In late 1995, Chris Gollon began his first series of works on a single theme 'On The Road to Narragonia', looking at human folly. This painting, the third in the series, has Gollon's hallmark sun shining black light in the background, something he developed working on this series. It is also reproduced in the first Narragonia exhibition catalogue with a text by art historian Mary Rose Beaumont (Published by IAP Fine Art, 1997, ISBN: 978-0-9530584-0-2).

This painting is also reproduced in art historian Tamsin Pickeral's book 'CHRIS GOLLON: Humanity in Art' (Hyde & Hughes, 2010). Pickeral notes: "This complex painting is ambiguous in meaning, and like many Gollon works is open to a number of possible interpretations. It could feasibly be an attack on religion, implying hypocrisy and corruption within the religious orders, and so fit neatly with Bosch’s original painting the Ship of Fools. In light of Gollon’s general ideology it is more likely that the painting is a comment on human kind in general, on the conceit and greed of people, represented here by the high priest who has no affiliation with priesthood and is a self-appointed figure of authority. It further implies, through the unreasoning supplication of the faceless girl, the implicit danger, and power of corrupt leadership."