In the years around 1870, the period of his tempestuous relationship with Maria Zambaco, Burne-Jones commenced many subjects presenting love as an overwhelming, destructive power. The most ambitious of these was the Troy Triptych, organised like a Mantegna altarpiece in an elaborate frame. A large unfinished oil painting of the triptych, mainly by Burne-Jones's assistants, is in the Birmingham City Museum and Art Gallery. The three main images show how Paris's choice of Venus and his abduction of Helen lead to the destruction of his city, Troy. The triptych also was to have had a predella with seven further scenes. Burne-Jones never realised the triptych itself although he turned several individual scenes into independent paintings. His selection of these scenes in the early 1870's seems to mirror his own emotional turbulence at this period. Venus Discordia, a subject from the predella, is the most obvious of these. It shows the enthroned Venus, for whom the present drawing is a study, presiding over scenes of violence and destruction. Like its pendent, Venus Concordia, the composition was turned into an elaborate pencil drawing in 1871 (both drawings, Whitworth Art Gallery.) However in 1872, soon after his final break with Maria Zambaco, Burne-Jones began a large oil painting of the subject, significantly unfinished (National Museum of Wales, Cardiff). The present drawing clearly illustrates Burne-Jones's delicate drawing style at this time, using a fine, rather hard pencil line. He was much interested in Italian Renaissance drawing then and it is probable that in drawings of this type he sought to emulate the qualities of silverpoint.