St ■ ■ ■ .. - y ;.-y v - J. : ■ , - . • ■>“ ' ' \C-\ i".'- T .'S. *1 V- - v **>-;« • ' ■ *' ’ - yM<-Sg&r;* ^7 ** vfe* - ::.; ; *•- •• >,< ----- v> -.»m -t- ■ - -A -. : v ‘ -- S; * , v > > ^ r . .a > jf A 7 v^vV- y-A A'-.-y ■ ^ \' : y ' ■? AiL ■j jgjZ . Jg ■**< =?» ; $4 V-; %i.:',. ; -;4 A . , ; -*A‘ Av-v?ArT?r> yArA ; • ^ - • ■ • . •. • ■ - t - :-r> 2gM? -’iZ&t;,"-■ , ~ _Ja’* -y M. S', -rC: ; r&-V^y :& lap . ’ - ■ ■ M: 'vA A. AW ^ ■ - ^ 5 - •‘ r A 1 r „ • . ‘ ‘ ’ ’ •. . •: .;, A'- W& W'A.;% A . V r v : . : - ; T-■■■••■ r?- 1 ^i ^ ■ ■ ' ■ y V’- - Xf .. - .• - ■. :-*-• ,--' y. ^;C. :<;■ -X -, ■ .H ,, s .^.. - - -jr " <*»T5£ from th« Library of SBajpsoa^. - ' . ■■■ ■- •:; ; -r^ v 4^ •- . . '-V / v >^r* > '/»’v -~? ■■'?/+' ' '^4;^ ■'■'' r ^ r .-'.. - v ■"•?•' ’* ^ V'Hy. ••.:;/-'' i ' >*:-■•■> -' "L - . '•': f .. - ... f->':. - r, r i ' i r' : 'y/’.'" , ' > ^ - A •*' ■ ‘ ■ :..’ ; Vt rZMs-"K?:c - ■ ■?,% '■-■ .'V.-j-.va-^' ;;■-;: e ? c- Tr ip A.' •' . .. -.,•■• -•’ .- /.■ • ^ *r±h , .- -. ■ ' r ■ . •.’--r-. > ;■ i-ry r.’^ v./-. . > »• ^ >^XJ- § ^ flp * ' -... - .: .- ->t - - ■ . . ■ Burlington fine arts Club. EXHIBITION OF DRAWINGS AND STUDIES SIR EDWARD BURNE-JONES, BART. LONDON: PRINTED FOR THE BURLINGTON FINE ARTS CLUB EXHIBITION COMMITTEE. R. H. Benson, Esq. Sidney Colvin, Esq. Cosmo Monkhouse, Esq. all’ OPRA IL TEMPO E MORTE NON TIEN FEDE: ONDE DALL’ ARTE E VINTA LA NATURA. MICHELANGELO. LIST OF CONTRIBUTORS. Sir William Agnew, Bart. *Archibald Anderson, Esq. ^Walter Armstrong, Esq. *Sir Hickman B. Bacon, Bart. *T. W. Bacon, Esq. Rt. Hon. Arthur James Balfour, M.P. ■^Somerset Beaumont, Esq. *Robert H. Benson, Esq. *W. A. S. Benson, Esq. Lady Burne-Jones. Sir Philip Burne Jones, Bart. J. W. Comyns Carr, Esq. Edward Clifford, Esq. Mrs. W. K. Clifford. Sydney C. Cockerell, Esq. Mrs. Coronio. Mrs. Drew. *The Earl Egerton of Tatton. The Executors. *Douglas W. Freshfield, Esq. Mrs. Gaskell. Miss Daphne Gaskell. The Lady Margaret Graham. Mrs. Murray Guthrie. * C . E. Hall£, Esq. Laurence W. Hodson, Esq. Sir John Charles Holder, Bart. *Capt. George Lindsay Holford, C.I.E. Mrs. Horner. Miss Cicely Horner. ^Constantine A. Ionides, Esq. T. H. Ismay, Esq. Mrs. Herbert Jekyll. The Marquess of Lansdowne, K.G. Lady Lewis. George T. G. Lewis, Esq. Miss Gertrude Lewis. Miss Katharine Lewis. Mrs. Mackail. A. Mavrojani, Esq. Miss Maxse. *Richard Mills, Esq. Mrs. Sydney Morse. C. Fairfax Murray, Esq. *Alfred A. de Pass, Esq. The Duke of Portland. *Sir Edward J. Poynter, P.R.A. Mrs. Radcliffe. Pandeli Ralli, Esq. Mrs. Stephen Ralli. Harold Rathbone, Esq. The Lady Rayleigh. H. Reece, Esq. Mrs. Sitwell. Mrs. Sparling. Mrs. Stillman. *Sir John Stirling-Maxwell, Bart., M.P. Mrs. Bram Stoker. A. E. Street, Esq. *John Edward Taylor, Esq. *H. Virtue Tebbs, Esq. *H. S. Theobald, Esq., Q.C. *Henry Wallis, Esq. G. F. Watts, Esq., R.A. ^Frederick A. White, Esq. The Hon. Mrs. Percy Wyndham. * The Contributors whose names are thus marked are Members of the Club. Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/exhibitionofjapaOOburl INTRODUCTION. |F it be true that an artist’s life be written in his work, there are few more perfect and beautiful autobiographies than the pictures and drawings by the late Sir Edward Burne-Jones which are now hung on the walls of the New Gallery and the Burlington Fine Arts Club. They speak of a life in which rare gifts were devoted with unceasing energy to the pursuit of a noble ideal. What this ideal was may be told in his own words, written to a friend:—“ I mean by a picture a beautiful romantic dream of something that never was, never will be—in a light better than any light that ever shone—in a land no one can define or remember, only desire—and the forms divinely beautiful—and then I wake up, with the waking of Brynhild.” There are, nevertheless, a few facts, only to be told in words, which make much of his work, especially his early work, more interesting and intelligible. He was born at Birmingham, of Welsh stock, on the 28th of August, 1833, and was educated at King Edward’s Grammar School in that town. His mother died at his birth, and he had neither brother nor sister for companion. In 1852 he won a school exhibition, and proceeded to Exeter College, Oxford, with the intention of taking orders. To the same college on the same day came the late William Morris, — an event which altered the whole current of his life. They met within the first few days of term, and soon became friends, and it was not only a friendship which was then founded, Vlll. but a life-long partnership of the imagination. Among other books which the friends read together were Ruskin’s “ Modern Painters,” (which was like a new revelation to them), and the “ Morte d’Arthur.” The latter they read from a fine copy, between the leaves of which Burne-Jones had often taken a furtive glance in a bookseller’s shop at Birmingham. Morris, the “plutocrat” (as Burne-Jones called him when telling the story), was able to buy it for two pounds, and they entered together into that wonderful world of romance and fancy from which they brought so many messages for our delight. Burne-Jones had been very fond of drawing from his childhood, but his inclinations towards art had been kept in abeyance by his studies. Now the desire to embody his dreams in visible shapes was quickly kindled, or rather rekindled, and he soon began to be busy with drawing and design. He studied the few Italian pictures in the Taylor Galleries, and the engravings of Albert Durer, but his earlier admirations were cold compared to the passionate delight aroused by two designs of Dante Gabriel Rossetti, a woodcut of “ The Maids of Elfinmere ” in William Allingham’s poems, and a water colour of “ Dante drawing Beatrice’s Picture,” which he saw in Mr. Coombe’s house at Oxford. It has been stated that the sight of these works made him come to London to see Rossetti, and that Rossetti persuaded him to leave Oxford without taking his degree, but this fable is dissipated by his own letter,* kindly lent by Mr. C. Fairfax Murray, in which he states that he did not see Rossetti till the spring of 1856, immediately after he had left Oxford. The attraction proved mutual, and the beginning of the year 1857 saw him established at 17, Red Lion Square, with William Morris as his fellow lodger and Rossetti as his guide. Rossetti gave no regular instruction, but allowed Burne-Jones to come to his studio and watch him painting, at * In the Case in the Writing Room. IX. first, one day a week, and afterwards oftener. He had no other teaching but this. The intimate relations with Rossetti led sooner or later to the association of Burne-Jones with Millais, Holman Hunt and others of that circle over which the genius of Rossetti shed its marvellous influence—an influence which, in Burne-Jones’ own words, would have transformed a turnip into a rose. It should also be noted and remembered that Mr. Ruskin, his ever-constant and outspoken admirer, was one of the first to recognise fully his unique and splendid genius. Mr. Ruskin helped him in various ways, and went with him to Italy in 1862, where he gave him commissions to copy pictures by Venetian and other masters. It is not necessary here to follow minutely the course of Burne-Jones’ uneventful life. That he himself would not have wished it, is plain from the following extract from a letter written by him to a friend:—“ Lives of men who dream are not lives to tell, are they? You can tell a life of men who have fought and won and been beaten, because it is clear and definite, but what is there to say about a poet or an artist ever? To those who can see with eyes and read the ineffable it may be clear enough. I never want a life of any man whose work I know, for that is his Day of Judgment and his Doom.” Nor is it intended to discuss theories of art or to dwell at any length on the qualities of the artist. All men who have any imagination of their own will agree that he was an idealist of the purest spirit and the rarest fancy. Few indeed have been born with an imagination so personal, so constant or so inexhaustible. The great form-poet is perhaps rarer than the great word-poet. His work answers more completely Shakespeare’s famous description of “poetry” as “bodying forth the forms of things unknown,” and his pencil, even more literally than the word-poet’s pen, turns them to shapes and gives them a local habitation and a name. The imagination of Burne-Jones, like that of every other poet, developed under external influences. X. and was nourished from many sources of both nature and art, but it always remained essentially personal and original. He seldom, if ever, cared to make a literal copy of anything in nature or art. Everything that served for a model had to conform to that “ idea ” in the mind, of which Raphael spoke, and even when he attempted portraits, some imperative instinct of selection deflected his hand from what he saw with his eyes to the image of his inner vision. Nevertheless, some of his portraits at the New Gallery, like those of his daughter Mrs. Mackail, and Miss Amy Gaskell, are “good likenesses,” as well as exquisite works of art, and the same may be said of many of the slighter portraits which adorn our own walls. But he did not think highly of his own powers as a portraitist, and once wrote to a friend— “ Did you see that a certain photographer set up in Paris once, and advertised his work thus :— Ressemblance frappante - 5 fr. Ressemblance ordinaire - 2 fr. 50 c. Air de famille - 50 c. I should never get more than 50 centimes for my likenesses.” He had a wide and accurate knowledge of the great works of art, especially those of Greece and Italy ; he surely penetrated to the secrets of their power, and took freely from them any suggestion which would help him to express his own conceptions. He “ read, marked, learned and inwardly digested ” the works of Mantegna, Botticelli, Signorelli, Raphael, Michel Angelo, and other painters, as well as the vases of Greece, and the mosaics of Ravenna, but he never reproduced what he had learnt, until he had made it his own by complete assimilation. From first to last his imagination remained unaltered in direction and feeling. It was an integral constituent of his organisation, growing as he grew, but less subject to change than any other part of him. It may, indeed, be XI. said to have been his true self. One of the results of this almost unique constancy to his early ideals is that there are no great landmarks in his art history, no great changes in aim or method to divide one section of his mature work from another, and so, with the exception of the youthful years when he was under the overmastering spell of Dante Gabriel Rossetti, it is more difficult to divide his work into “ periods ” than in the case of most artists. But the time during which Rossetti’s influence was supreme is distinctly marked in both subject and manner. To these years belong the row of elaborate pen and ink drawings at the bottom of the wall between the doors of the Gallery, lent by Lady Burne-Jones, Mr. Street, Mr. Mills, Mr. Fairfax Murray and Mrs. Sydney Morse, and Lord Lansdowne’s “ Kings’ Daughters ” on the screen facing them, besides two others lent by Mrs. Sparling and Mr. Henry Wallis, which are easily distinguishable, though surrounded by later works. “ The Waxen Image ” (1856) is the first in the “Catalogue of Finished Pictures ” appended to Mr. Malcolm Bell’s book.* In this, as in the rest of the series, the decorative scheme, filling the whole of the field with delicate detail, the high pitch of romantic sentiment, and the management of pen and ink, are clearly derived from Rossetti alone, though Rossetti was never so elaborate ; but it is equally clear that neither this nor any of its neighbours of the same time, could have been produced by a pupil, however devoted, who did not possess a strong and exquisite imagination of his own. The great variety of character and sentiment and also the humour in the motley composition of the Wedding of Buondelmonte (1859), and the impressive conception of “ Ezekiel and the Boiling Pot” (i860) give evidence of growing independence. It is to be borne in mind that this manifestation of his individuality was checked for some time by the implicit faith that Burne-Jones had in his master. To him, as he himself has told me, Rossetti was at that time * “Sir Edward Burne-Jones : A Record and Review.” London, George Bell& Sons. Xll. the one and only guide, and any divergence from Rossetti’s style appeared to him as a false step to be retraced as soon as possible. To Rossetti’s honour it should be recorded here, as it has been elsewhere, that he, seeing that he had taught Burne-Jones all that he could, and that the development of his pupil’s genius might be retarded by such exclusive devotion to one ideal, not only ceased his supervision but destroyed all of his own drawings which he had given to Burne-Jones. This drastic action and the loss of dearly-loved and almost worshipped treasures were a great shock to Burne-Jones, but his imagination had been started on its true road of expression, and found no difficulty in running alone. It is plain that Burne-Jones’ power of design and skill in execution must have been considerable before he met Rossetti in 1856, for it was in this very year that he executed the elaborate drawing of “ The Waxen Image ” (3), so intense in dramatic expression, so crowded with numerous and significant accessories. Almost as extraordinary, though some five years later, is Mr. Wallis’ drawing (136) of a scene from the Romance of Sir Degrevaunt, which is said to have been designed for a picture to be painted on the walls of William Morris’s once famous “ Red House,” at Upton, near Bexley Heath. Though the artist seems to have got into trouble over it, and it remains unfinished, it is bolder and more decisive in its drawing than “ The Waxen Image.” The “ Parable of the Boiling Pot ” (8) is specially interesting as it was designed for Dalziel’s Bible, and so, for another reason, is the drawing made two years later (103, Virgin and Child), with its grateful inscription to the late