THE NEW GALLERY 
 
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 88-B — 
 
 18099 
 
 EXHIBITION 
 
 • V ?■:. <;t OF ; ' ' , . ' 
 
 THE WORKS 
 
 OF 
 
 * 
 
 ' SIR EDWARD BURNE-JONES 
 
 1898-1899 
 
 PRICE ONE SHILLING 
 
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 THE NEW GALLERY 
 
 Directors. 
 
 C. E. HALLfi. | J. W. COMYNS CARR. 
 
 Consulting Committee. 
 
 ALFRED PARSONS, A.R.A. 
 
 C. H. READ, F.S.A. 
 
 : SIR W. B. RICHMOND, K.C.B.. R.A. 
 
 ! E. R. ROBSON, F.S.A. 
 
 ISIDORE SPIELMANN, F.S.A. 
 
 ; G. F. WATTS, R.A. 
 
 Secretary. 
 
 LEONARD C. LINDSAY, F.S.A. 
 
 Hssistant Secretary. 
 
 MISS THOMAS. 
 
 RULES FOR THE SUMMER EXHIBITIONS. 
 
 A RTISTS who are desirous of offering examples of their work for exhibition at 
 the New Gallery may send them in on the -first two Saturdays in March, such 
 works to be removed whether accepted or otherwise on the following Tuesdays. 
 To prevent disappointment on the part of those who may choose to avail them- 
 selves of this opportunity, the Directors of the New Gallery think it only right to add 
 that a great part of the space at their disposal is pledged beforehand, and that the non- 
 acceptance of any work does not therefore imply any kind of judgment as to its fitness 
 for exhibition. 
 
 Water-colour drawings sent in for approval must be framed in gold mounts. 
 
 No more than two works may be submitted for approval, and no works are eligible 
 which have been previously exhibited in London. 
 
 Every work must be accompanied by a note addressed to the Secretary, and con- 
 taining the name and address of the artist. But these particulars will be considered by 
 the Directors as strictly confidential, and no mention will afterwards be made of any 
 work submitted to them. 
 
 All works must be sent and removed at the artist’s expense, and those from the 
 country or from abroad must be delivered and removed by an agent, as cases cannot be 
 received at the Gallery. No work can be removed until after the close, of an 
 Exhibition. 
 
 A commission of ten per cent, is charge’d to the artists on all works sold in the 
 Gallery. 
 
 L. ALMA-TADEMA, R.A. 
 
 E. ONSLOW FORD, R.A. 
 ALFRED GILBERT, R.A. 
 
 H. A. GRUEBER, F.S.A. 
 
 W. HOLMAN HUNT, R.W.S. 
 J. W. NORTH, A.R.A. 
 
 From the Library of 
 Frank Simpson 
 
THE NEW GALLERY 
 
 EXHIBITION 
 
 THE WORKS 
 
 Sir Edward Burne-Jones, Bart. 
 
 1898-1899 
 

 
THE NEW GALLERY 
 
 Birectors- 
 
 C. E. HALLE. | J. W. COMYNS CARR. 
 
 Consulting Committee. 
 
 L. ALMA-TADEMA. R.A. 
 
 E. ONSLOW FORD, R.A. 
 ALFRED GILBERT, R.A. 
 
 H. A. GRUEBER, F.S.A. 
 
 W. HOLMAN HUNT, R.W.S. 
 J. W. NORTH, A. R.A. 
 
 ALFRED PARSONS, A. R.A. 
 
 C. H. READ, F.S.A. 
 
 SIRW.B. RICHMOND, K.C.B., R.A. 
 E. R. ROBSON, F.S.A. 
 
 ISIDORE SPIELMANN, F.S.A. 
 
 G. F. WATTS, R.A. 
 
 Hrcbitect- 
 
 E. R. ROBSON, F.S.A. 
 
 Secretary. 
 
 LEONARD C. LINDSAY, F.S.A. 
 
 Bssistant Secretary. 
 
 Miss THOMAS. 
 
arrangement of tbe Eybibition 
 
 SOUTH ROOM. 
 
 Pictures, Cabinet Size, in Oil and Water Colour. 
 
 WEST ROOM. 
 
 Pictures of the Middle Period. 
 
 NORTH ROOM. 
 
 Later Pictures, including “ Arthur in Avalon.” 
 
 CENTRAL HALL. 
 
 Drawings, Designs and Tapestry. 
 
 BALCONY. 
 
 Drawings and Designs. 
 
PREFATORY NOTE. 
 
 The Directors and the Secretary of the New Gallery 
 desire to tender their most grateful thanks to all those 
 who have kindly lent their pictures for exhibition, thus 
 enabling them to offer to the public the present collection 
 of Sir Edward Burne-Jones’s works, which with very few 
 exceptions is a complete series of the artist’s easel 
 pictures. 
 
 The Exhibition will be open from December 31st, 1898 
 till April 8th, 1899. 
 
 A selection of Sir Edward Burne-Jones’s drawings and 
 studies is on view at the Burlington Fine Arts Club, 
 17, Savile Row. Orders for admission can be obtained 
 from members of the Club. For particulars apply to 
 the Secretary of the New Gallery. 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/exhibitionofwork00burn_0 
 
EDWARD BURNE-JONES 
 
 cc I think Morris’s friendship began everything for me ; every- 
 thing that I afterwards cared for ; we were freshmen together 
 at Exeter. When I left Oxford I got to know Rossetti, whose 
 friendship I sought and obtained. He is, you know, the most 
 generous of men to the young : — I couldn’t bear with a young 
 man’s dreadful sensitiveness and conceit as he bore with mine. 
 He taught me practically all I ever learnt ; afterwards I made 
 a method for myself to suit my nature. He gave me courage 
 to commit myself to imagination without shame, — a thing 
 both bad and good for me. It was Watts much later who 
 compelled me to try and draw better. 
 
 u I quarrel now with Morris about Art. He journeys to 
 Iceland, and I to Italy, — which is a symbol — and I quarrel too 
 with Rossetti. If I could travel backwards I think my heart’s 
 desire would take me to Florence in the time of Botticelli.” 
 
 So Burne-Jones wrote of himself more than six-and-twenty 
 years ago. It chanced I had just then written a series of 
 
IO 
 
 EDWARD BURNE-JONES. 
 
 papers on living English painters; and, with the thought of 
 their republication, had asked him for some particulars of his 
 earlier career. The scheme, I remember, was never carried into 
 effect ; but his answer to my inquiry, from which I have drawn 
 this interesting fragment of autobiography, served as the begin- 
 ning of a long friendship that was interrupted only by death. 
 
 In those boyish essays of mine there was, as I now see, not a 
 little of that quality of youthful conceit that could never, I 
 think, have entered very largely into his composition ; and if I 
 recall them now with any sort of gratification, it is mainly 
 because they included an enthusiastic appreciation of so much 
 as was then known to me of the work of Rossetti and Burne- 
 Jones. Of Rossetti’s art this is not the time or the place to 
 speak ; but when, a little later, I too came under the sway of 
 his extraordinary personality, I could understand how deep 
 may have been the debt of obligation that is here so generously 
 acknowledged. For of all men I have ever known he was, I 
 think, to the mind of youth the most encouraging, the most 
 inspiring. So subtle and so strong was his intellectual sympathy 
 that those who came within the sphere of its influence were 
 constrained to give him of their best ; and there was cer- 
 tainly no one in whose presence a youth, who was sincere, could 
 dare to be so fearless in the confession of the most secret, the 
 most sacred ambitions. 
 
 Little wonder then that to the dream-fed soul of the younger 
 
EDWARD BURNE-JONES . 
 
 i 
 
 painter, whose art as yet lacked the means to fix in form and 
 colour the thronging visions that must already have crowded his 
 brain, the friendship of such a man must have seemed a priceless 
 possession : and although, with the patient and gradual assertion 
 of Burne-Jones’s individuality, their ways in the world of Art 
 divided, yet even in that later day each knew well how to 
 measure the worth of the other. Of what was highest and 
 noblest in the art of Rossetti, no praise ever outran the praise 
 offered by Burne-Jones to the man he had sought and owned 
 as his master ; and I can recall an evening in Cheyne Walk 
 more than twenty years ago, when there fell from the lips of 
 Rossetti the most generous tribute I have ever heard to the 
 genius of the painter but lately passed away. <c If, as I hold,” 
 he said, in those round and ringing tones that seemed at once 
 to invite and to defy contradiction, K the noblest picture is 
 a painted poem, then I say that in the whole history of Art 
 there has never been a painter more greatly gifted than Burne- 
 Jones, with the highest qualities of poetical invention.” Here 
 we have praise indeed ; but there is at least one living painter, 
 he whose long life still keeps the stainless record of unswerving 
 loyalty to a noble ideal ; to whom also Burne-Jones has 
 here owned his indebtedness ; who would, I believe, accept 
 and endorse even such a judgment as this. And if an artist’s 
 fame lives most sweetly, most securely, in the regard of his 
 fellows, who could ask aught higher of the living or the dead 
 
EDWARD BURNE-JONES. 
 
 1 2 
 
 of our time, than that the award of Rossetti should be con- 
 firmed and enforced by the painter of “ Love and Death ” ? 
 
 cc A picture is a painted poem.” Upon that Rossetti never 
 tired of insisting. “ Those who deny it,” he used to add in his 
 vehement way, a are simply men who have no poetry in their 
 composition.” We know there are many who deny it : — many 
 indeed who think it savours of the rankest heresy ; for herein, 
 as they would warn us, lurks the insidious poison of u the literary 
 idea.” Nor can such warning ever be without its uses. The 
 literary idea, it must be owned, has often played sad havoc 
 in the domain of art. Much both in painting and sculpture 
 that the world has rightly forgotten, or would fain forget, found 
 the source of its failure in misguided loyalty to a literary ideal ; 
 much even that survives still claims a spurious dignity from its 
 fortuitous attachment to an imaginative conception that had 
 never been rightly subdued to the service of Art. 
 
 But though the warning be timely, the definition which it 
 confronts is not on that account to be lightly dismissed. It is 
 true, as Rossetti stoutly maintained, and must ever remain true, 
 of all men who have poetry in their nature. It was true, from 
 the beginning of his career to its close, of the art of Burne- 
 Jones. From Ehe Merciful Knight to the unfinished Avalon , 
 wherein, as it would seem, he had designed to give us all that 
 was most winning in the brightly-coloured dreams of youth, 
 combined with all that was richest in the gathered resource of 
 
EDWARD BURNE-JONES. 
 
 i3 
 
 maturity, his every picture was a painted poem. Nay, more, 
 every drawing from his hand, every fragment of design, each 
 patient study of leaf, or flower or drapery, has in it something 
 of that imaginative impulse which controls and informs the 
 completed work. I have lately been turning over the 
 leaves of some of those countless books of studies he has left 
 behind him, studies which prove with what untiring and ab- 
 sorbing industry he approached every task he had set himself 
 to accomplish. And yet, amongst them all, of mere studies 
 there are none. Again and again he went back to nature, 
 but ever under the compelling impulse of an idea ; always 
 taking with him an integral part of what he came to capture. 
 That unprejudiced inspection of the facts of nature which, in 
 the preliminary stages of their work, may content those who 
 are moved by a keener and colder spirit of scientific research, 
 he had not the will, he had not the power, to make. For 
 every force carries with it its own limitation ; nor would it ever 
 have been his boast that nature owned no more than she 
 was fain to yield to him. If, then, with unwearied application 
 he was constantly re-seeking the support of nature, it was with 
 a purpose so frankly confessed, that even in the presence of 
 the model the sense of mere portraiture is already seen to be 
 passing under the dominion of the idea. At their first en- 
 counter the artist’s invention asserts its authority over his 
 subject ; and not all the allurements of individual face or form 
 
4 
 
 EDWARD BURNE-JONES. 
 
 which to men of a different temperament are often all-suffi- 
 cing, could find or leave him unmindful of the single purpose 
 that filled his mind and guided all the work of his hand. 
 
 It is this which gives to the drawings of Burne-Jones their 
 extraordinary charm and fascination. He who possesses one 
 of these pencil studies has something more than a leaf torn from 
 an artist’s sketch-book. He has in the slightest of them a frag- 
 ment that images the man: that is compact of all the qualities 
 of his art j and that reveals his ideal as surely as it interprets the 
 facts upon which he was immediately engaged. And yet we 
 see in them how strenuously, how resolutely, he set himself to 
 wring from nature the vindication of his own design. There 
 is no realist of them all who looked more persistently at 
 life, who spared himself so little where patient labour might 
 serve to perfect what he had in his mind to do ; and if the 
 treasure he bore away still left a rich store for others, it is 
 because the house of beauty holds many mansions, and no man 
 can hope to inhabit them all. 
 
 “ A picture is a painted poem.” Like all definitions that 
 pass the limits of barren negation, it contains only half a truth. 
 Like most definitions forged by men of genius, it is chiefly 
 valuable as a confession of faith. There is a long line of 
 artists to whom, save in a forced and figurative sense, it has 
 no kind of relevancy. And they boast a mighty company. 
 Flanders and Spain serve under their banner. Rubens and 
 
EDWARD BURNE-JONES, 
 
 15 
 
 Velasquez, Vandyck and Franz Hals, aye, and at no unworthy 
 distance, our own Reynolds and Gainsborough, are to be 
 counted among the leaders of their host. And long before the 
 first of these men had arisen, the tradition they acknowledged 
 had been firmly established. It was Venice that gave it birth. 
 Venice, where not even the commanding influence of Man- 
 tegna could hold back the flowing tide of naturalism that rose 
 under the spell of Titian’s genius. Out of his art, which con- 
 tained them both, came those twin currents of portraiture and 
 landscape that were destined to supply all that was vital in the 
 after development of painting in Europe. All that was vital ; 
 for though Religion and Allegory, History and Symbol, still 
 played their formal part in many a grandiose and rhetorical 
 design, these things were no longer of the essence of the 
 achievement. To the painters who employed them, nature 
 itself was already all-absorbing. The true poetry of their work, 
 whatever other claims it may seem to advance, resides in the 
 mastery of the craftsman ; it cannot be detached from the 
 markings of the brush that give it life and being. To wring 
 from nature its countless harmonies of tone and colour, to seize 
 and interpret the endless subtleties of individual form and 
 character, — these are the ideals that have inspired and have 
 satisfied many of the greatest painters the world has produced. 
 Who then shall say that Art has need of any other, any wider 
 ambition ? 
 
EDWARD BURNE-JONES . 
 
 16 
 
 And yet, as I have said, the house of beauty has so many 
 mansions that no single ideal can furnish them all. Nature is 
 prodigal to those who worship her ; there is fire for every altar 
 truly raised in her service. And so it happened that while Venice 
 was perfecting a tradition destined for many a generation to 
 sway the schools of Northern Europe, there had risen and 
 fallen at Florence a race of artists, such as the world had not 
 seen before and may haply not see again, who had asked ol 
 Nature a different gift, and had won another reward. That 
 imperishable series of “ painted poems ” which had been first 
 lisped in the limpid accents of Giotto, had found their final 
 utterance in the splendid dialect of Michael Angelo. In the 
 years that intervened, many hands had tilled the field ; many a 
 harvest had been gathered in ; but so rich had been the yield 
 that the land perforce lay fallow at the last ; and when Michael 
 Angelo died Florence had nothing to bequeath that the temper 
 of the time was fit to inherit. 
 
 From that day almost to our own the ideal of the Florentine 
 painters has slept the sleep of Arthur in Avalon. Those who 
 from time to time have sought to recapture their secret have 
 gone in their quest, not to the source, but to the sea. They 
 have tried to begin where Lionardo, Raphael, and Michael 
 Angelo left off : to repeat in poorer phrase what had been said 
 once and for all in language that needed no enlargement, that 
 would suffer no translation. They made the mistake of 
 
EDWARD BURNE-JONES. 
 
 17 
 
 thinking that the forms and modes of art are separable things, 
 independent of its essence ; that the coinage moulded by the 
 might of individual genius could be imported and adopted as 
 common currency ; and so even the most gifted of them carried 
 away only the last faltering message of a style already waning 
 and outworn. To look only to the painters of our own land, 
 we know well what disaster waited upon men like Barry, 
 Fuseli and Haydon in their hapless endeavours to recover the 
 graces of the grand style ; and even Reynolds, though he never 
 wearied in praise of Michael Angelo, was drawn by a 
 surer instinct as to his own powers into a held of Art 
 that owed nothing to the great Florentine. A truer per- 
 ception of what was needed, and of what was possible, in 
 order to revive a feeling for the almost forgotten art of 
 design came in a later time, and was due, as I have always 
 thought, mainly to the initiative of Rossetti. Not because 
 he stood alone in the demand for a more searching veracity 
 of interpretation ; that was also the urgent cry of men 
 whose native gifts were widely different from his, men like 
 the young Millais, who owned and paid only a passing al- 
 legiance to the purely poetic impulse which youth grants to 
 all, and age saves only for a few, and then sped onwards to 
 claim the rich inheritance that awaited him in quite another 
 world of Art. But if this new worship of nature was indeed at 
 the time a passion common to them all, yet amongst them 
 
1 8 
 
 EDWARD BURNE-JONES. 
 
 all Rossetti stands pre-eminent, if not absolutely alone in his 
 endeavour to rescue from the traditions of the past, and to 
 refashion according to present needs, a language that might 
 aptly render the visions of legend and romance. 
 
 And this in a larger and wider sense became afterwards the 
 mission of Burne-Jones. This was his life work, — to find 
 fitting utterance in line and colour for dreams of beauty that 
 in England at least had till now been shaped only in verse. 
 And to accomplish his task he was driven, as he has said, to 
 make a method to suit his own nature. The surviving 
 traditions of style could avail him little, for he already possessed 
 by right of birth a secret long lost to them. With him there 
 never was any question of grafting the perfected flower of one 
 art upon the barren stem of another. There, and there only, 
 lurks the peril of the literary idea. But it could have had 
 no terrors for him, who from the outset of his career submitted 
 himself, as by instinct, to the essential conditions of the medium 
 in which he worked, moving easily in those shackles which 
 make of every art either an empire or a prison. Of the 
 visions that came to him he took only what was his by right, 
 leaving untouched and unspoiled all that the workers in 
 another realm might justly claim as theirs. Every thought, 
 every symbol, as it passed the threshold of his imagination, 
 struck itself into form ; he saw life and beauty in no other 
 way. There was no laboured process of translation, for his 
 
EDWARD BURNE-JONES. 
 
