The virility appears in the drawing and construction of his figures, to which Fromentin has paid so high a tribute in his analysis of _The Gallant Soldier_, in the Louvre. And, as the French critic points out, in discussing the representation of the man’s shoulder and arm, it is a virility tempered with extreme sensibility. It has nothing of the improvisation of Hals in the following of surfaces, but rather Velasquez’s mastery of plane-construction; only here, in the case of this small figure, it is not with the open palm but with most sensitive touch of finger-tips that we imagine ourselves discovering the reality of the form. Or, again, examine the wonderful example of drawing in _The Concert_ of the Berlin Gallery, where the foreground is occupied by a seated figure of a lady, whose back is toward us, as she plays the violoncello. Even more remarkable than the fine structural reality of the figure is its play of expression, as it bends over the instrument and seems to be vibrating to the touch of the strings. Again, what extraordinary realization of action, at once broadly and subtly characterized, appears in the two figures of _Officer Writing a Letter_, in the Dresden Gallery; or, in the same museum, in the figures of the mistress and her maid in _Lady Washing Her Hands_; or in the action of the hands followed so absolutely by the gesture of the head in the _Old Woman Peeling Apples_ of the Art-History Museum, Vienna! These are but examples, taken more or less at random, of Terborch’s gift of drawing, which in its mingling of virility and exquisite sensibility is unsurpassed in Holland painting. Nor less admirable is the marvelous unity that he imparts to the whole scene. Tonality has much to do with it, yet that is but a means. The cause is in himself, in the reverence that he has even for the accessories in his pictures; and the result is a harmony that is at once esthetic and intellectual. Mind, as well as taste, has ordered everything. All the artists of Dutch genre had more or less the faculty of heightening the value of beauty in the accessories they used; but none, not even Vermeer, to so extraordinary a pitch of artistic propriety as Terborch. His discretion in the selection is so choice, and his feeling for arrangement at once so big and simple and so concentrated, that the presence of his own high-bred feeling pervades almost every interior he has painted and makes its privacy a thing of exquisite aloofness and, if I may say so, of consecrated self-possession.