Yale Center for British Art
Gift of
JULES DAVID PROWN

Edward Burne-Jones

Second Edition.

Edward Burne-Jones

A Record and Review

By Malcolm Bell

London ^ New York : George Bell SS Sons

MDCCCXCIII

CHISWICK PRESS :— C. WHITTINGHAM AND CO., TOOKS COURT,
CHANCERY LANE.

PUBLISHER'S NOTE.

'ACH year as it passes adds to the
estimation in which the public
holds the works of Mr. Burne-
JoNES, and though signs of this
increasing popularity have shown
themselves in various short essays
in our magazines, there has hitherto
been no adequate attempt to repre
sent this master in anything like a
comprehensive form.
This volume has therefore been
prepared in the hope of supplying a
full and accurate chronicle of his
contributions to contemporary Art,
not only as a painter in oil and
water colours, but also in his less
known character as a designer both
for stained glass and other decora
tive work.
With regard to the illustrations the publishers have been aided
in their enterprise by the cordial co-operation of many admirers of the
artist's work. Among these they specially desire to thank The Earl of
Wharncliffe, Professor Charles Eliot Norton, of Harvard University,
Colonel Gillum, and Mr. C. E. Halle, for permission to reproduce
works in their possession ; also Mr. Frederic Hollyer, for his consent
to the use of many of his valuable copyrights, and for other assistance
in carrying out their project ; Messrs. Walker and Boutall for similar
aid • and Messrs. Morris and Co., who have courteously allowed a
selection from their cartoons for stained glass, and tapestries to be

FROM THE
ILLUSTRATIONS TO
mr. williaivi morris'
translation of
virgil's "^NEID.'

repro

duced.

MOSES AND THE BURNING BUSH ;
FROM A WINDOW AT
KIRKCALDY.

f^p^ir '^bmf, , nri ' '''.

sv..qf5g|;riP5S^^8^^

CARTOON FOR THE TAPESTRY OF "THE HOLY GRAIL," NOW BEING EXECUTED BY MESSRS. MORRIS AND CO.

Contents.

PAGE
Chapter I. Introductory  i
II. His Birth and Education . . . . 12
III. Year by Year  23
IV. His Decorative Work  64
V. His Art and His Critics .... 83
Appendix I. Chronological Catalogue of Finished
Pictures  107
II. List of Cartoons for Stained Glass
Windows . . . . . . .111
Index . •  ^^5

FROM THE CARTOON FOR A WINDOW-
IN IKGESTRE CHURCH.

LIST OF ILLUSTRATIONS.

PAGF-

King Cophetua and the Beggar Maid. Photographed by Mr. H. Dixon, from
the original painting, by kind permission of the Earl of Wharncliffe. Photogravure
by Messrs. Walker and Boutall  Front.
Initial, from the pencil drawings in illustration of Mr. William Morris' translation of
Virgil's "iEneid "  v
MoSES AND the BURNING BusH. From a cartoon for a window in Kirkcaldy Church.
Photographed by Messrs. Walker and Boutall  vi
Headpiece, " The Holy Grail," cartoon for the Tapestry executed by Messrs. Morris . vii
" The Pelican." From a cartoon for a Stained Glass Window in Ingestre Church . . viii
Edward Burne-Jones. Photographed by Mr. F. Hollyer, from the portrait by
G. F. Watts, R.A. Photogravure by Messrs. Walker and Boutall  i
Initial, " Miriam," from a window in St. Giles's Church, Edinburgh  „
The Mirror of Venus. Photographed by Mr. F. Hollyer from the original . 2
Merlin and Vivien. Ditto  3,
Study for " The Legend of the Briar Rose," from the original drawing, by the kind
permission of Mr. C. E. Halle ....  8
Study of a Head, photographed, from the original in possession of the artist, by Mr.
F. Hollyer   9
Study of a Head. Ditto   ,
Study of Roses. Ditto  „
Initial, " Ruth." Ditto. From a window in St. Giles's Church, Edinburgh . . „
The Star of Bethlehem. Photographed by Mr. F. Hollyer, from the Tapestry, by
kind permission of Messrs. Morris and Co  14
The Golden Stairs. Photographed by Mr. F. Hollyer from the original. Photo
gravure by Messrs. Walker and Boutall  20
Initial, " Jephthah's Daughter," from a window in St. Giles's Church, Edinburgh ... 23
Sponsa di Libano. Photographed by Mr. F. Hollyer, from the original . . . . „
Sir Galahad. Photographed by Mr. Charles F. Bell from the original pen and ink
drawing, by kind permission of Col. Gillum  28
Kings' Daughters. Photographed by Mr. F. Hollyer from the original drawing in
the possession of the Artist  30
Summer Sno'W. Reproduced from the wood engraving in " Good Words " by kind
permission of Messrs. Isbister and Co  : 32
Cupid's Forge. Photographed by Mr. F. Hollyer from the original  34
The Chess Players. Ditto  36
The Princess of Egypt, from the pencil drawings for the " St. George and the
Dragon " Series. Photographed from the original by Mr. F. Hollyer  40
Le Chant d'Amour. Ditto. Photogravure by Messrs. Walker and Boutall . . 42
Caritas. Photographed by Mr. F. Hollyer from the original  44
Temperantia. Ditto  46
Pan and Pysche. Ditto  48

X LIST OF ILLUSTRATIONS. I'AGE
Initial, and~j From the pencil drawings in illustration of Mr. William Morris' transla-
Two [ tion of Virgil's "^neid." Photographed by Mr. F. Hollyer from the
Subjects. ) originals in the possession of the Artist  50
The Angels of Creation. From photographs by Mr. F. HoUyer  52
Pyramus and Thisbe. Photographed by Mr. F. Hollyer from the original drawings 54
" A'WAKE O North Wind," from the set of pencil drawings in illustration of the
Song of Solomon. Photographed by Mr. F. Hollyer 
Lo'VE Leading the Pilgrim. From a pencil drawing for "The Romaunt of the
Rose" Series. Photographed by Mr. F. Hollyer  56
Dies Domini. Photographed by Mr. F. Hollyer from the original  58
An Angel. Ditto  „
A Woodnymph. Ditto  60
The Baleful Head, from "The Story of Perseus" Series. Photographed by
Mr. F. Hollyer from the original cartoon  58
" L'Amant," from a pencil drawing for "The Romaunt of the Rose." Photographed
by Mr. F. Hollyer  ¦  62
Initial, " St. Martha," cartoon for a window in Whiteland's Training College, Chelsea.
Photographed by Messrs. Walker and Boutall  64
Love among the Ruins. Photographed by Mr. F. Hollyer from the original.
Photogravure by Messrs. Walker and Boutall  „
The Wheel of Fortune. Photographed by Mr. F. Hollyer from the original . . 66
Angeli Laudantes 1 Two designs for windows in Salisbury Cathedral, repro-
Angeli Ministrantes i duced from " The Builder" by permission  68
Two Angels, from a window in the church of St. Peter, Vere St. Ditto  „
The Nativity, and The Crucifixion, from the cartoons for windows at Birming
ham ; now in South Kensington Museum. Photographed by Mr. F. Hollyer . . 70
Six Subjects from THE NORSE Window, at Newport, R.L, United States. Photo
graphed by Mr. F. Hollyer from the cartoons 
Agnus Dei, from the cartoon for a window in Jesus College, Cambridge. Reproduced
from " The Builder " by permission  „
A Mosaic from the Apse of the American Protestant Church at Rome. From a
photograph of the building  75
The King, Shepherd, and Angels ) Photographed by Mr. F. Hollyer from paint-
The Nativity  ) ings in the Church of St. John,^ Torquay . 78
Memorial Tablet in Gesso, " The Peacock," from a photograph by Mr. F. Hollyer . . 80
A Grand Piano. The exterior and interior of the lid, from photographs by Mr. F.
Hollyer  „
" Pomona," and " Flora." Photographed by Mr. F. Hollyer from the tapestries, by
kind permission of Messrs. Morris and Co   „
A Portrait. From the original painting, by special permission. Photographed by
Mr. F. Hollyer. Photogravure by the Art Reproduction Co., S.W  82
Initial, " St. Veronica." From the cartoon for a window in Whiteland's Training
College, Chelsea. Photographed by Messrs. Walker and Boutall  83
Paderewski, a pencil study. Photographed by Mr. F. Hollyer  84
The Annunciation. Photographed by Mr. F. Hollyer from the original oil painting
Studies of Hands. Photographed by Mr. F. Hollyer from originals in possession of
the artist  86
Studies of Armour. Ditto 
Studies of "The Babe" for "The Star of Bethlehem." Ditto 
1 Wrong-ly entitled " St. Michael " on the Plates.

LIST OF illustrations. xi

PAGE

Studies of Children. Photographed by Mr. F. Hollyer from the original in possession
of the artist  86
Study of Drapery. Ditto  „
Study of a Draped Figure. Ditto  „
Two Studies of Drapery. Ditto . . . . .  „
Two Studies of Drapery. Ditto  „
Study of Drapery  .... „
The Feast of Peleus. Photographed by Mr. F. Hollyer from the original ... 92
The Brazen Tower. Ditto  94
The Story OF Pygmalion. I. The Heart Aspires. Ditto  „
„ „ „ II. The Hand Refrains. Ditto  . . ,,
,, „ „ III. The Godhead Fires. Ditto  ,
„ „ „ IV. The Heart Attains. Ditto  „
Spes. Ditto  98
Fides. Ditto  „
The Wine of Circe. Photographed by Mr. F. Hollyer from the original. Photo
gravure by Messrs. Walter and Boutall  „
The Building of the Temple. Photographed by Mr. F. Hollyer from the cartoon
for a window at Boston, U.S.A   102
The Four Seasons. From photographs by Mr. F. Hollyer  ,,
Study of Two Heads. Photographed by Mr. F. Hollyer from the original drawing in
possession of the artist .   104
Christ and St. Mary Magdalene. From a photograph of the cartoon for a window
in Rochdale Church   „
Pencil Study of a Child. Photographed by Mr. F. Hollyer from the original in
possession of the artist  106
The " St. Cecilia " Window, Christchurch, Oxford. From a photograph by Mr.
F. Hollyer  118
A Window at Easthampstead. Photographed by Mr. F. Hollyer from the cartoon . 120
The Good Shepherd. From the cartoon for a window in St. James', Westmoreland
Street, Marylebone. Photographed by Messrs. Walker and Boutall .... 122
With the exceptions specified above. The Angels of Creation which appeared in the " Magazine
of Art" The Four Seasons and the St. Cecilia window in " The Art fournal," and
those from photographs by Messrs. Walker and Boutall, who also prepared
the blocks, the whole of the illustrations have been specially repro
duced for this volume by The A rt Reproduction Co., S. W.

EDWARD BURNE-fONES, A.R.A., FROM THE PORTRAIT BY G. F. WATTS, R.A.

EDWARD BURNE-JONES,

A RECORD AND REVIEW.

CHAPTER I.

Introductory.
' I "HROUGH the dark winter months that brought
-¦- the end of 1876, and ushered in the new year
1877, the artistic hive in England was " hotching," to
use an expressive Scotticism, with high anticipations,
and gradually the murmurs spread abroad from the
inner circles of the studios until the crisp spring air
was pierced with flying rumours.
The torpid warders of that sleepy castle — the
Royal Academy — were to be roused at last from their
secure slumbers beneath the royal standard ; the great
monopoly was to be broken up, and living English
Art was to leap into the light from the gloom in which
it had lain so long under the shadow of Chartered
disapproval; That was one form of the prediction.
Each madcap spirit who might. choose to "fling his pot of paint
in the face of the public," unfettered by school-teaching or tradition,
each fashioner of wild deformities, of weird perversions, of crass in
anities, was to be free to flaunt his bedizenments before the general
eye. There was to be served up food unlimited for inextinguishable
laughter — the unexcelled jest of the fool parading' in unsuspected
motley, and deeming himself conspicuously wise : such a rare source
of merriment as mankind seldom found.
That was the other.
When, at length, on the morning of the 30th of April, 1877, the
much-talked-of Grosvenor Gallery threw wide its doors for the first
B

MIRIAM : FROM A WINDOW
IN S. GILES' CHURCH,
EDINBURGH.

2 EDWARD BURNE-JONES.
so-called private view to a public by then sharp-set with eagerness to
laugh or to rejoice, neither array of prophets was fully justified. The
Gallery has come and gone, not without leaving an inheritor, or, as
some might consider, an usurper of its aims behind it, but the
Academy stands where it did, and still finds ample covering for its
acreage of wall-space year by year, and gathers the exhaustless store
of shillings into its coffers. The staring owl has not yet roosted in
its deserted halls, nor have the obstinate supporters of an exploded
practice yet sunk to snatching a precarious livelihood from the
deposition of ephemeral pastel upon the pavements. So little had they
feared the threatened rival, in fact, that many of them, including their
President himself, had helped to swell his forces.
Nor, on the other hand, was the fun so fast and furious as others
had foretold. Some curiosities and immaturities in truth there were,
but in an insignificant minority, and those who came to jeer were fain
to grumble, or to honestly admit that there was to be seen around
them a side of British art of which till then they had recked nothing,
but which, beyond all question, was worthy of concern. The new
exhibition made good at once its title to respect. It had brought to a
congenial light some painters who either could not or would not face
the destructive glare of larger galleries, and it had shown that under
such conditions their work was good and earnest.
In chief it had revealed for the first time to many people, even
among the most art-loving, a vital power until then existing un
recognized and almost unheard-of in their very midst. Some few,
to be sure, had known before of the three rooms in a peaceful old
house in the North End Road at what was in those days still content
to be called Fulham, and had made their way thither now and again
on Sunday afternoons to revel in the beauties spread out for them on
wall and easel ; but to the larger number the name of Edward Burne-
Jones, nowadays a spell to conjure up the most entrancing visions,
was as vague and empty of significance as the sacred mystery of the
Buddhist monosyllable Om to Western ears. Small wonder was it
then that this sudden emergence of a bright, particular star, theretofore
unknown to the majority of English men and women, fromi the mists of
that obscurity which for most of them surrounded that milk-and-watery
way, the annual exhibition of the Royal Academy, should have aroused
a mad enthusiasm of contention, for in the face of it indiff"erence was

to
o

INTRODUCTORY. 3
impossible. It might be mocked at, it might be contemned, it might be
hesitatingly accepted, or unreservedly received with rapture, but it
could not be ignored. To many it was a benevolent planet destined
to exercise incalculable influences on the tides of modern art ; to some
few a mere fleeting nebula doomed to quick evanishment, but vi^hich
yet threatened danger ; to others an exhalation, poisonous and death-
bearing ; but to all, beyond dispute, a power to be reckoned with.
For the time, probably, the scoffers were in the majority : certainly
they were the louder-voiced ; and, as is usual, those who were too
timid or too ignorant to think for themselves joined in the clamour,
following Mr. Pickwick's politic advice to shout with the larger crowd
of two opposing. Mr. Punch, in an amusing parody of Tennyson's
" Palace of Art," wrote of:
" The pictures — for the most part they were such
As more behold than buy —
The quaint, the queer, the mystic over-much,
The dismal and the dry."
Of the beautiful " Mirror of Venus," with its group of sweet girls
round the shining flower-flecked pool, which one at least was ready
enough to buy only the other day at the sale of the late Mr. Leyland's
pictures for three thousand five hundred and seventy guineas, he said :
" Or crowding round one pool, from flowery shelves
A group of damsels bowed the knee
Over reflections solid as themselves
And like as peasen be."
And in the " Beguiling of Merlin," which at the same sale somehow
found a purchaser at the still higher price of three thousand seven
hundred and eighty guineas, he only saw :
" mythic Uther's diddled son
Packed in a trunk with crampdd limbs awry.
Spell-fettered by a Siren, limp and lean,
And at least twelve heads high."
But world-wide as is Mr. Punch's potent sway, there can be little
doubt that Mr. Gilbert's shafts of sarcasm in the opera of " Patience,"
though not indeed directed especially at this particular artist, were by
far the more active means of carrying abroad the idea that a vein of
light mockery was the only fitting one in which to receive this new
manifestation, and that the audacious couplet, " greenery-yallery,

4 EDWARD BURNE-JONES.
Grosvenor Gallery," sufficiently summed up the features of the highest
English art.
Among the serious critics the differences of opinion were as marked
as among the uninspired outsiders, and being founded, more or less, on
reasoned judgment, proved the more entertaining. Some of them, to
say the truth, seemed not a little puzzled by this new departure. Here
was an artist to whom the stereotyped expressions of disapproval or
endorsement could not be applied. Accustomed as they had been,
consciously or not, to regard each year's art production as deciduous,
to be compared, favourably or otherwise, with the last year's fruit from
the same tree and then dismissed for ever, they seemed at a pause
before the collected outcome of many years, stamped with a vivid and
original personality, and painstakingly wrought out by a man who
held not at all in view the momentary public flutter, the " line " at the
Academy, and the attendant policeman within its gates, but only the
expression, for their own sake, of the truth and beauty that were in
him. It was, perhaps, an unprecedented event when a painter thus dis
played, practically for the first time, to the public consideration an
ample representation of the full plenitude of his genius, matured
by long and unremitting toil, and it were surely worth while to
mention here, even a little prematurely, the works in which he so
declared himself First in perfection of design and colouring were
the six panels of the " Angels of Creation," nearly if not quite equalled
by the " Mirror of Venus," with the great " Beguiling of Merlin " to
complete a noble trio of larger works, illustrating respectively the
symbolic, the pictorial, and the more literary sides of Mr. Burne-Jones'
artistic development. The more Italianate and less individual per
sonification of abstract qualities to which he has on rarer occasion
given shape was seen in the companion pictures in water-colour,
" Fides," "Spes," and " Temperantia," while two unfinished canvases,
" A Sibyl " and " A Knight," made up this most remarkable exhibit.
Around them the war of words raged furiously. To some they
were effeminate, affected, imitative, pessimistic, unwholesome, even
immoral ; to others full of haunting and delightful charm, master
pieces alike of drawing and of colour, the triumphant creation of
a world of undreamed-of beauty, the messages of high and holy
mysteries.

MERLIN AND VIVIEN.

INTRODUCTORY. 5
The public read and wondered at the conflicting comments. Too
many, baffled in their expectations of a conveniently neat opinion
ready cut-and-dried for daily use at ball or dinner, resigned themselves
to the belief that the artist was far too profound for them, that it were
vain for them to try to understand him, and that, as consolation for
their wounded self-esteem, he was not worth the understanding were it
possible. Had the painter, as once before, shrunk from the clamour
which brawled around him and his work, and withdrawn his art
thenceforth to the close transition from the easel in his studio to the
chambers of his patrons, this Gallio-like indifference would in all
probability have finally become the most prevailing attitude of mind.
Men would have remembered for a time with wonder the dazzling
meteorite that whizzed and blazed for a brief space across their narrow-
horizons, and then would have forgotten. This happily was not to
be. The revelation of 1877 was followed by a further exposition in
1878. The six water-colour idealizations, "Day" and "Night,"
"Spring," "Summer," "Autumn," and "Winter," painted in 1869,
1870, and 1 87 1, were lent by Mr. Leyland, and encountered from
many quarters a storm of ridicule. Mr. Punch again distinguished
himself as an art critic of the subtlest appreciation by his wise
judgment of them, " Here be Lunacies, look you ! " while the delicate
fancy and rich colour of " Le chant d'amour" inspired him only with
a cry for the police, a flash of humour prompted by the organ on
which the fair-haired maiden plays to her singing of the old French
chanson : " Helas ! je sais un chant d'amour
Triste ou gai tour a tour."
Whether his wit deserted him, or whether possibly the obvious
beauties of the picture penetrated his perception, it matters little, but
he preserved a discreet silence before the splendid " Laus Veneris,"
and he ignored the two smaller pictures, " Luna " and " Pan and
Psyche," to caper somewhat cumbrously about the wood-and-metal
decorative panel of " Perseus and the Graiae" hanging at the stair-head,
which, be it observed, struck a more learned critic as " a barbarism
which shocks the eyes." The other works obtained upon the whole
a much more favourable reception, though some dissentient voices still
were heard, and a confession of delight in Mr. Burne-Jones' pictures
soon ceased to be the signal for a shrug of pitying contempt. It

6 EDWARD BURNE-JONES.
would not, possibly, be altogether just to set down this increase of
acquiescence to the well-nigh unanimous chorus of approval which
rose from the French critics when, in the same year, the " Beguiling
of Merlin," by no means the finest of the painter's pictures even then,
first introduced the artist to their notice at the Paris Exposition. If
it were so, Mr. Burne-Jones would not be the only painter to whose
high deserts the eyes of English critics have been opened by their
colleagues across the Channel. If it were not, one can but say
with Horatio : " Indeed, my lord, it followed hard upon't."
It is not my purpose here to review in detail the artist's annual
contributions to the exhibitions. It is enough, at present, to remark
that with such expedition did they grow in favour, that there was
quite a general sense of something lacking to the full interest of the
year's display of art when he was for the first time since its opening
unrepresented at the Grosvenor in 1881, a year which witnessed
nevertheless the first expression of enlightened tribute to his eminent
position. At the annual Encasnia held at Oxford in the summer, he
was presented by the University with their honorary degree of D.C.L.,
his own college, Exeter, having before bestowed on him a fellowship.
This probably is the one recognition which, among all the others
that have been extended to him since, afforded him the greatest
gratification. It was indeed an honour both to giver and recipient.
The former gained the privilege of inscribing on its rolls the name of
one who, though for long a student at the University, left it, without
acquiring his degree, to devote himself to that art which was the cause
of his distinction ; and the latter, the sole painter outside the pale of
the Academy to whom it has been given, was justly proud to see in it
an ample justification of his desertion of the path which might
perchance have brought him to the same goal, but which could hardly
have secured him so elevated a niche in the temple of Fame, as
posterity will, it is safe to prophesy, confirm to him.
In 1882 the commending voices of the French press procured for
him, in company with the President of the Royal Academy alone, an
invitation from the government to represent Great Britain at the
International Exhibition of Contemporary Art — a flattering request to
which he was unfortunately unable to respond.

