I opened the lower window and shutters and got down from the chair. Something moved in front of me and I froze. The movement stopped. It was me, reflected in a mirror that hung on the wall between the two windows. I gazed at myself. Although I had an anxious, guilty expression, my face was also bathed in light, making my skin glow. I stared, surprised, then stepped away.

Now that I had a moment I surveyed the room. It was a large, square space, not as long as the great hall downstairs. With the windows open it was bright and airy, with white-washed walls, and grey and white marble tiles on the floor, the darker tiles set in a pattern of square crosses. A row of Delft tiles painted with cupids lined the bottom of the walls to protect the whitewash from our mops. They were not my father’s.

Though it was a big room, it held little furniture. There was the easel and chair set in front of the middle window, and the table placed in front of the window in the right corner. Besides the chair I had stood on there was another by the table, of plain leather nailed on with brass studs and two lion heads carved into the tops of the posts. Against the far wall, behind the chair and easel, was a small cupboard, its drawers closed, several brushes and a knife with a diamond-shaped blade arranged on top next to clean palettes. Beside the cupboard was a desk on which were papers and books and prints. Two more lion-head chairs had been set against the wall near the doorway.

It was an orderly room, empty of the clutter of everyday life. It felt different from the rest of the house, almost as if it were in another house altogether. When the door was closed it would be difficult to hear the shouts of the children, the jangle of Catharina’s keys, the sweeping of our brooms.

I took up my broom, bucket of water, and dustcloth and began to clean. I started in the corner where the scene of the painting had been set up, where I knew I must not move a thing. I kneeled on the chair to dust the window I had struggled to open, and the yellow curtain that hung to one side of it in the corner, touching it lightly so that I would not disturb its folds. The panes of glass were dirty and needed scrubbing with warm water, but I was not sure if he wanted them clean. I would have to ask Catharina.

I dusted the chairs, polishing the brass studs and lion heads. The table had not been cleaned properly in some time. Someone had wiped around the objects placed there—a powder-brush, a pewter bowl, a letter, a black ceramic pot, blue cloth heaped to one side and hanging over the edge—but they had to be moved for the table really to be cleaned. As my mother had said, I would have to find a way to move things yet put them back exactly as if they had not been touched.

The letter lay close to the corner of the table. If I placed my thumb along one edge of the paper, my second finger along another, and anchored my hand with my smallest finger hooked to the table edge, I should be able to move the letter, dust there, and replace it where my hand indicated.

I laid my fingers against the edges and drew in my breath, then removed the letter, dusted, and replaced it all in one quick movement. I was not sure why I felt I had to do it quickly. I stood back from the table. The letter seemed to be in the right place, though only he would really know.

Still, if this was to be my test, I had best get it done.

From the letter I measured with my hand to the powder-brush, then placed my fingers at various points around one side of the brush. I removed it, dusted, replaced it, and measured the space between it and the letter. I did the same with the bowl.

This was how I cleaned without seeming to move anything. I measured each thing in relation to the objects around it and the space between them. The small things on the table were easy, the furniture harder—I used my feet, my knees, sometimes my shoulders and chin with the chairs.

I did not know what to do with the blue cloth heaped messily on the table. I would not be able to get the folds exact if I moved the cloth. For now I left it alone, hoping that for a day or two he would not notice until I had found a way to clean it.

With the rest of the room I could be less careful. I dusted and swept and mopped—the floor, the walls, the windows, the furniture—with the satisfaction of tackling a room in need of a good cleaning. In the far corner, opposite the table and window, a door led to a storeroom, filled with paintings and canvases, chairs, chests, dishes, bedpans, a coat rack and a row of books. I cleaned in there too, tidying the things away so that there was more order to the room.

All the while I had avoided cleaning around the easel. I did not know why, but I was nervous about seeing the painting that sat on it. At last, though, there was nothing left to do. I dusted the chair in front of the easel, then began to dust the easel itself, trying not to look at the painting.

