The Church of Our Lady, which Philip had so recently converted into a cathedral, dated from the year 1124, although it may be more fairly considered a work of the fourteenth century. Its college of canons had been founded in another locality by Godfrey of Bouillon. The Brabantine hero, who so romantically incarnated the religious poetry of his age, who first mounted the walls of redeemed Jerusalem, and was its first Christian monarch, but who refused to accept a golden diadem on the spot where the Savior had been crowned with thorns; the Fleming who lived and was the epic which the great Italian, centuries afterward, translated into immortal verse, is thus fitly associated with the beautiful architectural poem which was to grace his ancestral realms. The body of the church—the interior and graceful perspectives of which were not liable to the reproach brought against many Netherland churches, of assimilating themselves already to the municipal palaces which they were to suggest, was completed in the fourteenth century. The beautiful façade, with its tower, was not completed till the year 1518. The exquisite and daring spire, the gigantic stem upon which the consummate flower of this architectural creation was to be at last unfolded, was a plant of a whole century’s growth. Rising to a height of nearly five hundred feet, over a church of as many feet in length, it worthily represented the upward tendency of Gothic architecture. Externally and internally the cathedral was a true expression of the Christian principle of devotion. Amid its vast accumulations of imagery, its endless ornaments, its multiplicity of episodes, its infinite variety of details, the central, material principle was ever visible. Every thing pointed upward, from the spire in the clouds to the arch which enshrined the smallest sculptured saint in the chapels below. It was a sanctuary, not like pagan temples, to enclose a visible deity, but an edifice where mortals might worship an unseen being in the realms above. The church, placed in the center of the city, with the noisy streets of the busiest metropolis in Europe eddying around its walls, was a sacred island in the tumultuous main. Through the perpetual twilight, tall columnar trunks in thick profusion grew from a floor chequered with prismatic lights and sepulchral shadows. Each shaft of the petrified forest rose to a preternatural height, their many branches intermingling in the space above, to form an impenetrable canopy. Foliage, flowers and fruit of colossal luxuriance, strange birds, beasts, griffins and chimeras in endless multitudes, the rank vegetation and the fantastic zoölogy of a fresher or fabulous world, seemed to decorate and to animate the serried trunks and pendant branches, while the shattering symphonies or dying murmurs of the organ suggested the rushing of the wind through the forest—now the full diapason of the storm, and now the gentle cadence of the evening breeze. GEORGE BANCROFT.