3). A document that reads “Marriage Settlement of the Rt. Honble Lord Viscount Squanderfield” rests in the hand of the non-artistocratic gentleman, his careful perusal of the document indicating that he is the bride’s father. In turn, he has handed over a sum of money to the Viscount’s father (who the inexperienced viewer can assume holds the title earl). In turn, the Earl points to his contribution to the marriage settlement: a family tree that traces his lineage back to William the Conqueror (the tree reading “William, Duke of Normandye”). The Earl’s finger rests on the main trunk of the tree, of which he is the representative. Both trunk and branches are ornamented with coroneted names, but on a detached branch appears a msalliance between a baron and a commoner (Webster 104). The husband-to-be sits nearby, with a clearly visible black patch on his neck to cover the mark of syphilis, which suggest both that he frequents brothels and that the tendency to fornicate with commoners runs in the family. A man resembling a lawyer stands by the window holding a packet of papers that read “A Plan of the New Building of the Right Hon…” and looks outside to the magnificent Palladian-style building-in-progress. Construction has come to a halt, undoubtedly due to lack of funds, hence the necessity for the Earl to marry his son to a wealthy (if untitled) man’s daughter. The man standing with the bride-to-be wears a lawyer’s black gown and white wig. His employment shows the weight and importance of the two parties to the marriage (Webster 104). His presence and that of the other two men (most likely lawyers as well) lends an air of officiality to the scene and the ensuing misery that is to come. The unhappy bride-to-be sulks in a chair, threading her handkerchief through her new wedding ring while the lawyer pays more attention to her than her future husband does. ...
