Is the chair acting as a voyeur in the context of the threshold or that of a scopophiliac, the scopophiliac could be identified by the chair, while the voyeur is enacted by the seer, peering through the fence.

The sexuality of the chairs is displayed in their design and placement like the chez lounge might reflect the pose of Manets Olympus , when placed as an allegory for a reclining nude which implores the viewer with a suggestive power.

The suggested sexuality inherent in a pose which inturn is inherent in the design of the chair is conveyed across the threshold as the French lovers chair implies from its form, its function.