Another area of ambivalence centres on the kind of clothes worn by the so-called misers. The subject of Hendrik Gerritsz Pot's painting from the 1640s in the Uffizi is fashionably dressed and wearing a ring. He may be inspired by the wealth and jewelry piled on his table, but he obviously has no objection to advertising his well-to-do status. On the other hand, the "Miser Casting His Accounts" presented by Jan Lievens is poorly dressed and his interest in hoarding is indicated by the way he gloats on the key that will lock his money away. The same dichotomy occurs in later centuries. Jean-Baptiste Le Prince's miser is also richly robed as he sits surrounded by his possessions, while Theodore Bernard Heuvel's miser sits on the chest containing his hoard and looks anxiously over his shoulder. Paul Gavarni's miser shows much the same apprehension as he leans on the table where his money is piled and glances round suspiciously.