As might be expected from its late age it was not finished until 1530 this northwestern spire of Notre Dame at Antwerp exhibits some extravagances in design and detail, but the mode in which the octagonal lantern of openwork bisects the faces of the solid square portion with its alternate angles, thus breaking the outline without any harsh or disagreeable transition, is very masterly, while the bold pinnacles, with their flying buttresses, which group around it, produce a most pleasing variety, the whole serving to indicate the appearance the steeple of Malines would have presented had it been completed according to the original design.

The leadsman, in his pea jacket and shag trowsers, with the raindrop hanging to his nose, and a large knot in his cheek from a junk of tobacco therein stowed, with pale, wet visage, and whiskers sparkling with moisture, while his long black hair hung damp and lank over his fine forehead and the stand up cape of his coat, immediately presented himself at the door, with the lead in his claws, an octagonal shaped cone, like the weight of a window sash, about eighteen inches long, and two inches diameter at the bottom, tapering away nearly to a point at top, where it was flattened, and a hole pierced for the line to be fastened to.

At the slaughter of the Jews in 1405 it became a church. It has passed through varying fortunes since then, having been hospital, hermitage, stable, and warehouse; but it is now under the care of the provincial committee of art, and is somewhat decently restored. Its architecture is altogether Moorish. It has three aisles with thick octagonal columns supporting heavy horseshoe arches.

Near the entrance to the centre aisle there is a somewhat handsome stone font, octagonal in shape, carved on four of its sides, and resting upon a circular pedestal, which is surrounded by eight small pillars. Not far from and on each side of the font there is an official wand, carried at intervals, with a decorum akin to majesty, by the beadle. St.

The Keller was long and rambling, divided into innumerable small alcoves and corners, partitioned by strange and antique carvings. The ceiling was low, with octagonal vaults like a cloister. On the smoke-grimed walls, here and there, were mural paintings of knights in armour, and fat peasants drinking, dimmed and half obliterated.

Instead of a spire, it has a huge, castellated, octagonal tower, and while it was several hundred years in building, a harmonious design was maintained throughout, although it exhibits in some degree almost every style of church architecture known in England.

Eliminate the tawdry altars, take away the stucco Saints and painted Virgins, let the chapels be mere shadowy corners in the dark perspective, and the little church appears like the meeting-place of the Faithful of an early Christianity. Its nave and each of the narrow side aisles rise to round tunnel-vaults; there are but five bays, and the last is covered by a small, octagonal dome.

A Dutch traveler, Johannes de Witt, who visited London in 1596, has given us the only contemporary drawing we possess of the interior of one of these theaters. They were built of stone and wood, round or octagonal in shape, and without a roof, being simply an inclosed courtyard.

Now we pass an avenue of English oaks; and this brings us to a fine large octagonal building in the Dutch style, which is the residence of the proprietor of Lower Constantia. Mr.

The roof is heavily balustraded in white-painted wood with the urns on the several pedestals holding torches with carved flames. A brick belfry rises square and sturdy above the roof and then continues upward in diminishing construction of wood, first virtually four-sided, then octagonal and finally in a low, tapering spire surmounted by a weather-vane.