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’.
You are all set!
Your first Culture Weekly will arrive this week.