_6th Chapel._ Nothing of special interest, though in all these chapels the stained-glass windows and polychromatic decorations are worthy of notice. Opposite it, on the back of the High Altar, painted imitations of reliefs by Van Bree: an extraordinary illusion; Annunciation, Marriage of the Virgin, Visitation. In front of these, Tomb of Isabella of Bourbon, wife of Charles the Bold, and mother of Mary of Burgundy. Altar-back, Death of the Virgin, 17th cent. _7th Chapel._ Good modern archaic altar-piece, with a miracle of St. John Berchman. The saints are named on it. _8th Chapel._ Tolerable modern archaic altar-piece of Our Lady and Child, with donors and saints. On the pier, between this and the next chapel, School of Roger van der Weyden, Selection of Joseph as the husband of the Virgin, and Marriage of the Virgin; a good picture. _9th Chapel_, of St. Joseph, patron saint of Belgium, and therefore honoured with this larger shrine. On the Altar, modern carved and gilt altar-piece, St. Joseph bearing the Infant Christ. Around it, Scenes from his Life. L. (beginning below), Marriage of the Virgin and Joseph, Nativity, Presentation in the Temple; R. (beginning above), Flight into Egypt, Finding of Christ in the Temple, the Holy Carpenter’s Shop. Centre, Death of St. Joseph. On the wings, R., Philip IV. dedicating Belgium to St. Joseph; L., Pius IX., accompanied by St. Peter, appointing Joseph patron saint of Belgium. Now enter the =N. Transept=. _R. wall._ Rubens’s famous *Elevation of the Cross. In form a triptych, but with the same subject continued through its three members. _Centre_, The Elevation: _L._, St. John, the Mater Dolorosa, and the Holy Women: _R._, Longinus and the soldiers, with the two thieves. This is one of Rubens’s most bustling pictures, where the mere muscular effort almost wholly chokes the sense of pathos. The dog in the foreground is an exceptionally unhappy later addition by the master. The tone of colour is brown and cold; the work is mainly painted for light and shade. It was formerly the altar-piece in the Church of St. Walburga, who appears with other saints on the outer shutters. This Transept also contains stained glass of the 17th century. On the _L. wall_ is a triptych by Francken: _Centre_, Christ among the Doctors, said to be portraits of the Reformers. _L. wing_, St. Ambrose baptizing Augustine, with the donor, kneeling. _R. wing_, Elijah causing the widow’s cruse of oil to be replenished. The _Chapel_ in the N. Transept has nothing of interest. Now, enter the =Choir=, with good modern carved stalls, and a different but less impressive view of Rubens’s Assumption. The =N. Aisle= has little of interest, save its stained-glass windows, and a Head of Christ, painted on marble, ascribed to Leonardo, but really of Flemish origin. This is affixed to the first pillar of the _Lady Chapel_. Further on in the Aisle, confessionals with tolerable wood-carvings.