INTRODUCTORY. 7
In 1885 the attention of the British public was finally fixed upon
his importance in the art world by the only demonstration to which
many of its members attach the least significance — the prices which
his pictures fetched when put up to auction at the sale of Mr. Ellis'
collection in the June of that year. The "Caritas" was then sold
for five hundred and thirty pounds, " Fides " for five hundred and
seventy-seven pounds," Spes " for six hundred and nineteen pounds,
and " Temperantia " for six hundred and seventy pounds — prices
which, though in no way sensational, betokened some merit in the
artist. The art that was repaid by so many guineas a square foot
could not but be some good — good as a speculation, haply, if in
no other way ; and since, in the same month, the Royal Academy,
the guardian of the truth and beauty of our native art, proffered
to him all unsolicited the barren honour of an Associateship, the
question as to his position among his fellows was settled once for all.
This last, indeed, was a half-hearted compliment which many of the
artist's real admirers believed he would have done more wisely to
decline. If he had any claim to acceptance by that body — and who
to-day would venture to deny it? — he had beyond all doubt a right
to all that they could give, a full Academicianship. There have been
precedents for the bestowal of the two degrees in quick succession,
even in the passage of a single sitting, and if there ever was a time
when this both might and should have been most cordially done, it
certainly was then : to thrust the lesser gift upon so eminent an artist
and to withhold the greater was such a halting courtesy to his
excellence that it deserved rebuff If Mr. Burne-Jones should in the
future let his title lapse by not exhibiting again at the Academy
within the term demanded by its laws, he will have shown a due
appreciation of its scanty favour, and it alone will be the loser. His
fame will rest secure apart from it, and the art student who, in years
to come, seeking in the mortuary of the Diploma Gallery for specimens
of nineteenth-century art, finds nothing by the hand of its most
talented exponent, will no doubt experience small surprise unless
the Academy has in the meantime most radically and unexpectedly
reformed its ways.
The golden test of popularity was once again applied in April,
1886, when the many works by Burne-Jones in the collection of his
early and unfailing patron, the late Mr. William Graham, came under

8 EDWARD BURNE-JONES.
the hammer, and the result was still more startling and convincing,
since they alone fetched sums amounting to over seventeen thousand
pounds, the largest total ever realized at one sale by the pictures of a
single living painter. A further and far greater satisfaction befell
the artist in 1888, when, together with Sir Frederick Burton, he was
unanimously re-elected a member of the Royal Society of Painters
in Water Colours, from which they had both retired in 1870 in
consequence of a dispute which need not be recalled.
The Paris International Exhibition of 1889 further increased the
estimation in which the foreign critics held him, and brought him, even
from an exhibition jury, a first class medal, and, the next year, the
coveted red button that stamps the wearer Knight of thfe Legion of
Honour. The same year saw the exhibition at Messrs. Agnew's
gallery of the four splendid pictures of " The Briar Rose," a masterpiece
in colour, design, and execution which, it is no rash prophecy to say,
ensures the artist's immortality as long as paint and canvas hold
together. There were, there could be no two opinions about the
extraordinary artistic value of this great series.
Individual preferences for one or other inevitably there were.
Some singled out as most enchanting the first, " The Briar Wood,"
poetically denoted by Mr. William Morris :
" The fateful slumber floats and flows
About the tangle of the rose.
But lo the fated hand and heart
To rend the slumberous curse apart.''
And were well justified by its charming gloss upon the old story of the
Sleeping Beauty, foreshadowed long years before in a set of tiles
designed for Mr. Birket Foster's house at Witley, of the pre-destined
Prince, in the deep bosom of the wood, finding enmeshed among the
blossoming tangles of the briars the armoured rivals, their helmets
fallen from their brows, their blazoned shields caught up among the
leaves and flowers, who, forestalling the fatal hour of disenchantment,
have sunk together beneath the drowsy spell. To others the second
gave most delight : " The Council Chamber," with its wealth of
decoration, carvings and inlayings, marble and embroidery, in which
the venerable King, with long white beard down-sliding to his feet, sits
on his jewelled throne amidst his councillors and guards, chancellor

.STUDY FOK THE GARDEN COURT IN "THE LEGEND OF THE BRIAR ROSE,

INTRODUCTORY. 9
and treasurer, general and sentry, one and all wrapped in slumber and
wreathed round by the strong briar shoots which thrust in through the
golden gratings, while —
" The threat of war, the hope of peace,
The kingdom's peril and increase
Sleep on, and bide the latter day
When Fate shall take her chains away."
The third, a study for which is here reproduced, and the fourth,
however, probably divided the suffrages of most spectators. The
lovely " Garden Court," where —
" The maiden pleasaunce of the land
Knoweth no stir of voice or hand.
No cup the sleeping waters fill.
The restless shuttle lieth still."
Here, beneath the grey walls, the attendant maidens sleep peacefully
in the warm sunlight of the summer afternoon. Three of them were
weaving gorgeous tapestries upon the loom when the spell fell on
them, of whom one has rested the long hundred years away in the act
of casting the shuttle through the warp. Three others sleep beside
the sleeping fountain, and round and over all twines the sweet briar-
rose, binding the erstwhile busy loom, choking the well, and deadening
the bell to silence lest a chance breath of air drifting in from the work-
a-day outer world should rouse even the dead echoes with its murmur.
And " The Rose Bower,"—
" Here lies the hoarded love, the key
To all the treasure that shall be.
Come, fated hand, the gift to take
And smite the sleeping world awake.''
The fated hand is very near at last. All through the weary night
the brave young Prince has struggled through the brake without, and
now, as the red dawn blushes brightly in at the open casement, his
foot is at the door. Already the beautiful Princess in her white
garments is dreaming the last sweet dream of her deliverance, and in
her sleep half turns as though to welcome the timid kiss of him who
brings it.
It is a marvellous succession of radiant visions, but written words
can barely serve to call up faintly pleasant recollections into the minds
of those who saw the pictures at the time of exhibition : not even
c

IO EDWARD BURNE-JONES.
reproduction in black and white could supply more than a suggestion
of the entrancing play of fancy, the unfailing fertility of the inventive
ness, the tender witchery of the poetic inspiration, and the grace and
harmony of line and grouping ; while neither one nor other can
convey the vaguest reflex of the splendour of the colour, or of the
manifold excellencies of technique. They should have passed into
the keeping of the nation to stand for ever as monuments of English
art, that future generations might come at will and share the thrill of
pleasure that was permitted to us for too short a while.
The enthusiasm created by their transcendent qualities was
immediate and universal. It was admitted on all hands that works of
highest art distinguished alike for execution and conception had never
before been brought to such perfection by an English painter ; some
even went so far as to defy the world at any period to show forth,
if not their superiors, at least their equals : no words of praise could
be too warm for them.
Thus did Mr. Burne-Jones bring to an end in triumph the
strenuous fight of four-and-twenty years against the popular deprecia
tion or misunderstanding that had so long opposed him. It is a bare
exaggeration to assert that all London flocked to gaze and wonder at
the admirable achievement. The favour of a public that shuns the
glories of Italian art to stand in empty ecstasy before a " Derby Day,"
may not be greatly worth the winning, but to compel by patient energy
and endless application the applause of those who once reviled and
scorned cannot but prove a part of the reward, as pleasant as it is
deserved, of so much honest striving for the best.
To record with accuracy of fact the alternations of that lengthy
contest, its victories and defeats, to note the beginnings, to mark the
planting of the seed that grew and bourgeoned into such glorious
blossoming, to retrace with sympathetic care the painter's course along
the arduous path he has pursued, with all its doubts and difficulties,
will be the object of this work. The time has happily not yet arrived
to write a life of the great artist. With all the private incidents of his
career, his likes and dislikes, his joys and sorrows, the public, as yet at
all events, has no concern. His art, the influences and impulses
which made it what it is, the effects that it in its turn has wrought on
others, is all the public may demand to know. For it, his life is in
his work, and as the curtain falls across the studio door it must shut

.¦•V' '•*.• '' ¦ **''

i ...

' •*.-:.*'

.J-^fv

<'.

f--
STUDY OF A HEAD.
STUDY OF A HEAD.

¦'*^*^L

^W I

/
- Vf
PENCIL STUDIES OF ROSES.
INTRODUCTORY. n
out all else from alien eyes, however friendly, until that work is
ended. We may sincerely hope that many years may pass before
the fatal Finis must be written upon perhaps an uncompleted page of
that majestic volume each sheet of which is as a glowing missal dipped
in sunset hues. Already its radiant leaves are numerous, but there
are many more as rare and beautiful yet slumbering within the
painter's brain or but imperfectly and faintly shadowed forth, and
for the sake of all who love both poetry and art it is to be wished
that strength may long be granted to the hand to wield the brush
with that unrivalled skill so ardently aspired to, so brilliantly attained.

CHAPTER II.
His Birth and Education.
EDWARD BURNE-JONES was born in Birm
ingham on the 28th of August, 1833, of a Welsh
family in no way especially distinguished, as far as
can be ascertained. His great grandfather, which is
the furthest generation to which it can be traced back,
is known to have been a schoolmaster at Hanbury,
but his first names have been already forgotten. His
only son, Edward Bevin Jones, married Edith Alvin,
and had issue, a daughter Keturah, and a son
Edward Richard Jones, who married Elizabeth Coley,
and also had two children, a daughter Edith, and the
son whose name consolidated by a hyphen into
Burne-Jones is known throughout the civilized world.
There is no evidence to be discovered that his
extraordinary genius descended to him, even in
directly, from any of his forebears, though staunch supporters of the
doctrine of heredity may see in his conspicuously poetic fancy, and
in the veil of tender melancholy that clothes his visions, the outcrop
of the Celtic temperament to which he is undoubtedly an heir. Apart
from the incalculable effects of this vague element, his strong artistic
bent would seem to be an altogether spontaneous growth, a notable
one in any case, but in this one the more so as it did not burst
forth until comparatively late in life. Certain childish scribblings,
to be sure, there were, which caught to some extent the notice of an
old friend of his father's, but he was not, apparently, particularly
qualified by any especial taste or training to form an opinion of their
actual merits, and as none of them, unfortunately, have been pre-

RUTH : FROM A WINDOW
IN ST. GILES' CHURCH,
EDINBURGH.

HIS BIRTH AND EDUCATION. 13
served, it is impossible now to know whether they displayed any
marked precocity of promise. If such there were the seed was planted
in most unfavourable ground in an English provincial city at that
time. Rapid as has been the advance during the past forty years along
every line leading not only to the greater physical comfort and
security, but more especially to the mental improvement and relaxa
tion of an ever-increasing majority of English men and women, it
is probable that it has been effected in few directions more permanently
and extensively than in the provision of means for the instruction
of the general public in various branches of the arts, and of fair
opportunities for the unhampered exercise of the trained appreciation
thus created. In these days, when the much-abused Department at
South Kensington, whether for good or ill there is no need for
us to consider here, has extended its educational facilities to the
remotest corners of the United Kingdom ; when most country towns,
even of the smallest, have not infrequent loan collections of objects
characterized by their artistic worth and beauty ; when nearly all of
the larger cities boast with becoming pride of their valuable picture
galleries and museums, in the increasing enrichment of which by
private generosity and public enterprise they contend in friendly
rivalry, the younger generation should find a wholesome well-spring
of gratitude for their altered lot in the recollection of the parlous
state in which their predecessors found themselves, of the parched
and desolate wilderness through which, only half a century ago,
artistically-minded youth had to struggle as best it might, without
a solitary guide to point the way, without a single oasis of carved
or painted work in which the thirsty soul might find refreshment and
encouragement. The local museum, where even that existed, was merely, for such
purposes, a thing for laughter or for tears : stone implements and
chippings of the pre-glacial ancestor, who probably was not much
poorer in cultured taste under the sunless vaults of his long-drawn
forest aisles than the distant descendant who yawned over his stray
belongings : shreds and tatters of luxury from the skirts of the
stern Roman civilization shed by the stout soldiery, who even in
their dreary exile among the wild barbarians of the rainy North
were certainly much richer : odds and ends, warlike or domestic,

14 EDWARD BURNE-JONES.
gathered from far-off savage peoples, who, nevertheless, in their
degraded ignorance, spent time and thought in rendering their neces
sary instruments beauteous as well as useful, and thought, poor
erring folk, that a man's handiwork should be, as well as look,
well wrought: some fossils, perchance, snatched haphazard from
the neighbouring strata, and flung together without sense or order :
weird, shapeless lumps of ruffled feathers purporting to be birds
inhabiting the country-side: waifs and strays of every clime and
period, all more or less wrongly named or ill-authenticated, huddled
up in a confusion quite inextricable : such was the fare provided
for our provincial aspirant to Art a very little while ago.
There is no reason for supposing that Birmingham was sunk
in deeper degeneracy than her peers, although her name, in the verna
cular of " Brummagem," has become a recognized epithet for all that
is tawdry and pretentious, artistically bad and commercially con
temptible. The printed stuffs of Manchester, the pottery of Stafford
shire, the glass and iron-work of London and Newcastle at that
time were quite as barren of all decorative merit; and it was due,
presumably, rather to the deplorable popularity and easy portability of
Brummagem's pinchbeck jewellery than to its intrinsic inferiority
that her name has been so undesirably promoted to an unenviable
eminence. Certainly she has long since honestly repented and nobly
reformed. The best governed city in the world, as she has been
deservedly entitled by a recent American writer, is now, I believe,
the only city in Great Britain, as she was indubitably the first, which
possesses a School of Art founded and entirely supported by her
own municipality. She owns a museum largely devoted, with a wise
moderation, to the best specimens of manufactures fashioned at
different periods and in far-sundered countries by craftsmen skilled
in her especial industries ; and in the magnificent collection of
ancient and modern art that forms a fitting complement to it hangs
one of the finest works of the great painter who owes so little to
his birthplace, like a visible token of reparation for a benighted past.
This picture, the great water-colour of " The Star of Bethlehem,"
is a reproduction slightly altered, and that chiefly in the colour
scheme and the more strictly pictorial treatment of details, of the
tapestry designed by Mr. Burne-Jones and executed by Mr. William
Morris for Exeter College, Oxford, of which I shall have occasion

HIS BIRTH AND EDUCATION. 15
to speak more fully later. The outcome of a commission offered
by the Corporation in 1887, it was begun in the autumn of 1888 and
finished in the spring of 1891, in time for the annual exhibition at
the New Gallery, where it was on view before its removal to the
Birmingham Autumnal Exhibition in October. All Londoners who
saw then with admiration, for a brief period, the breadth and
certainty of treatment in a material so difficult on so large a scale,
the rich and varied glow of colour, the beauty of the design, and
the delicacy of the feeling, may be pardoned for envying their
Midland brethren the enduring companionship of such a treasure,
which should prove a constant stimulus to students born in happier
times, since, apart from the technical lessons to be gained from it,
there may be seen how little unfavourable surroundings at the begin
ning have prevailed against the innate faculties tardily developed,
but matured by invincible determination and exhaustless patience.
No such incentive or source of inspiration, however, was to be
found by the boy in those days in all his smoke-grimed city, nor was
there in his home environment that breath of intellectual synipathy
needed to set ablaze the fire of genius that must have even then lain
smouldering in the youthful brain. The simple middle-class friends
and neighbours, narrow in their views of life, and with the instinctive
British prejudice against all things that stood beyond their daily ken,
knew nothing and cared nothing about art, or, if they did, regarded
all professors of it with the ignorant contempt which Thackeray, to
the wide-eyed surprise of poor Gentility, was wpnt to lash so
vigorously. " The poor fellow does no harm, that I acknowledge ; but I never
see the good he was up to yet," said honest Mr. Ridley in speaking pf
his gloriously-gifted son John James ; " My dear Clive," cries the
Reverend Charles Honeyman to his nephew, " there are degrees in
society which we must respect. You surely cannot think of being a
professional artist ; " " But a painter ! hang it ! — a painter 's no trade
at all, — I don't fancy seeing one of our family sticking up pictures for
sale," growled pompous Hobson Newcome ; and dear old Major
Pendennis would as soon have thought of making his son " a hair
dresser or a pastry-cook, by Gad ! "
Where the maker was regarded with such contumely the thing
made was hardly likely to be looked upon with much respect, and

1 6 ¦ EDWARD BURNE-JONES.
pictures, except as so much furniture to cover certain vacant squares
of wall, dead senseless things without a voice to set the soul astir, had
no existence for the lad. There were no secret yearnings after
forbidden bliss, no heart-throbbings for an unrealized ideal, for the
word Art had no significance for him, nor till he stood upon the
boundary line between his youth and manhood was he aware that
there was such a thing. His earlier years were for this reason void of
the slightest impulse towards the objects to which his later life was
destined to be so utterly given up. He went in 1844, when he was just
eleven, to the old school founded in 1522 by the King Edward after
whose title it is called, but which at that time had already been installed
for nine years in the new buildings designed for it in the Tudor style
by Sir Charles Barry. Here he worked diligently at the usual studies,
and gained an intimate acquaintance with classic literature, together
with an unusual passion for it which he still nourishes, and which
gave birth, no doubt, to the keen interest he takes in questions of
philology, a branch of science of which he is a deep and learned scholar.
Among his class-mates were many who have also distinguished
themselves in diverse ways, particularly in the Church, as witness
Bishop Lightfoot and Doctor Benson, the present Archbishop of
Canterbury. For this profession, indeed, Burne-Jones Himself, by
the express desire of his father, and with no hesitations on his own
part, was purposing to qualify, and when in 1852 he won an exhibition
which gave him the means of entering Exeter College, it was with
the full intention of taking orders in due course that he went up to
Oxford. There is no exercise more fascinating, or more vain be it confessed,
than that of speculating on what would have occurred if such-and-
such events had happened otherwise, and one may wonder for an idle
minute in what direction Mr. Burne-Jones' strong poetic instincts
might have worked out had he not gone up to the University just at
the time he did, for that, unnoted at the moment, as such important
little accidents are bound to be, was fated to be the turning-point of
his career. To the same college on the same day came up another
young man, also of Welsh descent, also intended for the Church, and
in the loneliness of strange surroundings the two fell into an acquain
tanceship, doomed speedily to ripen into warmest friendship which
has endured unimpaired until this day, and which has had an influence

HIS BIRTH AND EDUCATION. 17
quite immeasurable upon the art of the last thirty years, for the
young stranger thus encountered was Mr. William Morris, the poet-
upholsterer, as he has been described in an American paper.
Inseparable as they soon became, they discussed doubtless all
subjects under heaven, until for the first time it was revealed to
young Burne-Jones that there existed a strange enchanting world be
yond the humdrum of this daily life — a world of radiant, many-
coloured lights, of dim mysterious shadows, of harmonies of form
and line, wherein to enter is to walk apart among the blest — that
far-off world of Art into which many a time since he has made his way
and brought back visions of delight to show his fellow-men. The first
suspicion of that land of faery came to him when, in a small volume of
poems by William Allingham, he found a little woodcut, " Elfinmere,"
signed with a curious entwinement of the initials D. G. R. This art,
strange and incomprehensible as it had proved to most, abused and
scouted as it had been by press and public, found here a chord that
thrilled to it in utmost sympathy. Such were the shadowy dreams
that came to him, so looked the creatures of his own imaginings, thus
and thus only would he picture them had he the skill. The slumber
ing spirit of Fancy awoke to life within him and cast her spells upon
him, never to be shaken off. A little later and he stood in ecstasy
before a more important work by the same master, and bowed himself
before him. Mr. Combe, the director at that time of the Clarendon
Press, was a profound admirer of the Pre-Raphaelite school, and,
being fortunately able to give his appreciation practical effect, pos
sessed " The Light of the World," by Mr. Holman Hunt, that other
picture by the same artist in which the early Britons are saving the
Christian missionaries from the mad fury of the Druids, and one by
Rossetti wherein Dante, preparing to paint a portrait of his lost
Beatrice, is interrupted by certain people of importance in the city —
" Says he, ' Certain people of importance '
(Such he gave his dreadful daily line to)
' Entered and would seize forsooth the poet.'
Says the poet, ' Then I stopped my painting.' "
By these three works, but in especial by the last, he was aroused
into an enthusiasm which it were hard to over-estimate. The un
known man with the sweet-sounding foreign name who could
conceive and body forth such visions became for him thenceforth a
D

i8 EDWARD BURNE-JONES.
god-like hero, a being almost more than mortal, to whom he must look
up from very far away with eyes of adoration. To paint such pictures
too would be impossible, he felt, but to attempt to falteringly express
the echo that they woke within him seemed all that life was good for.
By slow degrees, for all the while he was still working resolutely at
his academic studies, the firm conviction grew that these were merely
waste of energy, and he and Mr. Morris about the same time came to
the conclusion that Art, and not the Church, was their predestinate
field of action. For long he hugged the dazzling project to his breast
in fearful silence, imparting it to no one save that single friend, but
in the end his longing waxed too strong for him, and he resolved with
desperate timidity to look, at least, upon the hero of his choice.
Towards the end of 1855 it was that this determination came to a
head, and he set out for London to act upon it. So high above him
did Rossetti seem, that never for a moment of rapturous dread did he
aspire to speak to the great artist. To see him, perhaps to hear his
voice, was all he dared to hope for. To think of trying to win an
introduction to him, and to stand in his studio face to face with such a
mighty genius, was a presumption quite beyond his dreaming of. By
close enquiry he found out at last that at the College for Working
Men, established in Great Titchfield Street, there was an evening class
for drawing to which his hero condescended to give, free of charge,
some evenings every week, and thither he took his way one wintry
evening in nervous eagerness. He sat for some time in the glaring
gas-lit room, among the new and unfamiliar company, feeling most
pitifully ill-at-ease, wondering as each fresh comer passed the door,
"Can that be he?" and hoping, as all fell short of his ideal, that
it was not. In time a stranger, noting his solitude and manifest
anxiety, came up, and introducing himself as Mr. Vernon Lushington,
dropped into conversation with him, asking him if he had been there
before, and other matters, until he drew from him the reason of his
visit. He told him that Rossetti was not there, but that he certainly
would come, and promised that he should be pointed out as soon as
he arrived. He even offered to introduce the young admirer, a
terrifying proposition from which he started back aghast. After a
while the wistfully-watched door opened once more, and there came in
a man with that sweet gentle face, with its large tender eyes, high
brow, and sensitive mouth shadowed by the brown moustache and

HIS BIRTH AND EDUCATION. 19
beard that give the artist a look of Shakespeare in Mr. Watts' portrait
of him, and Burne-Jones needed no mentor at his side to tell him who
it was. This was the hero of his dreams, and by extraordinary fortune
he looked the very hero that he was. He earnestly followed him with
his eyes throughout the evening, but still unshakeably refused to be
quite overwhelmed by the painful happiness of being presented to
him. His new friend, Mr. Lushington, however, perceiving and
humouring the mainspring of this diffidence, persuaded him to a
bachelor evening at his rooms the following night, at which Rossetti,
like any other mortal, had promised to be present.
With a fluttering heart, no doubt, he went, and shook him by the
hand and spoke to him, the proudest and the happiest youth in all the
city. With keen delight he listened to the master laying down
indisputable law on many points. With awe, perhaps with horror at
the sacrilege, he heard men question him, argue with him, even
contradict him to his face. He, for his part, sat in enchanted silence
amid the curling fog uprising from many pipes, hearkening with all
his ears. When finally Rossetti asked him, as he asked everyone, if
he too was a painter, he managed to admit that he was not, but that
he dearly longed to be, and having owned in answer to the question
that he had done some drawings, was made to promise blushingly
that he would bring them to the studio for consideration.
This on the whole was highly favourable, and he was urged to
follow his true bent, and take at once to painting as a means of
livelihood. For some time he still hesitated, " letting I dare not wait
upon I would." There was the University, and the degree yet to be
taken there : there was the kindly father, to whom such a desertion
could not but prove a blow of great severity: there was the pressing
question of absolute bread and cheese for who could tell how many
years. At last he carried these, as thenceforward he carried so many
difficulties and doubts, to his one hero. Rossetti questioned him as
to the delay entailed by taking the degree, and when he learned that it
must be, at shortest, seven months, advised him, with a courageous
disregard of possible mistake on his part that has been amply justified
by the event, but was then certainly adventurous, to fling the University
and all its works behind him, and to set foot forthwith with firmness
upon the other path. It was a hazardous counsel to give, a great
responsibility to undertake, and it does marvellous credit to his

20 EDWARD BURXE-JONES.
perception of latent talent and scarcely full-formed character that he
should dare to give and undertake with such unqualified success.
Certainly it was in no spirit of light-hearted carelessness of
consequences that he exerted his new-born authority over the young
man to so divert the intended course of his future life. When it was
done, and Burne-Jones, with small means and with no present power
to procure more, was definitely committed to his new career, armed
only with an unbounded passion for the arts and an unlimited belief
in him whom he had chosen for his master, Rossetti, as always while
his health lasted, was lavish of encouragement of every kind.
His views upon the proper education of an artist were pronounced,
and, it need not be said, entirely opposed to all the methods sanctioned
by tradition. It was preposterous, he would maintain, to set a young
beginner to draw straightway from the antique. You put before him,
in so doing, an ideal beyond his comprehension or attainment, and
either he wearies of it or it masters him and crushes out all life and
personality. You thrust on him a style in which to write before he has
learned to form his letters : no wonder when the words come that they
are stale and void of all vitality. Let him first learn to express him
self, however haltingly, in his own way. Let him first practise the use
of his materials, and when he can avail himself of them to some good
purpose, then let him give a year or so to the antique — if he can spare
it (wherein we touch the crux of this new theory) ; then let him go and
see, as by that time he will be capable of doing, what the first masters
of antiquity have done with them, in what way they have conquered
obstacles with which he struggled vainly.
This is no place to argue for or against this system : rightly
or wrongly it was put in action in the present case, and it were
useless now to wonder after what fashion Mr. Burne-Jones might
have painted had he gone through the customary preliminaries
of flat and • round, outline and shading, point and stump. With
burning interest, mixed with a sickening sense of hopelessness, he
sat day after day and followed carefully the evolution of one of
those, to him, matchless masterpieces — it was that called " Fra Pace"
— and when the work was finished a palette and brushes were put
into his hands, and he was told to paint the head of the young boy
who happened to be sitting to Rossetti at the time. He was
appalled at the impossibility before him, but what Rossetti said

HIS BIRTH AND EDUCATION. 21
was right for him, and paint it somehow he did, with what flounder-
ings, self-gratulations, and despondencies I know not. The thing of
horror that his production seemed to him had points that the skilled
master's eye discovered, and with a hearty encouragement he bade
him persevere and have no fears.
Nor did Rossetti restrict his kindnesses to merely verbal counsel
and applause. He was a man of most expansive generosity, and
yearned to share everything of good that might befall him with
all his friends. Had he a patron, they too must take a portion of
his benefits, and when, as in this case, the fellow-artist was placed
in need of such assistance for the mere daily food and lodging,
he was unflagging in his attempts to find for him the means of
earning them, refraining with true delicacy from offering either
loan or gift. He got him first an order from the proprietors
of the " Illustrated London News" to do a drawing in black and
white of the " Burd Helen " by the pre-Raphaelite painter Windus,
which was till lately a near neighbour of Mr. Burne-Jones' "Circe"
among the Leyland collection in Prince's Gate, and was not a whit
less disappointed when, his friend's capability being deemed doubtful,
the order was rescinded. He also got for him the first commissions
for stained glass windows from Messrs. Powell. He introduced
him to Mr. Ruskin, Mr. Arthur Hughes, and other artists, heartened
him when he was depressed, and showed him many instances of
his approval, one only of which, as admirably characteristic of the
man, may be related here.
Quite e^rly in their acquaintance he had given to Burne-Jones,
for purposes of study, a sheaf of drawings and designs, which the ,
young painter, enraptured with his priceless treasures, had carried
home to his lodgings in Sloane Terrace, and trimmed, and mounted,
and guarded from dust or rubbing by sheets of tissue paper with
all the loving care which such a boon deserved. One day, some
few months later, Rossetti came in to call on him as he sat painting
at. the background of a picture, the figures being still beyond his
daring — a background used afterwards in the charming picture of
*lThe Merciful Knight." Rossetti stood for some time watching
him in silence, and then abruptly asked to see the studies he had
given him. Delighted, doubtless, to show his master how thoroughly
Jiis gift had been appreciated, Burne-Jones produced them in all

22 EDWARD BURXE-JONES.
their wrappings and protections. Without a word Rossetti took
them and, to their owner's horror and dismay, tore the whole set
in two and went away. It was not until some time later that the
affliction at the loss was mitigated by the comprehension that in
so acting he had intended to inform his pupil that he had nothing
more to learn from them.
That was the whole extent of his art education, except the
lessons that he gained laboriously from daily exercise of his pro
fession carried on with indomitable resolution, and, during the earlier
days, constantly overlooked and guided by Rossetti. For two years
he was almost uninterruptedly in his society, and for the four or
five succeeding ones he met him very frequently. His first wild
hero-worship long endured, its distant awe tempered by gratitude
and a sincere affection, and for a time the striking individuality of
the elder man quite swept away that of the younger.
But we have now come to the time when the account of his
art education blends with the record of his art production, and the
two mingled, like mountain streams, flow swiftly on together in-
distinguishably. Each work is a new onward movement in his
training, each step in his improvement was won from and embodied
in his work, and as we follow year by year what he has done we
shall perceive with growing clearness how he has done it.

