Municipal Museum. HAARLEM. 42, Route. 357

date from the 13th cent.; on the walls are some coats-of-arms and
portraits of Counts and Countesses of Holland. We ring the bell
in the right corner.

In Room I, where visitors enter their names in a book, cata-
logues (1909; in Dutch 60 c., in French 30 c.) are sold. — Roow II.
809. Corn. van Wieringen (d. 1643), Capture of Damietta
(Egypt) in 1218; 238. H. @. Pot, Apotheosis of William the Silent.
— In the Passacr, to the right, 264. J. van Scorel, Adam and
Eve; 116. Pieter de Grebber, W orks of Mercy (1628); 302. Hendr.
C. Vroom, View of Haarlem. — Room III. On the end-wall to the
tight: 413. Frans Pietersz de Grebber (father of Pieter de Grebber),
eae of 1619; 239. H. G. Pot, Officers of the Kloven-
iers Doelen (1630). On the W. long wall: 39. Jan de Bray, Lady-
managers of the Lepers’ Hospital (1667); 55. Corn. Cornelisz, Adam
and Eve(1620); 36. J. de Bray, Governors of the Orphanage (1663);
265. J. van Scorel, Baptism of Christ (1520); 48. H. Berckheyde,
The Groote Kerk at Haarlem eee 300. = C. Vroom, Earl of
Leicester landing at Flushing in 1536 (1623); 270. M. Sweerts,
Studio of a painter; 37. J. de Bray, ity ita of the Or-
phanage (1664); 46. P. Brueghel the Younger, Flemish proverbs,

140. Nic. Hails (son of Frans Hals), The Groote Houtstraat at
Haarlem; above, 268. P. A. Soutman, Corporation-piece of 1644.

End-wall: 229. J. Ovens, Family group (1650); 267. P. Soutman,
Corporation-piece of 1642. EH. long wall: 1412. Pr. de Grebber,
Corporation-piece of 1649; 43. Jan de Bray, Apotheosis of Prince
Frederick Henry (1681); 288. J. C. Verspronck, Lady-managers of
the Or pitniae ze (1642); 263. J. van Scorel, Members of the Brother-
hood of the Holy Land on their return from Jerusalem in 1533;

150. Maerten van Heemskerck, St. Luke painting the Madonna and
Child (1532); 51. Corn. Cornelisz, Corporation-piece of 1583.
In the middle of the room: 153. M. van Heemskerck, Ecce Homo
(4595). — During the winter months the Frans Hals pictures are
exhibited in this room instead of in Room LY.

**Room IV is entirely devoted to Frans Hals, who is represented
by ten pictures painted between 1646 and 1664, so that we may
trace his development from his thirty-second year onwards. The
earliest picture, No. 123, on the end-wall at the back, opposite
the entrance, represents a Banquet of the officers of the ‘St. Joris
Doelen’, or Arquebusiers of St. George, and is distinguished by the
depth and vigour of its colouring, in which it surpasses even the
works mentioned below. No. 124 (farther on to the right), the same
subject, with different portraits, and No. 125, the Banquet of the
officers of the Arquebusiers of St. Andrew (‘Kloveniers Doelen’),
were painted in 1627. His best period was probably about 1633,
when he painted his finest work, No. 126, representing an As-
sembly of the officers of the Arquebusiers of St. Andrew, with four-
teen lifesize figures. Next in order of time are: 127 (on the end-

 

 

 

     

 

 

 

 

 

   

 

  

     

  

 

 

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