The upper part of the building, which was two-storied, had dormer windows, and a quadrant of beautifully designed and executed interlaced stonework with a profusion of caryatides, pilasters, and bands of carved stone fruit and garlands of flowers, all of the greatest richness, within an astonishingly small space. Nowhere could we find the name of the architect, but it is said that the foundation was laid in 1652 by the Spanish. Workmen were busy cleaning a small turret of most graceful design which rose from above the walls of this quaint old Hispano-Flemish monument, and I noted the care with which the work was being done, a pleasing testimonial to the love of the people of Lille for their ancient work of art. The Rihour Palace was far greater in size than the Exchange, but it did not match it in importance. The greater part of it was modern, for it was almost destroyed in the eighteenth century. Used as a town hall in the time of Louis Philippe, it became a sort of academy of art, wherein was displayed, and very well, too, a princely collection of paintings of Flemish and Dutch schools, and also the great collection of drawings known as the "Wicar Legacy," representing the Italian school, and containing a piece of sculpture of which all the museums of Europe envied that of Lille. This in the catalogue was described as, "A waxen head of Raphael's time, titled thus by the hand of Wicar himself when in 1834 he drew up in Rome the inventory of the old Italian art collection." * Huet regards this as a marvel that one should not miss seeing. He says, "In truth, one fancies himself to be looking at the transparent, softly tinted face of one of Raphael's Madonnas. Innocence and gentleness dispute each other the palm in the expression of the features, they have settled on the pure brow, they play tranquilly and somewhat sadly around the mouth, they are crowned by the plaits of the fair tresses." We admired the head and treasured Wicar's description of it. * "The Land of Rubens," C. B. Huet. Enumeration of the treasures contained in the Palais des Beaux Arts would take a volume in itself. Suffice it to say here that the collection contained in this edifice was among the most important in all France. Rumors have appeared in print during the last two years, that this whole collection has been carefully packed and sent to Berlin. At this date of writing (May, 1917) Lille has not yet been evacuated by the Germans, and we are told that none of the buildings has been destroyed save some unimportant ones near the railway station. Just what will be the fate of the town may be conjectured when one reflects upon what happened to Noyon, to Rheims, to Soissons, and to St. Quentin, when the invaders were no longer able to hold them.