How Sir Tristram was punished by King Mark and how he came to Britain .... Sir Edward Burne-Jones (1833-1898)

The stained-glass panel presents a scene steeped in courtly drama and implied transgression. Here we observe a group of figures arranged within a vertical format, typical of medieval window compositions. The central focus lies on two men engaged in what appears to be a formal exchange – one, presumably Sir Tristram, is being presented to the other, who holds the position of authority as King Mark.
The composition’s structure emphasizes this power dynamic. King Mark, positioned slightly higher and adorned with elaborate regalia – a tall, pointed hat and richly patterned robes – commands attention. His hands are placed upon Tristrams shoulders in a gesture that could be interpreted as both blessing and control. The young man presented to the king wears a dark blue tunic over a red undershirt, suggesting nobility but also perhaps a degree of restraint or even melancholy.
To the right stands a woman, presumably Isoud, her face turned slightly away from the central action. Her pale complexion contrasts with the darker tones of the men’s clothing, and her long hair cascades down her back, creating a visual softness that distinguishes her from the more rigid postures of the male figures. The artist depicted her in a flowing white gown, which emphasizes her purity or innocence, though this is likely complicated by the narrative context surrounding her relationship with Tristram.
Flanking these central characters are two additional figures: one on each side. These individuals appear to be attendants or advisors, their faces rendered with less detail and their postures more static. They serve as visual anchors for the scene, framing the primary interaction and reinforcing its significance within a larger courtly setting. The figure on the left is particularly striking due to his long beard and stern expression, suggesting disapproval or perhaps foreboding regarding the events unfolding.
The color palette is dominated by reds, blues, and greens, characteristic of medieval stained glass. These colors contribute to the overall sense of solemnity and grandeur. The background is a flat green plane, which serves to isolate the figures and direct the viewers attention towards their interaction.
Subtleties within the scene hint at underlying tensions. The averted gaze of Isoud suggests an awareness of the potential consequences of this encounter. Tristram’s posture conveys a mixture of deference and perhaps apprehension. The inscription below the panel provides narrative context, revealing that Tristram is being banished by King Mark and sent to Brittany – a detail which adds layers of complexity to the scenes interpretation. It implies an act of transgression or betrayal that necessitates this exile, leaving the viewer to ponder the nature of the offense and its impact on the characters involved. The panel does not depict the transgression itself but rather its aftermath, focusing instead on the formal ritual of banishment and the potential for future conflict.