The School of Haarlem includes the following: the portrait-painters Bray, Hals, and Terborch, the last also a genre painter, like Ostade of this city; and the landscapists Salomon and Jacob Ruisdael, Wynants, Everdingen, Wouwerman, Esaias van de Velde, and Berchem. The array of names, in the first place, suggests the importance of Haarlem at this period, as a center of commerce, society, and art. We may remember that it was particularly given to “corporation” pictures, as its museum to this day proclaims in the works of Bray and Hals, while Terborch, commencing under the influence of this place, later on painted the equivalent of a corporation picture in his _Peace of Münster_, now in the National Gallery. Another clue to be derived from this grouping of names is that Hals, the acknowledged leader, exerted a direct influence on Terborch and Ostade; and through the latter upon Steen, who came over from Leyden to be Ostade’s student. Further, we recognize that this school was as fertile in landscape as in portraiture. With the exception of Van Goyen of Leyden, the founders and chief exponents of the art were associated with Haarlem; even Hobbema of Amsterdam, through his having been a pupil of Jacob Ruisdael. The latter’s career, also, is made clearer by this classification. Haarlem was his birthplace and the scene of his personally inspired work. When, discouraged by lack of recognition, he moved to Amsterdam, it was the example of his fellow-townsmen that made him change his own style. For Everdingen, who had visited Sweden, was painting romantic scenes of waterfalls and rocks, and Ruisdael, observing how they found favor with the Amsterdammers, abandoned his study of the Holland landscape to invent similar subjects. Finally, we may connect Wouwerman with two of his townsmen. From Wynants he learned the landscape, and by Hals was influenced in his incomparable treatment of the accompanying groups of figures.