The coiffed and dainty dog at the center of this tableau is a breed apart from the spaniels and hounds that appear in a handful of paintings of early American Jews.1 Those dogs connote vigor and virtue in formal portraits intended for display; the presence of this dog—standing upon a chair at the center of the silhouette between her two doting owners— bespeaks a playful domestic intimacy we rarely see in visual depictions of Jews from the antebellum period. A skilled artist could produce a cutout within minutes—how long could even the best behaved pet resist the proffered treat?—allowing silhouettists to capture informal scenes of this kind. This was one of at least two images of the Tobias family produced that day by Augustin Edouart, an artist who practiced in a field that had already peaked in popularity by 1844 because of the rise of the daguerreotype, but who still found eager customers during the summer season in Saratoga.2 The second excludes Mrs. Tobias, but the dog, which had traveled with her owners from New Orleans, appears in both images, and tellingly faces her master rather than her mistress.3 We might divine several stories other than those relating to pets and domesticity from this scene. But even as the Jewish household has been explored as a site of change and negotiation in the nineteenth-century— as an arena where new ideas about gender, work, and education were played out—we are still relatively unfamiliar with what went on under the stairs, in the kitchen, and behind the scenes. When writing history from below, there is good reason to include those who were literally down at the heel along with those that were metaphorically so. Household pets may have left few permanent markings on the historical record, but their

中文翻译：

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菲多犹大

画面中央的那只头发蓬松而优雅的狗是与少数早期美国犹太人画作中出现的西班牙猎犬和猎犬不同的品种。1 这些狗在用于展示的正式肖像中象征着活力和美德；这只狗的存在——站在她两个溺爱的主人之间剪影中央的椅子上——表明了一种有趣的家庭亲密关系，我们在战前时期的犹太人视觉描绘中很少看到。一个熟练的艺术家可以在几分钟内制作出一个剪纸——即使是最乖的宠物也能抗拒提供的款待多久？——让剪影师捕捉到这种非正式的场景。这是奥古斯丁·爱德华 (Augustin Edouart) 当天制作的至少两张托比亚斯一家的照片之一，一位艺术家在 1844 年因银版照相的兴起而流行的领域中实践，但在萨拉托加的夏季仍然找到了热切的顾客。2 第二个排除了托比亚斯夫人，但狗，与她的主人从新奥尔良一起旅行，出现在两个图像中，并且生动地面对她的主人而不是她的情妇。 3 我们可能会从这个场景中推测出一些与宠物和家庭生活有关的故事。但是，即使犹太家庭在 19 世纪被探索为一个变革和谈判的场所——作为一个关于性别、工作和教育的新观念上演的舞台——我们仍然相对不熟悉在楼梯、厨房和幕后。从下往上书写历史时，有充分的理由将那些从字面上倒下的人和比喻上的人一起包括在内。家庭宠物可能在历史记录上几乎没有留下永久的标记，但它们的