CHAPTER III.
Year by Year.
IWTR. BURNE-JONES' pictures lend them-
¦^^-^ selves less than those of most artists to a
division into periods. We can discover in them
neither a sudden and radical change of method
such as, for instance, denoted Sir John Millais'
secession from the Pre-Raphaelite brotherhood, nor
a marked transference of interest from one class of
subjects to another, such as may be observed in the
works of Mr. Alma Tadema, Mr. E. J. Poynter,
and others. Flaving chosen his path, Mr. Burne-
Jones has never swerved from it, and the period
that still happily continues varies only from the
period of 1856 in the greater perfection of its techni
cal means. If we take two pictures widely sun
dered in time of production, as for example, the
" Sponsa di Libano" of 1891, and "The Madness of Tristan," ex
hibited at the Society of British Artists' Exhibition in 1892, but
painted in 1862, while the influence of Rossetti was still paramount, we
shall observe a considerable difference ; but when we come to follow
up the connecting links, year by year, we shall find them blending one
with another so imperceptibly that at no place can we say definitely,
here is the parting between the old and new.
This is due in part to the persistency of Mr. Burne-Jones' ideas,
in part to his methods of work. Never having painted for the yearly
exhibitions, but sending his work when it was ready, instead of getting
it ready to send, he has never forced his production, and he likes to
linger lovingly over a picture, working at it only when in the mood.

JEPHTHAH S DAUGHTER:
FROM A WINDOW IN
ST. GILES', EDINBURGH.

24 EDWARD BURNE-JONES.
and laying it aside for others at frequent intervals, for he always keeps
a number in a state of slow and careful advance, like the plate-spinner
with his plates, to compare humble things with high. Thus the great
"Wheel of Fortune," designed in 1871, was begun in 1877, but was
not finished until 1883, and the critic would be fatally in error who, in
ignorance of this fact, should judge by the tender delicacy of its colour
ing, and class it in one period with " The Annunciation," begun in 1876
and finished in 1879, or "The Golden Stairs," designed in 1872, begun
in 1876 and finished in 1880, dividing it from such richly-coloured
works as "The Feast of Peleus," begun in 1872 and finished in 1881,
"Laus Veneris," begun in 1873 and finished in 1878, or "The Bath
of Venus," begun in 1873 but not finished until 1888.
Into this confusion many critics, in fact, have fallen, treating all
the works exhibited simultaneously as simultaneous productions.
What fallacies must arise from such a system may be seen by consider
ing briefly his contributions to any one exhibition. For an example,
the year that saw the "Laus Veneris" at the Grosvenor, 1878, saw
also "Day," painted in 1871, "Spring," painted in 1869, "Summer,"
painted in 1871, "Autumn," painted in 1869, "Winter," painted in
1871, and " Night," painted in 1870, together with " Luna," painted
between 1872 and 1875, " Le Chant d'Amour," painted between 1868
and 1877, and "Pan and Pysche," painted between 1872 and 1874. The
only possible plan of rightly considering Mr. Burne-Jones' works is to
follow them, year by year, from their inception to their completion, as
I now propose to do.
It was not, as we have seen, until 1856, when he was already two
years past his majority, an age at which most artists, having submitted
themselves to eight or ten years of patient study, are beginning to try
their strength in the arena of the public exhibitions, that Mr. Burne-
Jones began to draw with any directed effort. No one could be more
conscious than himself of the unnumbered disadvantages entailed by
so late a start upon a pathway, thronged by better equipped rivals,
leading to a goal to be attained by few. As he has observed, to
all intents, for the purpose of his life's work, at twenty-five he was
fifteen. That he could go on to say that at forty-five he was forty,
with a gain of five years in his lost opportunities, and that to-day, he
has almost, if not quite made up the last deficiency, is due solely to the

sponsa di libano.

YEAR BY YEAR. 25
reality of his artistic inspiration, the undaunted devotion to his ideal,
and, before all and beyond all, to his unremitting and laborious striving
after self-improvement. He tried and failed, as many a man has done
before, and tried and failed again ; but the resolution to succeed never
once deserted him, the assurance that he had a message to deliver if
he could but teach himself to speak it eloquently, always supported him,
and one by one he has seen the technical obstructions crumble before
his determination ; the eye has gained keenness of observation, the
following hand has acquired strength and certainty of direction until
he might look back without a blush to the tentative efforts of early
years, nay rather might compare with a justified pride " The Briar
Rose" of 1890 and the " Sponsa di Libano" of last year with that
first pen-and-ink drawing called " The Waxen Image," done in 1856,
first of a noble series of ever-improving works.
Partly owing to this strong sense of his own disabilities, partly,
unfortunately, to a weakness of health at the time, much of his early
work consisted of these pen-and-ink drawings, done for the most part
on vellum, carried out with extraordinary minuteness and delicacy of
finish, and showing most clearly through their obvious and inevitable
imperfections the passionate love of beauty, and the exquisite feeling
which marks all his work from the very beginning, and which is, alas !
so conspicuously the lacking quality in that of the imitators of his more
salient and seizable characteristics.
This first work, "The Waxen Image," displays, moreover, in full
measure that inventiveness which was destined to become one of the
leading features of the artist's creations. It sets forth in two divisions
a variation on the ancient and wide-spread superstition affirming the
intimate physical and psychological sympathy between human beings
and their counterfeit presentments in wax. If these were harshly
treated, if sharp weapons were thrust into them, or they were slowly
melted by fire, in just such fashion would their mortal prototypes suffer
intolerable piercing pains, or pine away and die. From this grim
theory Mr. Burne-Jones deducts his fanciful corollary. We have no
agonies or death-throes, for the image here melted in the glowing
furnace by the old witch aims not at the life but at the hard heart of
the youth, beloved by the maiden who takes a timorous part in the
enchantment. As it softens so yields his cold indifference until, when
the spell is wrought, the deed without a name concluded, he loves in
e

26 EDWARD BURNE-JONES.
turn, and in the second compartment their mutual happiness is duly
shown. The same year, 1856, witnessed his first attempt in oils, a city
background to a picture illustrating the " Nibelungen Lied," a choice
of subject due, perhaps, to the companionship of Mr. William Morris,
who came, about that time, to share lodgings with him at 17, Red Lion
Square, in rooms which had been occupied by Walter Howell Deverell,
a painter whose strong leaning to the theory and practice of the Pre-
Raphaelite brotherhood would probably have carried him into member
ship of it if an early death had not intervened.
The year 1857 is notable for the first of a really prodigious number
of cartoons for stained glass, which will, however, be considered later
with all the other phases of Mr. Burne-Jones' decorative art.
Appropriately enough, in the spring of 1858,
" Whan that Aprille with his schowres swoote
The drought of Marche hath pierced to the roote
And bathud every veyne in swich licour
Of which vertue engendred is the flower ;
Whan Zephirus eek with his sweete breeth
Enspirud hath in every holt and heeth
The tender croppes, and the younge sonne
Hath in the Ram his halfe cours i-ronne
And smale fowles maken melodie
That slepen all the night with open yhe,"
the painter who, as I shall endeavour to show, breathes so much of the
spirit of Chaucer, began his first direct illustration of that poet's
works upon a cabinet which now stands fittingly in Mr. William
Morris' drawing-room at Hammersmith. The subject chosen was
from the pretty and pathetic story told by the Prioress of the little
" Christen " child " that seven year was of age," who angered the Jews,
"hateful to Crist and to his companye," of the "greet citee in Acy,"
by singing " O alma redemptoris " in praise of the Virgin Mary as he
passed through the Jewry " to scole-ward and hom-ward as he went."
Stung by the fancied insult, the Jews hired "an homicide" who
waylaid the innocent child " in an aley," ruthlessly cut his throat and
flung the body into a wardrobe. The "pore widowe," his mother,
sought vainly through the city for her missing son until she came to
the house wherein the corpse lay hid, when "Jhesu of his grace"

YEAR BY YEAR. 27
inspired her to call upon the boy by name, whereupon in the dark
hiding-place, " He ' alma redemptoris ' gan to synge
So lowde that al the place began to rynge."
The Jews were speedily overpowered by the "Christen" folk who
thronged in " for to wonder upon this thing," haled before the provost,
and treated with the rough and summary justice to which they were
accustomed in the poet's time, but the child continued to sing even
when he lay upon his bier " biforn the chief auter whiles the masse
last." At length the abbot, "which was an holy man, as monkes ben,
or elles ought to be " conjured him to declare
" What is thy cause for so to synge
Sith that thy throte is kit to my semynge."
The boy replied that the Virgin had appeared to him as he was dying
and, after he had at her request sung once again the song in her
praise that had brought him to his death, had laid a grain beneath his
tongue, by which means he was miraculously preserved in consciousness
and enabled to continue her praises until it was removed. The abbot
thereupon took away the grain "and he gaf up the ghost full softely."
The incident selected from the story was the laying of the grain
beneath the child's tongue by the Virgin Mary. It covers the entire
front of the cabinet, and with its depth of colouring and occasional
stiffness of action and expression is not unlike, in general effect,
the work of some old German master, though in detail it bears
throughout the mark of the painter's striking individuality.
On the completion of this work he went up to Oxford to bear a
part in a great scheme of decoration which owed its inception to Mr.
Woodward. The Oxford Union, a society composed of past and
present members of the University, had moved the previous year into
a new building expressly erected for it by that architect, and he
suggested to Rossetti that he should paint a picture in tempera for the
embellishment of a blank stretch of wall which ran round the top of a
large room used as a library and reading-room. Rossetti accepted the
proposal with that enthusiasm which governed all his actions, and in
his busy mind it speedily developed into a much more ambitious
project. The single picture multiplied to a whole series, and not he
alone, but all the younger artists who were in any way under his

28 EDWARD BURNE-JONES.
influence were to participate. They were to go up to Oxford in a
body, living and working all together, were to " fleet the time carelessly
as they did in the golden world," and in the brief passage of a fortnight
to turn the drear wall-space into a world of beauty.
Several young men, infected with his excitement, devoted them
selves generously, for the work was to be its own reward, to the fulfil
ment of the project, among them Mr. Arthur Hughes, a painter of
very many delicate and charming works who very early adopted the
principles of the P. R.B. and carried them to a pitch of harmonious
perfection excelled by no one of the followers of the school, Mr. Val
Prinsep, Mr. William Morris, and Mr. Burne-Jones, who was per
suaded to take a part in spite of his positive and repeated declarations
that his inexperience absolutely prohibited his undertaking a task on
so large a scale. Convinced against his will, he chose for the subject
of his contribution a legend to which he has since returned more than
once, that of " Merlin and Nimue" as the insidious Vivien is called
in the earlier forms of the tradition.
This work of a fortnight extended by degrees over the whole of
that autumn and the winter of 1858-59. The difficulties were tremen
dous, and were not mitigated by Rossetti's strange preference for
painting with tempera and size directly on a thin coat of white lime-
wash laid upon the bare bricks. This ground was, naturally, as
absorbent as a sponge, and touch after touch vanished like smoke.
The platform upon which the painters stood, high up above the floor
of the apartment, was narrow and rickety, and on one occasion, at least,
Mr. Burne-Jones, like Sir James Thornhill, nearly ended his labours
prematurely by stepping backwards, in forgetfulness, to get a better
view of his performance. The only way to do this properly, a necessary
thing to the young artist, was to clamber down endless ladders to the
ground below, a frequent exercise which did not tend to hastening the
work. Lastly a stringcourse of bricks had been left projecting from
the wall, and this, as ill-luck would have it, ran straight across the
faces of Mr. Burne-Jones' figures. To overcome this interruption
alone and make the features painted in three planes at right angles to
one another look as though they were in one, tested his patience and
ingenuity for nearly three weeks.
Unfortunately, owing to the still damp condition of the walls at
the time and a general ignorance among the painters of the conditions

SIR GALAHAD.

YEAR BY YEAR. 29
and requirements of the singular process employed, the results of so
much toil have during the last thirty years become for the most part
quite incomprehensible, some having faded or blackened hopelessly,
while others are quickly peeling in long strips from the walls.
While still engaged at Oxford Mr. Burne-Jones occupied the
intervals of the more ambitious labours in beginning a water-colour of
another subject which he has since repeated several times, " The
Annunciation," and during visits to Little Holland House he did
drawings in pen-and-ink on vellum of " Kings' Daughters," now in the
possession of Lord Lansdowne, " Alice la Belle Pelerine," from the
" Mort d'Arthur," " Going to the Battle," and " Sir Galahad," here
reproduced by kind permission of the owner. Colonel Gillum, as a
type of these works, and as the only trace in. the artist's work of the
influence exercised by Tennyson over the school to which he was
affiliated. Even this is rather an expression of the feeling of the poem
than an illustration to it, since it depicts no actual incident therein but
suggests a combination of two distinct passages : —
" How sweet are looks that ladies bend
On whom their favours fall !
For them I battle to the end
To save from shame and thrall :
But all my heart is drawn above.
My knees are bow'd in crypt and shrine :
I never felt the kiss of love,
Nor maiden's hand in mine.
More bounteous aspects on me beam,
Me mightier transports move and thrill.
So keep I fair thro' faith and prayer
A virgin heart in work and will.
******* ' O just and faithful knight of God !
Ride on ! the prize is near.'
So pass I hostel, hall, and grange.
By bridge and ford, by park and pale.
All arm'd I ride, whate'er betide,
Until I find the holy Grail."
In September he paid a first visit to Italy, and studied to excellent
purpose the works of the great Italian masters, visiting among other
places Florence, Pisa, and in especial that breezy, straggling city on
the hill-tops, Sienna, for the art of whose early painters he at once
conceived an intense admiration which has never since yielded its

30 EDWARD BURNE-JONES.
first place in his mind even to the glamour of the rich Venetian
colourists. On his return he settled once more in London, removing to
Russell Place, Fitzroy Square, at the corner of Howland Street, a
district which, from the days of Mr. Clive Newcome until now, has
been much haunted of the painter's craft. Here in the beginning of
the next year, i860, he began to paint roughly in oils the original car
toons for a window depicting sixteen incidents in the life of St.
Frideswide, which were subsequently finished in 1862 and framed into
a screen that adorned the artist's studio in Great Russell Street, to
which he went in 1861. Here Mr. Birket Foster, the well-known
painter of English country life and landscape, bringing to the artist the
welcome news of his election as an Associate exhibitor at the Royal
Society of Painters in Water-colours in 1863, saw it and endeavoured,
vainly at the time, to obtain possession of it. However, when in
1865 Mr. Burne-Jones moved yet again, this time to that charming
old quarter of London, Kensington Square, he gave up to his fellow
artist the coveted treasure which now illumines one of the studios at
The Hill, Witley, with its resplendent colouring. A pen-and-ink draw
ing of "Ezekiel and the Boiling Pot" was drawn in i860, and was
engraved on wood by Messrs. Dalziel for their illustrated edition of
the Bible, and a number of designs were done in the same material for
a contemplated picture of " the Wedding of Buondelmonte" which
was never carried further. Another picture designed in the same way,
and then abandoned, was the parable of the Wise and Foolish Virgins.
A piano next roughly painted, together with a more carefully completed
cabinet, both in the possession of the painter, belongs more properly to
the decorative branch of his art, but is mentioned here as it displays on
a small scale the germ of the idea and composition which was matured
in later years in the splendid " Chant d'Amour." The summer was
occupied by the production of three water-colours of female figures,
"Belle et Blonde et Coloree," " Sidonia von Bork" and " Cl^ra von
Bork." These two last were characters in a book called " Sidonia the
Sorceress." This most entrancing novel, which has been unfortunately
long out of print, was written by a Swiss clergyman named Meinholt,
who endeavoured, however, to convince his readers that the manuscript
was an old one discovered by himself and that the incidents narrated
in it were actual matters of fact. Without succeeding in this object

KINGS' DAUGHTERS.

YEAR BY YEAR. 31
he produced a very weird romantic tale which attracted the enthusiastic
admiration of Rossetti, and thus inevitably of the painter to whom his
word was law. The pictures show more strongly even than is
customary in his early works the manner of his hero, and " Sidonia von
Bork " might easily be mistaken for the production of the elder man.
The head, with its masses of golden hair, bears a close resemblance to
his favourite type. The elaborate finish of the dusky background with
its bottle-glass window and groups of attendants, and in particular the
strange white dress of the principal figure, all overlaid with curious,
writhing, serpent-like knots of black velvet, are all exactly such as
Rossetti might have conceived and painted them. That, in fact, was
the object at which in those days Mr. Burne-Jones aimed. It was not
the mercenary and shallow imitation of the manner and subjects of a
commercially successful artist, for it must be remembered that Rossetti,
though not without a little circle of enlightened patrons, was scorned
and despised of the many. It was an inborn sympathy with a method
of expression which seemed the only natural and right one, strengthened
by a warm affection for the man. Mr. Burne-Jones' own personality was
far too strong to be kept long even in wilfully assumed trammels ; but
though compelled in time to depart ever more widely from his master
along his own path, it was with deep heart-searchings that he first set
out, and with a feeling that to see things otherwise than Rossetti did
w^as, if not, for that reason alone, evidently to see them wrong, at least
a sign of disloyalty to the man to whom his strongest gratitude was
due. In the autumn a visit to the Red House, which Mr. Morris had
just built for himself at Bexley Heath, in Kent, was devoted to the
painting of three pictures in tempera on the walls of an upper room
decorated with a yawning fireplace and panelled roof in quaint
mediaeval fashion. These were a further outcome of that attempt
begun at Oxford to revive the art of painting in tempera directly upon
the wall and, as in the earlier effort, the artist was hampered by the
lack of tradition, and his work was damaged by the dampness of the
plastering. They were to have formed a series running all round the
room, in illustration of the wonderful adventures of Sir Degrevant,
the hero of an ancient metrical romance, published in Thornton's
Romances of the Camden Society, which at that time appealed greatly
to the painter and his host. Owing to difficulties of light the work

32 EDWARD BURNE-JONES.
was started in the most favourable positions, which entailed the re
presenting first of the end of the story. The first of the only three
ever completed, in a very dark corner of the room, shows Sir Degrevant
in the presence of a mitred bishop putting the wedding ring upon the
finger of his bride, who is attended by three maidens. The second
shows the wedded pair returning from the ceremony, and received by
three musicians, one of whom plays the bagpipes, another a rebeck,
and the third, habited in a curious brick and mortar tunic, a viol.
The last of the three, on the opposite side of a large armoire beneath a
minstrel's gallery, represents a group of female figures at the marriage
feast, in which Mr. William Morris, crowned and robed, sits as the
triumphant Sir Degrevant, and his wife as the hardly earned princess.
The end of this year and the whole of the next two were marked by a
great increase of production ; but owing to Mr. Burne-Jones' method
of work already referred to it is not always possible to date the
individual pictures exactly. Among the earliest was an oil picture of
a girl in a green dress standing among daffodils under a tree and
reading a book, which was afterwards reproduced, reversed, as the
woodcut, reprinted- here, entitled " Summer Snow " in " Good Words "
for May, 1863. In the beginning of 1861 a triptych was begun as
a commission from Mr. Bodley for St. Paul's Church, Brighton, with
which a curious little history is connected, rivalling closely the evil
doings of Mr. Anstey's malevolent Tirthankar in "The Fallen Idol."
When it was hung in the place appropriated to it in the church
the artist found that he had neglected to take due account of the
distance from which it must be regarded, and that he had lavished
on it a wealth of detail which not only was itself incomprehen
sible but served also to inextricably obscure the general effect.
Eager, as he has ever been, to profit by every lesson and to gain
knowledge from his own short-comings, he at once took the picture
back and undauntedly set to work upon a second, keeping the
same composition of the Annunciation in the centre with the Magi
on the wings but enlarging the figures, strengthening and broadening
the treatment, and substituting a plain gold background for the
more elaborate one in the first picture. These alterations had
the desired effect, and this amended copy now hangs in the church,
but the original had for awhile a strange and disastrous career. It
was bought by a gentleman who, however, died very suddenly before

SUMMER SNOW.

YEAR BY YEAR. 33
his property could be delivered to him. A second purchaser ap
peared who, almost as though the picture carried some mysterious
curse with it, poisoned himself within a year. Nor was this the
end, for the man who bought it at the sale shot himself two years
later. His effects also were sold and it fell, together with a bundle
of old stair-rods, into the hands of a builder for the not exorbitant
price of seven pounds. Time and its many wanderings had told by
then upon it, and its new owner believed it to be a veritable work
by an old Italian master. As such he described it to Mr. Bodley,
for whom he happened to be working, and after some delays persuaded
him as a lover of such things to go and look at it. To his delight he
recognized at once his old commission, and before long it returned
once more to his possession, in which it has since remained in peace,
its apparent evil powers happily dormant, if not, as is to be hoped,
entirely exhausted.
Another of the direct realizations of subjects from Chaucer was
finished in 1861, that "Cupid's Forge" which the poet saw in his
dreams when " Scipion Affrikan led him to the enchanted garden
wherein was held the humorous ' Assembly of foules.' "
" Under a tree, beside a welle, I seye,
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 should serve
Some to slee, and some to wound and kerve,
Couched and arrayed in order sorted."
On the right Cupid, in a red dress, with softly folded flame-coloured
wings, kneels beside his anvil busily filing at a glowing arrow-head,
while behind him others lie heating in the forge, upon the green
thatched roof of which two white doves, the birds of Venus, bill and
coo. On the left a square basin of pinkish marble receives " the colde
welle streame " in which a beautiful kneeling girl in purple, the Cupid's
" doughter" of Chaucer's creation, tempers the hot blade of one arrow
while she holds those already completed, according to their destiny
either to kill or only wound, part in the hollow of her left arm, part in
the folds of her uplifted tunic. The background with its gleams of
daylight between the foliage, which can unluckily be only dimly
suggested by the reproduction in black and white, is just such a flowery

34 EDWARD BURNE-JONES.
pleasaunce as Chaucer loved to imagine and Mr. Burne-Jones delights
in giving form and colour to :
" A garden saw I full of blossomed bowis
Upon a river in a grene mede,
There as sweetness evermore iriough is.
With floures, white, blewe, yellowe, and rede."
The happy rendering of the spirit of the poem in this little water-
colour is very notable, and inspires the hope that a complete set of
illustrations to Chaucer, still only vaguely contemplated, may yet reach
a consummation devoutly to be wished. A water-colour " Blind Love "
and another of "A Girl and a Goldfish," which, together with a pen-
and-ink drawing of " Ladies and Death," belong to the talented water-
colour artist, Mr. George P. Boyce, and the head of a woman in a
green dress called " Viridis of Milan," and a subject from the old
border ballad " Clerk Sanders " in the collection of Mr. Wells, the
Royal Academician, both painted in water-colours about this time,
were the first of many proofs of the high appreciation with which the
artist's works are regarded by his fellow-painters ; while Mr. Ruskin,
who has more than once pronounced no uncertain note of eulogy in
" Fors Clavigera," " On the Old Road," and others of his writings,
secured this year the first of many works, a pen-and-ink drawing
of " Childe Rowlande." The original design of the grand " Laus
Veneris," with which Mr. Burne-Jones followed up at the Grosvenor
in 1878 his triumph of the previous year over the sceptical or hostile,
was next begun. About the same time a commission came from
Mr. Morris, who had then recently initiated in modest fashion that
decorative business which is now renowned throughout the world
and has had so enormous an influence upon the domestic art of the
last thirty years. A cabinet was the object to be adorned, and Mr.
Ford Maddox-Brown, Rossetti, and Burne-Jones were all enlisted
to supply a panel each, the subject in all cases to be some imagined
incident in the honeymoon of that strange mortal, King Rend of
Anjou, the monarch of song and mirth, whom Sir Walter Scott has
popularized in " Anne of Geierstein." All three painters produced
replicas of their works, and all the three pictures are curiously
typical of their designers' methods and modes of thought, in spite
of a general uniformity of effect necessary to bind them harmoniously
into one decorative entity. In Mr. Maddox-Brown's the king sits

•flT ^
i»« »». -«.- >'' ..-** t .J ••

CUPIDS FORGE.

