It has been suggested, and I agree, that beyond, or behind, the topical subject, there is--what is rarely lacking in de la Tour's work--a religious implication.
Yet it is an accomplished picture. The figures are effectively placed: the courtesan-hostess sits central and all but full-faced, one hand on the table holding her cards, covered, the other held out towards the maid who stands on her right with wine-glass and flask, her head bent and her face in profile. The "trickster" sits on the left, next to the maid; his back is three-quarters turned, right elbow resting on the table and right hand casually holding up his cards; he looks back nonchalantly over his shoulder, bringing his face into three-quarter view. At the opposite end of the table the young prodigal sits bolt upright, in profile, looking down intently at the cards that he holds in both hands, as if debating which to play.
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