There are in London four theatres of noteworthy beauty which bear diverse names according to their diverse signs. In them a different action is daily presented to the people. The first two of these are situated to the southward beyond the Thames and named from the signs they display, The Rose and The Swan. Two others are outside the City towards the north, and are approached (per Episcopalim postern, in the vernacular, Bisopgate)--Bishopsgate. There is also a fifth of dissimilar structure devoted to beast baiting, wherein many bears, bulls and dogs of stupendous size are kept in separate dens and cages, which being pitted against each other, afford men a delightful spectacle. Of all the theatres, however, the largest and most distinguished is that whereof the sign is a swan, commonly called the Swan Theatre, since it contains three thousand persons and is built of a concrete of flint stone, which greatly abound in Britain, and supported by wooden columns painted in such excellent imitation of marble that it might deceive even the most cunning. Since its form seems to approach that of a Roman structure I have depicted it above. Naturally such an important document was submitted to various severe tests regarding its authenticity, and on examination was satisfactorily proved to be quite genuine. The next question requiring an answer was not so easily settled. How came this drawing made by De Witte inserted in a manuscript copy of a volume belonging to his friend, Van Buchell. It cannot be the original drawing sketched by De Witte on the spot, as the paper on which the sketch is made is identical with the paper forming the leaves of the manuscript. The only conclusion possible is that Van Buchell copied the drawing and the letters sent or lent to him by his friend into his own commonplace book. Whether the drawing was faithfully copied cannot be definitely answered, as De Witte’s original is lost. There is no reason in believing that Van Buchell deviated from the copy sent him. The description given by De Witte to his friend may have been orally delivered and Van Buchell may have made the sketch from memory according to the details narrated by De Witte. The biographer of Van Buchell states that he never visited England. De Witte’s biographer writes that he only visited this country in 1596, but this statement cannot be implicitly relied upon. Arend van Buchell was a lawyer practising in Utrecht; his hobby was collecting pictures and prints; he was intimate with Cornelis Boissers, an engraver, and several painters and collectors of his day.