by Morton Marcus Wearing a silken silver gown, the little princess is staring at us from the foreground of the painting. As if on stage, she is brightly lit, surrounded by dwarfs, ladies-in-waiting, and a recumbent hound, and resembles a doll placed in the middle of her entourage. Behind her to her right, near a large canvas whose back is toward us, the painter, Velazquez, stands half in shadow, palette in one hand, brush in the other, while behind her to her left, a nun leans toward a courtier, about to speak. On the rear wall: paintings, large canvases, hang, almost obscured by darkness, and a mirror reflects the presence of the king and queen who must be observing the scene from the same place we do, as if they (or we) are an audience at a formal family event. But, no, the painter is standing in the wrong place to paint the scene. Do you see it now? It's the king and queen who are being painted, and the princess and her entourage are the audience watching mama and papa pose for ...