 9 
 
 spirit lived in the language of design ; but labour there must 
 have been, and, as we know, there was, in perfecting an instru- 
 ment that had been so long disused. To be sure of his way 
 he had to seek again the path where it had been first marked 
 out by men of like ambitions to his own ; and it was by innate 
 kinship of ideas, not by any forced affectation of archaic form 
 that at the outset of his career he found himself following in 
 the footsteps of the painters of an earlier day. 
 
 u If I could travel backwards I think my heart’s desire 
 would take me to Florence in the time of Botticelli.” It was 
 by no accident that he chose this one name among many, 
 for of all the painters of his school Botticelli’s art asserts the 
 closest, the most affectionate attachment to the ideas which 
 gave it birth. Others could be cited whose work bears the 
 stamp of a deeper religious conviction : others again whose 
 technical mastery was more complete, who could boast a 
 readier command of the mere graces of decoration. But he 
 was the poet of them all. For him, more than for all the rest 
 of his fellows, the beauty of the chosen legend exercised the 
 most constant, the most supreme authority. It was the source 
 of his invention and the dominating influence which guided 
 every subtle detail of his design. It made his art, as it formed 
 and controlled all the processes of his art, leaving the in- 
 delible record of individual and personal feeling upon the 
 delicate beauty of every face that he pressed into its service. 
 
 B 
 
20 
 
 EDWARD BURNE-JONES. 
 
 It is not wonderful then that the poet-painter of our day 
 should have recognised with almost passionate sympathy the 
 genius of the earlier master, or that he should sometimes have 
 travelled backwards in spirit to the city wherein he dwelt 3 
 and if that longer journey upon which he has now set forth 
 should lead him not to Florence, who is there who shall declare 
 that he may not have met with Botticelli by the way ? 
 
 It is no part of my present purpose to offer any laboured 
 vindication of the art of Burne-Jones. That is not needed 
 now. The generous appreciation of a wider circle has long 
 ago overtaken the praise of those who first gave him welcome 3 
 and for others who have yet to learn the secret of his influence, 
 the fruit of his life’s labour is here to speak for itself. But in 
 the presence of work that is clearly marked off from so much 
 else produced in our time, it may be well to ask ourselves what 
 are the qualities we have a right to demand, what, on the other 
 hand, are the limitations we may fitly concede to a painter 
 whose special ambition is so frankly avowed. For there is no 
 individual and there is no school whose claims embrace all the 
 secrets of nature, whose practice exhausts all the resources of 
 art. To combine the design of Michael Angelo with the 
 colouring of Titian was a task that lay not merely beyond the 
 powers of a Tintoret. It is an achievement impossible in 
 itself 3 and even could we suppose it possible, it would be 
 destructive and disastrous. Titian had design, but its qualities 
 
EDWARD BURNE-JONES. 
 
 2f 
 
 were of right and need subordinated to the dominant control of 
 his colour ; Michael Angelo used colour, but it served only as 
 the fitting complement of his design ; and although the result 
 achieved by both has the ring of purest metal, there is no 
 power on earth that can suffice to fuse the two. These two 
 names, we may say, stand as the representatives of opposite 
 ideals, which have been fixed and separated by laws that are 
 elemental and enduring ; and if between these ideals, — leaning 
 on the one hand towards symbolism, on the other towards 
 illusion, — the pendulum of art is for ever swaying, this at 
 least we know, that it can never halt midway. 
 
 And between these ideals Burne-Jones made no hesitating 
 choice. For him, from the outset of his career, design was all 
 in all, and the forms and colours of the real world were in their 
 essence only so many symbols that he employed for the ex- 
 pression of an idea. His chosen types of face and form are 
 fashioned and subdued to bear the message of his own in- 
 dividuality. No art was ever more personal in its aim, or, to 
 borrow an image of literature, more lyrical in its direction. 
 The scheme in which he chose to work did not admit of ¥/ide 
 variety of characterisation, but for what is lacking here we 
 have, by way of compensation, a certainty, an intensity of 
 vision that supplies its own saving grace of vitality. There is 
 nothing of cold abstraction or formal classicism. Though his 
 art affects no mere transcript of nature, and can boast not all 
 
 B 2 
 
22 
 
 EDWARD BURNE-JONES. 
 
 the allurements of nature, yet nature follows close at its 
 heels; and if the beauty he presents has been formed to inhabit 
 a world of its own, remote from our actual world, we are 
 conscious none the less that he had fortified himself at every 
 step by reference to so much of life as he had the power or the 
 will to use. And again, we may see that while his mind was 
 bent upon the poetic beauty of Romantic legend, he never 
 suffered himself to depend upon that merely scenic quality that 
 seeks for mystery in vague suggestion or uncertain definition. 
 His design, whatever the theme upon which it is engaged, has 
 the simplicity, the directness of conviction. He needs no 
 rhetoric to enforce his idea. All that he sees is clearly and 
 sharply seen ; with something of a child’s wondering vision, 
 with something also of the unsuspecting faith and fearless 
 familiarity of a child. r ^M, 
 
 And, as with his design, so also with his colour. He 
 worked in both at a measured distance from reality, never 
 passing beyond the limits he had assigned to himself, and using 
 only so much of illusion as seemed needful for the illustration 
 of his idea. The accidents of light and shade, with their 
 infinite varieties of tint and tone, which yield a special charm 
 to work differently inspired, were not of his seeking. He 
 would indeed, on occasion, so narrow his palette as to give to 
 the result little more than the effect of sculptured relief : he 
 could equally, when so minded, range and order upon his can- 
 
EDWARD BURNE-JONES. 
 
 23 
 
 vas an assemblage of the most brilliant hues that nature offers. 
 But in either case he employed what he had chosen always 
 with a specific purpose, — for the enrichment of his design, 
 not for any mere triumph of imitation. Few will deny to 
 the painter of the Chant <T Amour and Laus Veneris the native 
 gift of a colourist, but we may recognise in both these 
 examples, and, indeed, in all he has left us, that the painter 
 disposes his colours as a jeweller uses his gems. They are 
 locked and guarded in the golden tracery that surrounds and 
 combines them. And they may not over-run their setting, 
 for to him, as to all whose genius is governed by the spirit 
 of design, the setting is even more precious than the stone. 
 
 These qualities of Burne-Jones’s art are not peculiar to him. 
 They find their warrant, as we have seen, in all the work of 
 that earlier school to which he loved to own his obligation. 
 But they were strange to the time in which he first appeared ; 
 and to their presence, I think, must be ascribed no small part 
 of the hostility he then encountered. Something, no doubt, 
 was due to the immaturity of resource which marked his earlier 
 efforts. And he knew that. At a time when his imagination 
 had already ripened, he was but poorly equipped in a purely 
 technical sense ; and although there is no education so rapid as 
 that which genius bestows upon itself, it was long before his 
 hand could keep pace with the pressing demands of the ideas 
 that called for interpretation. But apart from mere technical 
 
2 4 
 
 EDWARD BURNE-JONES . 
 
 failure, there was in his own individuality, and still more in the 
 means which he recognised as the only means that could 
 rightly serve him, not a little that was sure of protest from a 
 generation to whom both were unfamiliar. This also he well 
 knew : and I think it was the clear perception of it which gave 
 liim patience and courage to press forward to the goal. 
 
 And there were times when he had need of both. The 
 critics who saw in his earlier efforts only the signs of 
 affectation, greeted him with ridicule. We are reported 
 a grave nation, but laughter is a safe refuge for dulness 
 that does not understand ; and as there were few of the 
 comic spirits then engaged upon art criticism who had the 
 faintest apprehension of the ideal which inspired his art, 
 they found in it only a theme for the exercise of a some- 
 what rough and boisterous humour. But they never moved 
 him from his purpose ; never, I think, even provoked in him 
 any strong feeling of resentment. His nature was too gentle 
 for that, his strength of conviction too deep and too secure. 
 No one ever possessed a larger quality of personal sympathy; 
 no one, it might seem, was on that account so much ex- 
 posed to the influence of others. And in a sense this was so. 
 In the lighter traffic of life his spirit flew to the mood of the 
 hour. His appreciation was so quick, his power of identifying 
 himself with the thoughts and feelings of others so ready and 
 so real that he seemed at such moments to have no care to 
 
EDWARD BURNE-JONES. 
 
 2 5 
 
 assert his own personality. Nor had he ; for of all men he 
 was surely the most indifferent to those petty dues that great- 
 ness sometimes loves to exact. That was not the sort of 
 homage he had any desire to win ; and as he put forward no 
 such poor claim on his own behalf, his keen sense of humour 
 made him quick to detect in others the presence or assump- 
 tion of mere parochial dignity. Of that he was always 
 intolerant ; indeed, I think there was scarcely any other 
 human failing for which he could not find some measure of 
 sympathy. But although in the free converse of friends his 
 spirit passed swiftly and easily from the gravest to the lightest 
 themes, anxious, as it would seem, rather to leap with the 
 lead of others than to assert his own individuality, it was easy 
 to see how firmly, how resolutely, he refused all concession 
 in matters that concerned the deeper convictions of his life. 
 To touch him there was to touch a rock. Behind the 
 affectionate gentleness of his nature, that was accessible to 
 every winning influence, lay a faith that nothing could shake 
 or weaken. It was never obtruded, but it lay ready for all 
 who cared to make trial of it. In its service he was prepared 
 to make all sacrifice of time and strength and labour. His 
 friends claimed much of him, and he yielded much ; generous 
 both in act and thought, there was probably no man of such 
 concentrated purpose who ever placed himself so freely at 
 the service of those he loved ; but there was no friend of 
 
2 6 
 
 EDWARD BURNE-JONES. 
 
 them all who could boast of having won any particle of the 
 allegiance that the artist owed to his art. That was a world 
 in which he dwelt alone, from which he rigorously excluded 
 all thoughts save those that were born of his task ; and 
 though every artist has need of encouragement, and he 
 certainly loved it not less than others, yet such was the 
 tenacity of his purpose, such a fund of obstinate persistence 
 lay at the root of a nature that was in many ways soft and 
 yielding, that even without it I think he would have laboured 
 on patiently to the end. 
 
 A mind so constituted was therefore little likely to yield to 
 ridicule. Such attacks as he had to endure may have wounded, 
 but they did not weaken his spirit ; and with a playful humour 
 that would have surprised his censors, he would sometimes 
 affect to join the ranks of his assailants, and wage a mock 
 warfare upon his own ideals. I have in my possession 
 a delightful drawing of his which is supposed to represent 
 a determination to introduce into his design a type of beauty 
 that was more acceptable to the temper of his time. He had 
 been diligently studying, as he assured me, the style and method 
 of the great Flemish masters, and he sent me as earnest of his 
 new resolve a charming design of Susanna and the Elders “after 
 the manner of Rubens.” On another occasion he wrote to 
 me that he felt he had striven too long to stem the tide of 
 popular taste, that he was determined now to make a fresh 
 
EDWARD BURNE-JONES . 
 
 27 
 
 departure, and that with this view he had projected a 
 series of pictures which were to be called the “ Homes of 
 England.” He enclosed for my sympathetic criticism the 
 design for the first of the series. It was indeed a masterpiece. 
 Upon a Victorian sofa, whose every hideous and bulging 
 curve was outlined with the kind of intimate knowledge that 
 is born only of love or of detestation, lay stretched, in ster- 
 torous slumber, the monstrous form of some unchastened 
 hero of finance. A blazing solitaire stud shone as a beacon 
 in a trackless field of shirt-front : while from his puffy hand 
 the sheets of a great daily journal had fallen fluttering to the 
 floor. There were others of the series, but none I think 
 which imaged with happier humour that masculine type, 
 whose sympathies at the time he was so often charged with 
 neglecting. 
 
 For it must not be forgotten that when ridicule had done 
 its work, Burne-Jones was very seriously taken to task by cc the 
 apostles of the robust.” There are men so constituted that all 
 delicate beauty seems to move them to resentment ; men who 
 would require of a lily that it should be nurtured in a gym- 
 nasium ; and who go about the world constantly reassuring them- 
 selves of their own virility by denouncing what they conceive to 
 be the effeminate weakness of others. To this class the art 
 of Burne-Jones came in the nature of a personal offence. 
 They raged against it ; warning their generation not to yield 
 
28 
 
 EDWARD BURNE-JONES. 
 
 to its insidious and enervating influence ; and the more it 
 gathered strength the more urgently did they feel impelled to 
 insist on its inherent weakness. But, as Shakespeare asked of 
 us long ago — 
 
 “ How with this rage shall Beauty hold a plea 
 Whose action is no stronger than a flower ? ” 
 
 They forgot that : forgot that something of a feminine, 
 not an effeminate, spirit enters into the re-creation of all forms 
 of beauty ; that an artist, by the very nature of his task, 
 cannot always be in the mood to pose as an athlete. And, 
 even if they had desired to define the special direction of 
 Burne-Jones’s art, or to mark the limits of its exercise — limits 
 that no admirer, however ardent, would seek to deny — they 
 need not surely have been so angry. 
 
 So at least it seemed to me then. And yet, rightly 
 viewed, the very vehemence of such opposition was in its 
 own way a tribute to his power. Any new artistic growth 
 that passes without challenge may perhaps be justly suspected 
 of being produced without originality, and certainly such 
 work as his, that bears so clearly the stamp of a strong 
 individual presence, could hardly escape a disputed welcome. 
 It must even now in a measure repel many of those whom 
 it does not powerfully attract and charm : for it cannot be 
 regarded with the sort of indifference that is the fate of work 
 less certainly inspired : it must therefore always find both 
 
EDWARD BURNE-JONES. 
 
 29 
 
 friends and foes. But so does much else in the world of art 
 that speaks with even higher authority than his. There are 
 many to whom the matchless spell of Lionardo’s genius remains 
 always an enigma ; many again who yield only a respectful 
 assent to the verdict which would set Michael Angelo above 
 all his fellows. 
 
 We may be patient, then, if the genius of Burne-Jones 
 wins not yet the applause of all. It bears with it a special 
 message, and is secure of homage from those for whom 
 that message is written. They are many to-day who at 
 the first numbered only a few : they are many, and I think 
 even the earliest of them would say that their debt to 
 him was greatest at the last. In praise and love they 
 followed him without faltering to the close of a life that 
 knew no swerving from its ideal ; a life of incessant labour 
 spent in loyal service to the mistress he worshipped ; and 
 even though he had won no wider reward, this I believe 
 would have seemed to him enough. 
 
 J. Comyns Carr. 
 
 London, December , 1898 . 
 
SIR EDWARD BURNE-JONES, BART. 
 
 Edward Burne-Jones was born at Birmingham in 1833. He 
 was educated at King Edward’s School in that city, and in 1852 
 entered as a student at Exeter College, Oxford. Originally intended 
 for the Church, he afterwards abandoned this idea in favour of Art, 
 and at the age of twenty-three came to London, where he studied 
 painting under the guidance of Dante Gabriel Rossetti, with whom 
 and with William Morris, Charles Faulkner, Ford Madox Brown, 
 and Philip Webb, he was afterwards closely associated in schemes 
 which embraced not only painting, but architecture, stained glass, 
 furniture, book illustration, tapestry, and other forms of art crafts- 
 manship. 
 
 In i860 he married Georgiana Macdonald, and had three children, 
 of whom the survivors are Philip, the present baronet, and Margaret, 
 wife of J. W. Mackail, Esq. 
 
 He was elected a member of the Society of Painters in Water 
 Colours in 1863, and contributed regularly to their exhibitions until 
 his retirement in 1870. During the several succeeding years, little 
 of his work was seen by the public ; but from the date of its establish- 
 ment in 1877, he became an annual contributor to the exhibitions of 
 the Grosvenor Gallery, and afterwards to the New Gallery, which was 
 opened in 1888. 
 
 He was elected an Associate of the Royal Academy in 1885, but 
 resigned in 1895 ; was made D.C.L. of Oxford in 1881 ; Hon. Fellow 
 of Exeter College, Corresponding Member of the Institute of 
 France : re-elected member of the Royal Society of Painters in 
 Water Colours in 1888. Created a baronet in 1894, Chevalier of the 
 Legion of Honour, etc. He died June 17th, 1898. 
 
CATALOGUE 
 
 The Numbers commence in the South Room , and contmue from left to 
 right. 
 
 Throughout the Catalogue , in describing the pictures , the right and 
 left mean those of the spectator facing the picture. 
 
 SOUTH ROOM, 
 
 1 . Clerk Saunders. 
 
 Clerk Saunders entreats May Margaret to let him into her 
 house ; she faintly repels him. 
 
 See Minstrelsy of the Scottish Border. 
 
 Small full-length figures ; Clerk Saunders in red habit em- 
 bracing May Margaret, who gently resists ; she wears yellow 
 dress ; they stand at the entrance of a house ; town in the 
 distance. Signed and dated, E. B. J., 1861. Water colour, 
 27JX in. 
 
 Lent by H. T. Wells. Esq., R.A. 
 
 2 . A Girl and Goldfish. 
 
 A young girl in red smock heightened with gold, seated by a 
 tank containing goldfish. Water colour, 1 ij x in. 
 
 Painted in 1861-2. From the Collection of G. P. Boyce. 
 
 Lent by C. Fairfax Murray, Esq. 
 
3 2 
 
 Exhibition of the Works [south room. 
 
 3 . A Love Scene. 
 
 A youth and maiden, seated on the banks of a stream, kissing. 
 Signed and dated, E. B. J., 1862. Water colour, 12 x 11 in. 
 
 . Lent by G. F. Watts, Esq., R.A. 
 
 4 . The Blessed Damozel. 
 
 “ The blessed damozel leaned out 
 From the gold bar of Heaven ; 
 
 Her eyes were deeper than the depth 
 Of waters stilled at even.” 
 
 D. G. Rossetti . 
 
 Small full-length figure of a maiden in red and gold dress, 
 leaning over a bar and looking down on to the earth ; flowers 
 and trees in the background. Water colour, 16 x 8 in. 
 
 Painted i860 1. 
 
 Lent by T. G. Arthur, Esq. 
 
 5 . The Backgammon Players formerly called the 
 
 Chess Players'). 
 
 A youth and a maiden, seated in a garden near a house, and 
 playing backgammon ; trees in the background ; sundial to 
 left. Water colour, 9J x 14 in. 
 
 Painted 1861-2. 
 
