the sleeves, and a long train. Her blue underdress is also trimmed with white fur. Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible, both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer. There may be an element of restraint in their clothes (especially the man) befitting their merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth, although "the restrained colours of the man's clothing correspond to those favoured by Duke Phillip of Burgundy". The interior of the room has other signs of wealth; the brass chandelier is large and elaborate by contemporary standards, and would have been very expensive. It would probably have had a mechanism with pulley and chains above, to lower it for managing the candles (possibly omitted from the painting for lack of room). The convex mirror at the back, in a wooden frame with scenes of The Passion painted behind glass, is shown larger than such mirrors could actually be made at this date – another discreet departure from realism by van Eyck. There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Even the oranges casually placed to the left are a sign of wealth; they were very expensive in Burgundy and may have been one of the items dealt in by Arnolfini. Further signs of luxury are the elaborate bed-hangings and the carvings on the chair and bench against the back wall (to the right, partly hidden by the bed), also the small Oriental carpet on the floor by the bed; many owners of such expensive objects placed them on tables, as they still do in the Netherlands. There existed a friendship between Giovanni Arnolfini and Philip the Good who sent his court painter Jan van Eyck to portray Arnolfini Double. The relation possibly began with a tapestry order including the images of Notre Dame Cathedral in return of a good payment. The view in the mirror shows two figures just inside the door that the couple are facing. The second figure, wearing red, is presumably the artist although, unlike Velázquez in Las Meninas, he does not seem to be painting. Scholars have made this assumption based on the appearance of figures wearing red head-dresses in some other van Eyck works (e.g., the Portrait of