As he often does, however, Schama overextends and trivializes his argument, interpreting the composition, with Anslo at its elevated center, as a portrait of a marriage in which the domineering husband «leans heavily toward his wife, benevolently overbearing, just short of bullying,» while Aeltje, «her head slightly cocked like an obedient pet or a contrite child,»
patiently accedes to his diatribe.