Among other Dutch pictures in the Mauritshuis which I should like
to mention for their particular charm are Gerard Dou's "Young
Housekeeper," to which we come in the chapter on Leyden's painters;
Ostade's "Proposal," one of the pleasantest pictures which he ever
signed; Ruisdael's "View of Haarlem" and Terburg's portraits. I single
these out. But when I think of the marvels of painting that remain,
of which I have said not a word, I am only too conscious of the
uselessness of such a list. Were this a guide-book I should say more,
mentioning also the work of the other schools, not Dutch, notably
a head of Jane Seymour by Holbein, a Velasquez, and so forth. But I
must not.

After the Mauritshuis, the Municipal Museum, which also overlooks the
Vyver's placid surface, is a dull place except for the antiquary. In
its old views of the city, which are among its most interesting
possessions, the evolution of the neighbouring Doelen hotel may be
studied by the curious--from its earliest days, when it was a shooting
gallery, to its present state of spaciousness and repute, basking
in its prosperity and cherishing the proud knowledge that Peter the
Great has slept under its hospitable roof, and that it was there that
the Russian delegate resided when, in 1900, the Czar convoked at The
Hague the Peace Conference which he was the first to break.

In one room of the Municipal Museum are the palette and easel of
Johannes Bosboom, Holland's great painter of churches. His last
unfinished sketch rests on the easel. No collection of modern Dutch
art is complete without a sombre study of Gothic arches by this
great artist. All his work is good, but I saw nothing better than
the water-colour drawing in the Boymans Museum at Rotterdam, which