Initial charcoal sketches set this scene by the sea, but after visiting Tuscany in 1870, Edward Burne-Jones placed the gigantic Car of Love in the winding lanes of Siena. This appears to be the final, fully worked-up drawing on which the unfinished painting, (Victoria and Albert Museum, London) is based.
The bound and anguished figures forced to draw the Car inexorably onward were bitter reminders of Burne-Jones’s doomed love affair with the beautiful Maria Zambaco in 1870, famous for her ‘glorious red hair and almost phosphorescent white skin’.