The woman also wears a veil, partly concealing her gold-embroidered blue bodice, and with her right hand lifts up her yellow skirt.

Columns stand on the left and pilasters on the right, acting as principal lines to lead the viewer into an open door at the back of the composition.through this door in this room, a high window and a table and chair lay, with the curtain, the table-cloth, and the chair-cushion painted in bright vermillion to accent the man's cloak and to contrast the rest of the image, drawing the viewer's eyes to the room, with the change in tone similarly represented by the change in tiles to a black-and-white checkerboard pattern.

Despite this, it is undoubted by collectors as a genuine De Hooch, ruling out the possibility of this painting's creation belonging to Abraham Janssens as may have been first believed.

[4] De Hooch has also made at least two more paintings with scenes of the interior of the City Hall, one featuring a classic Dutch Golden Age motif in the form of a curtain covering a portion of the image.

The last sale was from the possession of E. Warneck to Dr. Wilhelm von Bode for the Strasbourg Museum of Fine Arts where it resides today.