the Entre pots and docks. So many events occured in this reign , that rapid as is our sketch, we must curtail it, lest we exceed the limits within which we desire to confine this work. As a summary ofevents we may state the excitement of the public mind caused by religious schism ; the hostile attitude of the nobility ; the general opposition to the Minister Granvelle , and the creation of new bishoprics ; the disbanding of the Spanish troops ; the increased severity against heretics ; and the compromise of the nobles, who pre sented a petition to Government the ostensible object of which was the abolition of the Inquisition and liberty of conscience, ( 1566) . The Count of Berlaymont having whispered to the Regent, Margaret of Parma that the malcontents were nothing but a set of Gueux (beg gars) , they adopted this name ; and the word Gueux signified in future the Protestant party. High above all this commotion soars the noble figure of William the Silent . The resistance of which the nobility had given the signal, caused agitation in all the provinces.Favoured by these troubles the Protes tant preachers propagated the Reformation . Controversy was to be heard every-where ; not only in the towns and villages , but on the high- road and in public conveyances . Each meeting-house became a seat of insurrection ; missions were established at Kiel, Laer and Borgerhout ; the audience went thither armed and often ten to twelve thousandin number . The excitement soon became general. Bands of 18 Calvinists and adventurers who called themselves Gueux of the Woods, pillaged the convents and churches, at first in the country parts , afterwards in the towns, at Ypres, Ghent and Tournay. On the 12th August 1566 they attacked our cathedral, crying out : Leve de Geuzen, (the Gueux for ever) . The paintings, statues and sacred orna ments were all destroyed, and the Host trodden under foot. One night sufficed to change into a heap of ruins the interior of this. temple which, after St. Peter's at Rome, was one of the largest and richest in Christendom. The other churches and convents shared the fate of the Cathedral . The magistrates called in the Prince of Orange to their assistance . His presence quelled the riot for a time, but when he was no longer there , it broke out again with fresh fury. The Count of Hoogstraten had the greatest difficulty in preventing a second devastation of the Cathedral of Notre- Dame. The city swarmed with Lutherans and Calvinists ; and a body of insurgents , increased every day by adventurers and malcontents , were encamped at Austruweel under the command of John of Marnix, Lord of Tholouse. The intervention of the royal troops , and the energetic measures taken by the Prince of Orange, at last re- established tranquillity. in The ministers of the new religion were banished, a garrison was placed in the city , and Margaret of Parma, came person to solemnly inaugurate Notre- Dame and the re-establishment of the Catholic religion. (April 1567.) In spite of the general re-action manifested throughout the country against the excesses of the Iconoclasts , Philip II ima gined that the Belgians could only be reduced by terror. The Duke of Alva, the executioner of his vengeance, arrived at Brussels at the head of an army of 20,000 men, (August 1567.) One of the first measures of Alvares of Toledo was to create a council for riots, which soon went by the name of · the Tribunal of Blood. It is superfluous for us to dwell fatal period. We shall confine ourselves on the horrors of this to mentioning among 19 the most illustrious victims , the counts of Egmont and Horn , and Anthony Van Strale, burgomaster of Antwerp, the intimate friend of the prince of Orange. The latter had at first retired to Germany and returned in arms to the country, whilst his brother invaded Friesland. Then openly commenced the struggle which ended by snatching a part of the Low Countries from the Spanish dominion. The duke of Alva had destroyed the old fortress of Kronen burg (1) , and constructed on its site a citadel at the expense of the Antwerpians. In the glory of a victory he gained over Louis of Nassau (1568) , he caused a statue of bronze to be erected on the great square of the citadel , representing himself treading under foot a body with two heads, personifying the nobility and the people. Afterwards the mob dragged this statue through the streets of the town ; and from its remains , in 1635 , the crucifix of the Place de Meir was made, which is still extant at the entrance of the cathedral of Notre-Dame. During the six years of oppression under which the Duke of Alva laid our provinces , more than 100,000 persons , left the country ; 18,000 , he owns himself, perished by the executioners hand. » The ferocious zeal , and the inflexible rigour with which this fierce and fanatical soldier fulfilled his mission of vengeance, hands his name down to the execration of posterity. (2). Our commerce first began to decline by the rupture of our relations with England, the departure of a great number of merchants, and the piracies of the sea-rovers.Eight thousand Belgian woollen clothmakers, invited by Elizabeth, transported their valuable trade to England. "" Don Louis de Requenses replaced the duke of Alva (November 17th. 1575) . He had received full powers from the King to redeem the faults of the preceeding administration ; but before offering peace it was necessary to restore the royal authority by victory. His first reverses did not discourage him. He saw his fleet. (1 ) Built in 1145 to mark the limits of the Holy Empire. (2 ) Eug. Gens. Histoire de la ville d'Anvers. 20 destroyed by the Dutch admiral Boisot ; but he soon obtained his revenge on the plains of Mook, where Avila, one of his generals beat the confederates in 1574. After this success, his ill - paid troops, mutinied and marched upon Antwerp, in the hope of indemnifying themselves by pillage. The city was obliged to levy a ruinous tax, and Requenses pledged his plate in order to appease them . The navy of Zealand became every day more formidable and rui ned the trade of Antwerp by intercepting its communications; but how attack Zealand without vessels ? Boisot had destroyed the fleet and the one expected from Spain did not arrive. This difficulty, which would have driven any one else to despair, did not discourage Requenses. One night at low-water, 1700 horse soldiers had the daring to cross with him the arm of the sea which separates from the coast the islands ofDuiveland and Schouwens : 500 men perished in the waves, but the two islands were taken ; and Zierickzee , the capital of that part of Zealand , was taken after a siege of nine months. (June 1576). Requenses did not witness this last success ; a pestilen tial fever had carried him off (March 5th 1468) . The Spaniards soon abandoned Zierickzee, which had cost them such efforts ; they took Alost and ravaged the surrounding country. A decree of banishment was issued against the mutinous soldiery and the town took up arms to resist them. Avila, whom the Antwerpians kept beseiged in the citadel, called the pillagers of Alost to his assistance. Two German companies, sent by the Antwerpians against the enemy, passed over into their ranks and together they rushed upon the city, (4th Novem ber 1576) . The disorder was frightful. The town hall was set on fire and nothing was left but the bare walls ; 500 houses at night illumi nated scenes of murder and pillage. The sack of the city lasted three days and cost the lives of 7,000 persons. The losses caused by pillage and fire were incalulable.This great disaster was called the » Spanish Fury. "" We are not yet at the end of this history of bloodshed which commenced with the horrors of the Iconoclasts. Don Juan of Austria, on being made Governor-general, had consented to send back the 21 Spanish troops ; but soon, humbled by the States, weary of the shadow of power which the intrigues of the prince of Orange, under mined daily, the conqueror of Lepanto took a desperate step ; he hrew himself into the citadel of Namur, which he took by surprise , whilst his lieutenants attempted the same ruse at Antwerp but without success (July 1577) . Don Juan died almost suddenly 1 st October 1578 , after having confided the command of the army to Alexander Farnese his nephew. The success ofthis young prince was so rapid, that the States general met at Antwerp had no other resource left but to offer the sovereignty of the country to the duke of Alençon, and decree the downfall of Philip II. This bold resolution was taken under the influence of William the Silent, (May 1580) . The Duke of Alençon was therefore inaugurated Duke of Brabant, and Marquis of Ant werp. As ambitious as he was empty minded, he was not long in perceiving that he bore only a vain title and that like his predecessor , the Archduke Matthias, he was but an instrument in the hands of William's party. Occupied solely with the project of delivering himself from the tutorship of the States , he scarcely thought of the means of arresting the progress of the Prince of Parma ; who in the mean while was bringing back the greater part of the country under the king of Spain's authority. The duke wished to take by surprise the principal fortified places in the country. This enterprise completely failed at Antwerp. On the 16th of January 1583 the troops he had collected under pretext ofa review, rushed into the city crying out : Ville gaignée ! Vive la messe! (The town is won ! The mass for ever !) The duke himself encouraged them; the burghers surprised for a moment, armed on all sides, and the French were driven back and had to beat a shameful retreat. - Nearly four thousand perished in this rash attempt. Eighty men of Antwerp, killed or wounded , fell victims in the heroic struggle they sustained against the treason of their new sovereign . To perpetuate the remembrance of this splendid feat of arms, the 22 Gate of Borgerhout was rebuilt shortly afterwards ; on the facade was inscribed the following chronogram, inspired by the noble pride of a free people ; Auxilium suis Deus (God helps his own ! ) . (1 ) IG AVXILIVM SVISDEVS After this defeat the Duke of Alen çon soon returned to France where he died of poison the following year. As for the Prince of Orange, seeing his intentions suspected and his popu larity decreasing he retired to Zealand, (1 ) This monumental gate, the only public structure commemorating the bravery and he roism of the Antwerpeners, was taken down in 1867 , at the same time as the old fortifications, and that, under the specious pretence that this monument obstructed the circulation. The gate was, however, 65 feet from the nearest houses, and hindered the circulation less than Temple Bar, in the heart of London, or than the gates of St-Denis and St. - Martin. in the middle of the most frequented boulevards of Paris . Besides the souvenirs connected with it, the old gate of Borgerhout possessed real architectural merit far superior to those monuments we have just mentioned. When its demolition was projected the Government hesitated , and the Royal Monuments Commission addressed a plan to the Town- Council for the complete resto ration of the edifice. This act of vandalism was decided on by the majority ofthe Common Council despite the earnest opposition from five members of whom two artists, one architect M. Stoop, and one painter M. Bellemans, protested against this measure and voted for the conservation of the edifice . If in future times the people of Antwerp, moved by a noble sentiment of patriotic pride should seek the spot on which their ancestors shed their blood for liberty whilst accomplishing one of the most brilliant feats of arms which history can record ; where formerly a noble monument rose to commemorate these glorious deeds they will find only a theatre which with a semblance of irony is now in course of construction almost on the very spot. It will be easily understood that our Ediles have shown no more respect for our antiquities than for our historical souvenirs. The ancient Gate of Borgerhout, one of the most interesting feudal constructions of 1314, was attached to the monument represented in the engraving. These venerable ruins, bitherto preserved with respect, have been razed to the ground with the rest. - 25 where the poignard of an assassin awaited him (July 10th 1584) . The towns of Flanders and Brabant having been successively brought to submission by Farnese, the issue of the war depended only on the reduction of Antwerp, the last bulwark of the confede rates , and which was considered impregnable from the advantages the possession of the Scheldt afforded it . Alexander commenced the blockade in July 1584 and conceived the project of closing the Scheldt by throwing a bridge over it from Calloo to Oordam, where the river is 2400 feet wide. This gigantic work, protected by forts St.Mary and St. Philip , constructed on the two opposite sides , was terminated in the month of February the following year. The courage of the citizens did not flag ; on the contrary, they devised means to destroy the bridge. During the night of the 4th of April a number of small fire ships , constructed by the Italian engineer Gianbelli and Peter Timmermans, of Antwerp , were launched into the Scheldt and left tothe mercy ofthe tide . The greater part of them exploded without effect ; but the chief of these infernal machines which contained 18,000 lbs. of gunpowder, buried under a mass of 400 cart loads of stones , etc. was driven against the piles and blew up the works of the Spaniards . 800 men were killed and the Duke was thrown down by the explosion. If the Zealand fleet anchored at Lillo had acted at this moment, the siege would have been at an end ; but it did not move, and Farnese was enabled to reconstruct a bridge even more formidable than the first one. After several fruit- less attempts the Antwerpians, were obliged to give up the idea of destroying it . They then regretted not having followed the plan of their burgomaster De Marnix, which consisted in seizing, at the beginning of the siege , the dyke of Cauwensteen ; by which they could have inundated the whole of the neighbouring country, and thus have paralysed the efforts of the Spaniards by giving free passage to the vessels . Farnese was too clever not to profit by the errors of his adversaries ; and when, redu ced to this last resource, they wished to make themselves masters of the dyke, they failed in the attempt notwithstanding prodigies of valour. A fire ship , which they afterwards launched against it , was equally unsuccessful. This enormous machine sank under its own 24 Game weight and discharged its useless bomb-shells in the bed of the river. So many failures in succession , the famine which was becoming general, the divisions between the Catholics and Protestants who persecuted each other, and the absence of all external assistance , at length overcame the courage of the Antwerpians ; and the city capitulated on honorable terms the 16 th August 1585 . A period of prostration , resembling a calm, followed this state of excitement which had lasted so long as to have exhausted the vitality of our population. The cry of oppressed liberty was no longer heard; decline had silently settled upon our deserted port. The government of Albert and Isabella, to whom Philip II had ceded the sovereignty of the Belgian provinces (1598) brought us some repose, but did not revive the exhausted sources of our prosperity. To the fine- arts it belonged to be the last courtiers of our fallen city. Animated by the genius of Rubens , Antwerp displayed a last ray of glory, the only one now left it . When the peace of Munster was concluded in 1648, between Spain and the United Provinces , the closing of the Scheldt, stipulated for the profit of the latter, rendered our impen ding ruin irrevocable, and Antwerp fell into the same lethargy as Bruges. The towns of Rotterdam and Amsterdam raised their com mercial prosperity on the ruins of our metropolis . From this period our commerce and our history were long blended in obscurity. The events occupying the two centuries which bring us down to the present time, almost all belong to the general history of the country ; our task is confined to a mere mention of the changes ofdynasty, so as not to exceed the limits of our local chronicle. VI. Albert and Isabella leaving no issue, the sovereignty of Belgiums returned to the kings of Spain , Philip IV ( 1666) ; Philip of France, duke of Anjou , succeeded the latter, to the detriment of the lawful heir, the Archduke Charles of Austria, (1700) ; and Louis XIV sent his troops to occupy our fortified places in the name of his grandson. Alliance ofthe Powers to overthrow the throne of Philip V. (1702) . Defeat of the French at Ramilies (May 23rd 1706) . Antwerp - 25 - Con - surrendered to the Allies the 7th June following. -Peace of Utrecht. (1713) . The sovereignty of the Spanish Low Countries given to the house of Austria, only on the odious terms of the treaty of Barrier. concluded at Antwerp, ( 1715) . This treaty stipulated amongst other onerous conditions the giving up to the Dutch of the principal fortified places in the country, that they might serve as barriers against France ; and the continuance of the closing of the Scheldt . Death of Charles VI. Accession of Maria Theresa. ( 1740) . quest ofLouis XV. Antwerp surrendered to the French, May 19th. 1746 ; the citadel only capitulated on the 1st June. - Peace of Aix- la-Chapelle. ( 1748) . Accession of Joseph II . ( 1780) . Revo lution of Brabant (1789) The battle of Jemmapes laid Belgium open to the Republican armies (November 6th 1792). The French entered Antwerp November 19 th , evacuated it the following year after the defeat of Neerwinden ; and re-entered 23rd of July 1794. The proclamation of the freedom of the Scheldt decreed by the Representatives of the people , ( 17th of August 1795) . Union of Belgium to France pronounced by the Convention ( October 1st 1795. ) The Belgians who had risen against Joseph II only in defence of their institutions which were threatened, then saw all they respected struck to the heart by their new masters. The laws of their fore-fathers were abolished ; religion persecuted and its ministers banished ; the churches pillaged and desecrated , the abbeys and convents suppressed and their property confiscated and sold. At Antwerp, St. Georges' church was demolished and if the Cathedral of Notre- Dame was left standing , it was completely ruined and made desolate. All the horrors of the first Iconoclasts were renewed. The violence and spoiliation by the Republicans exaspera ted our rural populations , who rose against them in despair, and began the War of the Peasants. (1798). In 1800 the Marquis ot Herbouville was named Prefect of the two Nethes, of which Antwerp was the chief-town. Among the services which this enlightened administrator rendered our city, we must mention the re- establishment of the Academy of painting, the resto ―――― ― - - ― ___ 26 ration of the Cathedral , and the construction of the quays along the Scheldt. Napoleon wished to make Antwerp one of the strongest military ports in his empire. He established dock-yards and arsenals , and had formed the project of a new town at the Head of Flanders . We owe to him our magnificent docks. In 1814 General Carnot was entrusted with the defence of Antwerp which was threatened by the Allies , and he only evacuated it on the fall of the Empire. The Allies entered after a bombardment of three days, (from the 3rd to.the 5th February) and a blockade of four months. (5th May) . The inhabitants of Borgerhout have preserved a deep feeling of gratitude to Carnot who spared the suburb, the demolition of which had been ordered by the Duke of Placentia , in the interest of the defence of the city. The statue of Carnot exists now on one of our public squares ; and a small monument of marble has been erected in memory of this benefit , at the angle of the principal street which bears the name of the illustrious General. In 1814 Belgium was united to Holland under the government of William I , until the revolution of 1830 , made us a free people. The powers acknowledged our independence ; and in 1832 a French army, commanded by Marshal Gerard, laid siege to our citadel which remained in the power of the Dutch. On the 29th of November the trenches were begun under the command of the Duke of Orleans. General Chassé, a brave veteran of the Empire, only capitulated when the fortress, crushed by the fire of twenty thousand bombs, no longer left him any-means of defence. The garrison was taken and the prisoners conducted to St. Omer. Since we have taken rank among the nations , our little Belgium, calm amidst the great commotions which have agitated our neigh bours, has attracted the attention of Europe by the wisdom of her people. Under the shade of a free Constitution , abundance and happiness have taken root in our land so long the chosen battle-field on which the quarrels of Europe were settled . Already richer than all other Continental nations in public roads and canals our country 27 was the first to introduce railways, which spread over our country like an immense web, whose vivifying arteries soon communicated the benefits of civilisation to the most remote and humble villages . We have treaties of commerce with all the great nations ofthe globe. Brussels is covered with palaces. Antwerp, though less splendid , sees magnificent mansions rise up every day on the ruins of the old Spanish buildings. Anew town is rapidly rising in the place of its demolished ramparts. Standing on the right bank of the Scheldt, which is here as broad as an arm of the sea, placed at the head of the railways of France, Germany and the Low Countries, Antwerp is not only the commercial metropolis , the chief fortified place and one of the finest cities in Europe ; but it is also one of the best situated sea-ports in the whole world. ERIK XXXI $10 ~1/ 逝 ܐܐܐܐ "" FINIALN E CATHEDRALE OF NOTRE DAME. 00 RELIGIOUS MONUMENTS. CATHEDRAL OF NOTRE - DAME. Towards the end of the ninth century, after the departure of the Normans, the River Scheldt deposited amidst the rushes on its banks a statue of the Virgin. The inhabitants of these parts to commemorate the event elevated in its honour a stake on which the statue was placed. This is the origin of the name of the chapel O. L. V. op ' t Staakske which formerly occupied the spot on which the cathedral now stands. According to tradition this image was endowed with the power of performing miracles and in consequence attracted numerous pilgrims. Thus, in the XII century the modest chapel was replaced by a church wich was demolished in 1481 when the present cathedral was commenced. Great edifices, like great mountains, are the work of ages. Often art undergoes a transformation while they are yet pending -pendent opera interrupta, they go on again quietly, in accordance with the change in art. The altered art takes up the fabric, inscrusts itself upon it, assimilates it to itself, develops it after its own fashion, and finishes it if it can. The thing is accomplished without disturbance, without effort, without re-action, according to a natural and tranquil law. It is a graft that shoots out a sap that circulates a vegetation that goes forward. Certainly there is matter for very large volumes, S 50 - and often for the universal history of human nature, in those successive engraftings of several species of art and different elevation upon the same fabric. The man, the artist, the individual, are lost and disappear upon those great masses, leaving no name of an author behind. Human intelligence is there to be traced only in its aggregrate. Time is the architect the nation is the builder. (1). To all probability the works were commenced towards 1352. (2). The architect John Appelmans (3) directed the construc tion till his death in 1398. His son Peter Appelmans succeded him; he died in 1434 and at this time the great tower had reached the height of the Clock gallery. From the basis to this point, the secondary Gothic style prevails in all its beauty. From this height begins tortured (1 ) VICTOR HUGO. (Notre Dame de Paris.) (2) According to an ancient tradition, the architect of the cathedral, on- account of the marshy nature of the ground, was obliged to lay down ox- hides uuderneath the masonry work in order to maintain the solidity of the foundations of the tower. (4 ) At the top of the tower, at the third gallery, we find carved on the pinnacle Appelman Fecit. The following authentic particulars have been kindly furnished to us by M. Leo de Burbure, member of the Royal Academy of Belgium. John Appelmans lived in Antwerp from the year 1553. In 1373 he had by his wife Mersoete Buys , a son named Peter who afterwards succeded him as the architect of the church and tower of Notre- Dame. Peter Appelmans is mentioned in a document dated 1406, as one of the principal membres of the Corporation of Workmen employed in completing the church (operari fabrica). John Appelmans died at Antwerp in 1595 ; his son in 1454. They were buried in the old church of St- George the construction of which the had super- intended and where their funeral monument formerly existed . The Appelmans family inhabited a house on the Rempart des Taillleurs des pierres , adjoining the one which bears the sign of the « Donderkloot. » 31 lines, arches surbased and overlaid with ornaments of the third Gothic or florid style. As the tower rises, its architecture becomes heavier, and the pinnacle which terminates it, has nothing of that airy lightness, that needle like architecture of the XIV century. The reason is, it was only terminated in 1518, when the Revival had already condemned as barbarous the Catholic art offeudal times. , (1) In the church accounts the names have been found of the architects who directed the building ofthe tower from the death of Appelmans up to its completion. Appelman's, immediate successor was John Tac ; in 1449 the master ma son was named Everard ; on the 13th. of November 1473 he was replaced by Master Herman de Waghemakere the elder, who worked until 1502 ; his son Dominick succeeded. him and finished the building from 1521 to 1530. Rombault Keldermans of Mechlin, conjointly with Dominick de Waghemakere directed the building of the new choir of the church. The tower, the highest that exists (2) ; its height 397 feet ; there are 622 steps from the ground to its highest gallery, is the property of the town, and in the middle-ages served as the City befrey. The unfinished tower on the left, belonged to the Chapter of the Cathedral. In 1457 or 58 a clock was placed in the tower ; the dials (1 ) GENS. (Histoire de la ville d'Anvers . ) (2 ) Up to the present time it has been always asserted that our Cathedral was sur passed in height by that of Strasbourg. It is quite the contrary. This error proceeds from the height of the latter being calculated from its elevation above the level ofthe sea, instead of from the basis of the edifice, which makes a great difference. 32 - in 1540. Chimes of 60 bells were added to the clock in 1483; the great bell named Carolus, after Charles V its god-father, weighs 16000 pounds ; it takes 16 men to ring it. Thedeep, and powerful sound it produces has a striking effect in our public solemnities. An other bell, named Maria, weighs 11,000 pounds and rang the first time on the entrance of Charles the Bold, in 1467.(1) The different parts of the church were built or finished in following time : The grand choir and its side aisles, with the chapels, the chapter-room, the sacristies of the canons and chaplains, and the church-library, from 1352, to 1420 ; The south-naves, situated between the grand choir and the south-tower, beginning with the Chapel ofthe Blessed Sacrament, from 1425 to 1472: The north-naves between the grand choir and the great tower; from 1472 to 1500. It is scarcely necessary to observe that the dome, such as we now see it, is a modern work. There is no-mention of it before the fire of1533. It was built in the following year. It was surmounted by a large copper-gilt statue of our Saviour. (2) (1) The old bells belonging to the city in the middle ages are still in existence and perform daily duty, except the last one which our modern political organization has put out of use. They are : The work bell rung at 5 in the morning, at noon aud at 8 ' clock in the evening . The curfew ( couvre-feu) rung at eleven at night, and the Tocsin or alarm - bell . This latter bears a sinister name ( Horrida) ; it dates from 1316. It was used to assemble the militia or burghers whenever any danger threatened the city. (2 ) In 1865, conductors were placed on the great tower and since then , lightning has Several times struck this edifice . 55 Up to 1611 , the great nave and transepts were only covered with a wooden roof. The stone roofs were con structed from 1611 to 1616. The tower was just completed when, in 1520, the council of the fabric conceived the bold project of re constructing the choir, if not the whole church, on a much grander and truly gigantic plan. Dominick de Waghemakere and Rombault Keldermans architects of the tower had furnished designs for the choir. An archi tect named Peter Van Vyanen had drawn a plan for an entirely new church. They set to work without knowing well how this colossal enterprise could be brought to an end; as if Luther was not born, and as if they were still in the times when catholic faith caused the mira culous Cathedrals of the middle age to rise up sponta neously as it were from the ground. Perhaps they coun ted upon means similar to those employed by Leo X to build St. Peter's at Rome. The first stone was solemnly laid by the Emperor Charles V, July the 14th. 1521, in presence of King Christian of Denmark. The works went on with ardour during twelve years ; the outside wall, destined to enclose the choir and its side aisles, had reached the height of the present great nave ; a quantity of pillars had been raised up to the commence ment of the vaulted roof, when a terrible fire broke out in the night of October the 6th. 1533; destroyed all the work, and threatened the church with utter ruin. The greatness of this disaster was equalled by the zeal 3 54 ---- of the council and inhabitants in repairing it. Gifts and alms were collected every-where; as early as the follow ing year, the dome was rebuilt. Adrian Michiels, from the designs of the painter Gommerus Van Neerbroek, cast the statue of Our Saviour, which, until 1795, deco rated the exterior. The confraternities, guilds and corpo rations rivalled with each other in zeal to restore the ruined altars. Dominick de Waghemakere directed the works and employed all the resources of his talent to restore a temple he had seen in its splendour. (1 ) (1 ) As early as the XIII century, the Canons of Notre- Dame had organized a Choir of music which was the cradle, not only of the School of music of Belgium, but of those of all Europe . In 1435 James Barbiriau had the direction of the Cathedral choir of music, which counted not less than seventy- seven singers, all the great musicians of the XV century, among which we find James Obrecht, Cocks, John and Gerard de Turnhout, Ducis and John Van Ockeghem. The latter retired in 1444, and went to France to found the cele brated School which produced William Crespel, Josquin Desprez, Anthony Brumel, Peter de la Rue, Louis Compère, Alexander Agricola, Gaspard Van Veerbeke, Verbonet and Prioris. James Obrecht became his master's successor, and continued in a worthy manner his learned system of teaching, up to 1504. He was considered as most skilful in the art of writing with elegance and correctness. In the Cathedral registers of the XV century, we find inscribed as singers, more than one illustricus name, such as Egidius Cartier, Cornelis Canis, John Pilloy, Jacotin Hans Sachs, Authony de Vice and Oliver de la Marche. Hubert Waelrant, born at Antwerp in 1517, belonged to the Cathedral School of music in 1544. He may be considered as the reformer of the art of music, for it was he who raised the diapason and completed the gamut, which, in those days, was composed of six notes only. Waelrant died in his native town in 1595, His works have appeared to Antwerp, Louvain and Venice. Towards 4580, Andrew Pevernage went through his studies in the Cathedral School ; later on he organized periodical concerts at Antwerp, where not only his own composi tions were executed, but those also of the most renowned masters of Belgium, Italy and France. By a bull of Pope John XXIII, at the request of Duke Anthony of Burgondy, ofthe Dean and Chapter of the Cathedral , the revenues of twelve chapels were specially ADA INTERIOR OF NOTRE DAME. 56 As for the building of the new choir, its completion was despaired of, and it was consequently abandoned. In 1556 king Philip II held here a Chapter of the Golden Fleece. Amongst those received into the order on this occasion were William the Silent and the Count of Hornes. In 1559 Pope Paul V, at the request of Philip II, made our church into a Cathedral. In 1560 a fire again broke out, followed six years afterwards (August the 21st 1566), by the devastations ofthe Iconoclasts. A similar disaster awaited the church in 1798. In 1794 the French had already stripped it of the master-pieces of our great masters to enrich Paris, whence they were only restored in 1815 ; but what the church still possessed was inestimable. The mausoleums of our bishops, due to the chisel of the most skilful sculptors, the stalls of the choir ; 32 chapels and altars supported by the corporations and confraternities to whom they belonged, and which rivalled with each other in riches, all fell under the hatchet of the sans-culottes, or were sold at low prices. (1 ) The church and tower were actu ally put up for sale and narrowly escaped demolition. On the arrival of M. d'Herbouville, in 1800, they were in a most deplorable state. Thanks to the impulsion given by this applied for the support of the Corps of singers . In 1421 , the chapter purchased a house on the Milk Market, to lodge the music and singing masters. In the XVII century, John Del Rio, dean of the chapter, left foundations to defray the studies of his relatives. and the musicians and singing boys of the Cathedral of Notre-Dame. (1 ) The total exceeded the sum of 17,270 fraces 81 centimes, about 691 pounds sterling . 57 Prefect, the exterior was repaired at the expense ofgovern ment, and the generosity of the inhabitants permitted the interior to be raised from its ruins. The architect Blom gratuitously directed this pious work. In 1830 during the twelve hours bombardment by the Dutch, shut up in the citadel, some bombshells pierced the roof and vault; happily however none reached the tower. The damage done was trifling. Such as we now see it although three times burned, and twice pillaged, and despite the unskilful reparation it has undergone, the Cathedral of Antwerp is still one of the finest monuments in Christendom.A volume might easily be filled, were we to collect all the testimonies of admiration bestowed upon it from age to age. We will choose in prefe rence, as being less liable to the charge of partiality, the opinion of a celebrated writer, one who was a foreigner and a protestant. The illustrious author of Ivanhoe and the Antiquary writes thus : The Cathedral of Antwerp is one ofthe grandest Gothic monuments in Europe. Its lofty arches, its long naves seem the work of demi- gods, so much do art and workmanship surpass all that modern times have produced. „ (1) " The Church of Notre-Dame is 380 feet in length 211 in width at the transepts and 169 in the naves and aisles. The stately arches are supported by 125 pillars . There are very few churches in Europe having like Antwerp Cathedral three lateral aisles on each side of the nave presenting a perspective and optical effect that is admirable from (1 ) Gens. Histoire de la ville d'Anvers. " 58 - whatever point they are viewed. Formed of clusters of prismatic mouldings which diverge to trace pointed arches ofthe vaults, they produce the effect of a sextuple avenue of venerable forest trees. The space comprised between the arches and the windows of the middle nave and choir, as well as the transepts, are ornamented by panels in simulated and trefoil-headed arcades, surmounted by a triforium in framed quatrefoil tracery; similar panels also decorate the lower parts ofthe walls in the chapels. In the centre ofthe transeps a fine octagonal cupola rises with triple galleries one over the other. (1) We nowpass on to the most remarkable works of art which decorate the interior of the church, entering by the south Portal, from the Place Verte. (2) RightTransept.-- E. MURILLO. St. Francis in prayer. P. P. RUBENS ( Tryptic). The Descent from the cross; left panel, the Visitation ; right panel, the Presentation in the Temple; onthe reverse of the two panels St. Christopher carrying, the child Jesus, and a hermit lighting the way. (4) (4 ) SCHAYES. Histoire de l'architecture en Belgique. (2 ) The Cathedral is open from 6 in the morning until noon, and from 3 to 6 in the afternoon . The paintings are exposed to view on Sundays and Thursdays during divine service. In an other time, to obtain admission to the church- and view the paintings , application can be made to the Concierge (side next the Plaee Verte) . Admission cards are to be had for one franc cach person. We have collected fuller information from. « Notice des œuvres d'art qui ornent l'église de Notre-Dame, » by P. Génard. (3) The Cathedral is not, like most churches, built due east and west ; a meridian cut inthe pavement in 1857 , crossing the transepts in an oblique direction , suffi ciently proves this fact . (4) This master-piece was painted in 1611 for the corporation of Cross Bowmen and it appears to have cost 2000 florins. 59 OTTO VENIUS. The last Supper. MARTIN DE VOS, the elder. The marriage at Cana. ( 1) Circuit of the choir. Chapel of the Sacred Heart. Gothic altar executed from the designs of Fr. Durlet. The picture painted by Cornelius Seghers, repre sents Christ appearing to the Venerable Mother Mary Alacoque. HENRY VAN BALEN, the elder. (Tryptic. ) Christ on the cross ; on the side panels, the adoration ofthe shepherds. CORRENS, St. John the Evangelist. - J. VAN EYCKEN, the Virgin ofthe Dolors. SCHAEPKENS, St. Gerome. A. DE QUERTEMONT, The Sacred Heart of Jesus. UNKNOWN, the Consecration of a Bishop (2). Chapel DEDICATED FORMERLY TO St. - Barbara. MARTIN PEPYN, St. Norbert in adoration before the Blessed Sacra ment, adorns the monument of the Rotteers' family. P. P. RUBENS (Tryptic. ) The Resurrection of Jesus Christ; on the left panel, St. John the Baptist; on the right one, St. Martina; on the medallion portrait of John Moretus, painted by G. J. Herreyns, adorns the monument of John Moretus and his wife Martina Plantin. AMBR. FRANKEN, the elder. Pentecost. MARTIN DE VOS. The Adoration ofthe Shepherds. Chapel of St.-Ambrose. On the right and left of the entrance door of the sacristy : HENRY VAN BALEN the ( 1 ) The Bride is the portrait of the painter's wife , (2) This painting dates from 1571. The frame bears the arms of the Hohenzollern (the Royal Family of Prussia . ) 40 elder. The blessed Virgin with the Child Jesus, and St.-John the Baptist reproaching Herod on his incestuous union with Herodias. ABR. JANSSENS, the elder. The Four Fathers oftheChurch. Monument of the bishop of Antwerp Ambrose Capello, by Artus Quellin, the younger. The white marble statue represents the bishop in the attitude of repose. (1) The beautiful statue of the Virgin and child Jesus over the sacristy door, is by Francis Duquesnoy. Chapel of St.-Flores. (2) J. DE BACKER. The last July ment ; right panel : Jane Riviere, her daughters and her patron saint. The wing- pieces are painted by Benjamin Sammeling. In the upper part is the medallion portrait of Christopher Plantin painted by G. J. Herreyns. Monument of Christopher Plantin; the inscription is by Justus Lipsius. J. VAN OPSTAL. Dead Christ on the lap of God the Father. ――― MARTIN DE VOS. the elder. Christ in the Sepulchre. Chapel of St.-Barbara.-Monument ofF. A. Verdussen. The composition, in Gothic style, is by F. Durlet, and the bas-relief in white marble by Joseph Geefs. (3) Monument of St.-Barbara, executed from the designs of Joseph Claes. The statue of the Saint was sculptured by James Van den Neer, the younger. (1 ) This is the only tomb of our bishops that escaped the revolutionary hammer in 1798. The painter G, J. Herreyns claimed and transported it to the Central School. (2 ) Ancient chapel of the Masons. Dedicated in 1867 to St. Flores , one of the monks of Gorcum recently canonized . M. P. Genard has discovered in the archives of the city some details respecting this new saint who was an Antwerpian. (5) Erected by the Sociéty of Fine Arts to the memory of its former President . 