When I glimpsed the yellow satin, however, I had to stop.

I was still staring at the painting when Maria Thins spoke.

“Not a common sight, now, is it?”

I had not heard her come in. She stood inside the doorway, slightly stooped, wearing a fine black dress and lace collar.

I did not know what to say, and I couldn’t help it—I turned back to the painting.

Maria Thins laughed. “You’re not the only one to forget your manners in front of one of his paintings, girl.” She came over to stand beside me. “Yes, he’s managed this one well. That’s van Ruijven’s wife.” I recognized the name as the patron my father had mentioned. “She’s not beautiful but he makes her so,” she added. “It will fetch a good price.”

Because it was the first painting of his I was to see, I always remembered it better than the others, even those I saw grow from the first layer of underpaint to the final highlights.

A woman stood in front of a table, turned towards a mirror on the wall so that she was in profile. She wore a mantle of rich yellow satin trimmed with white ermine, and a fashionable five-pointed red ribbon in her hair. A window lit her from the left, falling across her face and tracing the delicate curve of her forehead and nose. She was tying a string of pearls around her neck, holding the ribbons up, her hands suspended in the air. Entranced with herself in the mirror, she did not seem to be aware that anyone was looking at her. Behind her on a bright white wall was an old map, in the dark foreground the table with the letter on it, the powder-brush and the other things I had dusted around.

I wanted to wear the mantle and the pearls. I wanted to know the man who painted her like that.

I thought of me looking at my reflection in the mirror earlier and was ashamed.

Maria Thins seemed content to stand with me and contemplate the painting. It was odd to look at it with the setting just behind it. Already from my dusting I knew all of the objects on the table, and their relation to one another—the letter by the corner, the powder-brush lying casually next to the pewter bowl, the blue cloth bunched around the dark pot. Everything seemed to be exactly the same, except cleaner and purer. It made a mockery of my own cleaning.

Then I saw a difference. I drew in my breath.

“What is it, girl?”

“In the painting there are no lion heads on the chair next to the woman,” I said.

“No. There was once a lute sitting on that chair as well. He makes plenty of changes. He doesn’t paint just what he sees, but what will suit. Tell me, girl, do you think this painting is done?”

I stared at her. Her question must be a trick but I could not imagine any change that would make it better.

“Isn’t it?” I faltered.

Maria Thins snorted. “He’s been working on it for three months. I expect he’ll do so for two more months. He will change things. You’ll see.” She looked around. “Done your cleaning, have you? Well, then, go on, girl—go to your other tasks. He’ll come soon to see how you’ve done.”

I looked at the painting one last time, but by studying it so hard I felt something slip away. It was like looking at a star in the night sky—if I looked at one directly I could barely see it, but if I looked from the corner of my eye it became much brighter.

I gathered my broom and bucket and cloth. When I left the room, Maria Thins was still standing in front of the painting.

“Going so early? We always go later in the day.” Tanneke still did not look at me. She was tying white ribbons into five-pointed stars in Cornelia’s hair.

“I’m free while the water is heating and thought I would go now,” I replied simply. I did not add that the best cuts were to be had early, even if the butcher or fishmonger promised to set aside things for the family. She should know that. “What would you like?”

“Don’t fancy fish today. Go to the butcher’s for a mutton joint.” Tanneke finished with the ribbons and Cornelia jumped up and pushed past me. Tanneke turned away and opened a chest to search for something. I watched her broad back for a moment, the greyish brown dress pulled tight across it.

She was jealous of me. I had cleaned the studio, where she was not allowed, where no one, it seemed, could go except me and Maria Thins.

When Tanneke straightened, a bonnet in her hand, she said, “The master painted me once, you know. Painted me pouring milk. Everyone said it was his best painting.”

“I’d like to see it,” I responded. “Is it still here?”

“Oh no, van Ruijven bought it.”

I thought for a moment. “So one of Delft’s wealthiest men takes pleasure in looking at you each day.”