With a softer wood like cherry, you REALLY need sharp tools. It is very difficult to carve in small details in it without tearing the end grain. (Hard maple is much easier to work in.) The small U and V shaped Pfeil hand pushed gouges work well, but you have to keep them sharp. Are you using a leather strop to sharpen or polish the cutting edges your tools every so often? I can see that you have a fair amount of tear-out in a few of your inlets--which is most often caused by too-dull of tools.
Small complicated shapes like your estrucheons are really hard to draw or cut around and make the inlay look really tight. Dave Person uses the trick of taping them to the stock and then pounding them with a soft hammer (like a dead-blow hammer) to create a dent in the stock from the inlay he can then incise cut them more accurately for those small little details.
With your long incise lines, rather than use a short cutting tool like a gouge try using something like a shorter triangular file riding in the groove once that initial shallow groove is established. (I suggest you use the longest one that will work.). That longer bearing surface will help it not get pushed around by areas of harder and softer wood and help keep your incise cuts straighter and of a more consistent depth. The initial scratch might be a little wiggly, but by the time you're at final dimensions it will have straightened out.
When it comes to carving, as you've found out, the MOST important tool is the eraser, followed by the drawing end of the pencil! And to walk away and repeat as long necessary. Once you've gotten to the point that the erased and re-drawn shape you like less than what you erased, you know that you're at the point that it's the best that you can currently do.
When it comes to volutes, try to avoid any extended stretches of parallel lines if you can. They should always be widening or thinning in the main portions of the stems. If they run parallel too long, they take on something of a "leggy" or stretched look. Also watch out for "elbows" in the volutes. Curves look most graceful when they are either gradually and consistently tightening or widening in their radius'. E.g.,; volutes to look graceful generally shouldn't be wide, narrow, wide again (and vice versa) without a new feature "growing" out of them. To find the elbows, you have to look at the carving from all angles, and then look for some sharper "corners" or areas when're the curve seems either too sharp or too flat. Adjust as necessary. Raised carving is MUCH easier to make these adjustments on than incised carving.
Also, don't try to cut it all in all at once. It might take a couple dozen passes at each cut before you're "there". I sometimes might spend as much as 2 hours in profiling a single volute less than an inch long, and I STILL might have to come back to it a few times after that to clean it up some more. It's not a race, nor is it for monetary gain, and these things will spent a lot more time in the rack than they ever do on the bench. So taking your time on the building end will save you a lot of moaning over mistakes you made that will continue to bug you on the back end every time you pick it up.
Curved riffler files with their longer bearing surfaces can be helpful tools here as well, and, as above, the longer the bearing surface the better. They're also helpful in leveling off the base plains in helping you avoid dips and humps there.
Scrapers are good too, (Brownells sells 3 that are just about perfect for most gun making and carving.) but they tend to ride up on hard spots in wood, and dig in to the softer areas so you have to be judicious with them to avoid the washboard effect they can sometimes produce.
Another trick that can help you is taking pictures of your subject area and putting them on the computer. It's amazing what flaws you can see when you blow them up 5x-10x after walking away from the work for a while.
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