In this upright format two very different figures meet on a narrow porch. While the tall one on the left is seen from behind attempting entry, with his head bent low and clad in a draped shroud, inevitably moving forward, the nude boy on the right fervently tries to prevent this.

Watts had witnessed the slow decline of a talented young nobleman who died despite all the loving care of his wife. He then painted this allegory: a grand, universal theme showing Love trying to stop Death entering the House of Life. He explained: 'Love is not restraining Death, for it cannot do so; I wish to suggest the passionate though unavailing struggle to meet the inevitable'. Love's colourful wings, natural complexion and the falling petals of the rose emphasize the cold tones used for Death, particularly the icy grey of the flesh.

Classical allusions in style and subject matter retained their popularity throughout the 19th century.