[2] It is now in the Metropolitan Museum of Art in New York City and may not be lent elsewhere under the terms of the donor's bequest.

[3] According to Liedtke, the presence of the dog would have alluded to "the sort of impromptu relationships canine suitors strike up on the street."

The man and the dog were replaced with a mirror on a far wall, suggesting how the experience of the senses quickly passes, and a chair left at an angle with a pillow on it, possibly signifying indolence, together with a hint of recent company.

The idea that she was recently together with someone is reinforced by the wine pitcher, the glass on its side and the possible presence of a knife and fork on the table.

[1] The painting was among the large collection of Vermeer works sold on May 16, 1696, from the estate of Jacob Dissius (1653–1695).