Antonio Canova in his studio with Henry Tresham and a plaster model for <i>Cupid and Psyche</i>

Hamilton utilized pastel sticks (pigment mixed with a water-soluble binder like gum) to achieve a blendable, mass-color application, distinguishing pastel from drawing. The use of a camera obscura ensured accurate light rendering, adding to the work's realism. Notably, Hamilton employed pastels in a deliberate, slow manner, contrasting with the medium's potential for rapid blending.

One of two versions by Hamilton, this pastel was likely created for exhibition to demonstrate the artist's prowess and elevate the medium's status. Its large size, detailed conception, and high finish were unprecedented for pastel at the time.

Commissioned in the late 18th or early 19th century, the piece reflects the artistic innovations of its era, including the growing acceptance of pastel as a viable public art form rivaling oil painting in visual impact.

This work is a milestone in the development of pastel as a public art medium, pushing its boundaries in terms of scale, complexity, and finish, and influencing the perception of pastel's capabilities in the art world.