The love of Ypres gave to the Halles and to the old Grande Place a perennial youth. Ypres adored these eloquent and austere witnesses to her past, which told the story of her ancient power. She protected, defended them, never permitted the weight of centuries to do them any injury. Oppressed by famine and pestilence, the people of Ypres rebelled, sacked, and burned; but the Halles remained. The people of Ghent arrived in arms, their Allies the English arrived; they besieged Ypres, entered and laid waste; but the Halles remained. The Iconoclasts sacked the town, but the Halles remained. The Duke of Alba's troops arrived and persecuted Ypres--then fallen into decay--but the Halles remained. Alexander Farnese conquered the town and abandoned it to the excesses of his soldiery; but the Halles remained. Four times in one century the French took Ypres, but the Halles remained. They remained because the most brutal troops were conquered by their age and their potent grace. There was no passion, no ferocity that could resist such imposing severity and harmony. A respectful circle was formed, and the torch and the sword were lowered before that splendour of the past. But the butcher of ancient glories has come; the blind Teutonic cataclysm has fallen upon unarmed and tranquil Ypres, and the portentous life is now extinct. There remains nothing but the gigantic ruins, isolated walls, the corpses of monuments which preserve a sublime expression of disdainful power. * * * * * The bells have fallen. The last hour they chimed was seven in the morning of Sunday, November 22. At a quarter past seven the belfry received its first mortal wound. But the first night, according to ancient usage, from the tumult of the august tower there descended upon Ypres--not yet completely deserted--the notes of the horn of the night watchman, who hour by hour sent to the four cardinal points the announcement that all was well! All around the gabled houses are abandoned in their last agony. They are those pointed houses, dwellings of a distant epoch, which give an ineffable impression of familiar calm and patriarchal life, buildings with faces inexpressibly benevolent, paternal, sweet and grave. Through the broken windows our gaze penetrates into corners which recall certain interiors of Flemish art.