The momentary view of Mary Cassatt's stopping briefly before a sculpture displayed at the Louvre shares with Harunobu's prints not only similarities of subject, composition, and scale, but also the same evocative mood. Degas followed Harunobu's formula: one figure standing, one seated, each actively absorbed. The figures are set against a framework of lines that define interiors and sliding screens in the Japanese woodcuts, and exhibit cases and the suggestion of parquet floors in Degas's etching. In both, the space is tightly enclosed and viewed from the high vantage point ruled by Japanese perspective. KB, Japanesque Standing in a gallery of the Louvre, Mary Cassatt leans on her umbrella, contemplating the Etruscan Sarcophagus of the Spouses, acquired by the emperor Napoléon III in 1861. Degas intended to include the etching in an illustrated journal of the Impressionist exhibitions he was organizing called Le Jour et la Nuit (Day and Night) in reference to its planned black-and-white content. The project failed to come together, and Degas instead exhibited the print in the fifth Impressionist exhibition (1880).