The =third Chapel= encloses the tomb of Archbishop Carondelet, in alabaster, (1544,) a fine work of the Italian Renaissance. The Descent from the Cross by Claeissens, with the Crown of Thorns and the Holy Blood in the foreground: on the wings, St. Philip, and the donor, under the protection of (the canonized) Charlemagne. Near this is a =*triptych= by Dierick Bouts, (falsely ascribed to Memling) representing, in the _centre_, St. Hippolytus torn to pieces by four horses. (He was the jailor of St. Lawrence, who converted him: _see_ Mrs. Jameson). The faces show well the remarkable power of this bourgeois painter of Louvain. On the _left wing_ are the donors; on the _right wing_ Hippolytus confesses himself a Christian, and is condemned to martyrdom. Over the =altar=, _retable_, a Tree of Jesse, in carved woodwork, with the family of Our Lady: on the wings, (painted,) the legend of St. Hubert and the stag, and the legend of St. Lucy. In the =Apse= is the Chapel of the Host. The next =chapel=, of the Seven Sorrows, has a Mater Dolorosa of 1460 (copy of one at Rome); a fine _*brass_; and the *portrait of Philippe le Beau, known as Philippus Stok (father of Charles V), and bearing the collar of the Golden Fleece. The =Choir=, (admirable architecturally,) contains the *stalls and arms of the Knights of the Golden Fleece, with good carved Misereres. The Cathedral contains many other pictures of interest, which, however, do not fall within the scope of these Guides. The =Chambre des Marguilliers=, or Churchwardens’ Vestry, contains manuscripts and church furniture, sufficiently described by the sacristan. In the =Sacristy= are still preserved the relics of St. Donatian. Give the sacristan a franc, and then go round alone again, to inspect the unlocked pictures at your leisure. * * * * * On leaving the Cathedral, go round the south side, which affords an excellent view of the chapels built out from the apse. Then take the little Rue du St. Esprit as far as the Church of NOTRE-DAME, which replaces a chapel, built by St. Boniface, the Apostle of Germany, in 744, and enclosed in the town in 909. Stand opposite it, in the small Place on the N. side, to observe the somewhat shapeless architecture, the handsome brick tower crowned by a tall brick steeple, and the beautiful little =*porch= or “Paradise,” built out from the main structure in flamboyant Gothic of the 15th century. The portal of this porch has been walled up, and the area is now used as a chapel, approached from the interior. Notice the delicate tracery of the windows, the fine finials and niches, and the charming gable-end.