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mother rolled her eyes. “Believe me, I ought to.” There had recently been a flap at work when Mathilde’s car was held up in traffic, leaving her stranded in Williamsburg at a jeweler’s studio.
    “Like—anonymously. Leave one on her desk, an old one without any money on it. Just to see what she’d do.”
    “I can tell you what she’d do,” said my mother, sliding her membership card through the ticket window. “Fire her assistant and probably half the people in Production as well.”
    My mother’s advertising firm specialized in women’s accessories. All day long, under the agitated and slightly vicious eye of Mathilde, she supervised photo shoots where crystal earrings glistened on drifts of fake holiday snow, and crocodile handbags—unattended, in the back seats of deserted limousines—glowed in coronas of celestial light. She was good at what she did; she preferred working behind the camera rather than in front of it; and I knew she got a kick out of seeing her work on subway posters and on billboards in Times Square. But despite the gloss and sparkle of the job (champagne breakfasts, gift bags from Bergdorf’s) the hours were long and there was a hollowness at the heart of it that—I knew—made her sad. What she really wanted was to go back to school, though of course we both knew that there was little chance of that now my dad had left.
    “Okay,” she said, turning from the window and handing me my badge, “help me keep an eye on the time, will you? It’s a massive show”—she indicated a poster, P ORTRAITURE AND N ATURE M ORTE: N ORTHERN M ASTERWORKS OF THE G OLDEN A GE —“we can’t see it all on this visit, but there are a few things…”
    Her voice drifted away as I trailed behind her up the Great Staircase—torn between the prudent need to stick close and the urge to slink a few paces back and try to pretend I wasn’t with her.
    “I hate to race through like this,” she was saying as I caught up with her at the top of the stairs, “but then again it’s the kind of show where you need to come two or three times. There’s
The Anatomy Lesson,
and we do have to see that, but what I really want to see is one tiny, rare piece by a painter who was Vermeer’s teacher. Greatest Old Master you’ve never heard of. The Frans Hals paintings are a big deal, too. You know Hals, don’t you?
The Jolly Toper
? And the almshouse governors?”
    “Right,” I said tentatively. Of the paintings she’d mentioned,
The Anatomy Lesson
was the only one I knew. A detail from it was featured on the poster for the exhibition: livid flesh, multiple shades of black, alcoholic-looking surgeons with bloodshot eyes and red noses.
    “Art One-oh-one stuff,” said my mother. “Here, take a left.”
    Upstairs it was freezing cold, with my hair still wet from the rain.“No, no, this way,” said my mother, catching my sleeve. The show was complicated to find, and as we wandered the busy galleries (weaving in and out of crowds, turning right, turning left, backtracking through labyrinths of confusing signage and layout) large gloomy reproductions of
The Anatomy Lesson
appeared erratically and at unexpected junctures, baleful signposts, the same old corpse with the flayed arm, red arrows beneath:
operating theater, this way.
    I was not very excited at the prospect of a lot of pictures of Dutch people standing around in dark clothes, and when we pushed through the glass doors—from echoing halls into carpeted hush—I thought at first we’d gone into the wrong hall. The walls glowed with a warm, dull haze of opulence, a generic mellowness of antiquity; but then it all broke apart into clarity and color and pure Northern light, portraits, interiors, still lifes, some tiny, others majestic: ladies with husbands, ladies with lapdogs, lonely beauties in embroidered gowns and splendid, solitary merchants in jewels and furs. Ruined banquet tables littered with peeled apples and walnut shells; draped tapestries and