It's a fine, elegant snoot.
Speaking of noses, I was watching yesterday a documentary on the making of Cecil B deMille's The Ten Commandments and Charleton Heston was cast as Moses, he was saying, because of his nose. His profile was then shown next to Michelangelo's famous sculpture of Moses. He said that when he was in high school football it got broken. He also got a chuckle saying that he won the part 'by a nose'.
Incidentally, I also saw the death mask of Michelangelo who also had his nose broken as a youth in a brawl and it remained off throughout his life. Didn't seem to harm his art any.
Just to identify why that dip along the ridge of the snoot is important (to me anyway), is because it's a similar road map to the head like the spine is to the back view of the torso. There's a telltale structure component to it relative to the wider forms. That shadow, mechanical as it is, is relevant in a similar way as getting the mechanics correct on people wearing glasses.
The more realism involved, the more it matters. Faces are particularly critical when doing portraits. When it's right almost nobody will give it a second thought. But when it's off, even slightly, people may not know what the problem is, but they'll suspect something's amiss and they may then dismiss the work as not to their liking. But you know what matters. You got really good with eyes because you learned how important and telling the reflections are to making the animal come alive.
"Not a bit is wasted and the best is yet to come. . ." -- remembered from a dream