28 Route 3 BRUGES. S.W. Quarter:

some screen of 1513 ; altar of 1517, with a painted crucifix (the old-
est Renaissance work in Bruges). — 2nd Chapel: Screen of 1517;
Altar-piece, The Virgin and St. Bernard, by Allaert Claeissens. —
By the pillar opposite: Marble tomb of Jan de Schietere (d. 1575)
and his wife, with a Crucifixion and figures of the married couple
and their patron-saints, by Egidius de Witte.

3rd Chapel: Stained glass of the 16th century. To the left,
Ant. Claeissens, Descent from the Cross; on the left wing, St. Philip,
on the right wing, Bishop Rodoan, the founder, with his patron-
saint, Charlemagne (1609). — Dierick Bouts, “Martyrdom of
St. Hippolytus

The principal picture represents the saint about to be torn to pieces
by four horses, mounted, or led by men on foot. The unfounded local
legend is that these horses were copied by Memling from the famous
horses of St. Mark at Venice. On the left wing is a scene from the life
of St. Hippolytus, on the right the donor and his wife in a beautiful land-
scape. On the outside of the wings are four saints in grisaille. This is
a masterpiece of the early Flemish school, with fine aérial perspective in
the landscape-backgrounds. The latest critics assign the figures of the
donors to Hugo van der Goes. Comp. pp. 244, xlix.

This chapel also contains: Jac. van Oost the Elder, The Infant
Saviour in the workshop of his father Joseph, Flight into Egypt ;
H. van Minderhout, Battle of Lepinto; modern reliquary (1884)
of Charles the Good, Count of Flanders (p. 25); tomb of John
Carondelet, Chancellor of Flanders (d. 1544).

4th Chapel: Group in five sections, with scenes from the Passion
in carved wood, painted and gilded (ca. 1460). — 5th Chapel, at
the back of the high-altar: by the pillar on the Tight, Pieta, a
gilded copper relief by P. Wolfyanck (ca. 1535). — 6th Chapel. In
the floor, monumental *Brass, richly enamelled, for Jan van Couden-
berghe (d. 1525) and Bernhardin van den Hoeve (d. 1527). To the
left, Mater Dolorosa, on a gold ground, by an imitator of Quinten
Matsys (Jan van Eeckele?). To the right Portrait of Emp. Charles V.
(ca. 1520), perhaps a copy of B. van Orley. — 7th Chapel: Three
landscapes (17th cent.), illustrating the miraculous transference of
the Casa Santa from Nazareth to Loreto. — Farther on in the am-
bulatory: to the left, Jan Er. Quellin, St. Simon Stock receiving
the scapulary from the Virgin (1686).

The Cuampre pes MarGuriirers, or Churchwardens’ Vesiry, at the W.
end of the S. aisle (p. 27), contains several works of art and a leaden slab
of 1087 from the tomb of St. Gunhildis, the sister of the Jast Saxon king
Harold, who died at Bruges. The ivory pastoral staff of St. Maclou (d. 565),
the enamelled head of a pastoral staff of the 13th cent., and some ancient
missals are preserved in a cabinet here. On the walls: Crucifixion, a
triptych of the Bruges School (ca. 1480); portraits by Pourbus, etc.

The eight pieces of Brussels tapestry kept in the Saoristy, executed
by Van der Borght from cartoons by Jan van Orley (1731), are exhibited in
the choir during Holy Week.

A few paces to the S.E., at the end of the Rue du St. Esprit, lies —

“Notre Dame (Flem. Onze lieve Vrowwenkerk; Pl. B, 6), another
eatly-Gothic structure, erected on the site of an earlier chapel in the