The attribution to Wallis is perhaps tenuous, but it is made on the grounds of the technique used being softer and less linear that that used by Burne-Jones in equivalent drawings and the irregularities in the composition i.e the figure in the bottom left hand corner of this drawing is not like any found in those of Burne-Jones. The model for the maiden on the horseback bears some similarity to the drawing by Wallis held in the Tate Gallery, London Acc. no T01723. The new attribution to Henry Wallis is based on the following 1. Wallis was a intimate member of the Pre-Raphaelite circle from 1854 as mentioned in the diaries of George Price Boyce. 2. Wallis was a member of The Hogarth Club and attended a meeting at 17 Red Lion Square on May 4 1858. He therefore had opportunity to study Burne-Jones's pen and ink drawings closely. Boyce comments that there were some "interesting drawings, tapestry and furniture" on view. 3. The provenance of this drawing. Whoever made this drawing was consciously adopting a technique used by Burne-Jones in the late 1850s and was influenced by Holman Hunt's illustration in the Moxon Tennyson (1857) to "The beggar maid", it is also useful to observe that the Cyclographic club, whose members included the Pre-Raphaelites, made drawings of a nominated subjects which were then criticized at the following meeting, so it is was not unusual within the circle for two artists to make similar drawings.