 Lent by Sir John C. Holder. 
 
 6. Dorigen of Bretagne. 
 
 “ Another tyme ther would sche sitte and thinke, 
 
 And caste her eyen downward fro the brynke ; 
 
 But when she saugh the grisly rokkes blake, 
 
 For verray fere so wolde here herte quake 
 That on hire feet sche mighte nought here sustene. 
 Thenne wolde sche sitte adoun upon the greene, 
 
 And pitously into the sea byholde.” 
 
 Chaucer, The Frcinkliris Tale. 
 
 Dorigen, turned from the spectator, kneels in a chamber, and 
 leaning with outstretched arms on a window sill, gazes at the 
 stormy sea ; an organ on the right ; books on the floor. 
 Signed, E. B. J. Water colour, iojx 14J in. 
 
 Painted in 1871. 
 
 Lent by Constantine A. Ionides, Esq. 
 
south room.] by Sir Edward Burne-Jones . 33 
 
 7 . The Adoration of the Magi. 
 
 The Virgin, seated to right, holding the Child ; before her 
 kneel the Magi, making their offerings ; attendants to right and 
 left. Oil, 43 x 61 J in. 
 
 Painted in 1861. 
 
 This, together with No. 8, forms a triptych painted originally 
 as an altar piece for St. Paul’s, Brighton. The figures give portraits 
 of William Morris, Algernon Charles Swinburne, and the painter 
 himself. 
 
 Lent by G. F. Bodley, Esq., A.R.A. 
 
 8 . The Annunciation. (Two Panels.) 
 
 On the left panel is the Angel, Gabriel, kneeling ; a branch in left 
 hand ; the right raised ; background of curtain and foliage ; 
 on a scroll above is inscribed, in the sixth month the 
 ANGEL GABRIEL WAS SENT UNTO A CITY OF GALILEE NAMED 
 NAZARETH ; on the right panel, the Virgin, seated to left, her 
 hands clasped to her breast, and receiving the message of the 
 angel ; before her pots of lilies and other flowers ; curtain 
 background ; on a scroll above is inscribed, to a virgin 
 ESPOUSED TO A MAN WHOSE NAME WAS JOSEPH OF THE 
 HOUSE OF DAVID, AND THE VIRGIN’S NAME WAS MARY. Oil, 
 40 j x 29 in. (each). (See No. 7.) 
 
 Lent by G. F. Bodley, Esq., A.R.A. 
 
 9. The Annunciation. 
 
 On the left stands the Virgin, wearing a blue robe with red 
 sleeves and holding a dove ; she is addressed by the angel 
 Gabriel, bearing a censer ; in the background the serpent, 
 entwined around the tree of Knowledge. Signed and dated, 
 E. B. J., 1861. Water colour, 21 x 15 in. 
 
 Lent by Richard Mills, Esq. 
 
 IO. Fair Rosamond and Queen Eleanor. 
 
 On the right Rosamond, in white dress, is attempting to 
 escape, but is entangled by a red cord, held by Queen Eleanor, 
 who follows behind her. Signed and dated, E. B. J., 1862. 
 Water colour, io x iojin. 
 
 From the Leathart Collection. Exhibited at the Royal Water 
 Colour Society 1864, New Gallery 1892-3. 
 
 Lent by Edward Clifford, Esq. 
 
34 
 
 Exhibition of the Works [south room. 
 
 11. Cinderella. 
 
 Full-length figure of a girl in green dress and white apron, 
 standing before a dresser, with plates, dishes, &c. ; her right 
 hand is raised to her hair, and her left holds her apron ; she 
 wears the glass slipper on her left foot. Signed and dated, 
 E. B. J., 1863. Water colour, 27 x 12J in. 
 
 Exhibited at the Royal Water Colour Society 1864. 
 
 Lent by A. E. Street, Esq. 
 
 12 . A Landscape. (“In a Wood.”) 
 
 Water colour, 7J x 8f in. 
 
 Lent by J. F. Horner, Esq. 
 
 13 . Viridis of Milan. 
 
 Half-length figure of a woman in a blue dress with open front ; 
 facing and leaning on a table ; her right hand rests on an 
 apple ; before her, a rose ; on the left, a scroll inscribed 
 E. B. J., 1861. Water colour, 11J x 9J in. 
 
 Lent by H. J. Wells, Esq., R.A. 
 
 14 . The King’s Wedding. 
 
 On the right King Rend and his bride, seated under a canopy ; 
 before them dance six maidens dressed in blue ; on the left a 
 statue of Cupid under a canopy ; in the background behind a 
 wall are girls playing instruments of music. Signed, E. Burne 
 Jones. Water colour on vellum, I2f x 10J in. 
 
 Painted in 1870. From the W. Graham Collection. 
 
 Lent by J. F. Horner, Esq. 
 
 15 . Laus Veneris. 
 
 Sketch for No. 96. Signed and dated, E. B. J., 1861. Water 
 colour, 12 x 18 in. 
 
 Lent by Colonel H. Jekyll. 
 
south room.] by Sir Edward Burne-Jones . 
 
 35 
 
 16 . The Triumph of Love. 
 
 “ Amor vincit omnia.” 
 
 Four panels ; the first represents “Fortune” with her wheel, 
 as in No. 95 ; the second, “ Fame,” blowing his trumpet ; the 
 third, “ Oblivion,” with his scythe ; and the fourth, “ Love,” 
 with his bow, trampling on “ Oblivion ” ; behind, “ Fame ” dead 
 and “ Fortune ” with her wheel in the distance. Signed and 
 dated, E. B. J., 1871. Water colour, first and fourth panels, 
 12 x 6^ in. ; second and third panels, 12 x 5^ in. 
 
 Designed as a predella for “ Troy,” which was not finished. 
 From the Brockbank Collection. 
 
 Lent by Douglas W. Freshfield, Esq. 
 
 17 . Astrologia. 
 
 Half-length figure of a girl, to left, in red dress, holding up in 
 both hands the crystal ball, into which she is looking intently ; 
 before her, an open book on a table. Water colour, 21 \ x 
 18J in. 
 
 Painted in 1864. Exhibited at the Royal Water-Colour Society 
 1865, New Gallery 1892-3. 
 
 18 . Pyramus and Thisbe. A Triptych. 
 
 “ But what is that that love cannot espie, 
 
 Ye lovers too if that I shall not lie, 
 
 Ye founden first this little narrow clift, 
 
 And with a sound as soft as any shrift 
 They let their wordes through the clifte pace, 
 
 And tolden, while they stonden in the place 
 All their complaint of love and all their woe 
 At every time when they durst& so.” 
 
 Chaucer, Legend of Good Women. 
 
 On the right panel is seen Pyramus in a white robe leaning 
 forward, and peeping through a cleft in the wall watching 
 Thisbe, who is represented on the left panel in the act of taking 
 a letter placed in the wall before her ; in the centre panel is 
 a kneeling figure of Cupid on a pedestal in the act of drawing 
 
 C 
 
Exhibition of the Works [south room. 
 
 36 
 
 his bow ; background of foliage ; on a scroll below the pedestal 
 is the above quotation. Signed on left panel, E. B. J. Water 
 colour, on vellum ; outer panels, 14 x 10^ in. ; centre panel, 
 14 x si in. 
 
 Painted 1872-6. 
 
 Lent by Walter Holland, Esq. 
 
 19 . St. Valentine’s Morning. 
 
 A maiden lying on a couch, listening to the strains of a zither 
 played by a waiting woman ; at the window appears Love 
 bearing a letter sealed with a heart. Signed and dated, 
 E. B. J., 1863. Water colour, 11 x 15 in. 
 
 Lent by A. E. Street, Esq. 
 
 20 . The Garland. 
 
 On the top of a flight of steps leading from a court-yard stands 
 a maiden in rose-colour dress, in the folds of which she holds 
 a spray of wild roses. Signed, E. B. J., 1866. Water colour, 
 30 x 17J in. (See also No. 26.) 
 
 This and No. 26 form part of a design for a picture in six 
 compartments, which was not completed. 
 
 Lent by Messrs. Arthur Tooth and Sons. 
 
 21 . Venus Epithalamia. 
 
 The goddess stands on the left, and leans against a statue of 
 Cupid ; she holds a torch in her left hand ; in the background 
 through a doorway is seen a procession of figures carrying 
 torches ; a nude figure standing on a ladder is placing a gar- 
 land over the doorway. Signed and dated, E. B. J., MDCCCLXXI. 
 Water colour, 15 x 10J in. 
 
 Lent by Mrs. Stillman. 
 
 22 . Clara von Bork. 
 
 Small full-length figure to right, in yellow dress, with brown 
 velvet sleeves, holding in her hands a nest of fledgling doves ; 
 figures in the background, cat in the foreground. Signed, 
 E. B. Jones Pinxit, i860. Water colour, 13^ x 7 in. 
 
 From the Leathart Collection. Exhibited at the New Gallery, 
 1892-3. 
 
 This and No. 24 were done for characters in Meinhold's 
 
 Sidonia the Sorceress . 
 
 Lent by W. Graham Robertson, Esq. 
 
south room.] by Sir Edward Btirne- Jones. 37 
 
 23 . Dies Domini. 
 
 Christ, in a blue raiment, in the act of benediction, descending 
 on the wings of angels ; His left hand points to His pierced side. 
 Water colour, circular, 44 in. 
 
 Painted 1880. Exhibited at the Grosvenor Gallery 1881-2, 
 New Gallery 1892-3. 
 
 Lent by the Earl of Carlisle. 
 
 24 . SlDONIA VON BORK. 
 
 Small full-length figure to left, in white dress, covered with 
 black interlaced pattern ; figures in the background. Signed 
 i860 E. Burne Jones Fecit. Water colour, 13 x 6J in. 
 From the Leathart Collection. Exhibited at the New Gallery 
 1892-3. (See No. 22.) 
 
 Lent by W. Graham Robertson, Esq. 
 
 25 . The Altar of Hymen. 
 
 Two figures embracing before an altar ; in the background stands 
 Cupid, blinded, near his mother Venus, who is seated and 
 holds an apple. At the foot of the altar are initials and date, 
 a.m. FEB. XXVI. mdccclxxiv. Signed, E. B. J. Gold and 
 water colour, 15 x io| in. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 26 . The Garland. 
 
 In a court-yard stands a maiden in rose-coloured robe ; 
 she is turned from the spectator, and her hands rest on a 
 staff twined with ribbon, up which is trained a flowering 
 rose-tree. Signed and dated, E. B. J., 1866. Water colour, 
 30 x 17 J in. (See No. 20.) 
 
 Lent by Messrs. Arthur Tooth and Sons. 
 
 27 . Girl seated in a Meadow. 
 
 A girl in black dress, seated on the grass, her hands clasped 
 around her knee ; in the background a mill near a stream. 
 Water colour, 7J x 6j in. 
 
 Painted 1867. From Lord Leighton’s Collection. 
 
 Lent by S. P. Cockerell, Esq. 
 
 C 2 
 
38 
 
 Exhibition of the Works [south room. 
 
 28 . Hope. 
 
 “ If Hope were not, heart should break.” 
 
 Half-length figure of a woman facing in green dress, open in 
 front ; right hand resting on parapet ; left holding ball on which 
 is a scroll with motto as above : background of foliage. Signed 
 Edward Burne Jones. Water colour, 8 x 6J in. 
 
 Painted in 1862. Exhibited at the New Gallery 1892-3. 
 
 Lent by Mrs. Knowles. 
 
 29 . The Feast of Peleus. 
 
 “ At the marriage feast of Peleus, whereat he entertained the 
 gods, when all seemed well, Discord entered unbidden, and 
 cast an apple on the board, on which was written ‘For the 
 Fairest.’ This apple the three great goddesses claimed, and 
 with this strife began many ills to men and the ruin of Troy.” 
 
 Around a table set upon the seashore of Thessaly, and pre- 
 pared for a feast, are grouped a company of gods and goddesses, 
 with attendant centaurs. On the extreme right stands Discord, 
 with bat wings and head wreathed with knotted serpents. By 
 her side sits the dark-skinned Bacchus, crowned with ivy, who 
 crushes grape juice into a cup ; and behind are Proserpine and 
 Ceres, the latter crowned with wheat. Next to Bacchus, 
 winged and wearing the cap of darkness, kneels Mercury, 
 holding in his left hand the golden apple of Discord, whilst 
 in his right he holds up a scroll inscribed “ Detur Pul- 
 CHERRlMiE.” Close to him is Apollo, bearing his harp, and 
 further to the left Love preparing the marriage couch and the 
 three Fates spinning their fatal web. At the end of the table 
 sit Mars and Vulcan, and at the back in the following order 
 are Venus, Minerva, and Juno, all of whom are seeking the ex- 
 pected reward. Beside Juno is Jove, seated upon his throne, 
 and bearing the emblems of his majesty, and on his left, 
 shielded beneath the eagle’s wing, are Thetis, swathed in the 
 flame-coloured bridal robe, and her husband Peleus. In the 
 background, landscape and distant sea. Signed, E. B. J. 
 Oil, 15 x 43J in. panel. 
 
 Painted 1872 — 1881. From the W. Graham Collection. Ex- 
 hibited at the Grosvenor Gallery 1882, New Gallery 1892-3. 
 
 Lent by Rt. Hon. William Kenrick, M.P. 
 
south room.] by Sir Edward Burne-Jones. 39 
 
 30 . A Landscape. 
 
 Water colour, 6f x 15 in. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 3 1 . Danae’ s Tower. 
 
 Acrisius, king of Argos, having dreamt that he would be slain 
 by the son of his daughter Danae, built a brazen tower in 
 which to imprison her for life, hoping thus to escape his fate. 
 
 Danae, in red dress, standing in a court and watching the 
 building of the tower, which is seen in the distance through a 
 door ; before her a fountain ; behind her the cypress tree. 
 Signed, E. B. J. Panel, 15 x 7J in. 
 
 Painted in 1872. From the W. Graham Collection. 
 
 Lent by Mrs. R. H. Benson. 
 
 32 . A Sacrifice to Hymen. 
 
 On the left stands Love, near a wreathed altar, playing on 
 his lyre ; on the other side of the altar are seated on the 
 ground a youth and a maiden ; her right hand rests upon a 
 tambourine and her left is held by the youth ; at his side a 
 rustic pipe ; in the background trees and city. Oil, 10J x 14 in. 
 
 Painted in 1875. 
 
 Lent by Charles D. Galloway, Esq. 
 
 33 . The Mermaid. 
 
 A mermaid with her child in the sea near the shore. Signed in 
 monogram and dated, E. B. J., 1882. Water colour, 12^x9 in. 
 
 Lent by Lady Lewis. 
 
 34. The Marriage of Sir Tristram. 
 
 “ Then by the meanes of King Howell and his son, Sir Kay 
 Hedius, by their great proffers there grew great love betweene 
 Isoud le blaunch Mains and Sir Tristram, for that lady was 
 both good and faire and a woman of noble blood and fame 
 .... And so upon a time Sir Tristram agreed to wed Isoud 
 
40 
 
 Exhibition of the Works [south room. 
 
 le blaunch Mains, and so at last they were wedded and 
 solemnly held their marriage.” 
 
 Morte cP Arthur, c. xxxvi. 
 
 The knight is placing the jing on the finger of his bride, Iseult 
 of the White Hand, whose train is held by an attendant ; be- 
 tween them stands the bishop before the altar ; on the left are 
 King Howell of Bretagne and his Queen. Water colour, 
 23 x 22 in. 
 
 Painted in 1862. 
 
 Lent by A. E. Street, Esq. 
 
 35 . The Ring given to Venus. 
 
 “There was a man in a certain great city who on his 
 wedding-day unwittingly gave his spousal ring to the goddess 
 Venus. And for this cause trouble came upon him, till in the 
 end he got his ring back again.” 
 
 Earthly Paradise. 
 
 In a garden court a youth in dark brown robe is placing a ring 
 on the finger of a half-nude statue of Venus ; his head is turned 
 towards his bride, who is holding a ball ; in the background 
 are girls running. Water colour, 12J x 19 in. Panel. Un- 
 finished ; begun in 1872. 
 
 Lent by The Executors of the Artist. 
 
 36 . The Prioress’s Tale. 
 
 “ My litel child, now wol I fechen thee 
 Whan that the grayn is fro thy tonge ytake ; 
 
 Be not agaste, I wol thee not forsake.” 
 
 Chaucer’s The Prioress's Tale. 
 
 Behind a low parapet, with open door, stands the Virgin in 
 dark blue robes, and holding ears of corn in her left hand ; 
 she bends forward and places a grain into the mouth of a little 
 child, who is rising to receive it ; in the foreground and at the 
 sides are lilies, poppies, and sunflowers ; in the background is a 
 scene in the street of a town, the child being murdered and 
 scholars entering school on the left, and other groups. Signed, 
 E. B. J., 1865-98. Water colour, 40^ x 25 in. 
 
 The last work completed by the artist. Exhibited at the New 
 Gallery 1898. 
 
 Lent by Lady Colvile. 
 
south room.] by Sir Edward Bttrne-Jones. 41 
 
 37 . The Madness of Sir Tristram. 
 
 “ So would Sir Tristram come unto that harp, and hearken the 
 melodious sound thereof, and sometimes he would harpe him- 
 selfe. Thus he endured there a quarter of a year.” 
 
 Historie of King Arthur , c. lix. 
 
 In the foreground, seated on the ground, is Sir Tristram 
 playing a harp; behind him, on the left, stands a maiden in 
 white, and leaning against a tree ; before him is a seated 
 youth and behind him a woman holding a white hound. 
 Signed, E. B. J. Water colour, 23J x 22 in. 
 
 Painted in 1862. Exhibited at the Society of British Artists 1892 
 New Gallery 1892-3. 
 
 Lent by Mrs. Coronio. 
 
 38 - Green Summer. 
 
 In a glade a group of maidens, dressed in green and listening 
 to one who reads from a book ; in the background, water and 
 trees. Signed and dated, E. B. J., 1864. Water colour, 
 11 x 19 in. 
 
 Exhibited at the Royal Water Colour Society 1865, New Gallery 
 1892-3. 
 
 Lent by W. Coltart, Esq. 
 
 39 . The Days of Creation. 
 
