“Griet has the best one,” he said after they had gone through all those in the room. “It’s of her and her brother.”

“I’d like to see it,” Pieter murmured.

I studied my chapped hands in my lap and swallowed. I had not told them what Cornelia had done to my tile.

As Pieter was leaving my mother whispered to me to see him to the end of the street. I walked beside him, sure that our neighbors were staring, though in truth it was a rainy day and there were few people out. I felt as if my parents had pushed me into the street, that a deal had been made and I was being passed into the hands of a man. At least he is a good man, I thought, even if his hands are not as clean as they could be.

Close to the Rietveld Canal there was an alley that Pieter guided me to, his hand at the small of my back. Agnes used to hide there during our games as children. I stood against the wall and let Pieter kiss me. He was so eager that he bit my lips. I did not cry out—I licked away the salty blood and looked over his shoulder at the wet brick wall opposite as he pushed himself against me. A raindrop fell into my eye.

I would not let him do all he wanted. After a time Pieter stepped back. He reached a hand towards my head. I moved away.

“You favor your caps, don’t you?” he said.

“I’m not rich enough to dress my hair and go without a cap,” I snapped. “Nor am I a—” I did not finish. I did not need to tell him what other kind of woman left her head bare.

“But your cap covers all your hair. Why is that? Most women show some of their hair.”

I did not answer.

“What color is your hair?”

“Brown.”

“Light or dark?”

“Dark.”

Pieter smiled as if he were indulging a child in a game. “Straight or curly?”

“Neither. Both.” I winced at my confusion.

“Long or short?”

I hesitated. “Below my shoulders.”

He continued to smile at me, then kissed me once more and turned back toward Market Square.

I had hesitated because I did not want to lie but did not want him to know. My hair was long and could not be tamed. When it was uncovered it seemed to belong to another Griet—a Griet who would stand in an alley alone with a man, who was not so calm and quiet and clean. A Griet like the women who dared to bare their heads. That was why I kept my hair completely hidden—so that there would be no trace of that Griet.

He borrowed van Leeuwenhoek’s camera obscura again to look at the scene one last time. When he had set it up he allowed me to look through it as well. Although I still did not understand how it worked, I came to admire the scenes the camera painted inside itself, the miniature, reversed pictures of things in the room. The colors of ordinary objects became more intense—the table rug a deeper red, the wall map a glowing brown like a glass of ale held up to the sun. I was not sure how the camera helped him to paint, but I was becoming more like Maria Thins—if it made him paint better, I did not question it.

He was not painting faster, however. He spent five months on the girl with the water pitcher. I often worried that Maria Thins would remind me that I had not helped him to work faster, and tell me to pack my things and leave.

She did not. She knew that he had been very busy at the Guild that winter, as well as at Mechelen. Perhaps she had decided to wait and see if things would change in the summer. Or perhaps she found it hard to chide him since she liked the painting so much.

“It’s a shame such a fine painting is to go only to the baker,” she said one day. “We could have charged more if it were for van Ruijven.” It was clear that while he painted the works, it was she who struck the deals.

The baker liked the painting too. The day he came to see it was very different from the formal visit van Ruijven and his wife had made several months before to view their painting. The baker brought his whole family, including several children and a sister or two. He was a merry man, with a face permanently flushed from the heat of his ovens and hair that looked as if it had been dipped in flour. He refused the wine Maria Thins offered, preferring a mug of beer. He loved children, and insisted that the four girls and Johannes be allowed into the studio. They loved him as well—each time he visited he brought them another shell for their collection. This time it was a conch as big as my hand, rough and spiky and white with pale yellow marks on the outside, a polished pink and orange on the inside. The girls were delighted, and ran to get their other shells. They brought them upstairs and they and the baker’s children played together in the storeroom while Tanneke and I served the guests in the studio.

The baker announced he was satisfied with the painting. “My daughter looks well, and that’s enough for me,” he said.

Afterwards, Maria Thins lamented that he had not looked at it as closely as van Ruijven would have, that his senses were dulled by the beer he drank and the disorder he surrounded himself with. I did not agree, though I did not say so. It seemed to me that the baker had an honest response to the painting. Van Ruijven tried too hard when he looked at paintings, with his honeyed words and studied expressions. He was too aware of having an audience to perform for, whereas the baker merely said what he thought.

I checked on the children in the storeroom. They had spread across the floor, sorting shells and getting sand everywhere. The chests and books and dishes and cushions kept there did not interest them.

Cornelia was climbing down the ladder from the attic. She jumped from three rungs up and shouted triumphantly as she crashed to the floor. When she looked at me briefly, her eyes were a challenge. One of the baker’s sons, about Aleydis’ age, climbed partway up the ladder and jumped to the floor. Then Aleydis tried it, and another child, and another.

I had never known how Cornelia managed to get to the attic to steal the madder that stained my apron red. It was in her nature to be sly, to slip away when no one was looking. I had said nothing to Maria Thins or him about her pilfering. I was not sure they would believe me. Instead I had made sure the colors were locked away whenever he and I were not there.

I said nothing to her now as she sprawled on the floor next to Maertge. But that night I checked my things. Everything was there—my broken tile, my tortoiseshell comb, my prayer book, my embroidered handkerchiefs, my collars, my chemises, my aprons and caps. I counted and sorted and refolded them.

Then I checked the colors, just to be sure. They too were in order, and the cupboard did not look as if it had been tampered with.

Perhaps she was just being a child after all, climbing a ladder to jump from it, looking for a game rather than mischief.

I could not hear Catharina’s response. I stopped sweeping the floor of the girls’ room for a moment.

“You remember the last one,” Maria Thins reminded her. “The maid. Remember van Ruijven and the maid in the red dress?”

Catharina snorted with muffled laughter.

“That was the last time anyone looked out from one of his paintings,” Maria Thins continued, “and what a scandal that was! I was sure he would say no when van Ruijven suggested it this time, but he has agreed to do it.”

I could not ask Maria Thins, who would know I had been listening to them. I could not ask Tanneke, who would never repeat gossip to me now. So one day when there were few people at his stall I asked Pieter the son if he had heard about the maid in the red dress.

“Oh yes, that story went all around the Meat Hall,” he answered, chuckling. He leaned over and began rearranging the cows’ tongues on display. “It was several years ago now. It seems van Ruijven wanted one of his kitchen maids to sit for a painting with him. They dressed her in one of his wife’s gowns, a red one, and van Ruijven made sure there was wine in the painting so he could get her to drink every time they sat together. Sure enough, before the painting was finished she was carrying van Ruijven’s child.”

“What happened to her?”

Pieter shrugged. “What happens to girls like that?”

His words froze my blood. Of course I had heard such stories before, but never one so close to me. I thought about my dreams of wearing Catharina’s clothes, of van Ruijven grasping my chin in the hallway, of him saying “You should paint her” to my master.

Pieter had stopped what he was doing, a frown on his face. “Why do you want to know about her?”

“It’s nothing,” I answered lightly. “Just something I overheard. It means nothing.”

She did not respond. It was as if he were talking to himself. After a moment he called up to me. When I appeared he said, “Griet, get my wife’s yellow mantle, and her pearl necklace and earrings.”

Catharina was visiting friends that afternoon so I could not ask her for her jewels. I would have been frightened to anyway. Instead I went to Maria Thins in the Crucifixion room, who unlocked Catharina’s jewelry box and handed me the necklace and earrings. Then I got out the mantle from the cupboard in the great hall, shook it out and folded it carefully over my arm. I had never touched it before. I let my nose sink into the fur—it was very soft, like a baby rabbit’s.