This drawing is from Jones' final series of still-lifes, executed circa 1950, which he considered amongst his favourite works. Others in this group include Mehefini (National Museum of Wales, Cardiff) and Flora in Calix-Light (Kettle's Yard, Cambridge).
Behind the decorative floral arrangement and its setting is a rich network of religious symbols and hidden meanings. The slightly open window takes on the form of a cross, the vase in front of it a Communion cup before an altar, whilst the flowers themselves have been individually selected for their metaphorical significance. The roses' thorny stems, for example, are a deliberate nod towards the Crucifixion.