Opposite the Hôtel-de-Ville stands the =Church of St. Pierre=, originally erected in 1040, but entirely rebuilt in 1430, to which date the whole existing edifice belongs. It is a handsome late-Gothic building, with a fine West Front, never completed, and a truncated tower. The central West Window is imposing, but the ruined portal has a depressing effect. Walk round the church once outside to observe its exterior architecture, obscured towards the Grand’ Place by the usual agglomeration of small Renaissance houses. The =main entrance= is in the South Transept; above it stands a poor modern statue of the patron, St. Peter. The High Choir, with its flying buttresses, would form a fine element if the houses were cleared away, so as to afford a view of the chapels below. Now view the =interior=. Go at once into the body of the church. The general effect is handsome, but the walls are cold and white-washed. The church has a fine Nave, with single Aisles, short Transepts, high Choir, and Ambulatory. The Nave, Transepts, and Choir, have all an exactly similar clerestory, with an unusual Triforium of open latticework, and tracery in the same style in the spandrils of the arches. Go down to the W. end of the Nave. The entrance doors at this end have good but not beautiful carved woodwork of the Renaissance. =Left Aisle.= _First chapel._ Late Gothic copper font, with large crane, to support a heavy iron cover, now removed. The other chapels on this side contain nothing of interest. =Right Aisle.= _First chapel_ (of San Carlo Borromeo), has an altar-piece, copied from one by De Crayer, carried off by the French and now at Nancy. It represents San Carlo ministering to the plague-stricken at Milan. Also, a triptych, by Van de Baeren, 1594. Centre, St. Dorothea beheaded. Her head praising God. L., Her trial before the governor, Fabricius. R., Her torture in enduring the sight of her sister’s martyrdom. Statue of San Carlo by Geefs. _Second chapel_, of the Armourers, has a railing with arms and cannon, and contains an old blackened crucifix, much venerated because it is said to have caught a thief who had entered the church to steal the treasures. The =pulpit= is a carved wooden monstrosity of the 18th century, representing, behind, the Repentance of Peter, with the cock crowing, a maladroit subject for a church dedicated to the saint. In front, the Conversion of St. Paul, with his horse overthrown. Above are two palm trees. The =Choir= is separated from the Transepts and Nave by a very handsome and elaborate *Rood-Loft, in the finest flamboyant late-Gothic style (1450), one of the best still remaining examples in Europe. It supports a Crucifixion, with St. John and Our Lady. Its arcade of three handsome arches is surmounted by a sculptured balustrade, containing figures of saints (the Saviour, Our Lady and Child, the Twelve Apostles with the instruments of their martyrdom, the Doctors of the Church, and a few others). Examine carefully.