41 Above the magnificent confessional carved by P. Ver bruggen, a stained window in the style of the XIV century, adorns the apsis, and represents the Virgin, St.-Egene and St. -Frances. (1 ) Chapel of the Virgin of the Dolors. This chapel is decorated with polychrome painting in the style of the middle ages, by J. Baetens, under the direction of H. Leys; the arms of the different trade Corporations ofAntwerp form the subjects ofillustration. Agroup, the Virgin of the Dolors by Arnold Quellin, ornaments the altar. Three stained windows by J. Bethune, in the style of the XIV century, represent scenes taken from the Passion of Christ. (2) Reverse of the High-Altar . Painting by Abr. Mathyssens. The death ofthe Virgin. Three cameos by Math. Van Brée. The Annunciation and the Marriage ofthe Virgin. The graceful bas-reliefs in marble representing Angels gathering the vintage, are by L. Willemsens. Ancient Chapel of the Furriers. OTTO VENIUS. The Descentfrom the Cross and Christ laid in the Sepulchre. The painted window in the style of the XV century by J. Bethune, represents St. -Catherine, St. -Francis and St. Charles. (3). ― (1 ) Patron saints of the donors the Baron and Baroness van Delft- Geelband. (2 ) These stained windows were presented by the Misses Isabella and Josepha van Praet. (3) Patron saints of the donors, Smekens- Courtoy. 42 Chapel of St.-Luke. The altar designed by F. Durlet, is ornamented by a painting of Sasso Ferrato ; The Vir gin and Child Jesus. (1) . OTTO VENIUS. The Résurrection of Lazarus. A. FRANCKEN. The raising tolife ofthe Widow's son of Naim. A. VAN DIEPENBEEK. St.- Norbert ; the garlands of flowers round the picture are by Adrian Van Utrecht. Monument of the de Pret family : on the entablature a woman reclining and leaning on a circle, represents Eterni ty, carved in white marble by J. B. De Cuyper ; the pain ting ornamenting the monument is a copy of Rubens' • Christ in poverty•. 99 The stained window at the end of the chapel represents the arms ofthe corporation of St. -Luke, painted by De la Barre. (2) Chapel of St.-Ursula. The beautiful wood carvings of this chapel are by P. Verbruggen. ARNOLD MYTENS (Tryptic). Calvary ; left panel : Gas pard Van de Cruyce ; right one, St.- Ursula. CORNELIUS DE Vos (Tryptic). The Descentfrom the Cross; on the wing-pieces, the painter J. De Wael and his wife Gertrude de Jode. ― MARTIN PEPYN St.-Francis of Assisi. Id. Id. A saint of the Old Testament. A remarkable bas-relief of the 16th. century in white ( 1 ) The gift of Frederick William, King of Prussia. (2) This window was presented in 4648 to the corporation of St. Luke by the printer Balthazar Moretus. ― 45 marble is placed under the triptic ; it represents the Birth of St.-Ann. Chapel ofthe Holy Cross. Christ on the Cross in marble, executed by Jacques Van den Neer, the younger. (1 ) Chapel ofthe Sacred Heart of Mary. The altar is ornamented by a copy after A. Van Dyck: The Virgin and Child Jesus. The stalls opposite are from the designs of F. Durlet. On leaving the Apsis we have on the right ; P. P. RUBENS. The elevation ofthe Cross; on the left panel the Holy Women, on the right, The Crucifixion, of the two thieves ; on the reverse of the side-panels St. Walburga, St. Eligius, St. Catherine and St. Ann. (2) Chapel of St. Anthony. (3) - The marble altar belonged to the ancient Abbey of St. Michael and the statue of St. Anthony is by Arnold Quellin. FR. FRANCKEN, the elder. Christ on the Cross; this com position is surrounded by 14 pictures representing scenes from the Passion. UNKNOWN. The miracle of the Blessed Sacrament. GILLES BAKEREEL. St. Felix. The communion rails, remarkable workmanship are by L. Willemsens. ( 1 ) Gift of the Moretus family. (2 ) This master piece , placed as a worthy companion to the Descent from the Cross, belonged formerly to the church of St. Walburga now demolished, and was painted 1610 for the sum of 2600 florins . Transported to the Louvre in Paris, with others by Rubens, it was only recovered in 1815 . ( 5) This chapel, known formerly by the name of the Choir of the Circumcision , was reserved for the magistrates of Antwerp. " - 44 ――――― The stained window on the left dates from 1503, and was placed in commemoration of a treaty of trade conclu ded between Henry VII. and Philip the Handsome of Castille. The king of England, with queen Elizabeth of York, are represented kneeling under a canopy accompanied by their patron saints St. George and St. Elizabeth of Hungary In the upper part, St. John the Baptist, God the Father holding Jesus Crucified, the Blessed Virgin and St. John the Evangelist; higher up, the letters H E and coronets the arms of England and York surrounded by the red rose, the port cullis and the motto : Dieu et mon Droit. The second window, completely destroyed towards the end of the last century, represented Philip the Handsome and Jane of Castille. The initials of these sovereign's names, alone remain. Left Transept. Above the north portal. The Archdukes Albert and Isabella ; window painted in 1616 by C. Cussers, from the designs of J. B. Van der Veken. ( 1 ) , Above the entrance of St. Anthonys chapel are the four following windows : The Circumcision, painted in 1615. -The Christ on the Cross. Our Lady (on the Stake) invoked by pilgrims. - Godfrey of Bouillon introducing the Canons of St. Michael into the church of Notre Dame. On the lower part Van de Zype, Beyerlinck, Mirceus and Dinghens, Canons of the Cathedral and probably donors of the window, in 1615. ―――――― ――――· (1 ) Restored in 1866 by Henry Dobbelaere of Bruges. M. Fuchs, one of the church wardens, contributed a large share of the expenses. 45 ― FRANCIS FRANKEN (Tryptic). Christ in the midst of the Doctors ; on the right wing-piece, St. Ambrose baptizing St. Augustin; on the left the Prophet Elias working the miracle of Sarepta ; in the corner the kneeling figure of Regnier Bervoets de Brakel, who was probably the donor of the picture. (1 ) UNKNOWN. The Assumption ofthe Virgin. Chapel of our Lady. The altar, entirely of white marble, was executed in 1825 from the model of the one destroyed in 1798. The latter was the work of L. Willem sens, there remains only the socle of the Virgin, bearing the emblems ofthe four Evangelists. (2) The statue of the Virgin above the altar is a carving of the middle ages, dressed according to the doubtful taste . introduced into this country in the XVII century; this statue bears traces of numerous mutilations inflicted by the Iconoclasts , in 1566. (3) The window of this chapel is of the 15th century, the subject is St. John the Baptist and St. Johnthe Evange list; in the lower part, the donors are represented with their patron saints, St-Cornelius and St. Agnes. (1) (1) The painter gave these personages the features ofthe most celebrated Reformers of his time ; Luther, Melanchthon, Calvin, etc. (2) In 1798 the painter G. J. Herreyns saved these carvings at the peril of his life, and had them transported to the Central School. (5 ) Is this the miraculous statue to which legend attributes the building of Notre Dame ? Nothing proves it ; it is certain however, that it is anterior to the XVI century, and was broken to pieces by the Iconoclasts, in 1566. This statue is in great veneration among the faithful. In the magnificent procession on the patronal feast-day August the 20 th , this image of our lady is carried, clothed with ornaments of dazzling splendour. -- 46 - - Restored in 1864 by Capronnier, this window formerly occupied the north transept of the church. The alabaster statue St. Ann, is by an artist of the early part of the XVII century. A painting on marble representing the Holy Face by Otto Venius, and attributed to Leonardo de Vinci. (2) Side Aisles. Against the pillar, underneath the great tower. Monument of the Keurlinkx and Van Delft families, by Scheemaekers. The figure of Death coming out of the grave is of striking truthfulness. Amarble statue representing Gideon, attributed to Arnold Quellin ; and underneath, a marble bas-relief of St. Joseph holding the Child Jesus in his arms, by Henry Ver bruggen. Abovethegreat portal rebuilt in 1803 by Peter Coreblom, is the organ case carved in oak by Peter Verbruggen. (3) The large window behind the organ bears the arms of Charles V. (4) Underneath the south-east tower is the monument of (1 ) It is much to be regretted that on displacing this beautiful window no one thought of removing from this painting of the middle ages the frame work in the Revi val style which had been placed, there in the 17th century according to the taste ofthat period. (2) This painting belonged to the Church of the Great Carmelitas and was given to the Cathedral by the printer Bincken, in 1825. (3) This organ- case stood formerly at the entrance of the choir at St. James church. In 1798 it was broken up and sold ; later on it was bought back again and placed where it now stands. (4) An immense painting on glass representing The Last Judgment, by Jules Verre ghen, occupied this window, It was the gift of Lazarus Tucher and his wife Jane de Coquiel. It was destroyed towards the end of the last century, the remains alone remain. Ambrose Capello, bishop of Antwerp, sculptured by Arnold Quellin theyounger. (1) The statue of Gideon, a pendant to the one at the right of the lower side of the choir. Next to it is a St-John Baptist by an unknown sculptor of the XVI century. A bas relief representing St-Eligius, by William Ker rickx. Marriage Chapel. The altar-pièce of this chapel is the Holy Family surrounded by Angels, by Henry Van Balen the elder ; the landscape is by J. Breughel on velvet. At the side of the altar a dyptic by Roger Van der Wey den; the vocation of St. Joseph and the Marriage of the Virgin. The window by A. Van Diepenbeke, represents four al moners of Notre-Dame. Chapel of the Blessed Sacrament. Approaching the altar the right lateral-side is cut in imitation trefoiled mullions, decorated in polychrôme in the style of the XVth century and encloses fourteen compositions, repre senting the stations, or Way of the cross, executed under the direction of Henry Leys, by Messrs. Vinck and Hendrickx (2) - Window painted by J. Capronnier in the style of the XV century. St. Peter and Paul , St. Henry and St. (1 ) This epitaph was erected out ofgratitude for the generous gifts this bishop bestowed on the church and the poor. (2) The first four and the last three Stations are by M. Hendrickx ; the other seven by M. Vinck. 48 Elizabeth of Hungary. (1) The second window represents the Last Supper. Count Engelbert of Nassau is represented kneeling ; his 16 Heraldic quarterings surround the compo sition . (2) This window was painted in 1505 by Nicholas Rombauts. The altar of the Holy Sacrament, executed in 1823, from the désigns of Lemineur, by Jacques Van den Neer, the younger, has for altar-piece G. J. Herreyns, master piece, Christ with the disciples at Emmaus. The copper gilt tabernacle is by H. F. Verbruggen, and the bas-reliefs the meeting ofAbraham by Henry de Pottere (1753) ; the other two, representing Moses causing the mannato fall, and the Angel appearing to the Prophet Elias, were also carved in 1712 by Picavet, from the de sings of Verbruggen. The communion rails ofwhite marble are the remarka ble work of Arnold Quellin. Nave. The two windows represent, the Adoration of the Mages and the Conversion of St.- Paul. In the lower part of the latter are the portraits of the donors, the Fugger family. (3) The carved wood pulpit is by Michael Van der Voort ; it (2) Patron saints of the donors the Ullens family. (5) Count Engelbert II of Nassau, the donor of this window was Burgrave of Ant werp, a title posseded to this day by the reigning family of the Netherlands . The Count's quarterings are Nassau, De la Marck, Vianden, Cleves, Polanen Salm, Hornes, Fauquemont, Dalenbroeck, Heinsberg, Juliers, Voerne, England, Solms, Falckenstein, Munzenberg, Lippe. ( 4) These glass windows which now require an intelligent restoration , were given in 1537, the first by Ferdinand Dassa, and the second by the Fugger family. The date of this donation reminds us that at this period Antwerp was at the height of its pros perity, and the donors were two merchants whose opulence obliged kings and emperors. 49 is supported by a group of four figures of graceful beauty. They represent, under an allegorical form , the four quarters of the globe. Numbers of birds of every species are seen in the midst of the abundant foliage and branches which are carved with surprising lightness. (1) The dome was built in 1533 from De Waghemakers plan; the ceiling painted by G. Schut represents the As sumption ofthe Virgin; the colouring is vigorous and the perspective cleverly arranged. The Gothic cross at the entrance of the choir was executed from the designs of F. Durlet. The Christ is an old restored carving ofthe 15th century. The Choir. The high-altar dates from 1824 and the marble group, the Holy Trinity, at the crown part is by J. F. Van Geel. The bas-relief, Moses and the Brazen Serpent, is by G. J. Kerrickx. (2) P.P.RUBENS. The Assumption of the Blessed Virgin. (3) The four Evangelists at the entrance of the choir, and on each side of the high altar, are by Cornelius de Smet. ( 1 ) This pulpit belonged to St-Bernard's Abbey which was also destroyed in 1798. The old Gothic pulpit then in the Cathedral and which the spoilers of 1566 had respected, was sold at the same time to a broker for 17 florins, 10 sous , about twenty-five shillings ! (2) This altar was constructed in the classic style after the plan of the architect John Blom ; the richness of the marble and the beauty of its architectural lines, do not make up for the capital defect of its want of harmony with the style of the edifice . (3) This beautiful painting , often compared to a bouquet of flowers, and whose wavy lines and luminous colouring form one of the finest creations of the Prince of the Flemish school, was completed, according to tradition , in 16 days, and brought the sum of 1600 florins . The Dean of the chapter of the Cathedral, John Delrio, presented it to the church. 50 868 Clo Rich brass balustrades desig ned by Durlet in the style of the church, enclose the sides of the choir. The windows of the apsis, con cealed by the high altar, represent on the right, Charles V and on the left, Philip II. (1) The stalls in the lower part of the choir are carved in oak, in the German Gothic style ofthe XVcen tury. The architect Durlet furnished the designs, and the sculptor Geerts carved the bas-reliefs with the fine statuettes and images of such ex quisite taste. (2) This artist dying Bsc. (1 ) These windows were placed in com memoration of the Chapter of the Golden Fleece, held in the Cathedral , 21st of Ja nuary. 1555 . (2) The architect of the stalls, like the sculptor Geerts, hadnot the happiness of seeing his work finis ages, hed. Francis Durlet died in his native town and at the maturity of his talent, April. 2nd 1867. His delicate health enfeebled by close application and the loss of one of his children whom he tenderly loved, contributed to shorten his days. Durlet's death was an immense loss to art. He fully understood the poetry of the middle both as an archeologist and a profound thinker. The numerous productions of a life so well em ployed, all bear the stamp of this superior intelligence ; and to those we have already mentioned in this notice, we must add, for the Cathedral, the two portals carved in oak in masterly style, and the choir of St-Jacques at Liege . As professor of the Royal Academy, Durlet formed excellent scholars. This distin -- 51 - - in 1855, Jos. Ducaju continued the carving, with great talent. Sacristies. In the great sacristy Portraits of the bishops of Antwerp, Sonnius, Torentius, de Berghes, Miraus, Malderus and Nemius, by unknown painters ; Ambr. Capello (A. Van Diepenbeke), Van den Eede (Erasmus Quellin), De Beughem (Thys), Cools (Eyckens), de Francken-Sierstorpff (Stampart), Espinosa (Besschey), de Herselles, (id.), Werbrouck (Kerrickx), de Gentis (id.), Van Gameren (Besschey), Wellens and Nelis (Tuerlinckx). Sacristy of the Chapel of the Holy Sacrament. H. VAN BALEN. The Virgin and the child Jesus. GARRIBALDI. The Disciples of Emmaus. A Madonna carved by Arnold Quellin. Sacristy of St-Mary's Chapel. OTTO VENIUS. The Virgin andthe child Jesus. A. VAN NOORT. The Descent from the Cross. SCHUT. The Assumption. This is the sketch of the painting which adorns the dome. —— MOMPER. A landscape with figures by Van Balen. A Gothic picture representing the Virgin and Child. The treasury of Notre-Dame possesses goldsmiths' work of the greatest value, not only on account oftheir intrinsic worth, but as specimens of exquisite workmanship. On the exterior, above the great portal (west side) Christ on the Cross, cast in bronze by J. Couthals in 1635 with the remains of the duke of Alva's statue. guished artist joined to superior talents, all the qualities of the heart ; kind manners and rare modesty ; he left none but friends. 52 Near the entrance of the tower : tomb-stone of the celebrated painter Quinten Matsys. ST. JACQUES. (ST. JAMES' CHURCH . ) In 1404 a pious donor named Thomas Huygman, purchased a piece of ground near the Kipdorp for a chapel in honor of St-James ; it was finished in 1431 and was consecrated by Mgr. Peter d'Ailly, bishop of Cambray. Commenced towards the end of the 15th century, this church closes with dignity that period of the architectural history of our city and opens the succeeding period in a splendid manner. Its primitive construction dates from the creation of new parishes, caused by the extension of the town since its enlargement in the XV century. Nevertheless St.-James's church was far from answer ring by its size to its new destination. It was immediately resolved to build another on the same spot; and it was de termined it should not be inferior in beauty to the church of Notre Dame. As early as 1478, legacies and pious dona tions abounded for this purpose. In 1491 the foundations of the tower were laid, after the plans of Henry de Wa ghemakere, who directed the building until his death in 1503. His son Dominick, succeeded him as the architect until 1525. In this year his pupil Rombauld Keldermans, architect of Rombaulds at Mechlin, became partner with his master ; as conductor of the works Adrian Spillemans succeeded Thierry Coffermakere in 1522. The belfrey was finished in 1525 and the bells rang for the first time, June 8th, 1526. MAAR 1837 ninsann ST. JACQUES( ST.JAMES' CHURCH) 54 In 1581 the Calvinists took possession ofthe great nave then unfinished ; the building recommenced in 1602. The present grand choir was begun in 1618, and was finished during the course of the 17th. century. Thebuilding of St. James' church lasted one and hundred seventy years. Between the time that elapsed from laying the foundation stone in 1491, to the completion ofthe edifice in the second half of the 17th. century, an immense revolution in art had taken place. The Gothic style had not only been set aside by the Revival, that sister of the Reformation, but it was condemned and banished as bar barous. It is therefore astonishing that the architects charged with the continuation of the work of Dominick de Waghemakere and Rombault Keldermans had the wis dom to respect the plans of these masters. St. James's be longs entirely, save some few ornaments of trifling importance, to the Third Pointed style, of which it is one of the most magnificent productions. Extremely simple, and with the exception of the tower almost void of ornament outside, it presents in the interior a most imposing spectacle. ( 1 ) The tower, had it been finished, would have ranked amongst the highest monuments of Europe. In 1656, this church was erected into a collegiate one. It was a parish one from 1479. Like the other churches of our city, this beautiful temple (4) E. GENS. Histoire de la ville d'Anvers. - was threatened with total destruction in 1797. A priest of the Cathedral, named J. B. Mortelmans, was one of those who took the oath required by the commissio ners of the French Republic, and he obtained, at his request the free exercise of religion for the church of St James. To this priest therefore we owe the preservation of the church and of the numerous artistic treasures it contains. Mortel mans, however fearing to be disturbed, by the populace in the exercise of his functions, was obliged to demand an armed force and to seek the protection of the authorities (1). (1) We cannot give a better idea of the hostile sentiments of the people towards this priest, than by giving an extract from the Notice , published by M.Th.Van Lerius, church warden of St. James' . « Whether Mortelmans was sincere or not, guilty or innocent, certain it is that he saved the church, in this sense ; that as long as he occupied it, it could not be put up for sale to be demolished. On the 17th of February, 1789 , two commissioners, named by the administration to register national property, J. B. Adnet and J. J. Kreymans, terminated the inventory of every thing this temple contained, which list they made Mortelmans sign the next day It is easy to conceive that the faith ful of Antwerp left this priest to officiate by himself. The church in fact remained de serted as long as the Constitutional religion lasted ; from time to time a few persons only were to be seen, attracted there by curiosity, Mortelmans' mass was only frequented by a small number of Frenchmen whom the Revolution had not entirely perverted, and who were not sufficiently instructed to shun an ecclesiastic whose orthodoxy was at least doubtful. On August the 6 th , 1798, when the parish church of St. Andrew's was ope ned to the priest John Michael Timmermans, who had taken the oath January 25th of the same year, things passed in a similar manner as at St. James' . »> It is useless to add that we in no way share the opinions of the learned churchwarden of St. James's. - Mr. Van Lerius agrees that Mortelmans saved the church and its treasures of every kind. that he was constantly subjected to the annoyance, not of the sans - culottes , our new masters, but of those even who from their religious belief, ought to have pro tected him in his mission. This ecclesiastic joined therefore to great disinterestedness , a devotedness beyond all proof. Will fanaticism still continue to proscribe the memory of Mortelmans? One would suppose so, for the church contains neither monument nor inscription consecrated to this good and worthy man . Mortelmans is reproached for having sworn fidelity to the French Republic, but - @ 56 ― Although neither so vast nor so imposing as the Cathedral, St James's surpasses even the latter in its interior magni ficence. Its artistic riches make it a real museum, which the Antwerpians as well as strangers never cease to admire. Our itinerary will commence from the great portal. The organ-loft supported by Ionic pillars, is the work of the sculptor, Henry Verbruggen. Against the pillar, towards the south lateral nave, is the tablet in memory of the painter Henry Van Balen. The Resurrection of Christ, above it is by the same master, as also are his own portrait and his wife's. ― Chapel of the Presentation of our Lady, Altar-piece: A. VAN DYCK. St. George overthrowing the Dragon; and a group; the Virgin and Child, by an unknown artist of the 15th century. St.-Sebastian, a statue carved inwood by Artus Quellin. Tablet in memory of Felix Bogaerts : the medallion por trait is painted by N. De Keyzer. Chapel of St. Anthony. Altar-piece : MARTIN DE VOS. Temptation of St.-Anthony. (1) GUIDO RENI. The Virgin of the Dolors, a poetical crea tion, adorns the monument of the Burgomaster Van Ert born. The tombstone, sculptured in bas-relief, represents the at a later period, have we not seen Mgr. Affre, archbischop of Paris, go at the head of his clergy, and publicly acknowledge the representatives of the Republic which had⚫ just been inaugurated ? (1 ) The painter has given to the tempting demon, the features of his wife, Jane Leboucq. 57 - Chevalier Ambrose Tucher, who died in 1552, and his wife Mary d'Ursel, surrounded by their armorial bearings. Chapel of St.-Roch. A remarkable altar- piece : ERASMUS QUELLIN, St. Roch, miraculously curingtheplague, and an alabaster statue of St. Roch one of the beautiful productions of Artus Quellin, the elder. (1) A window by J. P, Capronnier, St.-Roch curing a man ofthe plague. This chapel and the two following, contain a series of 12 compositions drawn from the life of St. Roch, painted by Aldegrever (2). ――― Chapel of St.-Job. Altar-piece : OTTO VENIUS : The Virgin in contemplation ; the wing-pieces, St.-Cecilia and Jesus Christ appearing to St. Mary Magdalen, are attri buted to the same master. On the tombstone before the altar are the carved figures of the Chevalier Henry Van de Werve and his wife Hedwidges Van Cuyck, surrounded by their armo rial bearings. A window, painted by J. Capronnier, represents The death ofSt. Guy; in the lower part, St. Eligius, St. Mary Magdalen, St. Job and St. Cecilia. Chapel of St. Ann. T Altar-piece : FRANCIS DEVRIENDT surnamed FRANS FLORIS. Our Lady and the Child Jesus accompanied by St. Joachim and St. Ann, and other per sonages. The group surmounting the altar St. Ann, the (1) Erasmus Quellin has represented himself under the figure of the saint . (2) Heinrich Aldegrever, Albert Durer's pupil was born at Paderborn in 1502. 58 Virgin and Child Jesus, is by Andrew Collyns de Nole ; as are also the statues of St. -Barbara and St.-Catherine. AMBR. FRANKEN, the elder. St.-Nicolas blessing little children (a cameo) ; the reverse is the portrait of Nicholas Mertens, churchwarden, who died in 1586 ; the second painting represents, on one side St. John Baptist (a ca meo) and on the other the portrait of Jane Brand wife of Nicholas Mertens. Chapel of the St. John Baptist. Altar-piece : MICHAEL VAN COCXCYEN. The Baptism of our Lord. On reverse the Agony in the Garden. MARTIN DE VOS, the Elder. Martyrdom of St. James - The side panels painted by Ambr. Francken Jesus- Christ and the adulterous woman ; left panel, the Resurrection of Jairus's daughter. Against the pillar of the lesser nave, near to the Chapel of St. John, is the statue of St. Donatus, by J. B. Van Hool. On entering the right transept, turning a little towards. the portal, we find on the right a bas-relief in Bentheim stone of large proportions, representing the Raising of the Cross; the work of Michael Van der Voort the elder. At the side is the monument of the Helman family, the production of the two brothers John and Robert Collyns de Nole. Above the south lateral portal : J. HONDHORST, (tryptic) the merchants driven out ofthe Temple. Side panels, painted by Gaspard de Crayer repre sents Episodes of St. Scholastica's life. Chapel of the Holy Sacrament. The marble altar and the statues of St. Peter and St. Paul on the right and left of the altar, are by Peter Verbruggen, the Elder, and Louis Willemsens. In the middle : C. VAN DALE the younger. The Last Supper. The communion rails of white marble, are by Henry Verbruggen and G. Kerrickx. This masterpiece is a mi racle of patience and talent. ― The subject of the window on the right, is an episode in the life ofRodolph of Hapsbourg. The paintings on each side are by C. Van Dale the younger and form side panels of the altar piece. CH. VAN DONCK. St. Peter repenting. JOHN VAN ORLEY. Copy of Raphael's Virgin at the rose. JOHN MATSYS, The Virgin. The four statues of Apostles in white marble, which guard the entrance ofthis chapel, are by J. B. De Cuyper. Circuit of the Choir. The statue ofSt. Peter and St. James the Great, placed on each side of the balustrade are by De Cock. JOHN VAN RYN. Portrait of Canon Van Horenbeeck. Above the first confessional, on the left : - FR. GOUBAU. A Dead Christ. MARTIN DE Vos. Ecce Homo. VERLINDE. The Flight ofthe Holy Family into Egypt. Tablet surmounted by one of C. Schut's paintings, Christ on the Virgin's lap. 60 Chapel of the Holy Trinity. Altar-piece HENRY VAN BALEN, the Elder. The Holy Trinity. A. VAN NOORT. - St. Peter presenting Christ with the fish containing the tribute money. (1) - _____________ Chapel of St.-Yves. - Altar-piece: G.ZEGHERS. St. Yves. Calvary, a marble bas relief, by Scheemaeckers. In front of the altar :

MARTIN DE VOS, the elder. Right panel, Christ in the tomb; on the reverse side, a Cameo, St. Severus, Bishop of Ravenna. On the left panel, Christ appearing to Mary Magdalen ; on the reverse, a cameo representing St. Ambrose. J. REMEEUS. Magdalen. A. FRANCKEN. Portraits ofthe Tucher family. Chapel ofthe Resurrection. -G. ZEGHERS. Christ ap pearing, after death to his Mother. A group in marble, The Flagellation, by Michael Van der Voort the elder. Monument of L. Le Candele, surmounted by a bust Christ crowned with thorns, by Artus Quellin, the youn ger. (1 ) On seeing this picture for the first time, without knowing who the author is, we ask ourselves, is it Rubens ? is it Jordaens ? It most certainly is of their school ! No, it is by Adam Van Noort the master of both - and Rubens and Jordaens belonged to . his school . We will panse at this magnificent painting, because it appears to us of high importance in the history of the Antwerp school, If you wish to know whence Rubens drew the qualities that he carried so far and to such perfection , look at this painting. Masterly composition, noble and proud attitudes, variety and expression of faces, brilliancy of colouring, this is what the master taught his pupils. The beautiful head of Christ, that of the fisherman seated, turning his head towards the Saviour, would be masterpieces even were they signed by Rubens. As for Jordaens, he has pro duced nothing equal to this in distinction ! GENS, Histoire de la Ville d'Anvers. 61 ABR. JANSSENS (tryptic) . The Crowning ofthe Virgin, the Birth of our Saviour and the Adoration of the Magi. Rubens' chapel. In this chapel the great painter and his family are interred. - The altar-piece by Rubens, representing the Blessed Virgin presenting the Child Jesus to St. Jerome, gives us the portraits of Rubens under the figure of St. George ; Isabella Brandt, his first Wife, under that of the Virgin ; and Helena Fourment, his second wife, in Mary Magdalen. A beautiful white marble statue of the Mater Dolorosa by Luke Faydherbe, adorns the upper part of the altar. The reclining statues on the Mausoleums under a Gothic archiway, represent the Dying Christian and Eternity two poetical creation ofG. Geefs. TH.ROMBAUTS (Tryptic) .-- The marriage of St. Catherine: on the wing-pieces St. James and St. Francis of Assisi. Chapel of St.Charles. Altar-piece JAMES JOR DAENS the elder, St. Charles invoking the assistance of the Virgin to obtain the cure ofthose attacked by the plague. JOHN DE WIT. Three pictures, representing bishops, and monks. F. GOUBAU. Portrait of Dean Van den Bossche. ―― Chapel of St. -Peter and St. - Paul. Altar-piece : P. VAN LINT. St. Peter and St. Paul separating before going to martyrdom. FR. FRANCKEN. Two panels : Christ in his sepulchre. Christ appearsto Mary Magdalen. 62 Chapel of the Visitation. V. WOLVOET. The Visita tion. (1) A statuette of St. Alphonsus de Liguori by J. B. de Cuyper. L. MOONS. The Disciples of Emmaus, Circuit of the Choir. -- Descending on the right, the statue of Christ crowned with thorns, by J. P. Van Baursheidt; and the Virgin ofthe Dolors, due to Van Beve ren's chisel. JOHN DE LA HIRE. The sacrifice ofIsaac. P. THYS. The Holy Trinity. The Chapel of the Virgin. The statues of St. John and St. Paul guarding the entrance, are by Michael van der Voort. Those of the four apostles, placed on the same line going towards the north portal are by the two brothers J. B. and P. de Cuyper. T The altar of the Virgin, is an honor to Van den Eynde. The statue of St. John the Baptist is by Willemsens, that of St. Joseph holding the Child Jesus. is by Artus Quellin, the Elder ; as also the group painted on wood, the Saviour on the Virgin's lap. Tablet in memory of the Chevalier Michael Peeters and his wife ; a remarkable statue surmounts this monument re presenting Eternity by Michael Van der Voort, the Elder. The two windows ofthis chapel are by John De Labaer; one represents the Visitation ; in the lower parts, the ( 1) The painter one of Rubens pupils has given to the Virgin the features of Helen Fourment, Ruben's second wife. 65 - donor Alexander Vincx and Gertrude Wiegers; the other, to the memory of J. B. De Grassis and his wife, repre sents the Annunciation The stalls carved in oak are by Artus Quellin the younger. Transept. - Above the portal north side : J. HONDHORST ( tryptic) Christ in the midst of the Doctors, the side panels painted by G. Zeghers represent the Adoration of the Shepherds. The great glass window, Our Lady's protection is painted by M. Capronnier. Above the Virgin's chapel, a window by John de Loose, Christ on the Cross ; underneath this composition the portraits of the donors John van Peborgh and his wife Barbara Gillis. Another window of stained glass by an unknown artist, the Blessed Virgin seated in glory ; in the lower part the portraits of the donors, Henry Van der Stockt, and his wife Lucretia Mertens, accompanied by their children. J. E. QUELLYN. The Virgin interceding for a dying person. MUNTSAERTS, The Assumption of the Virgin. Monument of the physician John Ferreulx, by Col lyns the younger. Astatue, Ecce Homo, by John Van Beveren. J. SCHUT. The Dead Christ. Chapel of the Holy Cross ――― . WENCELAS COBERGHER. St. Helena giving the true Cross to Constantine. 64 Chapel of St. Hubert. - AMBR. FRANCKEN (Tryptic) . — The Holy Trinity ; on the right panel, the Calling of St. Matthew on the left one, the Conversion of St. Hubert. AMBR. FRANCKEN (Tryptic). A Calvary; right panel a priest accompanied by two laymen; left one the chaplain and the chiefs ofthe corporation of coal-porters in 1608, donors of this painting. A. VAN DYCK. Christ on the Cross. Monument of Anthony Van Wonsel, a Carthusian, who died in 1707. The marble statue of St-Bruno, under the features of the deceased monk, is a remarkable work by De Cock. - A tombstone of the XVI century, with figures in relief of Joseph Draeck and Barbara Colibrant his wife. The window in this chapel represents the Last Supper; in the lower part, the donor Joseph Draeck and Barbara Colibrant, accompanied by their patron saints and their armorial bearings with eight quarterings. Chapel of St- Dymphna. BERNARD VAN ORLEY. (Tryptic) The Last Judgement, on the side panels portraits of the Rockox family. Chapel of the Three Kings.— Altar-piece : HENRY VAN BALEN, the elder . (Tryptic) The Adoration of the Magi. On the right wing piece, the Angelical Salutation; on the left wing-piece the Visitation . Underneath this picture are three remarkable productions by the same master : Christ on the Cross ; and the cameos, the Adoration ofthe Shepherds, and the Flight into Egypt. 65 - A. DE RYCKER. Portrait of John Doncker and his wife Magdalen Hockaert. Chapel of the Holy name of Jesus. Altar-piece. MARTIN DE VOS the elder. Assembly of Saints; and a tryptic by the same master : the Virgin entering in to the Temple; wing-pieces, the Martyrdom of St. Mark and St-Luke. - C. DE VOS. Portrait of C. Van Lanschot, a benefactor of the poor; adorns his monument. The window of this chapel representing the Circumcision, is by an unknown artist. Chapel of St. Gertrude. JOHN ERASMUS QUELLIN. The Adoration ofthe Shepherds. Monument of the Commander de Vico who died in 1693. He wears the costume of a general of the armies of the King of Spain, and seems to contemplate with serene tran quillity the figures of Time and Eternity which appear to him towards the top of the monument. Trophies of war complete this group. This remarkable piece of marble was sculptured by J. Scheemaekers. (1) In the different chapels, a new Way of the Cross, has been erected, composed of a series of bas-reliefs in marble, carved by J. Geefs and the De Cuyper, brothers. Nave. Against the pillar on the right : JAMES DE (1) This monument was formerly in the Church of the Citadel, taken down in 1850 ; put aside then in the vaurts of the Cathedral, it remained forgotten, The Fabric of St. James's Church obtained it in 1837 and placed it in the Church . 5 - 66 ― Th — ROORE. The Fathers of the Order of the Holy Trinity ransoming Christian slaves. Windows of the great nave : the Assumption of the Virgin, by an unknown artist ; St. Martin giving a part of his cloak ; and the Adoration of the Magi, by John De Labaer. In the abside, the Mater Dolorosa and the Saviour carrying his cross, by Abraham Van Diepenbeke. The pulpit of noble simplicity is one of L. Willemsens's most remarkable works. Against the last pillars are affixed, on the right, a bas-relief of the Holy Trinity, by Artus Quellin; on the left, a statue of St. John Neponucene, by L. Gillis. The colossal statues of St. Peter and St. Paul are the work of P. Verbruggen and Andrew Collyns de Nole. The two altars placed under the organ are adorned, the one by an Assumption, admirably painted by Theodore Boeyermans the other by a painting representing the Christ in a glory by J. Dujardin. The Choir. The High-Altar, is the joint work of William Kerrickx and Louis Willemsens. The statue of St. James occupying the middle, is the master piece of Artus Quellin the younger. This altar was finished in 1685. The stalls of the choir and the other wood carvings in this church are very beautiful and highly finished. ST. PAUL'S. - The Dominican monks first settled at Antwerp, towards 1243 , assisted by the liberality of Henry II Duke of Brabant. Some years afterwards the Fathers obtained from William Van Liere a piece of ground upon which they built a church. 67 The old church of the Dominican convent, built between the years 1262 and 1271, being situated on very lowground was inundated at every high tide. (1 ) 1 It had also become too small, not for the number of friars, but for the ideas of magnificence which had for some time superseded monastical humility. The rebuilding was commenced in 1540 on a far vaster plan. The ground was raised 15 feet. In 1571 it was entirely completed. In 1679 it was very much injured by lightning; it was rebuilt on the same plan in 1681 . This church, now a pa rish one, dedicated to St Paul, is the last grand edi fice in the pointed style erected in Antwerp. W. Schayes thus describes it : it presents a magnificent structure, 263 feet in ex treme length, divided into a nave and side aisles by two ranges of cylindrical columns, with foliaged ca pitals. The lower sides are without chapels : in the right one alone are windows, all with florid Gothic mullions. The windows of the great nave form simple pointed arches without interior divisions ; at their bases as at St-Jacques, (1) We recognize some vestiges of this primitive construction in a side door on the south side of the Church. Above the entrance, the lintel or impost presents carvings of ornamented heads and the bottom ofa lamp belonging evidently to the Roman Ogival s tyle of the 13th Century. 68 th is a suite of balconies cut out in twisted figures. The choir, almost as large as the middle nave is lighted by a great number of long lancet windows ; the vault is elliptic in prismatic compartments ; whilst that of the nave is poin ted and with prossed mouldings. There is no appearance, of a transept. excepting a square chapel about 20 feet in depth on the right lower side. The outside of the church, of regular construction, but very simple, without balustrades or buttresses, offers nothing remarkable excepting the great portal ornamented with studied elegance, in the most florid and elaborate style but the upper part of which remains unfinished or no longer exists (1). On entering the church by the great portal, we shall begin our survey at the left lower side. J. PECHER. The Virgin the Comforterof the shipwrecked. The wood carvings in the style of the Revival cover to a certain height the lateral sides of the church and choir. The confessionals and stalls are of endless variety, and of such beauty and richness of decoration, that no other church in the town or in the whole country can offer any thing like them. Above these carved wainscots are 15 paintings in a line, representing the Mysteries of our Redemption; several bear the signature of great masters. H. VAN BALEN. The Annunciation. F. FRANCKEN. The Visitation. (1 ) SCHAYES. Histoire de l'architecture en Belgique. 