Dr. Charles Radcliffe. This drawing and Mrs. Radcliffe’s other chalk drawing, “ Girls in a Meadow” (20), designed for the decoration of the late Mr. G. P. Boyce’s piano, may be said to close, so far as this Exhibition is concerned, the “ Rossetti ” period, of which they still bear Xlll. traces in style, and in the imperfection of the drawing. The exquisite drawing of “ Lilies ” (go) belongs to 1865. Two years later (1867) comes Mr. Douglas Freshfield’s lovely study for the Mirror of Venus (101), which well illustrates another of the difficulties which would follow any attempt to arrange the drawings in chronological order, as the first picture of this subject was not completed till ten years later. The artist always kept a number of subjects in his mind, working at each, and making studies for each, as the spirit moved him, so that what may be called the period of incubation was always uncertain, and often extended over many years. Thus “ Laus Veneris ” was about seventeen years (1861-78) in progress, z'.e., between the first design and the finished picture, the “ Briar Rose ” series twenty- two (1873-95), the “Pilgrim of Love” twenty (1877-97), or even longer, and the “ Prioress’ Tale” twenty-nine or thirty (1869-98). There are also studies for “Avalon,” executed at least twenty-five years ago. In some cases his fancy played about the same theme during the whole of his life. The “ Prioress’ Tale,” for instance, was painted on a cabinet for William Morris in 1858, and the last picture from the same story was only finished in the year of his death. For this picture (now hanging at the New Gallery) there are two designs here— Mr. Fairfax Murray’s coloured study for the Madonna bending to place the grain beneath the tongue of the “ Christen ” child (126), and the pencil drawing of the child with his head lifted to receive it (“Study of Edward Horner” (107) ). But the sequence of the artist’s conceptions is of less importance than their variety, and this at least these drawings illustrate, with such completeness as is possible to so small a collection of small works; but it must be remembered that Burne-Jones’ life was one of tireless industry, and that he left behind him thousands of drawings and studies. One of the most important and prolific XIV. branches of his life-work, the designing of stained glass windows is quite unrepresented here. These drawings do not show the greatness of his achievement, like the magnificent assemblage of his finished masterpieces at the New Gallery, but they take us behind the scenes and reveal to us the rehearsals, the experiments and the preparations not only for these works but of a number of others never brought to completion. Through them we obtain glimpses of his fancy, not only at work but at play, and sometimes they bring us very close to the man himself, as in that pencil study (99) for the little water-colour drawing of St. Francis receiving the stigmata, which he sent to Father Damien. Even if there were room in the New Gallery to contain all these drawings, in addition to the pictures and drawings now assembled there, there would be good reason for a separate gathering, where the more slight and sensitive impulses of his genius could be studied by themselves. And here, to dissipate once and for all any misapprehension on the subject, it should be distinctly stated that this Exhibition has been arranged not only with the entire assent and consent but with the most friendly co-operation of the Directors of the New Gallery, who agreed to give the Committee what was practically a free hand in the selection of drawings and sketches, provided that the preparatory studies for two of the pictures on view in the New Gallery—“King Cophetua ” and “Avalon”—should be reserved for that place. This arrangement admits of the presence in this Gallery of a great many studies for finished pictures*—conspicuous among which, not only on account of its lovely colour, but also for its beautiful * There are four even for the “ Avalon,” which, unfortunately, were not recognised in time to send to the New Gallery. These are :—“ A Study for one of the Queens” (130), “Studies of Hair and Draped Headdress for two of the Queen’s Attendants” (4 and 13), and “ A Study for two Hill Fairies ” (144), which were part of the first but not of the second design. XV. design and execution, is Mr. Comyns Carr’s study for the Princess in “ Laus Veneris ” (125), while to Mr. C. E. Hall6 we owe that most graceful and masterly study for “ The Garden Court,” in the Briar Rose series (88). Captain Holford’s studies for “ The Garden of Pan” (23), the numerous figures in chalk and water colour for the large “ Star of Bethlehem,” which have been lent by Sir John Stirling Maxwell and others, Sir Hickman Bacon’s unusually forcible “ Head of the Mermaid ” (68), in the great picture of the “ Depths of the Sea,” the five nude figures for the Golden Stairs (75), lent by the Executors, are among the finest of studies for well-known pictures which have not already been mentioned. For the completed pictures of the Perseus and Andromeda series, we have a number of designs, including the fine studies of wings lent by the Executors (124 and 154), Mr. Theobald’s two heads of Perseus (61), Mr. Fairfax Murray’s splendid drawing of Perseus and the Monster (106), and what is, perhaps, the finest of all the artist’s pencil drawings of the nude, Mr. Reece’s Andromeda (127). But besides these we have the almost finished drawing of the whole scheme as originally intended to decorate the drawing-room of Mr. Arthur Balfour, in Carlton Gardens (116), a full description of which will be found in the Catalogue. In the five pictures which now hang in the New Gallery, it will be seen that the artist departed greatly from his original designs, not always perhaps (as in the picture of “The Baleful Head”) for the better. These drawings, the most important of the many treasures lent by the Executors, are of unusual vigour, and illustrate most completely the artist’s imagination in its full power over both the beautiful and the terrible, as well as his decorative skill. In Mrs. Percy Wyndham’s water colour of the “Annunciation” (2), we have not a study for, but a finished version in small of, the well-known picture, and in the series of pencil designs from the Story of Orpheus and Eurydice (50 to 59) made for the decoration of a piano, now in the possession of Mrs. Horner, we XVI. have a complete work, never repeated, which shows the imagination and the decorative genius of Burne-Jones in their perfection, and also his extraordinary combination of precision with tenderness of touch in that medium. These designs are lent by the artist’s son. But the most special features of the present gathering are the drawings for pictures that were never completed, the designs for books which were never published, the drawings done in moods not only of fancy but of humour, for the pleasure of himself only or his friends. The most important works belonging to the first of these classes are two large unfinished water colour drawings of the procession of the Masque of Cupid in Spenser’s “Faerie Oueene ” (7 and 45), belonging to Mr. R. H. Benson and the Duke of Portland respectively. They are among the artist’s later works, but the scheme had been in his mind for many years, as will be seen from the drawing of the three heads, lent by Mr. de Pass, which is dated 1870. Another study for the procession is the exquisite pencil head of “ Desiderium ” (147) lent by the Executors and dated 1873. Unfortunately the heads in the large drawings are very unfinished, and it needs these splendid studies to prove with how great a masterpiece the world might have been enriched if the artist had been spared to us a little longer. Quite enough however was finished to show that this would have been one of the most sustained efforts of his imagination. To find any work of its class equal to it in the arrangement of its many figures, and richness of decorative effect, we should have to go back to Rubens and Mantegna, and in expression it would be still harder to find its equal. In this quality the heads of Despight and Cruelty (or Soevitia and Crudelitas , as they are translated on Mr. de Pass’s drawing), are specially remarkable, as they express passions of an utterly ignoble kind—abhorrent to his loving and lovely imagination, but here he shows that he could xvu. treat them with a combination of strength and refinement impossible to surpass. Burne-Jones designed with great spontaneity and freedom before he had learnt to draw thoroughly well, and his defects in draughts¬ manship were perhaps on this account all the more difficult to correct. How earnestly he endeavoured to overcome them the studies here of feet and hands and drapery are sufficient to attest, and that he succeeded in becoming one of the finest of draughtsmen is also shown in many drawings, and not least by the only picture in oils, Mr. Ionides’ “Cupid’s Hunting Ground” (119). His line may never be quite so decisive and direct as that of the greatest draughtsmen of old, but it has a sensitiveness and vitality of its own, and in the combined subtlety and intensity of expres¬ sion of his finest heads he approaches Leonardo more nearly than any other modern master. Whether early or late, there is an immortal charm about Burne-Jones’ work, because there is the same pure, clear, impassioned imagination behind it. When, in his latest years, he illustrated Chaucer for the Kelmscott Press, it was with just the same imagination and just the same artistic intention as when he illustrated the same poet for the same friend in 1858, and made those little drawings of “ Pygmalion and Galatea,” and “ The Hill of Venus,” some ten years later. In one respect these drawings are peculiar, for they are executed upon tracing paper—a material not often used so ostensibly by artists. He once informed me that before he began to execute a design he could always see it upon the blank paper as if it had been drawn in lines thereon, and that his first operation was thus simplified into something like tracing. The result was seldom entirely satisfactory, as parts here and there were palpably out of drawing, and, to save the time and labour involved in repeating the whole of the drawing, he adopted the plan of tracing the parts which he wished to preserve, and XV111. correcting the rest on the tracing paper.* Then, if not satisfied, he would trace the corrected tracing. A pen and ink outline drawing for the Pilgrim’s Progress (26), lent by Lady Lewis, is to be noted not only for its beauty but its rarity, and the Exhibition is rich in later illustrations, as those for the Song of Solomon and Virgil, which are among the most perfect of his designs. These speak for themselves, and so also do those charming examples of his sportive fancy contained in his letters to children and in the books which fill one of the glass Cases, which show something of a side of his nature completely unknown to the general public. An old friend of his writes beautifully of “ the innumerable nonsense drawings he delighted in—drawn for the children he loved and knew—private fun sent in letters to intimate friends—passing records of that ethereal humour which made him the most perfect playfellow in the world.” In another Case is, perhaps, the greatest treasure of all, the Book of Flowers, of which an account is given in the Catalogue. Although this book contains no drawings of flowers by themselves, its title is most appropriate, as all the designs have been suggested by the beautiful names of flowers, and they themselves are in a true sense “flowers of the artist’s fancy.” The same may be said of many of the drawings on the walls even when they were more or less studies for pictures. They, like flowers, have their own perfection—delicate little organisms born—but not to perish—in an hour. * Since this Preface was in type this collection of drawings has been enriched by the loan from Mr. C. Fairfax Murray of a book containing the original sketches for the most important series of illustrations made from “ The Earthly Paradise.” Their subject is the story of “ Cupid and Psyche,” and the finished drawings on tracing paper are at Oxford. In one of the sketches is the first idea of that fine composition of figures with trumpets which we see in Mr. Theobald’s drawing called “ The Challenge in the Wilderness ” (78). XIX. Finally, it may be said that this Collection affords for the first time an opportunity for appreciating the technical skill of the artist in its power over various material—pencil, silverpoint (the beautiful drawing, “Antonia” (72), was the only one on which the artist inscribed the name of the model), chalk and water colour (used separately and in combination), pen and ink, and gold. It is quite unnecessary to draw attention to his most dexterous and effective use of the latter material, not only for the high lights, as was the Byzantine custom, but for the whole of the designs both in light and shade. He generally used it on a coloured background, as in Mr. Benson’s exquisite “Helen” (115), in which the flesh seems not so much turned into gold as the gold into flesh, but sometimes alone on a white ground, as in Sir William Agnew’s lovely “Hope” (19). which is a replica of his first drawing in gold made for Mrs. Gaskell in 1893. Writing to that lady from Rottingdean in that year he says:—“ For lack of better things I worked upon a little golden figure on vellum—never did one before, and it is not easy the first time, and if you make a false touch it can’t be got out.” He adds:—“It is a funny drawing, and if you hold it slanting the gold looks amusing.” For the figure of Helen there is another fine drawing (97), and Sir E. J. Poynter’s finely finished drawings of “Venus Discordia” and “Venus Concordia” (28 and 35) were intended for panels in the predella of the same unfinished picture. This Introduction must not close without recording the deep debt of gratitude which the Club owes to the owners of the various drawings for the promptness and generosity with which they responded to the Committee’s request, and the Committee desire to convey their warm acknowledgments to two volunteer helpers, Sir Philip Burne-Jones, Bart., and Mrs. R. H. Benson, whose aid has been invaluable to them in the task of arranging XX. and cataloguing this Exhibition. To Lady Burne-Jones and to Sir Philip are due farther and especial thanks for the generosity with which, acting on behalf of the Executors, they placed at the disposal of the Committee the numerous and beautiful examples of the artist’s work remaining in the possession of the family. Personally I must render my hearty thanks to Mr. Mackail and Mr. Fairfax Murray for the important information which they have placed at my disposal, to Mrs. Gaskell and another friend of the artist for extracts from correspondence, and also to my colleagues, Mr. Sidney Colvin and Mr. R. H. Benson, for much valuable assistance in the revision of this Preface. COSMO MONKHOUSE. CATALOGUE. Inscriptions copied from ihe Drawings, mounts or frames, are placed within inverted commas. The measurements are i?i inches (the height preceding the width), and do not include the frame or mount. In the Catalogue no attempt is made at chronological sequence, but the early pen and ink drawings will all be found towards the West end of the Gallery, viz., Nos. J, 8, to, 15 and 18 i?i a rote on the West wall, No. ijia at the end of Screen opposite, and Nos. IJ 2 and ij6 on the South wall near the door. 1 ST. BARBARA. Full length, in water colour, white upon blue ground. Inscribed “ S. Barbara, E.B.J.” Companion to No. 6. These drawings are from a design, for stained glass, of three saints, of which there is a replica in oil in the New Gallery (No. 107) executed for the late William Graham, Esq. 12 by 6. Lent by Somerset Beaumont, Esq. 2 THE ANNUNCIATION. Design in water colour and gold for the large picture. About 1880. Signed “ E.B.J.” 20 by 8. Lent by the Hon. Mrs. Percy Wyndhaiu. 