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Girl in Hyacinth Blue by Susan Vreeland Reserve A Copy or Buy A Copy Online LOVE ENOUGH Cornelius Engelbrecht invented himself. Let me emphasize, straight away, that he isn't what I would call a friend, but I know him enough to say that he did purposely design himself: single, modest dresser in receding colors, mathematics teacher, sponsor of the chess club, mild-mannered acquaintance to all rather than a friend to any, a person anxious to become invisible. However, that exterior blandness masked a burning center, and for some reason that became clear to me only later, Cornelius Engelbrecht revealed to me the secret obsession that lay beneath his orderly, controlled design. It was after Dean Merrill's funeral that I began to see Cornelius's unmasked heart. We'd all felt the shock of Merrill's sudden death, a loss that thrust us into a temporary intimacy uncommon in the faculty lunchroom of our small private boys' academy, but it wasn't shock or Cornelius's head start in drinking that snowy afternoon in Penn's Den where we'd gone after the funeral that made him forsake his strategy of obscurity. Someone at the table remarked about Merrill's cryptic last words, "love enough," words that now sting me as much as any indictment of my complicity or encouragement, but they didn't then. We began talking of last words of famous people and of our dead relatives, and Cornelius dipped his head and fastened his gaze on his dark beer. I only noticed because chance had placed us next to each other at the table. He spoke to his beer rather than to any of us. "`An eye like a blue pearl,' was what my father said. And then he died. During a winter's first snowfall, just like this." Cornelius had a face I'd always associated with Piero della Francesca's portrait of the Duke of Urbino. It was the shape of his nose, narrow but extremely high-bridged, providing a bench for glasses he did not wear. He seemed a man distracted by a mystery or preoccupied by an intellectual or moral dilemma so consuming that it made him feel superior, above those of us whose concerns were tires for the car or a child's flu. Whenever our talk moved toward the mundane, he became distant, as though he were mulling over something far more weighty, which made his cool smiles patronizing. "Eye like a blue pearl? What's that mean?" I asked. He studied my face as if measuring me against some private criteria. "I can't explain it, Richard, but I might show you." In fact, he insisted that I come to his home that evening, which was entirely out of character. I'd never seen him insist on anything. It would call attention to himself. I think Merrill's "love enough" had somehow stirred him, or else he thought it might stir me. As I say, why he picked me I couldn't tell, unless it was simply that I was the only artist or art teacher he knew. He took me down a hallway into a spacious study piled with books, the door curiously locked even though he lived alone. Closed off, the room was chilly so he lit a fire. "I don't usually have guests," he explained, and directed me to sit in the one easy chair, plum-colored leather, high-backed and expensive, next to the fireplace and opposite a painting. A most extraordinary painting in which a young girl wearing a short blue smock over a rust-colored skirt sat in profile at a table by an open window. "My God," I said. It must have been what he'd wanted to hear, for it unleashed a string of directives, delivered at high pitch. "Look. Look at her eye. Like a pearl. Pearls were favorite items of Vermeer. The longing in her expression. And look at that Delft light spilling onto her forehead from the window." He took out his handkerchief and, careful not to touch the painting, wiped the frame, though I saw no dust at all. "See here," he said, "the grace of her hand, idle, palm up. How he consecrated a single moment in that hand. But more than that--" "Remarkable," I said. "Certainly done in the style of Vermeer. A beguiling imitation." Cornelius placed his hands on the arm of the chair and leaned toward me until I felt his breath on my forehead. "It is a Vermeer," he whispered. I sputtered at the thought, the absurdity, his belief. "There were many done in the style of Vermeer, and of Rembrandt. School of Rubens, and the like. The art world is full of copyists." "It is a Vermeer," he said again. The solemnity of his tone drew my eyes from the painting to him. He appeared to be biting the inside of his cheek. "You don't think so?" he asked, his hand going up to cover his heart. "It's just that there are so few." I hated to disillusion the man. "Yes, surely, very few. Very few. He did at the most forty canvases. And only a matter of thirty to thirty-five are located. `Welk een schat! En waar is dat alles gebleven?'" "What's that?" "Just the lament of some Dutch art historian. Where has such a treasure gone, or some such thing." He turned to pour us both a brandy. "So why could this not be? It's his same window opening inward at the left that he used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor." "Subject matter alone does not prove authenticity." "Granted, but I take you to be a man of keen observation. You are an artist, Richard. Surely you can see that the floor suffers the same distortion of tiles he had in his earlier work, for example, `The Music Lesson,' roughly dated 1662 to '64, or `Girl with the Wineglass,' 1660." I never would have guessed he knew all this. He reeled it off like a textbook. Well, so could I. "That can likewise prove it was done by an inferior imitator, or by van Mieris, or de Hooch. They all did tile floors. Holland was paved with tile." "Yes, yes, I know. Even George III thought `The Music Lesson' was a van Mieris when he bought it, but even a king can't make it so. It's a Vermeer." He whispered the name. I hardly knew what to say. It was too implausible. He cleared off books and papers from the corner of his large oak desk, propped himself there and leaned toward me. "I can see you still doubt. Study, if you will, the varying depths of field. Take a look at the sewing basket placed forward on the table, as he often did, by the way, almost as an obstruction between the viewer and the figure. Its weave is diffused, slightly out of focus, yet the girl's face is sharply in focus. Look at the lace edge of her cap. Absolutely precise to a pinprick right there at her temple. And now look at the glass of milk. Soft-edged, and the map on the wall only a suggestion. Agreed?" I nodded, more out of regard for his urgency than in accord. "Well, then, he did the same in `The Lacemaker,' 1669. Which leads me to surmise this was done between 1665 and 1668." I felt his eyes boring into me as I examined the painting. "You've amassed a great deal of information. Is there a signature?" "No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer." I walked toward the painting, took off my glasses to see that close, and it was as he had said. If I moved my head to the right or left, certain brush strokes subtly changed their tint. How difficult it was to achieve that. In other places the surface was so smooth the color must have floated onto the canvas. I suddenly found myself breathing fast. "Haven't you had it appraised? I know an art history professor who could comeand havea look." Continued On Next Page Copyright © 1999 by Susan Vreeland. Original hardcover publication by MacAdam/Cage. Paperback publication by Penguin. Excerpted by permission of MacAdam/Cage Publishing and author. All rights reserved. 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