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<p>[QUOTE=&quot;Bronwen, post: 635328, member: 5833&quot;]Chances are he never saw the original, or certainly didn&#039;t sit in front of it while making the cameo.&nbsp; I have to think that all the cameos that follow Thorvaldsen&#039;s reliefs, Canova&#039;s sculpture or Raphael&#039;s paintings derive from prints of greater or lesser quality, &amp; that it took a while for these to be made &amp; disseminated widely enough for cameo cutters to encounter them.&nbsp; Schmoll was in Paris, so maybe would visit the Louvre &amp; sketch subjects he thought would make good cameos.&nbsp; Bought someone else&#039;s drawing in Montmartre or from a bouquiniste...</p><p><br /></p><p>You can see the perspective got the better of him.&nbsp; I have seen other cameos in which a lady &amp; a bird are having an unusually intimate relationship.&nbsp; Schmoll was not one of the world&#039;s best cameo cutters.&nbsp; The way she is holding the bird is probably faithful, more or less, to the original, but they may not be so lips to beak in the painting.&nbsp; He may have closed up the composition to fit into the conventional cameo oval.&nbsp; If we can find the original, it may also turn out that he did not get the drapery of the skirt quite right.</p><p><br /></p><p>If Team Antiquers can&#039;t find this, I know I never will by myself.&nbsp; Thanks all.&nbsp;&nbsp; <img src="styles/default/xenforo/smilies/smile.png" class="mceSmilie" alt=":)" unselectable="on" />[/QUOTE]</p><p><br /></p>

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