3 THE WAXEN IMAGE. Two minutely elaborate designs in one frame, pen and ink on vellum, illustrating, first, a love-sick princess’ visit to an enchantress, and the melting of a waxen image, the emblem of the princess’ rival, who is depicted in the second design, expiring in her lover’s arms. The first scene is laid in the witch’s belfry—full of medimval accessories— whence are seen, through openings, a city by the sea, and ships and castles. In the centre, the waxen image of a girl is seen melting through the open door of a small domed furnace. To the L., the Princess kneels on the floor, her hands enveloped in her cloak and crossed over her breast, her gaze averted from the melting figure. On the R., the witch tolls the bell, her eyes fixed on the Princess; her familiar—a black cat—crouches by; her reflection is seen in a convex mirror behind the Princess. An open trap door in front. The second scene is in the girl’s chamber, full of objects of her use and pleasure. She is seated on her bed, and leans against her lover, who kneels, clad in armour over which is an embroidered surcoat. Out of the convexity of his shield flash many objects and symbols in a play of light. Through the window, in the centre, is seen a city, with a procession entering over a bridge through the great gate, and gardens beyond. To the right, through the open door, in the background, is the leaden roof of the castle, leading to the witch’s turret, in which the bell is seen tolling ; and figures seated in a gallery watching the procession. Two jackdaws just outside her door. Signed “ E.B.J., 1856.” Inscribed on oaken mount, “THE WAXEN IMAGE.” Each 11 by 9. Lent by A. E. Street , Esq. 4 STUDY OF HAIR AND DRAPED HEAD-DRESS. Profile. In chalk on Japanese paper. Signed “ E.B.J. 1889.” 1334 by 8 j 4 . Lent by the Executors. 5 PORTRAIT STUDY. Head and bust. Nearly full face, two-thirds of life size. Red and black chalk. Signed “ E.B.J. 1865.” 18 by ioj4- Lent by John Edzuard Taylor , Esq. 6 ST. DOROTPIEA. Full length, in water colour, white on blue ground. Inscribed “ S. Dorothea, E.B.J.” Companion to No. 1. \ 2]/ 2 by 6. Lent by Somerset Beaumont , Esq. 3 7 THE MASQUE OF CUPID. Unfinished design for the decoration of a room. Water colour. This drawing and No. 45 ( q . v.) together represent the Vision of Britomart in the Enchanted Chamber of the House of Busirane, as told in Spenser’s Faerie Queen, Book III., Canto XII., Stanzas 3 to 25 :— All suddeinly a stormy whirlwind blew Throughout the house, that clapped every dore, With which that yron wicket open flew... And forth yssewd, as on the readie floor Of some Theatre, a grave personage... And, passing by, his name discovered, Ease, on his robe in golden letters cyphered... With that a joyous fellowship issewd Of Minstrales making goodly meriment With wanton Bardes and Rymers impudent, All which together song full chearefully A lay of love’s delight with sweet concent: After whom marcht a jolly company In manner of a maske enranged orderly... The first was Fansy like a lovely Boy... And him beside marcht amorous Desyre... Next after him went Doubt, who was yclad In a discolour’d cote of straunge disguyse... He lookt askew with his mistrustfull eyes... With him went Daunger cloth’d in ragged weed... A net in th’one hand, and a rusty blade In th’other was, this Mischiefe, that Mishap... Next him was Feare, all arm’d from top to toe... And evermore on Daunger fixt his eye... With him went Hope in rancke. a handsome Mayd Of chearefull look and lovely to behold... And after them Dissemblaunce and Suspect... Next him went Griefe and Fury matcht yfere, Griefe all in sable sorrowfully clad... But Fury was full ill appareiled In rags that naked nigh she did appeare... After them went Displeasure and Pleasaunce, He looking lompish and full sullein sad... She chearfull, fresh and full of joyaunce glad... After all these there marcht a most faire Dame, Led of two grysie villeins, th’one Despight, The other cleped Cruelty by name: She, dolefull lady, like a dreary Spright Cald by strong charmes out of eternall night Had Deathes owne ymage figurd in her face, Full of sad signes fearfull to living sight; Yet in that horror shewd a seemely grace, And with her feeble feete did move a comely pace. Next after her the winghd God ’nimselfe Came riding on a Lion ravenous... His blindfold eies he bad awhile unbinde That his proud spoile of that same dolorous Faire dame he might behold in perfect kinde, Which seene, he much rejoyced in his cruell minde. Double composition of 18 figures, in two groups moving to R., and divided by a doorway in the middle of the wall space, over which five Amorini 4 hold up a scroll. In the right-hand group, Fancy leads the way, nude save for a streamer winding round him, followed by 9 figures in the order of the poem ;—Desire (see No. 147), Doubt, Danger, Fear, Hope, and so on. In the left-hand group, Cupid brings up the rear (except for one outlined figure behind) riding on a lion, and raising the bandage from his eyes to behold his victim—the fair Dame Amoret—haled along by Despite and Cruelty. In transfusing the poetical idea, and giving form and colour to the poet’s vision, the painter has kept wonderfully close to the words. He has depicted the Masque of 16 from Fancy to Cupid, adding but two to that “jolly company” to complete his own visualization of the scene. Begun about 1870. Subsequently drawn out again, about two-thirds life-size, on canvas for tapestry, but abandoned. Taken up again, for the third time, 1898. 21% by 52^. Lent by R. H. Benson, Esq. 8 THE PARABLE OF THE BOILING POT. Ezekiel, chap, xvi., verse 49, and chap, xxiv., verses 10, 11, 12. Minutely elaborate design in pen and ink on vellum, i860. Inscribed on oaken mount at top :— “ Behold this was the iniquity of thy sister Sodom, Pride, Fulness of Bread, and Abundance of Idleness.” And at bottom :— “ Heap on Wood, kindle the Fire, consume the Flesh and Spice it well, and let the Bones be burned: then set it empty upon the coals thereof, that the Brass of it may be hot and may burn, and that the Filthiness of it may be molten in it, that the Scum of it may be consumed. She hath wearied herself with lies and her great Scum went not forth out of Her : her Scum shall be in the Fire.” In the foreground, to L., the prophet in profile, a heroic figure, broadly draped, standing over the boiling pot ; a group of revellers in the back¬ ground, lying and sitting at meat in a house of the bloody city of Jerusalem. Signed on the canvas backing “ E. B. Jones fecit.” 10 by 5J4- Lent by Lady Burne-Jones. 9 STUDY OF A HEAD. Life size, full face, slightly turned to R.; in oils. Signed “ E.B.J. 1878.” 17 3 A by 14. Lent by Sir Philip Burne-Jones. Bart. 5 10 BUONDELMONTE’S WEDDING. Design in pen and ink, on vellum. Signed in left hand corner “E.B.J.” Also on panel at back, “ Edward Burne-Jones, 24, Russell Place, Fitzroy Square, London, 1859.” The quarrel between the Buondelmonti and the Donati gave rise to the first dissensions amongst the citizens of Florence, and led eventually to the strife known as the war of the Guelfs and Ghibelins. It is alluded to by Dante and many other famous writers: amongst others by Machiavelli, who thus relates it;—‘ Among the most powerful families of Florence, the Bucndelmonti and the Uberti and their kinsmen the Donati and the Amadei held high rank. A rich widow lady of the family of the Donati had a daughter of great beauty; this child her mother had destined to be the bride of a youthful cavalier, head of the powerful Buondelmonti House ; but having neglected to make her wishes known, it so chanced that a marriage was arranged for Messer Buondelmonte with a daughter of the Amadei. At this the lady was greatly vexed, but trusting that she might by the superior attractions of her daughter induce Buondelmonte to break off the match, she thus accosted him one day as he was passing her house alone : “ I am truly rejoiced to hear that you are to be married, Messer, although this, my daughter, is the bride I had destined for you,” and with this she threw open the door and led forth her child. Buondelmonte, struck by the beauty of the maiden, and considering that her birth and dowry were fully equal to her’s to whom he was already affianced, replied : “ Since you have kept her for me, I should indeed be ungrateful, being still in time, did I refuse to accept her,” and the nuptials were celebrated forthwith. This breach of faith filled the Amadei and the Uberti with the greatest indignation, and they resolved that Buondelmonte should pay for the slight he had put upon them with his life ; accordingly, on the morning of Easter Sunday, as he was gaily riding over the Ponte Vecchio, thinking it was as easy to forget an injury as to break one’s word, he was set upon and murdered. The feud thus engendered between these powerful families, who were rich in towers, houses and men, was taken up by the whole city, some siding with the Buondelmonti and some with the Uberti, and the strife went on for many years with only an occasional truce.’— Machiavelli, Hist, of Florence Book 11. Minutely elaborate composition of about 70 figures. On the L., within a closed court, hard by the street, the widow lady presents her daughter to Buondelmonte, who has taken off his right glove and stands before the girl seated, with two maidens behind her. In the left centre fife players and drummers approach up the pebble-paved street, followed by a procession of horsemen, the last of them armed, and banners. In the centre, at the foot of an antique statue of Mars, inscribed APE£ on the pedestal, and pointing his spear at the betrothal scene, crouches a beggar girl with two children, 6 close to a landing place from the Arno. From the R. in the foreground a barge approaches bearing the lady disdained of Buondelmonte and four other ladies under a canopy ; in the bows two figures, one of whom draws the barge to land, the other is Love himself, with wings, bow and arrows, and blind¬ fold. Behind them a table prepared, and merrymakers and minstrels, and a peacock with tail spread being borne in for the chief dish. Behind these again the lady’s chamber, and herself seated in front of a mirror, while a girl arranges her hair. Background of buildings with gardens beyond, and hills, and streams of water, and olive trees, and cypresses. Inscribed on oaken mount, “ Buondelmonte’s Wedding.” IO by 30^. Lent by Charles Fairfax Murray, Esq. 11 LUNA AND WINTER. Two designs for tiles in one frame, water colour, white on blue ground. Drawn for Mr. Murray Marks, and intended to be carried out in Holland. One inscribed LVNA, a female figure kneeling in the crescent moon. The other, a female figure in profile to R. kneeling before a fire. Each, 5 by 5. Lent by C. Fairfax Murray, Esq. 12 SIR GALAHAD. Minutely elaborate design in pen and ink, on vellum. About 1858-9. Single figure of a knight, his head uncovered, on a white horse riding past a parapet, behind which are ladies and their lovers musicking. Rays flash from a starred .... which he carried in his hands. Inscribed on oaken mount, “ Sir Galahad.” 6 by 7^. Lent by Mrs. Sydney Morse. 13 STUDY OF HAIR AND DRAPED HEAD DRESS. 14 Back view. In chalk. Signed “ E.B.J. 1889.” 12% by 9. Lent by the Executors. STUDY OF A GIRL’S HEAD. 15 For the Golden Stairs. In coloured chalks. Signed “E.B.J. 1879.” 11 by 8 )f. Lent by T. W. Bacon, Esq. “ GOING TO THE BATTLE.” Design in pen and ink, on vellum. Three girls standing in front of a castle parapet watching knights riding past below them. Background of open country behind a castle. 1859. Inscribed on oaken mount, “Going to the Battle.” s u b y 7V\- Lent by Richard Mills, Esq. 7 16 GROUP OF TWO FIGURES SEATED. In water colours, white on blue ground. Signed “ E.B.J.” An occasional study, from a drawing in the possession of Mr. C. Fairfax Murray, executed probably in 1870 for the Winter Exhibition of the Old Water Colour Society, 9 by 7. Lent by Somerset Beaumont, Esq. 17 STUDY OF KNIGHT IN ARMOUR. Standing figure. Design for the knight in “ the Briar-wood,” the first picture of the Briar-rose series. Signed “ E.B.J.” 18 by 8. Lent by C. Fairfax Murray, Esq. 18 “ALYS LA BELLE PELERINE.” From the Morte d’Arthur. Design in pen and ink, on vellum. Alys with three young girls, one preceding her the others following, stands for a moment, her head and shoulders framed against a triangular opening in a thick wall of masonry through which is seen the open country. Signed “ E.B.J.,” also on the frame at the back, “ Edward Burne Jones, 24, Russell PL, London, W.” Inscribed on oaken mount, “ Alys la belle Pelerine.” Date, about 1858-9. 