Dutch cities. But it is not conspicuously Dutch, and is interesting
rather for its pictures and for its score of historic buildings about
the Vyver than for itself. Take away the Vyver and its surrounding
treasures and a not very noteworthy European town would remain.

And yet to say so hardly does justice to this city, for it has
a character of its own that renders it unique: cosmopolitan and
elegant; catholic in its tastes; indulgent to strangers; aristocratic;
well-spaced and well built; above all things, bland.

And the Vyver is a jewel set in its midst, beautiful by day and
beautiful by night, with fascinating reflections in it at both times,
and a special gift for the transmission of bells in a country where
bells are really honoured. On its north side is the Vyverberg with
pleasant trees and a row of spacious and perfectly self-composed
white houses, one of which, at the corner, has in its windows the
most exquisite long lace curtains in this country of exquisite long
lace curtains.

On the south side are the Binnenhof and the Mauritshuis--in the
Mauritshuis being the finest works of the two greatest Dutch painters,
Rembrandt of the Rhine and Vermeer of Delft. It is largely by these
possessions that The Hague holds her place as a city of distinction.

Rembrandt's "School of Anatomy" and Paul Potter's "Bull" are the
two pictures by which every one knows the Mauritshuis collection;
and it is the bull which maintains the steadier and larger crowd. But
it is not a work that interests me. My pictures in the Mauritshuis
are above all the "School of Anatomy," Vermeer's "View of Delft,"
his head of a young girl, and the Jan Steens. We have magnificent