69 MARTIN DE VOs. The Nativity. id. id. The Purification. UNKNOWN. Jesus in the midst of the Doctors. TENIERS, the younger. Christ in the Garden of Olives. VAN YSENDYCK, after RUBENS. The Flagellation. ABR. DE BRUYN. The Crowning with Thorns. A. VAN DYCK. The Carrying of the Cross. JAMES JORDAENS. Christ on the Cross. VAN VINCKENBOOM. The Resurrection. ID. ID. The Ascension. The last three : The Descent of the Holy Ghost, the As sumption, and the Crowning ofthe Virgin, are inferior to the others. Against the first pillar on the left of the nave : Our Lady ofthe Rosary surrounded by Angels, the remarkable work ofthe sculptor Kerrickx. On the left, going towards the altar ; the Virgin of the Dolors, a marble statue by J. de Baurscheidt. P. P. RUBENS. The Adoration of the Magi, and the Scourging ofChrist of which we have already met with a fine copy. This last picture of Rubens is truly wonderful for its beauty and the freshness of its colouring. G. DE CRAEYER. The Virgin appearing to St.-Dominic whom an Angel supports after giving himself the disci pline. G. DE RYCK. Beheading of St. Bartholomew. The Altar of the Rosary. Of black and white marble after designs by P. Verbruggen ; the statues of the Virgin, St. Dominic and St. Catherine, which ornament the 70 altar are by J. de Baurscheidt the elder. The painting, a copy from Michael Angelo Caravaggio, by Quertenmondt, represents the Virgin and Child Jesus, accompanied by St. Dominic and other Saints distributing rosaries to the faithful (1). At the side of the altar is a fine statue of St. Rose, by Arthus Quellin. The Choir. The high Altar. Raised by 15 steps it dominates the sanctuary; its simple ornamentation brings into relief the beautiful statue of St. Paul which adorns the upper part of the monument (2). A beautiful painting by J. Sels occupies the middle and represents the Descent from the Cross. On the right hand : monument of Henry de Varick, Margrave of Antwerp, who died in 1641, and his wife Anna Damant. They are represented kneeling with joined hands. The chevalier is clad in armour, the lady wears the dress of the 17th century. The group representing St. Dominic receivingthe Rosary, is by Messrs. De Bock and Van Wint. Monument of Ambrose Capello. The prelate is repre sented kneeling before a prie Dieu on which an open book (1 ) The original of this painting belonged to the Church and is now at Vienna. When Joseph II came to Antwerp and visited the church of the Dominicans amongst others, he manifested a desire to possess this painting. The good fathers eagerly offered it to him and contented themselves with a copy, which the Emperor bad eexcuted for them at his own expense. (2 ) The High Altar was constructed at the expense of Ambrose Capello , bishop of Antwerp, by P. P. Verbruggen, who furnished the plans and carved the ornamental parts . 71 is laid ; St. Thomas Acquinus, inspired bythe Holy Ghost, is painting out passage in the bosk ; the figures of this group, as well as the following, are in white marble, and of almost natural size. Monument of Michael Ophovius, 1637 ; the group re presents the bishop in prayer before the Blessed Virgin and Child Jesus. Between the windows of the nave and choir are sta tues, amongst which we shall point out the most remark able. A. COLLYNS DE NOLE. St. Thomas. J. DE BAURSCHEIDT. St. Peter. ARTUS QUELLIN. St. Hyacinthe. The statues ofthe Saviour, St. Raymond and St. Antony, are by P. Verbruggen. Altar ofthe Holy Sacrament. Built of marble, like the others, after the designs of P. Verbruggen who execu ted the bas-reliefs ; this altar is surmounted by a painting attributed to P. P. Rubens, but it is in reality by his pupil Sallaert; it represents a Council. — Altar of the Holy Cross. The painting by G. de Craeyer which ornaments it, represents the Dead Christ, supported by Mary Magdalen, St.-John and Angels. — Opposite: E. QUELLIN. The Disciples of Emmaus. Belowthis last picture are magnificent wood carvings. This confessional by A. Quellin, is of incomparable beauty, the figures carved in wood seem to become animated by the play oflight. - 72 ―― Monument of the sculptor Melyn, who died in 1653. The bas-relief in beaten copper, the Adoration ofthe Magi, is the work of this artist. Four pictures representing episodes of the battle of Lepanto (1) TENIERS. the elder : The seven works of mercy. The organ is considered one of the best in the country. Going out ofthe church by the side door, we come to the Calvary which strangers never fail to visit. The Calvary. This curious construction whose origi nality renders it one of the curiosities of the town, covers the place of the former Cemetery of the church. Rocks, Crypts and caverns, formed by a mass of pebbles, calcined coal, and broken bottles; a profusion of statues as large as life angels, saints and apostles, combine to form a strange and rustic appearance. Atthe end a rock rises to the roof of the church and represents Calvary ; groups raised to a considerable height represent scenes from the Passion. In the Crypt, at the foot of the rock, on a narrow opening in the wall, we remark a Christ in the sepulchre, in great veneration amongst the people. At the side is a representa tion ofPurgatory; behind an iron grating, human figures carved in wood and colored are seen struggling in the flames. The statues of the two monks at the entrance of the ( 1 ) It is said that during the naval engagement of Lepanto, which Don Juan of Austria fought against the Turks, the Blessed Virgin appeared to him in the sky and announced his victory over the enemy. In commemoration of this event Don Juan instituted the confraternity of the Rosary, This is the subject of the four paintings. 75 intm Calvary, represent the two Dominican fathers who went according to tradition to Jerusalem to take the plan and copy of the Holy Sepulchre. but is supposed that they forgot the drawing under the way. ST. CHARLES BORROMEUS. (Formerly the Jesuits' church.) -The Jesuits settled in Antwerp In 1562 and Thre TOD opened their schools in 1575. In 1614 father Aiguillon, drew the plan and laid the first stone of this church which was constructed with great magnificence after the designs of Rubens. Six years afterwards the building was com pleted, and on the 12th of August 1621 solemnly conse 74 crated by Malderus, bishop of Antwerp, and dedicated to St. Ignatius. Thirty-six Doric and Tonic pillars of Carrara marble placed in two superposed ranges, divide the interior dispo sed in the form of the ancient Roman basilies ; and as many paintings by Rubens decorate the ceilings of these galleries. The rarest and most precious marbles covered the walls of the choir and apsis, as well as the two large chapels of the Blessed Virgin and St. Ignatius. A great fire in 1718 having entirely consumed the two naves, they were immediately rebuilt on the old plan, but with less splendour, and the marble pillars were replaced by stone ones. Those of the upper gallery are laid on pedestals joined to each other by an iron balustrade. Each gallery is lighted by a range of quadrangular windows, with angles intercepted atthe upper galleries, and elliptic arches on the ground floor. Between each window is a round niche containing the bust of a saint. Ornaments in stucco decorate the tower-vault of the great nave. The part of the church most worthy of praise is its magnificent tower placed behind the choir. It is without contradiction the most remarkable of all our church towers built since the Revival. It is composed of a very high rustic basement, surmounted by two stories, the upper one likewise square and ornamented at the angles by Doric columns with bands or embossments ; the second one ofthe Jonic order, is octagonal, surrounded by a balustrade and pierced on each side by a Venitian supported by Corinthian pillars. The whole is terminated by a spherical calotte. 75 -- J This tower, like the portal is built of blue white stone. „ ( 1) The works of art which this church possesses are well worthy of thetourists ' attention Carved wainscots by De Baurscheidt and Van der Voort, the elder, cover the whole length of the upper and lower galleries without any monotony in their composition. A great variety of subjects taken from the lives of St-Ignatius, and St-Francis Xavier are carved in medallions, which succeed each other at every step. Confessionals, equal in beauty to those of other churches, interrupt its continuity and display Seraphims veiled with their long wings and graceful statues ofangels. Above these wainscots, paintings are placed representingthetwelve Apostles by Abr.Janssens. The Chapel of our Lady. (2) Built after Rubens' design, and covered with marbles of different colours, it gives a perfect idea of the splendour of the church before the disaster of 1718. - The altar piece : DELIN (3) St. Simeon holding the Child Jesus in his arms; The four small paintings on marble are the work of Van Balen. A glass dome just above the altar, adds to its beauty by the streams of light with which it is inun dated. Themarble statues are by Andrew de Nole the youn ger. This chapel also contains the following paintings : VAN LOON. The Adoration ofthe Shepherds. (1 ) SCHAYES. Histoire de l'Architecture en Belgique. (2 ) The Houtappel family built this chapel at their own expense. (3 ) The artist has painted himself in the personage on the first plan on the left 76 VAN DER BORGHT. Annunciation. J. SCHUT. The Circumcision and the Assumption. JOHN LIEVENS. The Holy Family. The Holy Family over the altar of St.-Joseph at the end of the gallery, is a copy after Rubens. The pulpit is carved by J. De Baurscheidt. The Choir. The High altar was désigned by Rubens. This altar possesses three paintings which are shewn alter nately the first represents the Queen of all Saints, by C. Schut, a large composition of striking effect ; the second, Elevation on the Cross, by G. Zeghers, and the third, the Invocation ofthe Virgin, by G. Wappers. The four marble statues placed in the niches of the choir, St. Francis Borgia and St. Francis Xavier are by Artus Quellin, the other by Andrew Collyns de Nole. The altar of St. Francis Xavier in the left gallery is enriched by a painting of G. Zeghers, St. Francis Xavier kneeling beforethe Virgin and Child Jesus. The two small paintings are by J. Schut. Chapel of St. Ignatius. The subject ofthebas-relief ofthe altar is the Virgin and Child Jesus, appearing to St. Ignatius in the desert, by Van Papenhoven. The com munion rails are by the same artist. The beautiful statue of the Virgin of the Dolors, is by Artus Quellin. The marble statue of John Nepomucene is by Van der Voort the elder; that of St. Ignatius is a copy of the one sculptured by Artus Quellin and which is now in Rome. 77 In the upper gallery besides the carved wainscot there are two marble altars with statues by Andrew de Nole, and a Wayof the Cross, painted by the pupils of the Academy of Antwerp. Sacristy. An ivory Crucifix of admirable work manship. The portrait of Wellens, bishop of Antwerp. A chasuble and dalmatie of great value made after the designs ofRubens. Tradition states that Isabella Brandt, the great painter's first wife, embroidered with her own hands, the cartel in the middle of the chasuble, representing the As sumption ofour Lady. Of the principal paintings with which Rubens had en riched this church two only were spared fromthefire of1718; a St. Ignatius and a St. Francis Xavier. On the suppression of the Jesuits, by Clement XIV, in 1773, the Austrian government carried off these two paintings which now ornament the Belvidere gallery at Vienna. The church was closed at the same time, but was re opened later at the solicitation of Mgr. Wellens, bishop of Antwerp. - In 1794, the Jacobines converted it into the Temple of Reason, and placed their presumptuous Goddess in face of the High altar. Happily reason soon abolished that, which only tended to the relaxation of morals, after having des troyed all belief. In 1815 this church served as a temporary hospital for the soldiers ofthe allied army wounded at Waterloo. This church, begun by the Saxon Augustin monks in 1514was finished and opened for divine ST. -ANDREW'S. 78 worship being dedicated to St. Andrew, 20th of June 1529 It had been erected into a parish by a bull of Pope Adrian, on the 14th. of September 1523. The tower was only fi nished in 1559. It was then surmounted by the statue of St. Andrew, but was thrown down by a hurricane a short time afterwards. In the night of May the 30th. 1755, the belfrey fell down in consequence of the unselid state of the founda tions. It was rebuilt the 27th. of August of the following year; the burgemasters John De Knyffand Charles Van de Werve assisted by two canons of the Cathedral, laid the first stone. This church like St. James's and St. Paul's did not suffer, much from the French invasion in 1798, thanks to the Vicar Timmermans, who took the oath required by the Representatives of the Republic ; it remained open for divine worship and preserved its valuable objects of art. (1) This church ofextreme simplicity in the interior presents a vast and beautiful building in the form of a Latin cross, divided into a nave and side aisles without lateral chapels. Two chapels only open on the transept, in the prolon gation of the aisles, on the two sides of the choir. The pointed style still predominates, but is very sparing of ornament; one feels it will soon be abandoned . The tower, square up to two thirds of its height, supports an octagonal cupola itself surmounted by another smaller cupola. (4 ) See Church of St. Jacques, note and description . - 79 - Side Aisles. - The Stations or Way of the Cross, due to Messrs. Correns, Kremer, Van Rooy, Matthieu and Van Ysendyck. - Nave. The subject of the pulpit carved by Van Geel and Van Hool, is the Calling of St. Peter and St. Andrew. Adivine serenity animates the features of our Saviour who is advancing towards the bark of the two future apostles, whose attitudes denote astonishment and respect. The overladen nets let fall into the bark thousands of fishes, which are seen struggling under the transparent mes hes ; all along which immense crabs are cradling and endea vouring to escape. The altars againste the last pillars of the nave are enriched, the left one with a painting by Martin Pepyn, the other with a Calvary, by Fr. Francken, the elder. The cariatides of this last altar are exquisitely graceful. Left Transept. Two modern paintings : Christ in the tomb, by Van Eycken, and Christ in the Prætorium of Pilate, by Wouters. Chapel of our Lady. This chapel contains two re markable paintings. G. ZEGHERS. The Holy Family. GOVAERTS. St. Ann teaching the Virgin. On the threshold of the choir, the colossal statues of St. Peter and St. Paul, the former of remarkable execution by Artus Quellin ; the latter by Zielens. Above the stalls : OTTO VENIUS. The Martyrdom of St. Andrew. 80 com E. QUELLIN. The Guardian Angel. The High Altar is of monumental and imposing cha racter ; the groups occupying the middle, represent the Assumption of our Lady, by the celebrated P. P. Ver bruggen. (1) Chapel of the Holy Sacrament. An Adoration of the Magi, painted in the style of Jordaens ; Jesus in the manger of Bethlehem, by E. Quellin, the Disciples of Emmaus, by the same; and a monument ornamented by a picture attributed to Martin de Vos, the Miracle of the Loaves. The altar piece, the Last Supper, is by Eyckens, the elder. Against the last pillar, at the south of the nave, opposite the right transept, is the mausoleum of Barbara Maubray and Elizabeth Curle, ladies of honor to the unfortunate Mary Stuart, Queen of Scots, who, after the execution of their sovereign left their country from attachement to their religion, to place themselves, as the latin inscription relates, under the protection of Philip II. The monument is decorated with statues of St. Barbara and St. Elizabeth, and surmounted by a striking likeness of the Queen of Scots, painted by Porbus, In the style of Vau Dyck. Going towards the South portal, two modern paintings remain to be seen. The one on the left, the worthy companion to the Christ in the tomb, represents the Mother ofGod, seated at the foot of the Cross holding the Dead Christ on (1) This altar was brought from the rich abbey of St. Bernard at Antwerp, 81 her knees, signed Verlat. The other is a Christ on the Cross, signed Markelbach. — ST. AUGUSTIN'S. (Formerly the church ofthe friars.) Some monks of the Order of St. Augustin came and settled at Antwerp in 1607 and, in the following year opened a school in Everdy street, which was soon in great renown. They taught Theology and the Classics . Assisted by the liberality of Henry Van der Goes, Senator of Antwerp, and John Balbi a Genoesee patrician, they were enabled to begin a church; and the Archduke Albert and Isabella his wife who also contributed greatly to the work, in 1615 , laid the first stone of this edifice which was completed. three years afterwards. The front is only a piece of masonry of very doubtful taste; the interior forms a fine structure with a nave and side aisles separated by Doric pillars supporting arches, above which is a fine entablature and a range of elipti cal arched windows. To the entrance at the right side aisles : J. CELS. The Visitation. LENS. Thepresentation in the temple. DE QUARTENMONT. Copy of Rubens' dead Christ. The pulpit carved by P. Verbruggen, represents St. Au gustin. JAMES JORDAENS. A magnificent altar piece. The Mar tyrdom of St. Appolonia. 6 82 Achapel in Roman style is decorated in fresco paintings, by J. Bellemans. The Choir. The high altar by P. P. Verbruggen is a masterly painting. P. P. RUBENS : The Marriage of St. Catherine. The Virgin is carrying the Child Jesus who gives a ring to the saint prostrate at his feet behind her are on one side St. Joseph, on the other St. Peter and St. Paul ; on the steps, St. John the Baptist, St. Augustin, St. Sebastian, St. George (1 ) and St Laurence. In the choir are landscapes by Spierings after the man ner of Salvator Rosa. In the left side aisle, at the altar : ANT. VAN DYCK, St. Augustin in ecstacy before our Lord who appears to him in glory. J. BRONCKHORST, (surnamed Langen Jan) . St. Helen. GASP. DE CRAEYER. Christ on the Cross, MATH. VAN BREE. The Baptism of St. Augustin. Above the arcades of the lower nave are 14 paintings by Van Herp and different masters the subjects of which are taken from the life of St. Augustin. CHURCH OF ST. ANTHONY OF PADUA. -This church built by the Capuchins Father in 1588 ( 2) , is now a branch parish under St. James. (1 ) Rubens has painted his own portrait in the person of St George. The three altars are ornamented by as many master pieces. The paintings ' of Rubens and his two most celebrated pupils Ant . Van Dyck and James Jordaens in this church form the most splendid specimens of the Flemish school , (2 ) The surrender of Antwerp in 1585 was the end blow to the heroic struggle 83 At the entrance, under the organ-loft : BRONCKHORST, (surnamed Langen Jan). The Dead Christ with his Virgin mother, St. Mary Magdalen, and Angels around him. After J. JORDAENS. The Flight into Egypt. In the right aisle : ANT. VAN DYCK ; The Dead Christ. The High altar representing a Calvary, is by the sculp tor Van Arendonck. In the choir are the following paintings ; P. P. RUBENS. The blessed Virgin presenting the Divine Child to St-Francis. ZEGHERS. The Divine Mercy. J. COSSIERS. Our Lord appearing to Mary Magdalen. RUBENS' SCHOOL. St-Francis stigmatised. A statue by A. Quellin, The Virgin of the Dolors. An ivory crucifix of admirable finish. The pulpit is by Van Hool. ST. GEORGE'S. -The ancient church formerly built on' the same site, was one of the most beautiful in the city. Sold as national property in 1797 by the French Sans culottes, this church was demolished by the pur chasers. The new church built in the pointed style on Mr Suys' plans, was inaugurated on the 5th. of September 1853. sustained by our provinces against Spain . The ruin of our metropolis had driven away half the population . The Prince of Parma brought back to us not only the Jesuits, the Dominicans and the different religions orders banished from the town , but even called in new ones, the Capuchins among the rest . 84 The interior is enti rely decorated with fres co paintings by Guf fens and Swerts. The pulpit is carved after the designs ofDur let. On going out by the left door, we pass through a Calvary. Christ and the Pro phets carved in stone, and larger than life, are not devoid ofmerit. These carvings date from the 17th. century. St.Elizabeth's. (Church of the Civil Hospital. ) Conse crated in 1238 by the Bishop of Cambray whose jurisdic tion then extended to Antwerp, this church contains some good paintings by Martin Pepyns, and an Assumption. by G. Maes. Chapel of the Jesuits. (rue Chapelle de Grâce. ) H. VAN BALEN. The Adoration of the Magi. Some good copies by co-adjutor brother Quartier. After A. Van Dyck, the Virgin and Child Jesus, and after Zeghers, the Abdi cation of St. Louis Gonzaga (Antwerp Museum). The Virgin appearing to St. Ignatius, is the same painter's composition. 83 Chapel of the Blessed Virgin. (rue de l'Empereur.) This beautiful chapel dates from 1505 and formerly be longed to the corporation of Fullers. Closed in 1797, it was opened for divine service some years later. The interior offers nothing remarkable except the altar over which is a fine statue of the Saviour of the World, by Artus Quellin, and a painting of the Assumption, by Abr. Mathyssens. The pulpit is by P. Verbruggen. Chapel of St. Nicholas. (Longue rue Neuve). —Built in 1498 by the corporations of Mercers, this chapel pos sesses a painting by Otto Venius, forming a tryptic : The Adoration of the Shepherds ; on the side panels the donors Simon Rodriguez Peretti, baron of Rhodes, and his wife Ann Lopez, accompanied by their children and patron saints. (1) Chapel of St. Mary. (Marché aux Souliers) . Of very ancient origin. Pope Honorus took it under his protection by a bull of 1226. as well as the hospital which then existed . Modernized in the 18th. century, this chapel has retained nothing of its primitive character. The interior however contains some good paintings, amongst others a Holy Family, in which Erasmus Quellin, quite equals Van Dyck. - ― Chapel of the Carmelite -Founded nuns (rue Rogier) . in 1643 by Ann of St. Bartholomew, contemporary and ― ( 1 ) This picture has been completely spoiled by an unskilful restoration, 86 - companion of St. Theresa. The altar piece : St. Theresa's vow, is by N. De Keyser. An Assumption, by P. Thys and The Death of St. Clara, by one of Van Dyck's pupils. Chapel ofthe Orphanage (Longue rue de l'Hôpital) . The front offers a specimen of the architecture of the first Revival. Above the entrance door is a very curious bas-relief of the 16th. century. It represents the interior of a school ; the mistress is presiding over her pupils' work. Above, in a scroll, a Flemish inscription informs us that this Orphanage was founded in 1552, by John Van der Meere. an Antwerp merchant. This bas-relief is surmounted by a statue of our Saviour. The interior contains some remarkable paintings, such as The Descent from the Cross, by A. Van Noort ; two portraits by Rubens, The Burgomaster Rockox, a gothic picture ; the Virgin and Child ; a portrait of Gilbert Van Schoonbeke, and the portrait of the painter Simon de Vos, painted by himself. Chapel ofthe Black Sisters. (Rue des sœurs noires). Built in 1521. Contains a fine painting by J. Cossiers. Chapel of the Capucine nuns.-(Rue St. Roch. ) This is the ancient convent of the Carthusians built in 1677. The altar piece represents the Adoration of the Child Jesus, by Erasmus Quellin. Chapel ofthe Beguinage. (Rue rouge). It possesses some remarkable paintings, among others, the Descent from the Cross, by J. Jordaens. and a painting by Adam Van Noort. - 87 Chapel of the Redemtorist Fathers. (Rue Houblon nière). --- This oratory is well decorated in the style of the middle ages; the interior offers some remarkable sculptures in the same style. The different chapels belonging to the religious orders, such as the Recollects, Capuchins, etc. offer at present no thing remarkable in point of art. Jewish Synagogue (Rue Pierre Pot). - Ancient church ofthe Cistercian monks, suppressed in 1796. The cloistered buildings were converted into dwelling-houses and ware houses. In 1864 the church was made into a synagogue. - BRITISH CHURCH . (Rue des Tanneurs. ) According to Papebrochius, a house of Refuge was founded in 1419 for the reception of poor widows ofmembers of the Corporation oftanners. It lays beside the Tanner Street in the midst of a number of straw huts, inhabited by cobblers and curriers, and which, towards the close of the 15th. century were taken possession of by the Brothers of the order of the Virgin. Twenty years later, on the 26th. March 1439, an engagement was entered into by the Dean and members of the above corporation to levy amongst themselves a sum of money for building a large chapel adjoining the house of refuge. The altar of this chapel was consecrated to Saint Crispin and Crispinian. John Slingere, Town Councillor, John de Wintere and Arnold Van Wezele, Deacons, George Van der Heyden and Walter Keirinck, Elders of the Corporation, founded a Curacy at this Altar on the 24th. May 1443. In the beginning of the 18th. century, the tanneries 88 of Antwerp had fallen into such decay. that the corpo ration of Tanners was virtually extinct. It was then that the religious house of refuge and the chapel were sold in the year 1723. But the Bishop of Antwerp having opposed this sale, as a desecration, or an act of impiety, got this chapel restored to its former use as a place of divine worship. The house of refuge however remained abandoned and was destroyed. The chapel served in 1794 as a military hospital for the allied troops, During the severe winter of 1795 distributions of bread were made in it to the poor. In February 1796 it was erected into a " temple of reason , and several Jacobites festivals were there celebrated. This lasted till 1797 when the building served as a hay-store. In 1821 it was granted bythe government to the Anglican community as a place of worship.

The Rev. R. Byron is the British Chaplain. Divine ser vice every Sunday morning at 10.45 ; and afternoon at 3. 15, except on the first Sunday in every month when there is service at 7 in the evening. GermanProtestant Church.- In 1819 the government granted the old church and convent of the Annunciates for the use of the Protestants of Antwerp. In 1821 it was opened for divine service which was celebrated in German French, Dutch and English alternatively until the British community obtained the grant of a separate church as above mentioned. — Divine service at 9 1/2 a. m. in Dutch. The community in 1833 founded a German-Dutch School which is partly supported by about 200 children. CIVIL MONUMENTS. THE TOWN- HALL. The first stone ofthe new Town Hall was laid February the 28th. 1561 by the chief constable John Van Immerseel, in presence of the Amman, the Burgomaster, Aldermen and Councillors ; the burgo master Rockox laid the second stone. Cornelius de Vriendt, surnamed Floris had made the designs and directed the building (1). Towards the end of the year 1564, it was entirely completed, and on the 27th. February 1565 was inaugurated by a solemn mass followed by a grand banquet. The ancient Town-Hall was demolished and the ground sold by the town to private individuals. The site of the new Hall had encroached on the great market place, so that the houses on the west side which formerly faced the market, were then in a new street ; as they almost all belonged to - (4 ) The following inscription in Flemish was formerly on a tombstone in St. James's church . « Here lies the Honorable Pauwel Luydinckx, architect of the town Hall and Exchange, who died December the 4th . 4586 , and Laurentina Hoeckx, his wife, who died 30th . of April 1895. This inscription would lead us to suppose erroneously that Luydinckx was the architect both of the Town-Hall and Exchange, whilst in reality he only directed the restoration of the Exchange. after the fire of February the 24th . 1581 , and that of the Town- Hall after the disaster of the Spanish fury, (November the 4th. 1576.) բարի համի կաում այա կաւի կալա ուէՓ| /promm ottom Jannusmong Juu]among mome wPLATTI.5 129 INSIDE OSBOU VERMORCKEN SE. 000 d-gddd 1911D PROUDO MIA SPQA TOWN -HALL . நகம் கணபுகா (சபலாக ]பெப ALABARRE 91 ――――― corporations, this street was called Gilde straat, Street of corporations. In 1563, the magistrate obtained from king Philip II, a grant for the loan of 500,000 Carolus florins, over and above the 600,000 already absorbed by the building of this vast and magnificent edifice ; and the expenses went far beyond that sum. The Town-Hall is the first great monument built in Antwerp in any other style than the pointed which had prevailed for five centuries in the West and which was dethroned by the Revival. It is a Florentine palace, less its elegance and taste. It imposes by its massiveness, and we are struck more by the richness of the materials than pleased by the beauty of its architecture. Its form is qua drilateral it stands quite apart and is covered on the outside with huge blocks of blue and white stone. The same style prevails in the four fronts, which are composed of a rustic basement surmounted by two stories and an attic. Between the windows ef each story are two ranges of pilas ters, the first of the Toscan, the second of the Doric order. On three sides of the edifice, the basement is covered with red marble, which seems to be drawn from the quarries of St.Remy. In the middle of the principal front is a projecting part ornamented with marble columns, and composed of the five orders of architecture, raised one above the other. It terminates by an elevated frontispiece in the centre of which, in a niche, was placed the statue of the fabulous Salvius Brabo, replaced in 1585 by that of the Blessed Virgin, patroness of the town. On both sides of the 92 frontispiece are obelisks covered with sheets of copper. Lower down in the lateral niches are the symbolical statues ofWisdom and Justice. The arms of Spain, Brabant and the Marquisate, complete the decoration of this work, the light and elegant arrangement of which forms a striking contrast with the rather massive character of the rest of the edifice. An immense gilt eagle surmounts the central gable and the two end sides. Some of the rooms in the Town- Hall are ornamented by fine paintings, of which we will mention the following as being the most remarkable : J. B. BONNECROY. View of the port and town of Ant werp, (1658). ADRIAN VAN UTRECHT. Arrival of the Cardinal Prince Ferdinand of Spain ( 17th. of April 1635. NICHOLAS VAN CLEEF. Defeat of the Duke of Alençon (January the 16th. 1583) . P. HOREMANS. Prince Charles of Lorraine entering by St. Georges' Gate (August the 19th. 1749). A Concert. A painting of the XVII century ; Italian School. VAN CLEEF. The devastation ofthe environs of Antwerp by Martin Van Rossem (July 24th. 1542). JACQUES GRIMMER. View of Kiel (1575) . JOHN VREDEMAN. The Town taking the Wards under its protection (1595) . OTTO VENIUS. Portrait of young Prince Philip of Spain (1610). 93 - MATH. VAN BREE. The projected enlargement of the City of Antwerp. CASTEELS. View of the Town Hall in the 17th, century. Idem Place de Meir in the 17th century. H. SPORCKMANS. The town of Antwerp soliciting the freedom ofthe Scheldt. Anallegorical composition. On the fore-ground are the portraits of the members of the corpo ration of boatmen. J. P. VERDUSSEN. Battle of Eeckeren, 1703. V. SNEYERS and LUKE VAN UDEN. Battle ofCalloo, 1638. N. VAN EYCK. Theplace de Meir. The Brothers GILLES and BONAVENTURE PEETERS. Battle ofCalloo, 1638. BONAVENTURE PEETERS. Antwerp in the 17th century. BENJAMIN SAMMELING. The re-establishment of the city under Philip II. FR. FLORIS. The Judgment of Solomon. F. POURBUS. Portrait of a magistrate. J. MOERENHOUT. The incursions ofMartin Van Rossem. W. LINNIG. Hall of the Old college. Idem Ancient Hall of the states, The Leguit. (1) MOSTAERT. The ancient Town-Hall of Antwerp. The fire at the Town-Hall and Great Market place, in 1576. The Place de Meir in the 17th. century. In the room reserved for the sittings of the Town ( 1 ) From the words leg- uit (lay out) or expose for sale. It was the ware house of the leather merchants of Amsterdam in 1567 . 94 Council is a ceiling painted by Pelligrini, representing Justice casting thunderborts on the Vices; the full length portraits of Leopold 1, the late King ofthe Belgians, Queen Henriette and Princess Charlotte, are by N. de Keyser; those ofthe late Queen of the Belgians, Louise, the King Leopold II and the Count of Flanders, are by G. Wappers. Different sketches of triumphal arches erected during the public festivities which have taken place in Antwerp for the last twenty years, and three compositions by Leys, representing episodes of the Entry of the Duke of Alençon. Salle Leys. A noble thought inspired the Town. Council, when it decided on having the principal room of the Town-Hall decorated by mural paintings, des tined to recal, not the battles nor the actions of the emperors, barons and counts of the middle ages, but rather the great principles of liberty inscribed in our antique and glorious city charters. H. Leys, who so worthily supports the brillant reputation our city has acquired in the world of fine arts, was charged with this very important work. The convention took place on Fe bruary 28th. 1861, between the artist. the Burgomaster F. Loos and the Aldermen, and Government intervened in a part of the expenses. This work is now almost terminated. We may already affirm that the great saloon of the Town-Hall of Antwerp, - 95 will become for Leys what the Halls of the Vatican are for Raphael, the Pinacothecum of Munich for Kaulbach, the Palace of fine arts in Paris for Paul Delaroche. (1) We pass on to the description of this hall, whose Archaic character is displayed in its smallest details. The whole of the plan was furnished by the architect Schadde. The decorative part was executed by Baetens. A frieze contains the arms of the Burgomasters and Aldermen who in 1564 inaugurated the Town-Hall. The chimney piece in red marble, a work truly gran diouse in style, occupies the middle of the room and forms the frame work of a chiesled copper bas-relief byJ. Watlé. The sides of the walls covered with oak panels throw out admirably compositions, painted in fresco , represent the principal events of our communal liberties . The Joyous Entrance. The archduke Charles (later on Charles V), taking oath to respect our liberties, on his entrance into the jurisdiction of Antwerp ( 1514) (1). (1 ) Death, this implacable master of us all, has just ravished from us this great artist, and Antwerp has lost in him one of her most illustrious children . Leys possessed a talent deeply original derived from himself alone, and the secret of which he has carried to the grave. -To his marvellous coloring, he joined a profound knowledge of the epoch and the personages of the XVIth. century, which really seemed to revive under his masterly brush . His compositions reveal even to the smallest détails that archæological character of such reality, as not to exclude the poetry of another age. In his historical compositions , the workmanship is quite at the height of his ideas and his paintings are the most eloquent pleaders in favor of the Reformation . In September 1855 , Antwerp voted a crown of gold to Leys. In September 1869 he was buried with regal honours. Late Baron Henry Leys was born in 1815 and died 7th. September 1869. ( [ The Joyous Entrance was the act of inauguration. The new sovereign, on ente 96 --- The Right of Burgess. The Italian family Pallavicini, receiving from our magistrates the right of Burgess. (1 ) ring the limits of the territory of Antwerp, where the magistrates of the town awaited him, was bound to swear before them to observe and maintain the liberties and franchises granted to the commune by his predecessors . The treaty of alliance and guarantee of 3rd . December 1339, between the Duke of Brabant and the towns of Louvain. Antwerp and Brussels , regulates the different parts of the Joyous Entrance- (See RAEPSAET, OEuvres, 1. ) (1 ) The rights of the burgess ofAntwerp are consigued in the Keurboek, promulgated in 1290 , the manuscript of which is religiously preserved in the archives of the town Antwerp can justly boast of its first title to the respect of civilized nations, as being the cradle of the liberty of Europe. M. Gens, in his history of the city of Antwerp, speaking of the Keurboek thus ex presses himself. << It is not without a feeling of pride , which we do not attempt to conceal , that we have found recorded in this old civil code , six centuries before the code of Napoleon, four centuries before the constitution of England, the greater part of the grand prin ciples ofliberty, the conquest of which cost modern nations so much bloodshed . We find here inscribed , in noble but simple forms, the Habeas Corpus of the English law, the inviolability of home, the right of being judged by judges of ones own nation, the right of imposing taxes, of controlling the use of public finances, of electing and obeying only our own magistrates . The statute entitled state van persoonen ( the condition of individuals) begins by this bold declaration « in the town and liberty of Antwerp, every man is free, there are no slaves ! »> In order to appreciate the value and importance of these evidently democratical institutions , we should compare them with the political state of Europe in the 15th. century, when most countries were bowed down under the yoke of feudal laws. At the request of the magistrates and at the sound of the Tocsin, all the valid burghers were bound to appear armed on the Great Place. The tradesmen ranged themselves under the banner of their corporation . The other burghers under the com mand of their quarterman, or chief of the section. The Schoutheet, representant of the Sovereign and the Chief constable bore the banner of the town and the superior or chief command devolved upon the Burgo master and the aldermen, Sometimes the burghers did not confine themselves to defending their own city ; they often lent assistance to their sovereign if they considered the cause rightful . Thus we find the Antwerp Guilds following count Henry of Limbourg, forcing the Emperor of Germany to raise the siege of Cologne. In 1288, at the battle of Woeringen the Antwerp Militia fought valiantly on the side of their Duke John I of Brabant, and decided the fate of the battle on that memorable day. 97 [ The Burgomaster's right to convoke the Citizen Militia. The Burgomaster Van Ursel haranguing the City guard (1542) and giving the Alderman Cornelius Van Spangen orders to defend the town against the attacks of Martin Van Rossem. The Burgomaster, Head ofthe Police. The Duchess of In the month of June 1542 , the bravery and energy of the Antwerpians were again put to the proof. An adventurer named Martin Van Rossem , who styled himself Marshal of Gueldre , penetrated into the Campine at the head of a band of pillagers and hired soldiers. This Condottiere burnt down and ravaged the towns and country that lay in his way. Taking advantage of the absence of the regular troops, the terror he inspired rendered his success so easy, that he came and encamped under the walls of Antwerp at the head of an army of sixteen thousand men . In presence of this danger the people of Antwerp at first awaited the assistance of their sovereign . The powerful Emperor Charles V at that moment had quite enough to do in making war against the pirates of Algiers, with out thinking of assisting and preserving from pillage, the richest and most flourishing city of his states . Happily the Antwerpians were able to watch over their own safety. The chiefconstable William Van de Werve, the two Burgomasters Nicholas de Scher mere and Lancelot Van Ursel organized means of defence. The burghers of the twelve districts of the town, led by their head-men , were convo ked, and the foreign merchants offered their assistance , equipped at their own expence their contingent of troops who under their respective banners came and joined the Ant werpians already under arms. The alderman Van Spangen took the command of the mi litary forces. Van Rossem did not expect such preparations which announced an energetic defense ; therefore after a few feigned attacks and the return , the Marshal de Gueldre thought better to retreat ; but before leaving, he determined to avenge his unsuccessful attempt. On the morning of July 27th, the Antwerpians saw from the heights of their ramparts, an immense conflagration, which surrounded the town by a circle of flames. This was the signal of the departure of Van Rossem. His hirelings at the moment of leaving had set fire to all that remained standing for a distance of two leagues round. The Castle of Vordenstein, where Van Rossem held his head quarters, alone was spared, and that, because he had found good wine there. We have mentioned elsewhere how in 1583, the burghers of Antwerp punished the treachery of the Duke of Alençon their new sovereign.