10 by 6. Lent by Richard Mills, Esq. 19 HOPE. Figure rising from a tomb with uplifted arms. Background of hills and sea. Design in gold, on vellum. Signed “ E.B.J. 1897.” 19^ by 13%. Lent by Sir William Agnew, Bart. 20 GIRLS IN A MEADOW. Recumbent figures, with background of buildings and water. In pencil. Signed “E.B.J. 1861.” A design for Mr. G. P. Boyce’s piano (a small upright, designed by Mr. Boyce himself), the background resembling those of the early Venetian painters. 9 by 22. Lent by Mrs. Radcliffe. 21 TWO GIRLS DANCING. Gold on black ground. Background of sun setting behind a hill to R. Signed “E.B.J. 1896.” 9 3 A by Lent by the Executors. 8 22 THE BRIDE-MAIDENS. Four moving figures, scattering flowers. Water colour and gold on turquoise blue ground. Signed “E.B.J. 1896-7.” 1 3^ b y 9 %- Lent by Laurence W. Hodson , Esq. 23 TWO STUDIES FOR “THE GARDEN OF PAN.” Figures of the two lovers, separate studies, in pencil. In one frame. In the picture he leans against her. Each 8 by 6J^. Lent by Captain George Lindsay Holford , CJ.E. 24 PORTRAIT STUDY. Profile Head and Neck to R. Life-size, in red chalk. About 1868-9. Signed “ E.B.J.” 13 by 11. Lent by Constantine A. Lonides, Esq. 25 GROUP OF TWO SEATED FEMALE FIGURES. Draped. In white and red chalk on red ground. Signed “ E.B.J.” About 1896. 12# by 9. Lent by the Executors. 26 THE LAND OF BEULAH. Design in pen and ink from “ The Pilgrim’s Progress.” Inscribed on mount: “ In this land the shining ones commonly walked, because it was on the borders of heaven.” In the background the Heavenly City, castled and bastioned, crowning a hill and lit by the radiance of its own glory. A road descends from the City and winds toward. From the left enters a pilgrim, led by a shining one. On the right other shining ones, walking two together, salute the stranger. 7 X by 11. Lent by Miss Gertrude Lewis. 27 GIRLS DANCING THROUGH PILLARS. Design of six figures in gold and purple. A more elaborate design than No. 21, from which the couple to the left is repeated. Signed “ E.B.J. 1898.” 9 3 A by 12%. Lent by the Executors. 9 28 VENUS DISCORDIA. Highly-finished pencil design for predella of a great triptych in oils “ The Story of Troy Town,” never completed. Signed “ E. Burne-Jones.” Date 1871. To the left, throned figure of the Goddess, nude, surveying the scene of discord, a dragon sculptured on her throne. At her feet, two nude combatants, locked in each other’s arms, and dead ; behind them two others in mortal struggle. To the right, group of four nude figures representing the passions,—Anger, Envy, Suspicion and Broil,—all undraped. Background of nude figures in combat in front of the colonnade of the House of Discord. Companion drawing to No. 35. Inscribed above the four figures “ iracundia,” “ invidia,” “suspicio,” “ rixa.” 10^ by 18. Lent by Sir E. J. Poynter, P.R.A. 29 THE PILGRIM. Draped study of male figure in pencil for the Pilgrim in the “ Romance of the Rose” series. Never completed. Signed “ E.B.J. 1874.” 9 3 A by 6 A- Lent by the Executors. 80 THE SPIRIT OF THE DOWNS. Profile head and bust of girl in water colours. Background of Downs. 1883. 13 A b y 9 A- Lent by W. A. S. Benson , Esq. 31 A SIREN. Study of Head for the unfinished picture of “The Sirens,” in the possession of Captain Holford, at Dorchester House. See No. 46. Life size, full face, slightly turned to R. In pencil. Signed “ E.B.J., 1896.” 20 by I2j^. Lent by the Executors. 32 THE RAPE OF PROSERPINE. Pencil design of many figures. In the centre, Pluto, holding the reins of his four horses, sinks into the earth. Two of his attendants, winged female figures, bear away Proserpine, who turns with outstretched arms to a group of five girls to R. To L., and in background, numerous figures of terror-stricken girls. Foreground of rocks and flowers. Signed “ E.B.J.” 8 A by 13. Lent by the Executors. IO 33 STUDIES OF HANDS AND SLEEVE FOR “ THE DAYS OF CREATION.” In pencil. Signed “ E.B.J. 1872.” 1 VA by 9 %- Lent by the Executors. 34 LUNA. Design in silver, blue and purple. A figure with flying drapery kneeling in the crescent moon with outstretched arms holding the horns. The Sea below and cliffs and distant hills, with the last lights of sunset. An elaborate version of No. 80 (7. v.) Signed “ E.B.J. to M.G.L.” About 1895. 12by 9. Lent by George T. G. Lewis , Esq. 35 VENUS CONCORDIA. Venus, nude, enthroned in centre, facing, and holding the apple, with infant Love at her feet; to the left, the three Graces. Background of lovers in a forest. Highly finished pencil drawing for part of predella of a great triptych in oils, “The Story of Troy Town,” never carried out. Companion to No. 28. Signed “ E.B.J., MDCCCLXXI.” 10^ by 18. Lent by Sir E. J. Poynter , P.R.A. 36 A WOOD NYMPH. Study of Head, in pencil, three-quarter face to R. ; one-third life-size. Signed “ E.B.J. 1885.” 9 by 6. Lent by the Executors. 37 THE HEART OF THE LOTUS. A draped figure, with hair of gold, sleeping in the heart of the flower. Design for embroidery. In pencil, coloured chalks and gold. Signed “E.B.J. 1880.” 16 by 14. Lent by H. Reece, Esq. 38 STUDY OF CHILD FOR “THE STAR OF BETHLEHEM.” Under life-size. Water colour ; brown and white on grey ground. 14% by 9 Lent by Pandeli Ralli, Esq. 39 STUDY OF HANDS AND ARMS FOR “THE DAYS OF CREATION.” In pencil. Signed “ E.B.J. 1876.” 1 3 by 9. Lent by the Executors. 40 STUDY OF MAN’S HEAD. In pencil. Full face, half life-size; the hair is just indicated curling over the forehead. Signed “ E.B.J.” 7 yi by 5. Lent by the Executors. 41 STUDY IN GOLD ON DARK GROUND. Female figure holding a shield, curtain background. Signed “ E.B.J. 1896.” by 6 J 4 - Lent by the Executors. 42 A TRIOLET. Three dancing girls. White and gold against two tones of turquoise blue. Signed “E.B.J. 1897.” 10 by 914:. Lent by the Lady Margaret Graham. 43 SMALL PROFILE STUDY OF DRAPED HEAD DRESS. Pencil. Signed “E.B.J. 1873.” by 5. Lent by the Executors. 44 STUDY OF A DRAPED FEMALE FIGURE. She gathers a spray of olive with her right hand, and holds another spray in her uplifted left. Coloured chalk, and gold on brown; background of buildings. Signed “E.B.J. 1862.” Dated in error. The study is for one of the Garland Makers in the stained glass windows of the South Kensington Museum dining room, commissioned of Morris & Co. in 1867. The background and lights in gold are a later addition, and the date, 1862, was probably put on then too. 13 b y 6%. Lent by Pandeli Ralli, Esq. 45 THE MASQUE OF CUPID. Unfinished water colour design for the decoration of a room. Companion to No. 7 ( q. v.) The Vision of Britomart in the Enchanted Chamber of the House of Busirane. I 2 After the winged god himself had come and gone, riding on a lion ravenous— “ Behinde him was Reproch, Repentaunce, Shame; Reproch the first, Shame next, Repent behinde .... And after them a rude confused rout Of persons flockt, whose names is hard to read: Emongst them was Sterne Strife; and Anger stout; Unquiet Care; and fond Unthriftyhead; Lewd Loss of Time; and Sorrow seeming dead; Inconstant Chaunge; and false Disloyalty; Consuming Riotise; and guilty Dread Of heavenly Vengeaunce; faint Infirmity; Vile Poverty; and lastly Death with Infamy.” Spenser’s Faerie Queen. Book III., Canto XII., Stanzas 24 and 25. 46 Double composition of 20 figures in two groups of 10 each moving to R., divided by a door in the middle over which five amorini hold up a scroll. In the group to R. the three leading figures may be identified with Reproach, Repentance, Shame; and the fourth, carrying a bag and dropping coins, with Unthriftyhead ; and the fifth, with Care, wringing her hands. Beyond these, in giving form and colour to the poet’s vision, the painter seems not to have followed the words (unless the lovely figure with downcast eyes to the L. of the pillar be taken for Sorrow), but has introduced out of the “ rude confused rout,” gentler beings of his own imagining. In the group to L. Riotise may perhaps be meant by the nude figure facing and holding two burning braziers on long stems, also Infirmity with her crutch, and Dread, upon whose shoulder Vengeance from Heaven, with drawn sword and a whirlwind of blown draperies, lays her hand. To the left stands Britomart outside the moving throng. Begun about 1870. Taken up again 1898. 21)4 by 52)4. Lent by the Duke of Portland. THE SIRENS. Water colour design for large unfinished picture. In the centre, a ship, with sail set and deck crowded, drifts shoreward into a little bay. On either side groups of Sirens. 20 by 2 7 ) 4 . Lent by Lady Burne-Jones. 47 STUDY FOR A KING IN “THE STAR OF BETHLEHEM.” Chalk and gold on brown ground. Signed “ E.B.J. 1887.” 14 by 6)4. Lent by Pandeli Ralli, Esq. i3 48 THE BIRTH OF THE HOURS. The Hours proceeding on their courses out of the Sun, from within whose orb a figure lays her hands in turn upon their heads. Six semi-transparent figures of Hours in white and gold against background of turquoise blue. Signed “E.B.J.” 8^ by nj^. Lent by W. A. S. Benson, Esq. 49 THE BATH OF VENUS. Venus stands facing, nude, knee-deep in a pool in the forest, screened by the drapery of two standing figures. Beyond the screen, background of stems of trees. Study in water colour and gold on red-brown ground. Signed “ E.B.J.” io by 6^. Lent by Walter Armstrong , Esq. 50 to 59 THE STORY OF ORPHEUS. Ten circular designs in pencil, carried out in the decoration of a piano for the late William Graham, Esq., now belonging to Mrs. Horner, at Mells Park, Frome, Somersets. The spandrils filled with decorations of leaves. 50 THE GARDEN. Orpheus seated to R., playing his lute, his face turned to Eurydice, who kneels with her arms round his neck. 9 % by 9%. 51 EURYDICE POISONED BY THE SNAKE. Eurydice falls fainting; Orpheus endeavours to sustain her; the snake coiled round the base of a tree to R. 9/4 by gy 2 . 52 THE GATE OF HELL. Orpheus stands facing a wall of stratified cliffs, tilted slanting-wise, and vaulting a cave, whose opening is seen descending into the earth. 9 l A by 9%. 53 THE DOORKEEPER. The monster with three heads that bark. Inscribed “ Cerberus.” 9 x A by 934 - 54 ACROSS THE FLAMES. Orpheus with his lute moving on through a whirl of flame. 9% by 9. 55 ACROSS THE FLAMES. Eurydice in a whirl of flames. 9% by 9. 56 THE HOUSE OF PLUTO. Design of 3 intersecting circles. In the centre, Pluto and Proserpine seated. In the left circle, Eurydice standing outside the House. In the right circle, Orpheus playing outside to propitiate the God. 9 by 20%. 57 to 59 THE REGAINED LOST. Different designs of the last scene, each g 1 /? by g x / 2 . 57 Orpheus and Eurydice making their way to the upper air, which is just seen through an arch to R. 58 A moment later of the same scene :—Orpheus looking back and seeking to hold Eurydice clinging to him. 59 A moment later still:—Eurydice lost. Orpheus holding in vain her yielding drapery as she sinks back into the shades. Each signed “ E.B.J. 1875.” Lent by Sir Philip Burne-Jones, Bart. 60 DANCING GIRLS. Study of two figures in gold on red-brown ground. Signed “E.B.J. 1896.” 9 U b y Lent by the Executors. 61 PERSEUS. Study of two heads for Perseus. In pencil. No. 1 for “ The Rock of Doom.” No. 2 for unfinished picture. Each signed twice “ E.B.J. 1875,” and inscribed respectively “ Study for the fifth picture,” and “ Study for the sixth picture.” No. 1, 8J^ by No. 2, 8^ by 7. Lent by H. S. TheobaldEsq. i5 62 THE MERMAID. Study for head of Mermaid in “ Depths of the Sea.” Pencil. Signed “ E.B.J. 1886.” 12% by 8 ]/ 2 . Lent by the Executors. 63 THE ANSWERING STRING. Design in gold and water colours of a female figure, with Oriental drapery over her head, standing with a cithern in the green court of a building by a barred window. Signed “ E.B.J. 1896.” 13 b y 8 K- Lent by Mrs. Horner. 64 MELCHIOR. Finished life-size study of J. W. Mackail, Esq., in water colour, for head of king in “ The Star of Bethlehem.” Inscribed in gold, “ MELCHIOR Sep. 1888.” 18 by 13J2. Lent by Mrs. Mackail. 65 THE VICTIM OF THE MASQUE OF CUPID. “.a most fair Dame Led of two grysie villeins, th’ one Despight The other cleped Cruelty by name.” Finished pencil studies of the heads of Amoret, Despite, and Cruelty. Inscribed in left hand top corner, “ CRUDELITAS ”; in right hand, “ SAEVITIA ” ; in right hand bottom corner, “ E.B.J. mdccclxx. The Masque of Cupid.” See No. 7. The date is a later addition. 13 by 25^. Lent by Alfred A. de Pass, Esq. 66 FINISHED STUDY OF A FEMALE HEAD. In pencil, three-quarter face to right, half life size. Signed “ E.B.J. MDCCCLXXI.” Study for one of the Hesperides. 11 by 8%. Lent by A. Mavrojani, Esq. 67 STUDY OF GIRL WITH A MUSICAL INSTRUMENT. In chalk, gold and water colours, draped wall in front, parapet behind, and background of hills. Signed “ E.B.J. 1895.” Similar musical instruments are figured in xiith and xiiith century sculptures in Italy. 13 # by 9j£. Lent by Mrs. Gaskell. i6 68 STUDY FOR MERMAID IN “ THE DEPTHS OF THE SEA.” In black chalk. Signed “ E.B.J.” 9 A by 8. Lent by Sir Hickman B. Bacon, Bart. 69 “MEDUSA” AND “BLIND LOVE.” Two studies of heads, in pencil, in one frame : (i) Inscribed “ E.B.J. 1879, Medusa,” and (2) “ E.B.J. 1877, Blind Love.” No. 1, io}4 by g]/ 2 . No. 2, ioy by H/\- Lent by H. S. Theobald, Esq. 70 PSYCHE. Design of draped figure in water colour, and various tones of gold on turquoise blue ground. Signed “ E.B.J. 1896.” 14 by 8. Lent by Laurence W. Hodson, Esq. 71 STUDY OF FEMALE DRAPED FIGURE. Chalk and gold on brown ground, buildings in background. Signed “ E.B.J. 1862.” A study for one of the figures in the stained glass windows of the South Kensington Museum dining room, commenced in 1867. Dated 1862 in error by the artist after retouching it with gold and adding the background. 