This watercolour is a fine example of Poynter's early style, when he was influenced by contact with the Pre-Raphaelites. There may even be a connection with Burne-Jones's watercolour The Goldfish Pool of 1861-2 (Carlisle Art Gallery). This was not exhibited at the time but Poynter could well have seen it either before or after it entered the collection of the landscape painter George Boyce.

Having studied in Paris under Charles Gleyre, Poynter returned to London in 1860 and saw much of the Pre-Raphaelites during the next few years. He worked with them on projects such as the decoration of William Burges's furniture, the restoration of Waltham Abbey, and the Dalziels' illustrated Bible. He also mixed with them socially, and became Burne-Jones's brother-in-law in 1866 when he married Agnes Macdonald, Georgiana Burne-Jones's sister. His 'Pre-Raphaelite' phase may be said to have ended at about this date when he began to paint subjects illustrative of the ancient world and make his unique contribution to High Victorian classicism. Faithful unto Death (Walker Art Gallery, Liverpool), a popular scene of a Roman soldier remaining at his post during the destruction of Pompeii, was exhibited at the Royal Academy in 1865, and Israel in Egypt (Guildhall Art Gallery, London), more ambitious and equally popular, followed in 1867.