Parma in time of trouble giving the keys of the city to the Magistrates. (1566.) The Burgomasters and Aldermen protectors ofthe arts and belles lettres. The Landjuweel of 1561. (1) The Burgomaster and Aldermen protect Commerce and Industry. The opening of the great fair of Antwerp. (2) Sovereings who accorded or sold communal immunities to the Antwerpians. Godfrey of Bouillon. Marquis ofthe Holy Empire (1096). Henry, Duke ofLothier, (1220). (1) The Landjuweel was a competition in literature and declamation. In these solemu meetings the Flemish literary societies took part ; even under the government of the Duke of Alba, they made songs about the terrible proconsul of Philip II , at the risk of being hanged at the end of their merry- making. (2 ) In the middle ages the means of communication between different countries were slow and difficult. With the view of extending commercial transactions, a free market was organized in each town. where at a fixed time of the year foreign merchants, pro tected by the magistrates , came to sell or exchange the various productions of Europe and the East. This was the origin of fairs ; that of Antwerp commenced at Pentecost and lasted six weeks. It was held on the Place Verte , Shoe Market, and the neighbouring streets. From its exceptional situation the fair of Antwerp was one of the most brilliant in Europe and might be compared to that of Leipsic at the present time. All nations met here. The Venetians brought their rich silks and the product of the Indies, the English their wool. Costly furs from the North, the wines of France and the Rhine, metals and foreign wood from Sweden and Denmark, were brought here from these several coun tries, and gave rise to considerable trafic . Business was chiefly done by barter, coined money being then very rare, and bills of exchange were only known to the Jews and Lombards. Along with this immense commerce which put in movement at certain epochs a part of mercantile Europe, a multitude of petty merchants, and pedlars settled on the spot, where they chiefly retailed eatables of all sorts ; and a crowd of jugglers, mountebanks and strolling players flocked to this fair. The latter class of wanderers still recal the remembrance of this celebrated fair, re placed later on by the splendid maritime commerce which pours into our city , all the treasures ofthe universe. 99 John I, Duke of Brabant. (1290) . John II, Duke of Brabant, ( 1306) . Henry VII, Emperor, (1309) . John III, Duke of Brabant, (1326), Anthony of Burgundy, Duke of Brabant, (1411). Sigismond, king of the Romans, ( 1415). Philip the Good, Duke of Burgundy, (1438). Mary of Burgundy, Duchess ofBurgundy, (1478). Maximilian, Emperor, (1478). Philip the Handsome, ( 1491). The ceiling of the hall is ornamented with the arms of the town, surrounded by the escutcheons of the sworn bodies and corporations of trades, who formerly shared in the formation of the Great Council, (Breeden Raad). The pannels bear the text of the principal privileges of Antwerp. In the Burgomaster's cabinet a magnificent carved chimney piece, in the style of the Revival, brought from the Refuge of the Abbey of Tongerloo . The bas-relief in the centre represents the Last Supper. In the different stories are the offices of the civil authorities ; such as those ofthe population, the accounts, public roads, militia and in general all that concerns the administration of the town, the public library and the archives of the city. EXCHANGE . The great number of strangers who crowded to Antwerp for the purpose of buying and selling, necessarily required a place where they could meet to transact their business, either directly or through the ― 100 medium of brokers ; as early as the XIV century. A place or house in Antwerp was especially set apart for this purpose and bore the name of Exchange. This house, a very modest meeting place, was situated in the Bullinck street, (now Rue de la Vieille Bour se) and communi cated by an alley with the Mercer's house, situated on the Grand Place, Later on, towards the end of the 15th. century, the Town bought in the same street much larger pre mises, destined for Our merchants' 1044 L and meetings , which were orna mented in 1515 innige with stone pill ars. (1 ). From the who went twice THE OLD EXCHANGE. daily increasing number of persons day to the Exchange situated in the Rue aux Laines, (Wool street), the necessity had long been felt of having (1) The engraving represents a part of the Old Exchange, now forming the court yard of the house in the rue du Jardin. 101 C a much larger and more commodious place of meeting. The merchants appealed to the Town; they complained particularly of its bad situation in the midst of low, narrow and dark streets, through which it was often dan gerous to pass, especially in the evening. In 1531 the Town purchased the mansion of the Van List family and built there a magnificent edifice. It consisted of a quadrangular-court yard, 167 feet long, by 130 wide ; around which ran a portico 19 feet in width, with an elliptical vaulted roof formed of 38 cylindrical pillars of blue stone. The pillars, of small diameter, are octagonal at their basis, and covered at the top by carved ornaments, each pillar of a different design ; they suppor ted forty four arches pointed and trefoiled like those ofthe Old Exchange. This portico was surmounted by a story of extreme simplicity, pierced in the last century by a suite of square windows, which, in the inside formed a gallery lined with shops and was lighted from above. There were four entrances to the court yard, each one placed in the middle ofthe four fronts, and each composed of two arches similar to those of the portico. On the outside of the building, at the two opposite sides, were two towers, one round, the other octagonal. Commenced on July the 11th 1531, the plan was made, (1) The old Exchange of Amsterdam was built in 1688 on the model of ours, as likewise the London Exchange built by Sir Thomas Gresbam. An Antwerp architect had the direction of the building. The blue stone pillars were carved at Antwerp and shipped for London entirely finished . The statue of Queen Elizabeth, which, before the burning of the Royal Exchange, formed one of the principal ornaments, was also executed at Antwerp after a model sent from London. 102 and the building part was undertaken by the brothers Adrian and Peter Spillemans. This edifice cost, we are assured, 300,000 golden crowns equivalent to about 75,000 MA DEUX pounds ster ling. However at the beginn ing the mer chants , bro kers andagents didnot like the new Exchange or they were attached to the old one and it required an or der from the magistrates to compel themto quit the old place. Simplicity 9 grandeur and perfect confor mity to its purpose, distinguished the Exchange of Antwerp which became the type and model of the edifices of a similar kind that were erected else-where. This exchange was burnt down February 24th 1581 but was restored the following year. This edifice was again destroyed by fire August 2nd 1858. The old town 103 council and the Burgomaster F. Loos decreed in 1862 its rebuilding after the plans of the architect Joseph Schadde, leaving to their successors, at the expiration of their func tions, the sum of 1,000,000 francs (40,000 £). The work began in earnest October 1869, but in the interval of eight years the artist had to contend against many difficulties that hindered the execution of his plans. (1) THEATRE ROYAL. Constructed after Bourla's plan, commenced in 1829 and only finished in 1834. On the upper part of the front are the statues of the nine Muses : Polymnia is by De Braeckeleer ; Erato and Calliope, by Van Kerkhoven ; Terpsichore by Jos. De Cuyper ; Euterpe, by Ducaju ; Apollo, Thalia and Urania, by J. Geefs ; Melpomene, by Van Arendonck and Clio, by Louis De Cuyper. The busts of composers and celebrated literati placed in (4 ) In the month of August 1864 during the festivities at the inauguration ofthe statue of Teniers, the architect Looymans conceived the project of transforming into a permanent fair, the enclosed space inoccupied by the burning down of the exchange in 1858. He obtained from the new town council an authoriation to establish a fac simile of the building with shops all round on the ground floor and on the cipper galleries. These fine shops attracted an immense concourse of people . The Illustrated London News, September 3th 1864 published an article on the subject with engravings, expresses him self «the most important, perhaps was a fair, held amidst the ruins ofthe old Bourse of Antwerp destroyed by fire a feir years ago. The chief Architectural features of that building had been restored, provisionnaly by M. Looymans so far as to reproduce the effet of its interior when occupied by the stalls of the tradesmen with a crowd ofpurchasers or spectators on the floor. We must however refer to our illustra tion of the busy and animated scene . » Notwithstanding this success, the architect who invented and completed this entreprise, only reaped from it bitter deceptions . Obliged shortly afterwards to demolish it by order of the Communal Administration (December 1864) this spot lost hence forwards all animation and remained for years an empty square as silent as deserted. 104 the niches above the pediment of the windows, are by Ch. Geerts and Govaerts. EVERMORCKENS In 1863, the interior of the theatre were considerably enlarged under the direction of M. Dens. A beautiful allegorical painting by M. Wittcamp forms the stage scene. It represents The city of Antwerp crowning on the one hand the most illustrious scenic poets and authors; and on the other the Pleiades of the celebrated musicians of all epochs. The three allegorical composi tions, the Ideal and Wisdom, Tragedy, Comedy, Danse and Music in the green room of the Theatre are by the same artist. NATIONAL THEATER. Built in 1869-70 on the plans of Dens, this edifice is remarkable by it beautiful architectural proportions and the chasteness of its exterior ornaments from its size and extent it may rank amongst the first theatre in the country. Especially destined for 105 Flemish plays the works of the different dramatic authors both National and Netherlandish. THEATRE OF VARIETIES. After the demolition of the old theatre, this one, which was only temporary. was built by a joint stock company on the cemetery of the old church of St-George. It is now set apart for Flemish representations, At the Carnaval and on great public festivities, the stage and all the other parts are thrown into one immense ball room, lighted by innume rable jets of gas which gives it a fairy-like aspect. THE CITÉ. This vast building constructed in 1847, after the plans of the architect Cluysenaer, is situated on the site of the old convent of the Augustins, one ofthe fronts of which is still preserved. Its glass galleries con nect the Everdy and Houdaen Streets and there is another issue in the Rue des Peignes. Since the burning down of the Exchange, the ball room and a part of the galleries have been transformed into a temporary Exchange, Tribunal of Commerce, and Telegraph offices. THE PALACE . Chubby faced little Loves and quan tities of shell- work, the necessary accessories of the Pompadour style, enliven the elegant front of this palace, purchased, under the Empire from the Roose family, for Napoleons reception. This magnificent building. which may be considered one of the most elegant types of the style Louis XV, was constructed after the plans of the architect De Baurscheit ; the carvings are by De Cock. 106 It is at present the residence of the King and Royal family when they visit Antwerp. Latex WON KOL AFANT Some of the rooms are adorned with very fine paintings, by Vervoort. the younger. ― THE GOVERNMENT HOUSE. This was originally a branch house of St. Bernard's Abbey ; later on the Bishops of Antwerp made it their place of residence. Towards the end of the last century Bishop de Nelis had it entirely rebuilt. It is now the residence of the Governor of the Province, the seat ofthe Provincial council and contains the offices of the provincial government. 107 In 1850 a new fire proof building was annexed to it des tined to contain the archives. STEEN . On passing through the gates of the Bourg, of which we shall speak hereafter, we find on the VANMO 5.0 left. a building of very elegant architecture. The entrance 108 presents a large elliptical arched door-way with deep vaulted arches, flanked by cylindrical pillars with poly genal bases, almost as long as the pillars themselves. Above this door there rises in a corbel a pavilion pierced on three of its sides by as many windows, also ellip tically arched ; above which are three carved pannels, con taining the arms of Burgundy, Spain, and the mottoes of CharlesV. Three other armorial bearings decorate the body of the pavilion, which terminates by a three-faced roof. (1 ) As early as the 12th century a feudal edifice existed there serving as a prison. John II Duke of Brabant confined there the Mechliners taken prisoners near Ru pelmonde, in 1303. In the 13th century, the Steen was the town prison. It was restored, or rather completely rebuilt, in 1520 ; the edifice we see at this day, dates from that period. Over its gloomy walls, hover horri ble and mournful recollections, almost all belonging to the bloody period of reaction that followed the insur rection of the Low Countries against Spanish tyranny. Subterraneous dungeons void of light, into which the necessary vital air only entered by small holes in the thick iron doors, present a sinister aspect, which makes one shudder. In one of these gehennoe stakes have been found with iron collars and staples, to which the pri soners were bound; in another, were long preserved the hooks, pulleys, heavy stones with rings in them, and other frightful instruments of torture. Another dungeon narrower, darker and more sinister-looking than the (1 ) SCHAYES, Histoire de l'Architecture. 109 former, served for secret executions. Here were decapi tated, or drowned in vats, or tortured unto death, the unfortunate victims whose cruel punishment was to be concealed from the pity or indignation of the public. The formidable thickness of the walls stifled the groans and cries of the miserable victims. On the left, on en tering, are large stones set in the walls bearing in scriptions of the XV century ; relating to pious donations made in favor of the prisoners. The Steen served as a prison up to 1824; in these latter times deserters alone were confined there. At the present day, it is the Museum of the Antiquities of the town. Going out of the Steen and passing under the Bourg gate on turning to the left, we meet with a stone pillar bearing a carved hand. This pillar fixed at a distance from the wall by an iron bar, forms a sort of tribune, and reminds us of a ceremony in our ancient judicial legislation. Before undergoing capital punishment on the Great market-place, the culprit, on leaving the Steen, was led behind this bar of justice, with a lighted torch in his hand, and had to declare aloud to the assistants that his sentence was deserved. He was then led a few paces further, before the great stone crucifix, and the accompa nying priest then recited the prayers for the dying, during which the criminal remained kneeling. THE HANSEATIC HOUSE. Commenced on the 5th of March, 1564. and terminated in 1568. It was built from the plans of Cornelius de Vriendt. The Burgomasters 110 Henry de Berchem and John de Schoonhoven laid the first stone.

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AN WILD TR UGGEST 医 周國 M This immense structure, 250 feet long and 200 wide was destined to lodge the Hanseatic merchants and to serve as an entrepôt for their goods. The ground floor served 80 as warehouses ; the two stories laid out in apartments, contain 31 windows in front on the lasge sides of the quadrilateral. From the centre of the eastern front rises a square tower, ornamented with two galleries serving as an observatory and bearing at its saummit the imperial eagle, which figures also at the four angles of the roof, and on each side of its numerous door-ways. (1 ) (1 ) As a feature of the customs of the 16th . century, we find that when the Hanseatié merchants went from their factory to the Exchange, they were preeceded by musicians playing fifes and hurdy-gurdies . These instruments of an age gone bye were preserved in the Hanseatic house and in the museum of Berlin. 111 Grammeye pretends that 176 towns contributed to the expense of building this immense Factory, of which there remains now scarcely any thing but the shell, The Hans Towns furnished 60,000 florins ; Antwerp contributed 30,000, promissing besides to pay the half of what might be needed later to complete the building, on condition however that the Hanse merchants should bear the whole expense of the interior decorations. Napoleon expropriated it in 1808. under the plea that it would be dangerous to leave foreign powers in posses sion of so considerable an edifice, in the middle of a military sea-port. Bremen, Hambourg and Lubeck only regained their rights on the arrival of the Allies, and the value of their property was then increased more than five fold, whilst the docks had lost their military desti nation and were employed for merchant vessels . In 1863, Hanse Towns, ceded this building to the Belgian Govern ment in payment of their quote part of the sum paid to the Dutch Government as the indemnity for the abolition of the Scheldt dues. The engraving represents the Hanseatic House, such as it was in the XVI century. Some years ago the tower was demolished in part, and the house itself has under gone notable modifications. A portion of it has recently been granted as a chapel and reading room for the use of British and American Seamen. Service three times every Sunday. 112 HOUSE OFVAN LIERE . 田田 Comma 113 HOUSE OF HESSE. Built in 1566 for the merchants of that town. It now serves as Cavalry barracks. HOUSEOF VANLIERE. (rue du Prince). At the sight of this gloomy, dark building pierced with ungraceful irregular openings, one could never suppose it deserved the praise bestowed upon it by Albert Durer, in the ac count of his travels in the Low Countries, in 1521. " " " On the Saturday after the feast of St. Peter's chains, , my host conducted me to the house of the Burgomaster of Antwerp. It is vast and well disposed, with an infinite number of large and beautiful saloons, a court-yard richly ornamented and gardens of great extent. In short, it is so magnificent a dwelling, that I have never seen any thing like it in Germany. "9 This splendid mansion of the Burgomaster Arnold Van Liere, was Charles the fifth's residence during his sojourn at Antwerp, in 1521. Our engraving shews it as it was at that period. The changes it has undergone have comple tely disfigured the graceful character of its front. Gran ted in turns by the town, to the English merchants in 1558, and then to the Jesuits, who established schools there in 1607, it was converted into a military hospital in 1794, which destination it still retains. PLANTIN'S HOUSE . (1) (Marché de Vendredi). " — " The (1) Plantin's motto : Labore et Constantia, is the history of his live . Born near Tours in 1514 he came to Antwerp towards 1550 , bringing with him his wife, Jane Rivière, born at Caen, Plantin began the trade of bookbinder and soon acquired customers. His wife set up a shop and sold ready- madelinen in the upper galleries of the newly built Exchange. 8 114 interior of the cele Plantin was soon able to pur chase printing materials. He published small books and alma nacks which his wife sold. Busi ness increasing unexpectedly, Plantin acquired the right of Burgess. An event occurred which nearly compromised this budding prosperity ; but what might have become his run EV CHRISTOPHER PLANTIN. JOHN MORETUS. became où the contrary his fortune. On one the Carnaval days, in a street of the city he received from a person masked a stab of a poinard , destined for another. The honest artisan narrowly escaped dying, of the wound; his recovery lasted very long . Whether the assassin touched by remorse of conscience made himself known, or whether Plantin at last discovered him, certain it is , that the victim received a large sum of money as the price of his silence. Plantin then founded a priuting office which gained great renowu and eclipsed all others. The first work he published , in 1550 , was entitled , « Institution d'une fille de noble maison ; » it was in Italian and French, with a preface by Plantin himself. Becoming rich in a few years , he made a most noble use of his fortune. His house, like that of the Alde of Venice, and Etienne of Paris, was open to all savants, and lie sought to attach to himself men of real merit. In those days correctors were learned men, and Plantin's would surpass to - day mane of our academicians ; its is sufficient to name Cornelius Van Kiel or Kilianus, Theodory Pulman, Victor Giselin and Francis Rapheling ( Van Ravelingen) , who became later the son in law of his patron , The most celebrated of Plantin's publications was a Polyglot Bible , commenced in 1569 , and finished in 1572. Plantin's fortune considerably increased by the privilege of being the sole vendor of Missals and Breviaries in Spain , America and all the Spanish Colonies. Political events, and above all the closing of the Scheldt, dried up the source of this prosperity. Never theless, when the celebrated de Thou in 1578 visited the Plantiniau archtypography as it was called by a diploma of Philip II, he found 17 presses at work. Plantin died, June the 1st . 1589 ; his monument is in the Cathedral . By his marriage with Jane Rivière he had but one son , who died when scarcely, 12 years old, and 5 daughters. The eldest Margaret, married to John Ravelingen, obtained for her share, the house fonnded at Leyden. The secound Martiua, married to John Moretus or Mourentorff, inherited the house at Antwerp ; the third, Margaret wife of Gilles Beys, continued the house founded at Paris ; the two others, Catharine, and Henrietta married, the former a doctor at Paris ; the second , Mourentorff's brother. John Moretus and his grand son Balthazar Moretus, most brilliantly , sustained the re nown ofthe Plantinian printing press.The Moretus family were ranked among the nobility, 115 brated Printer's house is to day what it was 300 years ago The work-shop, the presses, the printing materials such as they were left by the Moretus Family, are religiously preserved by their descendants, a likewise a fine collection of paintings, drawings and curious ma nuscripts. HYDRAULIC HOUSE. GILBERT VAN SCHOONBEKE. GILBERT VAN SCHOON ВЕКЕ (1 ) The most useful of Van Schoonbeke's entreprises, that which obtained for him the most renown and the most ingratitude was the Hydrau lic House. In 1551 he bought in the New Town 400 roods of land upen which he built in less than two years, 24 breweries. To furnish them with water, he connec (1 ) So considerable is the number of public works to which the still popular name of Van Schoobeke is attached , thal we can only enumerate the principal ones. In his youth, his occupation was thal of buying and selling houses and land , farming the weighing dues tolls, taxes, customs and other similar matters ; in which he acquired great experience and wonderful aptness. He was not an ordinary speculator having only his own interest at heart ; for from the beginning of his enterprise for construc ting the remparts, he seemed to have nothing else constantly in view but the embel lishment and salubrity of the town and the well being of his fellow-aitizens. What be effected for that purpose is truly prodigious . In consequence of an agreement made with the town when it entered into possession ofthe ground destined for the new town ( Nieuwstad) , about 4290 roods in extent, he had them sold for the benefit of the Town Treasury and undertook the construction of quays. canals, bridges, sluices, and excise offices. Seeing that houses increased in value in proportion with the population, Van Schoon beke perceived at once the advantage to be drawn from the numerous pieces of waste ground the town contained . He cleverly bought them all, and in a few years they were transformed into fine large streets, market places and public buildings. The first property he purehased seems to have been large useless piece of ground called the 116 ted the Canal of Herenthals with the town by means of a cannel which led into a vast basin ; by means of a chain and buckets the water was raised into a reservoir 70 feet Raemhof, through which two streets were made named re spectively King- and Prince Street. Facing the former the rue Hoboken was made, towa rds the year 1545. He afterwards bought the ground called Hopland, where he made a street called still by that name, and the one cal led Otto Venius, formerly Fuilnis straat. The rue du Lombard was traced through a property cal led the Old Lombards. Van Schoonbeke intended to conti nue it to the Marché aux Sou tliers, but it was only in 1582 that St. Bernard's Abbey gave permission to make a road through the grounds belonging to their Refuge in Antwerp. The street was then made called St. Bernards Bridge, now Rue St. Bernard. The Abbey of Baudeloo also possessed a refuge in Antwerp, through which he traced the INTERIOR OF THE HYDRAULIC HOUSE. Rue des Juifs and the Rue du Canal, uow Rue Rubens. In 1547 he obtained the Mansion of the Van Spangen family, on the site of which he made the Marché de Vendredi, which connected the neighbouring streets by the Rue du St. Esprit, du Faucon, du Lion, de la Montagne, the court du Soleil and the Guldenberg. He bought large pieces ofground from St. Michael's Abbey, upon which, in 1544, he built warehouses for was civil and military impliments and materials (which was called the Eeckhof), and he made the neighbouring streets named the Schelleken, Steegske and Blauwboterham Streets. 117 higher and thence distributed into the surrounding brewe ries by means of pipes. This simple and ingenious mecha nism was very remarkable for the period when it was In 4547, he bought from the town the old Eeckhof, near the Recollect convent, in the middle of which he constructed the public weighing machine, and opened the street called at first North, Sonth, East and West, now Rues de la Lunette, du Navet and de la Corne, then the square du Nieuwen Moriaen, with a part of the Rue de Venus. The new Town's weighing machine and buildings were inauguratod March the 12th . 1548, by the Hanseatic Merchants, who weighed there a cargo of hemp. The upper stories of his building were destined for marriage feasts, which were then celebrated with great magnificence ; the dwelling houses of the burgesses rarely containing rooms large enough for such purposes. By an Act dated August the 30th . 1554 , the town had acquired from St. Elizabeth's Hospital, a portion of the vast meadows called Gasthuisbeemden. In 1552 , the gardens belonging to the corporations of the Bow and the Cross bow, where transferred thither, and their former club- houses were purchased by Van Schoonbekc . He at the same time bought the mansion of the Aremberg family. On these sites he buil galleries, called Tapissiers pand, and on the spot where the Theatre Royal now stands. behind which he established the new Corn Market ( Brabandsche Koren Merkt) , and traced all round the heautifull streets of Aremberg , Floris, de l'Orgue and de la Cave. In order to favor Van Schoonbeke's enterprise, the town had a street made leading from the Rue des Tanneurs, to the Tapissiers gallery, ( now the Place du spectacle. ) The purchased from the Chief constable Van de Werve, margrave of Ryen , a large domain out of the town, named Hof ter Beke ; comprising 1600 roods of waste land, through which he traced large and beautiful avenues planted with trees and named altogether Margrave- Lei or Margrave Avenues ; the rest of the ground was made into lots and sold. The rich merchants eagerly bought them to build country houses thereon the principal and the longest of these avenues has preserved its primitive name ; another, now continued to the Chaussee de Berchem, has been named after its founder, Van Schoonbekestreet. It was Schoonbeke also who built all the houses at present forming the south side ofthe Grand' Place, and situated formerly in the rue de la Lune, which passed behind the Halle anx Draps and the old Town Hall . That private individuals might be enabled to build on avantageous terms, he made it his business to procure them building materials at the lowest possible prices Charles V encouraged his generous views and lent him assistance. He gave him a grant of two lime kilns on the borders of the Meuse uear Namur ; the lime was brought to Antwerp by iuland navigation. He allowed him also to cut down several thousand oak trees in the forest domain of Buggehout. The monks of St. Bernard's sold him 8 acres situated at Callebeke on the Scheldt there he established brick fields and built 60 dwellings for the brick-makers. To bake 118 B constructed. The Hydraulic House exists still such as Van Schoonbeke left it. It contains a meeting hall for the corporation of Brewers, still ornamented with its furniture three centuries old. these bricks, the turf had to be brought from bogs he possesed at Sevénbergen. Het contracted with the Magistrates to bring yearly into the town 7 to 800 shipsloads of bricks. at a price that would prevent speculators from making them dearer. • After enumerating so many useful and noble works, it is very painful to have to add that this good man.wose fertile genius had in a few years changed the face of the town , rebuilt its fortifications . created numerous new quarters , embellished the old ones, rendered them wholesome, built or got built more than 3000 houses, that this man , who in fine had contributed so much to the prosperity of his fellow citizens, had to flee in consequence of a tnmult caused by the old Brewers of the town. Van Schoonbeke could not bear the idea that all he had done for Antwerp, only drew upon the people's hatred . Ruined and discouraged , he abandoned all his undertakings. Charles V who had appreciated his talents, made him Councillor of Finance at Brus sels. In confiding to him so important a post, the Emperor wished to make him forged the ingratitude of the Antwerpians. But the blow had been too severe for this high minded man ; the great engineer died broken- hearted when scarcely 58 years old, leaving to this two daughters no inheri tance, save that of a name without spot or stain. If we have spoken more of Van Schoonbeke's labours than is consistent with the limits of this work, it is that, full of admiration for so much genius. united to such disinterestedness , we could not, inspite, of our selves, pass over ouy of the incidents and misfortunes of so exemplary a life. We would ask why Antwerp reserves her statues of bronze only for her painters ? Does ingratitude still pursue the memory of this great citizen ? One is tempted to think so, seeing the oblivion in which the name of this good man is left ; an oblivion which the very faults of our forefathers make it our duty to repair. The allegorical statue on the Boulevard Leopold due to Van Arendonck's chisel , is doubtless a work full of merit , but is that sufficient ? Does it remind us as it should of Van Schoonbeke's great conceptions ? In the attics of St Elizabeth's hospital there exist two faithful portraits ; one repre senting the illustrions engineer in a court- dress, the portrait is that ofhis wife. These paintings are left in a deplorable state of neglect ; they are only too much damaged. Let the question at least be decided between the town and the hospital . The two administrations have an equal debt to pay. Let one of the two, becoming owner of the portraits , get them restored as soon as possible and give them at last the place they deserve. In our Museum . Let the momory of our benefactors at least be respected. 119 HOUSE OF RUBENS. It was built after his own plans in 1611 ; the expenses of its construction amounted to about 127,000 florins. The great artist continued to inhabit this house and died there; May 30th, 1640. Sold at a later period, it passed into Canon Hille MUI IGH werve's hands in 1680. It was entirely rebuilt in 1763 and made into two houses. Nothing remains of this splendid mansion but the portico represented in the engraving, and a pavilion at the end of the garden ornamented by fine statues by Artus Quellin... کا VAN STRALE'S HOUSE . (Marché St.-Jacques). The dwelling of the unfortunate Burgomaster Van Strale, has been converted into private houses and warehouses, 120 The Belvidere that we see above the houses, stil bears as a weather-cock, the gilt dragon of the Draeck family, to whom Van Strale was related on his mothers side. Van Strale, the prince, of Orange's friend was beheaded at Brussels by the Dukes of Alvas orders, september 24th, 1568. MANSION OF THE MARGRAVE VAN IMMERSELE . (Longue rue Neuve). This vast mansion formed the corner of the rue Neuve and a part ofthe rue Marcgrave. The only part preserved to bear witness to the splendour of these princely habitations of the XV century, is the chapel; which is entirely decorated with frescos : the vaulted roof ornamented with pendants is covered with paintings. The walls bear the ( escutcheons of the nobi lity of Flanders and Castile. The decoration of this chapel is the only specimen known of our Antwerp painters of the XV century. The Van Immersele, a patriarcal family now extinct, during several generations occupied important positions as Aldermen of the city. LA CONCORDE, (Place de Meir). This large building, light and graceful in style, was erected in 1852, from the plans of the architect J. Claes, for the account of the shareholders of the Concorde Club. It is the meeting place of the élite of the Ant werp population. Strangers are admitted on being pre sented by two members. The Club occupies the first story. The saloons are magnificently decorated and fur nished with luxury and good taste. - INTERIOR OF THE MAROGRAVE CHAPEL. 122 The ground-floor is laid out in fine shops. HOUSES OF CORPORATIONS. La Boucherie (meat market.) Built from 1501 to 1503, from the plans of Henry de Wagemakere ; it is constructed partly on the moat of the Burgt. This vast and solid edifice bears witness to the opulence of the corporation who had it built, and to the good taste which presided over its con struction. It may be considered in every respect as one of the most remarkable specimens of the civil architecture of the middle ages. It is of quadrilateral form, built of brick, with alternate rows of free stone, flanked at the four angles by small hexagonal turrets crowned by stee ples, and supported between each range of windows by buttresses reaching to the roof. A similar, but rather larger turrel, is in the middle of the Southern front, in which these is a spiral staircase leading to the upper stories. On the long side, there are six windows on the ground floor, and two in the gable ends ; they are all ogive divided by mullions. Those of the upper story are square divided by a stone cross. The smaller sides terminated by gables in steps, present several ranges with openings of the latter kind, placed one above another. The western side of the edifice rests on an elliptical arch thrown across the moat of the Bourg. - House of the Old Cross Bow. -- (Grand' Place, 19). Built in 1513. The facade is ornamented by the arms and emblems of the Antwerp Cross bowmen. At the summit are two bas-reliefs representing membres of the Brotherhood. The gable was formely surmounted BOUCHERIE (MEAT MARKET. ) 124 by an equestrian statue of St- George, patron of the corporation. House of the Old Bow (Grand' Place, 19). The gable of the facade preserves some traces of pointed architecture ; the rest has been modernized. House of the Drapers. (Grand Place, 36). - Ac cording to the Latin inscription on the front of this house called the Old Balance, it was burnt down in 1576 during the sacking of Antwerp by the Spaniards, it was rebuilt in 1644. It is to be supposed that this latter reconstruction was only partial and was according to the primitive plan, for the bas-reliefs of the facade evidently belong to the XVI century. In these bas-reliefs, so curious for the costumes and manners ofthe period, are represented different processes of manufacture in use at the beginning of the 16th century. The Joiners House (Grand'Place, 40). This is the finest of all the houses belonging to trades Societies. It bears the date of 1644. Its splendid and graceful front is pierced above the rustic ground floor by three stories of rectangular windows, separeted of two rangs of Doric and Ionic pillars, and a range of sheato above which rises a very fine galb with pediment and scrolls, or namented by 4 composite pillars and 3 niches. Between the windows of the first two stories, is a series of bas-reliefs ; loves representing allegorically the attributes and puocesses of the trade. The Cooper's House, situated at the side of the Old B 125 Cross Bow. It was built in 1579. Bas-reliefs and emblems of the corporation decorate the façade. On the gable was formely the statue of St-Matthias' pa tron of the Coopers. -- The Boatmen's House (rue des Serments, behind the Town Hall. ) The house appears to have been built in 16th century. Al the rise of the gable are two statues seated, leaning against two obelisks. The Masons's House called METSERS KAMER, ( Grand Place). This is one of the most ancient houses built in the style of the Revival. It dates from 1531. The interior was formerly ornamented by paintings represen ting the history of the Corporation. These remain few traces of the original façade. MANSIONS AND PRIVATE HOUSES. A great num ber of private houses in Antwerp are remarkable for their architectural character. One of the most ancient (rue Zirick) has a double gabled front. This construction dates from the com mencement of the XV century. Above the ground floor windows, whose archings are filled by simulated florid and twisted carvings ornaments of curled leaves serve as supports to the windows of the first story above each of them five corbels with grotesque figures support a hollow ogive moulding jutting out, which serves as the crown-piece to the upper story. The massive carvings above the entrance door are of a later period. ― 126 - The Hotel front on the Place Verte, next to the Post-Office, is of the XVI century. The ground floor is ornamented with diamond-faced embossing and the upper stories with rectangular windows of 3 ranges of pillars of a very curious composite ordre. The pillars of the first range are all of a different design and carved in arabesques which likewise surround the archivault of the arched entrance door. Gerard Zeghers, an artist of great merit, had built for himself after his own plans, a magnificent dwelling Place de Meir, 76. The front presents seven large composite pilasters, the summits of which are loaded with large bands and embrace the ground floor and the upper stories, all three with rectangular windows. and embossed carvings. Two Doric pillars encase the arched carriage door, placed at the right end of the building. Rubens drew the plans for the house of his friend, the Burgomaster Rockox, (rue de l'Empereur , nº 9) the beautiful carvings of the entrance door, are by Artas Quellin. In the course of the 18th century some mansions were built on the plans of the architect De Baurscheidt. Constructed in the style of the period, they are dis tinguished by their elegance. After the Palace, may be mentionned the Bank and the Convent of the Sacred Heart, (Longue rue Neuve) and the house forming the corner of the Place de Meir and the rue du Chêne, occupied by Mr. Gustave Van Kerckhove. 