This is a small plan design by Burne-Jones for the large unfinished canvas, 'Troy Triptych' (BMAG, 1922P178). This study was probably begun in 1870, and shows that there were very minor alterations made between this and the oil version, most notably in the two side lower panels, that show a different composition altogether of the 'Venus Concordia' and 'Venus Discordia'; otherwise, the majority of the designs remain the same. Presented by Sir Philip Burne-Jones, J W Mackail and J R Holliday, 1922
The assemblage of paintings for the Troy triptych owes something to the illustrations for Morris's poems for The Earthy Paradise and Jason. Because of the failure to complete the illustrated manuscripts with his designs Burne-Jones transferred his idea into combining them into the large polyptych which was then, after its abandonment, the source for the large number of separate paintings. This secular altarpiece was a monument to Burne-Jones's relationship with Maria. It parallels the recent upheavals in his own life, showing how a beautiful woman, Helen, had completely disrupted the course of history with devastating effect. Maria had entered the artist's apparently stable life with similar results, his relationship with Georgiana was forever changed and his intermittent periods of passion with Maria were to last for the rest of his life. The large painting begun subsequent to this watercolour, was put aside (in storage at G F Watts's studio, in the grounds of Little Holland House) and remained unfinished.