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The fact that so many carpets appear in Dutch interiors of the time might lead us to believe that they were an integral part of the Dutch home.
However, they do not occur so frequently in death inventories and moreover, these "turkse" and "persiche tapijten" never occur in appreciable quantities on the cargo of Dutch merchant ships.
The original landscape on the inside lid is by Jan Wildens, with mythological scenes drawn from the works of Titian and Poussin on the exterior.
Curiously, the layout of the great trees on Vermeer's harpsichord left echoes those of the ebony-framed landscape. Never once does he portray the instrument being played: in all four paintings it remains quietly unattended, awaiting, perhaps, someone, a male, who will gather it up and make music.
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Thus, the older singing woman to the right would be the procuress, the seated lutenist, the client and the seated harpsichordist the prostitute.
However, modern critics who weigh the serene atmosphere of Vermeer's composition, see Van Baburen's work more likely an admonition rather than than an invitation to avoid sensual excesess.
Women avid for sex and willing to endure pain in mind blowing adult sex films to dazzle any type of sexual demand, all for full audience in smashing conditions."During Vermeer's time, composers frequently opposed somber landscapes to the gentle beauty of their ladies.The lady may be related to the landscape in sympathy with the international convention which the woman is the epitome of nature, metaphorized as the Tree of Life.It is known that some painters supplied the carpets themselves and a single carpet might be used for generations of artists.Although it may escape the untrained eye, the instrument which lies obliquely on the carpet-covered table is a cittern.