YEAR BY YEAR. 35
Stiffly upright, so absorbed in the elevation of a palace which lies on
the floor at his feet that he is almost unheeding of the kiss which
his wife presses on his cheek. Mr. Rossetti's king stops in his
music to join his wife in a long passionate embrace. King Rend, as
Mr. Burne-Jones imagined him, sits in a deep red robe painting
on the wall a row of saints against a golden background, too much
occupied with his work to notice the young wife who stands in a long
green robe behind him looking over his shoulder in rapt admiration
of his skill. The finishing of the "Annunciation," begun two years
before, a "Theseus and Ariadne" in the labyrinth, an unfinished
"Castle of Heavy Sorrow," and a pencil drawing of a knight and a
lady playing backgammon, which is nevertheless known as "The
Chess-players," were presumably done this year.
This last was reproduced in water-colours, in 1862, for a bazaar
which was opened to procure money for the relief of the cotton
weavers, whose trade had been ruined by the closing of the American
ports during the civil war then raging between the North and South.
In May Mr. Burne-Jones paid a second visit to Italy, where he re
mained for three months in the inspiring company of Mr. Ruskin, for
whom many small copies of various pictures by the old masters were
made in Venice, including part of a picture by Bonifazio, and a number
of paintings by Tintoretto, especially such as are situated in insuffi
ciently lighted places, no small proportion, as it happens, of that
prolific painter's work. A set of designs were drawn later on to that
enduring source of inspiration, "The Song of Solomon." "Tristan
and Yseult" and " The Madness of Tristan " from the Mort d'Arthur
were painted in water-colour, and a " Morgan le Fay " begun. This,
after a long struggle with technical difficulties as yet incompletely
mastered, was abandoned in despair, and the unfinished work was sub
sequently given to an acquaintance, who, cutting out the head and
shoulders, which alone had resulted in even partial satisfaction to
the painter, sold them to an ardent admirer of his work. This gentle
man happened at a later date to mention his acquisition to the artist,
who thereupon unearthed from the dusty debris of his studio the
original design and presented it to him. Mr. Clifford, being himself
a painter, carefully fitted the two together and finished the colouring
of the whole. Finally Mr. Burne-Jones himself worked roughly over
this singular amalgamation to give it some homogeneity. That the

36 EDWARD BURNE-JONES.
design was Mr. Burne-Jones' no one can doubt who sees this weird
pale woman wandering at twilight in a tangle of prickly bramble and
poisonous hemlock, gathering magic herbs, one of which she presses
to her lips with her right hand, while with her left she supports under
her arm a strange black globe surmounted by the threatening crests of
three bronze adders. The scheme of colour with the greys and greens
of the misty background, the dull purple of the enchantress' cloak and
deep blue of her skirt, seems equally his, and the feeling of awe and
mystery are so beyond all question, but it would form an amusing
exercise for legal casuists to decide whose handiwork the picture as a
whole must be considered to be.
As always from this nettle Failure the artist plucked the flower
Improvement, and in the next attempt, " Rosamond," he well-nigh
succeeded in that most difficult of all tasks, the pleasing of himself
That his self-gratulation was not an idle conceit but was founded on an
absolute merit in the work, was happily brought home to him when it
was exhibited in 1864 at the Royal Society of Painters in Water-
colours, where it at once attracted the attention of the elder Mr.
Ruskin, father of the famous critic, who purchased it, being ignorant
at the time of the painter's identity and of the fact that he was the
object of his son's intense admiration. " The Enchantments of
Nimue," in water-colour, also painted this year and exhibited at the
Royal Society of Painters in Water-colours in 1865, shows "how by
subtlety she caused Merlin to pass under a heaving stone into a
grave." In " Eleanor and Rosamond," painted about this time, we
can perceive the dawnings of that close study of expression, subtle and
unforced, yet eminently truthful and striking, which Mr. Burne-Jones
has often displayed so successfully in later years. Both the trium
phant vindictiveness of the dark-robed Eleanor and the conscience-
stricken affright of fair Rosamond in her white dress, are excellently
conceived, while the hampering of the girl, as she turns to escape up
the green-carpeted flight of stairs, in the loop of the blood-red clue
which has led the avenging wife to her bower, is one of those delicate
strokes of fancy which lift the painter so far above the common herd.
The water-colour " Fatima," and a small replica of the same, were
also painted this year. In all these later works the influence of
Rossetti has perceptibly yielded by degrees to the artist's own indivi
duality, but it revives for awhile in a little water-colour of a girl

THE CHESS PLAYERS.

YEAR BY YEAR. 37
holding an apple with a scroll round it bearing the words, " If hope
were not, heart would break," which is remarkably like similar
pictures by Rossetti. This was the only other work in colour finished
that year, but a charming little drawing of a female figure seated on a
bed, in which a little child is sitting while others cling round her
knees, was made in pencil for a special occasion, and a number of
designs were drawn from Chaucer's " Dream of Good Women," some
of which belong to Mr. Ruskin, while some were afterwards worked
out in glass by Mr. Morris. One of these, a nearly square panel con
taining two figures of " Ypsiphile and Medea," both martyrs in the
quaint Christianized mythology of the original to " the roote of false
loveres, duke Jason " fills a window in Mr. Birket Foster's house
at Witley. Ysiphile stands on the left, Medea on the right, and
between them is seen the sail of false Jason embroidered with the
golden fleece which, as the common cause of their undoing, links
them together in bonds of sympathy. A number of other windows
from similar subjects are in the Common Room of Peterhouse College,
Cambridge. In 1863 Rossetti's mastery waned still further; the beautiful
" Merciful Knight," to whom, in token of his clemency, the carven
Christ bows his head, in which the background painted seven years
before was utilized, and the " Circe," which was commenced that year,
show little or no traces of it. Other works of this year were two
water-colours, "The Annunciation" and "The Nativity," intended
for Messrs. Dalziel's " Illustrated Bible," but subsequently sold by
them without having been engraved for that purpose ; a very charm
ing "Cinderella;" a "Saint Valentine's day"; a curious triptych
to which I shall return later ; a " Danae " which is supposed on
doubtful evidence to have been destroyed in a fire, for the head of
which Mr. Ruskin has a study ; and the first picture in water-colour
of " Green Summer," reproduced on a larger scale in oils a few years
later. The " Cinderella," a graceful figure in a grass-green dress,
standing before an oaken cabinet covered with glass and blue-and-
white chinaware, with one foot bare and the other cased in the glass
slipper, raising one hand to her head in weariness while the other
languidly plays with her white apron, was exhibited at the Royal
Society of Painters in Water-colours in 1864, as also were " The
Annunciation " and " The Merciful Knight," and in 1865 " Green

38 EDWARD BURNE-JONES.
Summer," a group of girls in various shades of green seated upon the
grass beside a river reflecting the thick foliage of a shady grove ; an
exquisite bit of colour which would now-a-days run the risk of being
nicknamed a symphony or fugue.
Some of these works, however, were probably completed during
the following year, 1864, which must otherwise have been, for no
obvious reason, a singularly unproductive one ; two small water-
colours of a man and maid embracing in a meadow, belonging to Mr.
G. F. Watts, R.A., and a maiden in a dark dress, the property of
Sir Frederick Leighton, P.R.A., being the only works in colour ; and
four drawings of " The Seasons" in red chalk.
In 1865 Mr. Burne-Jones removed to Kensington Square, from
which change, apparently, a great accession of creative vigour ensued.
The first results were an allegorical figure of " Astrologia," exhibited
the same year at the Royal Society of Painters in Water-colours, and
a picture of " A Knight in Armour with a Lady " which was a variation,
without the figure of Love, of " Le Chant d'Amour," the water-colour
of which was at once undertaken and exhibited the following year. A
small " Chaucer's Dream," exhibited at the same time, also in water-
colour, followed next, and " The Lament," which was exhibited at the
Royal Society of Painters in Water-colours in (869, and sold on
April 9th last at the dispersal of the late Mr. Trist's collection for
eighty-four pounds, was nearly completed that year though not actually
signed until the next. It is a simple subject of two figures seated in
the desolation of a marble courtyard whose crumbling walls, over
grown with sprays of tangled roses, betoken long neglect. One on
the right in a blue dress, sitting with crossed legs, bows forward in
uttermost dejection until the head rests upon the folded hands. The
girl on the left, in pink, sits upright, grasping the stringed instrument
she has ceased to play, and gazing before her in a very eloquence
of dumb despair. The colouring is somewhat cold and chalky, and
there are still certain small awkwardnessess of drawing, but the senti
ment of the picture is as tender and penetrating as the odour of a
flower, and carries to the heart with a marvellous force a haunting
sense of some unspoken woe. It is a tragedy in essence, but a tragedy
that has no words to tell its story, and needs none.
A project never yet carried out, though there is now strong hope
that it may be, for a large illustrated edition of Mr. William Morris'

YEAR BY YEAR. 39
" Earthly Paradise " was started this year, and seventy subjects from
the beautiful story of " Cupid and Psyche " were designed. The
original drawings passed to Mr. Ruskin, and are now in the Taylorian
Museum at Oxford, but many of them were cut in wood by Mr.
Morris in that old-fashioned style which he maintains to be the only
proper application of that art, and though much of the exquisite finish
of the artist's pencil work has been perhaps necessarily sacrificed in
the process, they possess a strength and depth of colouring which is ex
ceedingly attractive in itself, and admirably appropriate to the somewhat
antique flavour of the poem. The profound artistic sympathy, in fact,
between the artist and the author facilitated the task greatly, and
rendered it a highly congenial one to both, so much so to the former
that, the same year, he painted in water-colour a " Zephyrus bearing
away Psyche " from the mountain top, which was exhibited the follow
ing year, and the " Cupid finding Psyche " sleeping by the fountain in
the garden. This last he has since repeated twice with slight altera
tions, and he has further re-designed the whole story for the decoration
of the Earl of Carlisle's dining room at Palace Green.
A design of the " Hours," in red chalk, and a picture of the
" Fates " seated and looking down upon a man and woman, which
has not yet been carried further, conclude the list of this year's work
with the exception of a set of panels of the story of " St. George," which
were begun in 1865 but occupied the larger part of the next year also
before they reached completion. They were undertaken at the request
of Mr. Birket Foster for the adornment of the dining-room in the
house at Witley to which, in conjunction with Mr. Morris and Rossetti,
he has contributed so much. The first shows a group of aggrieved
citizens appealing to the king to find some remedy for them against
the intolerable scourge of the dragon. In the second, the young prin
cess of Egypt, a sweet, grave little person, walks among the flowers
starring the soft sward of a garden, one hand lightly lifting her
trailing skirts, while in the other she carries an illuminated missal on
which she pores. Beyond her a long low wall of brick cushioned
with turf, and a wooden trellis overgrown with roses, shuts off the
pleasaunce from a close-grown grove.
In the third, on a raised platform in a thronged basilica, through
the partly-curtained arches of which are seen glimpses of a city and
a sail-flecked ocean, the princess, the first of five maidens, draws forth

40 EDWARD BURNE-JONES.
a lot from the bag held by a mitred bishop in full canonicals, who
stands beside an eagle-borne lectern before a stiff Byzantine altar
at which prayers have just been offered for the divine regulation of
the hazard. A look of horror is on the bishop's face, and the princess
clutches spasmodically the hand of sympathy eagerly thrust out by
the young girl behind her who likewise reads upon the parchment
the fatal sentence Moritura.
In the fourth a body of goodly burgesses come to St. George
as he sits reading to urge his assistance for their princess in her peril.
The fifth shows in an open glade, where the trees of a thick
forest have drawn back for a space, the princess, clad in the long
black garb of mourning, standing chained to a still growing stem, her
head bowed down in hopeless misery, while with many a backward
glance of pity the maiden comrades of her innocent young life with
draw reluctantly into the woodland, leaving her alone with death
in the shadows of the falling night.
In the sixth, still doubtful of her good fortune, the princess,
freed from her bondage, kneels with her hands clasped in prayer
for the success of the strange young knight who, arrayed in full
armour save for the helmet, has stooped, as it would seem, from
Heaven itself to preserve her, and now stands thrusting his keen
blade down between the gaping jaws and through the throat of the
fell dragon who writhes, a pitiful beast enough, pinned to the earth
by a spear, the broken butt of which lies flung asidcv upon the
grass before her.
In the seventh and last, along the polished marble pavements
of the city, through ranks of rejoicing maidens singing and making
melody, and preceded by others playing pipes or strewing flowers
on the way, St. George leads on the newly rescued lady, gazing in
rapture upon her delicate face bent downwards partly by the weight
of the great horror but freshly rolled away, partly by blushing
consciousness of a strong man's love for her.
Twenty designs for "The Hill of Venus," that sad old German
legend, generally known now as the theme of Tannhaiiser, which
are also in the Taylorian museum at Oxford, were added in 1866 to
the Earthly Paradise Series ; and either this year or the next the
picture of St. Dorothy, which was exhibited at the old Water-Colour
Society in 1867, and again in April, 1883, at St. Jude's, Whitechapel,

FROM THE "ST. GEORGE" SERIES.

YEAR BY YEAR. 41
under the title of "St. Theophilus and the Angel," was finished.
This shows a marked advance on all the previous work. Complicated
groups of figures are composed and handled with skill, the drawing
has gained in correctness and decision, and the painter escapes
finally from the direct domination of Rossetti, though the influence of
that master still remains slightly perceptible. The story is the well-
known one of St. Dorothy who, martyred in the cold winter months,
when snow lay thick upon the ground, was suffered after her death
to send by heavenly hands a basket of roses and ripe apples to
convert the scoffing Protonotary, Theophilus, to Christianity. As
she was passing to her death he asked her why she was sacrificing
certain joys for those of which she knew nothing. She answered
that she should be that day in the gardens of Paradise, whereupon
in jest he asked her to send to him some of the fruits and flowers
of the garden. In the picture he is seen on the left hand passing
into the law-courts, while within the portal, invisible as yet to him,
the angel awaits him, bearing to him the miraculous flowers and
fruit with the words, " My sister Dorothea sends these to thee
from the place where she now is." Beside the steps in the fore
ground a party of girls are drawing water from a fountain surmounted
by a brazen statue of Pan, and in the background another group
are bearing the dead Dorothy upon a bier, while yet other maidens,
led by a haughty pontiff" and watched by mail-clad soldiers, are paying
to a statue of Venus set on high under a canopy that sacrifice
the refusal of which cost Dorothy her life.
In 1867 Mr. Burne-Jones moved to his present residence where,
first, another of the "Cupid and Psyche" designs was painted in
water-colours and exhibited the same year : that one which shows the
aid the god carried to her when she had opened the forbidden casket
of dreams in the grey shades of Hades.
" And there she would have Iain for evermore,
A marble image on the shadowy shore
In outward seeming, but within oppressed
With torments, knowing neither hope nor rest ;
But as she lay the Phoenix flew along
Going to Egypt, and knew all her wrong,
And pitied her, beholding her sweet face.
And flew to Love and told him of her case ;
And Love, in guerdon of the tale he told.
Changed all the feathers of his neck to gold,
G

42 EDWARD BURNE-JONES.
And he flew on to Egypt glad at heart.
But Love himself gat swiftly for his part
To rocky Taenarus, and found her there
Laid half a furlong from the outer air."
Twelve designs were made for the story of " Pygmalion and the
Image," and a water-colour in six compartments called " The Gar
land " was begun but left unfinished. Finally the first smaller version
of "The Mirror of Venus " in oils, sold at the Graham Sale in 1886
for eight hundred and nineteen pounds, was begun.
The work of the next year, 1868, was grievously interrupted by a
long illness, but a larger copy of the " Green Summer," also sold
subsequently at Mr. Graham's sale for five hundred and twenty-five
pounds, was made in oils, and a replica of " St. Theophilus and the
Angel" in water-colours, while a figure running and sowing seed,
exhibited at the second exhibition at the New Gallery in 1889, and
again at Birmingham in 1891 under the title of " Flora," and the large
" Chant d'Amour " were begun in oils, as was a picture of " The First
Marriage," displaying Love enthroned above a man and a woman,
which has not yet been finished.
The year 1869 witnessed the completion of the magnificent
" Circe," begun six years before, which was exhibited at the gallery
of the Royal Society of Painters in Water-colours the same year,
and sold at the sale of the late Mr. Leyland's pictures in May, 1892,
for thirteen hundred and fifty guineas, and of the first two of that set
of six water-colours " Spring," " Summer," " Autumn," and " Winter,"
" Day," and " Night," which were exhibited at the Grosvenor Gallery
in 1878, and sold at the same sale; the "Day" and "Night" for
thirteen hundred and fifty guineas and the four Seasons together
for eleven hundred and fifty guineas. These first two were " Spring,"
a girl in a straight robe of a pale sea-green, standing against
a curtain over which flowers droop, holding a spray of blossom
in one hand while she gathers up her skirts with the other, and
"Autumn," a languid figure in a rich crimson dress, standing on a
marble platform above a basin full of white water-lilies and holding a
pomegranate gathered from the tree which rises against the sky from
behind the curtain which forms the background. Both these were ex
hibited with " The Wine of Circe " the same year. The first of the four
oil pictures of " Pygmalion and the Image " was next completed from

YEAR BY YEAR. 43
the designs made two years before, but waited long for its com-
parjions ; a figure of " Hymen " in a strong flame-coloured garment,
holding a torch, was made in oils in celebration of the wedding of a
friend, as also a water-colour copy of "The Annunciation" painted in
1863, for the late Doctor Radcliffe, who had shown much devoted
kindness to the painter in his recent illness. A figure of " Rumour"
was begun in water-colours, and a replica of the " Prioresses Tale,"
painted in 1858, in oils, though neither of these was ever finished ;
while the " Pan and Psyche," of which more hereafter, was designed.
During 1870, while Europe was convulsed with wars and
rumours of wars, and later the thunder of French and German cannon
re-echoed round the world, the painter, like Chiaro dell' Erma, the
imaginary hero of Rossetti's poetical story " Hand and Soul," worked
on undisturbed in the peace of his studio in the North End Road.
That water-colour, exhibited at the Royal Society of Painters in
Water-colours, of the forgiving Phyllis bursting from the enclosing
bark of her changed form to clasp the passing Demophoon, what time
the almond tree first blossomed, which proves so convincingly how
well the artist can render rapid movement when he so desires, was
painted for Mr. Leyland, at whose sale it realized eight hundred
and ten pounds. Next came the " Evening Star," which was
exhibited at the Royal Society of Painters in Water-colours the
same year, and reproduced in the "Magazine of Art" in 1884, at
which time Mr. Sidney Colvin, the Slade Professor of Fine Arts at
the University of Cambridge, wrote of it: "This visionary shape
is the personification or embodied soul of the evening star, ' Fair star
of evening, splendour of the west.' Of all the artists and poets, both
of ancient and modern days, who have done their best upon the same
theme, surely none has been better inspired than the painter of this
calm virginal apparition floating, with half-seen face and with this
exquisite simple action and lovely drift of hair and drapery, over the
mysterious seaward-shelving land, with its bays and promontories
and hamlets lying asleep in the cool blue-glimmering twilight."
The series begun the previous year was further enriched by the
excellent " Night," that wonderful harmony of deepest blues, with the
stately figure extinguishing the torch and silently closing the door
behind her upon the outer world ; which, with a lovely half-length
figure of " Beatrice " in a red dress, walking in profile along a city

44 EDWARD BURXE-JONES.
.street, and seemingly plunged in profoundest melancholy, while three
girls in the distance watch her, was exhibited the same year ; but
" Charity," a large water-colour of a beautiful and tender-faced woman,
draped in red and blue, bearing on either arm a nude infant, while
four more cluster round her feet, one clasping her long blue girdle, in
the loops of which two others are enwrapped, and another sitting
playing with an apple, which was sold at the sale of the Ellis collec
tion in 1885 for five hundred and thirty pounds, was not shown
until the exhibition of the Royal Society of Painters in Water-colours
in 1890. "The King's Wedding," a small, very brightly coloured
water-colour painted on vellum, of the wedding guests dancing before
the enthroned monarch and his bride, and " Love disguised as
Reason," a figure of Dan Cupid in a doctorial robe arguing with a
group of attendant girls, which was exhibited the. same year and sold
at the Graham sale for nine hundred and thirty-five pounds, were
the other works finished this year, while many studies were made for
the " Hours," designed in 1865, and for the Pygmalion series. " Love
among the Ruins," and "The Hesperides " in water-colours, and " The
Mill " in oil were begun, and work for future years was provided for
by the designing of " The Sirens " which is just attaining completion,
and a great triptych setting forth the story of Troy town. This last
is of especial interest since, although it has never been carried out in
its original entirety, various portions of it, symbolical or illustrative,
have been executed in later years and exhibited under other titles, by
which they will be referred to when mentioned in due order.
The design was at first carried on with eagerness. At the
beginning of 187 1 four allegorical figures for the predella were
sketched in water-colour upon canvas : " Fortune " with her wheel,
"Fame" overthrowing Fortune, "Oblivion" conquering Fame, and
" Love " subduing Oblivion ; and another portion, "Venus concordia,"
now the property of Mr. E. J. Poynter, R.A., representing the Goddess,
attended by the three Graces, seated upon a throne, with groups of
happy lovers in the background, was drawn in pencil. The necessity,
however, of carrying out the set of pictures for Mr. Leyland inter
rupted the work for a time, and " Summer," a graceful figure, in a thin
semi-transparent white robe, passing through a curtain from a rose-
garden on to a cool marble platform overhanging a pool full of forget-
me-nots ; " Day," a fair-haired nude youth with a burning torch.

CARITAS.

YEAR BY YEAR. 45
floating in through a door which he swings open before him, revealing
a little seaport under the grey light of early dawn ; and " Winter," a
matronly figure, clothed in black and white, who stands reading beside
the ice-bound waters in the foreground, while she warms the unoccu
pied hand at a fire which blazes merrily upon the marble pavement,
were all three quickly completed. A smaller set of the " Pygmalion "
pictures were begun in oil this year. Another vision of " Night," a
flying figure ; a girl in a red dress seated at an organ against a blue
background ; two circular pictures of singing boys and girls ; and a
larger and much altered copy of the " Chaucer's Dream," painted in
1865, were finished, while "Venus Epithalamia," a copy of which by
Mr. Charles Fairfax Murray is in existence, was painted in water-
colour on canvas, and in water-colour on vellum a little picture of
" The Sleeping Beauty " in a saffron dress, and " Dorigen " the sorely
tried heroine of Chaucer's " Franklin's Tale." In this, Dorigen of
Bretaigne, watching for her husband's longed-for return from over
seas in " Engelond," and seeing below her among the roaring
breakers " the grisly rokkes blake " which make her tremble for his
safety on his voyage, stretches her hands to heaven from the window
of the " castel faste by the sea " and appeals to God to sink them into
hell :— " Eterne God, that thorugh thy purveance
Ledest this world by certain governance
In idel, [vain], as men seen, ye nothing make.
But, Lord, this grisly fendely rockes blake
That semen rather a foule confusioun
Of werke, than any faire creacioun
Of such a parfit wise God and stable
Why han ye wrought this werk unreasonable .¦'

this is my conclusioun
To clerkes lete I al disputisoun :
But wolde God that al this rokkes blake
Were sonken into helle for his sake ! "

A wish for which, in the end, as will be remembered, she was like to
pay dear. This year was also in particular notable for the commence
ment in oil of the first small set of the now famous " Briar Rose "
series, in which, however, the third picture of the Garden Court was not
included. Various works were, as usual, designed for future develop
ment. " Love in a Triumphal Car," drawn by bands of happy lovers.

46 EDWARD BURNE-JONES.
a "Tristram and Yseult," "The Angels of Creation," holding the
spheres, which were destined to such magnificent achievement later,
and that " Mask of Cupid," which Britomart saw in the chamber of the
castle of Busyrane with its tapestries of Love's victims, and its iron
doors bearing the strange mottoes, " Be bold, be bold," and " Be not
too bold," a subject whose elaborate symbolism and allegory were
calculated to appeal in an eminent degree to the painter's imagination.
First of all, just as it is set down in Spenser's " Faery Queen," Book
IIL, Canto XII., comes Ease, the usher of the pageant, with his name
" on his robe in golden letters cyphered," stalking forth in stately
guise, "a grave personage " That in his hand a branch of laurel bore,
With comely haviour and count'nance sage,
Yclad in costly garments fit for tragic stage."
Behind him comes the Mask proper :
" The first was Fancy, like a lovely boy,
Of rare aspect and beauty without peare.
' His garment neither was of silke nor say
But painted plumes in goodly order dight,
Like as the sun-burnt Indians do array
Their tawny bodies in their proudest plight.''
So he goes, dancing and fluttering "his windy fan" side by side
with " amorous Desyre," blowing ever and anon "the few sparks" he
carries in his hands, who seeming the elder was yet the other's son :
" His garment was disguysed very vain.
And his embroidered bonnet set awry."
Doubt and Danger, a grim pair, follow closely on the heels of
this lightsome couple : the first " in a discoloured cote of straunge
disguyse," " That at his back a brode capuccio had,
And sleeves dependaunt Albanese-wyse."
He looks suspiciously to right and left, treading delicately " as
thornes lay in his waye," and leaning on a broken reed : the second

TEMPERANTIA.

