While Dixon’s story follows a Mrs. Rathbourne’s perspective, Strang’s painting obliquely addresses the female experience. However, the stark contrast between the matronly female and the rest of the subjects demand analysis from the spectator. Looking at her from a Victorian frame of mind, this woman seems to meet the ideal womanhood to a tee. This is indicated by her attire: the woman is cloaked and her hair is covered. Her formal clothing may be occasioned by a church service, but they are also measures to protect her modesty. Here, she complies with the Victorian watchword of “respectability” (Mitchell 263). Women were cautious with how they presented themselves to the outside world. In public, they had to exude the same “perfect compliance, innocence, and refinement” (Mitchell 267) that was expected at home.

Moreover, the woman’s posture indicates submission the pressures of womanhood. She does not walk with her hands freely swinging but has her hands folded in front of her, a sign of self-control and decorum. Moreover, her shoulders are slumped, communicating lethargy and indifference. Her facial expression also suggests that she has surrendered to her conditions: her eyes are downcast and framed by upturned eyebrows. These features create a look of guilt and shame, perhaps the same expression one would wear during confession. Here, the woman snugly fits into the shell of ideal Victorian womanhood. She is chaste, repentant, and devoutly religious. At the same time, she appears detached from her surroundings

THE WOMAN COMPARED to the MAN: DETACHMENT
While the man and girl – presumably her husband and daughter – have their eyes fixed on the road, she appears removed from the present. Her alienation is emphasized by her contrast with the man ahead of her. Unsurprisingly, he is several paces ahead, with the females following his wake. This parallels the male role in Victorian families: the men spearhead the operations and the women obediently follow (Houghton 348). Furthermore, the woman is closer to the child, reinforcing her role as a caregiver. This is a reminder that a woman is always tethered to domestic duties, no matter the setting. Yet, her proximity to the child amplifies the striking difference between the two. The girl shares the same posture as the man, walking with her back straight, communicating both resolution and alertness.

THE WOMAN COMPARED to the GIRL: OPPRESSION
Moreover, the girl does not have her head veiled by a cloth. This suggests that a child’s innocence is taken for granted and therefore, there is no need to protect it. In her case, covering her body would be superfluous. However, the woman must take painstaking measures to enshrine her purity, for she is at the mercy of the spectator. The woman’s identity relies on the male gaze and she adjusts herself accordingly to deflect lewd predators. At the same time, Strang’s painting may reflect the restrictive maturation process for a girl. Her position against the woman is a dispiriting reminder that she, too, must assume the role of a mother. In this way, the juxtaposition acts as a prediction of her inevitable fate. Certainly, the girl may not wear a cloak now, but her agency will be eroded as her years add on.

The illustrations above depict common roles undertaken by Victorian wives.