From first to last the original plans seem to have been scrupulously adhered to, save only that for some reason or other, probably from lack of funds, the idea of a tower was abandoned. This made no difference in the interior arrangement of the church: the great columns and arches at the west end of the nave, which were intended to support the projected tower, still exist, and it would not have appeared otherwise if the tower had been actually built. What was done was this--the roof of the nave was continued over the unfinished tower, and the outer walls were built exactly like the walls of the nave, and the church was made to terminate with a very elaborate western façade, which has only been completed recently, and thus, though the foundations and the lower stages of the tower still exist, as seen from the exterior, there is no indication whatever that such a feature was originally contemplated. The building is one of considerable dimensions, the plan is a Latin cross with a polygonal apse to the choir, and it measures 213 feet by 121 feet at the transepts, and 85 feet at the nave, and is very nearly 60 feet high. It had originally double aisles, but the outer ones have been converted into fourteen side chapels, several of which in days gone by were the private chapels of some of the trade companies. Here we have a typical Brabant church of the fourteen hundreds. It is not, however, one of the best specimens of the period. The exterior is undeniably fine; the most captious critic could hardly quarrel with it; nothing could well be more beautiful than the choir and the south transept, with that cluster of outbuildings nestling in the corner between them, which give the required touch of the picturesque, and are not high enough to mar the buttresses or the tapering beauty of the graceful lancet windows. If we could see the interior without having first seen the outside, perhaps we should go into ecstasies, but after having feasted our eyes on so much loveliness without, the feeling which one experiences on entering the church is distinctly one of disappointment. The proportions are good and some of the essential features--the triforium, for example, the clerestory, the vaulting throughout--are excellent, but the details leave much to be desired, the moulding seems skimpy, there is an unusual dearth of sculpture and of ornament of every kind, the whole building is stiff, cold, naked. Surely that it should appear thus was not in the mind of the master-mason who planned it: he contemplated an elaborate scheme of coloured decoration, though perhaps it was never fully carried out. It was customary to secure for work of this kind the best artists of the day, men like John van Eyck and Roger Van der Weyden, each of whom there is documentary evidence to prove were 'illuminators of stone,' and naturally they demanded and received a high price for their services. But that something was done in this direction is quite