Did Vermeer hide a self-portrait beneath the painting A Maid Asleep (1656–57), as some art historians have theorized? New research by the scientific team at the Metropolitan Museum of Art suggests yes. It’s widely believed that Vermeer was familiar with Maes’s work, and may even have seen The Naughty Drummer, the museum argues. If the theory is to be believed, the woman dozing at the table is not a maid, but the artist’s model. The idea is supported by her conspicuous adornments: pearl earrings and a sumptuous red dress, uncommon belongings for a servant.