He completed it for his patron Liverpool; the trader called John Miller (1796 - 1876). In this painting, there is a lot of symbolism. The eponymous poem by John’s inspired the picture. The poem depended on the old conviction that, if a youthful lady appealed to St Agnes the night before her feast, at that point, she would find in her rest the image of the suitor she was bound to wed. Porphyro and Madeleine, two darlings, separated by a jealous rivalry which existed between their lineages, are the protagonists of the verse and the art. On the eve of St. Agnes Porphyro arrived in Madeleine's bedroom and pretended that it was a vision. He revealed who he truly was and induced her to go out and wed him.
Hunt's art work delineates the penultimate section of the verse, where the two darlings are portrayed as fleeing. In the poem, no one else is standing or on his/her feet. The verse states that but "it was not a human sound throughout the house." However, Hunt intensified the tension during the escape and brought the guests onto the stage of Madeleine's Dad. These weak friends at the party contrast with friendliness and loyalty of the couple running to the right (in the past it was the side of justice) and to the left (in the past it was the side of evil) through the door.
This specific work assumes a significant job throughout the entire existence of the Pre-Raphaelite friendship, which was the stimulus for the acquaintance of DGR with Hunt. Rossetti was impressed with the art work when he came across it in 1848 at an exhibition in the Academy and was looking for a hunt that led to their relationship and artistic cooperation. In contrast to the larger picture, this reduced image uses a lighter colour, especially in the dressing of the main figures in the scene. Hunt completed the artwork after returning from his first visit to Holy Land, during this time his shading turned out to be a lot more brilliant.