This handsome work ranks as one of Corot's most accomplished efforts at approximating Raphael’s High Renaissance style. Its pose closely follows the portrait of Bindo Altoviti (National Gallery of Art, Washington), believed, in Corot’s day, to be Raphael’s self-portrait, but Corot arrived at this composition incrementally. X-radiographs reveal an earlier state in which the model plays the cello: the left hand held the neck of the instrument and the right hand, slightly raised, held the bow. Corot made several adjustments to these accessories before painting them out altogether, dropping the model’s right hand to her lap and inserting a rose or pink in her left hand.

百度翻译：http://fanyi.baidu.com

   柯罗的这幅画作是他模仿拉斐尔的文艺复兴盛期风格最成功的尝试之一。画中人物的姿势十分接近现藏于华盛顿国家美术馆的宾铎·阿尔脱维提的肖像；在柯罗的时代，人们认为那是拉斐尔的自画像。然而，在这具有强烈自觉意识的创作过程中，柯罗对此画的构思是一点一滴完成的。他最初可能打算描绘缪斯女神波吕许谟尼亚演奏大提琴，这一构图在画作的X光照片中仍能看到，但柯罗用颜料将其覆盖。人物头上的常春藤可能暗指艺术永垂不朽。这幅画最终没有完成，也没有柯罗的签名，在柯罗生前从未展出过。