In the family portrait at left, the servants are visible (just) to the right of the tree.
The man and woman almost literally mirror the main subjects, Carel Rutger Reinier van B can Ramerus and his wife, positioned as they are in opposite relationship to each other. The servants, too, are surrounded with life, carrying a child and dogs and game.
The woman is holding the infant of the van Ramerus couple, and even without Google Translate (that’s “four of their children”) we can figure this out. How? Because the child is held away from her body, and faces forward. It is a slightly odd arrangement, with the infant so peripheral to the main image, but we’re fortunate, because this composition allows us to see the servants.
Class distinctions are clear in the dress: the female servant wears a cap, kerchief and short gown, the male servant-gamekeeper, perhaps–wears breeches and a jacket from the pervious century, as well as a cocked, and not a tall, hat.
It does remind me strongly of the imperative to continue a family line, and the lot of women to breed and produce male heirs. For all that I love the past, I know I could not live there easily.