 It's much easier to talk about the making of these than it is the use of them. So we move from something that's available in antique stores or lots of museums to a painting which is a singular thing. This one, Erastus Salisbury Fields, Joseph Moore and his family, about 1839 it was done by field, is that we can see the Hitchcock chairs in the painting. So paintings are a good iconographic source of, okay, there are these things made, they now sit in museum collections or private collections, but did anyone care? Did anyone use them? And then second, how did they use them? What kinds of rooms did they appear? Did they appear in porches? As porch furniture, did they appear as kitchen seats or in this case, did they appear in the parlor, the fanciest room of a house? So here we have, interestingly enough, there's a family of four children, two adults. Everyone is in black, white and black. The father and the mother are sitting in these Hitchcock chairs. They're very brightly, we can see the cornucopia on Joseph's chair, along with the striping on the legs that peers out. So this gives you a sense of the vibrancy when these were new. They're stenciling on the stand right behind the family. In that case, the stenciling is used along with a mirror that's above them to give the imitation of mahogany, a richer wood. So stenciling can be used also as a means of imitation. So there's lots of this foe decor going on, because again, these middling people are looking on one hand to establish a connection to what was once previously luxurious goods. And so they are using just like the portrait itself. Something that used to be beyond the reach of a middling family. This is a family dressed in their best. This is not an ordinary experience. This is an exceptional experience. So we often need to look at what are the moments in a family's life cycle when a portrait might be made, marriage, death, addition to the family. So again, these are exceptional moments and we can trace out the life cycle. So this is, in some ways, like an inventory. It's an inventory of all the nice things that they've acquired and actually some of these objects that Amirah is holding in her hand, that are some of the furniture, these two chairs are actually passed down from the family with the portrait and exist in the same collection at the Museum of Fine Arts. So we always sort of wonder about that. Are these things sort of like that the portrait is brought in and gave to the family so they could look fancier? Or actually are they their real possessions? Are they their real clothes? So here we have, I think, the jewelry that she's wearing, has passed along in the family collection. So we know that these adornments are theirs. And then I think with students it's really fun to work from what do you see? What are the different things you see? And I think students can do a good job with that to what do you think they're useful? What does it mean? What did this portrait mean to the family that commissioned it? What did it mean to the family that displayed it? This thing is almost six feet wide. It fills the whole wall to Museum of Fine Arts. You wouldn't know that. From this it could easily be a miniature, you know, small. So that's something you really want to sort of make sure that's in there because something that's six feet would take a lot more time, a lot more money.