"Did I frighten you all?" he said in his native Dutch. "Well, I will tell you how it was. There was a big stone lying on the wall and I put my--my foot out just to push it a little, you see--and the first thing I knew, down went the stone all the way to the bottom, and left me sitting here on top with both my feet in the air. If I had not thrown myself back at that moment, I certainly should have rolled over after the stone. Well, it is no matter. Help me up, boys." "You are hurt, Jacob!" said Ben, seeing a shade of seriousness pass over his cousin's face as they lifted him to his feet. Jacob tried to laugh again. "Oh, no--I feels little hurt ven I stant up, but it ish no matter." * * * * * The monument to Van der Werf in the Hooglandsche Kerk was not accessible that day; but the boys spent a few pleasant moments in the Stadhuis or Town Hall, a long irregular structure somewhat in the Gothic style, uncouth in architecture, but picturesque from age. Its little steeple, tuneful with bells, seemed to have been borrowed from some other building and hastily clapped on as a finishing touch. Ascending the grand staircase the boys soon found themselves in rather a gloomy apartment, containing the masterpiece of Lucas van Leyden, or Hugens, a Dutch artist, born three hundred and seventy years ago, who painted well when he was ten years of age, and became distinguished in art when only fifteen. This picture, called the Last Judgment, considering the remote age in which it was painted, is truly a remarkable production. The boys, however, were less interested in tracing out the merits of the work, than they were in the fact of its being a triptych--that is, painted on three divisions, the two outer ones swung on hinges so as to close, when required, over the main portion. The historical pictures by Harel de Moor and other famous Dutch artists interested them for a while, and Ben had to be almost pulled away from the dingy old portrait of Van der Werf.