11 by 6 l / 2 . Lent by Sir E. J. Poynter, P.R.A. 72 ANTONIA. Profile study of nude figure descending steps. Silver point and white. Inscribed “Antonia.” Signed “E.B.J. 1877,” and inscribed “to H.M.G.” 12 y 2 by 6. Lent by Mrs. Gaskell. 78 PORTRAIT OF FRANCIS W. JEKYLL. Highly finished. Pastel and chalk, life size. Inscribed “18 F.J. 94.” Signed “ E.B.J. to A.J.” 23^ b y 1 7 y A- Lent by Mrs. Herbert Jekyll. 74 ST. JOSEPH. Study for “ The Star of Bethlehem,” in coloured chalk and water colour. Signed “ E.B.J. 1887.” i$y 2 by 63 y. Lent by Sir John Stirlmg-Maxwell, Bart. i7 75 THE VIRGIN. Study for “ The Star of Bethlehem,” in coloured chalk, water colour and gold. Signed “ E.B.J. 1887.” 12^ by 7%. Lent by Sir John Stirling-Maxwell , Bart. 76 ORPHEUS AND EURYDICE. Study of Orpheus leading Eurydice from Hades. Water colour, white and brown on brown ground. 1872. 10 by gy 2 . Lent by C. Fairfax Murray, Esq. 77 FIGHT BETWEEN CENTAUR AND EAGLE. Water colour. Design in monochrome. 13^ by %y 2 . Lent by C. Fairfax Murray , Esq. 78 THE CHALLENGE IN THE WILDERNESS. Study in pencil for unfinished oil picture. Three draped figures blowing trumpets with mountainous background. Signed “ E.B.J.” 11 by 8. Lent by H. S. Theobald, Esq. 79 THE ENTOMBMENT. Water colour design for bronze bas relief for tomb at Castle Howard. The reliefs were executed in bronze by Sir Edgar Boehm from these designs. Signed “ E.B.J.” Companion to No. 89. 11 by 18. Lent by C. Fairfax Murray, Esq. 80 LUNA. A figure with flying drapery, kneeling in the crescent Moon, with outstretched arms holding the two horns. Water colour. Earlier design for the more elaborate version No. 34. 9 Yat b y 63 A- Lent by W. A. S. Benson, Esq. 81 “ IF HOPE WERE NOT, HEART SHOULD BREAK.” Design in pencil for metal work. In the centre, the figure of Hope looks from behind prison bars with extended hand, surrounded by floral border. 11 by 8. Lent by the Hon. Mrs. Percy Wytidham. i8 82 PORTRAIT STUDY OF A LADY. Head and bust, with foliage background ; half life size, in red chalk. Signed “ E.B.J.” 18 by 16%. Lent by A. Mavrojani, Esq. 83 THE STAR OF BETHLEHEM. Design in water colour and gold for the large picture at Birmingham. 25 by 38%. Lent by Mrs. Mackail. 84 GUDRUN. Gudrun setting fire to Atli’s Palace. Design made in October, 1897, and afterwards modified, for the final illustration of William Morris’s “Sigurd, the Volsung,” in the Kelmscott Press series. The last design made by Sir E. Burne-Jones for the Kelmscott Press. Inscribed on mount, “Dec: 1897 Sydney Cockerell from E.B.J.” 9 by 6 l / 2 . Lent by Sydney C. Cockerell , Esq. 85 JUSTICE. Study of seated figure in red drapery, holding sword and hour-glass. In coloured chalks. Signed “ E.B.J.” An early study, 1865-7, coloured later. 11 by 8. Lent by Archibald Anderson , Esq. 86 “ LOVE ” IN THE “ CHANT D’AMOUR.” Finished pencil drawing. Signed “ E.B.J. 1865.” Inscribed “For Love in the Chant d’Amour.” Dated by the artist in error. It is a study for the second picture of the Chant d’Amour, which was begun about 1868. 10^ by Lent by T. H. Is may, Esq. 87 “ACROSS THE FLAMES.” Orpheus with his lute moving through the flames. Water colour design in monochrome and gold. 1872. Companion to No. 76. 9 % by 9- Lent by C. Fairfax Murray , Esq. 88 “THE GARDEN COURT.” Watercolour and pencil. Design for the third picture of “the Briar Rose ” series, the three girls asleep at the loom, the other three asleep round a well. 12J4 by 23J4. Lent by C. E. Halle\ Esq. 19 89 THE NATIVITY. Water colour design for bronze bas relief for tomb at Castle Howard, carried out by Sir Edgar Boehm. Signed “ E.B.J.” Companion to No. 79. 11% by 18. Lent by C. Fairfax Murray , Esq. 90 LILIES. Finished study of lilies in pencil. 1865.” 11^ by II. Signed on scroll “ E.B.J. Kensington Lent by the Executors. 91 STUDIES OF DRAPERY FOR “THE PASSING OF VENUS.” Two studies for the unfinished picture, in pencil, on green ground. One by 5 fa, the other 9^ by 4j{. Lent by the Executors. 92 PORTRAIT OF MISS CICELY HORNER. Highly finished pastel drawing, life size. Signed “ E.B.J. to F.H. 1893.” 26 by 20. Lent by Mrs. Horner. 93 STUDY FOR KING GASPAR. Study in chalk and gold, on brown ground, for one of the kings in “The Star of Bethlehem.” Signed “ E.B.J. 1887.” 14 by 7%. Lent by Sir John S tirlmg - Maxwell, Bart. 94 STUDIES OF FIVE NUDE FIGURES FOR THE GOLDEN STAIRS. In white chalk and pencil on grey purple ground. Four drawings in one frame. Signed “E.B.J. 1875.” No. 1 (containing two figures), 10 by 6 ; the others, 10 by 5. Lent by the Executors. 95 KING MELCHIOR. Study for “ The Star of Bethlehem,” in coloured chalks and gold. Signed “E.B.J. 1887.” 13^ by 6%. Lent by Sir John Stirling-Maxwell, Bart. 20 96 A SIREN. Life-sized study of profile head in pencil, for the unfinished picture of “ The Sirens,” in the possession of Capt. Holford at Dorchester House. See No. 46. Inscribed “ E.B.J. 1895, for the picture of The Sirens.” by 12^. Lent by R. H. Benson, Esq. 97 HELEN OF TROY. Study in pencil of full length figure, facing, for an unfinished picture. Signed “ E.B.J.” 13 by 6y 2 . Lent by H. Reece, Esq. 98 “LOVE IS ENOUGH.” Love lays a crown on the head of King Pharamond standing with Azalais before his altar—“ Quia Multum Amavit.” Design in pen and ink for the original scheme of the first edition of William Morris’s poem, which was never carried out. Printed as a woodcut over-against the colophon of the Kelmscott Press Edition, 1887. Signed “ E.B.J.” 1870. 11 by 5%. Lent by C. Fairfax Murray, Esq. 99 ST. FRANCIS RECEIVING THE STIGMATA. Design in pencil for small water colour drawing, given by the artist to Father Damien. Signed “ E.B.J. 1887.” ioj^ by 7. Lent by Edward Clifford, Esq. 100 A KING’S GARDEN. Water colour design of a king standing in a garden in front of a closed door, and looking up to a lady who bends towards him over the battlements of a castle. wA b y Lent by Lady Burne-fones. 101 STUDY FOR THE MIRROR OF VENUS. Coloured chalk studies of three maidens—two nude and one draped. Signed “ E.B.J. 1867.” 10 y 2 by 12 y. Lent by Douglas W. Freshfield, Esq. 21 102 CUPID, MEDUSA, NIMUE. Three studies of heads, in pencil, in one frame :— (1) Signed and inscribed “ E.B.J. 1880. A study for Cupid.” Compare the water colour drawing of Cupid and Psyche, now exhibited at the New Gallery, belonging to R. H. Benson, Esq. 8 % by 7. (2) Signed and inscribed “E.B.J. 1875. Sketch for Gorgon in series of Perseus.” IOj^ by (3) Signed and inscribed “E.B.J. 1870. Study for Nimue in the picture of Merlin and Nimue.” 8J4: by 7. Lent by H. S. Theobald , Esq. 103 VIRGIN AND CHILD. Finished pencil drawing of Virgin and Child ; in the background, a sick child in bed, another child sits playing at the Virgin’s feet. Inscribed on scroll at the top— “Carolo Bland Radcliffe Amicitiae Causa Gratias Agentes D. D. Edwardus et Georgiana Jones. Apr. 1862.” i2j^ by 6^3. Lent by Mrs. Radcliffe. 104 SEVEN STUDIES OF DRAPERY FOR THE DAYS OF CREATION. In pencil. No. 1 Inscribed “ E.B.J. 1872. Studies of Drapery for Days of Creation.” Each of others signed “ E.B.J. 1872.” 9 by 3 and 9 by 4. Lent by the Executors. 105 “ KING AND SHEPHERD.” Sketch in pencil for picture painted in church at Torquay. Designs of a King and a Shepherd, each led by an Angel. 15& b y 2 4 - Lent by Lady Burne-Jones. 106 PERSEUS AND ANDROMEDA. Study in white and blue chalk and water colour for the picture of the Perseus series, “ The Fight with the Sea Monster.” Inscribed over against each figure “Andromeda,” “ Perseus.” Signed “ E.B.J. 1875.” 1by 11^. Lent by C. Fairfax Murray , Esq. 22 107 PORTRAIT STUDY OF EDWARD HORNER. In pencil, for the child in the picture of the Prioress’s Tale (« q. v.). Inscribed “ E.B.J. to F.H. 1898.” 8 A b y 6 A- Lent by Mrs. Horner. 108 STUDY FOR METAL WORK. Figure of girl with hand touching foliage of a tree, on which hangs a shield. Gold, on dark ground. Signed “E.B.J. 1896.” 9 3 A b y 6 A- Lent by Mrs. Gaskell. 109 A SIREN. Study of head, life size, for the unfinished picture of “ The Sirens,” in the possession of Capt. Holford. Pencil three-quarter face to R. Signed “E.B.J. 1896.” 20 by 11%. Lent by C. Fairfax Murray , Esq. 109 a STUDY OF HEAD FOR THE ANGEL OF THE ANNUNCIATION. Profile to right, looking down. Pencil. Signed “ E.B.J. 1878.” 9 H b y 63 A- Lent by the Executors. 110 STUDY FOR GAWAIN. Pencil. Three-quarter face to R. under life size. Inscribed “ E.B.J. 1893. Study for Gawain in the design of the Round Table for the tapestries of the Morte d’Arthur.” 14H by 9 - Lent by the Executors. Ill “RICHESSE.” Study for a procession in the Romance of the Rose. A lady, standing full face, in rich cloak and head dress. Gold, on dark background. Signed “ E.B.J. 1896.” The pencil study of the same figure is dated “ 1876.” by 8 %. Lent by the Executors. 111 a STUDY FOR THE QUEEN IN “THE PASSING OF VENUS.” Single draped figure, full length. Pencil. The unfinished picture is in the possession of the Executors. Signed “ E.B.J. 1877.” 10 % by 6 J£. Lent by Harold Rathbone ) Esq. 23 112 STUDY FOR METAL WORK. In gold, on dark ground. Male figure recumbent beside a shield, outline of hills in background. Signed “E.B.J. 1879.” 6# by 10. Lent by the Executors. 113 THE ANGELS AT THE SEPULCHRE. Two studies in one frame for the “ Morning of the Resurrection.” Water colour and pastel. Inscribed “ Non . EST . HIC . SED . SURREXIT . RECORDAMINI. QUALITER . locvtvs. EST. vobis.” Signed “ E.B.J.” Each 13 # by 9. Lent by Mrs. Murray Guthrie. 114 THE NORTH WIND. Study in black and white chalk on red ground for the picture “ Sponsa de Libano.” Signed “ E.B.J. 1891.” 13# by 11#. Lent by the Rt. Hon. Arthur James Balfour , M.P. 115 HELEN. Study in gold on dark red ground. Full length nude figure, facing, lit by the fires of Troy. Signed “ E.B.J.” 10# by 5#. Lent by R. H. Benson , Esq. 116 THE STORY OF PERSEUS. Three Frames of ten designs in water colour, surrounded by decorated border;—originally intended for drawing-room of the Right Hon. Arthur James Balfour, 4, Carlton Gardens. About 1875-6. First Frame , containing three designs , 40 by 14 (including decorated border). 1 THE ARMING OF PERSEUS. In the centre, the goddess Athena, draped and helmeted, presents Perseus with a sword and a mirror in which he may safely behold the face of Medusa. Perseus stands, a nude figure, to the right. In the background is depicted an earlier scene—the first appearance of the goddess, under the disguise of an old woman, to Perseus. 10 by 8#. 24 2 PERSEUS AND THE GRAIzE. Design carried out in gold and silver gesso on oak. Perseus is stealing the single eye of the sisters ; and as the price of its return wins the wisdom wherewith he slew the Gorgon. Three draped figures groping blindly. io by i r. 3 PERSEUS AND THE NEREIDS. To the left, Perseus, partially draped, is binding on a winged sandal, while one of the sea nymphs holds its fellow behind. Her sisters hold, one, a wallet for Medusa’s head, and the other, the helmet of Invisibility. io by 8 %. Second Frame , containing three designs , 50 by 14 (including border). 117 4 THE finding of medusa. In a grove among the mountains two winged and draped Gorgons are crouching on the ground, while Medusa stands upright, dimly conscious of the approach of the invisible Perseus, who gazes upon the reflection of her face in his mirror as he flies. 10 by 9. 5 THE BIRTH OF PEGASUS AND CHRYSAOR. Design for gold and silver gesso upon oak, never carried out. Perseus stands holding in his uplifted hand the averted head of Medusa, from whose headless trunk upon the ground rise the forms of Pegasus and Chrysaor. 8 by 7^- 6 THE DEATH OF MEDUSA. To the right, Perseus, in the act of concealing the head of Medusa in his wallet, sets forth on his flight seaward, pursued blindly by the Gorgon sisters. Medusa’s lifeless form upon the ground beyond, the severed neck concealed by the wing of one of her sisters. 10 by 15. Third Frame , containing four designs , 58 by 14 (including border). 118 7 ATLAS. Design for gold and silver gesso upon oak, never carried out. To the left, Atlas supporting the heavens on his shoulders, just turned into stone by the sight of Medusa’s head held up by Perseus in his passing flight. 10 by 12^. 25 8 THE ROCK OF DOOM AND THE DOOM FULFILLED. Double subject, afterwards carried out as two separate pictures. To the left, Perseus discovers Andromeda bound to the rock. To the right he is slaying the sea monster coming to devour her. io by 15. 9 THE COURT OF PHINEUS. Design in gold and silver gesso upon oak, never carried out. Perseus holds up the head of Medusa, and turns the court of Phineus into stone. 8 by 15%. 10 THE BALEFUL HEAD. Perseus showing Andromeda the reflection of Medusa’s head in a pool of water. 10 by 6%. Lent by the Executors. 119 CUPID’S HUNTING GROUND. Finished design in grey-green monochrome, in oils. Cupid, almost nude, and blindfolded, stands in the centre, drawing his bow, and surrounded by five maidens, partially draped. 38^ by 2 9 %- Lent by Constantine A. Ionides , Esq. 120 AQUARIUS. Design in gold and water colour, on red-brown ground, a nude figure pouring water out of two urns. Signed “ E.B.J.” 10 by S 7 A- Lent by the Executors. 121 THE SOUTH WIND. Study in black and red chalk, on red ground, for the picture of “ Sponsa de Libano.” Signed “E.B.J. 1891.” 13# by 11%. Lent by the Rt. Hon. Arthur James Balfour , M.P. 122 STUDY FOR HEAD OF A QUEEN IN AVALON. Profile, in pencil. Signed “E.B.J. 1885.” 9 % by 6. Lent by the Executors. 26 123 STUDY IN GOLD ON DARK GROUND. Single figure of girl draped, and with drapery over the head. Signed “ E.B.J. 1896.” 93^ by 6 * 4 ’ Lent by the Executors. 124 TWO STUDIES OF WINGS. In pencil in one frame. (1) Inscribed “ Wings for the death of Medusa. Perseus series. E.B.J. 1882.” by (2) Signed “E.B.J. 1882.” 11by 7jJ. Lent by the Executors. 