As Simon Oberholzer has observed in his essay "Edward Burne-Jones's Pygmalion" (Edward Burne-Jones -The Earthly Paradise, Stuttgart, 2009) Burne-Jones has taken the architectural context from the illustration in Bernard Salomon, La Metamorphose d'Ovide figurée, Lyon 1557, no. 134, La Statue en Femme, in his design for the woodcut Pygmalion in his workshop carving c. 1867, for the story of Pygmalion and the Image, in The Earthly Paradise. It indicates that Burne-Jones was using a variety of sources for the illustrations, the chief one being the Hypnerotomachia Poliphili, and it also shows his interests moving from the medieval, of his early years to the art of the Renaissance.