127 Under the Empire, the most important building in this style is the habitation of the Count Van de Werve de Schilde, (Kipdorp) This edifice, of monumental aspect, has six large fluted Corinthian pillars, with bronze capitals embracing the whole height of the facade : There are three rows of cased windows supporting an elegant frise ornamented with bronle foliage which runs all aleng the front under the cornice of the roof. The numerous new buildings erected during the last few years, have completely schanged the aspect of the town and afford striking proof of the degree of prosperity to which a commercial town can attain, when political commotions do not arrest its progress. THE WELL OF QUENTIN MASSYS. (1 ) This piece of workmanschip executed in iron dates from about 1490. It was the crown piece of a well formerly in the middle of the Grand ' Place, on the spot on which the Town Hall now stands. QUENTIN MASSYS. Tradition relates that the artist blacksmith hammered and wrought the iron without the help of a file. Four stems or supporters, each 6 (1) Quentin Massys the founder of the Antwerp school, was born towards 1460 of a family of blacksmiths frequently mentioned in the accounts of the Cathedral of Antwerp. By Antwerp school, we mean simply a group of painters, born or established in our city, withoud however possessing in matters of art , exclusive doctrines differing from those which guided the artistes of other towns or countries. Quentin Metsys was an isolated genius. profoundly original depending entirely on himself, neither seeking to force his method on his pupils, norwilling to follow the errors of his predecessors. In 128 flanked by three little pillars, with frised capitals go in a straight line up to a certainheight. The stems bend Bsc. innig in an elliptic arch to join again in a sheaf, surmounted by the statuette of the fabulous Salvius Brabon, in the act of cas ting the hand of thegiant Antigon. This statuette rises above the monument. Foli ageandvineleaves run all round it, forming at the upper part a net workofwonderful lightness and of a beautiful aspect. A the strict sense of the word therefore. he did not found a school, but he founded, by rendering it illustrious,; a chair which was never to be empty and which Rubens raised, to a trone. He appears in the firmament of the fine arts as the first scintiltating star of the almost innumerable Pleiades of great artists who shed lustre on our great city. The forms the intermediate link between the school of Bruges and the transition school, illustrated by John Mabuse, Bernard Van Orley, Michael Coxcyen, Lambert Lombard in which the name of Frans Floris of Antwerp shines conspicuously. 129 It was restored in 1847 at the expence of the town. The ungraceful basement on which it now rests, dates from that period. This is the only ancient It was erected in 1624. in honor of Philip IV; the plans are by Rubens and the sculpture by Artus Quellin. Built of blue stone this gate is ornamented bytwo Doricpillars, joined and two pilasters of the same order resting on a plinth and covered with theirintercolumniationsby partitions. Above the enta blature is the reclining. statue ofthe Scheldt, placed in a large elliptically ar ched niche, crowded by a triangular pediment, resting on two Tuscan pillars, likewise ornamented by partitions and cantoned by two scrolls. Underneath is an inscription in GATE OF THE SCHELDT, gate of the town now existing. At the death of Quentin Massys ( 1531 ) a whole generation of artists rose up again. in Antwerp, aud these of other towns and even of Holland , came and settled within our walls ; so that from thit time, the Flemish school may be indisputably called , the School ofAntwerp . All these artists were members of the Corporation of St. Luke, which was the centre of all [ artistical life, the bond that united the arts, established their solidarity, covered them with her protection and was the guarantee of their mo rality. (GENS. Histoire de la ville d'Anvers) : 9 130 Latin verse, of which the following is the translation : " The Scheldt delights in rolling its obedient waves for Him who rules over the Tagus, and the Ganges, the Rhine and the Indus ; under thy auspices, great Philip, it will bear the same vessels it bore formerly under the Emperor thy grandfather. " Antwerp addressed this homage to its Sovereign 24 years before the conclusion of the fatal treaty of Munster, which completed its ruin by the closing of the Scheldt ! 7 » " " The other gates of the town, fifteen in number, belong to the new enclosure ; they are of recent construction and of very remarkable architecture. THE CELLULAR PRISON . Built in 1856 on the Ame rican system, from Dumont's plan. The front presents on the outside the appearance of a fortified castle of the 15th. century (Tudor style). Strict regulations render the visits. of strangers very difficult. THE ROYAL ENTREPOT. The three buildings of the Entrepot facing the Docks were commenced in 1829 and finished in 1832, on the plans of Mr. Roelandt. The corresponding buildings, connected with the former, by galleries, date from 1844-48. These vast edifices, stan ding on marshy ground, are built on piles. They cost the Government 3,600,000 francs, and were sold some years ago to the Antwerp Company of Docks and Entrepots. More than 400 workmen are daily employed in transporting merchandise. These men are organized in bodies or corporations (Natien), and under obedience to Deans, who treat with the merchants by contract. 151 --- The Entrepot is connected with the railway by a branch line, which runs all along the two docks and terminates at the river ; this permits the transfer of goods direct into the waggons, whether coming out of the Entrepot or arriving direct from London in transit for Germany or France. From London to Antwerp, by steamer, 20 hours ; from Antwerp to Cologne, by railway, 12 hours ; transport 8 hours ; total 40. This truly wonderful rapidity makes Antwerp a very important place of transit. COMMERCE. Maritime Establishments. Our metropolis was expiring . The treaty of Munster (June the 5th 1648), by closing the Scheldt, had consummated that ruin which the troubles ofthe times had commenced. Such was the state of moral abasement in our provinces, that when this fatal peace was proclaimed, it was hailed with joy as a benefit. One day the Emperor Joseph II wishing to defy the Dutch Government, sent two of his vessels down the 132 Scheldt ; the Dutch fired their canon and the Emperor demanded satisfaction. Afew millions paid by the Nether lands to the Austrian government, was considered an adequate reparation. When the French invaded our country, the commanding general Labourdonnaye proclaimed the liberty of the Scheldt to the astonished Antwerpians. These proclama tions, like those of the droits de l'homme, abounded in those days. Our commerce and manufactures seemed lost for us. Our manufacturers could scarcely freight the few barges doing the inland service for the transport of articles of food and strict necessity. Napoleon's powerful genius at last opened a new era in the prosperity of Antwerp. That Napoleon caused millions of men to perish in his cause ; that he was ambitious and an egotist, what does it matter to us, who owe to him our new existence ? Our duty is to remember, not the man, nor the despof, but the second founder of our great city. Our old inhabitants still remember the sad aspect our town presented at the end of the 18th century, particu larly the part near the river. No quays existed then ; the water washed the houses on the banks, and at each very high tide, the half of the town was threatened with inun dation. In 1763, 1775 and 1780 the water flooded the Cathedral and attained the height of three feet in the nave. The coasting vessels that frequented our port at this - 133 period anchored at two or three little landing places, of whichthe Werfwas the most important. The vast extent of ground, now occupied by our docks was a swamp exhaling noxious miasma. On this spot, fre quented now by seamen from every quarter of the globe, were disreputable streets Boerenkwartier, (the peasants' quarter) ; in which it was dangerous to risk one's self even in the day time. In the middle of the town all was gloomy and silent. Grass grewin the streets. The only sign of life in Antwerp was workmen leaving or going to their shops. The greater part of the houses were falling into ruin ; and these remains were not removed, in order to have materials at hand when new buildings might happen to be constructed, wich rarely ocurred, for at the end of of the 18th century, the number of dwelling houses were diminished by two thousand. Such was the sad state of affairs in which General Bonaparte found Antwerp in 1802. He had beenjust named first Consul. His eagle like glance, at once scanned the possible future of Antwerp. When he received our Magistrates he said to them : " On seeing so many ruins and heaps of rubbish, I thought myself not in a city of Europe, but in a town of Africa. Every thing his yet to be done here. Forts, quays and basins, shall be made ; for Antwerp must profit by her advantageous position. " 154 Indeed the decree of restoration appeared the 2nd Thermidor year XI. (July 21st 1803). The buildings were immediately commenced ; eigtheen hundred metres of quays were undertaken at once. Thanks to the feverish activity the Emperor so well knew how to communicate to these who executed his con ceptions, these immense undertakings were terminated in a few years. The same decree ordained the construction of docks for the military marine, an arsenal, a dry dock and a basin. Five hundred galley-slaves and Spanish prisoners sent from Brest, worked at the embankments so well that in 1805, three corvettes and a frigate had already been launched ; in 1807, ten vessels of the line were on the stocks ; and in fine, in 1813, the port of Antwerp had launched 30 ships of war. In 1814 the building materials and marine stores collected in the arsenal, represented a value of 300 millions of francs ( € 12,000,000). Our two docks were completely finished in 1811 ; they cost 14,000,000 frs. (560,000 £) . The largest is not less than 69,546 metres square. Our quays are unrivalled in Europe. When Napoleon occompanied by Maria Louisa, visited Antwerp in 1810, he could already judge of the astonishing resurrection wrought by his indefatigable genius in so short a time. From this moment our trade and commerce took a new 135 flight. In less than sevenyears (from 1800 to 1807), the population of Antwerp had encreased by 10,000 souls. After the fall of the Empire, the Prince of Orange, become King of Belgium and Holland under the name of William I, gave the imperial basins to the town ; they thus lost their military destination and were appropriated to commerce. It was only in 1859 that the basins of the Kattendyk were commenced, and the dry docks, with pumping machines, where vessels undergo repairs. One of the new basins forming a square with the Cam pine Canal, mesures 350 metres in length, by 140 in breadth, making in all 49,000 metres (600,250 square feet). An entirely new maritime and commercial quarter rises now on the site where formerly there existed nothing but solitary meadows, a few scattered wind-mills and one or two rope yards. The redeeming of the toll on the Scheldt crowned worthily for Antwerp, the work so well inaugurated by Napoleon. The treaty of 1839 guaranteed to Holland a tax on all vessels in destination for Antwerp. The Belgian government, in the interest of our com merce paid at once, but owing to the considerable encrease of our maritime trade, these sacrifices had at lenght reached, in 1862, the sum of 2,000,000 frs. M. Lambermont, secretary general to the minister of Foreign Affairs, proposed a great measure which the government undertook to execute. 136 The proposals made to the Foreign Powers to intervene in the sum fixed for the ransom of the toll, were favorably received. Holland accepted this ransom for 36,278,600 francs (1,451,140 €). In this sum Belgium intervenes for 13,318,040 frs.; Austria for 549,360 frs.; Bremen for 190,310 frs.; Den mark for 1,096,800 frs.; Spain for 431,520 frs .; France for 1,542,720 frs .; England for 8,782,320 frs .; Hambourg for 667,680 frs .; Hanover for 948,720 frs. The country accepted with just gratitude a measure which coincided with the reduction of the rights of pilotage and the suppression of duty on tonnage in the Belgian ports . The great encrease of our maritime trade during the last few years, is the best proof of the happy results of a fact by which Antwerp reaps such signal benefices. As to complete the brillant future of our metropolis we must add the sale of the military ground occupied by the citadel of the Duke of Alba. Government has just ceded to the Strousberg company the possession of this ground for the sum of 14 millions ( 560,000 £) and the creation of vast maritime establishments with which our city will be endowed. By this happy transformation and its favorable situation, the City of Antwerp will become, thanks to the support of Government, the first sea port onthe European Continent. In support of the preceeding, we give a report of the 137 C commercial movement of the port of Antwerp during the last few years. In 1864 1865 1866 1867 1868 1869 Port of Antwerp from 1864 to 1869 inclusively. ARRIVALS . - P BILLAGE 99 99 " " In 1864 DEPARTURES laden 936 1865 1,068 1866 1,062 1867 1868 1869 " " 19 " " " "" " " .2753 vessels Total 701,035 tons. .3010 776,343 .3085 901,556 .3476 ..3547 1,128,739 1,118,751 ..3787 1,225,596 1,253 2,158 2,518 99 99 99 " " " " "" "" " " 99 39 " "3 "9 and " 99 3.3 99 " 1,029 1,242 1,198 1,316 " » " 39 803 steamers. 870 " 1. 19 " 14 ACADEMY OF FINE-ARTS. This vast building fulfilling the triple destination of Academy of Fine-Arts, Museum and picture gallery, was constructed later after M. Bourla's plans . It is situated and the ground formerly occupied by the convent and church of the Recollect Friars. Antwerp owes the erection ofthe Academy of Fine-Arts to David Teniers and his colleagues, the Deans and corpo rations of St-Luke. At their request, the Guild obtained from Philip IV letters patent, dated July the 6th, 1663, authorizing the Corporation to establish among them selves an Academy on the model of that of Paris and Rome. The same grant authorized the provisional affranchi 158 sement of eight persons from all the Burgesses, with the exception of those of Almoner and Usher. The sums derived from these affranchisements were to be employed for the expenses of the Academy, of which the act of erection was confirmed by the Council of Brabant October the 12th, of the same year. In the following year, the Magistrates of Antwerp granted provisionally to the confraternity, a hall in the east part of the Exchange for their meetings, and they there opened their new establishment. The appropriation of a hall for drawing after living models took place the same year, and Antwerp was endowed with a public school for Artistic education . Up to this period the painters' apprentices had been formed in the appren tices of tradesmen. This useful establishment has been encouraged by all succeeding governments and by the town. 8 In these latter times the Academy owes a debt of grati tude to its two directors, Messrs . Herreyns and Van Bree. The good tra VAN BRÉE. ditions of coloring Flemish art without animating it b were lost to Belgium in the course of the 18th century ; the school of Watteau and Boucher having faded on the the spirit which vivified it. Then came David's system of pearl grey. A man however was found in Antwerp who had applied EK HERREYNS. $139 himself to the study of our great masters and of Rubens especially. This man was Herreyns, whose name is scar cely known at the present day for he left few paintings but to him is due the revival of Flemish painting. (1) Van Bree succeeded Herreyns as director ofthe Academy but he was imbued with the traditions ofthose painters of the Empire, whose studies he had frequented. As a pro fessor, he rendered signal services to artistic instruction, and had the glory of preparing that phalanx of young artists, whose debuts later on, were masterpieces . After the Belgian re volution iu 1830, the first exhibition of arts. took place at Bruxelles in 1834. Our regene rated new school met with enthousiastic suc WAPPERS DE KEYSER. cess : Wappers, De Keyser, Leys, Wierts, Van Ysendyck, approached our great masters of the 17th century by the path indicated by Herreyns. M. Gustave Wappers directed our Academy and resigned his fonctions in 1852 to go and inhabit Paris . M. De Keyser is now director of the Academy and Keeper of our artistic depot. MUSEUM . Some paintings belonging to the ancient Academy of St-Luke, and others derived from churches and corporations suppressed during the Revolution, formed the 小 (1 ) A. VAN HASSELT. Belgique et Hollande. C 140 ADAM VAN NOORT. 2KJAMES JORDAENS. e GASPARD DE CRAYER. DANIEL SEGHERS. first nucleus of our Museum . Its definite organisation dates from 1817. The painter G. Herreyns was named Director and Keeper. This was only an act of justice . Some years previ ously Herreyns, at the peril of his life, had saved from the hands of the sans-culottes, from those modern Ico noclasts, many masterpieces which afterwards enriched our Museum. Such as it is to- day, the Antwerp Museum deserves to be ranked amongst the most remarkable in Europe. It is not the small subsidies gran ted by the town and government that have enabled our Museum to acquire in less than half a century such great importance . A concourse of happy circumstances were necessary to bring about this brilliant result. ST-LUKE. GOUDBLOEM (MARIGOLD). 141 In 1840, our Museum was enri. ched by a collection old paintings, a real Iconography of Art, anterior to the Revival. This collection was small in number, but each painting was a chef d'œuvre signed by a cele brated name and was of inestimable value.

This precious collection was left to the town by the late Mr. Florent Van Ertborn, our former burgomaster. OLYFTAK (A OLIVE BRANCH) . O In 1859, the Dowayer Van den Hecke-Baut, by her last will, left to the Museum her gallery of paintings, containing the most brilliant pearls of the Netherlandish school, illus trated by Rembrandt, Gerard Dow, Van Ostade, Ruisdael and Berchem. Since then several important acqui sitions have come to encrease the artistic riches of our Museum. VIOLIERE (VIOLET. ) ARTUS QUELLIN, SPRANGER. HENRI VAN BAELIK. CÉRARD EDELINCK. 142 DAVID TENIERS . FRANCIS SNYDERS, JOHN BREUGHEL . JOHN WILDENS. Academicians' Museum. On the 5th of September 1853. the. installation of the Academic body. took place composed of the most. eminent artists at home and abroad.. Each member agrees to fornish his り own portrait, and to give one of his paintings to the Museum . Entrance to the Museum . The fore-part of the Museum forms a Greek peristyle. Sixth fluted columns support a pediment crowned with an entablature. In the vestibule, to the right, on entering. A bronze statue of Isabella of Bourbon, wife of Charles the Bold; the statue reclining on a monolith of touch stone formed the upper part of her tombstone, destroyed ਇਸ ਦੇ OLD BOW. YOUNG BOW, 143 in 1793, like so many others. (1 ) On the left, on a pedestal, is the marble statue of Math. Van Brée, by J. De Cuyper. A double staircase opposite, leads to the halls of the Museum. The mural paintings decorating the vestibule, represent the History of the Flemish school . They were exe cuted by M. N. De Keyser, Director of the Academy. A better interpreter could not be found than the eminent artist to whom the Government and the town confided this work. (1 ) This tombstone was formerly at St- Michaels' Abbey. EB GROSS BOW. ARQUEBUSERS '. l FRANS FLORIS. JOHN ERASME QUELLIN. ABRAHAM JANSSENS. EK B. P. OMMEGANCK CATALOGUE OF THE MUSEUM. Altdorfer, Albert. (Durer's pupil). 251 St. Philip. 124 Mater dolorosa. Aertszen, Peter. (1507, Amsterdam, 1573. ) 159 Calvary. Van Aken, said Jerome Bosch. (1450 Bois le duc 1518) . 41 St. Anthony's temptation. Anthonissen, H. V. (? ) 413 A Raft. Van Assche, Henry. (1774 Brussels 1841. ) 601 A Gothic Church. Van Balen, Henry the elder. (1560 Antwerp 1632.) 252 A Concert of Angels. 253 St. Anna. 254 Preaching of St. John. 250 A Concert of Angels. Van Baurscheidt, John the elder. (1669 Antwerp 1728. ) 529 Bust in marble of the king of Spain Philip V. Berchem, Nicholas, (1624 Haarlem 1683) . 572 Landscape. 573 The miseries of War. 574 Landscape with Animals. Backer, Adrian. (1643 Amsterdam 1686.) 430 Allegorical picture : Peace and Justice crowning Painting. Van Bergen, Dirk. (Haarlem 1645 1689?). Backhuyzen, Ludolph the elder. (Emden 1631-1709 Amsterdam) . 584 A young shepherd. 578 The Dutch man of War the Jacob. Berckheyde, Gerard. ( 1645 Haarlem 1639.) 583 Town Hall of Amsterdam. Besschey, Balthasar. (1708 Antwerp 1776.) 496 Joseph sold by his Brothren. 497 Joseph Vice roy of Egypt. 498 The Painter's portrait. 145 499 Portrait of the painter John Martin Geeraerts. Biltius, James ( 16. , . ) 438 A Cock fight. de Bles Henry, 1480 Bouvignes 1550 ? 73 The halt in Egypt. van Bockhorst John, Munster 1610-1668 Antwerp. 385 Coronation of the Virgin. Boel, John , the elder 1624 Antwerp 16... 411 Vanitas. Boel , Peter, (1622 Antwerp 1703) 378 The Eagle feeding. 571 Dead Nature. Boeyermans, Theodore 1620 Antwerp 1677-78. Bosch, Jerome,

• 1450 Bois le-Duc 1518.

41 The temptation of St- Anthony. 408 Allegorical picture (architec tural landscape by Van Delen , figures by Boeyermans) . van den Bosshe, Balthasar. 1681 Antwerp 1715. 448 Visit of John del Campo Burgomaster of Antwerp to the Young Cross- bow Guild. Both, John and Andrew 1610 Utrecht 1650-51. 384 View in Italy. Bout, Peter ( 1658 Brussels 17...) 589 A fair in a village ( Landscape by A. F. Boudewyns. ) de Braeckeleer, Ferdinand, Antwerp 1792 . 518 The spanish Fury. (The artist has placed the scene on the Canal au Sucre. In the back ground is theTown Hall in flames) . 403 The Ambassador. 401 The Pool of Bethsaida. 405 The visit. 406 Antwerp the painter's Alma 517 Mater (the figure of the town of Antwerp is the portrait of Marie 531 Ruthven, the wife ofVan Dyck.. 407 A Dutch Woman. van Brée, Mathew Ignace. 1773 Antwerp 1839 , The Death of Rubens (given by King William I. ) Bust of P. P. Rubens, (inbaked clay. ) Bril, Paul. Antwerp 1556-1626 Rome. 242 The Prodigal Son. 10 - 146 van den Broeck, Crispin. Mechlin 1530-1601 Antwerp. The last Judgment. Brueghel, John , the velvet . Brussels 1568-1625 Antwerp, 545 The death Saviour, weeped bythe Holy Womanand St-John. Brueghel, Peter, the younger. Brussels 1564-1637 Antwerp. 255 The Carrying of the Cross. Christophsen, Peter( ? 1395-1455 ? ) 13 St. Jerome. van Cortbemde, Balthasar 1612 Antwerp 16... ? 386 The Good Samaritan. Cossiers, John. 1600 Antwerp 1671. 352 The Adoration of the Shep herds. 353 A scene within : A gentlemen and his page. 354 Portrait of a physician. 355 Adoration of the shepherds. 356 The Scourging. Congnet, Gilles, the elder Antwerp 1540-1599 Hambourg. 215 Portrait of Pierson La Hues, drummer of the Bow Guild at Antwerp. 216 St. George fighting with the dragon. On the left : St. Marga ret. Clouet, Francis , called Janet. 1510 Tours 1572? 160 Portrait of Francis II. Dau- 91 St- George . phin of France. 92 St-Margaret. Cocx, Gonzales , called Coques. 1614 Antwerp 1684. 561 Portrait ofa young lady. van Coxcyen, Michel the younger. 1499 Mechlin 1592. 88 The Martyrdom of St- Sébas tian. 89 The Martyrdom of St- George. 90 99 302 93 The Triumph of Christ. The Adoration of the Mistical Lams. A copy of the celebrated painting by the brothers John and Hubert Van Eyck. "" de Craeyer, Gaspar Antwerp 1585-1669 Ghent. Elias in the desert. Cranach, Lucas, the elder. Cranach in Franconie 1472 Weimar 1553. 67 Adam and Eva. 68 Charity. 147 Cuyp, Albert 1605 Dortrecht 1691 . 552 Landscape. van Delen, Thierry, 1635 Heusden 16 ... ? Denis, Simon Antwerp 1755-1813 Naples. 510 Cascade. 511 Landscape. 512 The Evening. 408 Poetry and Painting shaking hands at the invitation of Con- 74 The Holy Family. corde. The Gallery of classic Architecture in which this scene passes is due to Van Delen. Dheur, C. J. (1707 Antwerp 1762). 490 Armorial bearings of St- Mi chaels Abbey. 491 id . van Diepenbeeck, Abraham Bois-le-Duc 1607-1675 Antwerp) . 370 St-Bonaventure in extasy. id. James Dunwege, Henry and Victor Dortmund (1ste half of the XVI Century) . Thomas. 492 Camaieu bas reliefs Prudence. 493 id. Justice. 494 id. Force. 495 Instruction in Perspective. Durer, Albert 1471 Nuremberg 1528. 66 Portrait of Frederic III Elec tor of Saxony. Denys, James 1644 Antwerp 1679. 343 Christ on the Cross. 432 Portrait of Gregory Mertens 344 Portrait of John Malderus Headman of the Guild of St-Luke. 345 Christ with the basin. 433 Study from a living model. 346 Christ descent from the Cross. 347 Portrait of Cesar Alexander Scaglia, on of the negociators of the Treaty of Munster. 348 Christ on the Cross. 349 Young girl with a falcon. Dusart, C. ( 1665 Haarlem 1704) . 592 Intérior. van Dyck, Anthony Antwerp 1599-1641 London. van Ehrenberg, William 1630 Antwerp 1675-77 ? 417 Caricinus before the King of Ethiopia. 148 G Eliaerts, J. F. Deurne 1761-1848 Antwerp . 516 Flowers. Engelbrechtsen. Cornelius, 1468 Leiden 1533. 51 St-Lienard. 52 St-George. 53 Translation body 54 St. Hubert . on the renverse : of St-Hubert's ] van Es of Essen, James 1606 Antwerp 16 ... 361 Fruits and Dead Nature. van Eyck, Hubert ? 1366 Ghent 1426. 78 Diptic : right pannel . The Vir gin suckling to Child Jesus ; left pannel : the Donors . van Eyck, John ? 1390 Bruges 1440 . 9 St. Barbara (drawn on a pan nel. ) 10 The Virgin. 11 The Virgin, and St. George. CanonVan der Paele,the Donor. de Fiesole, fra Angelico. Fiesole 1387-1455 Rome. 12 St. Romauld reproaching the Emperor Otho IV with the mur der of the Roman Senator Crescentius . Flinck, Godfrey. Cleves 1615-1660? 391 Portrai's. Frans Floris, the elder, named de Vriendt. 1520 Antwerp 1570 . 161 The fall of the rebel Angels. 162 The Adoration of the She pherds. 163 St. Luke. Fouquet, John. 1415 Tours 1485 ?. 154 The Virgin and Child Jesus. (the painter has given the Virgin the features of Agnes Sorel). Franchois, Luke, the elder. 1574 Malines 1643. 259 The Education of the Blessed Virgin. 260 Apparition of the Blessed Vir gin to Simon Stock. Francken, Amb. the elder . 1545 Herenthals 1618? le Fevre, Robert Bayeux 1756-1831 Paris . 514 Portrait of Van Dael painter 222 The multiplication of bread. of flowers . 223 The last Supper. 149 224 The disciples of Emmaus. 225 Melchisedech, King of Salem. 226 St Peter and St. Paul chosen 249 The archduke Maximilian in for Apostles the middle of the rocks . 227 Apparition to the prophet 293 Miracles at St-Bruno's tomb. 294 The seven works of Mercy. 295 The four crowned condemned Elias, 228 St, George's martyrdom. 229 St. George. 230 St.Georges decollation . 231 St. Margaret. 232 The Martyr of St. Crispin and 234 St. Cosmas. 435 The Martyrdom of St. Cosmas and Damian. Francken, Francis , the younger 1581 Antwerp 1642. Emperor Diocletian . Crispinian. 298 The four crowned lapidation . 233 The Charity of St. Cosmas 299 The four crowned labour. and Damian . 236 St. Damian. 237 The Martyrdom of St. Catha rine. to Martyrdom . 296 The four crowned scourged . 297 The four crowned send word Francken, Francis, the elder. 1544 Herenthals 1616 . 217 Etéocle and Polynice . Francken, Jerome the younger, 1578 Antwerp 1620 , 288 Horatius Cocles at the bridge of Sublicius. 238 St. Sebastian exhorting St. Mark and Marcellianus to per Francken P. H., ( 16 ...- 16... ?) severance in the faith when on 387 St. Francis of Assisi ; the eve of Martyrdom their 388 An attempt to poison a Holy relatives who were idolators Bishop. were seeking to shake their 389 St. Louis the Crusader. constancy 390 St. Anthony a Padua. . 239 Emperor Diocletian condam ned St-Sebastian to martyrdom . 240 St- Sebastian curing by a mi- 379 Dogs and dead game. racle the future martyr Zoe who 549 Young girl (fig. by A. Van Dyck, Dead Nature by John Fyt. ) was dumb. 241 Martyrdom of St. Sebastian. Fyt, John, (1609 Antwerp 1661) 150 Josse de Gand, (? 1410-1480 ?) 20 The Nativity. Garibaldo, Mark Anthony 1620 Antwerp 16... 409 The flight into Egypt. Geeraerts, Martin Joseph 1707 Antwerp 1791 . 489 The Fine Arts, a Camaieu. Genoels, Abraham, the Younger 1640 Antwerp 1723. 429 Minerva and the Muses. Geefs Joseph, (1808 Antwerp. ) 534 Marble bust of the Chevalier Florent van Erlborn, the follo wing inscription is engraved or the pedestal in flemish Cheva lier Florent Van Ertborn Bur gomaster of Antwerp 1817-1828 died at the Hague August the 447 Visit of John Del Campo Burgomaster of Antwerp to the Cross bowmen Guild, 28th 1840. Ileave my collection of paintings to the town of Antwerp, Calsruhe April 27th 1832. Geerts, Charles Henry. Antwerp 1807-1855 Louvain Giotto, di Bondone. Vespignano near Florence 1276 1330 Florence. 1 St. Paul. 2 St. Nicholas (the kneeling man is probably the Donor of this painting. ) van Geel, John Francis Mechlin 1756-1830 Antwerp. 530 Time carrying of Beauty. Gossaert, John, called John of Maubeuge Maubeuge 1470-1532 Antwerp. 55 The Holy Women weeping at Christ's death. An Allegorical statue in french 56 Troup of Cavaliers Justi Ju dices . stone. Goovaerts, Henry 1669 Malines 1720. 57 Ecce Homo. 58 Portrait of a female, 59 The Virgin and Child Jesus. 60 Portrait of Margaret of Aus tria. Goubau, Antony. 1616 Antwerp 1698 . 533 Statue in french stone Quentin 392 Festival of artist's before a ruin, in the campagna of Rome. Metsys. 151 393 Place Navona at Rome. Hoecgees , The Hague XVIIta Century ?. Goubau, Francis . 1622 Antwerp 16... ? 586 Interior of the New Church at Delft. 410 An Abbot and a Friar of St Norbert in adoration before the 587 Interior of a Dutch Protestant chnrch Blessed Sacrament. Hals, Francis , the elder Mechlin 1584-1666 Haarlem . 546 Portrait. Van der Helst, Barthelemy Haarlem 1613-1670 Amsterdam. 560 Child with a dog. Van Hemessen, John ( 14.. ? - 156 . ?) 94 The Conversion of St. Matthew) Herreyns, James the elder. 1643 Antwerp 1732. 431 God the Father. Herreyns, William James. 1742 Antwerp 1821 . vau den Hoecke, John 1598 Antwerp 1651 . 342 St. Francis in adoration be fore to Child Jesus whom to Blessed Virgin presents to him. Holbein, Hans, the younger. Augsburg 1498-1554 London. 86 Portrait of Erasmus . 87 Frobenius a celebra ted printer, friend of Holbein and Erasmus. 99 Horemans, John Joseph, the elder 1682 Antwerp 1759. 450 Reception of the Abbot of St.Michaels to the Fencer's Guild 506 Portrait of the Jesuit Joseph by the chief John Cornelissen . Ghesquière, a distinguished nu mismatist and Collaborator of the Acta Sanctorum . 507 Portrait of James De Bue. 508 Portrait of Godfrey Hermans Napoleon Bonaparte. Abbot ofTongerloo . 509 Portrait of Priest John De Brandt. 596 Calvary, van Huffel , Peter. Grammont 1769-1844 Ghent) , 599 Portrait of the first Consul van Huysum, Justus , 1659 Amsterdam 1716. 590 A bouquet flowers. 152 Jacobsz, called Lucas of Leyden, [ 331 The Burial of Our Lord. 1494 Leyden 1533, 532 Pegasus. 76 The Betrothal ring. 333 Trade and Industry protected Fine Arts. 77 David and Saul. 334 Human law based on Divine. 78-79 St.Luke and St Mark. 80 St. Mathew. law. 81-84 The Adoration of the Magi. 335 Adoration of Shepherds . 336 A female reading. (Tryptic) Wingpiece St.George and the dragon, left wing piece : The Donor and St. Margaret of Antioch her patron saint. Janet, Francis, called Clouet Tours 1510-1572 ? 160 Portrait of Francis II , Dau phin of France. Janssens, Abraham, the elder. 1567 Antwerp 1631-32. 256 St. John presenting the Child Jesus with Cherries. 257 Allegorical figures of Antwerp and the Scheldt. 258 The Adoration of the Magi. Jordaens , John, the second. 1581 Antwerp 1642-3. 292 Pharao's death. Jordaens. James, the elder. 1593 Antwerp 1678 . 329 The last Supper. 330 The Hospitalier nuns of St-Elisabeth. Kerrickx, William. Termonde 1652-1719 Antwerp . 528 A marble bust : Maximilian Emmanuel of Baviere Governor in Netherland ( 1694) . Kerrickx, William Ignatius . 1682 Antwerp 1745. 451 St. Luke. 452 Easter in Egypt . 453 The Lamb of God adored by the Elders of the Apocalypse . Van Kessel, John . 1626 Antwerp 16 ? 414 Concert of birds. Kessel, John. 1648 Amsterdam 1698. 585 Landscape. Key, Adrian. (1544 Antwerp 1590?) 218 Portraits of Gilles Smidt, Syndic by the Recollet friars at Antwerp and his Children. ハン 153 219 Portrait of Mary De Deckere wife of Gilles Smidt and her daughter. 220-21 The last Supper (renverse ofpreced. ) de Keyser, Nicaise , Santvliet 1813. 605 Portrait of the late Baroness, F. M. A. G. Baut de Rosmon Dowager A. J. Van Hecke. Kneller, Godfrey Lubeck 1660-1726 London. 445 Portrait of the Canon Fran cis de Cock. Lens, Andrew Cornelis, Antwerp 1739-1822 Brussels . tenasie . 505 The Muse of Fine Arts. van Lint, Peter, the elder , 1609 Antwerp 1690 . Lombard, (called Lambert Suster man ( 1506 Liège 1560) . ciscan order. 374 The Ford. 375 St. Christopher. 376 Miracle of St. John Capistran. 377 à Franciscan Monk. 158 Portrait of a young man hol ding, an open letter . Maes, Godfrey the younger 1649 Antwerp 1700. 437 St. Georges Martyrdom. Massys, Quentin, the elder, 1460 Antwerp 1530 . 42 Head of Christ. 43 44 St. Magdalen. 45 The Misers . 46 The Burial of Christ. "" 503 The Annunciation. 504 Portrait of the engraver Mas- 49 Martyrdom of St. John the Evangelist (left wing piece . ) 50 St. John the Evangelist. 155 The Holy Face. of the Virgin 47 The Beheading of John the Baptist (Right wing piece. ) 48 St. John. Massys, John, 1500 Antwerp 1570. 372 St. Catharine. 373 Portrait ofafriar of the Fran- 156 Visit of the Virgin Mary to her Cousin Elisabeth. 157 Cure of Tobias. Van der Meire , Gerard, surna med Gerard of Ghent, 1ste half of the XV Century. Lies, Joseph (1821 Antwerp 1866. ) 23 Tryptic : Principal pannel . 000 The Evils of War. the Carrying ofthe Cross . 154 ――――― 24 Left wing piece. sentation in the Temple. 25 Rightwingpiece : Jesus amongst the Doctors . 26 Christ on the Cross. 27 Christ in the Sepulchre. 28-29 Mater Dolorosa. On the second the Donor of the picture and her Patron saint. The Pre Memlinc, Hans (John) . 14.. Bruges 1499. 35 Portrait of a regular Canon of the Order of St. Norbert. 36 Portrait of a member of the Croy family. Memmi, S, called Simon de Sienna, Sienna 1280-1344 Avignon. de Messine, Antonello 1414 Messine 1492 ? van Mieris, William 1662 Leyden 1747. 591 The fishman. van Minderhout, Henry. Rotterdam 1632-1696 Antwerp. 417 Caricine and the King of Ethiopia, (see Van Ehrenberg. ) 418 A Sea port in the Levant. van Mol, Peter Antwerp 1599-1650 Paris .. 350 The Adoration of the Magi. 3 Annunciation. 4 The Virgin in contemplation. 5 The Descent from the Cross . 300 Transfiguration . 6 Christ pierced with the lance. (Forming four pictures reunited in one single frame) . de Momper, Josse , the younger Bruges 1559-1634-5 Antwerp. 249 Legend of an Emperor of Ger many, lost in the mountains and miraculously saved . ( the figures are by Francis Francken, the younger) . Del Mont, Deodat St. Trond 1581-1644 Antwerp. 21 Christ between two thieves. 22 Portrait (some say of the en- 214 graver Pisani others of Anto nello himself. ) de Moor, Charles 1656 Leyden 1738. 588 A Lady holding a bouquet. Mostaert, Gilles , the elder 1525 Antwerp 1601 . Christ on the Cross. Mostaert, John 1474 Haarlem 1555-6 . 69 Votive picture. The Virgin carrying the Child Jesus appea ring in the air. - 155 Murillo, Barthelemy Esteban 1618 Sevilla 1682. 70 Portrait of Franck Van Bors selen . 71 Portrait of Jacqueline of Ba- 513 Landscape with animals . 597 Landscape. varia. 400 St. Francis of Assisi. van der Neer, Artus, 1619 Amsterdam 1683? 567 Landscape. van Nieulandt, 1584 Antwerp 1635 . 301 View of Rome. Ommeganck, Balthasar Paul. 1755 Antwerp 1826. van Opstal, Gaspard James, the younger (1654 Antwerp 1717) . 442 Portrait of Andrew Eugenius Van Valckenisse. 443 Portrait of Charles Van Hove Headman ofthe Guild of St. Luke. van Orley, Bernard. 1471 Brussels 1541 . 61 The Child Jesus . 62-63 Portrait. van Noort, Lambert. Amersfort 1520-1571 Antwerp. 164 The sybil of Christ Church. 165 Agrippine Sibyl. 166 Sybil of the Hellespont. 167 Delphic Sybil. 168-69 Delphic Sybil. 171 The Nativity of Our Lord. 172 Christ washing the Apostles) feet. 173 The last Supper. 174 Christ in the garden of Olives . 171 The Crowning with thorns. 176 The Carrying ofthe Cross, 177 Calvary. 178 The Burial of Christ. 179 Christ resurrection . 64 Portrait of a female. 65 The Adoration of theMagi . (The Shutters represent portraits , pro bablythe Donors) . van Orley, Richard . Brussels 1652-1732 ? 441 Return of Pope Innocent II to Rome. van Ostade Adrian Lubeck 1610-1685 Amsterdam . 557 A Smoker van Ostade Isaac Lubeck 1617-1654 Amsterdam. 564 Winter scene. de Patinir Joachim 1490 Dinant 1548. 75 The Flight into Egypt. 156 --.4 Peeters . John 1624 Antwerp 1677. 412 The Scheld frozen . View of Antwerp in the 17th Century. Van Penne John Amsterdam 1662-17 .. Antwerp. 440 The Pancake maker. Pennemaeckers, 1600 Antwerp 16 .. 357 The Ascension of Our Lord. Pepyn, Martin, 1575 Antwerp 1646 . 261 The passage of the Red Sea. 262 Preaching of St- Luke . 263 St-John and St- Matthew. 264 St-Mark and St-Luke. Quellin Artus, the elder 1609 Antwerp 1668. tian. ) Quellin, Erasmus, the younger, 1607 Antwerp 1678. 364 Gratian Molenaer principal founderofthe Chartreuse at Kiel miraculously saved by St-Catha rine. 365 A Holy Bishop . 366 Portrait of Gerard Nemius Quellin, John Erasm, Antwerp 1634 -? .. 362 Miracle of St- Hugues . 419-20 The Pool of Bethsaida. 421-23 The Martyrs of Gorcum. 424 Portrait of A. Van den Eede 525 A marble bust of Louis Béna vidès, Marquis of Caracena . (This 548 noble man lent all his credit to the request made by David Te niers to Philip IVfor the erection ofthe Academy. 526 Statue in wood of St- Sebas 8th Bishop of Antwerp. 425 St.Bernard receiving the habit. 426 Christ in the house of Simon the Pharisee . 427 Martyrdom of St. Agatha. 428 The Nativity. Van Regemorter, Peter John, 1755 Anvers 1830. Figures of a landscape pain ted by Luc van Uden. Rembrand, see Van Ryn. Rombauts, Theodore, 1597 Antwerp 1637. 337 Christ under the form of a pelgrim received by St. Augus tin. 363 Miracle of St- Hugues Bishop 338 The Holy Family, ( Landscape of Lincoln. by J. Wildens) . 157 Rubens, Peter Paul, 1577 Antwerp 1640. 265 Christ between the two thie ves. 266 The Adoration of the Magi. 267 St. Teresa delivering from Purgatory, the soul of Bernar din Mendoza founder of a Car melite couvent at Valladolid. 268 Christ called on strow (so called because Joseph of Arima thea, supports the body of Our Lord on a block covered with strow) . 269 The blessed Virgin. 270 The Saviour. 271 St-John Evangelist 272 The Holy Virgin. 273 Communion of St-Francis ! of Assisi. 274 The Education ofthe Blessed Virgin. 284-86 Sketches of two Arches and a Triumphal Car wich served in 1635, for the solemn Entrance of Ferdinand of Austria. 545 Death Saviour weeped by the Holy Women and St. John . of Rockox. 280 The Virgin with a parrot. 281 Christ on the Cross. 282 The Trinity. 283 Descend from theCross (repeti tion on smaller dimensions of the chef d'œuvre wich the church of Notre Dame) . Ruysdael. Salomon, 1605 Haarlem 1670 . 551 A calm Sea. Ruysdael , James. 1625 Haarlem 1681 . 575 A Landscape. Ryckaert, David, the third, 1612 Antwerp 1662. 559 Avillage feastivity. de Rycker, A. (the end of XVI Century, Antwerp) 318 Portrait of Louis Clarys. 275-79 Tryptic : The Incredulity of 319 The Blessed Virgin holding St-Thomas right wingpiece the Child Jesus. Portrait of Nicholas Rockox. Left 320 Portrait of Mary Le Batteur wingpiece. -Adrienne Perez wife Wife of Louis Clarys . 321 St. Louis , King of France. van Ryn, Rembrand, Leyden 1608-1669 Amsterdam. 371 Portrait of a female. 