 Six panels, with angels holding globes, on each of which is 
 represented a different phase of the creation of the world. 
 On the first is shown the division of light and darkness ; on 
 the second, the ordering of chaos ; on the third, the dividing 
 of the waters and the land ; on the fourth, the creation of the 
 sun, moon and stars ; on the fifth, the creation of animal life ; 
 and on the sixth, that of Adam and Eve, whilst the “ Day of 
 Rest” is symbolised by an angel seated playing a musical 
 instrument. Signed and dated, E. B. J., 1876. Water colour 
 (six panels), 40 x 13J in. each. 
 
 From the W. Graham Collection. Exhibited at the Grosvenor 
 Gallery 1877, New Gallery 1892-93. 
 
 Lent by Alexander Henderson, Esq., M.P. 
 
42 
 
 Exhibition of the Works [south room. 
 
 40 . The Forge of Cupid. 
 
 “ Under a tree, beside a welle, I sey 
 Cupide our Lorde his arrows forge and file ; 
 
 And at his feet his bowe already lay ; 
 
 And wel his doughter tempred, al the while, 
 
 The heddes in the welle ; and with her wile 
 She couched hem after, as they shulde serve 
 Some to slee, and some to wound and kerve.” 
 
 Chaucer’s Assembly of Foules. 
 
 In a grove Cupid in red habit kneels beside his anvil busily 
 filing an arrowhead ; before him kneels his daughter, 
 Delight, tempering the hot blade of an arrow and holding 
 others already completed. Signed and dated, E. B. J, pinxit 
 1861. Water colour, I2f x 19J in. 
 
 Exhibited at the Royal Water Colour Society 1865, New Gallery 
 1892-3. 
 
 Lent by Mrs. R. H. Benson. 
 
 41 . Chaucer’s “Dream of Good Women.” 
 
 “ And from a ferre came walking in the mede 
 The God of Love, and in his hand a queen, 
 
 And she was clad in royal habit green.” 
 
 From the Prologue to Chaucer’s Legend 
 
 of Good Women. 
 
 The poet is seen seated at a fountain, asleep : on the right, 
 divided from him by a large poppy, the emblem of sleep, is 
 Love, winged, who leads to him a girl in a green dress, the 
 first of a procession of ladies winding away into the far 
 distance along a woodland valley. Signed, E. B. J. Water 
 colour, 18 x 24 in. 
 
 Painted in 1871. Exhibited at the New Gallery 1892-3. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
south room.] by Sir Edward Burne-Jones. 43 
 
 42 . The Wizard. ( Unfinished .) 
 
 In a panelled chamber the wizard stands, with his right hand 
 turning the leaves of an ancient volume, whilst with the left he 
 withdraws a curtain and discloses a shipwreck in a magic 
 mirror to a maiden standing beside him ; before her, resting 
 upon a tripod, is a copper cauldron, heated by a brazier ; dis- 
 posed about the room are other symbols of his art. Oil, 
 36 x 21 in. Panel. 
 
 Begun 1891. 
 
 Lent by Sir John C. Holder. 
 
 43 . The Graiae. 
 
 The original picture for No. 121. Signed and dated, E. B. J., 
 1880. Oil, 12 x 17 in. Panel. 
 
 Exhibited at the Grosvenor Gallery 1882, New Gallery 1892-3. 
 
 Lent by Mrs. R. H. Benson. 
 
 44 . Chaucer’s “Dream of Good Women.” 
 
 The original design for No. 41, from which it varies in some 
 particulars. The composition consists of six figures only, and 
 the garden is bounded by a stone wall, beyond which is seen a 
 grove with trees. Signed, E. B. J., 1865. Water colour, 
 ni x 1 si in. 
 
 From Lord Leighton’s Collection. Exhibited at the Royal 
 Water Colour Society 1867. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 45 . Saint Cecilia. 
 
 Small full-length figure of St. Cecilia, facing, in crimson 
 drapery, playing an organ, which is suspended from her neck. 
 Signed and dated, E. B. J., 1870. Watercolour, 21J x 10^ in. 
 
 From the W. Graham Collection. 
 
 Lent by J. F. Horner, Esq. 
 
44 
 
 Exhibition of the Works [south room. 
 
 46 . Hero. 
 
 Full-length figure of Hero, in white drapery, bending to right, 
 and thrusting a branch into a fire, the signal to Leander. Oil, 
 28^ x 30^ in. 
 
 Painted in 1875. 
 
 Lent by Mrs. William Graham. 
 
 47 . The Briar-Rose. 
 
 The story of the Sleeping Beauty, told in three pictures : — 
 
 In this picture, the Prince is seen entering the wood in 
 which are the sleeping Knights ; the second (No. 48), repre- 
 sents the King with his court all asleep ; and the third 
 (No. 57), the Sleeping Beauty with her maidens. 
 
 In this series, which is the earlier rendering, the subject of 
 “ the Garden Court ” was not included. 
 
 Oil, 23 J x 50 \ in. Painted in 1871. 
 
 Lent by Mrs. William Graham. 
 
 48 . The Briar-Rose. 
 
 The King and his sleeping courtiers (see No. 47). Signed and 
 dated, E. B. J., mdccclxxi Oil, 23J x 52J in. 
 
 Lent by Mrs. William Graham. 
 
 49 . The Three Maries. 
 
 Small full-length figures ; in front stands the Virgin, in white 
 robe and red and blue mantle, and holding the lily ; behind 
 her are five women, two of whom hold her robe. Water 
 colour design for stain glass, 41 x 19J in. 
 
 Painted 1862. 
 
 Lent by Mrs. Radcliffe. 
 
 50 . Fatima. 
 
 Full-length figure, facing, in red dress with brown sleeves and 
 red turban, in the act of putting the fatal key into the door on 
 her left. Water colour, 31 x 10J in. 
 
 Painted in 1862. 
 
 Lent by the Earl of Carlisle. 
 
south room.] by Sir Edward Btirne-Jones . 45 
 
 51 . The Sisters. 
 
 Two maidens, one dressed in grey, the other in red, walking 
 in a landscape; a building in the distance. Signed, E. B. J. 
 Water colour, 13x6! in. 
 
 Lent by Lady Lewis. 
 
 52 . A Landscape. 
 
 Water colour, 7J x 17 in. 
 
 Lent by Sir Philip Burne-Jones, Bart. 
 
 53 . The Merciful Knight. 
 
 “Of a Knight who was merciful to his enemy whom he might 
 have destroyed ; and how the image of Christ kissed him in 
 token that his act had pleased God. 55 
 
 The Knight, having laid aside his helmet and sword, is 
 seen kneeling in a shrine before a crucifix, the figure of which 
 bends forward from the cross and embraces him ; landscape 
 background with knight on horseback. Signed and dated, 
 Edward Burne Jones, 1863. Water colour, 39J x 27 in. 
 
 From the Leathart Collection. Exhibited at the Royal Water 
 Colour Society 1864, New Gallery 1892-3. 
 
 Lent by John T. Middlemore, Esq. 
 
 54 . Love disguised as Reason. 
 
 In a landscape before a city on the sea-shore stand two maidens 
 with hands joined before Love, wearing the cloak and hood of 
 Reason, with a book and bow under his arm, the forefingers 
 of each hand crossed ; between them in the background the 
 stem of a tree. Signed and dated, E. B. J., 1870. Water 
 colour, 26J x 12J in. 
 
 From the W. Graham Collection. Exhibited at the Royal 
 Water Colour Society 1870, New Gallery 1892-3. 
 
 Lent by Gertrude, Countess of Pembroke. 
 
46 
 
 Exhibition of the Works [south room. 
 
 55 . The Annunciation. 
 
 In a chamber the Virgin kneeling before a couch, on which is 
 an open book ; before her appears the Angel Gabriel, holding 
 a lily. Water colour, 12. x 10J in. (See also No. 59.) 
 
 Lent by Mrs. Radcliffe. 
 
 56 . St. Dorothea. 
 
 The Saint stands facing, clad in red dress and blue mantle ; her 
 right hand holds a sword, and with her left she receives a 
 basket r of flowers from a child-angel, who stands before her, 
 and is turned from the spectator. Inscribed, E. B. J. to R. H. 
 Water colour, 3 x 15J in. 
 
 Lent by the Earl of Carlisle. 
 
 57 . The Briar-Rose. 
 
 The Sleeping Beauty, with her maidens. (See No. 47). Signed 
 and dated, E. B. J. mdccclxxi. Oil, 23J x 45 in. 
 
 Lent by Mrs. William Graham. 
 
 58 . Cupid and Pysche. 
 
 Cupid being sent by Venus to destroy Psyche, is ensnared by 
 her love when he first sees her. 
 
 “ So soon the rustle of her wings 5 gan stir, 
 
 Her looser folds of raiment, and the hair 
 Spread wide upon the grass and daisies fair 
 As Love cast down his eyes with a half smile, 
 
 Godlike and cruel ; that faded in a while, 
 
 And long he stood above her hidden eyes, 
 
 With red lips parted in God’s surprise.” 
 
 Earthly Paradise , Story of Cupid and Psyche. 
 
 Psyche, bare to the waist, asleep, her arm resting on a parapet ; 
 before her Cupid stands, looking down at her ; he is in blue 
 drapery, and holds his bow and arrow in his right hand ; from 
 a lion’s ‘head on the right a spout of water falls straight down 
 by Psyche’s side ; city in the background. Water colour, 
 27 x i8f in. 
 
 From the W. Graham Collection. 
 
 Lent by Mrs. R. H. Benson. 
 
south room.] by Sir Edward Burne-Jones. 47 
 
 59 . The Annunciation, or “The Flower of 
 God.” 
 
 In a chamber the Virgin kneeling before a couch, on which is 
 an open book ; before her appears the Angel Gabriel, holding 
 a lily and wearing red robes. Water colour, 24 x 21 in. (See 
 also No. 55.) 
 
 Painted in 1863. Exhibited at the Royal Water Colour Society 
 1864, New Gallery 1892-3. 
 
 Lent by W. Coltart, Esq. 
 
 60 . Zephyrus and Psyche. 
 
 “He came in sight 
 
 Of Psyche laid in swoon upon the hill, 
 
 And smiling set himself to do Love’s will, 
 
 For in his arms he took her up with care, 
 
 Wondering to see a mortal made so fair, 
 
 And came into the vale in little space, 
 
 And set her down in the most flowery place.” 
 
 Earthly Paradise , Story of Cupid and Psyche. 
 From a mountain- top Zephyrus, in a green robe, is bearing 
 away Psyche asleep, draped in red, to the Palace of Love. 
 Water colour, 15 x io£ in. 
 
 Painted in 1865. From the W. Graham Collection. Exhibited 
 at the Royal Water Colour Society 1866. 
 
 Lent by Gertrude, Countess of Pembroke. 
 
 61 . Pan and Psyche. 
 
 Psyche, in despair at Love’s loss, casts herself into the river. 
 
 “ But the kind river even yet did deem 
 That she should live, and, with all gentle care, 
 
 Cast her ashore within a meadow fair 
 Upon the other side, where shepherd Pan 
 Sat looking down upon the water wan.” 
 
 Earthly Paradise , Story of Cupid and Psyche. 
 
 In a landscape, Pan, kneeling on a rock, leans over and tenderly 
 places his hand on the head of Psyche, who is coming out of 
 the stream. Signed, E. B. J. Oil, 23I x 2of in. 
 
 Similar to No. 90. Painted for Mr. A. Ionides. 
 
 Lent by Mrs. R. H. Benson. 
 
48 
 
 Exhibition of the Works [south room. 
 
 62 . The Sleeping Beauty. 
 
 The Princess, asleep on a richly-draped couch, at the side of 
 which is seated an attendant also asleep, a lute at her side ; 
 green curtain above, and rose-briars in the background. In- 
 scribed on the left, E. B. J. to M. J. M., 1886-1888. Water 
 colour, 38 x 58 in. 
 
 Lent by Mrs. J. W. Mackail. 
 
west room.] by Sir Edward Burne-Jones. 49 
 
 WEST ROOM. 
 
 63 . Spes. 
 
 Full-length figure of Hope, in blue drapery, standing to right 
 before a barred window, holding a branch of apple-blossom 
 in her right hand, and looking up towards her left hand, which 
 is enveloped in a light blue cloud. Signed and dated, E. 
 Burne-Jones, 1877. Water colour, 69 x 2 7 % in. 
 
 From the F. S. Ellis Collection. Exhibited at the Grosvenor 
 Gallery 1877, New Gallery 1892-3. 
 
 Lent by Alexander Henderson, Esq., M.P. 
 
 64 . Flamma Vestalis 
 
 Half-length figure of a maiden to right, in a dark-blue robe and 
 light-blue headdress ; water, with boat, and buildings in 
 the background. Signed and dated, E. B. J,, 1896. Oil, 
 24 J x i6j in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
 65 . The Wine of Circe. 
 
 “ Dusk-haired and gold-robed o’er the golden wine 
 She stoops, wherein, distilled of death and shame, 
 
 Sink the black drops ; while, lit with fragrant flame, 
 
 Round her spread board the golden sunflowers shine. 
 
 Doth Helios here with Hecate combine 
 (O Circe, thou their votaress ?) to proclaim 
 F or these thy guests all rapture in Love’s name, 
 
 Till pitiless Night give Day the countersign? 
 
 Lords of their hour, they come. And by her knee 
 Those cowering beasts, their equals heretofore, 
 
5 ° 
 
 Exhibition of the Works [west room. 
 
 Wait ; who with them in new equality 
 To-night shall echo back the sea’s dull roar 
 With a vain wail from passion’s tide-strewn shore, 
 
 Where the dishevelled seaweed hates the sea.” 
 
 Written for the picture by D. G. Rossetti. 
 
 Before a table prepared for a feast stands Circe, in orange- 
 coloured dress ; she leans forward, and pours a potion into a 
 bowl ; before her, two panthers ; behind, a throne and a tripod 
 with brazier and entwined with serpent : through a window is 
 seen the sea, with ships approaching. Signed. E. Burne-Jones. 
 Water colour, 27J x 40 in. 
 
 Painted 1863-1869. Exhibited at the Royal Water Colour 
 Society 1869, New Gallery 1892-3. From the F. R. Leyland 
 Collection. 
 
 Lent by Miss Gertrude Foster. 
 
 86. The Petition to the King {No. 2 of the Series 
 of “St. George and the Dragon 
 
 In this series the artist represents, first (see No. 113), the 
 King’s daughter walking in her garden ; secondly, in the pic- 
 ture now before us, the petition of his people to the King to free 
 the land from the ravages of the Dragon ; thirdly (see No. 71), 
 the drawing of the lot as to which of the maidens of the land 
 should be sacrificed to the Dragon, and showing how the choice 
 falls upon the King’s daughter; fourthly (see No. 100), how the 
 King’s daughter, followed by her companions, is led out to the 
 sacrifice ; fifthly (see No. 97), how the Princess is left tied to 
 the tree ; sixthly (see No. 94), how the Dragon is slain, and the 
 Princess delivered by St. George ; and, seventhly (see No. 103), 
 how she is led home, amidst the rejoicings of the people. This 
 series was painted in 1865-6 as a decoration for the dining- 
 room of Mr. Birket Foster’s house at Witley. 
 
 Composition of eight figures ; on the left is seated the King, 
 with his chamberlain beside him, on a stone terrace, flanked 
 by a border of white lilies ; he is receiving a company of his 
 subjects, who are pleading to be released from the scourge 
 of the Dragon. Signed and dated, E. B. J., 1865-6. Oil, 
 42 X 72 in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
west room.] by Sir Edward Burne-Jones. 
 
 5i 
 
 67 . Portrait of Philip Comyns Carr. 
 
 Half-length figure of a child, standing towards left, before a 
 parapet, wearing light blue jersey ; his hands clasped before 
 him. Inscribed with the name, and dated, “London, 1882. 
 E. B. J. (monogram) TO J. A. C. (monogram).” Oil, 27J x 
 1 8j) in. 
 
 Exhibited at the Grosvenor Gallery 1883, New Gallery 
 892-3. 
 
 Lent by J. Comyns Carr, Esq. 
 
 68 . The Beguiling of Merlin. 
 
 “ It fell on a day that they went through the forest that is 
 called the Forest of Broceliande, and found a bush that was fair 
 and high, of white hawthorn, full of flowers, and there they sat 
 in the shadow. And Merlin fell on sleep ; and when she felt 
 he was on sleep she arose softly and began her enchantments, 
 such as Merlin had taught her, and made the ring nine times 
 
 and nine times her enchantments 
 
 “ And then he looked about him, and him seemed he was in 
 the fairest tower of the world and the most strong ; neither of 
 iron was it fashioned, nor steel, nor timber, nor of stone, but of 
 the air without any other thing ; and in sooth so strong it is 
 that it may never be undone while the world endureth.” 
 
 Romance of Merlin. 
 
 In a glade of flowering white hawthorn stands Nimue, in light 
 blue drapery, holding up an open book in both hands ; her 
 head is turned towards Merlin, in dark blue dress, who is seated 
 on a bough and is looking up, bewitched by her enchantments, 
 Signed and dated, E. Burne Jones, mdccclxxiv. Oil. 
 72 x 43 in. 
 
 Exhibited at the Grosvenor Gallery 1877, New Gallery 1892-3, 
 From the F. R. Leyland Collection. 
 
 Lent by Lilian, Duchess of Marlborough. 
 
 69 . An Angel. 
 
 Three-quarter length figure to left, in white robes, holding 
 cymbals ; in background, a window. Watercolour, 28 x 23J in. 
 
 Painted 1887. 
 
 Lent by the Executors of the Artist. 
 
 D 
 
52 
 
 Exhibition of the Works [west room. 
 
 70. Portrait of Miss Gertrude Lewis. 
 
 Half-length figure, in profile to left, in blue dress ; arms crossed, 
 and left elbow resting on a ledge. Signed and dated, E. B. J., 
 1883. Oil, 29 x 19^ in. • 
 
 Lent by Lady Lewis. 
 
 71. Princess Sabra drawing the Lot (. No . 3 of the 
 
 Series of “ St. George and the Dragon .” See No. 66). 
 
 Composition of six figures. On the left stands the soothsayer, 
 holding in his hand the crimson bag from which the Princess 
 has drawn the fatal lot, which is inscribed “ moritura ” ; 
 behind her stand her sorrowing maidens, and below the plat- 
 form are seen the heads of the assembled people ; architectural 
 background ; to left, on a raised dais, a small statue of Fortune. 
 Signed and dated, E. B. J., 1865-6. Oil, 42 x 72 in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
 72. Theophilus and the Angel: A Legend of 
 the Martyrdom of St. Dorothea. 
 
