huge tawny mass stands out sharp and clear, the embodiment of majesty and strength. The interior of the church is very large, measuring three hundred and thirty-one feet by one hundred and twenty-five feet, with an extreme width of one hundred and seventy-four feet across the transepts. Its polychrome decorations and stained glass windows are modern. In another place the wealth of art treasures in this church would merit a chapter, but in Bruges they are so overshadowed by the many masterpieces to be seen elsewhere that we felt somewhat satiated after such a feast and spent very little time looking at the pictures here. The most famous one is a "Martyrdom of St. Hippolytus," by Dierick Bouts, which is interesting because so few examples of this primitive master are in existence. It is a triptych, the central panel showing the saint about to be torn to pieces by wild horses, on the left an incident in the life of the saint, and on the right the donors. The last picture has been attributed by many critics to Hugo Van der Goes, and for many years the entire picture was thought to be the work of Memling. Bouts delighted in unpleasant subjects, which he depicted with great realism. [Illustration: "THE LAST SUPPER."--THIERRY BOUTS.] Dierick, or Thierry, Bouts settled at Louvain about the middle of the fifteenth century. Beyond the fact that he came from Haarlem nothing is known of his early life and training, but as Van der Weyden of Tournai had done some important work at Louvain it is likely that Bouts may have derived some of his inspiration from studying the methods of that master. He was a contemporary of Memling. Two of his paintings, "The Last Supper" and the gruesome "Martyrdom of St. Erasmus," were executed for the wealthy brotherhood of the Holy Sacrament and were hung in the church of St. Peter.[2] Bouts became the official painter for the city of Louvain and produced a "Last Judgment" for the hall of the échevins which has since been lost, and two panels for the council-room of the Hotel de Ville representing "The Judgment of Otho." These are now in the museum at Brussels. The Queen having accused an earl of offending her honour, the latter is decapitated. The head is then given to his Countess, together with a glowing bar of iron. In the second panel she is shown triumphantly holding both, the hot iron refusing to burn her and thereby vindicating her husband's innocence. The result of the ordeal is shown in the distance where the false Queen is being executed at the stake. These pictures were ordered, in imitation of those painted by Van der Weyden for the Hotel de Ville at Brussels, as part of a series of panels designed to instill the love of virtue and justice into the minds of the magistrates and people. The artist's death prevented his completing two other panels that the archives of Louvain show had been ordered. Besides this "Martyrdom of St. Hippolytus" a comparatively