the harbour. We miss in this drawing the steeple, with which it had been ornamented since 1606; the municipality had the good sense, when new extensions were carried out in the beginning of the seventeenth century, to preserve the old fortification-towers which became useless because of the ramparts stretching farther, and to transform them into belfries by giving them graceful steeples with carillons. Some of them, like the one mentioned here, have lasted till our days; and when the stranger is kept awake at night, in his hotel, by the gay clangor of their bells, he may grumble at them, unused as he is to their music, but when he hears them in daytime he should respect these three-centuries-old tones and meditate like Rossetti, when he was impressed by Van Eyck’s and Memling’s works in Bruges:— The carillon, which then did strike Mine ears, was heard of theirs alike; It set me closer unto them. [Plate 6. View of the Ramparts of Amsterdam, with the St. Anthony-Gate in the Distance.] Plate 6. View of the Ramparts of Amsterdam, with the St. Anthony-Gate in the Distance. After the drawing by Rembrandt, formerly in the Heseltine Collection. [Plate 7. Mills on the West Side of Amsterdam, Looking Toward the Town] Plate 7. Mills on the West Side of Amsterdam, Looking Toward the Town. After the drawing by Rembrandt, formerly in the Heseltine Collection, now in a private collection in Kopenhagen. [Plate 8. View of the Same Side of Town as in Plate 7, but Looking Outward. ] Plate 8. View of the Same Side of Town as in Plate 7, but Looking Outward. The tower on the left is the same as sketched by Rembrandt (_plate 13_). After an etching by R. Zeeman, about 1650. A more complete view of this site the reader will find in an etching by Zeeman (_plate 10_), where the tower is seen with its steeple which Rembrandt omitted because he considered the comparatively modern top in disharmony with the older body of the tower, or rather for the simple reason that his paper did not allow him sufficient space. Another steepleless tower is drawn by him when he sketches the stronghold Swyght-Utrecht with adjacent buildings (plates _12_ and _20_). Finally, there is the drawing of the tower of the Westerkerk, the only sketch after a more severe architecture, rather a transition from the earlier style of De Keyser to the later one of Van Campen (_plate 13_). [Plate 9. The Tower Called “Montelraanstoren” In Amsterdam] Plate 9. The Tower Called “Montelraanstoren” In Amsterdam After the drawing by Rembrandt, formerly in the Heseltine Collection, now in the Rembrandt House, Amsterdam [Plate 10. The Same Tower as in the Preceding Illustration, with its Steeple and Surroundings.]