 As Dorothea was passing from her judges to the place of 
 execution, Theophilus, the Protonotary, asked her why she 
 would throw away the joys of this life for one of which no man 
 was certain ; and she answering that she should that day be 
 with her bridegroom in the garden of Paradise, he bade her 
 jestingly (as it was February then and snow lay on the 
 ground) to send him some of the fruits and roses of that same 
 garden. But after her death, as he was returning to the Courts 
 of Law, there met him on the threshold an angel bearing a 
 basket of fruit and flowers, who, saying, “ My sister Dorothea 
 sends these to thee from the place where she now is,” vanished. 
 Theophilus, pondering all this, came at last to the true belief, 
 and in it died. 
 
 Scene in the Court of Execution ; in the background is seen the 
 Consul leaving the court and followed by the spectators, and 
 the executioner standing near the block ; on the right the body 
 of the Saint is being borne away by attendants ; and on the 
 left, Theophilus, whilst leaving the court and looking back at 
 
west room.] by Sir Edward Burne-Jones. 
 
 53 
 
 the dead body, is met at the doorway by the angel with a basket 
 of flowers. Signed and dated, E. BURNE JONES PINX. 
 MDCCCLXIII— vii. Water colour, 26 x 35 in. 
 
 Exhibited at the Royal Water Colour Society 1867, New Gallery 
 1892-3. 
 
 Lent by A. E. Street, Esq. 
 
 73. Portrait of Miss Dorothy Drew (Grand- 
 
 daughter of the late Rt. Hon. W. E. Gladstone). 
 
 Full-length figure of a child in white embroidered smock, 
 seated facing, on a ledge ; her hands joined and resting between 
 her knees. Signed and dated, E. B. J., 1893. Oil, 32^ x 16J in. 
 
 Exhibited at the New Gallery 1895. 
 
 Lent by Mrs, Drew. 
 
 74. Elijah. ( Unfinished .) 
 
 Full-length figure of the Prophet, standing facing, in red and 
 blue raiment ; his hands are raised up, and he is looking towards 
 the two ravens, who are bearing ears of corn in their beaks. 
 Oil, 70 x 24 in. 
 
 Lent by the Lord Mayor and Corporation 
 of Birmingham. 
 
 75. Music. 
 
 Two maidens ; one, in grey dress, seated front, holds an open 
 scroll ; the other, in red dress, stands on her right and plays a 
 violin ; landscape background, with buildings on a hill. Oil, 
 26 J x 17 in. 
 
 Painted in 1875. 
 
 Lent by Mrs. R. H. Benson. 
 
 76. The Wheel of Fortune. 
 
 A study in blue of the subject of No. 95, but varying ; Fortune is 
 seated in the wheel, and not standing near it. Water colour,. 
 19 x 9J in. 
 
 Lent by G. F. Watts, Esq. R.A. 
 
 D 2 
 
54 
 
 Exhibition of the Works [west room. 
 
 77 . Portrait of Miss Katherine Lewis. 
 
 Full-length figure of a girl in velvet frock, lying outstretched on 
 a rose-coloured sofa ajid resting on her arms, reading a book ; 
 at her feet, a dog and an orange ; curtain background. Inscribed 
 E. B. J. to G. B. L. Oil, 23J x 49! in. 
 
 Painted in 1882-6. Exhibited at the Grosvenor Gallery 1887. 
 
 Lent by Lady Lewis. 
 
 78 . Mermaid and Sea-Babies. ( Unfinished , .) 
 
 A mermaid, carrying her baby, is floating through the sea, 
 accompanied by two of her children, one of whom bears in 
 each hand a fish. Oil, 53 x 42 in. 
 
 Begun 1892. 
 
 Lent by Mrs. Crawshay. 
 
 79 . The Sibyl of Tibur. 
 
 Full-length figure of the Sibyl, in red dress, heightened with 
 gold, and on her head the lion’s skin, standing facing ; in left 
 hand she holds a palm, and with right her dress ; in the back- 
 ground is a representation of the Virgin and Child with angels. 
 Inscribed at the base “Sibylla tiburtina.” Signed and 
 dated, E. B. J., 1877. Red monochrome, 18J x 9J in. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 80 . Vesper, or the Evening Star. 
 
 A female figure, in blue dress, floating in the twilight through 
 the air ; below, a landscape by the sea. Signed E. B. J. 
 Water colour, 31 x 22 in. A variation of No. 82. 
 
 Painted in 1872. From the Frederick Craven Collection. 
 
 Lent by H. W. Henderson, Esq. 
 
 81 . Portrait of the Lady Windsor. 
 
 Full-length figure, standing facing in a doorway, head turned 
 to right, in straight flowing dress held by her right hand. 
 Signed and dated, E. B. J., 1893. Oil, 79 x 37 in. 
 
 Exhibited at the New Gallery 1895. 
 
 Lent by the Lord Windsor. 
 
west room.] by Sir Edward Burne-Jones . 
 
 55 
 
 82 . Vesper, or the Evening Star. 
 
 Similar to No. 80 ; but the figure of Vesper is clad in white 
 drapery, and her head is turned away. Signed and dated, 
 E. B. J., 1871. Water colour, 31 x 22 in. 
 
 83 . 
 
 Exhibited at the Royal Water Colour Society 1870. 
 
 Lent by the Earl of Carlisle. 
 
 Spring. 
 
 u Spring am I, too soft of heart 
 Much to speak ere I depart. 
 
 Ask the Summer tide to prove 
 The abundance of my love.” 
 
 William Morris. 
 
 Full-length figure of Spring, in light green drapery, standing 
 before a yellow curtain ; in her right hand a twig of blossom- 
 ing hawthorn ; flowers in the foreground. Water colour, 
 A 7 i x I 7 i in. 
 
 Painted in 1869. From the F. R. Leyland Collection. Exhibited 
 at the Royal Water Colour Society 1869, Grosvenor Gallery 
 1878, New Gallery 1892-3. 
 
 Lent by J. Douglas Fletcher, Esq. 
 
 84 . Summer. 
 
 f( Summer looked for long am I, 
 
 Much shall change or ere I die. 
 
 Prythee take it not amiss 
 Though I weary thee with bliss.” 
 
 William Morris. 
 
 Full-length figure of Summer, in white drapery, standing before 
 a green curtain ; her hands hold up her drapery ; in the fore- 
 ground water and forget-me-nots. Signed and dated, E. B. J. 
 mdccclxx. Water colour, 47 \ x 17J in. 
 
 From the F. R. Leyland Collection. Exhibited at the Grosvenor 
 Gallery 1878, New Gallery 1892-3. 
 
 Lent by J. Douglas Fletcher, Esq. 
 
56 
 
 Exhibition of the Works [west room. 
 
 35 . Portrait of Miss Amy Gaskell (Mrs. Bon- 
 ham). 
 
 Three-quarter length figure, seated to right, head in profile, in 
 black dress, hands fdlded and resting on her knees. Signed 
 and dated, E. B. J., 1893. Oil, 37 x 20 in. 
 
 Exhibited at the New Gallery 1894. 
 
 Lent by Mrs. Gaskell. 
 
 86* The Annunciation. 
 
 In a court of a high arched building the Virgin, in a white robe, 
 is standing near a well-head, listening to the message of the 
 Angel Gabriel, who is descending with wings closed on the left. 
 Signed and dated, E. B. J., 1879. Oil, 98 x 44 in. Engraved. 
 
 Begun 1876. Exhibited at the Grosvenor Gallery 1879, 
 New Gallery 1892-3. 
 
 Lent by the Earl of Carlisle. 
 
 37 . Portrait of Miss Margaret Burne-Jones 
 (Mrs. Mackail). 
 
 Three-quarter length figure, seated towards left, before a 
 mirror ; blue dress ; the hands are folded on her lap. Oil, 
 36 x 25 in. 
 
 Painted 1886. Exhibited at the Grosvenor Gallery 1887, New 
 Gallery 1892-3. 
 
 Lent by Lady Burne-Jones. 
 
 88. Autumn. 
 
 il Laden Autumn here I stand, 
 
 Worn of heart and weak of hand ; 
 
 Nought but rest seems good to me, 
 
 Speak the word that sets me free.” 
 
 William Morris. 
 
 Full-length figure of Autumn, in red drapery, standing before a 
 pink curtain ; her right hand holds her drapery, in her left an 
 
west room.] by Sir Edward Burne-Jones. 
 
 57 
 
 apple ; flowers are strewn in the foreground. Water colour, 
 
 47i x Ui i n - 
 
 Painted in 1869. From the F. R. Leyland Collection. Exhibited 
 at the Royal Water Colour Society 1869, Grosvenor Gallery 
 1878, New Gallery 1892-3. 
 
 Lent by J. Douglas Fletcher, Esq. 
 
 89 . Winter. 
 
 “ I am Winter, that doth keep 
 Longing safe amidst of sleep ; 
 
 Who shall say if I were dead, 
 
 What should be remembered.” 
 
 William Morris. 
 
 Full-length figure of Winter, in white drapery and black cloak, 
 standing before a white curtain ; book in right hand, and 
 warming the left over a fire of burning sticks. Signed and dated, 
 E. Burne-Jones, mdccclxx. Water colour, 47 J x 17J in. 
 
 From the F. R. Leyland Collection. Exhibited at the Grosvenor 
 Gallery 1878, New Gallery 1892-3. 
 
 Lent by J. Douglas Fletcher, Esq. 
 
 90 . Pan and Psyche. 
 
 Psyche, in despair at Love’s loss, casts herself into the river. 
 
 “ But the kind river even yet did deem 
 That she should live, and, with all gentle care, 
 
 Cast her ashore within a meadow fair 
 Upon the other side, where shepherd Pan 
 Sat looking down upon the water wan.” 
 
 Earthly Paradise , Story of Cupid and, Psyche. 
 
 In a landscape, Pan, kneeling on a rock, leans over and tenderly 
 places his hand on the head of Psyche, who is coming out 
 of the stream. Signed, E. B. J. Oil, 25J x 21 in. (See also 
 No. 61.) 
 
 Painted 1872-4. Exhibited at the Grosvenor Gallery 1878, 
 New Gallery 1892-3. Engraved. 
 
 Lent by Mrs. Hamilton of Skene. 
 
58 
 
 Exhibition of the Works [west room. 
 
 91 . Aurora. 
 
 “ Day's harbinger 
 Comes dancing from the East." 
 
 Milton. 
 
 Full-length figure of Aurora, stepping lightly to left along a 
 quay, and playing the cymbals ; she is in blue dress with pink 
 sleeves. Signed and dated, E. B. J., 1896. Oil, 70 x 30 in. 
 
 Exhibited at the New Gallery 1896. 
 
 Lent by the Earl Cowper, K.G. 
 
 92 . St. George. 
 
 Full-length figure of the Saint, standing facing, in armour, 
 holding banner and shield, on which is represented the Princess 
 Sabra in the coils of the Dragon ; at the Saint's feet are the 
 Dragon and his helmet ; rocky and wooded background. 
 Oil, 73 x 23 in. 
 
 Lent by the Earl of Carlisle. 
 
 93 . The Hours. 
 
 Six seated female figures, symbolising Waking, Dressing, 
 Working, Feasting, Playing and Sleeping. Signed and dated, 
 E. B. J., 1882. Oil, 29^ x 71J in. 
 
 Painted 1870-82. Exhibited at the Grosvenor Gallery 1883, 
 New Gallery 1892-3. 
 
 Lent by the Trustees of the late F. Austen, Esq. 
 
 94 . St. George Slaying the Dragon {No. 6 of the 
 Series of “ St. George ci7id the Dragon? See No. 66). 
 
 On the right the kneeling figure of the Princess, before whom 
 lie a shattered spear and a skull ; on the left St. George, stand- 
 ing over the fallen monster and thrusting his sword through 
 its jaw ; landscape background with twilight sky. Signed and 
 dated, E. B. J., 1866. Oil, 42 x 51^ in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
west room.] by Sir Edward Burne-Jones. 
 
 59 
 
 95 . The Wheel of Fortune. 
 
 Heroic figure of Fortune, in grey drapery, standing near her 
 wheel, on which are bound a poet, whose head only is seen, a 
 king, and a slave. Signed and dated, E. B. J., mdccclxxxiii. 
 Oil, 78 x 39 in. 
 
 Begun 1875. Exhibited at the Grosvenor Gallery 1883, 
 New Gallery 1892-3. 
 
 Lent by the Right Hon. Arthur J. Balfour, M.P. 
 
 96 . Laus Veneris. 
 
 A Queen, in orange drapery, seated to left, her crown on her 
 knees ; on the left, four of her maidens preparing to sing a 
 chant in praise of Venus from an illuminated music book : 
 background of tapestry, representing the birth and triumph of 
 Venus ; through a window are seen five knights riding by. 
 Signed and dated, E. Burne-Jones, 1873-5. Oil, 47 x 71 in. 
 
 From the W. Graham Collection. Exhibited at the Grosvenor 
 Gallery 1878, New Gallery 1892-3. 
 
 Lent by Sir William Agnew, Bart. 
 
 97 . The Princess tied to the Tree (No. 5 of the 
 Series of" St. George and the Dragon!' See No. 66). 
 
 The Princess, robed in white, stands in a glade, tied to a 
 tree ; in the distance are seen her departing maidens. Signed 
 and dated, E. B. J., 1866. Oil, 42 x 36^ in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
 98 . King Cophetua and the Beggar Maid. 
 
 “ But marke, what hapned on a day, 
 
 As he out of his window lay, 
 
 He saw a beggar all in grey, 
 
 The which did cause him paine. 
 
 The beggar blusheth scarlet red 
 And straight againe as pale as lead, 
 
6o 
 
 Exhibition of the Works [west room. 
 
 But not a word at all she said,' 
 
 She was in such amaze. 
 
 At last she spake with trembling voyce, 
 
 And said, O King, I doe rejoyce 
 That you will take me for your choice, 
 
 And my degree’s so base.” 
 
 These verses are from an Elizabethan ballad. The story is 
 alluded to several times by Shakespeare, and is the subject 
 of a well-known lyric by Tennyson. 
 
 The King, in full armour, bare-headed, seated to right on the 
 steps of a golden throne, holding his crown, which rests on his 
 knees ; on the throne the Beggar Maid in grey gown, seated 
 facing, holding a bunch of wind flowers ; on the right are the 
 King’s spear and shield, resting against the side of the throne ; 
 above the throne are two singing boys ; the plates of gold 
 which cover the throne are embossed with scenes of combats of 
 animals. Signed and dated, E. B. J., 1884. Oil, 115 x 53 in. 
 Begun 1880. Exhibited at the Grosvenor Gallery 1884, 
 New Gallery 1892-3. 
 
 Lent by the Earl of Wharncliffe. 
 99 . The Mirror of Venus. 
 
 In a rocky landscape by the sea, Venus stands by the edge of 
 a clear pool, surrounded by nine maidens, who gaze in wonder at 
 their reflections, which they behold for the first time ; the pool 
 is thickly set with water lilies and fringed with forget-me-nots. 
 Signed and dated, E. Burne-Jones, 1875. Oil, 48 xy 8 \ in. 
 From the F. R. Leyland and Ruston Collections. Exhibited at 
 the Grosvenor Gallery 1877, New Gallery 1892-3. Engraved. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
 IOO. The Princess Sabra led to the Dragon 
 ( No . 4 of the Series of “St. George and the 
 Dragon ” See No. 66 ). 
 
 The Princess, followed by her maidens bearing lighted tapers, 
 and preceded by a guard, is being led forth to the sacrifice ; in 
 the distance, through an archway, is seen a small group of 
 onlookers. Signed and dated, E. B. J., 1866. Oil, 42 X 36J in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
west room.] by Sir Edward Burne-Jones . 61 
 
 lOl. The Depths of the Sea. 
 
 “ Habes tota quod mente petisti 
 Infelix.” 
 
 A mermaid has seized the body of a mariner, and has dragged 
 him down to the depths of the sea. The picture represents 
 the moment of her triumph when she is still unconscious of 
 his death and that he can never be her playfellow. Signed 
 and dated, E. B. J., 1886. Oil, 77 x 29 in. 
 
 Exhibited at the Royal Academy 1886, New Gallery 1892-3. 
 
 Lent by Mrs. R. H. Benson. 
 
 102 . The Mill. 
 
 In a meadow beside a stream three maidens are dancing, whilst 
 a minstrel, on the right, is playing upon a lute ; in the back- 
 ground a mill, and on the other side of the river are seen the 
 figures of bathers. Signed and dated, E. B. J., 1870. Oil, 
 78 x 36 in. 
 
 Finished 1882. Exhibited at the Grosvenor Gallery 1882, 
 New Gallery 1892-3. 
 
 Lent by Constantine A. Ionides, Esq. 
 
 103 . The Return of the Princess (No. 7 of the 
 
 Series of “ St. George and the Dragon .” See 
 
 No. 66 ). 
 
 On the right the Princess led back by St. George, and preceded 
 by a group of maidens playing musical instruments and strew- 
 ing flowers ; buildings and the populace in the background. 
 Signed and dated, E. B. J., 1866. Oil, 42 x 51^ in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
 104 , Fides. 
 
 Full-length figure of Faith, her head wreathed with jessamine, 
 in red and white drapery, standing to left within a niche ; she 
 holds a lamp in her right hand, and in her left a branch ; a 
 serpent is coiled around her left wrist ; the dragon of Doubt 
 
62 
 
 Exhibition of the Works [west room. 
 
 writhes at her feet amidst flames ; the niche is decorated with 
 two small figures, who are holding strings of beads. Signed 
 and dated, E. B. J., mdccclxxi. Water colour, 70 x 24J in. 
 
 From F. S. Ellis and W. .Graham Collections. Exhibited at the 
 Grosvenor Gallery 1877, New Gallery 1892-93. 
 
 Lent by Alexander Henderson, Esq., M.P. 
 
 105 . Caritas. 
 
 A full-length figure of Charity, in blue and crimson drapery, 
 holding two infants in her arms ; whilst four others are 
 grouped at her feet ; in the background a patterned damask 
 curtain. Signed and dated, E. B. J., London, mdccclxvii. 
 Water colour, 60 x 27 in. 
 
 From the F. S. Ellis Collection. Exhibited at the Royal Water 
 Colour Society 1870, New Gallery 1892-93. 
 
