_Turn to the left into the Chaussée de Furnes_, leaving on the left the reservoir of the ruined waterworks. _Take Boulevard Malou and return to the Grande Place_, via _the Rue de Stuers and the Rue au Beurre_ (photos, p. 92). [Illustration: THE "PLAINE D'AMOUR," BEFORE THE WAR _See photo opposite._ (_Photo, Antony, Ypres._)] [Illustration: RUE AU BEURRE, BEFORE THE WAR (_photo, Antony, Ypres_)] _Pass the ruins of St. Nicolas Church._ Before reaching the Grande Place the site of the Meat Market (photo, p. 93) is passed. [Illustration: RUE AU BEURRE, DESTROYED BY GERMAN SHELLS] [Illustration: THE MEAT MARKET, BEFORE THE WAR (_Photo, Antony, Ypres._)] [Illustration: THE MEAT MARKET, RUINED BY ENEMY BOMBARDMENTS] This was an important, two-gabled building of symmetrical proportions. The lower part of the façade resembled that of the Cloth Hall, but the upper story and roof of the building were of a later date. The gables, with stair-like copings, were decorated with blind windows. The lower storey was of stone, while the gables and the upper part of the façade were brick. [Illustration: THE "HOSPICE BELLE" (WOMEN'S ASYLUM), RUE DE LILLE] The first storey was formerly occupied by the Brotherhood of St. Michael. The Museum, which was housed there, contained a number of pictures, interesting drawings of the old wooden fronts of the houses of Ypres (by L. Boehm), old chests containing the Charters of the Drapers, pieces of sculpture and wrought ironwork. Almost directly opposite the Cloth Hall is the Rue de Lille, in which, on the right, is the =Hospice Belle= (photos, p. 94). [Illustration: HOSPICE BELLE, BEFORE THE WAR (_Photo, Antony, Ypres._)] This asylum for aged women was founded about 1279 by Christine de Guines, widow of Solomon Belle, Lord of Boesinghe, and rebuilt in the 17th century. The façade of the chapel, which faced the Rue de Lille, contained twin doors, surmounted by a large stained-glass window set in a radiating flamboyant framework. In addition to the statue of St. Nicholas (against the central mullion of the stained-glass window), the lower part of this façade was embellished with statues, in Renaissance niches, of the foundress and her husband. Above the window was an _oculus_, the decoration of which was mingled with that of an escutcheon immediately beneath it, on which the date "1616" could still be deciphered. [Illustration: VAULTING OF THE OLD FRENCH BARRACKS] Inside the chapel were a 17th century portable confessional (a very curious specimen of carved woodwork), 15th century copper candelabra, and a line picture attributed to Melchior Broederlam. This artist, whose works are very rare, was a native of Ypres. He preceded J. van Eyek as official painter to the Dukes of Burgundy. This picture was saved. On the right of the street, in the midst of the ruins, can be seen the broken-in vaulting of the old French Barrack (photo above), and on the left, the =Hôtel Merghelynck=.