Nowadays everything is very quiet and unwarlike. The bastions and lunettes, the casemates and moats, which spread in every direction round the town, have almost entirely disappeared, and those parts of the fortifications which remain have been turned into ornamental walks.[18] But while so little remains of the works which were constructed, at such a cost and with so much labour, for the purposes of war, the arts of peace, which once flourished at Ypres, have left a more enduring monument. There is nothing in Bruges or any other Flemish town which can compare for massive grandeur with the pile of buildings at the west end of the Grand' Place of Ypres. During two centuries the merchants of Flanders, whose towns were the chief centres of Western commerce and civilization, grew to be the richest in Europe, and a great portion of the wealth which industry and public spirit had accumulated was spent in erecting those noble civic and commercial buildings which are still the glory of Flanders. The foundation-stone of the Halle des Drapiers, or Cloth Hall, of Ypres was laid by Baldwin of Constantinople, then Count of Flanders, at the beginning of the thirteenth century, but more than 100 years had passed away before it was completed. Though the name of the architect who began it is unknown, the unity of design which characterizes the work makes it probable that the original plans were adhered to till the whole was finished. Nothing could be simpler than the general idea; but the effect is very fine. The ground-floor of the façade, about 150 yards long, is pierced by a number of rectangular doors, over which are two rows of pointed windows, each exactly above the other, and all of the same style. In the upper row every second window is filled up, and contains the statue of some historical character. At each end there is a turret; and the belfry, a square with towers at the corners, rises from the centre of the building. Various additions have been made from time to time to the original Halle des Drapiers since it was finished in the year 1304, and of these the 'Nieuwerck' is the most interesting. The east end of the Halle was for a long time hidden by a number of wooden erections, which, having been put up for various purposes after the main building was finished, were known as the 'Nieuwe wercken,' or new works. They were pulled down in the beginning of the seventeenth century, and replaced by the stone edifice, in the style of the Spanish Renaissance, which now goes by the name of the Nieuwerck, with its ten shapely arches supported by slender pillars, above whose sculptured capitals rise tiers of narrow windows and the steeply-pitched roof with gables of curiously carved stone. Ypres had ceased to be a great commercial city long before the Nieuwerck was built; but the Cloth Hall was a busy place during the thirteenth and fourteenth centuries, when Ypres shared with Bruges the responsibility of managing the Flemish branch of the Hanseatic League.