553 A young fishman , 554 Old jew. 158 W Rysbrack, Peter, 1655 Antwerp 1729. 444 Landscape. Schalcken, Godfrey. Dortrecht 1643-1706 La Haye. 582 A two Ages. Schoreel, John ( Schoreel near Alkmaar 1495-1562 Utrecht. ) 85 Christ on the Cross. Smits Francis 1760 Antwer 1835. 515 Portrait of G. J. Herreyns . Siberechts, John the younger 1627 Antwerp 16 ... Snellinck John, the elder Mechlin 1544-1638 Anvers 544 Christ on the Cross between the two thieves. Snyders Francis 1579 Antwerp 1657 290 Swans and Dogs. Schut, Cornelis 291 Dead Nature. 1597 Antwerp 1655. Snyers Peter 339 Our Saviour and Our Lady 1681 Antwerp 1752 giving the bull of the indulgence called Purtiuncula to Francis 449 Landscape and mountains. Steen John ( 1626 Leyden 1679) who is kneeling before them. 340 The beheading of St. George. 341 The purification of the Bles- 576 Samson and Dalila. 577 Interior of a public house. sed Virgin. Stramot (end ofthe 17th Century) 594 Portrait of Francis Van Ster 415 Miracle of St. Francis of beeck, a learned Botanist, born at Antwerp 1630. Assisi. In the middle of a vast landscape when a human audience falled him, animal all sorts rum but to hear him. Even the fish appear above the waters of a small lake to be perceived on the second plan. De Sienna Simon, see Memmi. Stuerbout Thierry, the younger called Dirk Van Haarlem Haarlem 1410-1480 Louvain 18 The Blessed Virgin. 19 St- Christopher. Susterman see Lambert Lom bard. 139 Tassaert John Peter 1651 Antwerp 1724 439 The Philosopher. Tency John end of the 18th Century 500 A Sea tempest. 381 Flemings drinking. 382 Morning. 383 Afternoon, 556 Old Woman. Teniers David the Younger Antwerp 1610-1694 Brussels 380 Panorama of Valenciennes besilged in 1656 by the French Army commanded by Marshals 488 de Turenne and de la Ferté, and assisted bythe Spaniards, headed by don Juan. Terburg, Gerard. Zwolle 1608-1681 Deventher. 555 An Interior. van Thielen, John Philip, Mechlin 1618-1667 Antwerp. 401 A Garland of flowers. 402 A Garland of flowers surroun ding a Camaieu the blessed Virgin. Thys, Peter the elder, 1616 Antwerp 1680. 395 Portrait of Max : Gerardi. 396 St. Francis receiving the indulgence of Portiuncula, 397 Icarus and Dedalus. 398 Apparition of the Blessed Virgin. 399 Christ appearing to St. John of the Cross. Thys, a Domincan monk , (end ofthe 17th Century. ) The Descent from the Cross. Titiano Vecellio Pieva deCadore 1477-1575 Venice. 72 The Bishop of Paphos, ofthe Venetian family of the Pesaro named admiral of the Pontifical Galleys, is presented to St. Pe ter by Pope Alexander VI. Van Tulden, Theodor ? 1607-1676 ? 367-368 Sketch of two faces of a triumpal Arch, erected for the Entrance of Ferdinand of Aus tria in 1635. 369 Portrait of a Bernardin monk Benoit Van Tulden. Van Uden, Luke, the younger. 1595 Antwerp 16... 394 Portrait of Henry van Hal- 336 View of St. Bernard's Abbey male. on the Scheldt, 160 548 Landscape. 606 A Wind-mill. van Utrecht, Adrian, 1599 Antwerp 1652-3. 349 Dead Nature. Valentin, Coloummiers 1600-1634 Rome. 351 The Gleek. van Veen, Otho said Otto Venius, Leyden 1558-1629 Brussels . 243 Jesus calling Zacheus to come from the fig trie. 244.The vocation of St. Matthew. 245 St. Nicholas Charity. 246 The Multiplication of corn. 247 Portrait of John Mirceus , | 4th Bishop of Antwerp. 248 St. Paul before the Proconsul. van de Velde, Adrian, 1639 Amsterdam 1672 . their headman and the Abbot of St. Michael's. 580 Landscape. van de Velde, William, the younger . Amsterdam 1633-1707 London. 579 Sea view in a calm . Verboeckhoven, Charles Louis , 1802 602 amount Sea. 603 a surgy Sea. Verbruggen, Gaspar Peter, the younger. ( 1664 Antwerp 1730) . 446 The statue of Apollo surroun ded flowers. Verhaghen, PeterJoseph. Aerschot 1728-1811 Louvain. 502 Agar and her son Ismael dri ven out by Abraham. Verlat, Charles (Antwerp 1824) 000 Portrait of the late Joseph Lies . Verschaeren, John Anthony, 1803 Anvers 1863. 604 Portrait of G. J. Herreyns. Victoors. John ( ? 1600-1670 ? ) landscape painted by John Wy- 550 A Marriage in a Village. 562-63 Figures and animals in a nants. Vinckeboons, David. Mechlin 1578-1626 Amsterdam . 289 Kermesse in the environs of Antwerp. de Vliegher, Simon, 1612 Amsterdam 16.. ? Verbeeck, Francis , Henry, 1686 Antwerp 1755. 454 Visit paid to the Fencers by 558 Sea view. 161 - de Vois, Adrian, Leyden 1641- ? that are Caesar's, and un to God the things that are God's. 193 The Widow's mite. 581 A Woman with a phial in her 194 St. Peter taking the tribute hand. money out of the fish . 195-6 Abraham at Hebron. 197 St. Luke painting the Blessed Virgin who holds the Child Jesus. de Vos, Martin the elder, 1531 Antwerp 1603. Van der Voort, Michael Francis, 1714 Antwerp 1777. 500-1 Two Camaieus , Allegories formerly belonging to St. Mi- 198 St. Francis of Assisie and one chaels Abbey. of his monks. 199-209 Scènes ofSt- Conrad's life . 180 Christ on the Cross. 181-3 Tryptic . The triumph of Christ. -Left wing piece : Foun dation ofSt. Sophie at Constan tinople by Constantin . Right wing piece : The Baptism of Constantin. 184-5 St. George and St. Marga ret. 186-9 St. Thomas feeling the wounds ofChrist. (tryptic. ) Right| wing piece : the Baptism of Jesus Christ. Left wing piece The beheading of St. John the Bap tist . 189 St-Thomas the Apostle. 190 St-Stephen. 191 The Nativity of Our Lord. 192 Render unto Cesar the things 210 Camaieu. 211 212 The temptation of St. An thony. " de Vos, Cornelius the elder Hulst 1585-1651 Antwerp. 303 Portrait of Abraham Gra pheus, Messenger of St. Luke's Guild . 304-5 Ex voto Portraits . 306 Inhabitants of Antwerp giving up to St. Norbert the consecrated Hosts they had kept concealed during the reign of Tanchelin's heresy.. 307 Adoration of the Magi. 308 Portrait of WilliamVan Meer beek. 309 Portrait of Barbara Kegelers. 310 The Vow to the Virgin, Por traits. 11. 162 de Vriendt Fr., called Frans Floris, | (1520 Antwerp 1570) 161 The fall of the Rebel Angels. 162 The Adoration of the She pherds. 163 St. Luke . Wans, John Martin, 1628 Antwerp 16... 416 Landscape . Weenix, John, Amsterdam 1621-1660 Utrecht. 570 A sea port in Italy. Van der Weyden, Roger the elder, ? 14..- 1464 Brussels. Duke of Burgundy. Wildens, John, 1584 Antwerp 1653. 338 The Holy Family scape painted by Wildens figures by Th. Rombouts . Willaerts, Adam, Antwerp 1577-1640 Utrecht 287 Festival held at Tervueren in honor of the Archduke Albert and Isabella. 30-31-32 (Tryptic) . The seven Sa craments. 33 The Annunciation. 34 Portrait of Philip the Good Willemssens, Louis, 1630 Antwerp 1702. 527 Marble bust of Dominick de Zuniga and Fonseca Goverr onof the Spanish Netherlands . • de Witte, Gaspar, 1618 Antwerp 1680-1 565 Italian Landscape. 566 Jesus curing miraculously a blind man; historical landscape. Land Wouwermans, Philip, 1620 Haarlem 1668. 568 Cavaliers halting on their way. 569 Same subject. De Wrée, John the elder (1635-17.. ) 436 A wooden sculptured frame. Wynants, John, ( ) 562 Landscape. 563 Landscape and animals.. Ykens, Peter, (1648 Antwerp 1695) 434 Portrait of John Greins, Head man of St-Luke's Guild.. 163 Van Ysendyck, Anthony Antwerp 1801 435 St-Catharine contest with the Philosopher. 436 Portrait of Stephen Cornelius 598 Flowers. Janssens de Hujovel, Headman of the St- Luke's Guild and the ANONYMOUS PAINTINGS. Chambre de Rhetoric de Olyftak. XIVth CENTURY. School of Cologne. Ziesel, Georges Frederic Hoogstraten 1756-1809 Antwerp 524 Portrait of M.-I. Van Brée. Zegers, Daniel (1590 Antwerp 1661) | 316 Garland flowers , (St- Ignace by C. Schut. ) 317 Garland flowers (Blessed Vir- 14 Calvary. The Donor Henry gin by C. Schut) Van Ryn ArchDeacon of St.John's Zegers, Gerard (1591 Antwerp 1651) Church at Utrecht, is kneeling at the foot of the Cross. Italian School. 324 St-Teresa in extasy, 325 Our Lord returning from lim bo with the Saints of the Old Law. 322 St-Louis de Gonzaga entering the order of St- Ignatius resigns 17 A Madonna. his right of inheritance to the Marquisate of Castiglione in favor of his brother Rodolf. 323 The Marriage of the blessed Virgin. 326 St-Clara in adoration before the Child Jesus. 16 St-Lienard founder, of the Ab bey of Noailles . Flemish School. 15 The Coronation of the Virgin. Dutch School. 327 Our Lady of the Scapular. 328 St Norbert receiving the habit of his order. XV & XVIth CENTURY. Flemish School. 37-40 Double tryptic anterior face right wing piece. The Blessed Virgin. Left wing piece. Por trait of Robert de Clercq , Abbot of the Dune's Abbey near Bruges (1519-1557) . Portrait of an other abbot of the same order. Left : Our Saviour. (This picture bears in several parts the initials C.H.) 95 Ecce Homo. 164 j 96 Festival of the old Crossbow 133 Portrait. Guild under Philip the hand some. 97 Our Lord's Crucifixion . 98 The Prayer. 99 Assumption of the Virgin. 107 The Virgin. 108 The Baptism of Christ. 109 Portrait. 110 Portrait of Philip Duke of Burgundy. Dutch School . 118 Portrait of a young Lady. 100 The Virgin appearing to the Emperor Constantin . 106 The Blessed Virgin. 119 Portrait of a member of the dutch family Van Amerongen. Lower Rhine School. 105 The Ressurection of Our Lord. 111-13 Tryptic : Adoration of the 139 Portrait of a young man. Magi ; The Circumcision ; The School of Cologne. Nativity. 114 Portrait. 115 Portrait of John the Fearless. Duke of Burgondy. 116 Portrait of a Canon. 117 A man in prayer protected by his patron Saint. 134 Portrait of a man. 104 Pope Paul 2th giving the benediction of the Holy Sacra ment. 124 Mater Dolorosa. of Orange Nassau. 143-52 Arms of Chambers of Rhe toric. Italian School. 138 Madonna. Unknown. 135 Holy woman in prayers. 136 Portrait of Gabriel Cambry. 137 Portrait of a man. 140 Portrait of Francis Sonnius , | First Bishop of Antwerp ( 1575) . [ 120 141 Mater Dolorosa. 142 Portrait of William 1st prince 130 Cross carrying. 131 Afflicta Virgo. 101 The Virgin. 102 St-Christopher. 103 St- George. Portrait ofa young man. School ofJohn De Maubeuge. School of Quintin Massys. 126 Dead Saviour. German School. 127 Agirl and an old misleader. 121-3 The Blessed Virgin (Tryp- 128 An Exchanger. tic) . The Donors. 129 Carrying of the Cross. 165 School of John Mostaert. 132 The Burial of Christ. Westphalian School. 125 Ecce Homo. 311-5 Scenes from the life of St Eloy, Apostle of Antwerp. END OF THE XVIth CENTURY. 153 The Holy Family. 358 The Burial of Our Lord. 359 Portrait of Canon Luyckx. 360 Portrait of a man. XVIIth CENTURY. Dutch School. 455-71 Portraits . 472 The burial of Christ. William 474 St-Agnes and St-Dorothea. 475 A Pastoral.. 476 The Death of Abel. 477 Vanitas. 478-83 Six allegorical figures painted and cut out : Clemence, Piety, Force, Justice, Peace, Temperance. 484 Portrait of a Chaplain of the St. Luke's Guild . 485 The Amphitheatre. 486 Deipara Virgo. 387 Christ on the Cross. 595 The saviour on the between the two thieves. Cross Dutch School. 456 Winter. Italian School. 473 The Ascension. Rembrandt School. 593 An Old man. XVIIIth CENTURY. Flemish School . 519 Portrait of Pope Pius VI. Copies. 592 Interior after Dusart. 521 St. Peter after Van Dyck. 522 St. Paul 523 Portrait of Isabelle Claire " "9 " Eugenie. Infante of Spain. 520 A young Artist, after James De Witte. ACADEMICIANS. Bourla, P. , architect, died in 1866. Frame containing the plans and architectonic drawings of the Theatre Royal of Antwerp. His portrait by F. De Bruycker of Antwerp. De Bay, J. father, died in 1863 . Young Girl and shells, marble statue. 166 His bust in marble by his son. he has just chosen at a vendor's counter. De Braeckeleer, Ferdinand. The Village school. His portrait by himself. Calame, A. , died in 1864 The Wetterhorn, seen from the Rossen-laui road, in the Bernese Oberland. His portrait by the Chevalier Rudio, ofGeneva. De la roche, Paul, died in 1857. His portrait by F. Portaels, of Brussels. His portrait by Al . Robert, of Brussels . Navez, F. , ( Brussels . ) The Holy Family. His portrait by himself. Overbeck, F. , died in 1869. The saviour escaping miracu lously from the Jews who had led him from the Synagogue to the top of the mountain, with the intention of throwing him down the precipice. Geefs, William. His portrait by C. Hofman, Genevieve of Brabant with the torical painter at Rome. child and hind. marble group. His bust in marble, by himself. Ingres, J. D. , died in 1867. His portrait, by himself. his Rauch, C. D. , died in 1857. Victory winged and seated , hol ding a crown of laurel. Marble statue for which Rauch had recei ved an order, but executed after Kiss, A. C. died in 1865 . his death, by one of his pupils , M. An Amazon defending herself Hugo Haagen, professor at Berlin, against a tiger which has sprung after the model made by the mas at her horse's chest . Group in ter for the museum of Antwerp, marble. His bust in marble, by E. Riet His bust in marble, by the schel. artist himself. Madou, J. B., (Brussels 1796.) Robert Fleury, Jh. F. N. , (Paris. ) The body of Titian , exposed in Gallantry. Ayoung man presen- the Barbarino palace, at Venice, ting a young girl with a necklace where he died of the plague in 167 1576, at the age of nearly hundred ons and elevations of St. Joseph's years. church, in the Quartier Leopold at His portrait by the artist himself. Brussels . Roelandt, L., died in 1864 . Frame containing plans and architectonic drawings of the Pa- Verboeckhoven, Eugène, (Brussels . ) lais de Justice at Ghent. His portrait by L. De Winne, of Ghent. V. Schadow-Godenhaus, F., Baron. (Dusseldorf,) died in 1862. Charity. His portrait, by Ed. Bendemann , director of the Academy of Dus seldorf. His portrait by Al. Robert, of Brussels . - Departure for market. His portrait by the artist him self. Cornelius, V. P. , (Berlin) died in 1867. Cartoon, representing : Haagen confiding his treasures to the Nymps of the Rhine ; an episode from the poem of the Niebelungen . - His portrait, by Oscar Begas, Suys, F. , died in 1861 . Frame containing plans, secti- of Berlin. PRIVATE COLLECTIONS. Gallery Nottebohm, rue du Fagot near the Museum. Modern pic tures . A very remarkable collection , less thro their number than thro their merit. The collection was left to the Baroness Marianne Nottebohm by her brother in law the baron Johnson Abr. Notte bohm who died at Rotterdam in 1866. Open to the public by addressing one self to the porter every day ofthe week Thursday and Friday excepted. Gallery Wuyts, rue du Jardin. Collections of MM. Schuermans, rue des Aveugles, Delahaye, ruedes Émaux, Salomon, GrandPlace. Cercle Artistique et Littéraire, rue d'Aremberg. The Conference room has all the importance of a Museum by the magnificent pictures it contains. BACHELĘ POLLU HOTELUEL'EUROPE .RUBENS OFSTATUE &VERTE PLACE W PUBLIC WALKS. STATUES. - PARKS. GARDENS, &c. PLACE VERTE & STATUE OF RUBENS. ( 1 ) — This walk or rather promenade square, planted with fine trees, which offer cool and shade, served as a cemetery some 60 years ago. In 1802 the wall of enclosure and some few houses facing the Marché aux Souliers were demolished ; the square was surrounded by stone pillars joined together by (1) We shall not attempt the superfluous task of praising the talents of Rubens. especially in the town whose echoes have resounded for two centuries with his glory and renown, and which will be eternally proud of having given birth to this prince of painters. (* ) Every child in Antwerp has learnt from its cradle to lisp the name of Rubens, and no man of education exists in Europe but is familiar with his history . Great men do honour, not only to their race and nation , but to the whole of humanity Let us therefore confine ourselves to state that this prodigious artist handled every style ; religious paintings, history, portraits, landscapes, animals, joyous village festivals, and in all he shewed himself equally master. He possessed the double gift of perfect natures : fecundity and universality. His genius was for ever bringing forth fresh wonders without impoverishing itself, without ever betraying for an instant exhaustion or fatigue. The last picture he painted was, The Martyrdom of St.-Peter, still to be seen at Cologne. This is one of his most vigourous chefs d'œuvres. Rubens died of a fit of the gout, May 30th 1640, at the age of 63 years and if months. He had given to the Flemish Art, its most magnificent form, and carried this school to that high degree of perfection, where, progress being impossible, a speedy decline becomes inevitable. This decline happened when the generation formed by Rubens had descended into the tomb. E. GENS. Histoire de la ville d'Anvers. (") Recent discoveries made by M. B. Dumortier, seem to indicate the town of Antwerp as the birth-place of Rubens : See Sur le lieu de naissance de Rubens, etc., in 8 Brussels , 1861. ww STATUE OF LEOPOLD 1 . iron chains. In 1815, the town being threatened with a seige by the English fleet, General Carnot, had the chains taken up and employed them to bar the passage of the river. The immense shed in the middle of the Place serves in summer time as a temporary exchange. STATUE OF RUBENS. This statue modelled by William Geefs and cast in bronze by Bueckens, was inaugurated, August 15th 1840. Rubens is represented in the cos tume of an ambassador ; at his feet are implements of painting. STATUE OF KING LEOPOLD ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ I. ( 1) · This is a remar kable production by Joseph Geefs, the Antwerp sculptor. (1) In the month of July 1856 , the whole of Belgium, with rejoicings, kept as a festi val the welcome anniversary day of the accession of Leopold the First, who during a reign of twenty five years had so powerfully contributed to the happiness and prosperity of the country. The second town in the Kingdom, not content in greeting with enthusiastic welcome the founder of our national dynasty, would leave an imperishable monument of gratitude towards the monarch, so justly proclaimed the type of a constitutional sovoreign. An equestrian statue was voted. The Chamber of Commerce set a public subseription on foot to defray the expenses of erection of a monument, and the whole population answere to this appeal. In the sitting of August the 20th 1859, the Chamber of Representatives voted for the enlargement of Antwerp, It was decided that the statue of the King should be placed on one of the public . squares ofthe new part of the town. A deplorable conflict embittered by political passions, broke out a short time after wards between the town and the government. The country had imposed a perillous mission on our city : Antwerp was to serve as its last bulwark in the event of our nationality being one day threatened. Our population was troubled on learning the projects of Government. The construction of a vast citadel at the town in the neigh bourhood of our maritime establishments, appeared to be compromising its safety and its commercial prospects. The discontent became general ; all sides of politics united to obtain from Government the concessions reclaimed by the eommercial interests of the Antwerpians as well as the lawful interest of those proprietors whose land had been - 172 1 The Sovereign is represented on horseback, wearing the costume of General Commander of the Belgian army, with hat in hand. The resemblance is very striking ; it is evident by the most minute details that the artist had above all in view, a scrupulously exact reproduction. The bronze was furnished by the Société Anonyme of Brussels. STATUE OF VAN DYCK. (Place du Musée.) (1. ) - This statue was carved in marble in 1856 by Leonard de Cuyper who presented it to the town. laid under servitude. But after a few years this effervescene of opinions had become calmer and the parties, who, when their common interest was at stake had forgotten, for a moment the antagonism oftheir political principles, separated anew to commence a conflict more embittered than ever. We thought it necessary to relate briefly these events in order to explain the delay that occurred in the permanent erection of a monnment whose destiny might have shettered it from the vicissitudes it has undergone . In the month of May, 1868, the Chamber of Commerce addressed the Town Council , demanding that the latter would indicate, according to previous agreement, a piece of ground whereon to place the statue ofthe King. The Council declared this demand inopportune. The Chamber of Commerce appealed anew to the people of Antwerp. In a few days double the sum of money necessary was collected to purchase the ground, to place and inaugurate the monument. It was on this temporary site, that the bronze statue of the first King of the Belgians was inaugurated with great solemnity, August the 2nd 1868 . (4 ) Anthony Van Dyck born in 1599 of a family of merchants, shewed such pre cocious dispositions for painting that at the age of eleven, his parents placed him in Henry Van Balen's studio. At the expiration of five years he passed into that of Rubens, whose best pupil he became. On February the 11th, 1618 , he was received as free-master in the Corporation of St. Luke. By Rubens'advice Van Dyck set out for Italy in 1628. It is said that Rubens was jealous of his pupil's dawning glory, as was Michael Angelo of the young Raffaello, In Italy he appears to have studied the Venitian school by preference . From the city of the Doges, he passed to Genoa, where he painted the portraits of the principal patri cians of that city, the Balbis, Spinolas, Pallavicinis , Brignoles, etc. He went afterwards to Rome, where his sojourn was shortened by the disgust his aristocratic nature felt at 173 G STATUE OF DAVID TENIERS. This bronze statue, the work of Joseph Ducaju, was inaugurated the 18th of August, 1867, being the anniversary of the inauguration of the Academy of St-Luke (1 ) . The great artist is repre sented holding in his hand the act of organisation of our Academy. MONUMENT OF VAN SCHOONBEKE. - The allego rical statue at the entrance of the Boulevard Leopold, represents the town of Antwerp crowning the bust of the low and debauched morals of the Flemish colony established in the Eternal City. He returned to Antwerp in 1628 ; two years later he set out for England, where he established a Guild called St. Luke's club, on the plan of the famous corporation at Antwerp which still exists. Sought after and caressed by the English aristocracy, with whom his fortune permitted him to live on a par, he remained in England until 1640 . Already painter in ordinary to their British Majesties, he was knighted by Charles I. An illustrious marriage heightened the brilliancy of his position . Van Dyck died on the 9th of December, 1641 . (GENS. Histoire de la ville d'Anvers.) (1) David Teniers, the creator of so many charming pictures, in which Louis XIV saw nothing but puppets, the poet of the village festivals of Brabant, of joyous drinking parties of peasants, smoky taverns and alchimists ' laboratories ; David Teniers in fine, wiser than Adrian Brauwer and Craesheke, did not mingle in the orgies to which he lent the poetry of his pencil . Son of a celebrated painter, David Teniers the elder, pupil of de Brauwer and afterwards of Rubens, he forgot his first master when he said : « I derive my genius from nature, my taste from my father, and my perfection from Rubens. >> Born in 1640 he married in 1637 , Ann Breughel daughter of Breughel de Velours ; after his first wife's death , he married at Brussels, 21st of October 1656, Isabella de Fren , daughter of the secretary of the Council of Brabant. The Archduke Leopold William, a great admirer of Teniers' talents , honored him with the title of painter to his Highness and named him gentleman of his chamber. Don Juan of Austria, the natural son of Philip IV, King of Spain, continued to protect him and confirmed him in these honours. Teniers died at Brussels. April the 5th , 1694 ; and was buried at Perck near Vilvorde, where he owned the mansion called Chateau des Trois- Tours. (Three-towers) , which still exists and which he often reproduced in less rustic scenes. (EUG. GENS. Histoire de la ville d'Anvere. ) - 174 Gilbert Van Schoonbeke ; it is the work of J. B. Van Aren donck. STATUE OF BODUOGNAT. A Belgian hero of whom Cæsar speaks with admiration. He was the chieftain of a race which offered a desperate resistance to the Roman legions (50 years before Christ. ) This statue is one of Ducaju's most remarkable productions ; the manly energy of the Nervian chieftain is given with great talent. - PUBLIC WALKS. The Park. Antwerp possesses promenades that many a capital might envy. After the levelling of the beautiful plantations of the glacis, ren dered necessary by the formation of a line of boulevards, the Town Council decided on making a park of 12 hectares (about 25 acres) on the site of the old fortress of Heren thals. The works of appropriation were confided to Mr. Keilig, the clever architect of the Bois de la Cambre at Brussels. - The park already presents a very beautiful aspect. That part situated towards the town is a remainder of the ancient walk of the glacis ; here the idler finds all he can desire, comfortable seats, shade and charming points of view. The new part is well laid out, there are some fine sheets of water supplied by the Herenthals Canal (1) (4) Amongst the works of public utility executed at Antwerp, under the reign of Philip the Good, we must mention in the place the Herenthals Canal, destined to conduct into the town, where soft water was wanting, the waters of the Schyn, and to establish at the same time, a communication with the Campine. As early of the year 1434 the Canal was in operation. running from the Meir to the Tour Bleus, and to which the streets called Rue du Canal and Place du Vieux Canal owe their names. 175 artificial mountains of very picturesque effect, vast lawns, smiling flower-beds, a suspension bridge, rocks, etc. Statues and works of art are as yet only thinly scattered; besides some allegorical figures, are the statue of the popular poet, Theodore Van Ryswyck due to Leonard De Cuyper. Onleaving the park we return through the Avenue Quen tin Massys, bordered on each side by magnificent modern structures, at the end of which is the church of St-Joseph ; built in the Roman style, after Mr. Gife's plans. Near this point several magnificent avenues converge, we stop involuntarily to contemplate the beautiful spectacle that this part of the promenade offers ; on one side immense pine trees serve in summer to set off the fresh and luxuriant verdure ; on the other, we discover at a considerable distance handsome buildings, and the nume rous roads and avenues which traverse the environs in every direction. In 1855, the pieces of land between the Railway and the Chaussée de Malines, became the property of a society of speculators who traced beautiful avenues and sold itto private individuals on reasonable terms. A great number of houses sprung up as if by enchantment. Continuing the line traced by the Boulevard Leopold on the right, we come in front of a charming Villa. This is the summer quarters of the society of the Grande Har monie. On the left is the entrance of the Pépinière a beautiful walk was formerly the place of execution ; this sinister spot, now the resort of feathery songsters 176 - and peaceful loungers, owes its happy metamorphosis to the Marquis of Herbouville. The fine large trees afford cool shade and solitude . The walks are straight and converge in a round point, in the middle of which is a beautiful kiosk. In the summer season concerts are given here, which are well frequented. The causeway of Berchem forms a bifurcation at the entrance of the Pépinière. The road on the left leads to Berchem, and that on the right to St. Laurent. This latter road is bordered by country houses which rival each other in elegance. St. Laurent itself is composed of a few houses only, and is of no importance. Its church, rebuilt in 1833, has nothing in its architecture that reminds one of a religious edifice. There are some fine tombstones in the cemetery round the church. Berchem partakes with St. Laurent the privilege of being the aristocratic quarter of Antwerp. It is the chosen residence of our rich merchants and private gentlemen. In the whole faubourg there reigns a calm and tranquillity forming a singular contrast with the noisy and populous faubourg of Borgerhout. In this Eden of the Antwerp population the worship ofFlora could not be forgotten. It would take too long to enumerate the fine horticultural establishments belonging to private families. It will suffice to cite those of Madame Legrelle- D'Hanis and Mr Edmond Legrelle, as enjoying a brilliant reputation in the horticultural world. The village of Berchem was formerly a lordship of 177 I which the Berchem family were made possessors by the Dukes of Brabant. At the entrance of the village we remark on the left a pyramidal post, on one of the faces of which, a hand is sculptured. This was the boundary of the juridiction of Antwerp, and the Sove reign, at his inauguration, stopped here and took the oath to maintain the privileges of the Town. The Church, destroyed in 1584, and rebuilt in 1610, has been considerably enlarged in these latter times. The interior presents nothing remarkable excepting a picture by G. Herreyns, St. Willebrord destroying the idoles, and a tombstone ; a white marble statue, a lady ofthe 17th century ; the last descendant of the Berchem family. In the cemetery surrounding the church, are tombstones worthy of remark, some by their magnificence, others by their historical interest; as that of Count Frederick de Merode, killed in 1830, at Berchem, whilst fighting for the independance of Belgian. Coming out of the church we touch the new enclosure, which extends to a distance of more than two leagues and surrounds the town. ZOOLOGICAL GARDENS. Situated at the entrance of Borgerhout, a few steps from the railway, along which it runs. Founded in 1843 by a joint stock company, it has now reached to such a degree of development, as to excite the admiration of those even who have seen the Jardin des Plantes at Paris, and the Zoological Gardens 12 . 42697477 INDAIAL WRONG !LIFE J.SCHAUMBURG 179 of the Regent's park at London. The gardens laid out by the architect Van Cuyck, afford all the attractions of the most beautiful promenades, even to those who by habit are satiated with the interesting spectacle of the animals. During the summer season, concerts are given here twice a week. A Café-restaurant is established in the oriental kiosk. The Museum of natural history which dominates the garden, is an edifice of monumental character, built after the plans of De Marbaix. On the ground floor are the aviaries and large carnivorous animals, etc. The forepart contains beautiful tropical birds. J FITL The dwelling house of the Director of the Zoological gardens was built by the architect Lambeaux. It is a Swiss Chalet, combining Alpine elegance with all the comfort ef an English cottage. 180 The Egyptian temple is an imitation of those found in the island of Philoë. Built in 1857 to lodge the large quadrupeds of Asia, the architect Ch. Servais has perfectly succeded in adapting this edifice to its purpose. At every step we perceive the most varied buildings, a farm, rustic cabins, Indian huts, a bear pit, a palace for monkeys, a park for deer, a magni ficent oriental palace for the antelopes, immense aviaries for eagles and vultures . All in fine is in perfect accordance with the Zoological and artistic riches here assembled, and which persons of the town, and strangers, but above all ship-owners in relation with every country of the globe, take pleasure to encrease. We shall not give a list of their names, it would be too long and useless to strangers, who find in the inferior keepers of the gardens, guides both intelligent and polite. (1 ) The entrance is gratuitous to persons presented by a shareholder ; every member can introduce ladies free. Strangers, unpresented, pay 1 franc each. ST-WILLEBRORD & BORGERHOUT. The entrance of this ancient faubourg is called in one part St- Willebrord and in the orther Borgerhout ; we shall comprise the whole under the latter denomination . - The word Borgerhout means literally Burgesses Wood ; which explains at the same time its origin and etymology. In 1225 , the inhabitants of Deurne persisted that this wood belonged to them, wich pretention was ( 1 ) The administration as published a charming volume by M. Eug. Gens, under the title of Promenades au Jardin Zoologie d'Anvers. 181 disputed by the Abbey of St-Michael, and a verdict of the Official Court of the Bishop of Cambray, gave the wood to the Abbey and the pasturage to the inhabitants of Deurne. Le Roy, in speaking of Borgerhout, says, that in his time already, this suburb resembled rather a pretty town: there being so many shops and pleasure grounds.— We see from this, that it has lost none of its ancient fame. Borgerhout occupies an extent almost as conside rable as any provincial town. It is crossed in every sense by fine streets, bordered by wide foot-paths, and magni ficent houses ; a great number of new buildings have of late years completely changed the aspect of this ancient suburb, whose population is now valued at about 20,000 souls. Church of St. Willebrord. Whe have seen else where that Rauching, entitled Lord of Antwerp, granted St. Willebrordus, the possession of church situated in the Castle, to this donation he joined the possession of different pieces of land, amongst others a large field called latter on, St. Willebrord's field or St. Willebrord wich name a part of the faubourg still preserves. On this field the Antwerpians built a church in honor of the holy Apostle. This church, destroyed in 1542, at the siege of Antwerp by Martin Van Rossem, was rebuilt in 1551, but had not a better fate ; it was devastated by the Iconoclasts and finally burnt down. The construction of the presents church dates from 1649 182 its architecture offers nothing very remarkable, but it possesses some good paintings ; a Presentation in the Temple, which passes for one of Rubens', but which is most probably only one of this school ; a Holy Trinity and a Christ on the Cross, by unknown authors ; the latter is in the style of Van Dyck. A marble monument of the painter Cornelius Schut is to be seen, ornamented by two of this master's paintings ; the one representing the Dead Christ; the other, God the Father and the Holy Ghost. A camaieu, nnfortunately a little damaged, serves as a basis to these two paintings, it represents Purgatory. An antique image of the Virgin is placed behind the altar. It is a statuette carved in oak. It was held in veneration by the faithful even in the time of the primitive church. At the present time, it is much frequented by married ladies ; particularly after being churched. Church of St. Mary's. Built after the plans of the architect Berckmans, is the first religious edifice, which in the XIX century, was built in Belgium in the Ogival style . The first stone was laid June the 3rd 1841, and the church was entirely finished in 1846. In the choir are the portraits of the four Evangelists, by Henry Coninck, of Rembrandt's school ; the Adoration of the Shepherdt, by Lens ; Christ calling little children unto him, by Van Orley. The pulpit, the confessionals and the altars in Gothic style, are by the sculptor De Preter. 183 Beside fine paintings on glass, the interior decoration is completed by fresco painting. Opposite the church is the sta tue of General Carnot, by the sculptor Leonard De Cuyper. This statue was erected by the in habitants of Bor gerhout, out of gratitude, to the General, who sa ved their fau bourg, when, in 1815, its demo lition was decreed in the interests of the defense of the city (1) ( 1 ) In 1814 Napoleon charged Carnot with the defence of Antwerp. This upright citizen, who alone at the Council , voted against raising Napoleon to the Empire, kept also from him during the time of his power. In 1814, at the moment when Frauce was menaced and when those who had betrayed the Republic for Napoleon, were preparing to betray him in his turn for the new eventualities open to their ambition, Carnot came and offered his services to the Emperor. He had only then the simple rank of Commander of a bataillon ; the future Governor of Antwerp was made to pass in a few minutes through the ranks of Lieutenant- Colonel , Colonel, General of Brigade, and General of Division . He had much difficulty to penetrate into the town. surrounded by enemies. He repulsed the summons ofthe Prussian Bulow and afterwards the entreaties of his hid friend Bernadotte, sustained a bombardment offour days and only gave up the place to the allies, when assured of Napoleon's abdication, CHURCH OF ST. MARY. ― 184 G ANTIQUITIES. The Etymologie of the name Antwerp, Flemish and German Antwerpen, latin Antverpia is very plain ; it is originated from the nature of the soil of the town, constituted alluvia by the sand accumulated by the flood of the sea. In the ancient langues of Northern Europe the word Alluvion flemish werp or Anwerp with the addition of the conjonction an correspond to the Saxon word Anworpan the Goth Anwairpan the German Anwer fan, the Swedish Anverpa, the Norwegian Anverpe and the old flemish Anwarpe. Two commercial towns Rotterdam and Amsterdam situated on the sides of the Rivers Rotte and Amstel have a similar etymology, with the difference, that the word dam signifies an artificial ground made by human labour. werp or Anwerp, alluvia brought together by the waters . The soil of Antwerp must have been in the primordial periods nothing else but a vast inacessible marsh transfor med later in wood land . This was inundated in its turn by some cataclysm and was covered by the sea, before to be left definitively dry by several stratums (beds) of sand . (1) Digging the new docks on the Kattendyk in 1857 there was found in the turfbed situated six or seven mètres deep a hart ' s horn with a egschaped hole in it about two inches in size. It was evidently a weapon ; to chase or to fight man wanted instruments of which the elements neces sary to their manufacture did not exist in a country ( 1 ) See Geology page 195. The ancient downs showing the North East boundary ofthe high flood are found at Oorderen & Calmpthout abont six miles from Antwerp. 185 where nature could offer him neither silex, iron or other metals.This is themostancient proof of human existence in these parts. At the same dig gings and at the same depth one discovered remainders of marsh Hart (Cervus pardi nensis) Axis, Deer, Wild Bear, Buffalo and of the Cavern bear. These animals belong to the prehistorical times with the Mammouth (1 ) the giant ofthe Antediluvian Creation ; many considerable remains have been discovered at Hoboken near Antwerp. It is impossible for the Romans not to have under stood all the advantages of such a military position. Obliged to struggle constantly against the incessant revolts of the Batavian hordes, a castle must have been for them one of the advanced fortresses, conse ( 1 ) The skeleton of the Mammouth which is deposited at the Museum of Natural history at Brussels has been found at Lierre along six miles from Antwerp. It is the only entire specimen , at our belief, excepted the one now in the Museum of St - Peters bourg, to be found in Europe. In the Museum of Antiquities of the city are kept an Atlas and a whale's side Many hundred years these vertebra were considered as being the bones ofthe famous giant Druon Antigon slain by the brave Brabon, and a trophy painted with great care decorated one of the rooms of the Town Hall. Albert Durer who visited Antwerp in 1520 says with much gravity in his Memoirs, that he has seen these bones suspended in iron chains in the Council Chamber of the Magistrate. Let it be permitted to us to add that the great artist who was at the same time a first rate anatomist has carried in this occasion the respect of tradition farther than reason could permit.

