At this time the east end presented a very different appearance to what it does now; the chancel aisles, like the aisles of the nave, being flanked with side chapels--four on the north side, and a like number facing south. They were probably built about the same time as the choir, as the church archives bear witness that one Leefdael, a chatelain of Brussels, who died in 1293, was buried in the Chapel of Saint Peter, the first on the gospel side. All these chapels have disappeared. Those on the left were pulled down to make room for the _Sainte Chapelle des Miracles_, of which we have already spoken, in 1533; and those on the right, in 1649, when the Lady Chapel was built. This noble structure is of the same form and of the same vast dimensions as the Sacrament Chapel, but the details are less ornate. Here we have the last effort of the Gothic architects of Brussels, an effort not unworthy of their grand traditions. [Illustration: SAINTE GUDULE----THE LADY CHAPEL.] Whether the interior of Saint Gudila's was ever adorned with a complete scheme of decoration in polychromy is a doubtful question; but when the whitewash was removed, about fifty years ago, some vestiges of mural painting were discovered in the chancel, and we know from the church rolls that in 1543 a considerable sum was paid for illuminating the vault and the niches of the _Sainte Chapelle des Miracles_. Hardly any trace of this work now remains, and the frescoes have long since vanished from the walls of the chancel, but, for all that, the Church of Saint Gudila is still radiant with colour, for it still retains a very considerable number of ancient stained-glass windows, all of which, save Bishop de La Marck's Judgment window, display portraits of the later Sovereigns of Brabant or of other members of the reigning house. On the clerestory window in the middle of the apse we have the second Duchess of Brabant, Marie de Bourgogne, and her husband, Maximilian of Austria; on the window next to it, on the epistle side, their son Philippe le Beau; further on their daughter Marguerite of Austria, Regent of the Low Country during the minority of Charles Quint; opposite, the great Emperor himself and his brother Ferdinand; and further on, on the same side, Charles' son Philip II. of Spain. These five windows were painted in 1545. Charles V. is also represented in the north transept window. He kneels alongside his wife, beneath a vast triumphal arch, and their patron saints are presenting them to the Eternal Father. In the window opposite, in the south transept, we have Charles's sister Marie, with her husband, King Louis of Hungary; they, too, are accompanied by their patron saints, who present them to the Blessed Trinity. Each of these windows was designed and painted in 1538 by Bernard van Orley, and we know, too, what fee he received for the latter--425 florins.