YEAR BY YEAR. 47
with his treacherous net. Mischief, in one hand, and rusty blade.
Mishap, in the other : " Clothed in ragged weed
Made of beare's skin that him more dreadful made."
Following him with ever watchful eyes, and bending always against him
" a brasen shield," comes Fear " all arm'd from top to toe," the wings on
his heels still fluttering for instant flight, even from the clash and glitter
of his own defences : and beside him Hope, " a handsome mayde of
chearefull looks and lovely to behold," bearing her " water-sprinckle
dipped in deowe." Dissemblaunce and Suspect, " an unequall paire "
come next, the one " gentle and of milde aspect, courteous to all, and
seeming debonaire," with her " borrowed hair," " forged deeds," and
" words false coyned," twining always her two clews of silk ; the other,
" fowle, ill-favoured, and grim, under his eye-brows looking still
askaunce," holding the lattice before his face through which his rolling
eyes peer doubtfully. " Griefe all in sable sorrowfully clad," carrying
the pair of pincers " with which he pinced people to the heart," walks
behind with Fury " full ill apparelled
" In rags that naked nigh .she did appear,''
tearing her already tattered garments, tossing wildly round her head
her flaming firebrand, and roaming here and there like a deer that
has strayed during the terrors of the chase. After them go Dis
pleasure and Pleasaunce, he " looking lompish and full sullein sad
" And hanging doune his heavy countenaunce,"
bearing in a phial " an angry waspe,"
" She chearfull, fresh, and full of joyaunce glad.
As if no sorrow she ne felt ne drad "
also carrying a phial, enclosing however, " an hony-lady bee." Next
after them comes that " most faire dame
" Led of two gryslie villeins, th' one Despight,
The other cleped Cruelty by name,"
Closely following them comes "the winged god himselfe" with
his eyes for the nonce unbandaged, that he may see and rejoice

48 EDWARD BURNE-JONES.
in the sufferings of the "dolorous fair dame" with her wounded
bosom, and her " trembling hart," which being cruelly torn from her
breast, she is constrained to carry in a silver basin. He rides " on a
lion ravenous," clapping on high " his colour'd winges twain " and
shaking the darts in his right hand with which he marshalls the
procession "with sterne disdayne." On his heels come,
" Reproch, Repentaunce, Shame ;
Reproch the first, Shame next, Repent behinde :
Repentaunce feeble, sorrowful and lame ;
Reproch despightful, careless, and unkinde ;
Shame most ill-favour'd, bestiall, and blinde :
Shame lowr'd, Repentaunce sighed, Reproch did scould ;
Reproch sharpe stinges, Repentaunce whips entwined,
Shame burning brond-yrons in her hand did hold."
And SO the Mask ends with "a rude confused rout" of
" Sterne Strife, and Anger stout,
Unquiet care, and fowl Unthriftyhead,
Lewde Losse of Time, and Sorrow seeming dead,
Inconstant Chaunge, and false Disloyalty,
Consuming Riotise, and guilty Dread
Of heavenly vengeaunce, faint Infirmity,
Vile Poverty, and lastly. Death with Infamy."
During 1872 quite an extraordinary number of designs and
pictures were begun or completed. Among the latter was the " Fides,"
and among the former " Spes," both in water-colour, and both exhibited
at the first exhibition at the Grosvenor Gallery, and a third companion
picture was begun, "Temperantia," a stately woman pouring water
from a large jar upon the flames, on which she also tramples with
unharmed feet, in which the artist for the first time made use of those
elaborately folded and wrinkled draperies which are so characteristic
of much of his later work. A copy of the " Evening Star," painted in
1870, was made in oils with many alterations in colour, and with the
face in profile instead of half-averted, as in the original, and the large
copy in oils of the "Cupid and Psyche," painted in 1865, which had
been commenced the year before, was finished. In this, the third
rendering of the subject, Psyche, wearing a dull blue dress, reclines
by a fountain which gushes from a lion's head set on a green marble
column into a marble basin, upon the brink of which lies the opened
casket, over which a pale tongue of flame hovers. Cupid, clad in peach-

PAN AND PSYCHE.

YEAR BY YEAR.

49

coloured raiment, harmonizing with his folded wings, stoops swiftly
down to her, against a twilight background of slumbering hills and
sliding river carrying a single boat. It hung for many years over the
mantelpiece of the hall in the late Mr. Leyland's house at Prince's Gate,
and was sold at the recent disposal of his collection for nine hundred
guineas. A small oblong oil picture of " Danae watching the Building
of the Brazen Tower," was followed by the beginning of " Pan and
Psyche," designed three years before, and of " Luna," a figure in
various tones of blue, which was finished three years later, exhibited at
the Grosvenor in 1878, again at the Society of British Artists in 1892,
and is now in the collection of Mr. Alecco lonides. An oil picture of
a man playing an organ was painted for the decoration of that instru
ment in the Earl of Carlisle's house at Palace Green, into which it is
now set, and the great series from the story of " Cupid and Psyche,"
which adorns the dining room of the same house, was arranged and
drawn on canvas. Part of them were also painted this year and at
different intervals up to 1881, but in the end the undertaking was
found to be too extensive for a painter with so much other work
demanding his attention, and they were finished by Mr. Walter Crane,
an artist who was sufficiently in sympathy with the designer, to give a
satisfactory appearance of unity to the whole. Many designs were also
made this year for another of Mr. Morris' poems, " Love is Enough,"
and much study was devoted to two designs for yet another, " The
Ring given to Venus," a curious half Pagan, half Christian tale, to be
found in William of Malmesbury, while a third subject from the same
work was begun in oils. The " Troy " triptych was carried still further.
" Venus Discordia," the Goddess accompanied by the Furies, and
surrounded by men in deadly conflict, a companion to the "Venus
Concordia," and like it, in the possession of Mr. E. J. Poynter, R.A.,
was drawn in pencil, and the same subject, together with the four
figures of " Fortune," " Fame," " Oblivion," and " Love," and another
portion of the same scheme, the well-known " Feast of Peleus," were
begun in oils. This year, in fact, was quite notable as the starting-
point of a number of Mr. Burne-Jones' most famous pictures, for in
addition to those already mentioned the large " Beguiling of Merlin,"
and " The Angels of Creation," were begun, and the procession of girls
descending a winding stairca.se, which, after being known as " The
King's Wedding," and " Music on the Stairs," became finally renowned
H

50 EDWARD BURNE-JONES.
as " The Golden Stairs." The large " Chant d'Amour," " Love among
the Ruins," and the " Hesperides," were carried further, as was the
series of "The Briar Rose," and two pictures "Tristram and Yseult,"
and " St. Nicholas," were started ; but never finished, while a water-
colour of girls with lanterns in a darkling city, though not absolutely
finished in the artist's eyes, was sufficiently so to leave his studio.
Two sleeping girls in blue dresses were painted in water-colour on
canvas, and the triptych of " Pyramus and Thisbe," was begun in
the same material on vellum. The designing of " The Story of
Orpheus," and the making of numerous studies for "The Mask of
Cupid," concluded this remarkable year's work.
In 1873 Mr. Burne-Jones made a brief reappearance in public at
the Dudley Gallery with two pictures, both finished that year and both
begun in 1870. The first, " Love among the Ruins," is one of the
most impressive of the painter's works, with its vague hint of an
untold tragedy which haunts the memory and refuses to be banished.
Among the ruins of crumbled masonry and fallen columns overgrown
with flowers and the entwined arches of rose-starred briars — the
beauty that Nature spreads abroad to blot out the havoc wrought by
man — sit the two lovers. .She dressed in rich blue, with both arms
round his neck, clings to him for comfort, though she turns away her
face, looking out into space with heavy eyes that see too plainly
still the unspeakable horrors of the past. He attired in sad-coloured
raiment with one arm shelteringly encircling her, and the other hand
grasping one of hers, looks down upon her with a face full of pity, yet
not without a confidence in love's power to bring forgetfulness.
Behind them frown the black shadows of archways and a stormy sky
on the one hand, and on the other a desolate courtyard with a barred
window, and a great doorway crowned with a broad architrave carved
with cupids at play, and supported by ornamental pilasters, while
through the open portal a glimpse of silent sunlit street is seen. This
beautiful picture has been exhibited anew several times recently, as at
Birmingham in 1885, the Manchester Jubilee Exhibition in 1887,
where it was again shown in public in company with its fellow of
1873, the lovely " Hesperides," and at the Guildhall Exhibition in the
City of London in the summer of 1892. "Temperantia" and
" Vesper," begun the previous year, and the " Briar Rose" series, begun
a year earlier, were all three finished, and " Spes," the water-colour of

DESIGN FOR VIRGIVS .ENEID.

DESIGN FOR VIRGIVS .EXEID.

rs??

.c. V ^ \/' .^*;,'^ '.

DESIGN FOR VIRGIVS .ENEID.

YEAR BY YEAR. 51
the " Girls with Lanterns," the large " Chant d'Amour," " The Mill,"
begun in 1870, and " St. George," were all worked on more or less.
A small water-colour on vellum of "The Cumaean Sibyl" was the
only other work finished this year, which, however, saw the beginning
in oils of three celebrated works, " The Beguiling of Merlin," the one
begun the year before having been abandoned, the large " Mirror of
Venus," and the " Laus Veneris," perhaps the most discussed of the
artist's exhibited works, upon which most of the year's work was spent,
though time was found in the intervals for beginning also a large
"Venus Discordia," never finished, and "The Bath of Venus," in
water-colour, and for designs of a "Pan," a picture of "The
Fountain of Youth," and a "Dance of the Seasons," while many
drawings were also made for Mr. Morris' translation of the " ^Eneid,"
several of which are here reproduced, and " The Story of Orpheus."
The year 1874 was mainly devoted to the carrying forward of
three pictures, three months being given to " The Mirror of Venus,"
and two each to " The Feast of Peleus " and " Laus Veneris," and a
shorter period to a larger " Briar Rose " series of four pictures begun
the year before and only now being completed. Two " Sibyls," an
" Annunciation," a small design in gold on vellum, and a picture of
Love enthroned in a temple crowning a man with the title " Quia
multum amavit," shared most of the remaining five months with the
finishing of the " Pan and Psyche" begun in 1872. This charming
picture, exhibited at the Grosvenor in 1878 and again at the
Manchester Jubilee Exhibition in 1887, was founded upon an incident
in Mr. William Morris' version of the story in the " Earthly Paradise,"
the attempted self-destruction of Psyche in despair at her manifold
sufferings : — " And with that word she leapt into the stream,
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."
It represents P.syche, an exquisite nude figure, half-standing ancle-deep
among the whispering rushes in the river which winds away into the
distance between rugged cliffs, half-kneeling on the rocky ledges of the
shore, while Shepherd Pan, kneeling on the bank above with his right

52 EDWARD BURNE-JONES.
hand tenderly resting on her upturned head, leans down to her with
deep pity in his kindly face. Designs for the two first panels of " The
Romaunt of the Rose" and for numerous figures in the "Troy"
triptych, ended the year's work.
"The Beguiling of Merlin," "The Feast of Peleus," and "Laus
Veneris" again took up much of 1875, but most of it was spent
in working on " The Angels of Creation," begun in 1872. The " Troy"
triptych, the girls at the loom in " the Garden Court" of the " Briar
Rose " series, " Quia multum amavit," and the large " Pygmalion " set
also received some attention, and the " Luna," begun in 1872, a design
of " The Fountain of Youth," the kneeling " Cupid " who occupies
the narrow central panel of the " Pyramus and Thisbe " triptych, a
small water-colour replica of the " Fortune," a small oil picture of
" Hymen," with a man and maid, exhibited at the New Gallery in
1888, were finished. The first design of the " Romaunt of the Rose "
in oils, a circular picture of " Hero " lighting her signal lamp, two
girls with a viol and scroll of music, and a panel of " St. George"
were all begun, and numerous designs were made for a long picture,
" The Triumph of Venus," the procession in " Cupid and Psyche," the
story of " Per.seus," " Proserpine," and " Diana," the ^neid and the
Vices, painted and carved upon the walls of Mirth's garden, in the
" Romaunt of the Rose," Hate and Felony, Villainy, Coveitise,
Avarice and Envy, Sorrow and Elde, Povert and the mysterious
personage, Poope-Holy, who corresponds to Spenser's Hypocrisy.
The first five months of 1876 were wholly given up to "The
Angels of Creation " which were then finished after ten months' work
altogether. These six beautiful panels were originally designed for a
window erected in 1874 in Tamworth Church, representing the vision
seen by Shadrach, Meshach, and Abednego in the fiery furnace.
They were exhibited at the opening exhibition of the Grosvenor,
in 1877, and again at Birmingham in 1885, and are reproduced here,
but though the grace and beauty of the figures, the skill of the
composition, in which uniformity and variety are equally attained,
the intricate invention of the draperies, the elegance of line and
form, and the subtle renderings of shape and texture in the wings,
may be gathered from the illustrations, it is unfortunately impossible
to convey in an engraving the exquisite tenderness and modulation of
the colouring which, avoiding monotony, still knits the six separate

THE ANGELS OF CREATION. I. II.

'¦!¦ *^i-,.:^. \l^

|ii'i?«'- ¦i.;\3''^ •!'¦'¦.
at'. <¦ r V' i .Vi.* - • '

» ',

IHE ANGELS OF CREATION. III. IV.

THE ANGELS OF CREATION. V. VI,

YEAR BY YEAR.

S3

panels into one harmonious whole. The first one, a six-winged
seraph with the flame significant of energy upon her brow, standing
upon the vague greenness of the void, and holding the globe of the
universe enclosing the spheres of light and darkness, has wings of a
grey purple graduating in places into deepest blue and relieved here
and there by cunning touches of pure gold. " And God divided the
light from the darkness."
The second with her sad eyes, draped in a robe of blue blending
into greys, and with many-hued wings of green and blue and gold,
displays the ordering of chaos. " And God made the firmament, and
divided the waters which were under the firmament from the waters
which were above the firmament." The third, also in blues of various
shades brightened with flakes of gold, stands on the dry land studded
with a few forlorn flowers, and shows the birth of delicate foliage
within her mystic globe. "And God said. Let the waters under the
Heaven be gathered together into one place, and let the dry land
appear, and it was so. . . . And God said. Let the earth bring forth
grass, the herb yielding seed, and the fruit tree yielding fruit after its
kind, whose seed is in itself upon the earth."
In the fourth the gold is used with greater freedom, and a corre
sponding increase of brightness characterizes it, though the main tones
are still dark. She holds the sun and moon and infinite glories of the
heavens. " And God said, Let there be light in the firmament of
Heaven to divide the day from the night." The fifth, still brighter in
effect, stands upon the wet sea-margin strewn with fragile shells, and
supports a globe containing a swift whirl of white-winged sea-birds
sweeping up from the stormy waters. " And God said. Let the waters
bring forth abundantly the moving creature that hath life, and fowl
that may fly above the earth in the open firmament of heaven." The
sixth and last shows Adam and Eve new met in the Garden of Eden
beside the forbidden tree, behind which the great coils of the
threatening serpent are faintly shadowed forth. At the feet of the
Angel of this sixth day sits the seventh, the Angel of the day of rest,
flower-garlanded among roses, playing upon a many-stringed instru
ment. " And God said. Let us make man in our own image and after
our own likeness. And he rested on the seventh day."
This magnificent work was originally in the collection of Mr.
William Graham, at whose sale it passed, for the sum of one

54 EDWARD BURNE-JONES.
thousand seven hundred and thirty-two pounds, to Mr. Alexander
Henderson, who is still the fortunate possessor of it. A small
upright picture in oils of " Danae and the Brazen Tower," also
for Mr. Graham, was painted this year, and " Pyramus and Thisbe,"
" Hero," and the girls with music and viol, were finished. " The
Death of Medusa," in the story of Perseus, was begun, and three
months were also spent upon "Perseus and Andromeda" for the
same series. " The Annunciation " was designed, and the large picture
begun, as were " The Golden Stairs," designed in 1872, the picture of
" Pan in the Woods," designed in 1873, and afterwards named " The
Garden of Pan," both in oils, and in water-colour on linen, a small
" Procession from the Romaunt of the Rose," designed in this year.
Other designs of the same period were five made in pencil from the
Song of Solomon for pictures to be painted at leisure. The first of these,
surrounded, as are all, by a border of conventional ornament, is illus
trative of the passage which in the English version stands, " Rise up,
my love, my fair one, and come away. For lo, the winter is past, the
rain is over and gone — arise, my love, my fair one, and come away,"
the slightly different rendering of which, in the Latin of the Vulgate,
is inscribed upon a scroll running across the top of the design. Below
this, and in part concealed by it, four figures float behind the hills in
the distance. On the left Winter, with his face averted, is speeding away,
followed by three female figures bearing up-turned jars, from which
the last drops of beneficent rain are falling in drifting showers. In
the foreground, beside a winding path, the bride of Lebanon in a
many-wrinkled garment stands gazing after the retreating Winter,
while on the right, the Beloved, in a tunic falling in broad simple
folds, but with curiously slashed sleeves, extends his hand in invitation
to her. The second is suggested by the passage, "A garden enclosed is
my sister, my spouse ; a spring shut up ; a fountain sealed." The
garden in the foreground is enclosed by a carved and battlemented
wall, behind the ramparts of which three angels stand on guard with
winged helmets, flame-shaped swords, and shields emblazoned respec
tively with the sea under the moon and stars, the teeming earth under
the broad sun, and a shower of tongues of flame. Within the garden,
among little circular beds of flowers, the spouse stands looking wist
fully at a fourth angel crowned with a rose-wreath surmounted by a

§vt wfiftt i!lh«t rhat luve tannot tiiMe
yptdVwstvMO If thw 1 ShOl not li(
Vd {oitTiAen fitll this liHi« t«iKr(rwdl|t
j?ind w8h a sound !>•. '.oj-t as «r«, dnift '
AnS bW<n *•'''« **>' stonith it, fc |J&«
Ail tli?fy rwi**^'*"^'- ^ ^**'^ **^ &*t t^t"* w*

PYRAMUS AND THISBE,

"^ry ffl^'^^y"'^^ wpTOiw»j— <pa.-..

^
."N^'

^7^S

r-S^

ir-

y<

-X'
,i i~ -a: I V
\ \'lvt>
y
<i<
^
^'
('
M^r--^ -';^''/; ¦' ^\ >'J I '^lp'g{^j )fi%f$
y,> ^ O'
/>,¦*'
i^^fKJ ^l"^ f^1^u\';o^l^^ ""''¦4
7jmzj^^i22uM
^^Tf^^^^^^^^^^^^^S
DESIGN FOR THE '- SONG OF SOLOMON.'
YEAR BY YEAR. 55
living flame, who, armed with a sword like the other three, sits on the
closed cover of a circular well-head, carved with lions' heads and
wreaths, beside which stands a half-unrolled scroll on which is the
Latin version of the verse, " A fountain of gardens, and well of living
waters, and streams from Lebanon."
The third, which is here reproduced, is more especially interesting
as it is the only one which has since received the purely pictorial treat
ment intended for all, and which, as the " Sponsa di Libano," was the
latest representation in public of Mr. Burne-Jones' recent work at the
New Gallery in 1891. It is instructive to compare the two, as may here
be done, and to note how carefully and truly the artist differentiates
between the decorative and pictorial rendering of the same composition
founded on the verse, " Awake, O North wind, and come thou South,
blow upon my garden that the spices thereof may flow out." In each
the bride stands among tall white lilies by a streamlet, lightly checking
the fluttering of her garments in the breeze, but in the design the folds
are wavy and conventional, the stream with its flower-crowned islet,
and the plants themselves are stiff and formal, and arbitrarily
crossed by a scroll with the inscription, " How fair and how pleasant
art thou, O Love, for delights," while in the picture the draperies and
landscape are rigorously founded upon nature, the white lilies are
marvellously beautiful in their minute realism, and the shallow rivulet
rippling between its grassy banks among many-hued pebbles, is such
an one as Chaucer has described :
" Tho saugh I welle
The botme paved everydelle,
With gravel full of stones shene
The medowe, softe, swote, and greene
Beet right on the water-side."
In each also the air-spirits are floating figures crossing one another at
a sharp angle in the midst of a swirl of flying draperies, and blowing
open-mouthed soft winds and dropping blossoms, but in the picture
the actual representation of the breath by the diverging lines found in
the design is omitted, in which respect Mr. Burne-Jones may be held
to have improved upon the original of which these figures are vaguely
suggestive, the masculine air-gods in the " Venus Anadyomene " by
Botticelli in the Uffizzii at Florence.
The fourth has for its subject the lines, " I sleep, but my heart

56 EDWARD BURXE-JOXES.
waketh, it is the voice of my beloved that knocketh, saying, open to
me my sister, my spouse, for my head is filled with dew, and my locks
with drops of the night." In the lower part of this design, upon a
marble bench covered with soft draperies, the bride reclines asleep,
with feet and hands softly crossed, and above her, on an architectural
pedestal, a four-winged angel sits, the watchfulness of the spirit
symbolized by the burning lamp held in one hand, the other being
raised with a listening gesture. Behind and above, in a dim halo, the
Beloved is seen standing in a knotted tangle of underwood beating
upon the fast-shut door. The fifth, illustrating the verse, " Who is
this that cometh out of the wilderness leaning upon her beloved,"
represents a group of five slender girlish figures grouped around a
young tree, gazing out upon a rocky gorge from which Solomon,
crowned, emerges supporting the spouse of Lebanon.
The year 1877 saw the opening of the Grosvenor Gallery, in time
for which several works which had been long in progress were carried
to completion : both the pictures of " The Mirror of Venus," the small
one, begun as far back as 1867, which was sold at Mr. Graham's sale
for eight hundred and nineteen pounds, and the large one, begun in
1873, which was then exhibited and sold more recently at Mr. Leyland's
sale for three thousand five hundred and seventy guineas : " The
Beguiling of Merlin," also exhibited that year, and sold at the latter
sale for three thousand seven hundred and eighty guineas : the large
" Chant d'Amour," begun in 1872, which was exhibited the following
year and sold at Mr. Graham's sale for three thousand three hundred
and seven pounds ; the water-colour, " Spes," and a " Sibyl " in a dark
purple dress, both exhibited that year : "St. George " in oil, which was
sold at the same sale as the " Chant d'Amour " for six hundred and
fourteen pounds ; a water-colour of " The Hesperides," begun about
1869, before the other, which, however, had been finished four years
earlier ; and a replica of the girls with the viol and music. A
small water-colour in red monochrome of "The Tiburtine Sibyl " was
painted, and the large design of " Love leading the Pilgrim," for " The
Romaunt of the Rose " series, was begun. This subject, of which
the exquisite pencil drawing is here reproduced, was rather suggested
by, than illustrative of the poem, for there is in it no passage exactly
similar, though the God of Love is Chaucer's "Venus' sone, Daun
Cupido," and his garland of roses and girdle of leafage, with the joyous

LOVE AND THE PILGRIM.

YEAR BY YEAR. 57
ring of carolling birds encircling his head, is realized directly from
the original : " And also on his head was sette
Of roses reed a chapelette.
And he was alle with birdes wryen
With popyngay, with nyghtyngale.
With chalaundre, and with wodewale.
With finche, with lark, and with archaungelle."
Bow in hand he walks barefooted but unhurt among the rough stones
and sharp-thorned briars that cumber the way, while the pilgrim
L'Amant, though supported and guided by Love's own hand, makes
but a toilsome and painful passage through them across the rock-
strewn plain which, hill-girt and brightened by great sweeps of river,
spreads away to the base of ragged cliffs crowned by the walls and
towers of a little city.
The large "Wheel of Fortune" exhibited at the Grosvenor
in 1883, and several times elsewhere since, was begun this year,
and cartoons were made for the first two pictures of the " Perseus "
set, "The Call of Perseus" and "Perseus and the Graiae" and
subsequently the oil pictures were begun.
For the Grosvenor of 1878 the magnificent " Laus Veneris,"
which was begun seventeen years before, was finally finished, and
at once attracted deserved attention and applause, both for the beauty
of the design and feeling, and for the resplendent glow of colouring
it presented against the dull olive green of the wall on which it was
hung. "The Mill " and "The Annunciation " and the large "Pyg
malion " pictures were worked on, and the commanding figure of
" Atlas " supporting the world upon his weary shoulders, and the
winged horse " Pegasus " for the story of Perseus, and the steel-
clad "Fortitude " keeping her watch and ward beside the battlemented
walls, were begun.
The earlier months of 1879 were again devoted to finishing
works for the Grosvenor, and the four pictures from " The story of
Pygmalion " and the great "Annunciation " were ready for it by May.
"The Feast of Peleus." "The Hours," "The Mill," and "The
Romaunt of the Rose " designs were then taken up again, together with
"The Fortune" and "The Fountain of Youth." In this year Mr.
Burne-Jones went back for once to his early favourite material, pen-
I

58 EDWARD BURNE-JONES.
and-ink, in "Wisdom and the House of Wisdom," a drawing made
for an Apocrypha, and he furthermore for the first time turned his
attention to portraiture at the request of his early and constant patron
Mr. Graham, whose two daughters he painted. The "Wood-nymph"
designed during the previous year for a bas-relief was begun now as a
panel in oils.
In 1880, after completing "The Golden Stairs," which alone
represented him at the Spring Exhibition of the Grosvenor, he
again devoted himself to portraiture, this time painting Mr. Graham
himself The design of " The Sirens," begun in 1870, was re-arranged,
and that of " King Cophetua and the Beggar-Maid " was projected,
while a picture of " Stella Vespertina " was begun. The charming
fancy of " Cupid's Hunting Fields " in which the God of Love, blind
folded and fitting an arrow to his bow, steps down among a bevy of
damsels, nude and draped, by a riverside, one of whom lies crouched
upon the ground beneath his very feet, while the others turn to
escape, was painted in low tones of grey and green. The rest of
the year was spent in preparation for the Winter Exhibition at the
Grosvenor Gallery, at which a large number of studies and designs,
for the most part decorative, were shown. The most purely pictorial
was the fine circular panel of Christ coming to judgment, known
as the " Dies Domini," with its impressive pitying Saviour and
lovely angel faces looking out from a superbly designed cluster of
rustling wings, of which an illustration is here given. The " Wood-
nymph " and the "Sea-nymph" are less easy to adjudge to either
class, since they confuse, in a fashion unusual with this artist, the
qualities of both. Indeed, in the latter his generally impeccable
appreciation of the subtle limits of each seems for once to have
failed him, and we find a highly modelled and finished figure, and fish
most carefully studied from nature, against an unconsonant background
of crudely conventionalized waves.
The Grosvenor, in 1 881, to the universal regret, contained no
contribution from the artist who to most visitors afforded its principal
attraction, though " The Feast of Peleus " was finished very shortly
after it opened. The artist's appetite for portraits, meanwhile, seems
to have grown by what it fed on, for three more were painted
this year, those of Mr. Benson, Lady Frances Balfour, and Miss
Gertrude Lewis. Three small panels in oil of "Angels" were also

DIES DOMINI

MMMkAailfiiilliii

k2 ::'%.' 'A. ^

ANGEL.