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quently one of the remparts of conquered Gaul. We may suppose this, and in support of our hypothesis, we recal to mind the discoveries made in 1608, in the enclosure of the old Abbey of St. Michaels. RUINS OF CRONENBURG (1554.) The objects discovered were a cenotaph of rose- coloured marble, containing an urn, two busts, sepnlchral lamps and lachrymatories. This was evidently a Roman cemetery. A little further, on the spot where later the citadel of the Duke of Alba was built, there existed ruins be longing, to the Gallo-Roman epoch (Cronenburg) . In the environs was found the Cenotaph of Fabius Rufus, which is now deposed in the museum of the town. In spite of all these discoveries nothing can be affirmed ; 187 - they prove evidently that the Romans were established on the spot on which the town of Antwerp now stands, but nothing proves that the origin of the castle was the work ofthe Romans; nevertheless we are forced to believe in the existence of a fortress destroyed probably by some hordes of barbarians ; and of which the Normans only later rebuilt the enclosure, and surrounded it with solid walls . The remains of the Burgt of Antwerp (near the fish market) is one of the most ancient and at the same time the most curious military monuments of the country. Mentioned for the first time in a testament dating from 726 ; by this act Rauching Lord of Antwerp, gave St. Willibrordus, the church situated in the Castle (Cas trum Antverpis) and the third part of the Tonlieu. In 840, the Normans came up the Scheldt, and ravaged the adjacent country. Without doubt they respected the Burgt which afforded them a convenient and safe asylum, and which became one of the numerous points of departure for their excursions. The situation was too advantageous to be disdained or abandonned. Far from destroying the Burgt, the Normans would have repaired the building in order to render it more impregnable. We must assign as the second epoch of the Antwerp citadel, the end of the 9th century, period of the Norman occupation. Towards the same epoch the Normans established at Louvain a vast retrenched camp. The Burgt ofAntwerp occupied a considerable extent of ground. When we imagine that a superficy of about 9 acres 188 was surrounded by high walls and towers, crowned with battlements, an imposing mass of buildings ; we ask ourselves how, with such limited elements, these men managedto construct so considerable an edifice. Thes materials they used were derived from the quarries of Namur and Tournay. These they had to transport by water and they had therefore to struggle against obstacles of every nature. The means of transport were slow and difficult ; small vessels had therefore to DP RUE DES ANGUILLES. bring successively, by ascending the river as far as Tournay, the stones and other materials requisite for the construction of the fortress. The massive walls of the castle were of schistous stone, whose irregular layers presented to the eye a mass of blocks scarcely hewn, joined together by cement of extreme hardness. Large and deep moats surrounded the first enclosure. At certain times of the day, at tide time, the river inundated the surrounding parts, transforming the fortress into an island of granite, as : fantastical as inaccessible (1). The street, called Rue des Anguilles, represented in the following engraving, formed the bed of the moat, at the south east of the fortress ; and from thence, are to be discovered two or three towers hidden behind the houses. ww VIEWOF THE ANTWERP CASTLE( 9TH CENTURY. ) 190 Our quays and other modern works, by narrowing the bed of the Scheldt, prevent us from forming a correct view of the advantages a besieged troop could derive from these daily inundations. From the other side ofthe moat, rose embattled walls pierced with nume rous loop-holes . The se walls were SO thick as to allow a passage or road in side, completely co vered ; which joined together the towers that were built at distances from each other. By means of this covered way easily and without running any risk, assistance could be given to the part threatened. REMAINS OF THE BURGT, (near de Fish Market). ving gives a view of the whole of the Burgt. . As for the old walls they can still be seen near the Fish- Market, afthough the greater part is hidden by the houses. The visible part serves as the basis of the Steen, The annexed engra 191 formerly the town prison, rebuilt in 1520 on the foundation ofthe old fortress itself. The battlements have been level led, buth the loop-holes were only stopped up and they are easy to be seen in the wall and the tower at the angle of the building. The upper part of the wall and the tower built of white stone, belong to the construction of 1520. The gate which gives access to the place St-Walburga is still standing, the last remains of the great fortress . Its ogival form shews it was rebuilt in the 13th century. In the carving above the gate, a defaced image our savants trought to recognize a scandinavian divinity, the God Semini. Chapel of St-Julian. (Rue Haute). This chapel formed part of an hospital of this name, founded in 1303, by the noble lady Ida Van der List and John Tuclant, Canon of Notre Dame. We believe the façade to be contem poraneous with the epoch ofits foundation. Wooden Houses. The elevation of houses by means of stories, one above another, was one of the results ofthe increase of population . The riches of the burgesses could be perceived by the height ofthe gables, ornamented with carved arabesques and framed in ornements of Ogival style. In the XIII and even XIV Centuries, says M. Schayes, when the use of glass was still very rare in dwelling houses of inferior order. there were but few windows in ordinary houses ; later on the contrary, the apertures were very numerous. In the " 192 wooden houses on the ground floor, the front was composed of a suite of square windows with cross-bars, separated from each other by a simple beam of stone or wood. The window frames cut out in shape of lozenges, squares with angles cut elliptically, or in other figures, and often enchased so as to present compartments of most com plicated designs, were very small and of shick glass more or less opaque. Antwerp still possesess some fine specimens of these. constructions, which will soon disappear entirely. RUE DES CHAISES. The blue Tower. (Boulevard des Arts). This tower formed a part of the old enclosure of the town, built in 1310; some remains of its walls may still be seen, in the Rue des Escrimeurs. 1 MISCELLANIES. Typography. Antwerp , the chief town of the province of that name, is situated in a fertile plain. Its latitude is 51 ° 13° North and longitude , East 2014 " : about 17 leagues from the sea, 8 from Brussels, 27 from Amsterdam and 72 from Paris . The breadth ofthe Scheldt facing the town, varies from 487 to 908 feet ; and its depth is from 26 to 48 feet, at low water. The tide rises to 4-50 and during the new and full moon, to 5,80 . The current at the flow is 3 knots an hour, and a knot and a half in still water. Antwerp contains 15 gates , 610 squares , and 4 canals. Its extreme length is 5,000 metres ( 16,404 feet) and its width 3,500 ( 11,480 feet) . Its enclosure , circum scribed round the Burgt in its origin, took greater extension , first under Henry I and John III , Dukes of Brabant ; afterwards , under Charles V and Philip II. The establishment of the new enclosure, including the faubourgs of Borgherhout, Berchem and St. Laurent, was decided in the House of Representatives , 20th of August, 1859 . On the vast extent of ground occupied by our old fortifications , we now perceive magnificent Boulevards, and numerous edifices rise up on all sides. This work was executed under the direction of Mr. Th. Van Bever, civil engineer of the town. The government has completed the metamorphosis of the town by selling the Southern Citadel to the Strousberg Company, who intends to turn to account that immense piece of ground by building new maritime establishments . -- 13 194 - In 1865, the enclosure of the town contained 16,595 houses ; in 1866 , 16,636 ; in 1867, 17,410 ; for 1870 the increase is still more considerable compared to preceeding years. (1) Population. Antwerp counted 46,000 inhabitants in 1750; 60,057 in 1807 ; 73,506 in 1830 ; 78,749 in 1840 ; 147,550 in 1868. and 151,000 in 1870. Geology. The soil of the town is formed of a sandy deposit (1 ) The enlarging of the town has played so important a part these late years, that we are obliged to speak of it. After the new enclosure had been decided ( 20th of August, 1859) , the town of Antwerp had hoped to obtain , like Mons, Charleroi or Ghent, a diminution on the price of ten millions of francs demanded by the government for the land derived from the rased fortifications. Our former deputies to the national Representation had insisted on this important point, and favorable negociations had even already been commenced, when the meetings broke out. Violent speeches against the Government, in which even the Royal person was not respected , were pronounced in these popular reunions The malcontents allied themselves to the enemies of the minister and political pas sions were mixed with our reclamations against the citadels. The Government, far from granting any concession, showed itself more and more self-willed , and the town was placed in the alternative of choosing to purchase at the price of 10 millions or giving up this ground to a concessionary society that the Government had ready at hand. Courageous efforts were made by our former representatives : the eloquent and energetic speeches of Messrs. de Gottal, Loos and Hippolyte de Boe (* ) , remained sterile before the majority of the chambers and the condition of the Government. On the other hand, the people of Antwerp repaid them with ingratitude by replacing their Representants by persons possessing nothing to recommend them except their devotion to a party inspirated by any thing else, but the real wants of the City. If some well intentionned men did not refuse to accept a position in order to be of service, they soon enough perceived that their endeavours were invariably paralysed by a fawned majority . Antwerp at last accepted the offers made by the government and obtained possession of the ground ; at the same time the Town contracted a loan of 22 millions, to cover the price of purchase and the necessary work to be done. These important transactions, gave rise, it would appear, to lucrative operations to the detriment of the interests of our City. (*) This vaillant champion of the progressist party, was born in Antwerp (1826). De Boe possessed all the qualities of an accomplished states-man. After his untimely death ( 1869) the family published his works : OEuvres politiques et littéraires d'Hippolyte De Boe. A testimonial of what Antwerp lost in this eminent man. 195 corresponding to the Rag of England, mixed with sand , argile, limonite and a great quantity of shells. Mr. Nyst, in a remarkable work on the tertiary fossils of Belgium. distinguishes five different systems in the sands of Anwerp 1st. The black sands of fort Herenthals , of Berchem and Vieux Dieu, containing fossils different from those of the upper system. A bed may be remarked almost entirely forme of petunculæ. 2nd. The grey moving sands which immediately cover the black sands and which contain a ' quantity of Bryozoaries still indeterminate, as well as some fossils . 3rd. Other grey sands full of broken sea- shells , and for the most part indeterminable ; in the upper part however, those called pecten Gerardi are found . 4th . Argilaceous sand , which is observed amongst others at Deurne, containing a great quantity of bivalve shells , particularly Ciprini ; in the upper part pecten and, in the lower, certarti. Above are to be found cetacious vertebres . 5th. In fine, sand of a reddish yellow color , to be found at the Stuiven berg, at Calloo, etc. , containing an immense quantity of shells and even cetacious remains. The claring away of so much ground, necessary for the formation of the new enclosure has procured many very interesting geological discoveries. INSTITUTIONS. Antwerp is the seat of the Provincial Govern ment, the Assize- Court , and Civil and Commercial Tribunals. It possesses schools of Navigation and Surgery ; Societies of Medecine, Pharmacy, Horticulture, a Botanic Garden, a Society for the encou fragement of the Fine-Arts , an Archological Academy, establishments of public instruction and Literary Societies, of which we shall speak a little further on. In a trial which has lately made a great sensation , the Director of the Société Immo bilière, become now the definitive concessionary of the entreprise , declared before the tribunal, that the renewal of the contract had given Mr. Ybry a clear profit of 2,100,000 francs (84,000 pounds) ; and that the society had paid besides, 587,500 francs to different persons, as remuneration. In this last sum, figured 100,000 francs attributed to Mr. De Laet, one of our new representatives. Notwithstandig the enormous sums paid to the first coucessionaries, the Société Immobilière has already realised on this enter prise in less than two years a profit of no less than 1,500,000 francs ( £ 60,000 . ) - 196 - - Antwerp has also a succursale of the National Bank, a Chamber of Commerce and War Arsenals. We shall pass in review each different institution in the town. The Collège, is composed of the Burgomaster, four Aldermen, and the Town secretary. The Burgomaster and Aldermen are nominated by Government on the proposition of the Town- Council of whith the candidates must be members. The Town- Council is composed of 31 members, the half may be re-elected every three years. Antwerp sends 5 members to the House of Representatives , and 3 to the Senate, to be re-elected every four years . The elections for the House of Representatives , the Senate and the Town-Council, take place during the months of June and October. To become elector, it is necessary to be a Belgian subject and an inhabitant of the town, and pay at least 42 franes 32 centimes taxes yearly to the Government ; possess certain qualifications and an honorable position . The number of electors in Antwerp is about 5,000 . - The Garde Civique of Antwerp is formed of 4 battalions , almost 5,000 men. Every honorable citizen is subject to this service from 21 to 50 years of age. The Tribunal of simple police and Justice of the Peace are held at the Town- Hall. The former administers fines for infringements of simple police laws ; the second judges disputes between parties , and condemns for debts under two hundred francs . Public Library. (Town Hall). Its erection dates from 1609 ; neglected in the XVIII century so far that several important works had disappeared , it was only on November the 21th , 1804 , that the re-opening took place : and since then the Library has constantly increased by the subsidies granted by the Town-Council. It contains about 28,000 volumes and 69 manuscripts. Archives of the Town. Our depôt contains documents, the most ancient ofwhich does not date earlier than the end of the XII century. Public library and the Archives are open to the public from 10 in the morning to 4 in the afternoon , saturdays, sundays and feast days excepted. 197 Belgian Archeological Academy. Founded in 1842 , it was organized in 1864. The President and Vice President are chosen annually. This society, which counts among its titulary members, all the scientific notabilities of the country, publishes every year a volume : Annales de la Société d'Archéologie de Belgique. This collection has begun in 1844. The King is the patron of the Academy. In 1867, the Academy organized at Antwerp an international Archæological Congress , which reunited the Savants of all Europe and even of America and Asia . This scientific reunion was crowned with the greatest success. PUBLIC INSTRUCTION. Institution of Commerce. (Rue du chêne). Commercial sciences , the useful arts, the laws of Commerce and Political Economy are taught here ; and the English , Spanish , Italian and German languages. A Museum of patterns of negociable natural and manufactured products of the Government. The classes are frequented by students from every quarter of the globe. Royal Atheneum . ( Marché St. Jacques) This establishment, like the preceding is patronized by the Government and the town. The classes are directed by the Prefect of Study and 30 professors . There are on an average, 350 pupils. State's Middle School. (Rue du chêne) . This establishment is placed under the patronage of the town and Government. There are 20 professors , a director, and, on an average, 600 pupils. Academy of the Fine-Arts. The professoral body is composed of a Director and 20 professors, who teach the different branches of art, such as historical painting, Landscape, Animals , Sculpture, Drawing, Civil and Naval architecture, the Arts applied to manufacture . En graving on metals and wood, oral lectures on composition, Anatomy, Perspective, History, Costumes, Antiquities , the proportions of the human body ; the theory and history of architecture, the construction and the knowlege of materials. The lectures for the elementary classes take place in summer, from 6 to 8 in the morning ; in winter, from 6 to 8 in the evening. The number of pupils frequenting the different classes amounts to about 1600 annually. Independant of the annual concurrence which takes G www — - - 198 place in February and March, a Royal decree , of February the 25th 1847 , has instituted a prize of Rome for painting, sculpture, architecture and engraving . The laureates receive during five years a subsidy and travel at the expense of Government. Conservatory of Music. (Rue des Aveugles) . Gratuitous instruction , in Solfeggio , Declamation and all kinds of Instrumental music. The merits of the artists who direct the different classes , explains the considerable extension of this establishment in a short time. Industrial Schools. (Rue de la boutique), Gratuitous instruction is given to artisans ; the elements of building , drawing applied to the arts, etc. , taught by competent masters . Popular Conferences. These conferences or lectures , are given by professors doctors and literati , for the working classes , and are well frequented . In winter Concerts are given, to which distinguished artists lend their talents gratuitously. Gymnastics. The Happel Gymnasium, (Place de Meir 89) , is to be recommended in every respect. .. Society of Gymnastics and Arms. (Place de Meir, 89) . This society reckons about 150 members. The days of meeting are ; Monday, Wednesday and Friday evening. members. Gymnastic Club . · Popular Gymnastic Society. - (Place de Meir 89.) A recent foun dation . This society destined to open the benefits of gymnastics to the working classes, is the result of the efforts of a few young men of the bourgeoisie. Meeting, Tuesday and Thursday evening : about 300 Gymnasium, (rue de la Fabrique) about 60 members. Town Free-Schools. These last years great ameliorations have been introduced in primary gratuitous education ; spacious buildings of truly remarkable architectural merit have been built in the different sections of the town. These buildings can each contain from 500 to 600 pupils . French, Flemish, Arithmetic, Drawing and the elements of Vocal music are taught. Girls are taught all sorts of needle work. School Marie Louise. Under the direction of the Abbé Hofman. - ―――――― 199 It is frequented by 160 orphan boys, who are admitted from the age of 7 to 12. They are taught by the Brothers of Charity of Canon Triest's Institute . Sunday Schools, reconstituted by a society of charitable persons, about 3000 pupils of both sexes, from 12 to 25 years of age, whose occupations during the week only permit them to receive instruc tion on Sunday. THE ARTS. From the XVI Century Antwerp was famous for diamant-cutting, and its gold and silversmiths were celebrated ; its musical instrument makers had, in the 17th century, attained European celebrity, The first essays in the art of printing were produced at Antwerp: (1) Plantin and Moretus gave Typography its magnificent formula in the XVIth century. - Certain branches of industry have defied time and competition, preserving at the same time the superiority of their products ; such as foil- cloth floor , lace and the celebrated Antwerp black silk. In our days the different kinds of manufactures are more gene rally spread over the country ; harmonizing thus better with the wants of a commercial city . Our railways and facilities of com munication have contributed much to this diffusion. The greater part ofthe manufactures of Antwerp are new destined for exportation. TheConstruction ofships is an important branch in the Antwerpian industry . The City's docks are completed with three dry docks ; one of which is of colossal size. The company John Cockerill possesses in Antwerp a ship-builder's yard were iron ships and steamers are constructed ; its factories contains more than four hundred workmen. On the left side ofthe river opposite the city docks , are established the yards of the Society ofdry docks were iron and timber ships are built ; it is formed with two dry-docks of a large size where the ships may be visited , repaired and built. There are in Antwerp and in the environs many other dry docks, but of less importance and only used for repairing. (1) Tablet printing : Jan de printere 1417. Movable types : John Latius 1446. Mathew Van der Goes 1472. - 200 - The mechanical dressing of leaden ore was implanted some years ago by the creation of the manufacture of the Society Sardo- Belge. which receives the raw ore from Sardinia. The only sulphur refineries of Belgium exists at Antwerp ; the first was erected by Mr De Wyndt- Aerts whose followers are MMrs Carrette et Elsen. MMrs Koch and Reis founded a similar manufacture which producs yearly great quantities. The manufacture of leaden pipes and sheet lead , and the fabrica tion of iron pumps and machinery for the water conducts , have been introduced in 1868 in Antwerp by MMrs Deplechin Mathelin and Eug. Pavoux who established here, a branch house of their impor tant manufacture of Lille in France. The extension of houses buildering rendered necessary the con fection of timber and joiners'work by means of improved machinery. The important workshops erected near Boulevard Leopold, by an intelligent engineer Mr Renette , deliver in a few days what by hand performed would have required several months. Steam-saws for marble and wood, are actively employed ; one of the most important for marble is Mr. Rousseau's. Rempart des Béguines, and for hue-wood, Mr. Van den Abeele's , at Dam. There are manufacturies on a large scale for dying bleaching and stiffening tissues ; the most important is Mr, Wood's at Deurne near Antwerp . Mr.Bailly Watteau, and MM. Van der Meeren at the Dam of Mer xem,have large establishments for cleansing wool. This is quite a new trade. The importation of wool in 1869 , reached to 134,355 bale's. Our roperies are also important. A great number of workmen are employed in weaving sail cloth and linen, called crémé, manufactured of hemp, and foreign flax for re-exportation. Some twenty sugar rafineries export on an average 17 million kilograms of sugar annually. (about 37,483,000 pounds) . The cigar-manufacturies employ a great number ofworkmen. At the Paris Exhibition in 1867, several silver and bronze medals,bestowed on our Antwerp manufacturers, prove the superiority oftheir productions. 201 -- Our distilleries , of which MM. Bal and Co, Max. Van den Bergh and Meeus are the most importants producs annually about 870.000, hectolitres ( 1,541,120 gallons) , the greater part of which is destined for exportation. Themanufacture of Stearic Waxcandles is about 20,200 packages a day ; 4,400,000 kilograms ( 9,895,600 pounds) of wax candles were ex ported inthe year fromthe works ofMessrs De Roubaix andOedenkoven. There are refineries for Petroleum. These late years this article has become very important in our market. In 1869, 477,000 barrels were imported. The manufacture of colors affords a certain market for exportation . Guano is a commercial article of great importance , because it employs so many hands . More than 76,000,000 kilogrammes were imported in 1869, for the most part consigned to the house of Sescau and Van den Abeele. Our Rice-Mills have been stagnant fur a moment. The exports in last year rose to 300,000 kilogrammes. Breweries brew only for home use. The bière d'orge (Barley beer) made at Antwerp, is however justly esteemed. The Soap-houses, especially for toilet soap, acquire every day fresh markets from the excellent quality of their produce. Our Carpet manufacturies are of no great importance ; nevertheless , the administration of Parish relief, has set up work- shops for the poor, where carpets are made and oakum prepared for calking vessels . The manufactories of Oil- cloth for floors , are distinguished by the beauty and solidity oftheir productions . Diamond cutting, so important an art before 1848, has considerably diminished since. Amsterdam has nowthe greater part of this trade Different new arts, such as weaving cane making, animal-black, artificial wool and sulphuric acid, occupy hundreds of men and can not fail to give fresh extension to the industrial of our metropolis . We can not leave out Boonekamp, a celebrated stomachic liquor, gingerbread, Antverpian sausagesbread and other gastronomical articles. 202 Industry in general is increasing since a few years at Antwerp with remarkable rapidity ; that essential element of prosperity wich was previously stagnant, begins to produce the best results in that city. PUBLIC ASSISTANCE. St- Elizabeth's Hospital . We have mentioned elsewhere its origin and foundation , invalids are received and treated gratuitously onthe authorisation of a doctor, or the Commissaire de Police.Those who wish to be treated at their own expense , are placed in a ward called Royal ward, (Koning's Kamer. ) The pension varies from 1 franc 37 centimes , to one franc and a half a day. The medical service is performed by three head physicians , two head surgeons, and medical and surgical house pupils . Nuns of the Hospitalier order nurse the patients . Consultations gratis every morning, from 8 to 9 o'clock. The patients may receive visits on Sundays from 12 to 3 o'clock . On other days, a special permission is required . The rooms are vast and well ventilated ; they contain about seven hundred beds. Military Hospital. (Rue du Prince) . We have given elsewhere the description of Van Liere's House, transformed into an hospital for the use of the garrison. Augustine Nuns serve the patients, under the surveillance of army physicians and surgeons . There are about 600 beds. Marie Louise Hospital. (Rue Everdy). This fine institution for sick children is due entirely to some ladies of the town, who founded it in 1846, under the patronage of the ever lamented first Queen of the Belgians. Sick children are received from two to twelve years of age. The hospital is served by six Franciscan nuns, and in turns by the lady patronesses , who acquit themselves of their charge with the most touching zeal and devotedness . Distinguished physicians attend the youthful patients gratuitously and give advice to all those who present, themselves. The expenses of this useful establishment are covered entirely by the ladies of the town, without any participation whathever from the town or Government. 203 Hospital of St-Julian (Rue de l'Etuve). In this establishment , poor travellers are lodged gratis for one night and have supper given to them. The number of persons received amounts annually to 1000. John Tuclant, Canon of the cathedral of Notre- Dame and lda Van der List, widow of Gilbert ; Amman ( Attorney) were the founders in 1303. This useful institution was encouraged and freed from all taxes, by John II , duke of Brabant, who took it under his protection. Every year, on Maundy Thursday, a sumptuous supper is given to pilgrims who have visited Rome or the Holy Land. - Orphanage. (Rue de l'Hôpital). · This asylum was founded in 1550 by John Van der Meere and Gilbert Van Schoonbeke, a name which always appears where a good work is to be recalled . Poor Orphan girls are received here , brought up and a good education is given them. There are about 100 in number, all being from 12 to 20 years of age . When they are old enough to go to service ; the administration procures them situations in good families Orphanage. TEERNINCK FOUNDATION. (Rue Teerninck) . Teerninck Canon of Notre-Dame and his brother John Hubert Teerninck , town Treasurer, consecrated a part of their fortune to found this establish ment. Young girls are admitted at the age of ten years . They are taught French, Flemish and needle work of all kinds . At 20 years of age. they are placed in respectable families . --- They receive an outfit on leaving , at the expence of the founda tion. There are about 70 pensioners. Founded in 1528, Orphanage for boys. (Marché aux chevaux) . by the widow of John de Bourgoigne, Jane Van Schoonbeke, daughter of the celebrated engineer, who like her father, has claims to our gratitude. This establishment receives orphan boys born legitimate. There are about 90 boys, from 12 to 18 years of age ; the greater number are apprenticed in the town to manufacturers . The Director bears the name of Vader (Father) . Founding Hospital . (Rue St. Roch). This establishment dates from 1532. Among its benefactors are Gilbert Van Schoonbeke, Octavia Tensini , ( 1672) the Greyns brothers . - 204 The children are sent to the country and receive the first primary instruction in the asylum. There are about 150 foundlings of both sexes. The number of foundlings brought up at the expense of the townis about eight hundred. The costume ofthese twolast institutions is worthy of des cription. It is composed of a rusty brown cloth coat, closely but toned with trousers of the same. The cravat and coat collar are blue for the boys of the Rue St. Roch, and red for those ofthe Marché aux Che vaux. Each boy has his num ber embroidered on his coat sleeve and on his trousers . The cap is of leather. The engraving represents three children, a boy and two girls. The girl , with the large cap , belongs to the Teer ninck foundation , the other to the Orphanage in the Rue de l'Hôpital. The latter have preserved for their Sunday dress the costume ofthe XVI century. Jacket and petticoat of black cloth, with large linen collar turned down, and a skull cap of black cloth; like the statue that we see carved on the entrance door of the establishment. The Crèche Marie- Henriette, under the patronage of the Queen whose name it bears , was founded on the 22d of January 1861 , by an association and some notable ladies of the town. This was at the end of the epidemie of 1866 which left so many orphans . The institution was the first of this kind established in Antwerp. It receives children from their tenderest childhood till the age of eight and thus it gives their mother the opportunity of providing their home. 205 The Créche counts 43 craddles occupied every day by babies who have no matter of complaint against their gouvernant and nurses. The appearance of the 160-200 children of the shool says more for the intelligent direction of the mistresses than all we can say. All is for them but one play when singing, cutting or folaing paper, drawing or exercising as has been printed out by the immortel Froebel, whose method is followed . The new localities occupied since this year countain large classes, nursery-, sleeping- , was hing- and other rooms and a real garden. This is one of our rare non confessionnal institutions and at the same time that applying a rational system of education . Owing to its organisation is has been honoured by receiving the gold medal at the Amsterdam Exposition of 1869. Cribs of Bethlehem. — Instituted by some ladies of the town , for the same end as the Cribs , Maria Henriette . Aged men. Hospice St- Charles , (Rue du Chêne) . This new establishment was opened in 1852. The founders of this fine institution were the Abbé Hofman and Messrs . William Key and August Della Faille. There are 50 pensioners . In the principal cafe's and public-houses of the town, money boxes are placed to receive contributions in support of this institu tion ; and on the feast of the Epiphany each year, the old men go and present crowns to the establishments whose customers have contri buted the most generously. Deaf and Dumb schools. There are two, one rue des Images and the other, Rue Van Schoonbeke. The Abbé de l'Epée's science has made astonishing progress ; these afflicted persons are not only taught to read and write but are now made to articulate words. Insanity. (Rue St.Roch) . This asylum was founded in 1532 , at the same time as the Foundling hospital , and by the same benefac tors . It contains about 150 lunatics of both sexes ; At certain times of the year, the patients are allowed to see their relatives and friends . Public Workshops (Anciently the Holel of the Salm -Salm family). The poor of both sexes are employed in this establishment, in the manufacture of horse- hair and woollen stuffs , carpets , hosiery , sack ― - - ――― 206 GRAD ― - cloth, matting and bristles. The blind and infirm prepare oakum for repairing vessels. Loan Societies. In some trades , loan societies have been organi zed. By means of weekly subscriptions of a few centimes, the work man, in case of illness , receives from the fund medical advice, medecines, and a pension. In case of death, the fund defrays the funeral expences and gives the widow and orphans a certain sum of money. Private Succour. - Weekly assistance is given to the bashful poor, varying according to the case made know to those who visit them. Members of charitable societies fulfil this mission. The society of St-John Francis Regis has for its objets the legitimation of children and the prevention of concubinage in the working classes . Asylums or Homes. A great number of private foundations for old persons of both sexes are known nnder the name of God's houses (Godshuyzen). They are under the control of the administration of the Parish offices . Since 1857, an association has been formed for distributing food to the indigent at reduced prices . Soup, called economical, composed of meat vegetables and other nutritions ingredients , is sold at 8 centimes a litre, (2 farthings a quart ! ) The enormous consummation daily encreasing, proves that the object of this philantrophic works has perfectly succeeded. Religious Orders , Congregations. The Jesuit Fathers possess two colleges where youths receive a first rate education : the collège Notre-Dame in the Rue de l'Empereur, and the Institute of St- Igna tius, courte Rue Neuve. - The CELLITE BROTHERS. A Private lumatic Asylum. The brothers go out to nurse sick gentlemen who require them. Their convent is in the Rue de Jésus. The BROTHERS OF CHARITY. Home for old men. Have build a splen did Establishement Rue St. Vincent. The CAPUCHINS, Marché-aux-Bœufs. The RECOLLECTS, au Rivage. The REDEMPTORISTS, Rue Houblonnière, (Hopland. ) 207 The APOSTOLINES, Marché- aux- Chevaux. They have a branch house in the Rue du Couvent. The CARMELITES or Spanish Teresian nnns, Rue Rogier. The LADIES OF CHRISTIAN DOCTRINE. (Dames de la Doctrine Chré tienne). Their boarding- school is in the Longue Rue Neuve. The MARICOLES, instruct children. The CAPUCHINESSES, Rue St- Roch. The COLETTINES OR POOR CLARES, Marché- aux- Chevaux. The BEGUINES, Rue Rouge. The SISTERS OF NOTRE-DAME. (Sœurs Notre- Dame) . They have the direction of a school in the Rue de l'Empereur. The SISTERS OF ST-ELIZABETH AND OF ST-AUGUSTIN. The former perform the service of the Civil Hospital, the latter that ofthe Military Hospital. The SŒURS-NOIRES, Rue des Sœurs-Noires. They devote them selves to the care of the sick who request their servicee. The SŒURS GRISES, Rue St- Ann do the same duty. The SISTERS OF CHARITY, Place de Meir receive female pensioners, invalids also, of the better classes. The price of pension varies according to the accommdation and services required. There are fine appartments and every comfort. The SŒURS OF THE SACRED HEART OF MARY, Rue Rouge, they have the care of an Home for old and infirm women. The LITTLE SISTERS OF THE POOR, have an asylum for poor aged persons of both sexes. Antiquities (Museum of) rue du Steen. Sunday and Tuesday 10 till 3 o'clock. Archives of the town (Town Hall). 9 till 4 o'clock. (Saturdays and holy days excepted ) . Cabstands & Fares. Meir, Marché aux Souliers , St. Walburge place, Town hall, Place de la Commune, Docks. Fares 1 a 2 pers. 1 franc. 2 a 4 pers. 1-50 . Luggage 20 centimes . Allowance money 15 a 25 centimes . First hour is payd entirely ; the followings by an half. Omnibus. Station at the hotel (vice versa) 50 cent. each person. Consulates. Argentine Republic, longue rue Neuve, 49, Vice Consulate, rue du Mai, 17.- Baden, rue du Jardin, 13. Bayern, rue de l'Empereur , 1. Bolivia, Boulevard Leopold, 48, Vice Consulate , rue du Prince, 2. Chili, Boulevard Leopold, 49. Columbia, rue de la Clef, 5. Costa Rica, Meir, 30.- Danemarck, rue du Fagot, 3, Vice- C. rue de la Province. Great Britain, Meir, 61. Equator (Republic) , rue de Venus, 3. France, rem part du Lombard. -Greece, r.des Tanneurs.- Guatemala, chaussée de Malines , 43.- Haïti, Houblonnière, 43.— Hawaï, rue de l'Amman, 5. · Hesse Darmstadt, rue des Aveugles , 21/4. — Italy, rue des Tan neurs, Vice-C. , courte rue de l'Hôpital, 44. Liberia, Marché aux Souliers , 6. Mexico, rue Hochstetters , 17, Vice- C. longue rue Neuve, 7. Holland, rue St- Paul, 7, Vice- C. , rue des Juifs. New Grenade, rue de l'Hôpital, 42. Austria, Grand'Place. Nicaragua, rue de la Pépi nière Peru, Boulev. Léopold, 69 . , 10. - - INFORMATIONS. ―― M ― ― - - - --- - - 209 G Persia, rue de la Reine, 8 . Prussia, rue Hoboken, 11 . 43. Russia, rue de l'Amman, 9. 145. Portugal. Meir, 22, Vice-C. , Meir Roman States, Houblonnière. San Domingo, rue Quellin. Spain, rempart Ste. Cat - San Salvador, Boulevard Leopold , 2. herine, 58. Turkey, Boulevard Leopold, 84 , Vice- C. , Meir, 79. Venezuela, Grand Place. · United States, rempart Ste . Catherine 52. Uruguay, Canal au Sucre, 5, Vice- C.. Canal aux Teinturier . 23. Wurtemberg, rue de l'Empereur, 14. Sweden & Norway, rue Leopold, 7, Vice- C. , rue de Couvent, 25. Switzerland, rue des Escrimeurs, 34. - Liberia, Marché aux Souliers , 6. Custom House (Douanes) , Place Van Schoonbeke. Exchange Office. Keusters, Rue porte aux Vaches. Godderis, Meir. De Mahieu, Pont de Meir. Godding, Id. Marché aux Souliers. Michel Kryn , Id. Suys, - ――― - ― - ― -- ― ―――― J Foreing money —- Belgian Money. Banknotes, 1000 , 500, 50, and 20 francs . Gold, 20 francs ( 16 Shillings) . Silver, 5, 2, 1 , and 1/2 franc. Nickel and Copper divisional money 20 , 10 ( 1 penny) 5, 2 and one centime. Austria 1 Gulden ( 100 neukreutzers) fr. 2,45. South America, 1 piastre ( 8 réaux, 4 cuartos) — fr. 5,44. Bayern, Gulden ( 60 kreutzers à 5 pfennings) — fr. 2,10 . —Brazil, Imilreis ( 1000 reis) fr. 2,57. — Danemark, 1 riksdaler ( 6 marcs à 16 skillings) fr. 2,80. · Egypt, 1 piastre (40 paras) = fr. 0,25. - England, pound ( 20 sch. à 12 pences) fr. 25. Germany of Prussia, 1 thaler ( 30 groschen à 12 pfennings) fr. 3,65. Greece 1 drachme ( 100 leptas) — fr . 0,90 . — Holland, 1 Gulden ( 100 cents) fr . 2,11 . · Italia , 1 lira ( 100 centesimi) fr. 1. Naples, 1 ducat (10 carlini , 100 grandi) fr. 4,30. Parma, centesim) fr. 0,80. · Portugal, 1 milreis ( 1000 reis) Roma, 1 scudo ( 10 paoli ou 100 bajocchi) fr. 5,36. 1 rouble (100 kopėcks) = fr. 4. Spain, 1 piastre (20 fr. 5,25. Sweden of Norway, 1 riksdaler ( 100 ores) Toscana 1 lira ( 20 soldi, 42 denari) fr. 0,84 . Turkey, 1 piastre (40 paras) fr. 0,19. United States 1 dollar ( 100 cents) = = wonder.com ― fr. 5,16. --- ― = - L enges - - 1 lira ( 100 fr. 5,60. Russia, réaux) fr . 1,44. 14 210 Fair & Kermesse. The annual fair , which lests four weeks and begins at Whitsunday is known by the name of Petite Kermesse, and consists of circus , theatrica and other booths. The communal festivities Grande Kermesse, take place in August and during three days . Antwerp is thronged with pleasure seekers . Boat and horse races , public balls and Concerts , fireworks , shooting matches etc. etc. attract visitors from all parts of the country. Library. (Public) at the Town Hall . Saturdays and Holydays excepted) . Popular Library. id. id. Markets. Vegetables Fridays morning. Fish , 9 to 6 o'clock, Meat every day, Sundays and Holydays except. Flowers, Friday morning. Place Verte. Bouquets Sunday morning. Place Verte. Old Clothings, Saturday. Marché de Vendredi . Birds , dogs etc. Sunday morning. Place St-André, place du vieux Canal. Furniture. Sales by auction on Friday mornings.