 Lent by the Lord Wantage, V.C. 
 
 106 . Love among the Ruins. 
 
 On a terrace, strewn with fragments of ruined buildings and 
 overgrown with wild roses, are seen the forms of two lovers, 
 embracing ; between the knees of the youth a stringed instru- 
 ment. Signed and dated, E. B. J., 1894. Oil, 40 x 61 in. 
 
 Exhibited at the New Gallery 1894. The first rendering in 
 water colour of this subject was accidentally destroyed in 1894. 
 Engraved. 
 
 Lent by Mrs. R. H. Benson. 
 
 107 . St. Barbara, St. Dorothea and St. Agnes. 
 
 Three full-length figures, standing against a stone terrace. St. 
 Barbara holds an open book in her right hand and in her left, 
 which rests upon a tower, a peacock’s feather, St. Dorothea, 
 holding a sword, gives a basket of flowers to an angel, who 
 stands at her feet. St. Agnes holds a lamb and a book. Oil, 
 33 x 33 in. 
 
 Painted in 1869. From the W. Graham Collection. 
 
 Lent by Gray Hill, Esq. 
 
west room.] by Sir Edward Burne-Jones. 63 
 
 108 . The Golden Stairs. 
 
 A company of eighteen maidens, holding instruments of music, 
 are descending a winding flight of steps ; above, through 
 an open roof, is seen a space of sky ; and below, an open 
 doorway leads to a colonnade. Signed and dated, E. B. J., 
 1880. Oil, 108 x 46 in. 
 
 Exhibited at the Grosvenor Gallery 1880, New Gallery 1892-3. 
 Engraved. 
 
 Lent by the Lord Battersea. 
 
 109 . Le Chant d’Amour. 
 
 “ Helas, je sais un chant d’amour, 
 
 Triste ou gai, tour a tour.” 
 
 Refrain of a Breton Song. 
 
 On a stone terrace is a lady, in a white robe with purple sleeves, 
 playing upon an organ ; Love, clothed in red raiment, works 
 the bellows ; to the left is the seated figure of a knight clad 
 in black armour ; in the front of the picture is a border of 
 wallflowers and tulips, and in the background an ancient city 
 seen across a meadow. Signed, E. B. J. Oil, 44 x 60 in. 
 
 Painted in 1868-77. From the W. Graham and J. Ruston Col- 
 lections. Exhibited at the Grosvenor Gallery 1878, New Gallery 
 1892-3. Engraved. 
 
 Lent by T. H. Ismay, Esq. 
 
 HO. Luna. 
 
 Draped figure, poised upon the curve of the globe, her face 
 hidden in a coil of drapery ; the light upon the fluttering 
 extremity of her robe takes the form of a crescent. Oil, 
 391 x 28 in. 
 
 Painted in 1872-5. Exhibited at the Grosvenor Gallery 1878, 
 Society of British Artists 1892, New Gallery 1892-3. 
 
 Lent by Mrs, A. Ionides. 
 
64 
 
 Exhibition of the Works [west room. 
 
 111. Temperantia. 
 
 Full-length figure of Temperance, holding a vessel filled with 
 water, which she pours upon the flames that rise at her feet. 
 Signed and dated, E. B. Jones, 1872. Water colour, 90 x 23 in. 
 
 From the F. S. Ellis Collection. Exhibited at the Grosvenor 
 Gallery 1877, New Gallery 1892-3. 
 
 Lent by the Lord Wantage, V.C. 
 
 112 . The Boat. ( Unfinished , .) 
 
 A group of seven maidens, four of whom are seated in a boat, 
 which one of their companions holds to the shore, while 
 two others are approaching, one of whom bears a lamp ; in the 
 background is a city seen against an evening sky. Water 
 colour, 31 X 59 J in. 
 
 Begun 1872. 
 
 Lent by Colonel H. Jekyll. 
 
 113 . The King’s Daughter {No. i of the Series of 
 “ St. George and the Dragon See No. 66). 
 
 The Princess, in a pink robe, walks in a garden, holding a book 
 in her hand ; flowers in the background. Signed and dated, 
 E. B. J., 1865-6. Oil, 42 x 24 in. 
 
 Lent by C. Sidney Goldmann, Esq. 
 
north room.] by Sir Edward Burne-Jones. 65 
 
 NORTH ROOM. 
 
 114 . A Portrait. 
 
 Three-quarter length figure of a lady to right, in black dress, 
 holding a book. Oil, x 19^ in. 
 
 Painted in 1884. 
 
 Lent by Mrs. W. J. FitzGerald. 
 
 115 . Perseus and the Sea Nymphs. ( Unfinished .) 
 
 (No. 3 of the “ Perseus Series”) 
 
 Perseus, the son of Jupiter and Danae, having promised Poly- 
 dectes, king of the island of Seriphos, that he would bring him 
 the head of Medusa, the only one of the Gorgons who was sub- 
 ject to mortality, was assisted in his undertaking by the gods. 
 The nymphs provided him with winged sandals, a wallet, and 
 the helmet of Pluto, which rendered him invisible (see No. 115), 
 Hermes gave him a sword, and Minerva a shield, which was 
 as resplendent as glass. Thus equipped, Perseus proceeded 
 to the country of the Graiae, the sisters of the Gorgons, who 
 were three in number, but had only one eye between them. 
 Perseus stole their eye when they were asleep, and would 
 not return it till the Graiae had told him where the Gorgons 
 lived (see No. 121). Having slain Medusa, Perseus, on his 
 return journey, passed through Syria, and arrived there at the 
 moment when the land was ravaged by a sea-monster sent 
 by Neptune. The oracle of Jupiter had declared that only 
 the sacrifice of Andromeda, the daughter of Cepheus, the king, 
 would appease the monster’s wrath. Perseus, whilst continuing 
 his flight, found Andromeda naked and chained to the rock, 
 and, struck by her exceeding beauty (see No. 118), he offered 
 to deliver her from the dragon if he obtained her in marriage. 
 As a reward for his labour, Cepheus consented, and Perseus 
 having slain the dragon, married Andromeda (see No. 120). 
 
66 
 
 Exhibition of the Works [north room. 
 
 The sixth picture in this series (No. 117) depicts a subsequent 
 scene of Perseus, after his marriage, showing Andromeda the 
 head of Medusa reflected in the water of a well ; for to look 
 upon the head itself was death to the beholder, who was 
 immediately changed into stone. 
 
 Perseus receiving the helmet of invisibility, the winged sandals, 
 and the wallet to contain the head of Medusa from three 
 sea-nymphs. Oil, 60 x 54 in. Unfinished. 
 
 Lent by the Rt. Hon. Arthur J. Balfour, M.P. 
 
 116. The Tree of Forgiveness. 
 
 “ Die mihi quid feci, nisi non sapienter amavi ?” 
 
 “ Phyllis, amidst her mourning because Demophoon had for- 
 saken her, was turned by the kind gods into an almond tree ; 
 and after, as he passed by, consumed with sorrow for her, she 
 became once more visible to him, no less loving than of old 
 time ; and this was the first blossoming of the almond tree.” 
 
 Two full-length nude figures ; Phyllis, issuing from the stem of 
 the almond tree, embraces Demophoon. Signed and dated, 
 E. B. J., 1882. Oil, 74 x42 m. 
 
 Exhibited at the Grosvenor Gallery 1882. 
 
 Lent by W. Imrie, Esq. 
 
 117. The Baleful Head. (No. 6 of the “ Perseus 
 
 Series .” See No. 1 1 5 .) 
 
 Perseus showing Andromeda the head of Medusa reflected in 
 a well. Oil, 60 x 54 in. 
 
 Exhibited at the Grosvenor Gallery 1887. 
 
 Lent by the Rt. Hon. Arthur J. Balfour, M.P. 
 
 118. The Rock of Doom. (No. 4 of the “Perseus 
 
 Series .” See No. 1 15 .) 
 
 Andromeda chained to the rock ; Perseus flying down makes 
 himself visible to her by taking off his helmet ; the city of 
 Joppa in the background. Oil, 60 x 54 in. 
 
 Painted 1888. Exhibited at the New Gallery 1888. 
 
 Lent by the Rt. Hon. Arthur J. Balfour, M.P. 
 
north room.] by Sir Edward Burne-Jones. 67 
 
 119 . The Fall of Lucifer. 
 
 “ Vexilla regis prodeunt Infernis.” 
 
 Lucifer, accompanied by his host of rebel angels bearing flags 
 and armed, is seen cast out from the closed gates of Heaven 
 and descending into the Infernal Regions. Around the pic- 
 ture, on a gilt band, is inscribed, “ et factvm est proelivm 
 MAGNVM IN COELO : MICHAEL ET ANGELI EIVS PRCELIA- 
 BANTVR CVM DRACONE ET DRACO PVGNABAT ET ANGELI 
 EIVS : ET NON VALVERVNT, NEQVE LOCVS INVENTVS EST 
 EORVM AMPLIVS IN COELO . ET PROIECTVS EST DRACO ILLE 
 MAGNVS SERPENS ANTIQVVS ET ANGELI EIVS CVM ILLO 
 MISSI SVNT . ET AVDIVI VOCEM MAGNAM IN COELO DICENTEM ; 
 NVNC FACTA EST SALVS ET VIRTVS ET REGNVM DEI NOSTRI ET 
 POTESTAS CHRISTI EIVS . PROPTEREA LAETAMINI COELI ET 
 QVI HABITATIS IN EIS . VM TERR/E ET MARI QVIA DESCENDIT 
 DIABOLVS AD VOS HABENS IRAM MAGNAM, SCIENS QVOB 
 modicvm tempvs habet.” — Apocalypse , c. xii., v. 7- 12. Signed 
 and dated, E. B. J., 1894. Oil, 96 x 46J in. 
 
 Exhibited at the New Gallery 1895. 
 
 Lent by Messrs. Agnew and Sons. 
 
 1 20 . The Doom Fulfilled. {No. 5 of the “ Perseus 
 
 Series ” See No. 1 1 5 .) 
 
 Perseus encircled by the coils of the dragon which he is slay- 
 ing ; on the left Andromeda stands on the ledge of the rock 
 freed from her chains. Signed and dated, E. B. J., 1888. 
 Oil, 60 x 54 in. 
 
 Painted 1888. Exhibited at the New Gallery 1888. 
 
 Lent by the Rt. Hon. Arthur J. Balfour, M.P. 
 
 121 . Perseus and the Graiae. {No. f of the “ Perseus 
 Series .” See No. 115 .) 
 
 The Graiae seated on the ground, Perseus leaning forward and 
 holding the eye. Signed and dated, E. B. J., 1892. Oil, 60x66 in. 
 
 This picture has not been previously exhibited. 
 
 Lent by the Rt. Hon. Arthur J. Balfour, M.P. 
 
 E 
 
68 
 
 Exhibition of the Works [north room. 
 
 122 . The Dream of Launcelot at the Chapel 
 of the San Grael. 
 
 “Right so he heard a voice that said, 1 Sir Launcelot, more 
 hard than is stone, and more bitter than is the wood, more 
 naked and barer than is the leaf of the fig-tree, therefore go 
 thou from hence, and withdraw thee from this holy place.’” 
 
 Sir Launcelot asleep, leaning against a well-head, his 
 shield hanging on a withered tree, beside which stands his 
 horse ; on the right appears an angel through the door of the 
 Chapel of the San Grael. Signed and dated, E. B. J., 1896. 
 Oil, 53J x 66J in. 
 
 Exhibited at the New Gallery 1896. 
 
 Lent by W. Graham Robertson, Esq. 
 
 123 . Portrait of Sir Edward Burne-Jones, Bart. 
 
 Half-length front, head turned slightly to right, black coat. 
 Oil, 25! X 20J in. 
 
 Painted in 1870, 
 
 By G. F. Watts, R.A. Lent by Lady Burne-Jones. 
 
 124 . Arthur in Avalon. ( Unfinished . ) 
 
 “Hie jacet Arthurus, rex quondam, rexque futurus.” 
 
 “ Some men yet say that King Arthur is not dead, but had by 
 the will of our Lord Jesus Christ into another place ; and men 
 say that he will come again.” 
 
 After his last battle, King Arthur was borne by three 
 Queens to the Isle of Avalon, there to be healed of his wound ; 
 and there he sleeps, awaiting the call that shall bring him back 
 to his kingdom. 
 
 In the centre of a marble cloister the King lies asleep on a 
 couch, under a canopy of gilded bronze, on which are 
 embossed twelve designs from the History of the Holy Grail. 
 At the head and foot of the couch are the three Queens ; in 
 
north room.] by Sir Edward Burne-Jones. 69 
 
 front maidens seated, with musical instruments in their hands ; 
 on the right are three attendants holding the King’s armour ; 
 to right and left other figures, three of whom hold horns and one 
 a trumpet, while the others look out into the valley awaiting 
 the signal for his awakening ; mountains in the background ; 
 in the foreground flowers and water. Oil, x 2 \\ ft. 
 
 This picture, begun in 1 88 1 , was never completed. The artist 
 was working on it at the time of his death. 
 
 Lent by the Executors of the Artist. 
 
 125 . Portrait of Sir Edward Burne-Jones, Bart. 
 
 Three-quarter length figure of the painter to left, at work in 
 his studio. Signed and dated, Philip Burne-Jones, 
 mdcccxcviii. Oil, 29J x 20 in. 
 
 Painted in 1898. 
 
 By Sir Philip Burne-Jones, Bart. 
 
 Lent by Sir Philip Burne-Jones, Bart. 
 
 126 . The Heart Desires. (No, i of the Series of 
 “Pygmalion and the Image.”) 
 
 “A Man of Cyprus, a Sculptor 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 ” — Earthly Paradise. 
 
 Pygmalion standing, his arms folded, in thought, desires 
 greater beauty than is to be found in his previous work, or in 
 actual life. Signed and dated, E. Burne-Jones inv. 1868, 
 pinxit 1870. Oil, 38 J X 29J in. 
 
 From the F. W. Craven Collection. Exhibited at the Grosvenor 
 Gallery 1879, New Gallery 1892-3. 
 
 Lent by John T. Middlemore, Esq. 
 
 E 2 
 
70 
 
 Exhibition of the Works [north room. 
 
 127 . The Garden of Pan. 
 
 Pan, seated on a rock in a valley, is playing his pipes to a 
 shepherd and a shepherdess, seated on the ground on his 
 right. Signed, E. B. J. Oil, 60 x 73J. 
 
 Painted 1886-7. Exhibited at the Grosvenor Gallery 1887, 
 New Gallery 1892-3. 
 
 Lent by Lilian, Duchess of Marlborough. 
 
 128 . The Hand Refrains. {No. 2 of the Series of 
 “ Pygmalion and the Image!' See No. 126.) 
 
 Pygmalion stands before his completed work. Oil, 38 x 29! in. 
 
 Painted 1869 79. From the F. W. Craven Collection. Ex- 
 hibited at the Grosvenor Gallery 1879, New Gallery 1892-3. 
 
 Lent by John T. Middlemore, Esq. 
 
 129 . Flamma Vestalis. 
 
 Three-quarter length figure of a girl in deep blue dress ; a 
 hand holding a flaming torch embroidered on the sleeve ; light 
 blue headdress ; she holds beads in her hand ; background of 
 water and buildings. Signed and dated, E. B. J., 1886. Oil, 
 43 x 15 Jin. 
 
 Exhibited at the Grosvenor Gallery 1886, New Gallery 1892 3. 
 Engraved. 
 
 Lent by the Lord Davey. 
 
 130 . Love and the Pilgrim. 
 
 “ Love, that is first and last of all things made, 
 
 The light that moving has man’s life for shade.” 
 
 A. C. Swinburne. 
 
 Love, in a white robe, his head crowned with roses, holds an 
 arrow in his left hand, and with his right is leading a pilgrim 
 through a wilderness ; around the head of Love is a flight of 
 small birds. To left, on a scroll, “ Painted by E. Burne- 
 Jones 1896-7, dedicated to his friend A. C. Swinburne.” 
 Oil, 61 x 120 in. 
 
 Exhibited at the New Gallery 1897. 
 
 Lent by Mary, Duchess of Sutherland. 
 
north room.] by Sir Edward Burne-Jones . 71 
 
 131 . The Hesperides. 
 
 The Hesperides were the beautiful guardians of the tree with 
 the golden apples, which Ge had given to Hera at her marriage 
 with Zeus. 
 
 The three daughters of Hesperus dancing around the Golden 
 Tree ; they are clad in red drapery. Signed on the tree, 
 E. B. J. Water colour, 47 x 38J in. 
 
 Painted in 1873. Exhibited at the Dudley Gallery 1873, 
 Guildhall 1894. From the F. Craven Collection. 
 
 Lent by John T. Middlemore, Esq. 
 
 132 . The Godhead Fires. (No. 3 of the Series of 
 
 “ Pygmalion and the Image'.' See No. 1 26.) 
 
 Venus, surrounded by doves and roses, and holding a myrtle- 
 branch, gives life to the Image. Signed and dated, E. B. J., 
 1878. Oil, 38J x 29J in. 
 
 From the F. W. Craven Collection. Exhibited at the Grosvenor 
 Gallery 1879, New Gallery 1892-3. Engraved. 
 
 Lent by John T. Middlemore, Esq. 
 
 133 . The Marriage of Psyche. 
 
 A procession ; Psyche in the centre accompanied by eight 
 maidens and her father ; those in front scatter flowers, and 
 those who follow are playing on instruments of music. Signed 
 and dated, E. B. J., 1895. Oil, 46 J x 84J in. 
 
 Exhibited at the New Gallery 1895. 
 
 Lent by Messrs, Arthur Tooth and Sons. 
 
 134 . The Soul Attains. (No. 4 of the Series of 
 “ Pygmalion and the Image! See No. 126.) 
 
 Pygmalion returning to his house, discovers that the Image has 
 become a woman, and kneels at her feet. Oil, 38^ x 29^ in. 
 
 Painted in 1869-1879. From the F. W. Craven Collection. 
 Exhibited at the Grosvenor Gallery 1879, New Gallery 1892-3. 
 
 Lent by John T. Middlemore, Esq. 
 
72 
 
 Exhibition of the Works [north room. 
 
 135 . Vespertina Quies. 
 
 Three-quarter length figure of a maiden, to right, in dark blue 
 dress, resting her hands on a balustrade ; in the background a 
 quadrangular building and distant landscape. Signed and 
 dated, E. B. J., 1893. Oil, 42J x 24 in. 
 
