We descended from the carriage, at the foot of a long terrace, which, though dilapidated and neglected, bore still some token of its ancient splendour. A stray statue here and there, remained, to mark its former beauty, while, close by, the hissing splash of water told that a _jet d’eau_ was playing away, unconscious that its river gods, dolphins, and tritons, had long since departed. “A fine old place once,” said my new friend; “the old chateau of Overghem--one of the richest seignories of Flanders in its day--sadly changed now; but come, follow me.” So saying, he led the way into the hall, where detaching a rude lantern that was hung against the wall, he ascended the broad oak stairs. I could trace, by the fitful gleam of the light, that the walls had been painted in fresco, the architraves of the windows and doors being richly carved, in all the grotesque extravagance of old Flemish art; a gallery, which traversed the building, was hung with old pictures, apparently family portraits, but they were all either destroyed by damp or rotting with neglect; at the extremity of this, a narrow stair conducted us by a winding ascent to the upper story of the tower, where, for the first time, my companion had recourse to a key; with this, he opened a low, pointed door, and ushered me into an apartment, at which, I could scarcely help expressing my surprise, aloud, as I entered. The room was of small dimensions, but seemed actually, the boudoir of a palace. Rich cabinets in buhl, graced the walls, brilliant in all the splendid costliness of tortoise-shell and silver inlaying; bronzes of the rarest kind; pictures; vases; curtains of gorgeous damask covered the windows; and a chimney-piece of carved black oak, representing a pilgrimage, presented a depth of perspective, and a beauty of design, beyond any thing I had ever witnessed. The floor was covered with an old tapestry of Ouden-arde, spread over a heavy Persian rug, into which the feet sank at every step, while a silver lamp, of antique mould, threw a soft, mellow light, around, revolving on an axis, whose machinery played a slow but soothing melody, delightfully in harmony with all about. “You like this kind of thing,” said my companion, who watched, with evident satisfaction, the astonishment and admiration, with which I regarded every object around me. “That’s a pretty bit of carving there-- that was done by Van Zoost, from a design of Schneider’s; see how the lobsters are crawling over the tangled sea-weed there, and look how the leaves seem to fall heavy and flaccid, as if wet with spray. This is good, too; it was painted by Gherard Dow: it is a portrait of himself; he is making a study of that little boy who stands there on the table; see how he has disposed the light, so as to fall on the little fellow’s side, tipping him from the yellow curls of his round bullet head, to the angle of his white sabot.