“Mara, I leave you not with my words but with the words of Emily Dickinson, my most beloved poet. I can think of no better way to call you to rise to the legacy which I bequeath to you. We never know how high we are Till we are called to rise; And then, if we are true to plan, Our statures touch the skies. The heroism we recite Would be a daily thing, Did not ourselves the cubits warp For fear to be a king. Mara understood now what she would do. She would rise. She would let The Chrysalis glide with unfettered wings toward its own uncertain destiny, but she would not yet let the other Strasser paintings go. Each of the paintings told a story more layered and complex than its provenance alone could ever reveal—a story of the passions, hopes, and dreams of the artist, subject, patron, and owners. Mara would set out to uncover these paintings’ deeper lineages and tie the paintings to their past so they could achieve the full destinies that had been stolen from them. Like the Saint Peter of Michael’s etchings, who had been exhorted that “whatever you bind on earth shall be bound in Heaven, and whatever you loose on earth will be loosed in Heaven,” she would tether their future to their past. thirty-six HAARLEM, 1662 THE BURGOMASTER SEES THEIR LONG GAZES.”