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146 A N U A N U 14th century, but not completed till 1518, is one of the most beautiful specimens of Gothic architecture in Belgium. It is about 500 feet long and 250 broad, and is the only church in Europe with six aisles. Of its two projected towers, the one rises to a height of 403 feet, the other remains unfinished. It contains, besides other remarkable pictures, Kubens s " Descent from the Cross," his " Elevation of the Cross," arid his " Assumption." The cathedral, however, is greatly surpassed in the splendour of its decorations and the profusion of its monuments by the church of St James (15th century), which contains, in addition to other mortuary chapels and shrines, the family-chapel and tomb of Rubens, with a beautiful altar- piece, the workmanship of the great painter. The high altar of the church was also designed by Rubens. Of the remaining churches, the most important are St Paul s, St Andrew s, and the church of the Augustines. The church that formerly belonged to the Corporation of Tanners is now the Anglican place of worship. The Hotel de Ville is a fine building in the Italian style, with a facade that exhibits four orders of architecture, one above the other; but within, there is not much to attract attention. Antwerp possesses an Athenseuni, in which most of the usual branches of literature and science are taught ; an academy of the fine arts, where the students receive instruction in painting, sculpture, architecture, and engraving ; a "Museum" or Gallery of over 560 pictures, including some very fine specimens of Rubens, Vandyck, Titian, Teniers, Jordaens, Quintin Matsys, and other masters ; a medical and surgical college ; a school of naviga tion ; zoological and botanical gardens ; a theatre ; and various scientific and literary societies. The town library contains 30,000 volumes. The library of the famous printer, Plantin, his workshop, presses, and printing materials, as left by the Moretus family who succeeded him, and a fine collection of paintings, drawings, manu scripts, &c., were purchased by the town for about a million and a half of francs (62,500), and form an interesting typographic museum. Antwerp is the birth-place of a number of distinguished men in various departments, as the painters Vandyck (b. 1599), Teniers the elder (1582), Teniers the younger (1610), Jordaens (1594), Frans Floris (1520), Gonzales Cocques (1618); the philologist Grater (1560), the geographer Ortelius (1527), the engraver Edelinck (1649), and, among more modern celebrities, Van Meteren the historian, Ogicr the dramatist, and Henri Conscience the novelist. Rubens was born at Cologne, but his family belonged to Antwerp, and he was educated, resided, and died in the latter city. According to the general census of 1846, Antwerp con tained 88,487 inhabitants, of whom 85,961 were Roman Catholics, and 1312 Protestants. In 1851 the population was 95,501, and in 1873, 126,663, or, including the suburbs now situated within the fortifications, above 180,000. The majority of the inhabitants speak Dutch or Flemish, and the rest, for the most part, French or Walloon. See Guicciardini s Descriltione di tutti i Paesi Bassi; C. Scribanii Origines Antwerpiensium ; Gens, Histoire de la Ville d Anvers ; Mertens and Torfs, Geschiedenis van Ant- iverp ; Bruyssel, Histoire du Commerce, etc., de Belgique; Consular Reports on British Trade Abroad, 1873, pp. 517- 555 ; Motley s Rise of the Dutch Republic. ANUBIS, an Egyptian deity, called in hieroglyphs Anepu or Anup, and in Coptic, Anob or Anoub. It appears from the hieroglyphic legends that he was the son of Osiris and Isis, not Nephthys, as stated by Plutarch. His name has no particular meaning in hieroglyphs, although it resembles the Coptic anebe, the appellation of a particular kind of dog. His worship was of. the oldest period, and is found in tombs at Memphis, of the age of the 4th dynasty, at which period all dedications run in his name instead of that of Osiris, which did not appear till the 6th. At this time he is always styled resident in the sacred abode, and attached to the land of Ut, and lord of the Taser or Hades. At the earliest period he presided over the funeral rites and embalming of the dead, on account of having rendered these offices to his father Osiris. In this character he is seen raising the mummy on its feet to receive the sepulchral sacrifices and libations, or else laying it out on the bier, to which the soul flies down to visit or be reunited to the body. In the great judgment Anubis, with Thoth, attends to the balance placed in the Hall of the Two Truths, where the soul is tried by Osiris as judge of Hades, and the heart of the dead is weighed against the feather of Truth. Besides his sepulchral character, Anubis was also called Ap-lieru, "opener of the roads" or " paths," which were supposed to lead to heaven. Of these there were two, the " northern and the southern." As lord of the northern road he was lord of Sais, while as ruling the southern, he was lord of Taser or Hades. In this character he was often represented as a jackal seated on a pylon or gateway, the jackal being his sacred animal or living emblem. This may be considered the type of the celestial Anubis, and as such he was styled lord of the heaven, and opener of the solar disk. Anubis is represented with the head of a jackal, seldom with that of a man, and rarely with any head attire, although at the Roman period his head is surmounted by the pschent, or crown of Upper and Lower Egypt. In other respects his type is that of other Egyptian deities. In the tablets and other monuments of the 18th and later dynasties, Anubis is introduced as following, or as part of, the cortege of Osiris ; sometimes he is worshipped alone ; but he was a subordinate god of the third order, supposed to have reigned over Egypt as one of the kings of the 2d dynasty of gods. The principal site of his local worship was Lyco- polis, or El Siut, the capital of the 13th and 14th(orLyco- polite) nomes, and at the 17th or Cynopolite nome ; but he appears also as one of the gods of the 18th or Oxyrhynchite nome, and as such is styled lord of S.ep. In this character he is said to have defeated the opposers of his father Osiris, which accords with the story of Diodorus, that Anubis was the general of Osiris in his Eastern expedi tion. The introduction of Anubis into the Isiac worship about the 1st century B.C., gave rise to various esoterical explanations not found in the hieroglyphs. He is stated to have been the son of ISTephthys and Osiris, and dis covered by dogs, and hence had a dog s or jackal s head; also that he represented the horizontal circle which divides the invisible world, called by the Egyptians Nephthys, in contradistinction to Isis, or the visible, or to have been like Hecate. He was also supposed to mean time and universal reason. But these explanations are not found in the hieroglyphs, and the change of his head to that of a dog instead of a jackal, was not Egyptian. On Roman monuments of the 1st and 2d century A.D., his form is combined with that of Hermes, and passed by the name of Hennanubis, in his character of the infernal Mercury. In the days of Tiberius, the seduction of a noble Roman lady in his temple at Rome, with the connivance of the priests, led to the suppression of his worship, but at a later period the Emperor Commodus, infatuated with the Isiac worship, shaved his head like an Egyptian priest, and carried in procession the figure of the god. The idea that his name meant gold, as suggested by the learned, is con futed by the hieroglyphs ; nor are the statues found of him either gold or gilded, while in the Egyptian paintings he is always coloured black, and never yellow or golden, as the

goddesses often are. The jackal was his sacred living animal,