YEAR BY YEAR. 59
painted, and reproduced on a larger scale in water-colours. The
"Cupid and Psyche" series in the dining-room at Palace Green,
begun in 1872, received the finishing touches, and the "The Wheel of
Fortune," "The Mill," "King Cophetua and the Beggar-Maid,"
"The Hours," "The Romaunt of the Rose," and "The Fountain
of Youth " were worked upon at intervals. This last was thenceforth
abandoned as being on too ambitious a scale, and the central fountain
with one figure, alone remain to be finished some day. A picture
of "King Arthur in Avalon" was designed and partly worked out;
a large replica of the " Phyllis and Demophoon" renamed the "Tree
of Forgiveness," and a larger " Feast of Peleus " were begun, and
many studies made for a contemplated picture to be called " Love's
Wayfaring." Contrary to expectation " The Wheel of Fortune " was not finished
when the time arrived for sending in to the Grosvenor Gallery
Exhibition for 1882, but "The Mill," a very beautiful picture repre
senting three girls in blue, green, and brown, dancing hand-in-hand
beside a river to the piping of a musician, against a background
of great water-wheels by which people are bathing, which had been
begun twelve years before, was finished and sent in, together with
"The Tree of Forgiveness" and two small pictures, "Perseus and
the Graise," and " Earth," seated with a child at her feet, were painted
for it, while the small " Danae and the Brazen Tower" of 1876
was lent by Mr. Graham, and " The Feast of Peleus," a " Study of
a child," the sweet-faced " Angel " draped in blue, and the monochrome
of " Cupid's Hunting Fields " of two years before, made up the artist's
contribution. The rest of the year was mostly given to "Arthur
in Avalon," though the picture " Mary Magdalen at the Sepulchre,"
called afterwards " The Morning of the Resurrection," was begun ;
¦ "The Hours," "The Flight of Perseus" from the avenging Gorgons
with its wonderful movement, and "The Romaunt of the Rose"
were carried forwards, and a number of designs for Sea-nymphs and
Sea-children, and illustrations to the names of flowers were executed.
The first months of 1883 were given to the finishing of the large
"Wheel of Fortune" and the "Hours," begun in 1870, six beautiful
figures seated in a row and expressive by their actions of the differing
occupations of the day : the first arrayed in rich blue, newly awakened ;
the second donning her orange garments ; the third in red, spinning ;

6o EDWARD BURNE-JONES.
another in green, feasting beside a fifth in crimson who plays a musical
instrument ; and, lastly, the sixth in purple, sinking to rest. These were
exhibited at the Grosvenor together with another of the "Angels" of
1 88 1, and a portrait, painted that .spring, of Philip Comyns Carr, which
was characterized by a critic at the time as " the saddest and intensest
portrait of a little boy that was ever painted." A portrait of " Mrs.
Burne-Jones and her two children," was next begun, and the smaller
"Fortune" and "The Pilgrim at the Gate of Idleness" for "The
Romaunt of the Rose " were worked on. Many studies were made for
"Arthur in Avalon " and " King Cophetua and the Beggar Maid," and
a full-sized cartoon of the latter was drawn and coloured which became
the property of Mr. Graham, and was sold at the sale of his pictures
three years later for seven hundred and sixty-six pounds. Two small
water-colours of " Hope " and a girl against a background of Sussex
downs were painted in the summer, but the work of this part
of the year was grievously interrupted by ill health, which in the
autumn culminated, and fortunately ended, in a fever. This period
of enforced relaxation was happily followed by an access of increased
vigour, which facilitated, during the winter and the spring of 1884,
the completion of one of the finest, if not the finest of the artist's
works, the magnificent King Cophetua in his flashing armour humbly
laying down his splendid crown at the feet of the sweet Beggar
Maid seated in her modest grey gown upon the purple cushions
of his throne, the beauty of which may, by the kind permission
of the Earl of Wharncliffe, be seen in the reproduction, forming
the frontispiece of this volume. This picture, exhibited with the
graceful "Wood-nymph" seated among the foliage of a tree, at the
Grosvenor the same year assured finally Mr. Burne-Jones' claim to
the highest place in English Art, and convinced even the most obstinate
carpers of his unequalled powers. In June the subject of the " Briar
Rose" was taken up again, and the first of the series, " The Briar Wood "
was worked on unremittingly until November, with the exception of the
slight interruption caused by the finishing of " Flora," begun nearly
twenty years before, and the painting in July of a portrait of Miss
Fitzgerald. In November the painter returned to the story of Perseus,
and during the next five months produced full-sized water colour
cartoons of the last three subjects, " The Rock of Doom," " The Doom
Fulfilled," and "The Baleful Head."

A WOOD NYMPH

THE BALEFUL HEAD.

YEAR BY YEAR. 6i
These being nearly finished in April 1885, he again returned to
the " Briar Wood," and finished it. The summer was devoted to
studies for "Arthur in Avalon," and the autumn, after the completion
of the smaller " Wheel of Fortune," which was begun before the larger
one in 1871 and differs somewhat from it, to the fourth of the " Briar
Rose " pictures, that one in which the Princess lies asleep among her
ladies in " The Rose Bower," and a picture of a girl in a garden by a
river. These were pretermitted in the beginning of the following year,
1886, to allow of the completion of " The Morning of the Resurrection,"
" Flamma Vestalis," a delightful half-length figure in profile of a fair-
haired girl in a dark blue dress, with a head-dress of lighter blue, carry
ing a rosary, and the " Sibylla Delphica," a figure in a gorgeous orange
robe- standing in a doorway beside a burning tripod and reading the
mystic messages from leaves of laurel. These three were exhibited at
the Grosvenor in the spring, and "The Depths of the Sea," painted on
purpose, formed the only contribution which Mr. Burne-Jones has ever
made to the Academy. The delicate tones of this lithe mermaiden
swiftly dropping into the blue abyss with the hapless mariner
clasped in her arms were not seen to advantage in the glare and
confusion of the Academy walls, and the artist has wisely refrained
from again submitting his productions to so undesirable an ordeal,
but his doing so on that occasion enabled Mr. Harry Furniss to
include a humorous burlesque of it among his not always too
good-natured artistic jibes. The summer was spent on "The Rose
Bower," the completion of a portrait of " The Painter's Daughter"
begun the year before, and exhibited at the Grosvenor in the following
spring and again in 1892 at the Society of British Painters in
Suffolk Street, and "The Garden of Pan," designed in 1876, which
was finished during this winter and the spring of 1887 in time for the
Grosvenor, as were " The Baleful Head " in oils, that one of the Perseus
series in which he harmlessly satisfies the curiosity of Andromeda by
showing her the deadly face of Medusa reflected in the waters of an
eight-sided marble fountain in a garden, and a portrait of "Katie"
daughter of Mrs. Lewis, lying reading on a reddish sofa in a black
dress. Another portrait finished about the same time, but not yet
exhibited, was that of the daughter of Professor Charles Eliot Norton,
of Harvard University, by whose kind permission it is here reproduced.

62 EDWARD BURNE-JONES.
The design made in 1876 for the great "Annunciation" was next
worked on for awhile in water-colours, and a replica made in the same
material of " The Depths of the Sea." A small pencil drawing of St.
Francis receiving the stigmata from the crucified Christ, made about
the same time, was destined to travel far, it having been taken by Mr.
Clifford on a journey he generously made to the Fiji Islands in order
to convey to the ill-fated Father Damien, nobly suffering among the
lepers at Molokai, an Indian oil which was fondly hoped to be an
infallible specific for the terrible disease, a kindly aim unhappily
frustrated by the lamented death of the heroic priest soon after
his would-be rescuer's arrival.
"The Garden Court" of the "Briar Rose" series, an "Angel"
playing cymbals, and a " St. George," shared the labours of the re
mainder of the year Avith ten more of the designs for the names of
flowers which were begun in 1882.
" The Rock of Doom," " The Doom Fulfilled," and an enlarged
rendering of " The Brazen Tower," all three in oils, were finished in
the spring of 1888 and shown at the first exhibition at the New
Gallery, Mr. Burne-Jones with many other painters having withdrawn
from contributing to the Grosvenor under the conviction that in the
regrettable dispute of the previous year between Sir Coutts Lindsay
and his assistants, Messrs. Comyns Carr and Charles Halle, the right
lay on the side of the latter. He further supported the new venture
with the picture of " Hymen " painted in 1875, and a large number of
designs and studies, including the curious frontispiece to "The Dream
of John Ball " by Mr. William Morris. " The Council Room," the
second of the " Briar Rose " series was worked on for a time and the
end of the year was spent upon two pictures, one of the " Nativity,"
the other of " A King and a Shepherd," lowly and lofty alike under
the guidance of an angel, which were finished in December for St.
John's Church at Torquay, and " The Bath of Venus," begun
in 1873, a beautiful nude figure, surrounded by attendant maidens,
gliding down the marble steps of the bath into the clear water below,
which was sent at once to the Institute at Glasgow.
In 1889 a companion picture to "The Pilgrim at the Gate of
Idleness " from " The Romaunt of the Rose" was begun, representing
L'Amant gazing with rapture upon the beautiful woman typified by
the Rose so long pursued through difficulties and dangers innumerable.

FROM " THE ROMAUNT OF THE ROSE.'

YEAR BY YEAR. 63
of which a pencil drawing, the original design, is here reproduced.
The great water-colour of " The Star of Bethlehem " was also begun,
but nearly the whole of this year and the early part of 1890 were spent
in finishing the magnificent " Briar Rose" series which were bought
by Messrs. Agnew, and exhibited during the summer to ever-increasing
crowds of delighted visitors. The rest of the year and the spring of
1891 were given entirely to "The Star of Bethlehem" and the
" Sponsa di Libano," which were both finished and exhibited at the
New Gallery that year.
Here for the present ends the long list of Mr. Burne-Jones'
pictorial works. Severe illness disabled him for a time, an illness
happily now a thing of the past. The hand has not, fortunately, lost
its cunning, nor the imagination its witchery, but the nearly finished
picture of " The Sirens " upon which, together with the earlier " Briar
Rose " series in oils and other smaller works, the artist is now engaged,
can only confirm, they cannot increase the reputation of a painter of
whom one of the greatest French critics, the late M. Ernest Chesneau,
wrote, in comparing him with M. Gustave Moreau : " In the whole
range of contemporary art — and I think I know it thoroughly — I can
name but one equally gifted with poetical inventiveness and pictorial
imagination. Mr. Burne-Jones is the only painter who can so power
fully stir the soul or bewitch it with such enchantment. He alone
brings the same unexpected vigour and freshness of creativeness into
the realm of form, colour, and idea ; he alone impresses himself on our
memory in an equal degree. I may appeal confidently to all who have
ever seen, if but once, ' The Work of the Six Days of Creation and
the Rest of the Seventh,' 'The Beguiling of Merlin,' 'Venus'
Mirror,' 'The Chant d'Amour,' 'The Annunciation,' 'The Golden
Stairs,' 'The Seasons,' 'Day,' 'Night,' 'Pan and Psyche,' 'Laus
Veneris,' ' Circe,' ' Pygmalion,' ' Perseus,' ' The Tree of Forgiveness,'
or ' King Cophetua and the Beggar Maid.' "
Upon what stronger grounds could any advocate ask a triumphant
verdict ?

CHAPTER IV.
His Decorative Work.
REMARKABLE both for its quantity and
quality as Mr. Burne-Jones' pictorial work
is, and frequent as have been the opportunities
given to the public of late years for forming an
opin,ion of it, he is to this day, as I imagine, more
widely and more favourably known by his still more
numerous productions of a decorative character.
This is not necessarily due to any intrinsic supe
riority in them, though there are critics who maintain
that in them only is he seen at his best, but to the
wider field they cover and to their easier accessibility.
It is not a mere chance coincidence that links the
sudden revival of decorative work of every kind
during the last half of this century with the spread
ing abroad of democratic doctrines. Pictorial art is
in its essence aristocratic, the privilege of the few
and wealthy, especially, it may be said with shame,
in London, where there is as yet no representative
collection of modern British art, if after Mr.
Whistler's dictum one may still use the phrase.
Works of such price as Mr. Burne-Jones' pictures inevitably fall
into the hands of private patrons, and after their first appearance in a
public gallery, if even they attain to that, are caught away from the
general eye only to emerge again occasionally, at uncertain intervals
and for a brief space, while other patrons dispute at Christie's the right
of future guardianship. How eagerly the lower classes seize every
occasion of overleaping this barrier of individual ownership, may be

ST. MARTHA: WINDOW IN
whiteland's TRAINING
COLLEGE, CHELSEA.

his DECORATIVE WORK. 65
witnessed by the crowds that throng the exhibitions at the Guildhall,
and though— as in the case of two men overheard arguing, at the last,
before " The Wheel of Fortune," the one maintaining that the victims
of the remorseless goddess were on the rack, while the other, with a
more grisly knowledge, declared that they were being broken on the
wheel — his works- may fail to be quite understanded of the many,
the interest they excite in all can only be a sign of good.
Art decorative, on the other hand, is largely popular and demo
cratic, and it is notable, in passing, in this connection, that, with a
single portrait, only one of Mr. Burne-Jones' pictures, the smaller
" Chant d'Amour," has yet secured a home in the United States
where several windows already represent him to the people of a
nation most ready of all to learn the lessons of aesthetic beauty.
Much decorative work, of course, tends also to the embellishment
of private houses, but a large remainder becomes, as far as free
enjoyment of it goes, the property of all, and counts its admirers by
tens of thousands while the picture reckons only hundreds.
Another reason for this wider field of influence occupied by works
of such a nature is to be found in the conditions of their manufacture.
In pictorial work like that of Mr. Burne-Jones' the details must be
carried out with a minute precision, each leaf and flower must be the
subject of patient study by the artist and every touch must be laid on
with loving care and by the master's own hand, whereas in decorative
work the treatment may be broader, and the undivided attention of
one man is less essential, so that the execution may be entrusted, in
large part at all events, to less skilful workmen whose time is of
less value.
, In this last -point Mr. Burne-Jones has been particularly fortunate,
since he has found in Mr. William Morris a mind in singular affinity
with his own, and in the craftsmen, trained under his control, hands
admirably adapted to carry to the utmost pitch of excellence any idea
that he may indicate. In the magnificent piece of tapestry, for
instance, " The Adoration of the Magi," the wealth of floral decoration
that crowds the foreground, the slim white lilies, blue iris, pink
columbine, scai-let poppies, and varied leaf and herbage, were merely
suggested in the original design, and as they now hang in the choir
of Exeter College chapel were worked out in exquisite finish upon
the work with many-coloured threads by the weavers themselves
K

66 EDWARD BURNE-JOXES.
from Mr. Morris's designs. How much, in fact, was left in this case
to the trusty co-operation of that gentleman may be gathered from
the design for yet another tapestry, now^ in the course of execution,
" The Vision of the Holy Grail," here reproduced.
It is in this perfect sympathy of aim and method between the two
that we discover the reason of the mighty force, already briefly hinted
at, that they have exerted over the domestic art of the last thirty
years, a force that has at times been misdirected and misused, though
not by them, and which, especially in the hands of ignorant and
senseless followers, threatened at one time, during the mad fever of the
so-called Esthetic craze, to make the word Art to stink in the nostrils of
all reasonable men and, paralleling the fable of King Stork and King
Log, to prove a greater curse than the dull unconcern it had displaced.
For this dead folly, however, neither Mr. Burne-Jones nor Mr.
Morris can be held to blame. The one has never faltered in design,
the other never failed in execution ; and so completely have the two
always been in harmony, that one might safely predicate that, had
their parts in life been changed, Mr. Morris would have so designed
and Mr. Burne-Jones so have fashioned. The world has yet to reckon
up its debt to the blind chance that brought about that meeting in the
Oxford College so many years ago.
To measure year by year the flood of beauty that they have
poured into the world would be a task for Hercules ; to merely indicate
here and there the most important and typical details is all that can
be attempted here. There is scarcely a single department of the
Applied Arts in which Mr. Burne-Jones has not at one time or
another laboured, either directly or in designs to be carried out by
Mr. Morris or other skilled workers. Many of his pictures were
intended to form a part of schemes for wall decoration; he has
designed several bas-reliefs, and has himself executed others in gesso ;
both the piano and the organ have been embellished by his hand,
while, as we have seen, one of his earliest works in oil was on a
cabinet ; tapestry, and needlework, and woven stuffs have claimed his
attention ; a number of tiles in Mr. Birket Foster's house at Witley
owe their great beauty to him ; a form of bas-relief in which metal,
woodwork, and gesso are variously stained, gilded, and glazed, is an
invention of his own ; and, finally, he has worked incessantly from
the beginning of his career at cartoons for stained glass windows.

THE WHEEL. OF FORTUNE.

HIS DECORATIVE WORK. 6j
Cartoons for Stained Glass.
The first commissions that Mr. Burne-Jones obtained, and almost
the first works that he produced, were cartoons for stained glass
windows, drawn and coloured in 1857, for Messrs. Powell of White-
friars who, when their attention had been drawn to the young artist
by Rossetti, had the penetration to perceive his still latent talents
and to give them employment, a distinguishing honour, now-a-days,
to a firm that does not lack for others to support it. Three of
these cartoons were executed, " Adam and Eve," " The Tower of
Babel," and " King Solomon and the Queen of Sheba," and
are now in the dining hall of St. Andrew's College, Bradfield,
Berkshire, which can thus boast of possessing the first of Mr. Burne-
Jones' numerous windows. Another work, designed also for the same
firm, was the St. Frideswide window in Christchurch Cathedral at
Oxford, which was executed in 1859. This saint was patroness in the
middle ages of an extensive priory at Oxford, on the site of the
cathedral, in which city she was supposed to have dwelt in Saxon
times. The details of her legend are very meagre, and those who
devote themselves to the not easy task of making out the sixteen
incidents from it represented in the various compartments of the
two lights, will, probably, find no little difficulty in discovering
authority for them all. The general effect of this gorgeous mosaic
of colour is very splendid, but a close examination reveals much
crowding and confusion in the separate panels, owing to an unlucky
mistake of Mr. Woodward's, the architect to whom the commission
was due. He was, at the time, extremely ill — he died, in fact, a little
later — and in the weakness of memory, resulting from this state
of health, he gave to the artist a set of measurements upon too
large a scale. The mechanical reduction to which the cartoon was
subsequently, of necessity, submitted, has naturally affected, un
favourably, the clearness of the designs. A great window of "The
Creation " for Waltham Abbey, designed in 1861, was the last work
done for Messrs. Powell. Thenceforth in the production of stained-
glass windows the names of Mr. Burne-Jones and Mr. William
Morris are inseparably associated.
Various and numberless, in fact, as the results of their co-opera
tion have been since Mr. Morris, many years ago, on leaving his desk

68 EDWARD BURNE-JONES.
in the office of Mr. Street, the architect, began the business which was
destined to reform the taste of England, they are seen most con
spicuously in this stupendous catalogue of stained-glass windows,
designed for him by Mr. Burne-Jones, and executed by him and his
workmen, many of the cartoons for which have been exhibited in
recent years. So prolific have they been in this particular branch
of art that the mere list, included later on, extends to an astounding
length, and even a brief description of them all would stretch
this volume beyond all convenient limits. It seems incredible that
one man could have produced so much, and it is only when we see
with what extraordinary speed and certainty the artist works out the
cartoons, that the apparent impossibility vanishes, to leave behind it a
growing wonder at the precision of eye and hand, which never
hesitates, the wonderful fertility of invention, which never halts, and
the profound knowledge of form and fold ever ready to be drawn
upon for details of every kind.
As an example, but one of many that might be cited, of his
admirable use of wings and drapery alone to secure a rich decorative
effect, we may refer to the two splendid windows in Salisbury
Cathedral, executed in 1879, here reproduced from the original
cartoons, the " Angeli Laudantes" and " Angeli Ministrantes."
In each there are two figures only, in the first, harping upon
harps of gold, in the second, pausing in the path of mercy to rest
awhile their weary sandal-shod feet, and bearing the palmer's cloak
marked with the cockle-shell of St. Jago, the pilgrim's staff and bottle
and bag of meal, but so elaborate is the modelling of the garments, so
skilful the arrangement of the wings, that the whole heavenly host
could not produce a more complete effect of well-filled space, without
confusion, in which each line and shadow is full of interest and
importance. A simpler and more conventionalized result is seen in
the two angels from the window in St. Peter's Church, Vere Street,
executed in August, 1881. The centre light displays the meeting
between Christ and the woman of Samaria beside the well, with its
straight shafts supporting the beam from which the pulley hangs,
while these sweet figures stand on either hand. The decorative
quality is here obtained by the multiplication of more formalized
folds and plumage, happily relieved from the danger of looking
" fussy " by the broad surfaces of the scrolls which the angels hold.

t * •

f ' f > it

WINDOW IN .SAPISBUA'Y CATHEDRAL.

WINDOW IN SALISBURY CATHEDRAL.

WINDOW IN S. PETER'S CHURCH, IE RE STREET.

HIS DECORATIVE WORK. 69
A yet more conventional art is ably utilized in the small panel of the
Pelican, a portion of a larger window in Ingestre Church in which
the bird is seen feeding its young with its own blood, according to the
tradition, upon the branches of a purely Gothic tree.
A still more beautiful instance of the use of simple figures with
complicated draperies is found in the lovely "St. Cecilia" window,
executed in 1874-5, a companion to the " St. Catherine," executed
in 1878, in Christ-Church Cathedral at Oxford, in which, moreover, it
is enhanced by the soberness of the colouring which, with the
exception of a few touches of stronger hues in the lower panels,
is green, and white, and gold, symbolic of the lily of heaven, into
which mediaeval commentators tortured the meaning of her name.
The saint herself stands in the middle, as may be seen in the
accompanying illustration, reproduced from a photograph of the
window, with attendant angels on either side bearing the palm of
martyrdom, who hush their harmony while she plays. Below the
left-hand angel St. Cecilia, seated on her bed, reads to her husband
Valirian the lesson of chastity. In the centre the angel brings to
them the miraculous proof of the justification of her faith which
he demanded from her :
" Valirian goth home, and fint Cecilie
Withinne his chaumbre with an aungel stonde.
This aungel had of roses and of lillie
Corounes tuo, the which he bar in honde."
The lilies symbolical of virgin purity, the roses of victory over death.
In the third, the executioner holds her by one hand as she kneels
on the floor of her bath-room which is seen in the background,
the steam still rising in it after the ineffectual attempt to roast her
to death. With his sword raised he is about to strike the first of
the three blows which failed to cut off her head.
" And for ther was that tyme an ordinaunce
That no man sholde do man such penaunce
The ferthe strok to smyten, softe or sore.
This tormentour durste do no more."
A similar effect of broken surface and colour is obtained by
other means in the two grand windows designed in 1887 for St.
Philip's Church at Birmingham, the full-sized cartoons for which.

