Though the procession at Furnes is a thing of yesterday compared to the Procession of the Holy Blood at Bruges, it is far more suggestive of mediaevalism. The hooded faces of the penitents, the quaint wooden figures representing Biblical characters, the coarse dresses, the tawdry colours, the strangely weird arrangement of the whole business, take us back into the monkish superstitions of the Dark Ages, with their mystery plays. It is best seen from one of the windows of the Spanish House, or from the balcony of the Hotel de Ville, on a sultry day, when the sky is heavy with black clouds, and thunder growls over the plain of Flanders, and hot raindrops fall now and then into the muddy streets. The first figure which appears is a veiled penitent bearing the standard of the Sodality. Then come, one after another, groups of persons representing various scenes in the Bible story, each group preceded by a penitent carrying an inscription to explain what follows. Abraham with his sword conducts Isaac to the sacrifice on Mount Moriah. A penitent holding the serpent and the cross walks before Moses. Two penitents wearily drag a car on which Joseph and Mary are seen seated in the stable at Bethlehem. The four shepherds and the three Magi follow. Then comes the flight into Egypt, with Mary on an ass led by Joseph, the infant Christ in her arms. Later we see the doctors of the Temple walking in two rows, disputing with the young Jesus in their midst. The triumphal entry into Jerusalem is represented by a crowd of schoolchildren waving palm-branches and singing hosannahs round Jesus mounted on an ass. The agony in the garden, Peter denying his Lord and weeping bitterly, Jesus crowned with thorns, Pilate in his judgment-hall, the Saviour staggering beneath the cross, the Crucifixion itself, the Resurrection and the Ascension, are all shown with the crude realism of the Middle Ages. There are penitents bearing ponderous crosses on their shoulders, or carrying in their hands the whips, the nails, the thorns, the veil of the Temple rent in twain, a picture of the darkened sun, and other symbols of the Passion. At the end, amidst torches and incense and solemn chanting, the Host is exhibited for the adoration of the crowd. [Illustration: FURNES. Tower of St. Nicholas.]