Here the Countess's coiffure, seen from behind, looks even more exaggerated than in the photograph entitled "Elvira". The layered ringlets and the twisted plait worn instead of a chignon look like the back of an over-elaborate stage set. The contrast is further emphasized by the marble-white bare shoulders, and the faint line of the low-necked gown.
"Sculptural Shoulders," the title recorded by Montesquiou, evokes a fragment of classical statuary or a gallant rondeau from Renaissance times, glorifying a woman's body in parts. This vignetted print originates from a negative preserved in the Mayer & Pierson archive (74/89). There are other vignetted prints from this negative in the Montesquiou album (1975.548.254) and in the Alinari collection. A negative in the Mayer & Pierson archive of a painted version of this image shows highlights around the neckline (148). [PA; "La Divine Comtesse", p. 184]