commissioned three architects to prepare plans for the proposed structure, and two of them were our friends of the tavern brawl, Hendrick van Pede and Ludwig van Beughem. Peter van Wyenhoven was the third competitor, his designs were adjudged the best, and he it was who constructed the actual building. Bernard van Orley, the famous painter, made the fair copy of his plans for him on two large sheets of parchment, and received for so doing, it will be interesting to note, £2, 10s. 9d., and the foundation stone was laid on the 8th of February 1535. The plan of this chapel is exceedingly simple. It consists of a nave of four bays with a flat apse pierced by a vast window enriched with flamboyant tracery. The building is also lighted by five other windows of similar design and like dimensions, of which four are set in the north wall, and one in the last bay of the south wall. They are all of them filled with beautiful stained glass, which is as old as the chapel itself, and the picture which glows in one of them--the second on the north side--was designed and painted by Bernard van Orley. The shafts, or piers, or pilasters--it is difficult to know exactly what to call them--from which spring the numerous prismatic ribs of a rich and intricate vault, are strangely and elaborately fashioned. Below they are bold, octagonal columns, or rather half-columns. Higher up they break out into a mass of tabernacle work in the form of two canopies, which shelter saints, and when at last they emerge from behind the pinnacles and crockets, we find that they have ceased to be columns and are now slender reeded shafts, which presently spread out like palm leaves and become the ribs of the groining. [Illustration: Eglise Sainte-Gudule Pilastre Sculpté] Though Van Pede's designs were not accepted, the _Sainte Chapelle des Miracles_ is none the less a perpetual memorial of his genius: the cunningly wrought sculpture which it contains is almost all of it his handiwork. The honoured name of Kelderman too is linked with this building, but that association is now only a memory: the high altar which Peter Kelderman reared has long since been cast down. But to return to Peter's more famous kinsman, old Anthony Kelderman's second son, Jonkhere Rombold van Marsdale, for thus the honest mason styled himself after Charles V. had ennobled him. Maybe he thought the ancient family name sounded more aristocratic than the name which his great-grandfather had adopted.