Studying the two pictures, as is possible in the Prado, since they hang upon the same wall, near enough for the eye to travel backward and forward from one to the other, one discovers, I believe, that the problem involved in each is the reverse of that of the other. _Las Meniñas_ shows a partially lighted interior, with the chief light on the little figure in the foreground; while the problem of the other picture is a dimly lighted, or rather darkened foreground, and a fully lighted background. In _Las Hilanderas_, in fact, the artist’s chief motive was the alcove, pervaded by a clear light that illumines the blues, greys and pale rose of the tapestry. Velasquez had seen it so and realised how the effect was heightened by the dimness of the spot in which he stood. Conscious of this, one begins to understand that the focus point of this picture is the shaded dull-red figure in the center of the middle distance. But it is a focus point of departure; not, as in _Las Meninas_, designed to draw our attention to it, but to direct it to the lighted space behind. When once we have recognised this, order begins to establish itself in what seemed to be the divided interest of the canvas. The beautiful figure, on the right, of the girl in a white chemise no longer holds our attention too exclusively. We see in her the artist’s twofold purpose of explaining the front plane of his scene, and pointing through the shaded figure to his main motive. We have discovered the proper view of sight; it is in front of this girl, looking diagonally toward the alcove, and the group on the left is introduced to balance the composition. Yet even now, after one thinks one has captured the secret of the unity of the ensemble, so cunningly achieved, the beautiful figure of the girl on the right of the foreground may arrest our interest and distract it from the whole. It is because of this, that for my own part, there seems to be more of science than of inspiration in this vision.