The mannequins in this shop window appear to be engaged in a choreographed game of musical umbrellas, with their delicate hands poised to pluck the protruding handles as they saunter by. They appear aloof, indifferent both to Eugène Atget, who photographs them, and to the mysterious voyeur whose legs, reflected in the glass, are visible just above the "250" sign. The reflection of the blowing trees in the glass may suggest an imminent storm directly above the mannequins' heads, hopelessly blurring the line between inside and outside. The domed building in the reflection is the former chapel of the Gobelins Tapestry Manufactory, which became the Gobelins Museum. Its looming presence frames the mannequins as if they were on a stage.