the Delft School it is to think almost exclusively of its greatest artist, Jan Vermeer of Delft. In connection with The Hague it is more correct to speak of a group than of a school. Among the artists in our list the only one born actually in this city was Ravesteyn, although it is true that Schalcken’s native place was a village in the vicinity. But the same reason that made the former constant to the seat of government attracted thither other artists. The Hague was also a center of society and fashion. Mierevelt found there a market for his portraits, Van Goyen for his landscapes, and Netscher, Schalcken, and De Hooch for genre pictures. The last named spent some years there, but retired to Amsterdam. The rest continued working at The Hague until their deaths. Among them Van Goyen is easily the most distinguished. The rest are rather symptomatic of the atmosphere of their surroundings. The portraits by Mierevelt and Ravesteyn have the perfunctoriness of official and society products, eminently dignified and _comme il faut_, irresistibly uninteresting, while the genre of Netscher and Schalcken is petty and frivolous by comparison with that of the older and greater painters, and Netscher’s portraits are frequently insipid as to character and over-occupied with the niceties of millinery. Of Dordrecht or Dort our list contains only one name, that of Aelbert Cuyp, whose versatile genius embraced portraiture, landscape and animal painting, genre, still-life, church interiors, and marines. We may add one other name, that of Hoogstraten, not, however, so much on account of his art as because he was the George Vasari of his day, the historian and story-monger of the painters of Holland in the seventeenth century. It remains to summarize the School of Amsterdam. As may have been gathered from the foregoing, it was rather an aggregate of artists, drawn thither by two causes: the wealth of the commercial capital and the fame and influence of Rembrandt. The latter, as we have seen, moved finally from his native city, Leyden, to Amsterdam in 1631, when he was in his twenty-fifth year. Two years later he painted _The Lesson in Anatomy_, and pupils began to flock to him; among the most notable being Ferdinand Bol, Govert Flinck, Eeckhout, Metsu, Nicolaes Maes, Fabritius, and De Hooch. On the other hand, among those whom the importance of the city attracted were several from the neighboring School of Haarlem; the portrait-painter Van der Helst, for example, and the landscape-painters Berchem, Jan Wynants, Everdingen, and Jacob Ruisdael; while from Utrecht came the still-life painters Hondecoeter and Weenix, and from Delft Van Aelst.