The transepts have no aisles, but they are continued beyond the line of the nave aisles, so that they are more than usually elongated.  The two inner aisles of the nave open into the transepts, but the outer ones, which, it should be remarked, are continuous, and not divided into a series of chapels, are walled up at their eastern extremities.

The choir consists of three bays, but has only one aisle on either side.  This is continued round the apse, and five pentagonal chapels radiate from it.  Three chapels flank the north aisle of the choir, the first two opening, as does the north transept, into one large chapel of the same breadth as the southernmost aisle of the nave....  The facade is flanked by towers equal in width to the two inner aisles of the nave.  The northern one has alone been completed, and altho it may seem to a severe judgment to possess some of the defects of the late Flemish style, it is rivaled for beauty of outline only by the flamboyant steeples of Chartres and Vienna.  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.

If size were any real test of beauty, the interior or Notre Dame at Antwerp ought to be one of the finest in Belgium.  Unfortunately, altho it was begun at a time when the pointed style had reached the full maturity of perfection, a colder and more unimpressive design than is here carried out it would be difficult to find.  Still, notwithstanding the long period that elapsed between its commencement and completion, there is a congruity about the whole building which is eminently pleasing, and to some extent redeems the defects in its details and proportions, while the views afforded in various directions by the triple aisles on either side of the nave are undeniably picturesque.

The high altarpiece, placed on the chord of the apse, is a noble and sumptuous example of early Renaissance taste and workmanship, but like the stallwork, its dimensions are such as to diminish the scale of the choir, the five arches opening to the procession path being completely obscured by it.  Of the numerous creations of Rubens’ pencil none perhaps more thoroughly declares to us his comprehension of religious decorative art than the “Assumption” which fills the arched compartment in the lower portion of this altarpiece.  It was finished in 1625, and, of twenty repetitions of the subject, is the only example still preserved at the place it was intended by the painter to occupy.  In spirit we are reminded of Titian’s “Assumption” in the cathedral at Verona, but Rubens’ proves perhaps a higher conception of the subject.  The work is seen a considerable way off, and every outline is bathed in light, so that the Virgin is elevated to dazzling glory with a power of accession scarcely, if ever, attained by any master.