125 STUDY OF THE PRINCESS FOR THE PICTURE “ LAUS VENERIS.” In white and red chalk heightened with gold, upon flame-coloured ground. Signed “ E.B.J.” 1 V/2 by 16. Lent by J. W. Comyns Carr, Esq. 126 STUDY FOR THE MADONNA IN “THE PRIORESS’S TALE.” Bending figure in water colour, with blue drapery. (Compare the picture now exhibited at the New Gallery.) Executed about 1870, many years before the completion of the picture, for which a fresh study was made, though the action remains the same. 9 3 A h Y 8 > Lent by C. Fairfax Murray, Esq. 127 TWO STUDIES : (1) ANDROMEDA, (2) THE SLAVE. In pencil, in one frame. (1) Inscribed “ A Study for Andromeda, in the series of Perseus.” Signed “ E.B.J. 1885.” io)4 by 6J^. (2) Inscribed “ E.B.J. 1879, The Slave in the Wheel of Fortune.” 10}4 by 6 y^. Lent by H. Reece, Esq. 123 THREE STUDIES OF DRAPERY FOR THE THREE GRADE:. In pencil, heightened with white, on green ground. For the small picture painted in 1880, and now exhibited at the New Gallery. Each signed “ E.B.J. 1877,” and inscribed “ Study for Graiae Perseus.” The two uppermost, 6 j 4 by 8 j 4 ; the third, 6 by 7^. Lent by R. H. Benson, Esq. 27 129 STUDY IN GOLD, ON DARK GROUND. Figure of girl, in straight drapery, stepping down into the shaft of a well lined with masonry, background of pillars. Signed “ E.B.J. 1896.” 9% by 6j£. Lent by the Executors. 130 A QUEEN FOR “AVALON.” Study of head, life size, three-quarter face to left. In pencil. Signed “E.B.J. 1895.” 20 by 14. Lent by the Executors. 131 A DREAM OF PARNASSUS. Water colour sketch, varnished, on canvas, representing the Nine Muses round the fountain of Castalia, with the peak of Parnassus in the background. This drawing represents, literally, a dream which the artist had, travelling- in Italy, and recorded the next morning. 8 by II. Lent by Mrs. Sitwell. 132 THE KNIGHT’S FAREWELL. Minutely elaborate drawing in pen and ink. In a walled garden, to the left, a knight kneels with his arms round the waist of a lady, who embraces him ; a mouse on the grass, and a nest of swallows on the wall. His spear leans in the fork of an appletree, and on the pennoncel is the figure of Our Lady standing on the crescent moon. To the right, a page sits reading from a book upon which is inscribed “ Roman du Quete du San Grail.” Combat of knights in the background beyond the wall, seen through the apple trees. Signed “ E.B.J. 1858.” 6% by 7%. Lent by Mrs. Sparling. 133 THE NATIVITY. Study in pencil of a picture painted for church at Torquay. The Virgin and Child lie on a straw-covered bed to the right, with Joseph standing at the head of the bed; to the left, a group of three angels; back¬ ground of trees and hill. 15 H b y 2 4- Lent by Lady Burne-Jones. 28 134 PARNASSUS. Study in gold and red on red-brown ground. Water colour. Apollo, seated with his lyre, is surrounded by the Nine Muses in standing groups ; background of water, hills and trees. Signed “ E.B.J.” 5 ]/ 2 by 9. Lent by Sir John Holder, Bart. 135 THREE STUDIES IN CHALK AND PENCIL. (1) Female figure, full length, back view of drapery. Study for one of the garland makers in the South Kensington Museum dining room windows. About 1867. 13 by 7. (2) Female figure, draped, playing on violin. Study for one of the minstrels in the background of The Wedding of St. George. About 1866. 15 by 7. (3) Two sketches of female figures with straight drapery, and a third indicated. Study for one of the waiting-maids holding up the Princess in the picture of The Princess Drawing the Lot—St. George series. About 1865. 13 by 9%. All three signed in red chalk “ E.B.J. to M.S.” Lent by Mrs. Stillman. 136 THE MARRIAGE FEAST OF SIR DEGREVAUNT AND THE LADY MILDORE. Pen and ink sketch for one of a series of tempera paintings executed about 1861-2 for the drawing room at Red House, Upton, then the house of William Morris. Inscribed on mount in his own handwriting “ From his affectionate friend E.B.J.” 11 ]/ 2 by 133^. Lent by Henry Wallis , Esq. 137 STUDIES OF SLEEVES. Three studies for draped sleeves for the picture “ The Annunciation.” (1) In pencil. Inscribed “Studies for the Annunciation E.B.J. 1878.” 9 l A by 6A- (2) In white on dark grey. Signed “E.B.J. 1878.” 8 by sA- (3) Inscribed “For the Annunciation E.B.J. 1878,” in pencil. 9/4 by 6 A- Lent by the Executors. 138 A NEREID. Study of head, life size, profile to left, in pencil. Inscribed “E.B.J. for Perseus and the Nereids.” “ 1895.” l 9}4 by izy 2 . Lent by Earl Egerton of Tatton. 29 139 THE CORNFIELD. A design carried out in three tints of gold. Signed “ E.B.J.” 9-4 b y 7- Lent by Mrs. Gaskell. 140 STUDY FROM THE NUDE. Full length female figure, facing, in white on grey-purple ground. 13 K by 6. Lent by the Executors. 141 THE SONG OF SOLOMON. Three highly-finished pencil designs with decorative borders, originally designed to be executed in needlework. On the mount, CANTICVM : CANTICORV : SALOMONIS : and in the right-hand top corner a crest, and motto “ Ne OUBLIE,” with the initial “ F.” 1 A GARDEN ENCLOSED.—Chapter iv., verse 12. A winged figure of Love, crowned with roses and flame and holding a sword, is seated on a well head to R. ; beside him stands “ My Sister, My Spouse.” Above, and beyond a battlemented wall, appear three winged armed guardians with drawn swords. Inscribed on scroll at top— HORTUS : CONCLVSVS : SOROR : MEA : SPONSA : HORTVS : CONCLVSVS : FONS : SIGNATVS : and on scroll below— FONS : HORTORV : PVTEVS : AQVA Rvm : viventiv : QVAE : FLWNT : I PETV : DE : LlBANO : Signed “ E.B.J.” 13 'A by 7%. 2 “ I SLEEP BUT MY HEART WAKETH.”—Chapter v., verse 2. She lies asleep upon a couch in the centre ; above her is seated the winged figure of Love, holding a lamp. Above, again, appears the vision of her Beloved knocking at her door. Signed “E.B.J. 1876.” Inscribed on scroll at top:— EGO . DORMIO . ET . COR . MEVM . VIGILAT : VOX DI LECTI . MEI . PVLSANTIS : APERI . MIHI . SOROR . MEA AMICA . MEA . QVIA . CAPVT . MEVM . PLENVM . EST . RORE ET . CINCINNI . MEI . GVTTIS NOCTIVM b y7%. 30 3 “FOR LO, THE WINTER IS PAST.”—Chapter xi., verse io. They stand, Bridegroom and Bride, in a flowery garden, with back¬ ground of trees, streams and hills, over which the figure of Winter, with back turned, is disappearing, and is succeeded by three figures of clouds, sweeping past and scattering showers of spring from their urns. She is in act to move, as, with outstretched hand, he bids her “ Rise up, my love, my fair one, and come away.” Inscribed on scroll at top:— SVRGE . PROPERA AMICA . MEA . IAM . ENIM . HYEMS . TRANSIIT . IMBER ABUT ET RECESSIT : SVRGE . AMICA . MEA . SPECIOSA . MEA . ET VENI . 1 3 % b y 7 %- Lent by Mrs. Horner. 142 FIVE STUDIES OF HANDS AND SLEEVES. In pencil. No. i inscribed “ E.B.J. 1872 studies for the DAYS OF Creation.” 7 x A by 7 ko Nos. 2, 4 and 5 inscribed “E.B.J. 1872 for Days OF CREATION.” Sizes respectively by 6 yb ; H/\ by ; 6 by 4JL No. 3 inscribed “E.B.J. 1873 for Merlin and Nimue.” ioJ^ by 8 %. Lent by the Executors. 143 TFIE SHIP. Design in three tints of gold. A ship in the trough of the wave moving forward, with full sails set. 9 Y\ by 614. Lent by the Executors. 144 HILL FAIRIES. Study of two nude figures in pencil for unfinished picture. Signed “E.B.J.” 12 y A by 8. Lent by the Executors. 145 THE SONG OF SOLOMON. “ Who is this that cometh up from the wilderness, leaning upon her beloved ?”—Chap, viii., verse 5. Inscribed:— QVAE . EST . ISTA . QVAE . ASCENDIT . DE . DESERTO . DELICIIS . AFFLUENS . INNIXA . SUPER . DILECTUM . SVVM . 3 1 Group of five maidens, standing at the foot of a tree, looking towards the wilderness in the background, whence the Bridegroom and Bride approach. Signed “ E.B.J.” I 3 J X by 7. Lent by G. F. Watts, Esq., R.A. 146 CUPID’S HUNTING GROUND. Design in gold and water colour, upon dark ground. Similar subject to No. 119. Cupid, partially draped and blindfold, in the attitude of drawing his bow and surrounded by five maidens, with finished draperies. 9 by 6 %. Lent by Mrs. Coronio. 147 DESIDERIUM. Finished study in pencil for head of “ Amorous Desire ” in the “ Masque of Cupid.” Upraised head in profile to R. See No. 7. Signed “ E.B.J. 1873.” Inscribed “ Desiderium, a study for the Masque of Cupid.” “ Twixt both his hands few sparks he close did strayne, Which still he blew and kindled busily, That soone they life conceiv’d, and forth in flames did fly.” The Faerie Queene, Book III., Canto XII, Stanza p. 8% by 5%. Lent by the Executors. 148 STUDIES OF FEET. In pencil, for the “Golden Stairs.” Signed “E.B.J. 1878.” 10 by 6 ]/ 2 . Lent by the Executors. 149 CARITAS. Highly finished design, in water colour and gold on red ground. Full length nude figure of Charity, facing, flames issuing from her heart and breast. Inscribed “ Caritas.” 9 3 A by 4%- Lent by the Hon. Mrs. Percy Wyndham. 150 STUDY OF WINGS. Study in pencil for Gorgon in the Perseus series. Inscribed “ Wings for Gorgon in Perseus.” Signed “ E.B.J. 1881.” 14 by 9%. Lent by the Executors. 3 2 151 STUDY OF A HEAD. Study in pencil of a young girl’s head and neck; rather fuller than three-quarter face; head slightly turned, and eyes looking, to left. Signed “ E.B.J.” 9V\ by 6%\ Lent by F. A. White , Esq. 152 STUDY OF VARIOUS DETAILS FOR THE GOLDEN STAIRS. Details in pencil of hands, musical instruments, drapery, &c. Signed “E.B.J. 1878.” 10 % by 6%\ Lent by F. A. White , Esq. 153 JUSTITIA. Study in water colour and gold upon blue ground. Full length armed figure of Justice, facing, holding a sword and a crown. Architectural back¬ ground, with Predella representing a has relief of an unjust judge receiving a bribe. Inscribed “ Justitia ” and “ Injustitia.” 9 2 A by 3H' Lent by the Hon. Mrs. Percy Wyndham. 154 STUDY OF A WING. Study in pencil of wing for Gorgon in Perseus series. Signed “E.B.J. 1880.” 11 A by 7%- Lent by the Executors. 155 PORTRAIT STUDY. Study in pencil of Mrs. Bram Stoker, profile head. Half life-size. 7 2 A by SH- Lent by Mrs. Bram Stoker. 156 STUDIES OF FEET. In pencil. Inscribed “ Studies of Feet for the Golden Stairs.” Signed “ E.B.J. 1875.” '0% by 6 %. Lent by the Executors. 157 SEAL OF THE UNIVERSITY OF WALES. Design for obverse and reverse, in water colour. Obverse: Seated figure, holding book ; on either side, and at the foot of dais, hanging shields; figures of scholars, one on each side. Reverse: Ideal representation of the University of Wales, with sea in the foreground and mountains behind. Each 5 inches in diameter. Lent by the Executors. 33 158 to 164 DESIGNS FROM VIRGIL. Twelve highly finished designs, in pencil, for the twelve Books of the 3Eneid, made for illuminations in a folio MS. on vellum of that poem. About half was actually written, and partially ornamented, by William Morris. The unfinished MS. is in the possession of C. Fairfax Murray, Esq. All sU by 5 Lent by Laurence W. Hodson , Esq. 158 i VENUS APPEARING TO /EX FAS BEFORE CARTHAGE. To the left is the goddess, draped, with one hand extended towards /Eneas, who stands to the right, armed and partially enveloped in the miraculous mist shed round him by the goddess to conceal him from the Carthaginians. Town of Carthage and rocks in the background. Inscribed “Venus” “Carthago” “Eneas.” Signed “E.BJ. 1873.” Inscribed on mount “ ET VERA INCESSU PATIJIT DEA.—/EN. LIB. I. 405.” 2 /ENEAS FLYING FROM TROY. iEneas in the centre, an armed figure, bears on his back his father Anchises, and holds by the hand his son lulus. To the right, Venus leads him from the burning city. To the left the phantom of his wife Creusa, who perished in the night of the Sack of Troy; she lays her hand on the hair of her son. Signed “E.BJ. 1873.” Inscribed on mount:— “ CESSI ET SUBLATG MONTEM GENXTORE PETIVI.—IX. 804” 3 /ENEAS AND THE HARPIES. Winged Harpies swoop upon SEneas and his companions, who stand, armed, to the right. Background of rocks and sea, tree in the centre. Signed “ E.BJ. 1873.” Inscribed on mount “AT SUBITAE HORRXFXCO LAPSU DE MONTIBUS ADSUNT HARPYXAE .... XXI. 223-226.” 4 DEATH OF DIDO. Dido, a draped figure, kneeling on a funeral pyre surmounted by armour, falls upon /Eneas’ sword; background of flames. Signed “E.BJ. 1873.” Inscribed on mount:-- “ . . . . MORIEMUR INULTAE ! SED MORIAMUR, AIT .... XV. 659-660.” 34 159 5 THE BURNING OF THE SHIPS. A group of six Trojan women, draped and bearing torches, rush, at the instigation of Juno, to burn the fleet that lies ready to convey yEneas to Italy. Sea in background ; one ship partially seen. Signed “ E.B.J. 1874.” Inscribed on mount:— “FURIT IMMISSIS VULCANUS HABENIS.—AEN. LIB. V. 662.” 6 yENEAS AND THE SIBYL IN THE UNDER-WORLD. The Sibyl, bearing the golden bough, conducts yEneas, armed and with drawn sword, through the Shades. Background of rocks, and pool. Signed “E.B.J. 1874.” Inscribed on mount :— “ IBANT OBSCURI SOLA SUB NOCTE PER UMBRAM.—VI. 263.” 7 LAVINIA IN THE PALACE OF LATINUS. The maiden stands sacrificing at the altar, her hair and robe bursting into flame; beside her, the bees swarming in the sacred laurel, and behind, the pillars of an open court, through which are seen distant hills. Signed “E.B.J. 1874.” Inscribed on mount:— “ ATQUE OMNEM ORNATUM FLAMMA CREPITANTE CREMARI. VII. 74.” 8 VENUS BRINGING ARMOUR TO .ENEAS. The Goddess brings the divine armour which she had made by Vulcan. She stands, facing her son, who, partially armed, is in the act of receiving the spear and pennon. His corselet and helmet lie on the ground between them ; background of trees and rocks. Inscribed “ .Eneas ” and “ VENUS.” Signed “ E.B.J. 1874.” Inscribed on mount “ AT VENUS AETHERIOS INTER DEA CANDIDA NIMBOS DONA FERENS ADERAT ; . . . — VIII. 608-609.” 160 9 IRIS AND TURNUS. Iris, winged like a butterfly, alights in a rainbow before Turnus, who, fully armed, kneels on one knee at the margin of the sacred spring; in the background, a tree, stream, and cliffs. Signed “ E.B.J. 1873.” Inscribed on mount:— “ IRIM DE COELO MISIT SATURNIA JUNO AUDACEM AD TURNUM . — AEN : LIB. XI. 2-3.” 35 10 .ENEAS SLAYING MEZENTIUS. Mezentius, falling backwards from his rearing horse, is transfixed through the throat by .Eneas with his sword. Unfinished. Signed “ E.B.J. 1873.” Inscribed on mount:— “ADVOLAT AENEAS, VAGINAQUE ERIPIT ENSEM —X. 896.” 11 .ENEAS AT THE TOMB OF MEZENTIUS. .Eneas stands at the tomb of Mezentius, beside which he has planted an oak tree. Upon the branches are hung the spoils of Mezentius, as an offering of the victor to the God of War. In background, the heaps of slain. Signed “ E.B.J. 1873.” Inscribed on mount:— “ CONSTITUIT TUMULO, FULGENTIA QUE INDUIT ARMA.