are all of them far less exuberant than the great ecclesiastical monuments of Germany or England or France erected at the same time, or even than some of those which date from the preceding century. And if, without, the Brabant churches of this period are comparatively simple, within, their architectural simplicity becomes almost severe, though, of course, accessories--altars, rood-screens, tabernacles and such like, are often exceedingly ornate. [37] _See_ p. 303. [38] _See_ p. 271. [39] _See_ p. 57. Of this we have a striking example in the choir stalls of Saint Gertrude's. The reader must visit them. Nothing could well be more elaborate, and at the same time more lovely, than this fantastic piece of wood carving. Here we have not only the usual canopied statues set amidst rich flamboyant tracery delicately wrought, but a series of charming bas-reliefs with scenes from the life of Christ. There are eight-and-twenty panels; they are exquisitely carved, and in style and composition distinctly recall the pictures of Quentin Metsys. It is more than likely that he designed them, for they are the work of his nephew, Jan Beyaert, and the tragic fate which befell this man makes them the more interesting. Jan Beyaert was born at Louvain in 1499. He was the son, or perhaps the grandson, of Launcelot Beyaert, chief scribe to the City Council, and, as such, a man of repute, and in fairly easy circumstances; but sculpture was the family calling, and several of Beyaert's kinsmen had set their mark on the monuments of the city--notably, Launcelot's brother Josse, who was town sculptor of Louvain (1475-1476) when Hubert Stuerbout was town painter, and had worked with him under Matthew de Layens at the Town Hall. The carved brackets which adorned the façades were the outcome of their united efforts. Hubert furnished the designs, and the other two carried them out. Many of these still exist, and they are exceedingly beautiful; but there is no evidence to show which of these stories in stone were sculptured by Josse Beyaert. We are not, however, without proof that he was well skilled in his craft: the bas-reliefs in the treasure room, the bosses and corbels in the _salle de mariage_, with scenes from the life of Christ, and the numerous pendants from the timber roof of the adjoining chamber, were carved by him alone, and the excellent workmanship shows that he was a sculptor of no mean order.