This fragment is not to be confused with the work bearing the same name of 1861 comprising three figures. The present painting of c. 1874 was to have shown Cupid wandering the streets of a town modeled on Sienna, which Burne-Jones had recently visited, possibly meeting Maria Zambaco there, which gives the painting an added frisson. It contains a germ of the idea for The Car of Love, begun at the same time in which Love dominates the same street but is now at the head of a chariot being towed by his victims. displaying a more cynical view of the state of Love. This painting appears in a photograph of the Garden Studio before it was cut down, c.1900 which appeared in the article by Sir Philip Burne-Jones in the Magazine of Art.