Now, proceed to the =opposite chapel=, by the S. Transept, that of =Our Lady of Deliverance= (Notre-Dame de Délivrance). This chapel was erected in 1649-53, to balance that in the N. Transept. Its windows, made after designs by Van Thulden, in 1656, represent the continued decadence of the art of glass-painting. The subjects are taken from the History of Our Lady, above, with the donors and their patrons, princes of the House of Austria, below. Unlike the last, the subjects here begin at the _inner end_, near the altar. _First window_: the Presentation of Our Lady in the Temple. She mounts the steps to the High Priest: below are St. Joachim and St. Anna. _Second window_: The Marriage of the Virgin. _Third window_: The Annunciation, with the Angel Gabriel and the Dove descending in a glory. _Fourth window_: The Visitation of Mary to Elizabeth: the figure of Mary, in its odd hat, taken from the Rubens in Antwerp Cathedral. The Austrian Princes and Princesses below, in the insipid taste of the 17th century, have commemorated their own names so legibly on the bases that I need not enumerate them. * * * * * Now, return to the N. Transept, to make the tour of the =Ambulatory=. At the entrance to the Apse, L., is a colossal statue of the patroness, Ste. Gudule, with the Devil under her feet. The stained glass of the Apse is good modern. Notice the fine pillars to your right. The hexagonal rococo =Chapel of St. Mary Magdalen=, at the end of the Apse, has modern windows of, L. and R., the two patrons, St. Michael and Ste. Gudule, the latter with the lantern and Devil: and, Centre, the Trinity. Exit from the Apse: L., gilded statue of the other patron, St. Michael, to balance the Ste. Gudule. Beside it, curious wooden Easter Sepulchre, with Nicodemus, Joseph of Arimathea, the Mater Dolorosa, and the Maries. Above it, the Risen Christ, with Roman soldiers on the pediment. Fine view from near this point of the Choir and Transepts. * * * * * The high =Choir= has in its Apse stained-glass windows (use your opera-glass), representing Our Lady, and the patron saints, with various kings and queens in adoration (middle of the 16th century). The portraits are (1) Maximilian and Mary of Burgundy: (2) Philippe le Beau, their son, with his wife, Johanna the Mad, of Castille: (3) Charles V. and his brother Ferdinand, sons of Philippe: (4) Philip II. of Spain, son of Charles V., with his second wife. The architecture here is Early Gothic and interesting. _E_. THE UPPER TOWN From the Grand’ Place, two main lines of streets lead towards the =Upper Town=. The first, which we have already followed, runs straight to the Cathedral; the second, known as the Rue de la Madeleine and then as the =Montagne de la Cour=, mounts the hill to the =Place Royale=.