Of the unheeded prophetess of the Trojans, loved by Apollo and condemned not to be believed because she had refused his advances, Ercole Drei seems to have mostly likely captured the sense of withdrawal and repressed anguish she felt at the time when, after the conquest of Troy, she was dragged away from the Temple of Athena where she had taken refuge by Ajax.
Drei evolved the nineteenth-century model towards a more fluent pose with its fulcrum in the long, cascading tresses. The mythological theme is reinterpreted by Ercole Drei in the mainstream of contemporaneity, investigating with total participation and almost psychological perspicacity a particular state of the female spirit. (from the notes of Franco Bertoni for the catalogue of the show entitled “Art Nouveau. Baccarini’s Cenacle” held at the International Museum of Ceramics in Faenza in 2007, Electa Editore)