pulpits in the Netherlands, representing the conversion of St. Paul, in which the terror of the horse, and the fall of the rider, are exhibited with the most surprising vigour and effect. In another church, that of Notre Dame, there is a picture by Rubens of the miraculous draught of fishes, which with its volets once formed eight subjects, which he painted in ten days for the chapel of the Poissonniers. The entire were carried to Paris, and only five returned. Another of his favourite pictures is the Adoration of the Magi, in the church of St. John, of which he used to say, “c’est à Saint. Jean de Malines, qu’il faut aller pour voir de mes beaux ouvrages.” I must say, however, that it did not afford me the same pleasure, which it must have done to the great painter himself. The sacristan showed us an autograph receipt of Rubens for 1800 florins, for this picture and its volets, all of which he painted in eighteen days. It bears date in March, 1624. The altar of the church was likewise designed by him, and the walls are covered with a profusion of paintings, the works of artists of minor eminence, and whose merits, though they would be recognized elsewhere, are unfavourably brought into contrast with those of their great master. We dined at one of the most comfortable and clean hotels I have seen in Belgium, that of St. Jacques, in the Marché aux Grains, and returned, by the railroad, to a very inferior one at Brussels, though much more pretending. CHAPTER III. LOUVAIN--WATERLOO AND NAMUR.