7. Route. 45
Sebastian receiving the martyr's palm from angels; 13. De Crayer, Tobias
with the Archangel Raphael; 56. W. Heda, Still-life; 17. De Crayer, Re¬
surrection; No number, Artois, Landscape; 10. Adr. van Utrecht, Fish¬
monger; ";9. Rubens, St. Francis receiving the stigmata, painted in 1632
for the Franciscan Church at Ghent, and similar to the picture in the
Museum of Cologne; * 14. De Crayer, Coronation of St. Rosalia; 11.
Duchatel, Procession in the Marche du Vendredi, at the reception of
Charles II. of Spain as Count of Flanders (1666; in the middle of the
foreground is a portrait of the artist, holding a paper); 12. Verhaghen.
Presentation in the Temple; 22. De Grayer, The Virgin handing the sca-
pulary to St. Simon Stock; :;76. Th. van Itombouts, The five senses; No
number, Van Dyck, Portrait of himself, in grisaille; 4. Jordaens, St. Am¬
brose ; No number, Hondekoeter, Pelican and other foreign birds; 82. P.
van den Avont, Holy Family in a landscape, surrounded by angels. —
In the middle of the room: FHicien Bouri, Boy lying in wait for a lizard
(marble); J. Joris, 'Mon Cavalier'; P. Comein, Girl with a doil (marble);
Devigne-Quyo, Eve and the Serpent (plaster).
On the other side of the entrance-hall are two rooms with modern
pictures. Room III. 172. H.Pille, Festival in Brittany; P. Parrot, Spring;
X. de Cock, Cows; Josselin de Jong, The petition; M. MUller (Diisseldorf),
Norwegian landscape; Devigne, Mediseval fair; C. Richter, 'Truands et
Ribaudes' (after Victor Hugo; 1882); Gabriel, Canal; Gerard, 'A la santc
du Pasteur!'; 152. Verboekhoven, At pasture (1799); A. Roll, Bacchic dance;
Gussow (Berlin), Return of the soldier; Coosemans, 'La mare aux corheaux';
Verhas, The little painter; Maes-Canini, Juno; Rosseels, Moonlight-scene.
Room IV. To the left, M. Coxie, Last Judgment; Prion, Bacchante
and young satyr; Meunier, Lamentation for Stephen the martyr; 155.
Robert, 'Un regret' (1849); /. van Luppen, Scene in Luxembourg; Tytgadt,
Death of St. Stephen; Karel de Kesel, Maiden entering her bath; Delvin.
Fishermen; Sigard, Servant plucking a goose; Cogen, Stranded ship ; 178. De
Braekeleer, Peasants quarrelling ; Vanaise, St. Livinus giving sight to the
blind; Bource, Cherries ripe ; De Biefve, Widow of Count Egmont; Meckel,
Eastern landscape; L'Hermite, Grandmother's precepts; Picque, I-lebe.
The neighbouring street, Cour du Prince (PL B, 0, 3), derives
its name from the old palace of the Counts of Flanders (p. 34). —
A little farther on is the Rue du Rabot, leading to the city-gate
called Le Robot (PL B, 3). Here in 1488 the army of Emperor
Frederick III., advancing to support the claims of his son Maxi¬
milian (p. 19), made an assault which was successfully resisted.
The old Flemish inscription on the outside of the gate records
the bravery of the guilds which fought under Count Philip of Cleve.
The extensive Be'guinage, which formerly existed in this neigh¬
bourhood, has been removed to a site outside the town.
On the right bank of the Coupure, a canal completed in 1758,
connecting the Ley with the great Bruges Canal (pleasant promenade
in the evening), is situated the handsome Casino (PL B, 4, 5),
built in 1835 by L. Roelandt. Open-air concerts are held in
summer in the large garden. The Casino belongs to a horticultural
society (Maatschappy van Kruidkunde), and is employed for the
famous flower-shows of Ghent, which were established in 180S
and occur twice a year. Ghent, which is not unfitly surnamed 'La
Ville de Flore', has a specialty for horticulture, and annually exports
whole cargoes of camellias, azaleas, orange-trees, and other hot¬
house plants to Holland, Germany, France, Russia, and America.
There are upwards of eighty nursery-gardens in the environs of the