, Peter de Hoogh places them most
frequently in the open air--in courtyards. In the representation of the
poetry of light, and in that marvellous brilliancy and clearness with
which he calls it forth in various distances till the background is
reached, which is generally illumined by a fresh beam, no other master
can compare with him. His prevailing local colour is red, repeated with
greater delicacy in various planes of distance. This colour fixes the
rest of the scale. His touch is of great delicacy; his impasto
admirable.

GERARD TERBURG, born at Zwol 1608, died 1681, learned painting under his
father, and when still young visited Germany and Italy, painting
numerous portraits on a small scale, and occasionally the size of life.
But his place in the history of art is owing principally to a number of
pictures, seldom representing more than three, and often only one
figure, taken from the wealthier classes, in which great elegance of
costume, and of all accompanying circumstances, is rendered with the
finest keeping, and with a highly delicate but by no means over-smooth
execution. He may be considered as the originator of this class of
pictures, in which, after his example, several other Dutch painters
distinguished themselves. With him the chief mass of light is generally
formed by the white satin dress of a lady, which gives the tone for the
prevailing cool harmony of the picture. Among his pictures we
occasionally find some which, taken successively, represent several
different moments of one scene. Thus in the Dresden Gallery, there are
two good pictures: the one of an officer writing a letter, while a
trumpter waits for it; the other of a girl in white satin washing her
hands in a basin held before her by a maid-servant; while at Munich, is
another fine work, in which the trumpeter is offering the young lady the
letter, who owing to the presence of the maid, who evidently
disapproves, is uncertain whether to take the missive. Finally, in the
Amsterdam Gallery, the celebrated picture known by the title of _Conseil
paternel_, furnishes

[Illustration: PLATE XXX.--PIETER DE HOOCH

INTERIOR OF A DUTCH HOUSE

_National Gallery, London_]

the closing scene. The maid has betrayed the affair to the father, and
he is delivering a lecture to the young lady, in whom by turning her
back on the spectator, the painter has happily expressed the feeling of
shame; good repetitions are in the Berlin Museum, and in the Bridge