- Sad ― Measures. 100 kilogrammes, = 220 1/2 pounds. 100 metres, 328,899 feeth 109, 374 yards. 178 pints. Place du Musée. Open for public every 100 liters, 22,016 gallons Museum of pictures. Thursday and Sunday 10 till 3 o'clock, other days 1 franc . News papers. - Le Précurseur, L'Opinion, Courrier de la semaine (weekly) de Koophandel (belong to the progressist party) and the Journal d'Anvers. L'Escaut, Handelsblad ultramontane party Lloydd Anversois, Nautical records for brokers. ――――――― - - Open from 9 till 4 o'clock, Pictures. — ( In the Cathedral) unveiled , Thursdays and Sundays, other days 1 franc par person is exiged . Porters. · (Commissionnaires publics) , wearing an uniform con sisting of a white linen smock-frock ; a copper plate with à number upon the képi arm and cap : Travellers requiring information should always address themselves to the proprietor of the hotel they are staying at. Police. Chief office , rue Houblonnière. Post office. Place verte, next the Hotel de l'Europe. Open from 8 in the morning to 7 in the evening. Belgium. Wght. 15 - - 211 - ― MAILS : 50 grammes. Exterior 10 grammes. Free postage : 10 centimes, Bel gium. 20 centimes, France, Holland , Rhine, and Austria . 30 centimes, England, Zwitserland , 40 centimes, England (via Calais ) . Italy, Northern- Germany, Sweden, Danemark. centimes. Norway, Russia. 60 centimes, Spain , Portugal. centimes, Roman States. 80 centimes, United States, Monte video, Norway, Portugal. France). 70 - 1 franc, Brazil, Buenos - Ayres (via - France England. Holland . Germany " Italy Spain United- States "" 9,10 9,10 - 9,10. morning 5,309,10-10 ――――― ― 4,45 - 6,50 9,15 11,55 Ev. 4,45 -6,50 (via Calais) 11,55 1,10-2 · 4,45 ·

4,45 9,45 - - 11,55 11,55 from Antwerp, Every monday at 4,45 and 11,55 wednesday friday "" ?? - 9,45 11,55 ―― "" Brazil, Uruguay and Confed, Argent : From Antwerp The 1st of every month 4,55 Via Marseille . 13th Via Bordeaux. 22th 8th 18th Via Southampton . Via Liverpool. Railways Tickets or départures see especially Livret published every month. Particular Societies. Cercle Artistique litteraire et Scientifique, rue d'Aremberg. Concorde, Meir. Royale Harmonie, rue d'Aremberg. Militaire, rue des Tanneurs. Philotaxe, id. Zoological Gardes, rue Carnot. Stations. Railways . Brussels, Germany, Holland etc. Borger hout, etc. - Ghent, Place St-Michel. Steamers. Tamise, Burgt, Hemixem and environs of Antwerp. 99 " - "" - "" "" " "" " "" " " 11,55 4,45 11,55 Ev. ". 212 Every day. Winter season 3 a 4 o'clock afternoon , Summer season, 10 morning 4 o'clock afternoon. Bahia,Rio-Janeiro , Santos.- Everymonth. W. KENNEDY. id. (from Liverpool) id. every 10 days. id. every Saturday. MAX. VAN DEN BERGH. id: (dep. from Ham Id . id . id. bourg) 15th every mouth. Id. Id. Bayonne, St-Sebastian, Bilbao, Santander, Gijon, Vigo Corogna etc. Isth ofevery month. Belfast and other Sea ports of Ireland Every week. Bordeaux. The 1th of every month. Brazil, la Plata, India, Central America, (ViaSouthampton) 2th and 17th ofevery month, from Antwerp (via Harwich) Tuesday and Friday. "" DE LEEUW, PHILIPSEN & ROSE. Bremen.New- York, Baltimore , New- Orleans and Savannah) vice versa . every week. Antw. to Bremen Saturday. Brêmen. Brêmen to Antw. Thursday. Buenos- Ayres. Everymonth. (via Liverpool) every ten days . Buenos-Ayres. Dep . 1th ofevery month. Cape of Good Hope, Port Natal, Madera, St-Helena (via London). " JOHN BEST. F. J. G. SERVAIS . F. HUGER. DELEEUW, PHILIPSEN & ROSE. W. KENNEDY. E. J. ISENBaert . Max. VAN DEN BERGH. Copenhagen, Stettin. Every 10 days . DELEEUW, PHILIPSEN & ROSE. Copenhagen, Koningsberg, every 25 days . Dublin and other Sea ports of Ireland, every week. Gibraltar, Genua, Messina, Syra, Smyrna, Constantinople, Odessa, Taganrog. Every month. JOHN BEST. W. KENNEDY. 215 Glasgow and other Sea ports, of Scotland . Every week. Grangemouth, Glasgow , Scotland, and Ireland. Depart every week, alternative Wednesday or Saturday. Greenock and other Sea ports of Scotland. Every week. Brokers. JOHN BEST. VAN DEN BERGH, FILS . JOHN BEST. Grimsby, Manchester, Sheffield, „Lincoln, Bradford, Leeds, Birmingham, Dewsbury, Liverpool etc. Dep. Wednesday at noon, Sa turday's at 4 o'clock afternoon. Goole, Hull, Manchester, Sheffield , Lincoln , Bradford, Leeds, Halifax, Birmingham, Dewsbury, Wakefield, Liverpool et vice versa. Dep. Wednesday and Saturday at noon . F. HUGER. Hambourg, (vice-versa) Saturday evening. Havre, Rouen, Bordeaux, Lisbonne, Gibral tar, Cadix, Sevilla , Malaga, Oporto, Dep. Every week, from Antwerp : Sunday morning, from le Havre : Wednesday at the Sea tide . Hull. Wednesday at 12 o'clock . Hull, Saturday evening. Hull, Manchester, Sheffield , York, Brad ford, Leeds, Birmingham, Dewsbury, Hud dersfield, Liverpool, Newcastle, Middlesbro, Glasgow. Every Wednesday at 12 o'clock. VAN Den Bergh, Fils . Harwich et London . Every Tuesday and Friday at 3 o'clock afternoon . London. Every Wednesday at 12 o'clock . London. Sunday, Tuesday and Friday, at 12 o'clock. London Every Wednesday. Leith, Edimbourg, Glasgow, Paisly, Gree nock, Scotland an Ireland . Every week. Liverpool. (vice versa) . Every Saturday. RUYS & CORNELSEN. Van den Bergh, FILS . F. HUGER . VAN DEN BERGH, FILS . GRISAR & MARSILY. F. HUGER, VAN DEN Bergh, Fils , W. KENNEDY, ROBBINS & WALFORD. VANDEN BERGH, FILS. JOHN BEST. 214 Liverpool, Dublin, Belfast, Londonderry, and other Seaports of Ireland and Scotland. (vice versa). Every Saturday. Middlesbro on tees . Every Wednesday and Saturday. month. F. HUGER. Middlesbro. Id . id . Saturday. H. J. A. TELGhuis. Montevideo. Dep. from Antwerp. Every Montevideo. Dep. from Liverpool . Every 10 days. Montevideo. Dep. 1th of every month. Newcastle on Tyne, Yorckshire, Durham and the North of England (vice-versa) . Dep. from Antwerp Saturday's 12 o'clock. Dep. from Newcastle Saturday 12 1/2 o'clock. Rio Janeiro. The 1th of every month. Rotterdam. Every day 8 o'clock morning (Sunday except) . Santander, Bilbao, Bayonne. Every month ISENBAERT. two depart : bang ― S JOHN BEST. -. W. KENNEDY. ISENBAERT. JOHN BEST . Belgium , 50 centi fr. 2 et 3. Danemark, fr. St-Petersburg. every 15 days. Telegraphic Office. Cité, Docks, Stations . mes (20 words) . - Germany, (North Confed. ) , Germany, (South) . Austria, Hungary, fr . 4. 4,50. Spain, fr. 6,50. · Roman States, fr. 6. Greece, fr. 8. Italy, fr. 5. Russia, fr. States, Serbie, fr. 5. -London, fr . 3.- · England, Scotland, Ireland, fr . 5. Norway, fr. 6,50 . — Portugal, fr. 7,50 . — Holland, fr. 2. Sweden, fr. 3. - France, fr. 3. 8,50 . United ·Zwitzerland, fr. 4. Turkey, fr. 8. "" GRISAR & MARSILY. TELGHUIS. ― SILKS CALLED ANTWERP BLACK SILK. Few strangers visit our city without going to see the SILK manufactury of Messrs. J. H. Van Bellingen and Max. Suremont, 9, Marché au Linge. This is perhaps the oldest establishment of the kind in Europe. The silk is all hand-woven, its quality and solidity âre known trhoughout the whole universe, the black colour is unchangeable. These silks can be washed without de triment to the colour or lustre. They do not contract dust or become rusty from usage. On the contrary the more they are worn the more the black becomes brillant and velvety. Visitors will find dresses at all prices from £ 4, taffetas, corded levantines , satins and satinets up to £ 15, the silk for shawls is one yard a half wide . The splendid Faille Silk so much esteemed is 48 English Inches Wide. Attention to the address, house fouuded in 1825. ANTWERP. HOTEL FLEUR D'OR CAFE RESTAURANT. J. COLLIN, Rue des Moines near the Place Verte and Cathedral in the centre of the town. Bac Breakfast, Dinner at any hour and bedroom 4 shilling a day. FIXED PRICE. Breakfast, fr. 1. Diners from 1 till 6 o'clock 1.75 Steaks, 99 1. Very good bed rooms 99 and service, " 1.50 Claret 99» 2. The land lord M. J. J. COLLIN who speaks english tra vellers will be glad to afford all the infor mation in his power. Strangers are often misled to a different house. ANTWERP. HOTEL DE LA PAIX FORMERLY HOTEL DES PAYS-BAS, has been entirely rebuilt and possesses with true English comfort. Central situation near the Exchange, Ca thedral post and telegraphic offices. TABLE D'HOTE AT ONE AND FIVE O'CLOCK. Superior Wines. ENGLISH, FRENCH & GERMAN NEWSPAPERS. MODERATE PRICES. 14, REMPART ST . CATHERINE, ANTWERP. OSTEND 32 Chapelstreet. BRAND Spectacles for pre serving the sight and special use. CEUT BRUSSELS, 45 Madeleinestreet . BROTHERS Pebbles, American stereoscopes ofthe highest perfection. OPTICIANS TO THE KING. Great choice on glass from Ferrier's. Views of Antwerp and Belgium. MATHEMATICAL AND SURGICAL INSTRUMENT MAKER, Thermometers, Barometers, Arcometers, Telescopes, Opera Glasses, Mariners instruments . WHOLESALE AND RETAIL. HOTEL DU BIEN- ÊTRE BY A. GEERAERTS, corner of the Rue des Claires and Rue Grammey. This establishment is advantageously situated in the centre of the town, near the Exchange and Place de Meir. Renowned for its attention to travellers and moderate prices. ENGLISH SPOKEN. Table d'hôte and dinners at all hours. HUBERT KREITZ, 5, MARCHÉ AUX SOULIERS, 5 Vis-à-vis l'hôtel St- Antoine. ANTWERP. GENEVA WATCHES. GOLD CHAINS. BRECRUET GOLD KEYS. TIME PIECES & CHANDELIERS Gilt, Bronze and Marble, TRAVELLING CLOCKS. GOLD AND SILVER. WATCHES: MUSICAL BOXES. REPAIRS ON THE PREMISES of everyhing concerning watch making. House of confidence. E. VIDAL, HATTER, 39, MARCHÉ AUX SOULIERS. - ANTWERP. FRENCH, ENGLISH, STRAW AND PANAMA HATS . GREAT NOVELTIES. DISTIN'S HOTEL. 5 Quai Van Dyck, ANTWERP. OPPOSITE THE LANDING PIERS OF THE GENERAL STEAM NAVIGATION COS STEAMERS. This Hotel is conducted upon strictly En glish principles. The charges will be found moderate and every attention paid to the comfort of travellers. Special arrangements made with families or others for lengthened periods. There is a spacious and lofty smo king room attached to the Hotel. Passengers from London direct will find the situation especially convenient, the porter conveying their baggage only across the road from the vessels, thus saving the annoyance andexpense of carriages. PROPRIETOR HENRY DISTIN. Silks-Shawls. P. DE WIT-DE BOOM, FANCY ARTICLES CORNER OF THE MARCHÉ AU LAIT, N° 7 & 2. ANTWERP. Photographic Establishment. JOS. VAN OUDENHOVEN, REMPART DU LOMBARD, No 76, ANTWERP. LABORATORY IN THE GARDEN. Portraits at all prices and sizes . Visiting cards and family groups, colored portraits warranted unchan geable, reproduction of old daguerreotypes, objects of art. Only delivered on the entire approval of the party who orders. JOS. ROEDER & Co, 9 8 RUE ST. ANDRÉ STATIONERY Typographic and Lithographic Printing office MANUFACTORY OF REGISTERS, ACCOUNT BOOKS, INK, PENS, SEALING-WAX WAFERS, &c. VLEESCHOUWER- TIELEMANS, COURTE RUE NEUVE, 6, SILVER PLATE AND PLATED TABLE SERVICE OF ELECTRO GOODS. The only house where an extensive choice can be found of articles such as coffee and tea services , dessert dishes, toasters , cruet stands, candelabras, tin kettles, ice pans, dish-warmers, salvers, pickle dishes, egg-cups, butter boats, vegetable dishes, fish and tart slices, bread brushes, salad spoons and carvers, table and dessert knives, salt-cellars and mustard pots, leg of mutton handles, hand-bells, tea caddies, bonbons boxes, tooth pick cases, Napkin rings stoppers, knife cases, nutcrackers, liquor-cases, faney articles of tortoise shell and leather. Great choice of mourning jewellery jet etc. Each article is ticketed at prices defying all competition . Replating and regilding done in the estabishment. BROTHAYE DELE DEALERS PICTURE pump Metsys Quentin the near .ANTWER AUBERTE A. COULOMB ET CE, Corner of the Courte Rue Neuve and the Marché au Lait. ANTWERP. FANCY ARTICLES FOR LADIES OF English, French, German and Belgian Manufacture Dresses figured, Embroidery, tartan shawls, Special branch of Lyon's black and coloured silks, velvets for dresses . Special branch of every' kind ofFlannels, Mus lins, Jaconets Cambric Muslins, Merinos in every width for mourning. Large collection of Furs. -Ready made Waterproofs. PATENTED WATCHMAKER. GENEVA WATCHES TE AUGT. AERTS-VAN DERTAELEN, AND CLOCKS OF ALL KINDS . WATCH AND CLOCK MAKER DEPOT OF GENEVA & PARIS JEWELLERY. Work shop for repairs of every sort. Marché aux Oeufs No 18. ANTWERP. HOTEL COUR ROYALE Table d'Hote and dinners at all hours. WINES OF THE BEST Situated in the centre of the town and recommendable in every way. CAFÉ RESTAURANT BY QUALITY. P. PIERRE, REMPART DU LOMBARD, 54.1 LINEN WAREHOUSE BAEE, SISTERS, Ready made linen , Trousseaux and baby-linen , Table linen, EMBROIDERED CURTAINS, BLINDS, MUSLINS, NET, TULLE, ETC. PLACE VERTE, 50. P. LANDMETERS, Watches & Jewellery, TIME PIECES, ETC. PLACE DE MEIR, Opposite the Palace. Fancy goods and Antwerp Toys. F. WAERSEGERS, Père, 17, Marché aux Souliers, 17. (MAGASIN AU PREMIER. ) Great choice of elegant play things and articles of toilette for presents Brushes of all kinds . Combs. . Sponges. - Tooth brushes guaranteed . EAU DE COLOGNE, GENUINE VINAIGRE DE BULLY. RIMMEL'S TOILET VINEGAR. Fancy soap and perfumery from the first houses. SPECIAL SOAP. This soap submitted to the analysis of a distin guished chemist is particularly recommended for the use of children whose skin is delicate The piece of 250 grammes is sold at one franc. .MANUFACTUSILK .BELLIVAN JOSEP.Escrimeurs des rue ,30 AU RÉGULATEUR. WATCHES IN GOLD AND SILVER Pièces in bronze and marble Repairs on the premises of everything concerning Watch making. E. SCHAFFENEERS, 42, MARCHÉ AU LAIT. FL. SCHEFFER, RUE DU BERCEAU N° 10. Iron safes and strong boxes fire proof system warranted against fire, lock and combination unhookable. Fancy sets of fire irons of every kind, accessories. Royal Zoological Society OF ANTWERP, founded in 1843, has so considerably developed itself that at the present moment it ranks amongst the first of the continental (Zoolo gical Societies . No stranger coming to Antwerp fails visiting this important establishment which is distinguished by its rich collection of animals of all kinds and principally that of rare pheasants . The reproduction is carried on on a large scale. Every year towards the 10 September there is a public sale of animals which attracts many amateurs. The private sales during the year are considerable. The buying and selling of animals is effected largely which accounts for the connections with all the countries in the world and assures to the Antwerp Zoological Gardens the most varied collections. No private Society at Antwerp possesses amongst its inhabitants so many members as this Society. Apply to the director M.Vekemans. M. & L. LION, PLACE VERTE, 47, ANTWERP. LINEN GOODS AND FANCY ARTICLES. Shirts, Collars and Cuffs made to order and according to measure. Collars, Cravates and Scarfs, of the first English and French patterns. English and Américan Paper- Linen Collars . Flannel Shirts of all kinds. Hosiery. Silk and coton Handkerchief. Kid gloves, etc. etc. NOE- ROMBOUTS. (Suce" J. M. RUYS). JEWELRY, GOLD AND SILVER. WORKSHOP FOR REPAIRS. 28, RUE DE LA PORTE ST. GEORGE. near the Statue of King Leopold. HOTEL DU COMMERCE. Bourse , lade rue ,10 RESTAURANT, N. J. COLLIN. ZINAN .MEIR DPLACE THE NEAR STRANGERS ARE OFTEN MISLED TO A DIFFERENT HOUSE. SULWAREFOFEST SOCIÉTÉ ROYALE DE ZOOLOGIE. Victor HANNESSE, RESTAURATEUR, DEJEUNER ET DINER A PRIX FIXE ET A LA CARTE. DIRECT IMPORTATION. SPECIAL WAREHOUSE OF CHINESE AND JAPANESE ARTICLES. FERD. MORIS, 25, COURTE RUE DE L'HOPITAL. 美包我 MENY Porcelain vases of all sizes , cups , plates , soup bowls, punchbowls, matchi boxes , soap boxes , washand stands , water jugs , milk jugs, teapots , ink stands, stone andearthenware articles , bronzes tam tams (gongs) , ivory, mo ther of pearl and bamboo articles , furniture and lithographic paper, ink, lanterns , screens , fans, statuettes and grotesque figures, tableaux , stores , albums, wooden and japanned fur niture, tea caddies, glove boxes , arms, musical instruments, man darin hats , enamelled copper articles, mats, pa godas, temples, work fother, tables, stools , wooden vases, stands . Preserved fruits and ginger, soya and karry, fine teas of all qualities . Foulards for handkerchiefs and dresses linen handkerchief called grass cloth , plain and embroidered . Crape shawls plain and embroidered. Porcelain vases mounted in gilt bronze such as lustres chandeliers lamps, tripods, goblets, candlesticks etc. etc. Articles mounted in bamboo such as what nots corbeilles, etc. etc. Oils rose, macassar, poho, Sandal and Kayapouthy. Chinese soap. Antwerp black silk. MADAME JULES ISENBAERT Successor to Mr F. WILLEMSEN, 20, Marché aux Souliers. ANTWERP BLACK SIILKS. FANCY ARTICLES. MICHIELS-ALCOCK, WINE AND SPIRITS. CIGAR WAREHOUSE. CHAUSSÉE D'IXELLES, 75, FAUBOURG DE NAMUR BRUSSELS. ADOLPHE BRAUN, Photographer of the Emperor of the French, DORNACH ( Haut- Rhin) FRANCE) . DRAWINGS, PICTURES FRESCO'S Statues BAS-RELIEFS. VIEWS PANORAMICS ZWITZERLAND, SAVOY, GERMANY, ITALY, BELGIUM, HOLLAND. Louvre Vienna (Albertina) Florence (Galerie of Umisii) Bâle SUCCURSALE RUE CADET, 14, PARIS, More than four thousand designs of great masters have been reproduced with the colour and the dimension of the originals by a new photographic unchangeable proceeding (by means of Coal) every design is sold sepa rately. STEREOSCOPES. Weimar Milan (Ambroisina Library.) Milan (Palais Brera) Venice (Academy of Fine Arts) 928 designs 1098 1027 149 158 247 175 323 ANTWERP. - VAN MOL-VAN LOY, Bookseller, Marché aux Souliers, 29. BOURGOGNE, MACONNAIS & BEAUJOLAIS WINES. FORET & BUISSONNET PROPRIETAIRES, a LUX près CHALONS- SUR- SAONE (Bourgogne). Represented at Antwerp by Mr Vor POTTIEUW, rue du Prince. VINS EN FUTS (Prix d'une pièce). Suivant l'année et le crû. VINS ROUGES. Côte Chalonnaise. Grands ordinaires Mercurey, Saint- Martin . Givry, Rully. Côte-d'Or. Chassagne, Santenay Monthelie, Auxey, Meursault. Savigny, Aloze . Aloze (crûs supérieurs) Volnay, Pommard, Beaune. Pommard, Beaune. (crûs supérieurs) Nuits ( 1re tète), Volnay- Santenot Vosne, Chambolle, Morey Corton, St- Georges, Mazy Romanée, Richebourg, Mnsigny Chambertin Clos de Vougeot, Romanée Conti Boucherottes, Grèves, Perrières: Côte Maconnaise et Beaujolaise. Grands ordinaires Chenas, Morgon, St- Lager . Fleury Thorins, Moulin- à- Vent . de 150 à 200 " 225 à 300 de 300 à 500 de 400 à 750 de 550 à 850 de 750 à 1000 de 850 à 1400 de 160 à 210 de 220 à 400 VINS BLANCS. Côte-d'Or, Yonne et Saône- et-Loire. Bons ordinaires . Rully, Buxy, Macon. Montagny, Chardonnet, Champourot ... Chablis, Pouilly ( 1r ) Chablis (extra) . Meursault . Bâtard-Montrachet Montrachet de 160 à 300 de 220 à 400 de 500 à 1200 MORIS VAN DEN BUSSCHE RENOWNED WAREHOUSE FOR HAVANNAH CIGARS OF THE BEST QUALITY. Marché aux Souliers, 1. H. MOELDERS, WATCHMAKER, ENGLISH SPOKEN. 11 , Courte rue Porte aux Vaches, PRÈS DE LA GRANDE PLACE. has been employed several years by Mr PENNINGTON & TRYPE, Watchmakers to the court at London. CHARLES BENEDICTUS, MANUFACTURE DE CIGARES Agent de fabriques des Cigarettes Russes de la Ferme. RUE DU NAVET, 14, (PRÈS DU MUSEUM). DUIVEPART CHIRURGIEN-DENTISTE, RUE DE L'EMPEREUR, 47. 9 Jean Mistler, CHIRUGIEN- DENTISTE . 27, RUE DU JARDIN DES ARBALÉTRIERS, 27. MEURISSE, MARCHÉ AUX CEUFS, 48. CHOCOLATE, SWEET MEATS, WINES, LIQUORS. PASTRY, ICES, LIMONADES. SELTZ WATER. Silver Medal. Exhibition ofAmsterdam 1869. PHOTOGRAPHIE MAES, PLACE DU MUSÉE, CARTES EN TOUS GENRES. AGRANDISSEMENTS. REPRODUCTION DE TABLEAUX. E. L. PHILIPPART, ANCIENNE MAISON D'ANVERS. SPÉCIALITÉ DE CIGARES FINS. Partagas, Brevas, Vieux Havane, à 25 cent , au lieu de 35 cent. GRAND SUCCÈS A LA MARQUE : The Graces of the Period, 10 cent. au lieu de 15 cent. 52, RUE DE LA FOURCHE, (en face du Café Riche) . BRUXELLES. ÉTABLISSEMENT DE BAINS (BATHS). ENTRÉES : RUE DE LA CUILLER, 26, & ESPLANADE, 8, A. VAN HAM & CRISPYN, PROPRIETORS. LOUIS MEURISSE, CAFÉ FRANÇAIS, Place Verte, No 1. Anvers. ENGLISH SPOKEN. GLACES. - ICES. Gefrurenes. ENGLISH NEWS PAPERS. ― Düitsche Zeitungen. 11 J. B. WALRAVENS, CAFÉ DE LA POSTE. CLAGES, ICES. 34, PLACE VERTE, 34. Pharmacie A. DE BEUL, 57, Longue rue Neuve, coin de la rue St-Jacques. MINERAL WATERS OF ALL SOURCES IN EUROPA. STORE HOUSE OF ALL THE BELGIAN, FRENCH, ENGLISH PHARMACEUTIC SPECIALITIES. HAVANNA CIGARS. VVE DE RIDDER, au coin de la Place de Meir et de la rue des Tanneurs, /XX.. 6.4. 9. 7. N: 192 Pc. VAN MOL VAN LOY BOOKSELLER, 29. Marche aux Souliers ( Shoemarket) , 29, ANTWERP HISTOIRE DE LA VILLE D'ANVERS, par Eug. Gens Volume in so grav, et planches chromor 15 GUIDE DANS LA VILLE D'ANVERS. Monuments, Beaux- Arts, Antiquites , Renseigne qients divers Volume avec grav. , fr. 1.50. THE VISITOR'S GUIDE TO ANTWERP. Volume illustr. with engray. fr. 2. NOUVEAU PLAN DE LA VILLE D'ANVERS. yu les dermers renseignements officiels FK FOREIGN BOOKS AND NOVELTIES. ILLUSTRATED NEWSPAPERS. BRADSHAW'S MURRAY'S AND BAEDEKER'S GUIDES MAPS. X PHOTOGRAPHIES ( Monuments & Pictures in all sizes FANCY LEATHER GOODS STATIONERY PINTED BRONZES MEES RKIDES APOTRE

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