On the other hand, the native-born artists of Amsterdam included that early genre painter Pieter Aertz; the portrait-painter Thomas de Keyser; and the landscapists, Hercules Seghers, Philips Koninck, Adriaen van de Velde, Aert van der Neer, and Hobbema. But the distinctively local characteristic of the school, situated as it was in this great emporium of foreign commerce, is its group of marine-painters; among whom we may mention Simon de Vlieger, Bakhuysen, and the elder and the younger Willem van de Velde. Their pictures are particularly interesting for the faithful and spirited representation of shipping: fishing craft, coasting vessels, East-Indiamen in harbor, and men-of-war in action. The pictures of these last are the most important of the occasional indications to be found in Dutch painting that throughout this period of productivity in the arts of peace the country was involved in war. Not that the soldier is absent from pictures. On the contrary, he figures frequently, but usually in the intervals of fighting, while enjoying the pleasures of a furlough; though occasionally we come upon some positive hint of the prevailing disturbance, as in a scene of bivouac, or of peasants and soldiery fighting, or of soldiery attacking a traveling-coach or party of hunters. Generally, however, the subjects of the Holland pictures are rather suggestive of a profound tranquillity. As a matter of fact, by the time that painting reached its maturity, Holland had ceased to be the battle-ground. She had become rather a focus point of intrigue, involved in distant complications with France, Germany, and England. There are in the Rijks Museum at Amsterdam two pictures which hint at this: _The Fishers for Souls_, by Adriaen van de Venne, and _The Enraged Swan_, by Jan Asselyn. The former, painted in 1611 during the truce, represents a river dotted with boats, the occupants of which [Illustration: LANDSCAPE WITH OAK JAN VAN GOYEN RIJKS MUSEUM, AMSTERDAM] are fishing for the men and women that swim around them, while the banks are crowded with spectators. On the left are serried ranks of Hollanders, closing round those in whom they have confidence, namely, the Princes of Orange, Maurice and Frederick Henry, James I of England, and the young King of France, Louis XIII. On the opposite bank a less orderly mass of people confronts them, headed by the Archduke Albert and the Duchess Isabella, to whom Philip had made over the sovereignty of the Netherlands. So far the allegory epitomizes the political situation in which the Hollanders found themselves. Meanwhile, the religious aspect of the situation is suggested in the circumstances of the fishing, which seems to refer both to the old struggle between Catholicism and Protestantism and also to the new one arising out of the dissension in the latter between the rival sects of the Gomarists and Arminians. The happy outcome of it all is prefigured in the rainbow that spans the scene.