Haweis mentions also the names of Bartholomews Goethale, 1680, who made a bell now in St. Stephen's belfry at Ghent; and another, Andrew Steilert, 1563, at Malines (Mechlin). The great carillon in the belfry at Bruges, thus far spared by the iconoclasts of 1914, consisting of forty bells and one large Bourdon, or triumphal bell, is from the foundry of the great Dumery, who also made the carillon at Antwerp. Haweis credits Petrus Hemony, 1658, with being the most prolific of all the bell founders. He was a good musician and took to bell founding only late in life. "His small bells are exceedingly fine, but his larger ones are seldom true." To the ear of so eminent an authority this may be true, but, to my own, the bells seem quite perfect, and I have repeatedly and most attentively listened to them from below in the Grand' Place, trying to discover the inharmonious note that troubled him. I ventured to ask one of the priests if he had noticed any flatness in the notes, and he scorned the idea, saying that the bells, "all of them," were perfect. Nevertheless, I must accept the statement of Haweis, who for years made a study of these bells and their individualities and than whom perhaps never has lived a more eminent authority. From my room in the small hotel de Buda, just beneath the old gray tower of St. Rombauld in this ancient town of Malines, I have listened by day and night to the music of these bells, which sounded so exquisite to me that I can still recall them. The poet has beautifully expressed the idea of the bell music of Flanders thus, "The Wind that sweeps over her campagnas and fertile levels is full of broken melodious whispers" (Haweis). Certainly these chimes of bells playing thus by day and night, day in, day out, year after year, must exercise a most potent influence upon the imagination and life of the people. The Flemish peasant is born, grows up, lives his life out, and finally is laid away to the music of these ancient bells. [Illustration: The Old Porte Marechale: Bruges] When I came away from Malines and reached Antwerp, I lodged in the Place Verte, as near to the chimes as I could get. My student days being over, I found that I had a strange sense of loss, as if I had lost a dear and valued friend, for the sound of the bells had become really a part of my daily existence. Victor Hugo, who traveled through Flanders in 1837, stopped for a time in Malines, and was so impressed with the carillon that he is said to have written there the following lines by moonlight with a diamond upon the window-pane in his room: "J'aime le carillon dans tes cites Antiques, O vieux pays, gardien de tes moeurs domestiques, Noble Flandre, ou le Nord se rechauffe engourdi Au soleil de Castille et s'accouple au Midi. Le carillon, c'est l'heure inattendue et folle Que l'oeil croit voir, vetue en danseuse espagnole Apparaitre soudain par le trou vif et clair Que ferait, en s'ouvrant, une porte de l'air."