And let us, if we may, look for the previously existing law of that interplay in the painting of Las Meninas, in which representation is represented at every point: the painter, the palette, the broad dark surface of the canvas with its back to us, the paintings hanging on the wall, the spectators watching, who are framed, in turn, by those who are watching them; and lastly, in the centre, in the very heart of the representation, nearest to what is essential, the mirror, showing us what is represented, but as a reﬂection so distant, so deeply buried in an unreal space, so foreign to all the gazes being directed elsewhere, that it is no more than the frailest duplication of representation.