—XI. 6 .” 12 THE DEATH OF TURNUS. .Eneas, with his spear, transfixes the shrinking Turnus through his shield, upon which crouches the Fury sent by Jupiter. In the background, a rocky gorge. Signed “ E.B.J. 1873.” Inscribed on mount:— “ ILLI MEMBRA NOVUS SOLVIT FORMIDINE TORPOR XII. 867.” Lent by Laurence W. Hods on, Esq. 161 to 164 SEVENTEEN ILLUSTRATIONS AND INITIAL LETTERS FOR AN ILLUMINATED VIRGIL (never carried out). 1 JUNO. The goddess, drawn in a car by peacocks, holding a sceptre in her right hand. Behind her a fortified city. Inscribed “ For a painted Virgil.” Signed “ E.B.J. 1873.” 6 % b y 23 A- 2 LETTER H. CASSANDRA, AMID THE FLAMES OF TROY. Signed “E.B.J.” 4 3 A b y 2 H- 3 LETTER T. THE GOLDEN BOUGH. On the tree alight the two doves that guided .Eneas to the golden bough. Above, in a cloud, Venus, with background of roses. Signed “ E.B.J.” 6 A by 2^. 3 6 4 LETTER I. HELEN HIDDEN. Helen on the night of the Sack of Troy, crouched by a pillar in the Temple of Vesta. Signed “ E.B.J.” 4 3 A b y 2 3 A- 5 NEPTUNE. With his emblems :—Trident, dolphin and various other creatures of the sea. Signed “ E.B.J.” $% by 2^. 6 LETTER D. TROY BURNING. Signed “E.B.J.” by 162 7 TARTARUS, WITH THE PUNISHMENTS OF THE DAMNED. Above, the Furies wreathed with serpents; below, Sisyphus rolling his stone up the cliff, Tityus with the vulture gnawing his liver, and Ixion bound upon a flaming wheel. At the foot, a group of sinners with a vast stone in act of descending. “ Quos super atra silex jamjam lapsura cadentique Imminet adsimilis.” Signed “E.B.J. 1875.” 'lV\ by 3. 8 LETTER D. THE PASSING OF DIDO. Dido seated swooning upon the flaming pyre; above her, Iris descends in a rainbow and cuts the fatal lock from her head; the half-built towers of Carthage in the background. Signed “E.B.J. 1875.” 6 % by 3. 9 LETTER E. THE RUIN OF PRIAM. Priam, in his palace, crouched over the body of his son Polites, his sceptre falling from his hand. Signed “ E.B.J. 1875.” 4 % by 3. 37 163 io LETTER P. DIDO’S WEDDING. Juno, crowned, holds the bridal torch; below her, Earth sits holding a myrtle bough. In the centre, 7 Eneas and Dido enter the cave. Above, wailing mountain nymphs. “Prima et Tellus et pronuba Juno Dant signum, summo que ulularunt vertice nymphae.” Inscribed “Juno ” and “ Terra.” Signed “ E.B.J. 1874.” by 2 11 LETTER I. FIGURE OF RUMOUR BLOWING HORN. Rumour, with wings full of eyes, and ears erect, and serpents wound round her, passes swiftly through the palace blowing a horn. Signed “E.B.J. 1874.” 6 y 2 by 2 y. 12 LETTER Q. LOVE AND DIDO. Love, in the likeness of the boy Ascanius, kneels on Dido’s lap, with his arms round her neck, and whispers into her ear. Inscribed “Amor” and “Dido.” Signed “E.B.J. 1874.” by 4 13 LETTER E. THE WOODEN HORSE. Troy in the background. Signed “ E.B.J. 1874.” 4 H b y 3 /^- 164 14 LETTER T. NEPTUNE AND THE WINDS. In the centre, Neptune with his trident chides the East and West winds. Background of calm sea with mountainous coast and a city. Above, seven other winds enveloped in swirling drapery. Below, Cymothoe and Triton, seated on the floor of the sea with coral and sea-creatures about them. Signed “E.B.J. 1874.” 9 by 3. 15 LETTER I. SCYLLA. Scylla surrounded by her barking hounds. Signed “E.B.J. 1874.” Sti by 2%. 16 LETTER T. ANDROMACHE. Andromache weeping over the cenotaph of Hector. Upon it is inscribed “ Hectori Duci.” Signed “ E.B.J. 1874.” 4 % by 3 - 38 17 LETTER P. POLYPHEMUS. Polyphemus wading through the sea leaning on a rough tree-trunk; in the background, a cave with two other Cyclopes, one of whom holds a rock and the other a club. Signed “ E.B.J. 1874.” SA by 3. The series of 29 drawings in 7 frames lent by Laurence IV. Hodson, Esq. 165 to 167 PYGMALION AND THE IMAGE. Three frames of eleven pencil designs for wood blocks, on tracing paper. Drawn for an illustrated edition of “ The Earthly Paradise,” never carried out. “ A man of Cyprus, named Pygmalion, made an Image of a Woman fairer than any that had yet been seen, and in the end came to love his own handiwork as though it had been alive ; wherefore, praying to Venus for help, he obtained his end, for she made the Image alive indeed, and a Woman, and Pygmalion wedded her.” —The Earthly Paradise. 1 PYGMALION, SOLITARY AND DESPONDENT. Pygmalion in his studio. As in the picture, he desires some beauty greater than can be found either in his own work or the Cypriote maidens. 4 H b y 3 A 2 PYGMALION WORKING ON THE IMAGE. by 3 l A 3 THE IMAGE COMPLETED. 4% by 3A- 4 PYGMALION AT THE ORGAN. 4 x A by 3 A 166 5 HE OFFERS FLOWERS AND INCENSE TO THE IMAGE The image now stands in a niche in his bedchamber. 5 by 3 / 8 . 6 HIS DESPAIRING LOVE. 5 by 3 A- 7 HIS PRAYER IN THE TEMPLE OF VENUS. 4 l A by 39 167 8 THE GODDESS GIVES LIFE TO THE IMAGE. Venus appears in a glory with tongues of flame. At the touch of the goddess the image takes life and is in the act to move from the niche, her hair falling down and the spray dropping from her hand. S/& by 3#. 9 PYGMALION RETURNS TO HIS HOUSE. 4 *A by 314. 10 HE FINDS HIS PRAYER FULFILLED. A l A by 3. 11 THE ALTAR OF HYMEN. Pygmalion and his bride embrace in the foreground by the lit altar. Behind sits Venus enthroned, an apple in her right hand, and Cupid standing between her knees. (See the picture at the New Gallery, painted in 1874 for the wedding of Miss Amy Graham and Mr. Kenneth Muir-Mackenzie.) Drawn about 1867-8. 4 H by 3 / 4 - Lent by the Executors. 168 to 171 THE HILL OF VENUS. Four frames containing twelve pencil designs for wood blocks, on tracing paper, drawn for an illustrated edition in folio of the “ Earthly Paradise,” projected but never carried out. Inscribed on the mount:— “A certain man by strange adventure fell into the power of Venus, who, repenting of his life with her, was fain to return to the world and amend all, but might not; for his repentance was rejected of men, by whomsoever it was accepted .”—The Earthly Paradise. Each 4^ by 6 }£. Lent by the Executors. Reference to William Morris’s poem shows that the poet’s treatment of the story differs totally from that of the painter. The drawings are almost certainly earlier than that poem as it appeared in the concluding volume of “ The Earthly Paradise.” They were drawn about 1867-8. The legend first appears in Suabia in late mediaeval chronicles towards the end of the fourteenth century. The story as popularised by Wagner varies from the mediaeval legend in essential particulars. Both painter and poet went to the original sources, and the result is characteristic of each. Though they worked together, they saw the story quite differently. For instance, the climax of the poem lies in the scenes with the goddess, but the painter does no more than lift the corner of the 40 veil (see the sixth Drawing): and the Roman scenes are passed lightly over by the poet, who loved better the mediaeval Germany, while the painter dwells lovingly on the details of the Eternal City (see Drawings 8 to 12). The same reticence of the artist is to be observed in his treatment of the story of Danae, where the pictorial moment that he chooses is Danae half- concealed and watching the building of the brazen tower in which she is doomed to be immured. But Titian pourtrays her in the Shower of Gold. Again, in “ the Briar-rose ” the painter has refrained from depicting the moment of awakening and the entry of the Prince to the Princess:— IlXeoy i]fuav Tlavro*;. 168 1 From the left enters a hunting party led by “Walter” (or Tannhaiiser), with hawk on right hand and two hounds. Pie hears the story of the Hill of Venus from a swineherd standing on the right. In the centre of the background are the cliffs of the Horsel—the Hill of Venus—and the cavern’s mouth that leads to her abode. 2 Walter, with drawn sword in front of the cavern, about to enter. In back¬ ground to right, his horse tethered, by a group of trees. 3 On the right he emerges from the cavern. A dove flutters to the ground before him, and he comes into a meadow peopled with a throng of those devoted to the service of Venus. 169 4 The City of Venus, surrounded by a river, in the background. From the left he approaches “ with faltering feet . . . “ He trembled as the wind came up the pass . . . 5 He accosts a girl as she comes with four others out of a door. Other girls seen through the doorway. 6 A room in the House of Venus, pillared and curtained. He draws apart the curtains, about to enter into her presence. 170 7 Outside the Horsel. A group of pilgrims descend from R. to L., one of whom accosts Walter standing downcast to R. 8 The arrival of the pilgrims at Rome. The train, with Walter in the fore¬ ground and last of all, moving past pagan ruins towards the gate of the Leonine City by the Castel S. Angelo in the middle distance. 9 The procession to the Pope. The last two pilgrims, with Walter behind, advancing along the Sacred Way through the Forum and disappearing to R. In the background, a procession of monks. 4i 171 io Before the Pope. Walter has told his story; the Pope rises in horror from his throne to flee from the accursed one, declaring that sooner may his staff bear leaves and fruit and flowers than so great a sinner be forgiven. 11 Walter departing through a colonnade of the pagan city to R., on his way back to “the black mouthed cavern, the dark door, Unto the fate now his for evermore.” In the background, the Piazza di San Giovanni Laterano and the Pope blessing the people from in front of the church. 12 The Pope’s Bedchamber. He raises himself in his bed to hear the news a monk has brought. Other monks approach, bearing his dry staff blossomed into leaves and flowers and fruit—the sign—too late— of salvation for the sinner. Lent by the Executors. 171 a “KING’S DAUGHTERS.” Elaborate design in pen and ink on vellum. Composition of 21 figures. In the centre, in front of a low parapet, in a pebble-paved court hard by an enclosed pool of gold fish, a king’s daughter stands holding an organ of 16 pipes, the keys of which she touches with her right hand, and blows the bellows with her left. To the R., another Princess stands listening, in profile, attended by two girls. To the L., a third Princess with two girls form another trio of listeners. Between the first and third Princess a little boy stands munching an apple, a dog chained to his waist, and a girl throws her arms round him from behind. Beyond the parapet to R., leaning out of a castle window and listening, are the King and Queen ; a parrot in a ring in the room behind them. Background of girls in an orchard, apple gathering. In the distance, white cliffs and sea, seen through the stems of the apple trees. Signed “ E. Burne-Jones.” Inscribed on oaken mount, “ King’s Daughters.” 7 V\ by io. Lent by the Marquess of Lansdozvne. 42 CASE OF PAINTED BOOKS AND SKETCHES, (At the East End of the Gallery.) 1 THE APOCRYPHA. Bound in vellum, with pen and ink drawing on both covers. i WISDOM ENTHRONED. Seated figure, facing. Above her two scrolls:— EGO IN AL TISSIMIS HA BITAVI ET THRONVS ME VS IN COLV MNA NVBIS AB INITIO ET ANTE SAECVLA CREATA SVM ET VSQVE AD FVTVRVM SAi CVLVM NON DESINAM She holds a scroll on her knees:— EGO MATER PVLCHRAE DILECTIONIS ET TIMORIS ET AGNITI ONIS ET SANCTAE SPEI. “ I am the mother of fair love, and fear, and knowledge, and holy hope.”— Ecclesiasticus xxiv. 18. 2 THE HOUSE OF WISDOM. Inscribed DOMVS SAPIENTIAE. From the four windows of which look out her four daughters, each window inscribed with their names:— PULCHRA DlLECTIO, TIMOR, AGNITIO and SANCTA SPES. iS/I. Lent by Mrs. Horner. 2 RUBAIYAT OF OMAR KHAYAM. MS. 19 pp. Text and decoration by William Morris, with six drawings in water colour (2^ by 4 / 4 ) by Sir E. Burne-Jones, each in a different scheme of colour; amongst them is the first design of “Love among the Ruins.” The other designs were never carried out in more elaborate form. About 1871-2. Lent by Mrs Horner. 43 3 BOOK OF 48 MOUNTED DRAWINGS. 41 in pencil and 8 in water colour, containing {inter alia) an early design in water colour for “ The Depths of the Sea,” the “ motive ” of which differs totally from the picture as subsequently carried out—(she looks upward in profile)—as well as a scene, anterior to that of picture, where the mermaid has first seized the mariner, but he is still fighting for his life. Also many pencil designs for the Kelmscott Press Chaucer, and other books— e.g., in the Golden Legend, the drawing of the Angels welcoming the Souls over the battlements of heaven. Lent by Mrs. Gasket/. 4 SKETCH BOOK, “XIV. 1880.” Inscribed E.B.J. to E.L., 1881. pencil. 78 pp., of which 54 contain studies in Lent by Lady Lewis. 5 BEETHOVEN’S SONGS. Bound in vellum, with water-colour drawing on the front cover, Orpheus with his Lute, 5^ by 3 ) 4 , decorated with a climbing five-petalled rose. Inscribed on top “ Beethoven,” and at foot, “ M.G., 1880, from E.B.J.” Lent by Mrs. Drew. CASE OF DRAWINGS FOR CHILDREN, CHIEFLY HUMOROUS. (At the West End of the Gallery.) 1 ANGELA’S BOOK. Containing 28 drawings, in pencil, for a little girl, the first dated April 16, 1891. 1. Baby seated on the grass; ducks and a pond. 2. Portrait of her own Tiger. 3. Farmyard and Pond. 4. Babies setting sail in a boat. 44 5. “ Boys' School.” 6. “ Girls’ School.” 7. “ Cats’ School.” 8. “ School for Dragon Babies.” 9. “ Seminary for more advanced Dragon Babies.” “HISSTRY SCHOOL” “JOGRUFFY SCHOOL.” 10. “ Dragon’s Home.” 11. “ The Tower of Babel ” (the beginning of a series of “ The Wonders of the World,” never completed). 12. “ The City of Brass.” 13. “ The Great Whirlpool.” 14. “ The North Sea.” 15. “ The King of all Beasts.” 16. “ Mount Abara.” 17. “ The Sphinx of the Desert.” 18. “ The Whirlwind.” 19. “The Burning Mountain.” 20. “ The Well at the World’s End.” 21. “ The Palace of King Solomon.” 22. “ The Tree that Weeps.” 23. “ The Doors of Hell.” 24. “ The Wooden Horse of Troy.” 25. “The Image that sings at the Sunrise.” 26. “ The Great Image of Rhodes.” 