Upon inquiry after the present state of literature at this place, I found it was considered at a very low ebb: the press of the Hague was once justly celebrated, but has of late emitted little more than a few pamphlets of inconsiderable merit. Before the revolution there were several capital booksellers’ shops, of which I could only discover two; the books in their shops, apparently the remains of declining literary traffic, were neither very numerous nor very valuable. The booksellers formerly found very ample encouragement in the affluence of the court, and many petty German princes who selected the Hague for their residence. It has been asserted that as the Hague contained the seat of the executive government and of the representative bodies during the revolution, it suffered much less than any other town in the republic; but this I was well assured was not the case, because the commercial towns still derived resources from their commerce and enterprize, through the medium of neutral bottoms and other circuitous modes of traffic, notwithstanding the severity of British blockades and the vigilance of British cruisers. The Hague has produced several very distinguished painters; amongst others I must beg to mention Daniel Mytens, who was born in 1636, and went to study at Rome, and afterwards employed himself in designing after the antique, in copying the most celebrated paintings of the best artists, and adding considerably to his improvement by an intimacy which he formed there with Carlo Maratti and Carlo Loti. The dreadful habits of dissipation to which Mytens was addicted, deplorably interfered with his advancement in his profession. His imagination was lively, his colouring agreeable, his composition good, and he designed with great facility. After a long residence in Italy, he returned to the Hague, where he was much admired and cherished by the lovers of the arts: his eminent qualities were displayed in those works which he painted at Rome, and upon his return to the Hague, where, not many years after, his productions became greatly depreciated, from his constant indulgence in the most intemperate excesses, to which he at length fell a victim in the year 1688. He acquired much and deserved reputation for the sketch of a very noble design for a ceiling of the painters’ hall at the Hague: this work commenced, and left unfinished for some years; at length he roused himself from his indolence, but it was only to show what ravages it had made on his fine abilities, for he only injured the work which he attempted to improve. Another distinguished artist, who has shed lustre upon the Hague, is John Hanneman, who was born here in 1611; by some he was said to have been a pupil of Vandyke. By others, and with greater probability, that of Hubert Ravestein; and in the soft and delicate tints of his carnations, he is considered to be very little inferior to Vandyke: many of Hanneman’s copies of that illustrious artist are