Of the present work, Julian Campbell has written, 'A figure crouches in a compact position in a dark and desolate landscape, beside a river ([possibly] the river of Styx) or the sea (for sea shells and starfish are scattered on the ground). The posture of weariness and resignation, the dark landscape and stormy sky, suggest that this is an allegory for the destruction and negation of War, mankind at its lowest hour. It is interesting that Swanzy was making such statements in the early years of the War, before atrocities were generally revealed. The blond hair of the man is thick and lustrous, the clothing as in Renaissance paintings, suggesting also a religious symbolism. The long sculpted fingers and feet placed together are characteristic of many of Swanzy's paintings' (see J. Campbell, Exhibition catalogue, Mary Swanzy, London, Pyms Gallery, 1986, p. 74).