Outside of this, the Grand' Place, and the old red brick tower of St. Nicholas, so scorched by the sun and beaten by the elements, and the rows of quaint gabled houses beneath, Furnes has little to offer to the seeker after antiquity. The bells in the tower are of sweet tone, but the chimes which hung there were silent, and no amount of persuasion could induce the _custode_ to admit me to the bell chamber. Madame at the "Nobele Rose" had assured me that I could go up there into the tower whenever I wished, but somehow that pleasure was deferred, until finally we were forced to give it up. Of course Madame _did_ rob me; when the bill was presented, it proved to be fifty per cent. more than the price agreed upon, but she argued that we had "used" the window in our apartment overlooking the procession, so we must pay for that privilege. The point was so novel that I was staggered for a suitable reply to it,--the crucial moment passed,--I was lost. I paid! The Artists of Malines The Artist of Malines It may not be out of place to add here some account of the artists[4] who dwelt in and made Malines famous in the early days. Primitively the painters formed part of the Society of Furniture Makers, while sculptors affiliated with the Masons' Gild. These at length formed between them a sort of federation as they grew in number and power. Finally, in 1543, they formed the Gild of Saint Luke. In 1560 they numbered fifty-one free masters, who gave instruction to a great number of apprentices. They admitted the gold beaters to membership in 1618, and the following year the organization had increased to ninety-six members. Working in alabaster was, during this epoch, a specialty with the sculptors of Malines, which soon resulted in a monopoly with them, for they made a law that no master workman could receive or employ more than one apprentice every four years. The workers in gold covered the statues with heavy ornaments of gold, it being forbidden to market statuary not so gilded. The Gild of Saint Luke chafed under this ruling of the Gild Master, and surreptitiously made and delivered some statuary and paintings without any gilding whatever. Charges being brought against the offenders, they were fined twenty-five florins, and a law was passed authorized by the magistrate, permitting domiciliary visits upon certain days known only to the officers, to the houses of suspected men engaged in art work. Of course reputable workmen were free from suspicion, it being only those mediocre craftsmen and irregular apprentices who would engage in such traffic.