ST. SAVIOUR'S CATHEDRAL AT BRUGES.

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ramparts, the towers, and behind the walls of the citadel. The Mamelukes arrived with the utmost confidence, and the gates were closed upon them. The Pacha seated himself on a carpet on the summit of a terrace, smoking a magnificent Persian pipe, from whence he could see every motion without being seen; behind him were three of his confidential officers. He regarded the scene below with a fixed and terrible look, without speaking a word; the signal was given to fire, and the massacre of the Mamelukes commenced. They were adorned, or rather encumbered, with their finest arms, and mounted on noble horses; but their numbers, their courage-all were useless-they were destroyed.

Those that survived the fire were taken without the citadel and beheaded; as soon as the massacre became known, those who were found scattered in the towns and villages of the country were likewise put to death. Those who could escape, withdrew to Nubia, but the power of the once dreaded Mamelukes was broken for ever.

This dreadful tragedy was acted on the 1st of March, 1811.

ST. SAVIOUR'S CATHEDRAL AT BRUGES.

Ir was about the commencement of the thirteenth century that Bruges rose to that commercial opulence of which we see so many picturesque remains in the public and private buildings of the town. The Hanseatic cities, soon after their confederation, established an emporium at Bruges, and its central position rendered it equally a place of resort for the merchants of the north and the wealthy Lombards of Italy. Extensive manufactures were established, and some idea may be formed of the riches accumulated in this city, from the fact that when it was known that Jean Sans Peur was taken prisoner at the battle of Nicopolis, and that two hundred thousand ducats were demanded for his ransom, a single merchant became security for the whole sum, which, considering the value of money at that period, was immense. It was here that the Order of the Golden Fleece was instituted by Philip the Good, on his marriage with Isabella of Portugal.

The population of Bruges, which once amounted to two hundred thousand souls, has now dwindled down to forty-five thousand, and its spacious streets and squares, once the proud witnesses of its opulence, indicates but more plainly its decay. But the details and bas-reliefs of its architecture will tempt the stranger to many

a pleasing stroll. We are unable to affirm, but willing to hope, that Bruges may still be as famous for the beauty of its daughters as in times of old, when it enjoyed the title of formosis Bruga puellis.

Of the public buildings, the fine cathedral church of St. Saviour's, the interior of which we here present to our readers, deserves especial notice. It is said to have been founded by St. Eloy, about 646, from funds provided by Dagobert. In 1358 it was burnt down and rebuilt. The exterior is not of imposing effect, being built entirely of brick. It possesses many beautiful pictures-a Baptism of Christ, by Von Oost the elder; St. Borromeus Curing the Persons infected with the Plague, by Bakerel, worthy of Rubens, but more highly finished than most of the works of that great master; Christ on the Cross, by Langen Jean; Jesus Triumphing over Sin and Death, by J. Van Oost; an admirable copy of the Adoration of the Magi, by Gerard Seghers, the original of which is in Notre Dame. The wood bas-reliefs above and opposite the door are very fine, and date from the fourteenth century. The pulpit is more recent, and rests upon two Corinthian columns. A Bishop, supposed to be St. Eloy, holds the plan of the church, the carving is by Tamin. The chapels are likewise adorned with several fine pictures; the Two Holy Women Presenting an Offering of Flowers, deserves particular attention, from the serene expression of the countenances, and the beauty of colouring which it displays. There are some large pictures by Van Orley, under the great end window of the transverse nave, which, worked in tapestry by Van der Borght, adorn the choir. Near the altar of our Lady of Loretto there is a very fine sea-piece by Minderhout. Two pictures by E. Quellyn, representing Scenes in the Life of St. James and St. Augustin; the Flight from Egypt, by Van Oost; and, the Three Holy Martyrs, by Dedeyster, belong to the finest in the church. The Christ and the Virgin, at the sides of the chapel behind the choir, are supposed to be by Domenichino. Over the altar of St. Joseph is a beautiful picture, representing the Saint with the Infant Jesus, who is offering him some chips of wood. In the next chapel, which is closed, is the tomb of Philip the Good, killed in the church of St. Donat. The bas-relief on the pillar opposite is very fine. The Adoration, by Van Oost the younger; and, the Martyrdom of St. Sylvester, by Hemling, are remarkable for the extraordinary freshness of their colouring, although painted nearly four centuries ago.

The beautiful organ-pipes rest upon a gallery of black and white marble, the three colossal statues in the print before us, at the sides of and surmounting the organ, are carved in wood, and represent David and his Harp; St. Cecilia and her Organ; the uppermost statue represents an Angel with a Scroll of Music in one Hand, and beating Time with the other. Below, there is an admirable statue of