In the Teyler Museum, on the Spaarne, is a poor collection of modern oil paintings, some good modern water colours and a very fine collection of drawings by the masters, including several Rembrandts.  In this room one may well plan to spend much time.  One of the best Israels that I saw in Holland is a little water-colour interior that is hung here.  I asked one of the attendants if they had anything by Matthew Maris, but he denied his existence.  James he knew, and William; but there was no Matthew.  “But he is your most distinguished artist,” I said.  It was great heresy and not to be tolerated.  To the ordinary Dutchman art begins with Rembrandt and ends with Israels.  This perhaps is why Matthew Maris has taken refuge in St. John’s Wood.

And now we come to Haarlem’s chief glory—­which is not Coster the printer, and not the church of Bavo the Saint, and not the tulip gardens, and not the florid and beautiful Meat Market; but the painter Frans Hals, whose masterpieces hang in the Town Hall.

I have called Hals the glory of Haarlem, yet he was only an adopted son, having been born in Antwerp about 1580.  But his parents were true Haarlemers, and Frans was a resident there before he reached man’s estate.

The painter’s first marriage was not happy; he was even publicly reprimanded for cruelty to his wife.  In spite of the birth of his eldest child just thirty-four weeks earlier than the proprieties require, his second marriage seems to have been fortunate enough.  Some think that we see Mynheer and Myvrouw Hals in the picture—­No. 1084 in the Ryks Museum—­which is reproduced on the opposite page.  If this jovial and roguish pair are really the painter and his wife, they were a merry couple.  Children they had in abundance; seven sons, five of whom were painters, and three daughters.  Abundance indeed was Hals’ special characteristic; you see it in all his work—­vigorous, careless abundance and power.  He lived to be eighty-five or so.  Mrs. Hals, after a married life of fifty years, continued to flourish, with the assistance of some relief from the town, for a considerable period.

In the Haarlem Museum may be seen a picture of Hals’ studio, painted by Berck Heyde, in 1652, containing portraits of Hals himself, then about seventy, and several of his old pupils—­Wouvermans, Dirck Hals, his brother, four of his sons, the artist himself and others.  Hals taught also Van der Helst, whose work at times comes nearest to his own, Verspronk, Terburg and Adrian van Ostade.

To see the work of Hals at his best it is necessary to visit Holland, for we have but little here.  The “Laughing Cavalier” in the Wallace Collection is perhaps his best picture in a public gallery in England.  But the Haarlem Museum is a temple dedicated to his fame, and there you may revel in his lusty powers.