In the =South Ambulatory=, over a doorway, Foundation of the Church of Santa Maria Maggiore at Rome, by Claeissens. A =chapel= to the =L=., just beyond, locked, but opened by the sacristan (1 franc; or, for a party, according to notice displayed at entrance), contains the celebrated =**tombs of Mary of Burgundy and Charles the Bold=, her father. Mary was the wife of Maximilian, and died by a fall from her horse in 1482, when only twenty-five. Her =**monument= was designed and executed by Peter Beckere of Brussels, by order of her son Philippe le Beau, in 1502. The sarcophagus is of black marble: the statue of the Princess, in gilt bronze, lies recumbent upon it. The style is intermediate between that of the later Middle Ages and of the full Renaissance. Beside it is the *tomb of Charles the Bold, of far less artistic value. Charles was buried at Nancy, after the fatal battle, but his body was transported to St. Donatian in this town by his descendant Charles V, and finally laid here beside his daughter by Philip II, who had this tomb constructed for his ancestor in imitation of that of Mary. (I advise the visitor after seeing these tombs and the great chimney-piece of the _Franc de Bruges_ to read up the history of Charles the Bold and his descendants, down to Charles V.) The _east wall_ of this chapel, beyond the tomb of Charles the Bold, has a fine picture of Our Lady of Sorrows, enthroned, surrounded by smaller subjects of the Seven Sorrows. Beginning at the left, the Circumcision, the Flight into Egypt, Christ lost by his parents in the Temple, the Way to Calvary, (with St. Veronica holding out her napkin,) the Crucifixion, (with Our Lady, St. John, and Mary Magdalen,) the Descent from the Cross, and the Deposition in the Tomb. A fine work of its sort, attributed to Mostart (or to Maubeuge). On the _west wall_ are two wings from a triptych by Pourbus, with tolerable portraits, (centre-piece destroyed,) and an early Flemish painting of the Deposition from the Cross (interesting for comparison with Roger van der Weyden and Gerard David). In the foreground lies the vessel containing the Holy Blood. On the wings are the Crucifixion and the Resurrection. The whole is very rudely painted. Outside are portraits of the donor and his wife and children, with their patrons St. James (staff and scallop) and St. Margaret (whose dragon just appears in the background). On an =arcade=, a little further on, is a very early fresco (1350?) of a saint (St. Louis of France?), and also a dainty small relief (about 1500) of a donor, introduced by his patron, St. Peter, adoring Our Lady.