70 EDWARD BURNE-JONES.
carefully worked out in black and white, here reproduced in little,
were exhibited at the Exhibition of Arts and Crafts, of which Mr.
Burne-Jones was an earnest supporter, in 1888, and are now in
one of the architectural courts in the South Kensington Museum.
In "The Nativity" the swaddled figure of the infant Jesus lies
on the pebble-strewn floor of a cave formed by the boldly-arching
ledges of an overhanging rock. At his head kneels the Virgin, with
clasped hands, looking down on him with wondering awe, while
at his feet. Saint Joseph, in a long cloak, stands with palm pressed
to palm, surrounded by angels floating wath down-stretched feet
and leaning towards the heavenly babe in adoration. Above the
shattered ridge three shepherds start from their slumbers among their
flocks to stare in startled amazement at the angel Gabriel, who hovers
over them accompanied by a cloud of angelic witnesses to the glad
tidings that he bears. The background is a gloomy forest which
balances the dark sky veiled with weird wreaths of cloud against
which, in the second window, " The Crucifixion," the lofty cross
rises supporting the Saviour bearded and crowned with thorns.
With bowed head he gazes pitifully down upon his mother, Mary,
who, with hands clasped beneath her chin, looks up at him in anguish.
The youthful Saint John, the well-beloved disciple, on the other
side also turns up his face to his Master, but with a hope that
over-rides his grief, and between them the Magdalen, her face buried
in her hands, crouches in passionate sorrow at the foot of the cross,
while Saint Anne and Saint Elizabeth support the Virgin. A cordon
of stern helmeted soldiers keeps back the throng of sinister Philis
tines, and the one who is about to pierce the Saviour's side has a halo
to show that his mercifulness shall not go unrewarded. Behind
them the towered battlements of the city walls stand out against a
lurid sky, crossed by the long vertical lines of spears and banner-
staves and the broad folds of banners. It may, perhaps, be not
superfluous to remark how cleverly these two companion designs
are composed to harmonize, since it can scarcely be properly perceived
in illustrations on so small a scale. Though each is complete in
itself, the lines of it assist and carry on those of the other; and
the masses of light and shade are most artistically distributed so as to
balance one another without undue monotony. This dexterous handling
of a crowded space is further illustrated in the window in Trinity

WINDOWS IN THE CHURCH OF S. PHILIP, BIRMINGHAM.

HIS DECORATIVE WORK. 71
Church, Boston, executed in 1883, which, however, will be referred to
more at length later on.
The perfection of composition, and the studied use of vacant
spaces, so valuable in stained glass when well managed, are best
seen in the great " Judgment" window at Easthampstead, the cartoon
for which, drawn in 1875 and subsequently coloured in wax in
1880, was exhibited at the Grosvenor in the winter of 188 1. In
the centre light of this magnificent piece of decoration the stately
figure of St. Michael stands on a cloud, the banner of Christ in one
hand, the folds of it forming a background for his head, the great
scales for the weighing of good and evil in the other. Beneath
him, giving solidity to the group, three winged angels are seated, the
middle one of whom, with a stern expression, reads from the wide
open book of doom. The angel on his right, symbolic of the sheep
that shall be set on the right hand of the throne as signs of their
salvation, looks on with fearless calm, while he on the left, the side of
the goats that are condemned, shrinks back in horror, covering
his face from the dreadful sights to come. The curved line of the
lower part of this mass is carried up in a graceful sweep through
the lights to the right and left by cloudlets supporting angels, two on
either side, blowing the great trumpets that summon the souls
to judgment. The upper portions of these two side windows are
treated in almost horizontal lines defined by the seated figures of
saints and prophets, six in each, while the upward sweep which
forms the leading feature of the composition and gives such a move
ment of swift, smooth descent to the central figure is intensified
below by the figures of the quick, who stand at the extreme sides
covering their ears, appalled at the strong clamour of the dread
summons, and by the variously crouching and half risen figures
of the dead struggling from marble monument or common earth,
the awkwardness of excessive regularity being averted by a nearly
erect female figure starting from a carved sarcophagus, in the centre.
The treatment of the lines, the variety of the details, and the appor
tionment of intricate draperies and simple folds, delicate plumage
and broad feather masses, and plain surfaces of sky are quite masterly,
and combine with the beauty of the individual figures to render
this one of the painter's finest efforts in this direction.
Another example of the expression of swift movement conveyed

72 EDWARD BURNE-JONES.
by the artful use of simple line is found in a window, executed in
1882, representing the Resurrection, in Hopton Church. Here, while
the soldiers guarding the sepulchre start half-awakened from their
slumbers, an angel lifts up the stone that covers it, and the Saviour,
with an inexpressible lightness, soars rapidly heavenwards.
A second instance, on the other hand, of the conjoining of three
lights into one harmonious picture is found in a window of the Stoning
of St. Stephen, recently executed for Morton Church, and another in one
put up in 1882 at Biarritz, in France, showing the Marriage of Cana,
where the composition is bound together by the long horizontal lines
of the table and the folded hangings that shut the apartment from a
forest beyond, which run across it interrupted by an exquisite group
of girls in the foreground, who are marvelling at the miracle in process
of being wrought by their unconscious hands, while the host, a portly
burgess, holds up a goblet of the new-made wine to the wondering
guests. How equally resourceful Mr. Burne-Jones is in the ordering of
smaller groups of two or three figures only might be shown by count
less specimens were there space for it, but mention must suffice of
a charming design carried out in 1887 for St. James' Church,
Weybridge, in which St. Anne, a dignified figure, sits in full face
supporting a large volume on her knees which the sweetly girlish
Virgin Mary keeps open with her hands, while with her head leaning
on her mother's shoulder, whose left hand softly caresses it, she reads
from it. The panel of Christ and the Magdalen from Rochdale Church,
an excellent example of the deft handling of a difficult space, and the
little group of the interrupted sacrifice of Isaac by Abraham, illustrate
the same fact equally convincingly.
These also must fail utterly to describe the differing schemes of
colour employed, some glowing with the brilliant hues of gems, others
delicate variations of but three or four tints. The contrast between
the two cannot be seen to better advantage anywhere than in the
Cathedral of Christchurch, Oxford, where the archway at the entrance
to the choir is flanked on each side by a specimen of either style, the
St. Frideswide window almost dazzling in its splendour, and the
enchanting St. Cecilia window, whose delicacy has been already
mentioned. The infinite variety and unfailing charm of his single figures may

toO

go&5

^

I

WINDOWS IN A HOUSE AT NEWPORT, USA.

WINDOW IN fESUS COLLEGE, CAMBRIDGE.

HIS DECORATIVE WORK. 73
be seen in the numerous illustrations given here. Notably in the three
figures of Jephthah's daughter, Ruth, and Miriam, from the Edin
burgh windows, and in the six-light window designed in 1883 for a
house at Newport, Rhode Island, in the United States, which also show
the happy faculty the artist possesses of divining appropriate subjects.
These, since the windows in the majority of cases are intended for
church decorations, are mostly chosen from the Scriptures, but when,
as in this case, the field of choice is larger, he has employed a pleasing
ingenuity. At Newport there is an old round tower of unknown
origin, but of a similar character to the well-known Irish ones, which
has been fought over with much archaeological fervour, and is by some
maintained to be a relic of the stout Norse rovers, Bjarni and Leif, son
of Eirik the Red, Thorvald, Thorstein and Gudrida, his wife,
Thorfinn Karlsefne, and others, who about the years 1002 to loio set
sail so fearlessly in their little vessels across the dreadful rollers of the
wide Atlantic and settled for a time in an unidentified country which
they called Vineland, which may have been Connecticut, but which
was beyond all question on the North American coast, thus discovered
by them centuries before Columbus ever set eyes upon the outlying
island of San Salvador. Three of these sturdy voyagers, Thorfinn
Karlsefne, Gudrida, and Leif the Lucky, are represented therefore
in the lower panels of the Newport window, while above are the
three chief gods of Scandinavian mythology ; on the left, Thor with
his mallet, Mjolnir, his death-dealing bolts, and the goat Tanngniostr,
the Tooth-gnasher, who with Tanngrisnir draws his chariot thunder
ing athwart the heavens ; in the centre, Odin the All-Father, the
Wanderer of Wagner's Nibelungen cycle, with his two wolves, Geri
and Freki, at his feet, and the two ravens, Hugin and Munin, perched
upon his shoulder, the cap of darkness drawn down over his missing
eye, and in his hands the magic spear that Siegfried shattered ; and on
the right, Frey, the god of harvests, with the. boar, Gullinbursti.
The windows of New Ferry Church in Cheshire are again
appositely connected with the sea and those that go down to it in
ships, but here the subjects are chosen from the New Testament.
The light on the left hand represents the miraculous draught of fishes.
St. James and St. John leaning over the side of the ship are hauling
in the burdened net, while St. Peter, with extended hands, turns to the
standing Saviour with his appeal, " Depart from me, for I am a sinful
L

74 EDWARD BURNE-JONES.
man, O Lord." In the centre Christ, seated in the stern of a little
vessel, is preaching to the people sitting or standing on the shore ; and
on the right the calling of St. Peter, according to St. Mark, is depicted.
Christ stands on the beach, saying, " Come ye after me, for I will
make you to become fishers of men," to St. Peter who, kneeling at his
feet, stops in the act of drawing in his nets to look up in awe at the
Master. Lastly we may see in the quaint cartoon here reproduced the
use of the Agnus Dei, which is the emblem of Jesus College, Cambridge,
in the chapel of which college the window is, together with several
others, designed by the same artist, some of which have, however, with
lamentable lack of taste, been almost totally obscured by the erection
of an organ. Designs for Mosaic
The works in stained glass have been mentioned to begin with,
because that was the first form in which the artist's decorative
faculties found expression, and because the examples of it are by far the
most numerous and widely distributed, but the splendid achievement
next to be considered is in every way the most important decorative
scheme to which he has given shape, and is, in all human probability,
the work by this painter which will longest survive the chances and
changes of destroying time. Ghirlandajo is reported to have said that
he alone designed for eternity who worked in mosaic, and it is in that ,
enduring and resplendent material that Mr. Burne-Jones has vmtten
his name for all posterity to read.
Years ago, in the desolation of the dead city of Ravenna, slumbering
amid the miles of poisonous marshland between the whispering pine-
woods and the Adriatic shore, he saw with wonder and delight the jewel
like brilliancy that the old mosaic makers have scattered broadcast on
wall and ceiling in San Appollinare Nuovo and San Vitale, the tomb
of Galla Placidia and the dark solitude of San Apollinare in Classis,
standing out among the pestiferous rice-fields where not so many
centuries ago the Roman galleys rode at anchor, and when, in 1882, the
chance came to him to decorate in the same fashion the American
Protestant Church which had been built by Mr. Street the English
architect in the Via Nazionale at Rome, he recollected and profited well
by the lessons he then learned. No artist better qualified for such a

^

o

HIS DECORATIVE WORK. 75
work could have been chosen, for he above all men keeps persistently
in sight the possibilities and limitations of the material with which he
has to deal. Discarding the more recent ill-judged eff"orts to make
mosaic a mere substitute for paint, and to produce in it pictorial effects
unsuited to it, he went back to the style in which such excellent results
had been obtained. Preserving the stately formality and ordered stiff"-
ness of the Romanesque, without in any way slavishly reproducing a
given model, he redissolved them in the crucible of his mind, infusing
into them the spirit of grace and beauty which stamps all that he
touches, breathing life into the figures which had been slowly stifled in
the early art by the iron swathings of a fading tradition, and inspiring
the work with a subtle flavour of modernity, so that while instantly
suggesting its great prototypes it does not attempt at all to ape the
antique, but displaying throughout the nineteenth-century feeling of
the artist, may yet take its place boldly by the side of its older
brethren in the Roman churches as a piece of magnificent and appro
priate decoration.
This masterpiece, "The New Jerusalem," unluckily suffers more
than any other work from the reproduction in black and white, since the
perspective of the apse from which the photograph was taken inevitably
distorts the figures at the sides, those on the left, moreover, being
partially lost in shadow, while the impressive dignity of the original,
with its broad masses of glorious colouring, is lost in the reduction.
Size and distance are essential to the successful achievement and proper
appreciation of mosaic, while its highest charm arises from the infinitely
delicate gradations of tone produced in simple colour spaces by the
uneven surfaces of the little glass cubes of which they are composed,
and the consequent irregular reflections of the light. The meaning and
purpose, however, of the design may be made out with sufficient clear
ness to make it worth while to explain at length the details and their
significance. The summit of the apse is filled with a cloud of angels in white
robes shaded with blue, with sandals and hair of varying shades of gold,
playing on golden harps and singing anthems to the praise of God.
Beneath their feet, white clouds tinged with a faint roseate glow float
over the abysses of a deep blue sky, which pales delicately downwards
to the battlements of the wall enclosing the lower portion of the compo
sition. This, the rampart of Paradise, resting on a broad foundation of

y6 EDWARD BURNE-JONES.
onyx slabs, and broken by six narrow doorways, each crowned with a
semi-circular arch cut in a cornice of greyish green, is built of golden
bricks. By this device, the brilliant golden background, which tends so
largely to give richness and colour to mosaic work, is obtained in the
true spirit of decoration by an important and suggestive part of the
design instead of by a mere arbitrary and meaningless convention.
Of the figures so relieved the central one, which thus hovers in
majesty exactly over the altar below, is the Son of God draped in
flowing formal robes of white, seated on a dark green throne with his
feet resting on the rainbow of the Covenant, which partially veils with
many-coloured mist the wall and throne behind it. In His left
hand and resting on His knee He holds the Universe, while His right
is uplifted in solemn benediction. The beardless face, of a sweet
gravity, is encircled by a purple nimbus. Above His head float two
cherubim of deepest blue, while a seraph in bright red waits on either
side, and purple Thrones nestle at his feet. Beneath them four
arches pour out the four great rivers of Paradise, Pison, Gihon
Hiddekel, and Euphrates, which mingling their waters flow away to
right and left, washing the onyx foundations of the wall with their
waves, and reflecting the figures standing before.it.
Here, though investing it with a charm all his own, Mr. Burne-
Jones has but made use of a theme common to such decoration*^ It
is in the archangels who stand at the two sides of the great throne in
the centre, that the originality and poetry of his imagination are so
conspicuously exemplified. In the girdling wall, as has been said,
there are six doors, and before each of the three on the left hand of
the godhead stands a warding figure. The one on the extreme left is
Zophiel, the archangel of Truth, the guardian of the Tree of Know
ledge, holding in his hand the moon in numerous tones of blue, his
white robe shading into green, his wings deep green. Next to him
Chemuel keeps watch, the archangel of the Sacrament, with purple
wings and robes of tender pink, holding the chalice, and between him
and the throne stands Gabriel, the archangel of the Annunciation
bearing in his hand the lily, symbolic of that event, with harmonizing
white garment and green wings.
On the other side and next the throne we come to one of those
strokes of inspiration which justify the use of the word genius in
application to Burne-Jones. The space is empty, the door is fast shut.

2o
a;

PAINTING IN S. MICHAEVS CHURCH, TORQUAY.

HIS DECORATIVE WORK. jj
and the narrow portal rises in stiff unbroken lines, for Azrael, or
as he is more generally called in England, Lucifer, the Son of
Morning, has rebelled and fallen from his high estate, and his place of
honour on God's right hand knows him no more. The decorative
value of this vacant space is indescribable, while at the same time it
produces a tremendous impression upon the mind, comparable to that
created by the ominous black canvas which hangs where the false
Marino Faliero should have been, among the pictured doges in the
frieze of the Sala del Maggior Consilio in the palace at Venice.
The never-failing horror at the unforgivable offence is further
expressed in the face of Michael, the archangel of the Judgment, who
in full armour of bronze, covered partly by a cloak of purple, and
bearing a red spear and shield, guards the next entrance. Last of all,
on the spectator's extreme left, stands Uriel, the archangel of the
Light of God, the loveliest, on the whole, where all are lovely, wearing
a white robe and holding in his hands the great scarlet and gold globe
of the sun.
The cartoons for this admirable work were begun in 1883, and
finished and sent to Doctor Salviati's glass works at Murano for
execution before the end of 1884. The original scheme comprises a
large series of mosaics, and in the succeeding years further designs of
the Fall of the Rebel Angels, the Tree of Life, and other similar
subjects have been made, but lack of the necessary funds has unfortu
nately hindered as yet their translation into glass mosaic.
Sets of Pictures.
As these have for the most part been described already among
the pictorial works, it may be as well to explain briefly in recurring to
them here, that those only are included under this heading, which
definitely took shape in the painter's mind as complete schemes of de
coration, regardless of the fact that one or more of them may have been
finished and exhibited separately. The three pictures of the story of
Sir Degrevant, painted in i860, the St. George pictures at Witley, and
the story of Cupid and Psyche, begun in 1872, by Mr. Walter Crane,
have been sufficiently expatiated on. The three pictures begun in the
winter of 1884-5, " The Baleful Head," exhibited at the Grosvenor in
1887, and "The Rock of Doom," and "The Doom Fulfilled," exhibited
at the first exhibition of the New Gallery in 1888, form the last three

78 EDWARD BURNE-JONES.
of a series designed in 1875-6 to illustrate "The Story of Perseus,"
the rest of which still await completion. The first of these, " The Call
of Perseus," showing the goddess Pallas bringing to the hero the
Sword of Sharpness, the Cap of Darkness, the Shoes of Swiftness, and
the brazen shield, with which he is, unscathed, to overcome Medusa, was
begun in 1877, as was the large " Perseus and the Graiae." A third,
" Perseus with the Sea-maidens," " Perseus and Medusa," and "The
Death of Medusa," were begun in 1876, and have all been continued at
intervals since, while "Perseus and Atlas" and "Pegasus" were
begun in 1878. The famous " Briar Rose " pictures were also originally
designed for wall decoration, and have now fulfilled their destiny in
Mr. Henderson's house at Buscot, where they have been combined by
the artist into an admirable scheme by a number of supplementary
panels of a purely decorative nature.
The very early altar-piece, painted in 1861, for St. Paul's Church,
Brighton, which has been spoken of, though not belonging to a set,
pertains to the decorative side of Mr. Burne-Jones' work, as do an
altar-piece which was finished for St. Peter's Church, Vere Street, in
December, 1882, and two pictures in oil for St. John's Church, Tor
quay, which were completed exactly six years later, and form as it were
a complement to " The Star of Bethlehem " which was being painted
about the same time. In one, where two angels, each with warning
finger upon lips, are leading out of a forest background a king and a
shepherd along paths which, coming from different directions, run
together in the foreground, we have an epitome of the greetings given
by man to the new-born Son of God, and the Magus on the left with
his jewelled robes and golden casket bears a striking resemblance to
the venerable figure in the great Birmingham water-colour, while the
same picture is still more forcibly suggested in the second canvas,
" The Nativity," by the light shelter of rushes constructed among the
branches of two silver-stemmed birches, beneath which, on a rough
wattled couch, the beautiful Virgin lies with her babe, and by the
upright lines emphasized in the positions, garments, and wings of the
three angels, who stand at her feet with sad sweet faces, prophetically
bearing the emblems of the Passion. The forest background connects
the two with its long broken sky-line of swelling tree tops.

HIS DECORATIVE WORK. 79
Bas-reliefs and Gesso-work.
The first division of these comprises three works designed by
Mr. Burne-Jones, but executed by other hands. The two first, a
" Nativity " and an " Entombment," made in 1879, were carried out
in bronze, and the third, modelled by the late Sir J. E. Boehm, R.A.,
was a design of " Flodden Field," made in 1882 for Mr. George
Howard, whose ancestors were present at that stricken field in 1513,
and in whose possession it now is at Naworth Castle, some thirty
miles away.
First of those wrought by himself was the panel of " Perseus and
the Graiae," another rendering of the second of the series of designs to
that story made in 1877, by riveting gold and silver upon a wood
ground on which the rest of the picture was completed in colour.. A
Latin inscription, composed by Professor Jebb, was painted above it,
setting out the whole story of the set of which it was intended to form
a part. In the semi-darkness of an eternal twilight, wherein the gloomy
clouds brood low over the ice -ground barrenness of rocky hills, the
three foul sisters crouch, one in full face, the others with their backs
turned, groping blindly for the single eye which the armed Perseus,
reaching softly across, has just secured in its passage from the second
to the third. The composition and feeling were very excellent, but the
combination of relieved metal and flat ground was severely criticised
when it was exhibited at the Grosvenor in 1878, and, perhaps, the
artist himself perceived that it was not altogether a happy one, for the
series has not been carried further.
A golden panel of " The Triumph of Love " was made that year
for the Duke of Westminster, and two years later the "Cupid's
Hunting Fields," which has been described among the paintings, was
treated in a similar fashion. The monumental tablet, however, made
in 1886 in memory of Lady Lyttleton, is the most admirable example
in this line of Mr. Burne-Jones' remarkable power of grasping the
possibilities of decorative material, and mastering the technical
difficulties connected with it. Even in black and white the beauty of
it is extraordinary. The subtle compromise between realism and
convention in the treatment of the bird cannot fail to appeal to any
educated eye, and the craft displayed in the expression of the firm

8o EDWARD BURNE-JONES.
softness of plumage in the harder plaster, and especially the flow of
the long tail and the triumph over extreme difficulty in the representa
tion of the eye-spots, though more appreciable by the expert, can
hardly escape the perception of the less qualified observer. If one
could but add the splendid colouring, the blues and purples and the
metallic sheen of bronze and gold, one could more certainly make
comprehensible the delight it caused when exhibited at the Grosvenor
in 1887. A cassone, gilded and painted with a design of the Hesperides,
executed in 1888, and exhibited at the first Exhibition of Arts and
Crafts, was the latest of the artist's productions in that mixture of glue
and plaster of Paris known as "gesso."
The " Graham " Piano.
The attempt to make a thing of beauty out of the ugly mass
of a modern grand piano has exercised the ingenuity of various
artists, but none have succeeded in a greater degree than Mr. Burne-
Jones, who undertook the arduous task for Mr. Graham in 1879, and
brought it to a brilliant conclusion in 1880. The two sides of the
awkwardly-shaped lid were treated as separate complete panels, here
reproduced, the inside being covered, in the former year, with the nude
figure of Earth, surrounded by a swarm of babies playing and scramb
ling in delightful abandonment among the flowing arabesques of the
vine ; and in the latter, the Poet and half-length figure of Music were
painted on the outside, while the decoration was completed by eleven
little circular panels around the sides representing the story of Orpheus.
Designs for Tapestry and Needlework.
Among the earliest designs done by Mr. Burne-Jones for Mr.
Morris was a figure for tapestry, and in the following years many
others have been added, including the "Flora" and " Pomona" here
illustrated ; but the first which attracted much public attention was
"The Adoration of the Magi," woven by Mr. Morris' assistants for
Exeter College, Oxford, which has been mentioned and illustrated in
the previous pages, as has " The Vision of the Holy Grail," from the
" Mort d'Arthur," which is now being executed, together with a com
panion representing the arrival of Sir Galahad to take his place in
the Siege Perilous at the Round Table.

MEMORIAL TABLET IN GESSO.

DECORATIONS OF A PIANO— EXTERIOR AND INTERIOR.

FROM lAPESTRlES EXECUTED BY MESSRS. MORRIS

HIS DECORATIVE WORK. 8i
Numerous designs for needlework have been carried out by mem
bers of the School of Art Needlework, Mr. Morris' assistants and
others, and woven material of various kinds has been made from Mr.
Burne-Jones' designs, but the process permits the retention of so little
of the artist's individuality that it is unnecessary to reproduce any of
them here, and it would be tedious and useless to record them at
length. Designs for Wood Blocks.
These ought not, strictly perhaps, to be admitted under the
heading of purely decorative works, but Mr. Burne-Jones' contribu
tions to this branch of art have been so few, and the greater number
of such as he has done are so intimately connected with Mr.
Morris, that it will be more convenient to treat of them in this place.
At the time that the artist was beginning to surmount his first
difficulties, that is to say, about the year 1859, there was a sudden
determined effort to reform the art of book illustration and wood-
engraving in England. Anyone who is at all acquainted with the
illustrative work of forty years ago will remember into what a degraded
state this branch of art had fallen. The feeble and lifeless works of
William Harvey and the like were then the highest standard that could
be reached, and Mr. Birket Foster, who had done so much in landscape
to redeem the sunken reputation of the business, was just then abandon
ing the field of his early triumphs for work in water-colour. A number
of enthusiastic younger artists, however, were just beginning their
professional careers, and were willing enough to combine the elevation
of the art of illustrating with the supply of fuel to the necessary pot,
when in July, 1859, a miscellany called " Once a Week " was started,
with the avowed intention of supplying the best work that could be
done in that direction. The mere names of the artists who assisted in
this commendable object during the following years will be sufficient,
nowadays, to inform those who have not the good fortune to know or
possess their works, how excellent were the results which they achieved.
Millais, Poynter, Fred Walker, Sandys, Pinwell, Houghton, and the
greatest master of black and white that has lived in recent times, the
late Charles Keene, were only the best, where all were good. So un
mistakable and immediate was the success of this new departure, that
it gave an impetus to the whole trade. Messrs. Dalziel projected an
M

82 EDWARD BURNE-JONES.
illustrated edition of the Bible, and gave commissions for it to most of
the young school, and, in addition, to Mr. Burne-Jones, whose produc
tions for it have been already mentioned.
A follower, also, sprang up the next year in " Good Words," and
to this, at intervals, he contributed two drawings. The first, an
illustration to a poem called "Sigurd," which appeared in October,
1862, and a second, called " Summer Snow," which was published
seven months later, in May, 1863. A little woodcut of " The Nativity,"
immature in drawing, but very quaint and pleasing in its sentiment,
drawn in 1864, as an illustration to Mrs. Alfred Gatty 's " Parables
from Nature," ended his connection with this class of work as sud
denly as it had begun. All the works of this nature which he has since
done, with the exception of a single book-plate, designed in 1892, have
been in illustration of Mr. Morris' poems, and have been mentioned in
their due order. There remain only to be recorded a set of decorations
for the edition of the " Golden Legend," now in preparation by Mr.
Morris, which, though the latest of these combined productions, will
be the first to appear in public.

