Like the Ariadne she reclines in on a drapery covered rock with most of the body exposed, the nudity and fleshness accentuated by the partial covering.The breasts are rounded, the belly protruding, the thighs large. The right arm is not raised over the head as it is common with sleeping figures but hangs off the rocky support while she cusions her head with her right shoulder in an almost disjointed motion suggesting clumsiness as the release in her sleep.
The young hermaphrodite wrestles with an old satyr.
A cloth underneath them suggests that the scene is taking place outdoors, perhaps just before the hermaphrodite laid down before her napping or her bath.
The base is a restoration and the inscription on the right end is modern.
There are several restorations on the left arm and right leg of the hermaphrodite, her left breasts.
Iconographically the statue has its origin in the Hellenistic time but is the work of a Roman era.
During the Roman time hermaphrodite lost their frightening qualities and had a much more entertaining character.
If compared with the Borghese Sleeping Hermaphrodite who is reclining on a matress and created by Bernini and its various replicas, the Ince one is designed to be viewed from the front only.
It is possible that Blundell had seen this work during his Grand Tour in Italy.
The reclining current figure appears to be asleep on a rock covered by its drapery and their folds.
The rocky support suggests that the scene is set outdoors and may reflect the Hellenistic derived taste among Roman artists to depict landscapes and states of mind rather than simply gods and goddesses.
The removal of the infants required some recarving especially under the right armpit where new drapery is introduced, the flat surface and squared folds and an awkard left nipple and waistline.