27. “ The Images that played at Ball.” 28. “ Mirk Striders.” Lent by Mrs . Mackaih 2 PHIL’S BOOK. Containing 90 drawings, mounted on the leaves, in pencil, pen and ink, and chalk. (1) The “ Horrours of Mountainous Lands,” a series of 20 pencil sketches; (2) How to draw a Baby, six lessons ; (3) The Pleasures of the Plain,—Babies, Cats, Ducks, Geese, Pigs, Wombats ; (4) Roman Emperors, a series of six; (5) The Heroic Tales of Britain; (6) The Sad Tales of Britain ; (7) The Innocent Tales of Britain ; and many others. Lent by Sir Philip Burne-Jones, Bart. 3 PHIL’S BOOK. Containing about 150 rapid sketches in pencil and pen and ink of Babies, Birds, Beasts, &c., &c. Lent by Sir Philip Burne-Jones, Bart. 45 4 THE CHILDREN’S BOOK. Containing drawings of Birds in “ Society,” “ Domestic Life,” “ Foreign Travel,” “The Father of the Family” (The Gander), Noah and the animals entering the Ark, &c., &c. Lent by Lady Lewis. 5 A PAIR OF FRAMED SKETCHES. (1) “A little person,” seated, with a halo, barefoot, warming herself at a fire, and a cat rubbing against her. (2) “ Tract No. 1 on Remorse,” the little person standing and weeping. Lent by Miss Maxse. 6 A PAIR OF FRAMED OUTLINE SKETCHES of fat pigs, and an apple “ for the sauce,” and “ A Merry Christmas.” Lent by Miss Maxse. 7 A PLEASURE PARTY. In water colour. A baby seated on the ground with a bowl, blowing- soap bubbles. Inscribed “ This is a pleasure party, with my love, E.B.J.” Lent by Mrs. Horner. 8 A HUNTING SCENE. In water colour. A baby riding a cat, bitted and harnessed and belled. Inscribed “ This is a hunting scene, with my love, E.B.J.” Lent by Mrs. Horner. 9 LOVERS. In water colour. A baby hugging a white cat on the grass. Cottages with red roofs behind ; three geese and pond in middle distance. Signed “ E.B.J. ,” and inscribed “ To Daphne.” Lent by Miss Dap/me Gaskell. 46 In the Case in the centre of the Gallery. “THE FLOWER BOOK.” A Book of Designs in Water Colour suggested by the Old English Names of Flowers. Circular. 5^ inches in diameter. 1 LOVE IN A MIST - - - - 2 GOLDEN THREAD - - - - 3 JACOB’S LADDER - - - - 4 TRAVELLER’S JOY - - - - 5 ROSE OF HEAVEN - - - - 6 FLOWER OF GOD - - - - 7 EARTH STARS - - - - - 8 GOLDEN CUP ------ 9 ADDER’S TONGUE - - - - 10 GOLDEN GATE - - - - - 11 VENUS’ LOOKING GLASS - Lent by Lady Burne-Jones. Theseus pursuing the clue through the Labyrinth. The three Kings drawing near to the scene of the Nativity. The stable and the manger in the middle distance in a fold of the hills. Venus descending a golden shaft from Heaven. The Annunciation, in a cornfield. Slight pencil design, not carried out. The Angel bearing the San Graal past Lancelot asleep in the wood. Adam and Eve in the Garden. The Serpent in guise of a woman emerging from a tree. Angel bearing forth the Sun from the Gate of Heaven. Venus, attended by a flight of doves, drift¬ ing over the sea. Moon rising behind hills. 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 47 KEY OF SPRING - - - - - Figure of Spring unlocking the sap of life in a leafless tree. LADDER OF HEAVEN- - - Iris ascending the rainbow. COMES HE NOT - - - - - Woman looking out from a watch tower at sunset. LOVE IN A TANGLE - - - Fair Rosamond in the maze holding a golden clue. WITCHES’ TREE - - - - - Merlin and Nimue. GRAVE OF THE SEA - - - Mermaid and Drowned Mariner. GOLDEN GREETING - - - The vision of a Knight, the moment after death, receiving his Lady’s kiss. GOLDEN SHOWER - - - - Danae in the Brazen Tower. FLAME HEATH . Brynhild asleep. STAR OF BETHLEHEM - - • The Angel bearing the Star in front; the three Kings approaching from different directions. MORNING GLORIES- - - - ■ Angel strewing clouds over a cornfield. WITH THE WIND - - - - Paolo and Francesca. WAKE, DEAREST - - - - • The Sleeping Beauty. WALL TRYST ------ Thisbe. HELEN’S TEARS - - - - - Helen and burning Troy. MARVEL OF THE WORLD - Venus floating across the sea against a sky barred with clouds. BLACK ARCHANGEL - - - Lucifer seated, amidst uprising flames. 48 29 ARBOR TRISTIS. The foot of the Cross ; nightfall. Jerusalem in the background. 30 SCATTERED STARWORT - Angels scattering stars. 31 SATURN’S LOATHING - - - Combat of Knights in a cornfield. 32 WELCOME TO THE HOUSE Angel welcoming a soul over the battle¬ ments of Heaven. 33 HONOUR’S PRIZE - - - - Angel bearing the San Graal to Sir Percival. 34 MOST BITTER MOONSEED - The Enemy sowing tares. 35 WHITE GARDEN ----- The Annunciation, among lilies. 36 MEADOWSWEET ----- The Voyage of Arthur in sleep to the Meadow of Avalon. 37 FALSE MERCURY - - - - Mercury bearing Dreams of home to two sleeping mariners at sea. 38 FIRE TREE . Moses and the Burning Bush. 39 DAY AND NIGHT - - - - PORTRAITS. In the Members’ Writing* Room. 172 MISS CLIFFORD. In pencil, life-size, three-quarter face to R. Inscribed ‘‘Ethel” and “ To Lucy Clifford. Edward Burne Jones, mdcccxcv.” b y l 3 T A' Lent by Mrs . W. K. Clifford. 49 173 THE LADY RAYLEIGH. In pencil, under life-size, nearly full-face to L. Signed “ E.B.J. to E.R. 1893.” 13 by io) 4 . Lent by the Lady Rayleigh. 174 THE REV. CANON MELVILLE. In pencil, life-size, three-quarter face to L. 16 by 11 y 2 . Lent by Mrs. Gaskell. 175 MRS. RALLI. In pencil, life-size, full face. Signed “ E.B.J. 1892” 1 7% by 12)4. In a predella: “The Marriage of St. Catherine.” In the centre, St. Catherine, led by the Virgin to Christ seated on clouds to the right among the tops of the hills. On the left, three angels. b y l 2 K- Lent by Mrs. Stephen Ralli. 176 MISS FRANCES GRAHAM (Mrs. Horner). In pencil, life-size, three-quarter face to L. Signed “ E.B.J. 1877.” ii )4 by 9 / 4 - Lent by the Executors. 177 MRS. SITWELL. In pencil, under life-size, nearly full face, inclined to L. 14)4 by 13 ^. Lent by Mrs. Sitwell. 178 MISS KATHERINE LEWIS. In pencil, life-size, full face. Signed “ E.B.J.” and inscribed “ K.L., 1898.” 19)4 by 13)4. Lent by Lady Lezvis. 179 MISS OLIVE MAXSE. In pencil, life-size, three-quarter face to L. Signed twice “E.B.J.” and inscribed, among olive branches, “Olive, June, 1895.” 19)4 by 13)4. Lent by Miss Olive Maxse. 50 180 MISS AMY GASKELL (Mrs. Bonham). In black chalk on dark ground, profile to R. Half-length, seated. Signed “E.B.J. to M.G., 1893.” I 7 & *>y 11^. Lent by Mrs. G ask ell. 181 MRS. STILLMAN. In black chalk on dark ground, the hair heightened with white, slightly under life-size, profile to R. Signed “ E.B.J.” 18^ by 14^. Lent by Mrs. Stillman. 182 MRS. WILLIAM BENSON. In chalk on red ground, under life-size, profile to L. Signed “ E.B.J. V.B. 1890.” I3j£ by 10 / 4 . Lent by W. A. S. Benson , Esq. 183 MISS MARGARET BURNE JONES (Mrs. Mackail). In chalk on red ground, life-size, full face. *7% by il?4. Lent by Lady Burne Jones. 184 MISS KATHERINE LEWIS (as a child). In chalk on white paper. Life-size. Three-quarter face to L. Inscribed “ K.L. 1884.” 13# by 9 Lent by Lady Leivis. 185 MISS LILI KAHN. In pencil. Nearly profile to R. Inscribed “ L.K. 1889.” 173X. by 12. Lent by Lady Lewis. 186 LADY LEWIS. In pencil. Life-size. Full face. Signed “ E.B.J.” Inscribed “ B.L. 1881 ” in the tail of a comet. 14% to 93^. Lent by Lady Lewis. 187 TWO PORTRAIT STUDIES OF MISS FRANCES GRAHAM (Mrs. Horner). In pencil. Full face, one-fourth life-size. Signed “ E.B.J.” Inscribed “F. 1873.” 7)4 by 6% and 6)4 by 4^. Lent by the Executors. 5i 188 THE PAINTER’S SON (Sir Philip Burne-Jones, Bart.). In pencil. Under life-size, profile to R. Inscribed “ P.B.J. MDCCCLXXVIII.” 12 by 10. Lent by Lady Burne-Jones. 189 i MISS MAY MORRIS (Mrs. Sparling). In pencil Three-quarter face to L. io% by 93J. 2 MISS GELLIBRAND. In pencil. Nearly full face. IQ% by 6 y^. Lent by the Executors. 190 MISS FRANCES GRAHAM (Mrs. Horner). In pencil. Full face. One-third life size. Lent by Miss Cicely Horner. HUMOROUS DRAWINGS. In the recess of the Members’ Writing* Room. 191 WOMBATS. Four drawings in pencil. 1 “ The Chase.” 4 by 6 %. 2 “ The Emigrants.” 6% by 4%. 3 “ Wombats, from the back of them,” and “Another Wombat, but he has too much tail and too much expression.” 6 yi by 4. 4 “Germ of Wombat,” “Eye of Wombat,” “Elementary Wombat for beginners, drawn in one line,” “Tail of Wombat.” 3/4 by 6%. Lent by Mrs. Herbert Jekyll. 52 192 1 HREE PEN AND INK DRAWINGS in one frame (for a little girl). 1 “Bird Nesting.” A baby perilously perched in the briarwood. 4 % by 3^ 2 “ A Charioteer.” A baby in a wheelbarrow driving two harnessed cats. $y 2 by 6 y 2 . 3 “ Mischevia Babiformia.” 4 % by 3 3 /4- Lent by Miss K. Leivis. 193 BABY AND HIS CAT. Eight pencil drawings in one frame, his cat. Scenes in the life of a baby and Lent by Lady Lewis. 194 THREE PEN AND INK DRAWINGS in one frame (contained in letters to a little girl). 1 “ Please fetch me from the Station .... and may I have the Donkey ? ” A little girl pulling the donkey along, on which are loaded a portmanteau and a carpet bag marked E.B.J. and the artist on the top. 5 % by 7 }{- 2 “ A picture for Mr. Carr’s Exhibition.” The artist painting a huge canvas of a country house and garden, and sunflowers. 6^ by 8^. 3 “ The Fish we have for Breakfast.” Catching a whale ; three boys in a boat lugging it in. 5 3 A by 7 %. Lent by Miss K. Lewis. 195 “OVER THE SEA TO FRANCE.” (Contained in a letter to a little girl.) In pencil. A boat under full sail. The mother reading. Two children looking over the side. 6 % by 8 %. Lent by Miss K. Leivis. 53 196 " MORAL LESSONS BY E.B.J.” 1 WORK. Children surveying two black boards with “ A ” and “ B.” 2 PLAY. Little girls seated in a ring, listening to birds upon a tree, on the left; and on the right, little boys picking up apples under an apple tree. Inscribed as above. 12 by I4%\ Lent by Lady Lewis. Cases in the Writing* Room. Containing—(1) An Autograph Letter, (2) A Book of Pencil Sketches for the Story of Cupid and Psyche, (3) Seven Illustrated Books. 1 AUTOGRAPH LETTER, addressed (probably) to Mr. Chesneau, in answer to certain biographical inquiries, and containing, inter alia, a list of what the artist regarded as his best works up to the date of the letter, Oct. 13th, 1882. Lent by C. Fairfax Murray , Esq. 2 BOOK OF DESIGNS FOR THE STORY OF CUPID AND PSYCHE. The series, now mounted in a volume, was intended to illustrate the Story as told in the Earthly Paradise. The finished drawings presented by Mr. Ruskin to the Oxford University Galleries are 47 in number (counting the last drawing as one though it consists of two pieced together) and are arranged in ten frames. They are on tracing paper, and in every respect similar in technique to the designs for the “ Hill of Venus,” and “ Pygmalion ” here exhibited. (Nos. 165-171). Once the main composition was settled, as in the present volume, the design was forwarded and completed by successive tracings, enabling the artist to correct and develop his design with comparatively little labour. The list of subjects to be treated, at the beginning of the volume, is in the handwriting of William Morris. Lent by C. Fairfax Murray , Esq. 54 3 BOOKS PRINTED BY WILLIAM MORRIS AT THE KELMSCOTT PRESS, WITH WOODCUT ILLUSTRATIONS DESIGNED BY SIR EDWARD BURNE-JONES. Out of 53 volumes printed at the Kelmscott Press between April 4th, 1891, and March 4th, 1898, thirteen contain woodcuts designed by Sir E. Burne- Jones. Of these, the chief is— CllAUCER. Folio; dated May 8th, and issued June 26th, 1896, with 87 woodcuts. The copy here exhibited is one of 13 copies on vellum. It belonged to William Morris and contains his autograph— “ William Morris, Sept. 2, 1896, Kelmscott House,” and also that of— “ Edward Burne-Jones, July 22: 1897, The Grange: Northend Rd., Fulham:” The remaining 12 volumes are :—- “A Dream of John Ball.” Small 4to. ; dated May 13th, issued September 24th, 1892 ; one woodcut. “ The Golden Legend ” of Jacobus de Voragine, translated by William Caxton. Large 4to. ; dated September 12th, issued November 3rd, 1892; woodcut title and two woodcut illustrations. “The Wood Beyond the World,” by William Morris. 8vo.; dated May 30th, issued October 16th, 1894; frontispiece woodcut. “ Syr Perecyvelle of Gales,” from the Thornton MS., in the Library of Lincoln Cathedral. 8vo.; dated February 16th, issued May 2nd, 1895 ; one woodcut. * “ Life and Death of Jason,” by William Morris. Large 4to.; dated May 25th, issued July 5th, 1895 ; two woodcuts. * “ The Well at the World’s End,” by William Morris. Large 4to.; dated March 2nd, issued June 4th, 1896; four woodcuts. “Sire Degrevaunt.” 8vo.; dated March 14th, 1896, issued Novem¬ ber 14th, 1897; one woodcut. “ Syr Ysambrace.” 8vo.; dated July 14th, and issued November nth, 1897; one woodcut. 55 * “Sigurd the Volsung,” by William Morris. Small folio; dated January 19th, and issued February 25th, 1898; two woodcuts. This book was intended to have had 25, subsequently increased to 40, illustrations, but the project was curtailed by the poet’s death. * “ Love is enough,” by William Morris. Large 4to.; dated December j ith, 1897, issued May 24th, 1898; two woodcuts. * “ A Note by William Morris on his aims in founding the Kelmscott Press,” etc. 8vo.; dated March 4th, issued March 24th, 1898. Frontispiece woodcut representing Psyche borne off by Zephyrus. Lent by R. H. Benson , Esq. * “ The Order of Chivalry,” translated from the French by William Caxton ; and “ L’Ordene de Chevalerie,” with translation by William Morris. Small 4to. on vellum ; 1892-3 ; one woodcut. Lent by H. Virtue Tebbs. Esq. Those marked * are exhibited in the Cases. PORTRAIT OF THE ARTIST. On a pillar in the Writing Room is a water colour Portrait, in profile, of Sir E. Burne-Jones, taken in 1869 while at work in the studio. Executed and Lent by C. Fairfax Murray, Esq. Metchim & Son , London. >:• ' Sr S9 ( gSCgj«iE« • V-i> ’:-*•' s? f i.’!>& ill - -v- - -7' ■- *- -■' >.. |vv. -V ‘ 3* _|p| • .--V. • • -'* • • ' • * ■ ** ■■■ ■ ■■ (.;■•>■ v-- ■'.- > - • • :■-. "ovVf; ^ . ■'.•-■ ■... ■ - ■ /.A'V.^VV ■ '. A.- '•. .•• :,M ':»¥>-••. j s V.- ; -\ W 'a- ’ - ; - - ., y. -: ■ •^:^'.:‘'i' 'v ..'■■• ' *■' ' V .' "'A. .. ^ ^ :•;-- > ote;A^ j*:.-^. •• ''• - ■ ‘ /»?•■• >••-/.« ■ * - 'n •^•vi'^'-V'-;. ■'“o-’-'^Vv :*;*&■!* »>&& • • ■: . ■ v..-. 7 " ’ . -7 ; va." .7'*',. 7-. '..•' "' : - y r *£'?»gfpsjj(u - ■ WSMm- ... .... ; ,: .. . -isJ- -. : •• ;■«.;. ' -~. - j ;, .-.■ .;**£>- v A ■ ... \^.Z* ' ■ <%A ;••■'■'• ' - ••'. ♦ ■ i-