Now, pass behind the Choir, into the =Ambulatory=, beginning on the N., or left side. The _first recess_ has a fine mediæval tomb of Mathilde de Flandre. On your R., in the Choir, a little further on, is a beautiful late-Gothic tabernacle or canopy of 1450, gilded, and containing scenes from the Passion. Just behind the High Altar is a curious little 15th century relief: _Centre_, the Crucifixion with St. John and Our Lady: _R._, The Resurrection, with sleeping Roman soldiers: _L._, The donor, with his patron St. John the Baptist. The _first chapel_ beyond the High Altar contains =**The Last Supper=, by Dierick Bouts. This picture forms the central piece of a =triptych=, painted for the Confraternity of the Holy Sacrament. The _L. wing_ of it is now at Munich, and the _R._ at Berlin. It represented, when entire, the same mystical series of the Institution of the Eucharist which we have already seen in the Pourbus of the Cathedral at Bruges. The _central panel_ represented the Institution of the Eucharist; the L. (Munich) has Melchizedeck offering bread and wine to Abraham; the R. (Berlin) Elijah fed by ravens in the wilderness. On the outer sides of the panels are two similar typical subjects: L. (Munich), the Gathering of the Manna or food from Heaven; and R. (Berlin), the Feast of the Passover, the Paschal Lamb being regarded as a type of the Christian sacrifice. The picture as it stands in this chapel has of course lost its mystical significance. It closely resembles the smaller Last Supper in the Brussels Gallery; but the architecture here is Gothic, not Renaissance. Study well, especially the figures of the donor (by the door) and the servant. The floor is characteristic. Also a =**triptych=, by Dierick Bouts, the Martyrdom of St. Erasmus, patron against intestinal diseases: a bishop, martyred at Formia in the persecution of Diocletian. It represents the hideous episode of the unwinding of the saint’s bowels. The executioner on the L. is a good specimen of Dierick Bouts’s rude artisan figures; he looks like a cobbler. In the background is the Emperor Diocletian, richly attired, with a courtier, whose attitude recalls more than one of those in the Justice of Otho. The landscape is characteristic of Bouts’s manner. This is a good, hard, dry picture. The _L. panel_ has St. Jerome, robed as cardinal, with his lion; the R. has St. Anthony, accompanied by a vanquished demon. This, however, is a St. Anthony as the abbot, not as the hermit in the desert. On the roof of the _fourth chapel_ have recently been discovered some frescoes, from which the plaster and whitewash is now being removed.