doesn't like, but Mr. B's encroachment on Pamela's privacy mirrors his encroachment on the privacy of her body as he attempts to seduce her over and over again. Tillman argues that, in early modern times when letter-writing was an important and popular method of communication, “male letter readers could intercept and interpret those representations in a way that could void female agency" (125) and, because “letters…[are] an extension of the self" (Tillman 126), Pamela's privacy is at risk in myriad ways. At the end of Tillman's article, she addresses the relationship between the experience of letter-writing and the experience of sharing the letters once written are bound up in the writers’ identities and social expectations: "Just as women must dress according to their station, so letters should adopt a tone and style that fits their situation. Just as women must protect their bodies from seduction, so missives must carefully regulate what they say to a suitor" (127). The letter is performative in that it forms “a paper body that had to be carefully crafted and regulated since every part of it--from the handwriting, to the paper, to the content--could be subject examination and judgment" (Tillman 126). In this way, the letter works to enact and sustain writers’ identities and the relationships cultivated between writers and readers of the letters. Pamela is strewn with contemporary themes that handle gender roles, male aggression, false imprisonment, classism, and the hierarchy of power evident through her forced stay at Mr. B’s estate and seen through her kidnapping. Pamela had little to no choice in the arrangement and was a victim of Mr. B’s sexual advances. Mr. B saw Pamela as an object of affection, and a pawn to his game. Adaptations Paintings Around 1742 Francis Hayman also produced two paintings drawing on scenes and themes from the novel for supper boxes 12 and 16 at Vauxhall Gardens. The painting for Box 12 is now lost but showed the departure scene from Letter XXIX, whilst the one for Box 16 shows Pamela fleeing to Mr B.'s coach after revealing her marriage to Lady Davers and Mr B.'s servant Colbrand forcibly defending her from two of Lady Davers' servants. The latter was bought from the Gardens in 1841 by William Lowther, 1st Earl of Lonsdale, whose heirs sold it in 1947 to Henry Hornyold-Strickland, who in turn donated it to the National Trust as part of