The =Ambulatory= has a marble screen, separating it from the Choir, in the worst taste of the Renaissance, with many rococo tombs and sculptures of that period plastered against it.
_1st chapel_, of the Trinity, has a Holy Trinity for altar-piece, by Van Balen.
The door to the L. gives access to the =Choir=, with an atrocious sculptured High Altar, and carved choir-stalls.
The _end chapel_, behind the High Altar, is the =burial chapel of the Rubens family=. The =altar-piece=, painted by Rubens for his family chapel, represents the Madonna and Child adored by St. Bonaventura; close by stands the Magdalen; to the L. a hurrying St. George (reminiscent of the St. Sebastian by Veronese at Venice), and to the R., a very brown St. Jerome. The calm of the central picture, with its group of women, is interfered with by these two incongruous male figures. It is like parts of two compositions, joined meaninglessly together. Above are infant cherubs scattering flowers. One would say, Rubens had here thrown together a number of separate studies for which he had no particular use elsewhere. But the colour is most mellow.
_5th chapel_, of San Carlo Borromeo (who practically replaced St. Roch in later cosmopolitan Catholicism as the chief plague-saint). The altar-piece, by Jordaens, represents the saint invoking the protection of Christ and Our Lady for the plague-stricken in the foreground. Painted for the town almoner.
_7th chapel._ Visitation, by Victor Wolfvoet.
The =N. Transept= has the continuation of the Twelve Apostles, with two of the four Latin Fathers by the portal (the other two being at the opposite doorway). The =Chapel= (=of Our Lady=) resembles that in the S. Transept, and is equally terrible.
=N. Aisle=: The _2nd chapel_ has a fine triptych by M. De Vos, of the Glory of Our Lady. _Centre_, the Court of Heaven, where the prominent position of Our Lady is unusual, and marks an advanced phase of her cult. In the assemblage of saints below, St. Peter, St. John-Baptist, and many others, may be recognised by their symbols. The _L. wing_ has the Calling of Matthew; the _R. wing_, St. Hubert, with the apparition of the crucifix between the horns of the stag. Beneath are good portraits of donors. The fine _stained glass window_ of this chapel is noteworthy. It represents the Last Supper, with donors (1538).