What then is the thematic relationship between her act and the painting on the wall behind her? The young woman standing before a table in a corner of a room gazes toward a balance held gently in her right hand. As though waiting for the delicate modulations of the balance to come to rest, she stands transfixed in a moment of equilibrium. She is dressed in a blue morning jacket bordered with white fur; seen through the parting of her jacket are vivid stripes of yellow and orange, perhaps ribbons or part of her bodice. Her white cap falls loosely to either side of her neck, framing her pensive yet serene face. Diffused sunlight, entering through an open window before her, helps illuminate the scene. The light, warmed by the orange curtain before the window, flows across the gray wall and catches the fingers of her right hand and the balance before resting on her upper figure. Behind the woman looms a painting of the Last Judgment * which acts as a compositional and iconographic foil to the scene before it. The Last Judgment, its proportions echoing those of the overall painting, occupies the entire upper right quadrant of the composition. Its rectangular shape establishes a quiet and stable framework against which Vermeer juxtaposes the figure of the woman. The woman's white cap and blue morning jacket contrast with the dark painting. Her figure is aligned with the central axis of the Last Judgment. Her head lies at the middle of its composition, directly beneath the oval mandorla of the Christ in majesty. Her right hand coincides with the lower corner of the frame, which happens also to be the vanishing point of the perspective system. Her head and the central gesture of her hand are thus visually locked in space, and a seeming moment of quiet contemplation becomes endowed with permanence and symbolic associations. The visual juxtaposition of the woman and the Last Judgment is reinforced by thematic parallels: to judge is to weigh. Christ, his arms and hands raised, sits in majesty on the day of judgment. His gesture, with both arms raised, mirrors the opposing direction of the woman's balance. His judgments are eternal; hers are temporal. Nevertheless, the woman's pensive response to the balance she holds suggests that her act of judgment, although different in consequence, is as conscientiously considered as that of the Christ behind her.