she would have lost a very beautiful specimen of early transition work, perhaps the most beautiful in the Low Countries. [33] It was made a parish church in 1210. Previous to this date it was a chapel of ease to Saint Gudule's. The plan of the nave of _Notre-Dame de la Chapelle_ is very similar to that of the Sablon, but it is a longer and broader and higher building, the columns are bolder, the mouldings richer, and the capitals are more elaborately and more delicately carved. If the Sablon church could be re-invested with the gold and colour which, we believe, it originally possessed, its glory would be outshone by the greater glory of the bare walls and the white windows of _Notre-Dame de la Chapelle_. For this church, too, has been scraped, and no vestige of its ancient stained glass remains. The old story: the Calvinist, the whitewasher, and the restorer. There are still, however, some faint traces of fresco work: there is a ruddy glow on one of the massive columns which separate the south transept from the outer south aisle, which, if one steadily gazes at it, presently assumes the shape of an aureoled figure draped in crimson robes; and here and there on the walls there are large patches of a delicate hue, like the tint of faded rose leaves. At first one imagines that they are patches of that beautiful pink stone--a species of porphyry--with which so many of the churches in the Rhine Valley are built, between Mainz and Coblenz, but on closer inspection it will be found that they are remnants of mural painting. The removal of the whitewash from this church took place at a sufficiently distant date for that cunning illuminator, Time, who works swiftly nowadays in our smoky northern cities, to accomplish something in the Church of Notre Dame of which he need not be ashamed. The _glacis_ with which he has enamelled the bare stone in nave and aisle and transept, if it is not as brilliant as the blue, the vermilion, the burnished gold with which John van Eyck or Roger Van der Weyden would have adorned it, is at least more beautiful and more lasting than the pigments which would have been employed if any modern master-painter had taken the matter in hand.