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But Terburg's perfection as regards the clearness and harmony of his silvery tone is shown in a picture at Cassel, representing a young lady in white satin sitting playing the lute at a table. To class him with painters of genre seems almost a profanation of the exquisite sense of beauty with which, almost alone among the Dutch painters, he seems to have been endowed.
In Rembrandt's and Terburg's Adoration of the Shepherds, the light emanates from the infant Christ; in Ribera's magnificent Deposition from the Cross, the dead Saviour and His companions are represented, not, as in the Entombments of Perugino and Raphael, in the open air, but in the ghastly light of the mouth of the sepulchre.
Key some of your intimate humorous scenes to the Dutch Little Masters of Painting, such pictures as Gerard Terburg's Music Lesson in the Chicago Art Institute. The thing is as well designed as a Dutch house, wind-mill, or clock. And it is more elegant than any of these. There is humor enough in the picture to last one reel through.
Terburg's Despatch is an interesting anecdote; so too Metsu's Amateur Musicians. There are the average number of Dutch Italianate painters, Jan Both and the rest, men who employed southern backgrounds and improvised bastard Italian figures. Schalcken's candlelight scenes are not missing, though Dou leads in this rather artificial genre.
In the background, standing within an alcove filled with the light from an unseen window, are two other women displaying a large piece of tapestry to a lady customer, whose graceful figure recalls that which has given its name to Terburg's picture of "The Satin Gown."
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