On the left of the painting, a woman and other girls are helping the bride-to-be get ready for the wedding, while on the right, as many folk customs demand, the groom is trying to break into the room. The painting is littered with ethnological details, from the bride’s costume to the patterned piece of fabric on the door frame, the maiolica pottery, and the bouquet on the chair to the right. The motif, depicted in the melancholic palette of blue and green hues, contrasting against the seemingly joyous occasion, feels symbolic. The theme of the bride and the impression she gives remind us of the Girl in National Costume
(Dekle v narodni opravi
, NG S 306) by Jožef Petkovšek.
As Polonca Vrhunc noted, in 1897 Vesel was able to view many works at Munich’s Glaspalast whose main focus is fleshed out by events near or on the other side of a door, e.g. works by Franz von Defregger, Edmund Harburger, Adolf Echtlerl, Alexander Struys, and Alexander Roche. It was not Vesel’s first experiment with such composition, though, having already tried it in his joint work with Ivana Kobilca Women Ironing (Likarice).