 Exhibited at the New Gallery 1894. Engraved. 
 
 Lent by Mrs. Maurice Beddington. 
 
 136 . Sponsa Di Libano. 
 
 “ Awake, O North wind, and come, thou South ; blow upon my 
 garden that the spices thereof may flow out .” — The Song of 
 Solomon , iv. 16. 
 
 The Bride standing in a garden of lilies ; above, the figures of 
 the North and South winds. Signed and dated, E. B. J., 1891. 
 Water colour, 127 x 61 in. 
 
 Exhibited at the New Gallery 1891. 
 
 Lent by the Lord Mayor and 
 
 Corporation of Liverpool. 
 
 137 . Cupid and Psyche. 
 
 Psyche having perished by the Stygian river through opening 
 the casket, Cupid descends and restores her to life. 
 
 “ Psyche, a king’s daughter, by her exceeding beauty 
 caused the people to forget Venus ; therefore the goddess 
 would fain have destroyed her ; nevertheless she became the 
 bride of Love, yet in an unhappy moment lost him by her own 
 fault, and, wandering through the world, suffered so many 
 evils at the hands of Venus, for whom she must accomplish 
 fearful tasks. But the gods and all nature helped her, and in 
 process of time she was reunited to Love, forgiven by Venus, 
 and made;; immortal by the Father of gods and men.” 
 
 Cupid in red drapery leans forward to left and supports 
 Psyche in his arms ; she wears green dress, on the left the open 
 casket ; in the background is the river Styx with boat of 
 Charon and hilly ground. Signed and dated, E. B. J. 1867. 
 Water colour, 31 J x 36 in. 
 
 Exhibited at the Royal Water Colour Society 1867, New Gallery 
 1892-3. 
 
 Lent by Alexander Henderson, Esq., M.P. 
 
central hall.] by Sir Edward Burne-Jones. 73 
 
 CENTRAL HALL. 
 
 138 . Love’s Wayfaring. 
 
 Love, standing erect upon a car in front of his throne amidst 
 swirling drapery, is drawn through a narrow street by his 
 numerous victims, male and female. The figures are all life- 
 size. Oil, 17 ft. x 9 ft. 
 
 This important work, designed in 1871, is exhibited for the sake 
 of the design, as but little progress was made with the actual 
 painting of the picture. 
 
 Lent by the Executors of the Artist. 
 
 SCREEN I. 
 
 Studies for the picture of King Cophetua and the Beggar 
 Maid, \ No. 98. 
 
 139 . Design in Water Colour, showing an early 
 
 conception for the picture. Signed and dated, 
 E. B. J., 1885. 2 8J x 14 in. 
 
 Lent by Lady Burne-Jones. 
 
 140 . A Similar Design, varied. Signed, E. B. J. 
 
 28J x iij in. 
 
 Lent by Mrs. Coronio. 
 
 140a. Study OF A Head. Crayon. Signed and dated, 
 E. B. J., 1883. io| X 8 in. 
 
 Lent by Mrs. R. H. Benson. 
 
 141 . Study of a Head. Crayon. Signed, E. B. J. 
 
 15 X 12 in. 
 
 Lent by J. Comyns Carr, Esq. 
 
 142 . Study of a Head. Crayon. 
 
 Lent by Sir Hickman Bacon, Bart. 
 
74 
 
 Exhibition of the Works [central hall. 
 
 142a. Study of Head of the King. 18 x 16} in. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 143. Series of 22 Studies of Figures, Heads, 
 Armour, &c, 
 
 Lent by the Executors of the Artist. 
 
 144. Study for the Beggar Maid Crayon. Signed 
 
 and dated, E. B. J., 1883. ll i X 7 in- 
 
 Lent by Lady Lewis. 
 
 145. Study for the Beggar Maid. 13 J x in. 
 
 Lent by the Executors of the Artist. 
 
 146. Study for the Beggar Maid. 16 x njin. 
 
 Lent by the Executors of the Artist. 
 
 147. Study for the King and the Beggar 
 
 Maid. 13! x si in- 
 
 Lent by the Executors of the Artist. 
 
 148. Study for the Beggar Maid. 17J x nf in. 
 
 Lent by the Executors of the Artist. 
 
 149. Study for Drapery for the Beggar Maid, 
 
 Signed and dated, E. B. J., 1883. 12J x 6 in. 
 
 Lent by the Executors of the Artist. 
 
 SCREEN II. 
 
 Studies for the picture “ Arthur in Avalon No. 124. 
 
 150. A Coloured Design in Water Colour, 
 
 showing an early conception for the picture. 
 Inscribed, E. B. J. to E. L., 1894. 21 x 75 in. 
 
 Lent by the Hon. Eleanor Lady Leighton. 
 
central hall.] by Sir Edward Burne-Jones . 75 
 
 151 . The Hill Fairies. This and its companion 
 
 picture, under the same number, represent a part 
 of the design for the “ Arthur in Avalon,” which 
 was not adopted in the final form given to it by 
 the painter. Oil, 72 x 24 in. 
 
 Lent by the Executors of the Artist. 
 
 152 . Series of 85 Studies of Heads, Figures, 
 
 Hands, Drapery, &c. 
 
 Lent by the Executors of the Artist. 
 
 153 . Studies for the Lamp for “Arthur in 
 
 Avalon.” 14J x 11 in. 
 
 Lent by the Executors of the Artist. 
 
 154 . Study of a Head for “Arthur in Avalon.” 
 
 Signed and dated, E. B. J., 1885. 10J x 6 f in. 
 
 Lent by the Executors of the Artist. 
 
 155 . Study of a Head for “ Arthur in Avalon.” 
 
 Signed and dated, E. B. J., 1885. iof X 6 \ in. 
 
 Lent by the Executors of the Artist. 
 
 156 . Study for a Queen for “ Arthur in Avalon.” 
 
 16 x nf in. 
 
 Lent by the Executors of the Artist. 
 
 157 . A Screen with Figures of Hananiah, 
 
 Mishael, and Azariah (better known as 
 Shadrach, Meshach, and Abednego). Each 
 figure enveloped in flames. 58 \ x 19 in. each. 
 
 These three figures were the original designs for a window 
 placed in Farnworth church, Lancashire, 1875. 
 
 Lent by Messrs. Pearson and Co. 
 
76 
 
 Exhibition of the Works [balcony. 
 
 BALCONY. 
 
 DRAWINGS AND DESIGNS. 
 
 158 . Two Studies for Head of Medusa in the 
 Perseus Series. Pencil. Signed and dated, 
 E. B. J., 1876. 
 
 Lent by H. S. Theobald, Esq. 
 
 159 . 
 
 Two Heads. 
 1879 - 
 
 Pencil. Signed and dated, E. B. J., 
 
 Lent byf J. F. S chwann, Esq. 
 
 160 . Medea in the Presence of Circe. 
 
 The two first designs for the second illustration in the 
 Kelmscott Press edition of the Life and Death of Jason. A 
 third design was made as shown in the proof from the wood 
 block. Signed and dated, “ To S. C., from E. B. J., 1898.” 
 6 f x in. 
 
 Lent by S. C. Cockerell, Esq. 
 
 161 . St. Michael the Archangel. Water colour 
 
 and gold. Signed and dated, 1896. 13JX 9! in. 
 
 Lent by Mrs. L. Alma-Tadema. 
 
 162 . A Birthday Greeting. Watercolour. Signed 
 
 and dated, E. B. J., jan. 8, 1898. 13J x 9J in. 
 
 Lent by L. Alma-Tadema, Esq., R.A. 
 
 163 . Studies for Armour. Silver point and white. 
 
 Signed and dated, E. B. J., 1873. i6\ x I2jin. 
 
 Lent by the Executors of the Artist. 
 
balcony.] by Sir Eaward Burne-Jones . 
 
 77 
 
 164 . 
 
 165 . 
 
 166 . 
 
 167 . 
 
 168 . 
 
 169 . 
 
 170 . 
 
 171 . 
 
 Studies of Armour for the Perseus 
 Series. Chalk. 15! x 8J in. 
 
 Lent by the Executors of the Artist. 
 
 Study for King Balthazzar in the “Star 
 of Bethlehem.” Crayon and gold. Signed 
 and dated, E. B. J., 1887. 14 X 7 in. 
 
 Lent by Sir J. Stirling-Maxwell, Bart., M.P. 
 
 Study of St. Joseph in the “Star of 
 Bethlehem.” Crayon. Signed, E. B. J. 
 12J x 6 in. 
 
 Lent by Messrs. P. and D. Colnaghi. 
 
 Study of a Head. Crayon. Signed and dated, 
 1890. ni x 7 in. 
 
 Lent by Messrs. P. and D. Colnaghi. 
 
 Study of Sleeves for Picture of “ Merlin 
 AND Nimue.” Pencil. 13 x 8J in. 
 
 Lent by the Executors of the Artist. 
 
 Study for Mermaid in “ The Depths of 
 the Sea.” No. ioi. Chalk. Signed and dated, 
 E. B. J., 1886. 10 x 8 in. 
 
 Lent by F. A. White, Esq. 
 
 Study in Coloured Chalk for Melchior 
 in the “ Star of Bethlehem.” Water 
 colour. Signed and dated, E. B. J., 1887. 
 13I X 9J in. 
 
 Lent by Sir J. Stirling-Maxwell, Bart., M.P. 
 
 Study of Drapery for the Picture of 
 “Merlin and Nimue.” Pencil. 13 x 9 in. 
 
 Lent by the Executors of the Artist. 
 
78 
 
 Exhibition of the Works [balcony. 
 
 172 . Study of a Head. Chalk. Signed and dated, 
 
 E. B. J., 1886. ’ 12J x 8£ in. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 173 . Studies of Armour for the Briar Rose 
 
 Series. Water colour. Signed and dated, 
 E. B. J., 1889. 12 x 16J in. 
 
 Lent by the Executors of the Artist. 
 
 174 . Study of a Head. Chalk. Signed and dated, 
 
 E. B. J., 1895. 18J X 13} in. 
 
 Lent by the Earl Egerton of Tatton. 
 
 175 . Study of Hair. Pencil. Signed and dated, 
 
 E. B. J., 1876. io| x 6f in. 
 
 Lent by the Executors of the Artist. 
 
 176 . Orpheus losing Eurydice. Water colour. 
 
 9 x 8f in. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 177 . A Study for the Perseus Series. Pencil. 
 
 Signed and dated, E. B. J., 1876. 10J x 6 \ in. 
 
 Lent by the Executors of the Artist. 
 
 178 . Study for the “Days of Creation.” (See 
 
 No. 39) Pencil. Six compartments, each 
 
 I9J x 7 in- 
 
 Lent by Mrs. Coronio. 
 
 179 . Allegorical Statues in the “Vale of the 
 
 Garden of Idleness.” (See also No. 195.) 
 Chaucer's “ Romance of the Rose!' Water colour. 
 Iij X 35J in. 
 
 Lent by the Executors of the Artist. 
 
balcony.] by Sir Edward Burne-Jones. 
 
 79 
 
 180 . Study of Draped Figure on Pink Ground. 
 
 Chinese white. Signed and dated, E. B. J., 1897. 
 I 3i xJi in. 
 
 Lent by the Executors of the Artist. 
 
 181 . Study of a Head. Three-quarter face. Red 
 
 and white chalk on red ground. Signed and 
 dated, E. B. J., 1896. 17J x 12 in. 
 
 Lent by the Executors of the Artist. 
 
 182 . A Portrait Sketch. Oil. 23 x 17 in. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 183 . Study of A Head. Crayon. Signed and dated, 
 
 E. B. J., 1893. 20 x 14 in. 
 
 Lent by the Executors of the Artist. 
 
 184 . St. Catherine disputing with the Doctors. 
 
 Study for a window at Christ Church, Oxford. 
 Water colour. 34J x 23J in. 
 
 Lent by Mrs. Coronio. 
 
 185 . St. Catherine received into Heaven. 
 
 Study for a window at Christ Church, Oxford. 
 Water colour. 34J X 23J in. 
 
 Lent by Mrs. Coronio. 
 
 186 . The Death of St. Catherine. Study for a 
 
 window at Christ Church, Oxford. Water colour. 
 34J x 23! in. 
 
 Lent by Mrs. Coronio. 
 
 187 . Sir Gawaine and Sir Ywaine refused ad- 
 
 mission to the Chapel of San Grael. 
 Design for the Tapestry (No. 222). Water 
 colour. 20 X 24 in. 
 
 Lent by Lady Burne-Jones. 
 
8o 
 
 Exhibition of the Works [balcony. 
 
 188 . King Arthur and his Knights at the 
 
 Round Table. The damosel appearing. 
 Design for the Tapestry (No. 219). Water 
 colour. 20 x 42 in. 
 
 Lent by Lady Burne-Jones. 
 
 189 . The Vision of San Grael. Design for the 
 
 Tapestry (No. 224). Water colour. Signed and 
 dated, E. B. J., 1891. Exhibited at the Royal 
 Water Colour Society, 1894. 19J x 61 J in. 
 
 Lent by Lady Burne-Jones. 
 
 190 . The Knights leaving for the Quest of the 
 
 San Grael. Design for the Tapestry (Nos. 
 220 and 221). Water colour. Signed and 
 dated, E. B. J., 1891. 20 X 2 >]\ in. 
 
 Lent by Lady Burne-Jones. 
 
 191 . Study of a Head for Love’s Wayfaring. 
 
 (See. No. 138). Crayon. Signed and dated, 
 E. B. J., 1895. 19! x 13J in. 
 
 Lent by the Executors of the Artist. 
 
 192 . A Portrait Sketch, signed and dated, E. B. J., 
 
 1879. Oil. 23 x 17 in. 
 
 Lent by Sir Kenneth Muir Mackenzie, K.C.B. 
 
 193 . A Study in Red and White Chalk on Red 
 
 Ground. Signed and dated, E. B. J., 1896. 
 18 x nf in. 
 
 Lent by the Executors of the Artist. 
 
balcony.] by Sir Edward Burne-Jones. 
 
 81 
 
 194 . 
 
 195 . 
 
 190 . 
 
 197 . 
 
 198 . 
 
 199 . 
 
 200 . 
 201 . 
 
 A Study of Foliage. Crayon. Indian ink. 
 2o\ x 14 in. 
 
 Lent by the Executors of the Artist. 
 
 Allegorical Statues in the “Vale of the 
 Garden of Idleness.” (See also No. 179.) 
 Water colour. Chaucer's “ Romance of the Rose." 
 nf X 48 in. 
 
 Lent by the Executors of the Artist. 
 
 The Seasons. Red chalk. Signed and dated, 
 E. B. J., 1864. Four partitions 18 J x 16 in. 
 
 Lent by A. C. Street, Esq. 
 
 Pandora’s Box. Pencil, in four compartments. 
 Inscribed, E. B. J. to C. P., 1894. 3J x 3 in. and 
 3i x 6f in. 
 
 Lent by Mrs. Coventry Patmore. 
 
 Study of a Head. Pencil. Signed and dated, 
 E. B. J. mdccclxxi. I2f x 14J in. 
 
 Lent by S. A. Mavrojani, Esq. 
 
 Portrait of Edward FitzGerald, Esq. 
 Crayon. Signed and dated, E. B. J., 1896. 
 19I X 13J in. 
 
 Lent by Mrs. W. J. FitzGerald. 
 
 The Nativity. Design in water colour and 
 creta laevis, for bronze relief at Castle Howard. 
 10 X 16 in. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 Study for the Head of Fortune. (See 
 No. 95.) Pencil. Signed, E. B. J., 8J x 6\ in. 
 
 Lent by Mrs. Labalmondiere. 
 
82 
 
 Exhibition of the Works [balcony. 
 
 202 . 
 
 203 . 
 
 204 . 
 
 205 . 
 
 206 . 
 
 207 . 
 
 208 . 
 209 . 
 
 Study of Drapery. Pencil. Signed and dated, 
 E. B. J., 1874. ‘ gi x 5 in. 
 
 Lent by the Executors of the Artist. 
 
 Design in Gold for Metal Work. Signed 
 and dated, E. B. J., 1896. 9J x 6\ in. 
 
 Lent by the Executors of the Artist. 
 
 The Entombment. Design in water colour and 
 creta laevis, for bronze relief at Castle Howard. 
 9! x 16 in. 
 
 Lent by C. Fairfax Murray, Esq. 
 
 Study of a Head in Red Chalk. Signed, 
 E. B. J. 17 x 10J in. 
 
 Lent by John R. Clayton, Esq. 
 
 Three Studies for Drapery for the 
 “Golden Stairs” and “Wood Nymph.” 
 Pencil. Signed and dated, E. B. J., 1879. 
 (1) and (3) 9 X 6i in., (2) 10J x 6J in. 
 
 Lent by H. S. Theobald, Esq. 
 
 Study for Picture, “The Baleful Head,” 
 in the Perseus Series. Chalk. Signed, 
 E. B. J., 20 x 13J in. 
 
 Lent by the Executors of the Artist. 
 
 Study of a Head in Coloured Chalk. 
 Signed and dated, E. B. J., 1885. 20 X 13^ in. 
 
 Lent by Miss Olive Maxse. 
 
 Studies of Drapery for Merlin in the 
 Picture, “ Merlin and Nimue.” Pencil. 
 13J X 9| in. 
 
 Lent by the Executors of the Artist. 
 
balcony.] by Sir Edward Burne-Jones. 
 
 83 
 
 210 . Cassandra. Chalk. Signed, E. B. J. 14 x 11 in. 
 
 Lent by Constantine A. Ionides, Esq. 
 
 211 . Study in Red Chalk. 15 x 11 in. 
 
 Lent by Messrs. P. and D. Colnaghi. 
 
 212. Mars. An unfinished Study. Water colour. 
 
 32-1- x igi in. 
 
 Inscribed E. B. J. to M. S. 20 x 13 in. 
 
 Lent by the Lord Mayor and Corporation 
 
 of Birmingham. 
 
 212a. 
 
 Study of a Head in red and white Chalk, on 
 red ground. 
 
 Lent by Mrs. Stillman. 
 
 213 . Five Studies (in Pencil). 
 
 <z, b , c, for the “ Golden Stairs,” Signed and dated, E. B. J., 
 1876. 7 x 3f in. 
 
 d , e , for “ Briar Rose,” Signed and dated, E. B. J., 1870. 
 4 x si i n - 4i x 6 in. 
 
