The profusion of fabrics seems to allude to the prosperous trade exercised by Antonio Ghidini, officially accredited to the ducal court as a supplier of fabrics and fabrics, who maintained profitable relations with the English warehouse of Booth suppliers in Manchester (which can be seen in the papers at the top left), at the time one of the most important European business families. The floral fabric of the dress sported by the elegant hostess would belong to the Melandri factory, which had factories in the Veneto region, in Lyon and in Spittlefields (London); moreover, the elaborate ribboned bustier seems to be of the Venetian genre. Strengthened by a happy family, Ghidini asked one of the best artists of the Duchy to portray him with his wife and children according to a canon which responds, in the amazing naturalness of the composition with the characters as if caught in a moment of domestic intimacy, to the new direction of painting English, to the conversation pieces that the enlightened bourgeoisie of the time liked so much. Until a few years ago considered by Baldrighi, Ferrari's master, the painting was returned to him thanks to news from the list of works of the Ghidini heirs: "A large painting representing the portraits of the Ghidini family by Pietro Ferrari New lire 110 ”. The work can be dated after 1769 due to the presence in the work of a medallion held by the child with the blue headdress which commemorates, through the portrait, the marriage of Maria Amelia of Habsburg with Fernando di Borbone of that year. Alongside the admirable quality of the portraits, the ease of the poses, the character of serenity that distinguishes the painting, the preciousness of the clothes should be noted, a tribute to the client, in particular that of the wife, a very elegant Lyon silk brocade.