As is the case in most Belgian cities, the street from the station to the heart of the town, although continuous and straight, changes its name more than once. At the outset it is the rue Conscience, then the rue d'Egmont, and from the bridge across the Dyle to the Grande Place it is named Bruul. Entering the Place from this side we paused to admire the tremendous tower of the cathedral which here burst upon us in all its majestic grandeur, although the edifice is situated a little to the west of the Place itself. In front of us, on the right, was a singularly dilapidated ruin, which we learned was the old Cloth Hall. Part of it is used as a police station, part is vacant with its window openings devoid of sashes or glass staring blankly at the sky, while part is devoted to housing a small museum of municipal antiquities. The first Cloth Hall at Malines was destroyed by fire in 1342, and the new one that was begun to replace it was never finished, owing to the ruin of the cloth industry during the struggles between the artisans and their overlords, and a belfry which it was proposed to erect similar to that at Bruges was never begun. The museum contains a number of pictures by Malines artists, of historical rather than artistic interest, a "Christ on the Cross," by Rubens, and a variety of relics of the city's famous past. Curiously enough, there is not a single piece of lace in the collection, nor anything to represent the great cloth weaving industry--the two branches of manufacture to which the city owes so much of its former wealth and fame. Adjoining the _Halle aux Draps_ to the north is a fine modern post-office built from designs drawn by the great Malines architect of the sixteenth century, Rombaut Keldermans, for a new Hotel de Ville, which was never built. Unfortunately its principal façade overlooks the narrow rue de Beffer instead of the Grande Place, and its beautiful details cannot be seen as effectively as could be desired. In the Vieux Palais, the ancient "Schepenhuis," or house of the bailiffs, situated a little south of the Place, we were shown the original design by Keldermans. It is kept in a sliding panel on the wall and, although somewhat dim with age, can still be studied in detail. The modern architects of the post-office have reverently followed the plans of the great master so that at least this one of his many brilliant architectural dreams has come true, and now stands carved in imperishable stone just as his genius conceived it nearly four centuries ago.