The history of the painting of Fragonard is difficult to establish because Fragonard had delivered several versions (at least four, cf. Dupuy-Vachey in Paris, on 2007-2008, p. 164) of this composition which obviously seemed to him significant to the point that it was also burnt by Angélique Papavoine in 1788. The letter of the engraving as well as the descriptions during the former sales, in particular during the sale Calonne (in April 21-30th, 1788, no 248), allow to identify without ambiguity its subject: " Sapho inspired by the Love which dictates her her poetries. " It should be noted that another version while resulting from the collection of the marquess of Véri, sponsor of the bolt, who inspired the engraving of 1788. This one presents a notable variant because " the Love offers [to Sapho] one of these arrows for draw what he inspires her ". With this composition that we date generally towards the end of the pictorial career of Fragonard, in the 1780s, master land and refines the theme of the creative and loving inspiration which irrigates an important piece of its production throughout its career (Sheriff, on 1990, p. on 152-184). Fragonard knew doubtless first-hand the poetries of Sapho. We indeed keep  a collection which he belonged gathering its works as well as those of Anacréon such as they were compiled and translated by the Hellenist Julien-Jacques Moutonnet-Clairfons in 1773.

This miniature, if it is inspired by the version in the arrow offered for writing, is different in several points : the young woman have her breast covered and is not combed by laurels. We are in presence here of a real portrait and not an idealized allegory. The sitter is represented inspired by Love, but she is fashionably dressed .

A signature is present in turquoise blue cartridge of the writing case, but regrettably illegible. Painted in a way very "enlevée", raised by touch of gouache very "Fragonard".