 Lent by H. S. Theobald, Esq. 
 
 214 . Studies of Drapery (in white and red chalk) for 
 
 a. South Kensington window. 7J x 12J in. 
 
 b. An Apollo, ioj x 4 in. 
 
 c. Procession of St. George. 11J x 10J in. 
 
 Inscribed, E. B. J. to M. S. 
 
 Lent by Mrs. Stillman. 
 
 215 . Twenty -four Studies for “Arthur in 
 
 Avalon.” (See No. 124.) 
 
 Lent by the Executors of the Artist. 
 
 216 . Portrait of a Lady. Oil. 24 x 18 in. 
 
 Lent by Sir Charles Turner, K.C.I.E. 
 
 F 
 
8 4 
 
 Exhibition of the Works [central 
 
 217. Twenty -two Studies for “Arthur in 
 
 Avalon.” (See No. 124.) 
 
 Lent by the Executors of the Artist. 
 
 218. The Apparition of the Departed Souls 
 
 from Erebus before Ulysses. Odyssey , 
 
 Book xi. Signed and dated, E. B. J., 1878. 
 45 X 45 in. Crayon. 
 
 Lent by Mrs. Drew. 
 
 219 . St Mary Magdalen, Head of. Oil. (Unfinished.) 
 
 19 x 15 in. 
 
 Lent by John T. Middlemore, Esq. 
 
 IN CENTRAL HALL. 
 
 Arras Tapestries from Stanmore Hall. 
 
 Lent by W. K. D’Arcy, Esq. 
 
 These tapestries (designed in 1893) from Stanmore Hall were 
 executed from the cartoons of Sir Edward Burne-Jones under 
 the supervision of Mr. William Morris, who also designed the 
 architectural features of the room in which they hang. They 
 are six in number, and represent successive incidents in the 
 story of the Quest of the San Grael. In the room at Stanmore 
 the six “ Verdures ” inscribed with legends and showing the 
 shields and arms of King Arthur’s knights hang beneath the 
 subjects to which they belong. The inscriptions are : — 
 
 220. “How King Arthur sat in his hall at the high tide of 
 Pentecost, and how the whole round table was there assembled, 
 when there entered to them a damsel, and called upon the 
 Knights to take upon them the quest of the San Grael ; 
 whereof was great stir and wonder amongst them of the Round 
 Table, both the King and his Knights.” 
 
hall.] by Sir Edward Burne-Jones. 
 
 85 
 
 221 . “How after that the damsel had bidden the Knights of 
 the Round Table to seek the San Grael, they departed on the 
 quest, whatever might befal.” 
 
 222. “That of them that departed, these are the chiefest : — Sir 
 Gawaine, Sir Lancelot of the Lake, Sir Hector de Marys, Sir 
 Bors de Ganys, Sir Perceval, and Sir Galahad.” 
 
 223. C( How Sir Gawaine and Sir Ywaine went their ways to 
 seek the San Grael, but might nowise attain to the sight of it, 
 but were brought to shame, because of the evil life which 
 they had led aforetime.” 
 
 224. “Of the quest of Lancelot of the Lake, and how he rode 
 the wild wood and came to a chapel, wherein was the San 
 Grael ; but because of his sins he might not enter, but fell 
 asleep before the holy things, and was put to shame in 
 unseemly wise.” 
 
 225 . The Vision of the San Grael. In the centre stand three 
 angels, and to their left the kneeling figure of Sir Galahad, 
 gazing through the open door of the chapel. On the right of 
 the angels are Sir Bors and Sir Perceval. 
 
 ENGRAVINGS IN BALCONY. 
 
 226. Vespertina Quies. 
 
 Etching by E. Boilvin of No. 135 . 
 
 Lent by Messrs. A. Tooth and Sons. 
 
 227 . The Annunciation. 
 
 Etching by F. Jasinski of No. 86 . 
 
 Lent by Messrs. A. Tooth and Sons, 
 
86 
 
 Engravings in Balcony . 
 
 228. The Golden Stairs. 
 
 Etching by F. Jasinski of No. 108 . 
 
 Lent by Messrs. A. Tooth and Sons. 
 
 229 . The Mirror of Venus. 
 
 Etching by F. Jasinski of No. 99 . 
 
 Lent by Messrs. A. Tooth and Sons. 
 
 230. Flora. 
 
 Etching by E. Gaujean. 
 
 Lent by Messrs. Agnew and Sons. 
 
 231. Birth of Galatea, “ The Godhead Fires.” 
 Mezzotint by C. W. Campbell of No. 132 . 
 
 Lent by Messrs. Dunthorne. 
 
 232. Flamma Vestalis. 
 
 Etching by E. Ganjean of No. 129 . 
 
 Lent by Messrs. Agnew and Sons. 
 
 233. Pan and Psyche. 
 
 Mezzotint by C. W. Campbell of No. 90 . 
 
 Lent by Messrs. Dunthorne. 
 
 234. A Sybil. 
 
 Etching by C. Waltner. 
 
 Lent by Messrs. Agnew and Sons. 
 
 235. Le Chant d’ Amour. 
 
 Engraving by R. Macbeth, A.R.A. of No. 109 . 
 
 Lent by the Fine Art Society. 
 
INDEX OF PICTURES. 
 
 Adoration of the Magi (1861), 7 
 Altar of Hymen, the (1874), 25 
 Angel, an, 6.9 
 
 Annunciation, the, oil (1879), 86 
 Annunciation, the (1861), 8, 9, 55 ; 
 (1863), 59 
 
 Arthur in Avalon (1880-1898), 124 
 Arthur in Avalon, design for, 150 
 Astrologia (1865), 17 
 Aurora (1896), 91 
 Autumn (1869), 88 
 
 Backgammon Players, the (1861-2), 5 
 Beguiling of Merlin, the (.1874), 68 
 Blessed Damosel, the, 4 
 Boat, the, 112 
 
 Briar- Rose, the (1871), 47, 48, 57 
 Burne-Jones, Miss Margaret (Mrs. 
 
 Mackail) (1886), 87 
 Burne-Jones, Sir Edward, portraits, 
 123, 125 
 
 Caritas (1867), 105 
 Carr, Philip Comyns (1882), 67 
 Chant d’ Amour (1873), 109 
 Chaucer’s Dream of Good Women 
 41 (1865-70), 44 (1865), 
 
 Cinderella (1863), 11 
 Circe, Wine of (see Wine of Circe) 
 Clara von Bork (i860), 22 
 Clerk Saunders (1861), I 
 Cupid and Psyche, 58 
 Cupid and Psyche (1867), 137 
 
 Danae’s Tower (1872), 31 
 Days of Creation (1876), 39 
 Depths of the Sea, the (1886), 101 
 Dies Domini (1880), 23 
 Dorigen of Bretagne (1871), 6 
 Drew, Miss Dorothy (1893), 73 
 
 Elijah, 74 
 
 Evening Star (see Vesper) 
 
 Fair Rosamond and Queen Eleanor 
 (1862), 10 
 
 Fall of Lucifer, the (1894), 119 
 
 Fatima (1862), 50 
 
 Feast of Peleus, the (1872-81), 29 
 
 Fides (1871), 104 
 
 Flamma Vestalis (1896), 64 
 
 Flamma Vestalis (1886), 129 
 
 Forge of Cupid (1861), 40 
 
 Garden of Pan, the (1886-7), 127 
 Garland, the (1866), 20, 26 
 Gaskell, Miss Amy (Mrs. Bonham), 
 (1893), 85 
 
 Girl and Goldfish (1861), 2 
 Girl seated in a Meadow, 27 
 Golden Stairs, the (1880), 108 
 Graiae, the (1880), 43 
 Green Summer (1864), 38 
 
 Hero (1875), 46 
 
 Hesperides, the (1873), 131 
 Hill Fairies, the, designs, 15 1 
 
88 
 
 Index of Pictures. 
 
 Hope (1862), 28 
 Hours, the (1882), 93 
 
 King Cophetua and the Beggar Maid 
 (1884), 98 
 
 King Cophetua and the Beggar Maid, 
 designs, 139, 140 
 King’s Wedding, the (1870), 14 
 
 Landscape, 12, 30, 52 
 Launcelot, Dream of (1896), 122 
 Laus Veneris (1861), 15 
 Laus Veneris (1873-5), 96 
 Lewis, Miss Gertrude (1883), 70 
 Lewis, Miss Katherine (1882-4), 77 
 Love among the Ruins, oil (1894), 106 
 Love and the Pilgrim (1896-7), 130 
 Love disguised as Reason (1870), 54 
 Love Scene (1862), 3 
 Love’s Wayfaring, 158 
 Luna (1875), 110 
 
 Madness of Sir Tristram (1862), 3 7 
 Marriage of Psyche, the (1895), 133 
 Marriage of Sir Tristram (1862), 34 
 Mars, 212 
 
 Merciful Knight, the (1863), 53 
 Mermaid and Sea-Babies, 78 
 Mermaid, the (1882), 33 
 Mill, the (1870), 102 
 Mirror of Venus (1875), 99 
 Music (1875), 75 
 
 Pan and Psyche, 61 
 Pan and Psyche (1872-4), 90 
 Perseus Series, 115, 1 1 7, 118, 120, 121 
 Prioress’s Tale, the (1865-98), 36 
 Pygmalion and the Image, series of 
 (1868-70), 126, 128, 132, 134 
 Py ramus and Thisbe, 18 
 
 Ring given to Venus (1872), 35 
 
 Sacrifice to Hymen (1875), 32 
 
 St. Barbara, St. Dorothea, and St. 
 
 Agnes (1869), 107 
 St. Cecilia (1870), 45 
 St. Dorothea, 56 
 St. George, 92 
 
 St. George and the Dragon Series 
 (1865-6), 66,71, 94, 97, 100, 103, 1 13 
 St. Mary Magdalene, 219 
 St. Valentine’s Morning (1863), 19 
 Sibyl of Tibur, the (1877), 79 
 Sidonia von Bork (i860), 24 
 Sisters, the, 51 
 
 Sleeping Beauty, the (1886-88), 62 
 
 Spes (1871), 63 
 
 Sponsa de Libano (1891), 136 
 
 Spring (1869), 83 
 
 Summer (1870), 84 
 
 Tapestries, designs for, 187-190 
 
 Temperantia (1872), ill 
 
 Theophilus and the Angel (1863-7), 7 2 
 
 Three Maries, the, 49 
 
 Tree of Forgiveness, the (1882), 116 
 
 Triumph of Love (1871), 16 
 
 Venus Epithalamia (1871), 21 
 Vesper or Evening Star (1872), 80; 
 (1871), 82 
 
 Vespertina Quies (1893), I 35 
 Viridis of Milan (1861), 13 
 
 Wheel of Fortune, the, water colour , 
 7 6 
 
 Wheel of Fortune, the, oil (1883), 95 
 Windsor, The Lady (1893), 81 
 Wine of Circe, the (1863-69), 65 
 Winter (1870), 89 
 Wizard, the, 42 
 
 Zephyrus and Psyche (1865), 60 
 
INDEX OF EXHIBITORS. 
 
 Agnew, Sir William, Bart., 96 
 Agnew and Sons, Messrs., 119, 230, 
 232, 234 
 
 Alma-Tadema, L., Esq., R.A., 162 
 Alma-Tadema, Mrs., 161 
 Arthur, T. G., Esq., 4 
 Austen, J. F., the Trustees of, 93 
 
 Bacon, Sir Hickman, Bart., 142 
 Balfour, the Rt. Hon. A. J., M.P., 
 95, 115, 117, 118, 120, 121 
 Battersea, The Lord, 108 
 Beddington, Mrs. Maurice, 135 
 Benson, Mrs. R. H., 31,40, 43, 58, 61, 
 75, 101, 106, 140A 
 Birmingham, Corporation of, 74, 212 
 Bodley, G. F., Esq., A.R.A., 7, 8 
 Burne-Jones, Sir Edward, Bart., Ex- 
 ecutors of, 35, 69, 124, 138, 139, 
 143, 145 - 149 , 151-156, 163, 164, 
 
 168, 171, 173, 175, 177, 179, 180, 
 
 181, 183, 187, 188-191, 193-195, 
 202, 203, 207, 209, 215, 217 
 Burne-Jones, Sir Philip, Bart., 52, 125 
 Burne-Jones, Lady, 87, 123, 139, 
 
 187-190 
 
 Carlisle, The Earl of, 23, 50, 56, 82, 
 86, 92 
 
 Carr, J. Comyns, Esq., 67, 141 
 Clayton, John R., Esq., 205 
 Clifford, Edward, Esq. , 10 
 Cockerell, S. C., 160 
 Cockerell, S. P., Esq., 27 
 
 Colnaghi, Messrs. P. and D., 166, 167, 
 211 
 
 Coltart, W., Esq., 38, 59 
 Colvile, Lady, 36 
 Cooper, The Earl, K.G., 91 
 Coronio, Mrs., 37, 140, 178, 184, 185, 
 186 
 
 Crawshay, Mrs., 78 
 
 D’Arcy, W. K., Esq., 220-225 
 Davey, The Lord, 129 
 Drew, Mrs., 73, 218 
 Dunthorne, R., 231, 253 
 
 Egerton of Tatton, The Earl, 174 
 
 Fine Art Society, 235 
 Fitzgerald, Mrs. W. J., 1 14, 199 
 Fletcher, J. Douglas, Esq., 83, 84, 88, 
 89 
 
 Foster, Miss Gertrude, 65 
 Freshfield, Douglas W. , Esq., 16 
 
 Galloway, Charles J., Esq., 32 
 Gaskell, Mrs., 85 
 
 Goldmann, C. Sidney, Esq , 64, 66, 
 7L 94, 97, 99, 100, 103, 113 
 Graham, Mrs. William, 46, 47, 48, 57 
 
 Hamilton of Skene, Mrs., 90 
 Henderson, Alexander, Esq., M.P., 
 39, 63, 104, 137 
 Henderson, H. W., Esq., 80 
 Hill, Gray, Esq., 107 
 Holder, Sir John, 5, 42 
 
90 
 
 Index of Exhibitors. 
 
 Holland, Walter, Esq., 18 
 Homer, J. F., Esq., 12, 14, 45 
 Imrie, W., Esq., 116 
 Ionides, Constantine A., Esq., 6, 102, 
 210 
 
 Ionides, Mrs. A., no 
 Ismay, J. H., Esq., 109 
 
 Jekyll, Col. H., 15, 112 
 
 Kenrick, Rt. Hon. W., M.F., 29 
 Knowles, Mrs., 28 
 
 Labalmondiere, Mrs., 201 
 Leighton, The Hon. Eleanor Lady, 
 
 150 
 
 Lewis, Lady, 33, 51, 70, 77, 144 
 Liverpool, Lord Mayor and Corpora- 
 tion of, 136 
 
 Mackail, Mrs., 62 
 
 Mackenzie, Sir Kenneth Muir, K.C.B., 
 25, 30, 41, 79, 82, 192 
 Marlborough, Lilian, Duchess of, 68, 
 127 
 
 Mavrojani, S. A., Esq., 198 
 Maxse, Miss Olive, 208 
 Middlemore, John T., Esq., 33. 126, 
 128, 131, 132, 134, 219 
 Mills, Richard, Esq., 9 
 
 Murray, C. Fairfax, Esq., 2, 44, 142A, 
 172, 176, 200, 204 
 
 Patmore, Mrs. Coventry, 197 
 Pearson, Messrs. J. & Co., 157 
 Pembroke, Gertrude, Countess of, 54, 60 
 
 Radcliffe, Mrs., 49, 55 
 Robertson, W. Graham, Esq., 22, 24, 
 122 
 
 Schwann, J. F. Esq., 159 
 Stillman, Mrs., 21, 212A, 214 
 Stirling-Maxwell,Sir John, Bart., M.P., 
 165, 170 
 
 Street, A. E., Esq., n, 19, 34, 72, 
 196 
 
 Sutherland, Mary, Duchess of, 130 
 
 Theobald, H. S., Esq., 158, 206, 213 
 Tooth, Messrs. Arthur and Sons, 20, 
 26, 133, 226-229 
 
 Turner, Sir Charles A., K.C.I.E., 216 
 
 Wantage, The Lord, V.C., 105, in 
 Watts, G. F., R.A., 3, 76 
 Wells, H. I., R.A., 1, 13 
 Wharncliffe, The Earl of, 98 
 White, Frederick A., Esq., 169 
 Windsor, The Lord, 81 
 
 "A 
 
 RICHARD CLAY AND SONS, LIMITED, LONDON AND BUNGAY. 
 
New Gallery Publications. 
 
 DRAWINGS BY THE OLD MASTERS IN THE 
 ROYAL LIBRARY AT WINDSOR, AND AT 
 CHRIST CHURCH, OXFORD 
 
 pHOTOGRAPHIC Reproductions of one hundred and seventy- 
 six examples From the designs of Lionardo da Vinci, 
 Raphael, Michelangelo, and other Masters of the Italian, German, 
 Dutch, and French Schools in the Windsor Collection, and also 
 seventy-eight examples from the Collection at Christ Church, 
 Oxford, may be obtained at the New Gallery. For particulars 
 apply to the Secretary. 
 
 Catalogues of the Tudor, Guelph, Victorian, Early Italian, 
 Venetian Art, Spanish, and Rossetti Exhibitions may be obtained, 
 price 2s. 6 d ., bound 5$. Illustrated Catalogue of the Tudor Exhibi- 
 tion thirty shillings, of the Guelph Exhibition, two guineas. 
 
IHew <3allei'? ]p>ubUcatkms 
 
 PHOTOGRAPHS 
 
 
 ^ t s H E Following Photographs may be obtained from the Secretary 
 of the New Gallery : — 
 
 A Portfolio containing Photographic Reproductions in Collo- 
 type of twenty-eight Pictures selected from the Early Italian 
 Exhibition, price two guineas. 
 
 Photographs in Silver Print and Platinotype of some of the 
 Pictures and Drawings exhibited in the Early Italian, Venetian, and 
 Spanish Art Exhibition. 
 
 Photographs in Permanent Carbon of some of the Portraits 
 exhibited in the Stuart, Tudor and Guelph Exhibitions. 
 
 Platinotype Reproductions of the works of G. F. WATTS, 
 R.A., Sir EDWARD BURNE-JONES, Bart., and D. G* 
 ROSSETTI. v 
 
 A complete List will be forwarded on application,