Tracy Chevalier 3-Book Collection: Girl With a Pearl Earring, Remarkable Creatures, Falling Angels. Tracy ChevalierЧитать онлайн книгу.
taking your side. No, he charged her with failing to raise her children properly. Much cleverer, you see, to criticise her than to praise you.’
‘Did he explain that I was — assisting him?’
‘No.’
I tried not to let my face show what I felt, but the very question must have made my feelings clear.
‘But I told her, once he had gone,’ Maria Thins added. ‘It's nonsense, you sneaking around, keeping secrets from her in her own house.’ She sounded as if she were blaming me, but then she muttered, ‘I would have thought better of him.’ She stopped, looking as if she wished she hadn't revealed so much of her own mind.
‘What did she say when you told her?’
‘She's not happy, of course, but she's more afraid of his anger.’ Maria Thins hesitated. ‘There's another reason why she's not so concerned. I may as well tell you now. She's carrying a child again.’
‘Another?’ I let slip. I was surprised that Catharina would want another child when they were so short of money.
Maria Thins frowned at me. ‘Watch yourself, girl.’
‘I'm sorry, madam.’ I instantly regretted having spoken even that one word. It was not for me to say how big their family should be. ‘Has the doctor been?’ I asked, trying to make amends.
‘Doesn't need to. She knows the signs, she's been through it enough.’ For a moment Maria Thins' face made clear her thoughts — she too wondered about so many children. Then she became stern again. ‘You go about your duties, stay out of her way, and help him, but don't parade it in front of the house. Your place here is not so secure.’
I nodded and let my eyes rest on her gnarled hands as they fumbled with a pipe. She lit it and puffed for a moment. Then she chuckled. ‘Never so much trouble with a maid before. Lord love us!’
On Sunday I took the comb back to my mother. I did not tell her what had happened — I simply said it was too fine for a maid to keep.
Some things changed for me in the house after the trouble with the comb. Catharina's treatment of me was the greatest surprise. I had expected that she would be even more difficult than before — give me more work, berate me whenever she could, make me as uncomfortable as possible. Instead she seemed to fear me. She removed the studio key from the precious bunch at her hip and handed it back to Maria Thins, never locking or unlocking the door again. She left her jewellery box in the studio, sending her mother to fetch what she needed from it. She avoided me as much as she could. Once I understood this, I kept out of her way as well.
She did not say anything about my afternoon work in the attic. Maria Thins must have impressed upon her the notion that my help would make him paint more, and support the child she carried as well as those she had already. She had taken to heart his words about her care of the children, who were after all her main charge, and began to spend more time with them than she had before. With the encouragement of Maria Thins, she even began to teach Maertge and Lisbeth to read and write.
Maria Thins was more subtle, but she too changed towards me, treating me with more respect. I was still clearly a maid, but she did not dismiss me so readily, or ignore me, as she did sometimes with Tanneke. She would not go so far as to ask my opinion, but she made me feel less excluded from the household.
I was also surprised when Tanneke softened towards me. I had thought she enjoyed being angry and bearing me a grudge, but perhaps it had worn her out. Or perhaps once it was clear that he took my side, she felt it best not to appear to be opposed to me. Perhaps they all felt like that. Whatever the reason, she stopped creating extra work for me by spilling things, stopped muttering about me under her breath and giving me hard sideways looks. She did not befriend me, but it became easier to work with her.
It was cruel, perhaps, but I felt I had won a battle against her. She was older and had been a part of the household for much longer, but his favouring me clearly carried more weight than her loyalty and experience. She could have felt this slight deeply, but she accepted defeat more easily than I would have expected. Tanneke was a simple creature underneath, and wanted an easy time of it. The easiest way was to accept me.
Although her mother took closer charge of her, Cornelia did not change. She was Catharina's favourite, perhaps because she most resembled her in spirit, and Catharina would do little to tame her ways. Sometimes she looked at me with her light brown eyes, her head tilted so that her red curls dangled about her face, and I thought of the sneer Maertge had described as Cornelia's expression while she was being beaten. And I thought again, as I had on my first day: She will be a handful.
Though I did not make a show of it, I avoided Cornelia as I did her mother. I did not wish to encourage her. I hid the broken tile, my best lace collar which my mother had made for me and my finest embroidered handkerchief, so that she could not use them against me.
He did not treat me differently after the affair of the comb. When I thanked him for speaking up for me, he shook his head as if shooing away a fly that buzzed about him.
It was I who felt differently about him. I felt indebted. I felt that if he asked me to do something I could not say no. I did not know what he would ask that I would want to say no to, but none the less I did not like the position I had come to be in.
I was disappointed in him as well, though I did not like to think about it. I had wanted him to tell Catharina himself about my assisting him, to show that he was not afraid to tell her, that he supported me.
That is what I wanted.
Maria Thins came to see him in his studio one afternoon in the middle of October, when the painting of van Ruijven's wife was nearly complete. She must have known I was working in the attic and could hear her, but nevertheless she spoke directly to him.
She asked him what he intended to paint next. When he did not reply she said, ‘You must paint a larger painting, with more figures in it, as you used to. Not another woman alone with only her thoughts. When van Ruijven comes to see his painting you must suggest another to him. Perhaps a companion piece to something you've already painted for him. He will agree — he usually does. And he will pay more for it.’
He still did not respond.
‘We're further in debt,’ Maria Thins said bluntly. ‘We need the money.’
‘He may ask that she be in it,’ he said. His voice was low but I was able to hear what he said, though only later did I understand what he meant.
‘So?’
‘No. Not like that.’
‘We'll worry about that when it happens, not before.’
A few days later van Ruijven and his wife came to see the finished painting. In the morning my master and I prepared the room for their visit. He took the pearls and jewellery box down to Catharina while I put away everything else and set out chairs. Then he moved the easel and painting into the place where the setting had been and had me open all the shutters.
That morning I helped Tanneke prepare a special dinner for them. I did not think I would have to see them, and when they came at noon it was Tanneke who took up wine as they gathered in the studio. When she returned, however, she announced that I was to help her serve dinner rather than Maertge, who was old enough to join them at the table. ‘My mistress has decided this,’ she added.
I was surprised — the last time they viewed their painting Maria Thins had tried to keep me away from van Ruijven. I did not say so to Tanneke, though. ‘Is van Leeuwenhoek there too?’ I asked instead. ‘I thought I heard his voice in the hallway.’
Tanneke nodded absently. She was tasting the roasted pheasant. ‘Not bad,’ she murmured. ‘I can hold my head as high as any cook of van Ruijven's.’
While she was upstairs I had basted the pheasant and sprinkled it with salt, which Tanneke used too sparingly.
When they came down to dinner and everyone was seated, Tanneke and I began to bring in the dishes. Catharina