CHAPTER V.
His Art and His Critics.
T N delivering his first lecture to the young
-*- students placed under his charge on the open
ing of the Slade School of Fine Arts at University
College, London, in October, 1871, Mr. E. J.
Poynter, R.A., said: "Remember that the true
object of art is to create a world, not to imitate
what is constantly before our eyes."
This remark, which should be inscribed in
letters of gold round the rim of every art critic's
ink-pot, made by so scholarly and earnest a painter
on an occasion on which he would naturally weigh,
with more than usual care, the truth and meaning
of his words, would deserve a full and instanta
neous acceptance, even were it not supported, as,
however, it easily might be, by a number of
similar utterances by other artists of skill.
Judging by this, who shall refuse to Mr.
Burne-Jones a rank among the highest ? He, if
anyone ever did, has created a world of beauty and
poetry, a world in which a great French painter
declared he found memories of what he possibly had never seen, of
what he certainly should never see again.
Another Slade professor, Mr. Sidney Colvin, of Cambridge, has
said, " What reasonable judges require of an artist, and especially of an
imaginative artist, is not that his work should conform to their own
standard, but that it should be good of its kind, and that its kind
should be personal to himself."
And judging by this again, who shall say nay to Mr. Burne-Jones'

ST. VERONICA : WINDOW IN
whiteland's TRAINING
COLLEGE, CHELSEA.

84 EDWARD BURNE-JONES.
claims for high position? As Mr. Colvin goes on to say, " No artist
ever had a more personal cast of mind than Mr. Burne-Jones, or one
that he was less able to put away." The truth of this needs no
insisting on ; and we find even in his portraits, such as that of Miss
Norton reproduced on an earlier page, and the pencil drawing of the
famous pianist Paderewski, here illustrated, a marked stamp of the
painter's personality upon an unmistakable likeness.
Armed with these two axioms, and using them honestly and
sincerely, the student will be in a position to fairly judge the painter's
work. They will not, of course, ensure that he shall like it, for it dis
plays so constant and powerful an individuality, that it must either win
or revolt his sympathy, but they will prevent him from trying it with
false standards, they should convince him that, whether he likes or dis
likes it, it is in itself excellent and worthy of all respect, and they ought
to hinder his falling in with the fallacies of some of the critics who
have so furiously attacked the artist..
It is not my purpose to enter at any length into a defence of him.
He needs no argument beyond the silent pronouncements of his pictures
to confute his assailants ; but false opinions and false theories, however
often contradicted or exploded, die hard, and I propose to point out,
as briefly as possible, one or two strange errors which, as it seems to
me, have obscured the minds of some of his assessors.
One of these, for example, ignoring the straightforward common-
sense of the principles of criticism just quoted, extracts an extraordinary
maxim from the many that Mr. Ruskin has laid down in his works —
an author who, nevertheless, in flat defiance of his own dictum, has
spoken very highly of the artist in many places — and, arguing from that,
arrives at a series of conclusions manifestly erroneous or imperfect, and
comprising most of the misapprehensions which still recur at intervals.
Of painters Mr. Ruskin says, " They should go to nature in all
singleness of heart, and walk with her laboriously and trustingly,
having no other thought but how best to penetrate her meaning ;
rejecting nothing, selecting nothing, and scorning nothing."
The obvious absurdity of such a principle as the last, since the
painter, if he is to work at all, must select, though it be but between a
turnip and a teapot, does not prevent our critic from reasoning on it,
and it is small wonder that in his search for a stick with which to
beat the dog, he arrives at some considerable confusion.

X ^4» :^' "

PADEREWSKI.

HIS ART AND HIS CRITICS. 85
As, for instance, the conviction that the art under his consideration
IS " not the outcome, or even a generalization of nature," a point to
which I shall return later.
That the weaknesses and inconsistencies of his earlier technique,
the outcome, as we have seen, of the system of his education as
initiated by Rossetti, were wilfully assumed in imitation of certain
unidentified early Italian painters who were also imitated by the Pre-
Raphaelite Brethren, with whom he is truly asserted on the same page
to have nothing in common. Faults of drawing, recognizable by the
veriest ignoramus, are, of course, to be found in all his earlier works,
but they are evidently accidental, not intentional, and there is in spite
of them such an all-pervading sense of beauty and delicacy of feeling
about these tentative efforts at self-expression, that one would have
thought that the critics who pounced so gleefully upon them with
claws to rend, might have emulated the perception of Andrea del Sarto
in Robert Browning's poem :
" And indeed the arm is wrong.
I hardly dare — yet only you to see.
Give the chalk here — quick ! thus the line should go !
Ay, but the soul ! he's Rafael ! rub it out !
That, despite this fancied imitation, he is " essentially modern,"
and is to be -blamed for that inevitable and desirable fact.
That "he seeks to create for himself a beautiful world 'twixt
heaven and earth," — an essentially modern one it is to be presumed —
"and to people it with children of his own imagining," the strangest
stricture to fasten on an artist that ever saw the light in print.
That he is pessimistic, a question which, also, will be considered
later. That he, whose whole lifehas been ruled by the belief that a painter's
business is to paint, and not to talk about painting, to practice, not to
profess, who has never written line, or spoken word in public upon the
subject of himself or his art, but has always been content to do the
work before him with all his might, and to leave others to discuss and
theorize, "has elected to be judged from the highest and most com
prehensive point of view, as the painter-poet, as the high-priest and
teacher of an esoteric creed."
That he is to be blamed because certain painters, without his great
genius, have too closely imitated his manner.

86 EDWARD BURNE-JOXES.
That he, like every other painter, prefers one type of face above
all others, and this is always recognizable in his works.
And finally, that he has no command of facial expression. Yet
another critic says : " Above all he is curious in souls. He studies
faces, particularly faces of women, not so much as manifestations of
form, as for their spiritual significance and suggestiveness. He is an
artist in expression." In which of the.se two antagonistic opinions the
truth is to be found, will be easily decided by the reader, who will
examine for himself the numerous illustrations of the artist's works in
this volume. One other instance of this direct contrariety between two different
critics, writing, as it happened, in the pages of the same magazine,
must be sufficient. Speaking of "The Annunciation," Mr. Colvin
says, " This is one of the pieces in which the painter has laid aside
the early brilliancy of his palette, and working almost in monochrome,
has trusted to quality of colour rather than to its splendour or
variety, and not to colour at all so much as to design. The picture,
notwithstanding its sober colouring, must rank, I think, as the most
complete which the artist has produced. His peculiar originality and
fervour of imagination, his high sense of beauty in design, and
untiring elaboration and richness of workmanship, are nowhere better
exemplified. This pale and slender white-robed Virgin, aware with awe
of some new thrilling visitation descending upon her, this beautiful
angel dropping quietly down beside the boughs with wings folded
and unparted feet, are presences which no one who has once looked
on them can ever forget. The student accustomed to give an account
to himself of his impressions will recognize the beauty and studied
completeness of the composition, its harmoniously severe combination
of upright and arching lines ; the pure and highly wrought design of
the draperies, of the angel's wings, and of the foliage contiguous to
them, and of the architecture with its emblematic carvings ; he will
admire the pathetic charm and power of the faces, and the finished and
careful drawing of the hands and feet ; above all, he will be conscious
in the whole character and aspect of the work, of the most marked and
vivid personality."
The second writer, who, since he assumes the function of the
critic, may be supposed to be, or at least to have once been, one of
these same students, does not nevertheless, strangely enough, see any

THE ANNUNCIATION.

STUDIES 01 ARMOUR.

rfFC STUDIES FOR THE BABE IN "THE STAR OF BETHLEHEM.'

•^

STUDIES OF CHILDREN.

o
to

Co.

/

f

^
^^
^^
^fc-
' ~'-'^^^^^m
^lil
«iiSy^''/-:#
1
' ''4^^^H^^^»^^S
W§M.
i^m
1
^3
8^
P
1
¦.¦.MamS^^^Sf'^
^^^
1
''^^H
w
^:i
4 *

•M-'#(W

.i'

• «

-'¦ ^'

4 '

"'.I

.' J

r?

sCK-
V
• 'Oi't'Ju^M,
«.)
FIGURE STUDY.
STUDY OE DRAPERY.

*>.^ - .
''r/. - - ¦

< ¦ ¦ liT It. » Mi
i»fl !«ll -f. ^'*''S'

STUDY OF DRAPERY.

STUDIES OF DRAPERY.

HIS ART AND HIS CRITICS.

87

of these perfections. "Mr. Burne-Jones," he says, "gives us an
' Annunciation ' this year. We might, by the way, have desired that
the pencil which drew the ' Laus Veneris,' and the ' Chant d'Amour'
should spare the Virgin." As he might consistently have desired that
the pencil which drew the "Venus Anadyomene," and the " Mars and
Venus" in the National Gallery, had done the same. "The Angel
Gabriel (a girl, as this artist understands him), is clad in insincere
draperies, copied from we know not what quaint mediaeval work. The
face of the Madonna wears that penetrating and beautiful look of
sorrow which Mr. Burne-Jones has shown us in so many dozen pairs
of eyes, a propos and mal a propos, that it becomes a grimace and a
manufacture." A close comparison of which two passages should prove in
structive to the uninitiated believer in the infallibility of the cultivated
critical faculty.
The last reiterates, to begin with, an assertion which, as its
repeater should have known, is quite unfounded. The epithet
" insincere," as applied to draperies, if it means anything, can only
imply that they were partly stolen from some source, admittedly
unknown, partly mere freaks of an inventor's fancy, whereas in fact
they, in common with every portion of this picture and all Mr. Burne-
Jones' pictures, were derived from numberless studies renewed again
and again with slight variations until the desired effect was obtained.
It is a frequent assumption that this artist paints entirely or to a large
extent " out of his head," without considering or observing nature,
an assumption which is the more remarkable as a long series of his
studies in various materials have been on exhibition at various times.
The severest judge that Mr. Burne-Jones has to satisfy is his own
fastidious appreciation of beauty and fitness. The many reproductions
of such studies included in this work show with what minute particu
larity, what staunch fidelity he follows nature. Hands and faces, feet
and figures, flowers and foliage, every wrinkle of a robe, every twist
of a scarf, every feather of a wing, the complicated plaitings of a head
dress, the curves and angles of armour, the folds and creases of a
baby's limbs, are painstakingly noted and set down. It is not too
much to .say that scarcely a square inch of any one of Mr. Burne-
Jones' canvases has not been the outcome of devoted care, as for
example, the little figures of Adam and Eve which stand in the globe

88 EDWARD BURXE-JONES.
of the sixth angel of creation, and which were as carefully studied from
the life as though they were to be painted of full size.
No painter goes more constantly or reverently to nature, but he
does not consider that to slavishly copy her is the be-all and end-all of
art. He is the Robert Louis Stevenson, not the Rudyard Kipling of
painters, and desires a studied and accurate elegance of expression
more than a vivid and, not seldom, brutal bluntness of statement. He
prefers to charm and soothe with a fanciful romance rather than to
surprise and shock with the crude literality, however clever, of the
newspaper reporter.
He has, indeed, no affinity with the modern realism which seems
to exult in its triviality and emptiness, and which in the nature of
things never can appear, let alone be real. He declines to sink his
intellect beneath a surface of paint, however brilliantly and dashingly
laid on, and though he has ever laboured and still labours to acquire
increased mastery of the technique of his art, he regards the thing to
be said as of more importance than the way of saying it. Cleverness,
the summum bonum of the realist, he has not, but he has everything
that is above and beyond it. He uses nature, not abuses her, and like
Turner he learns from her that he may utilize his knowledge, not
merely make an inventory of it and show men that he has it. He
blends and transmutes her gifts into an enchantment of his own which
is of nature, yet above it. One might transfer to him with equal
justice a pithy question put by Turner to a critic who complained that
he never saw in nature such skies as his. " No," said the artist, " but
don't you wish you could ? "
To return, however, to our differing doctors. It is not from this
particular picture alone that this divergence of opinion takes its start.
To the first the artist possesses " peculiar originality," while to the
second the reverse is clear. "About this artist we come to the
conclusion that he is an imitator," — " of what quaint mediaeval art,"
he knows not, be it observed, — " a painter purely receptive in character
— and that his very attitude of mind forbids his imitating to the full
those masters on whom he has moulded himself. It is essential of
weakness that it cannot imitate strength ; if it could do so it would be
strong " ; in which case the logician does not go on to argue it would
cease to be weakness, and there would be nothing for anything to be
"essential of," " The Greeks were men," he goes on, " and did man's

HIS ART AND HIS CRITICS. 89
work ; " — and seemingly it took them all to do that one man's work —
" Mantegna was essentially masculine ; even Perugino, gliding as he
did now and then into feminine tenderness, was virile^' — the italics are
not in the original — " the timorous, small, and pious talent of Fra
Angelico was yet not effeminate. Mr. Burne-Jones is purely and
altogether effeminate in his imitation, and naturally so, imitation
being entirely opposed to the originative masculine temperament."
Which, as a more humble American critic remarked of the late
Laurence Barrett's Hamlet, " is no way to behave."
Again in another place the same critic, for though the former
article is unsigned it is scarcely possible to be mistaken in his style,
repeats this accusation of Mr. Burne-Jones' essential imitativeness,
remarking of the figures of the dead in the great " Judgment Window"
at Easthampstead, that they are " emerging from rectangular holes in
the ground after the manner of Orcagna's frescoes in the Campo
Santo at Pisa," which would be a very singular thing for frescoes to
do even if they were painted by Orcagna, and those referred to, as so
learned a critic should have remembered, almost certainly were not.
He next goes on to fortify the charge of effeminacy by the assertion
that the moral tendency of Mr. Burne-Jones' pictures does not satisfy
hira. " Effeminacy, even when it is associated with some aesthetic
sentiment, is not a wholesome moral temper. But it is distinctly
unwholesome when it is associated, as in the present instance, with
suggestions of low moral tone and a very apparent pessimism." All
of which might alarm one very seriously for the consequences of
admiring the painter's works if it were possible to discover what it
meant. Such remarks, in fact, are altogether outside the province of true
criticism and, except in so far as they might be affected by the law of
libel, are not worthy of a moment's consideration, but the direct impu
tation of plagiarism, a far too frequent one nowadays in every branch of
art, has been so often renewed that it may be worth while to examine it
with more attention in order to discover on what foundation, if any, it
rests, and we may at the same time include two other oft-made
assertions; that Mr. Burne-Jones "attempts to create a world of
quaint conceits and transcendental mysteries— less mysterious indeed
and less profound than they would seem to appear— having no root in
nature, and therefore missing the true elevation of the ideal based on
N

90 EDWARD BURNE-JONES.
and simplified from nature ; " and that his art is " literature in two
dimensions." Before proceeding to investigate the justice of these criticisms
it would be as well to define as exactly as possible what is meant
by the literary element in art. To some, any picture containing
the glimmering of an idea, any picture which shows that the painter
while conceiving and executing his work had anything whatever
in his mind beyond the conquest of the technical difficulties entailed
in the representation of a pair of boots and a cabbage, a London
back-street, or a music-hall artiste, is literary; to others only such
works as need a quotation in the catalogue to explain what they
mean and where they come from. Keeping a middle course between
these two extremes and broadening rather than narrowing the point
of view, I should include among such pictures as might be classed
as literary, any that has for its subject an incident or character
derived from history or from some other mind. Thus we comprise
among them, " The Star of Bethlehem," the stories of " Perseus "
and " Cupid and Psyche " and " Cupid's Forge," the figures of
" Fatima" and " Cinderella," " Rosamond " and " Dorigen," the " Sponsa
di Libano" and "Circe," but exclude such purely original works
as "The Mirror of Venus," "The Mill," "The Garden of Pan,"
" Green Summer," or " Love among the Ruins," which convey a
sentiment or an idea but not a story. Making then, to begin with,
a merely statistical examination, we find that out of all Mr. Burne-
Jones' completed works less than a quarter are embraced by the
very wide definition of " literary art " which has been adopted, and
many of these, moreover, like the series of Perseus pictures, the
seven "St. George" pictures, and the "Cupid and Psyche" series,
each set being here counted as one complete work, are in reality
schemes of decoration as distinguished from strictly pictorial works,
others are replicas of the same subject, and yet more, such as " Alice
la belle Pelerine," " Beatrice," " Rosamond," or " Cinderella," have
little of literature in them beyond the names.
The sources of inspiration from which Mr. Burne-Jones has
drawn the subjects for these pictures are highly interesting as illus
trating phases in his development, and in throwing light upon the
real origin of that Italianized spirit that many profess to detect in
his works. In the earlier days, while he was still under the influence

/; ..._^-^ ..r -j^. ^'.^ ''^T.'f^r-^rr.>.

,;Hfiii9<Pi'.:-_v.- '.^\u>

r./^Z;' FEAST OF PELEUS.

/

— ^

Platinotype Reproductions of Works

BY

EDWARD BURNE JONES.

,^,

sizr
PRICES
UNMOUNTED.
I Hope
13 X
;
£ 0
s. S
d. 0
2 The same (half length) ...
14 X
9
0
7
6
3 Temperantia
...
13 X
5
0
S
0
4 The same (half length) ...
13 X
9l
0
7
6
5 Pyramus and Thisbe (3 pictures) . . .
12 X
8?,-
0
IS
0
6 Pan and Psyche
lli-y X
9i
0
s
0
7 Venus' Looking Glass ...
7i X
12}
0
5
0
8 Beatrice
13 X
q-j
0
s
0
g Faith
...
i3f X
4t
0
;^
0
10 Day ...
i3f X
5i
0
-.
0
,11 Night...
...
13I- X
5i
0
5
0
T-Z Spring
13J X
Si
0
5
0
13 Summer .'.
i3f X
5^
0
S
0
14 Autumn ...
13I X
- 1
."4
0
5
0
15 Winter
i3f X
51
0
5
0
16 Nativity (design for bronze relief) ...
...
8i X
13
0
5
0
17 Entombment (ditto) ...
81 X
13
0
S
0
18 Mary Magdalene at the Sepulchre...
8 X
14
0
s
0
19 Head of Fortune
14 X
iif
0
7
6
20 Call of Perseus (ist design)
12 X
10
0
7
6
21 Perseus and the Sea Maidens (3rd des
gn) ...
12 X
10
0
7
6
22 Spring
io\ X
7i
0
S
0
23 The Days of Creation (6 pictures) ...
...
I3i X
S
I
10
0
25 Love and the Pilgrim — Pencil
7 X
14
0
S
0
26 Romance of the Rose — Design, Pencil
9l X
12^
0
S
0
27 Do. do. do.
9f X
I2h
0
s
0
2^ Do. do. do.
9f X
14
0
s
0
29 Do. do. do.
...
9l X
14
0
5
0
30 Song of Solomon — Design, Pencil, The
Winds
12^ X
7
0
5
0
31 Do. do. Garden Enclosed
12^ X
7
0
S
0
32 Do. do. The Dream
I2| X
7
0
5
0
33 Do. do.
Spring
12I X
7
0
S
0
(

-_:OCOnOOOvOOOnOm3sOm3\OvoOOO^omdOOOOOOOOOOOOOOOOOO 00
ir, o (¦' CI o O O O O O O CI CI i-^ t^ U-) in CI cl M cl co co co co co cri co co CO co co co co co

^f O Cl

OOmmOOOOOOOOOOOcooOoOOOOOOOOOOOOOOOOOOOOO

-"H* ccM «W
CO Cl M

,h|?1 ^:^ H^ Ht* '-'k* "-HI MhH -.In r^OO T-^h* H^ r^ r^\^ Hid M^ rH]W T-pt r-lM ^^l Hi?l r-njC^ rH|?l H*^ rH|N rH|01
O CO Cl M r-^ r^ r-^ o c^ m co t^ t-^ co hh ^o -o \o md io lo w-j lo 'o u-> lo ltj ^o uo ^n t.^j
^-l Cl Cl h.^ H M CH 1-1 cl M M

xxx

xxxxr^xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

ND ON o

OOI-^OnOOOnoOco

r^ iO\X H-^ 1^1^
O M NO NC ON ON O
CM M ^ CH FH

OOOOOOOOOO

cCD
0-1 „~ d

Q

Q

o

Q

o

J3 cd

Ci O
I ^

1-1 12
o o
c3 Q
Ti Ti
P P
P P
<U IU
> >

CD
P I
0)
o (U
.p

clU
o

O)

^ p

(U p 2
.^ B
Ph .a
I Pr
c I

Cl o
M-H O
O Ph

3 a
be P
PP CO

I
P
'% o
Q

ooo
n3 Td Td

-H P
(U IU
<U T3

^

p
Ph

o
Xi Xi

o
Td

P
o
w IU
H

pL,

D
fL p"bfl

U
rt IHH
¦-T! O

bJO '2
c rt

Td rt

rt (/

w w

op
rt

o. Q
B IU
(U xi

ffi H H

P >

Td Td "
p P 3
m ffi '^

p
¦p (U
x:

Ph
lUIU
xi

rt

O
Td

IUp
2 "i

u

d
¦P

Td Td -^

06666666
TdTdTd-^TdTdTdTd

^

LO
f>i
P, o
rt O
Td Q
p
o
Td
o
Td
o
5 o
P P
00000
P P P P P
CO
-t- LO NO r^ CO ON o I-l Cl r'l ^ iri \o r-, 00 on o " ci co ^ lo no r-~ 00 on o m m cc) tj- 10 vo
COCOrOCOcOCO'^'^-t-'^'^-tf'^^'^^LnLOLOLnLrjLOLrjLOLOLONONONONOvONOvO
r^ 00 ON o
NO NO NO r^
C/3
up,rt
CO
y

\' RICE.S
SIZE. UNMOU^JTEU
74 Drapery Study ...  jo x 5I o ^3 o
75 Do. do. ... ... ... 9 X 8 030
81 Blind Love — Pencil (study head) ... ... 71 x 10^- 0^0
82 Sleeping Beauty do. ... ... gl- x g^
83 Study of a head — Pencil... ... ... 6^ x loi
84 Do. do. do. ... ... ... 6?,- X loi
85 Do. do. do. ...

•i '-' j

030030030
9x8 030

86 Do. do. do. ... ... ... 8| x 9]- 030
87 Do. do. do. ... ... ... 8| X 9|: 030

88 Do. do. do. ... ... ... 8| X 9;{ 030
89 Norse Window (6 designs) the set... ... — o 13 o
90 Edinburgh Window (6 designs) the set ... — o 12 o
91 Mosaic Apse, American Church, Rome ... 15 x 20 o 12 o
92 Flamma Vestalis ... ... ... 73!. x 3 050
93 Sibylla Delphica ... ... ... 13 x 5^ 050
94 Perseus and Graias (2nd design) ... ... 11 XI2 076
95 Perseus and Medusa (4th design) ... ... 12 x 10^ 076
96 Do. do. (sth design) ... ... 12 x 10^ 076
97 The Doom fulfilled (7th design) ... ... 12 xio 076
98 The Rock of Doom (6th design) ... ... 12 x 10 076
99 The Baleful head (Sth design) ... ... 12 x 10 07

b

100 Do. do. (a portion) ... ... 11^ x 14^ 076

o ; o

o

loi Uriel (design for Mosaic) ... ... 13J x 7
102 Michael do. ... ... 131^x9 050
103 Gabriel do. ... ... 13J x 7 050
104 Chemuel do. ... ... 13^ x 7 050
105 Zophiel do. ... ... 13^ x 7 050
106 Perseus and Atlas ... ... ... 10^x13 o 7 6
107 Perseus and Graiae ... ... ... 10 x 14 076
108 Evening Star ... ... ... ... I2f x 8f o
109 Morgan le Fay ... ... ... 13I x 7 050
no Cupid's Forge ... ... ... ... 9 x 13^ 076
III Cupid and Psyche ... ... ... I3|- x lO;} 076
112 Peacock (design for monument) ... ... 2o| x 8 o 10 6
113 The Annunciation ... ... ... 20 x V^ o 10 6
114 The Angel Gabriel (portion of Annunciation) 14 x ii;} 070
115 The Virgin do. do. 14 x 10 076
116 Circe ... ... ... ... i3f x 20 o 10 5
117 The Story of Pygmalion (The Heart desires) 13J x ro 076
118 Do. do. (The Hand refrains) 13J x 10 070

I.

-, "^

— 4

SIZE.

roi

I^ ,
19111
2013
I2| I3I

X
X
X X

1 19 The Story of Pygmalion (The Godhead fires)
120 Do. do. (The Soul attains)
122 Sibylla Delphica (a portion)
123 Dies Domini (a circle) ...
124 Caritas
125 The Tower of Brass
126 Fortitude
127 Caritas
128 Circe
129 The Golden Stairs
130 The Annunciation
131 Flamma Vestalis
132 Caritas
133 Wheel of Fortune
134 Venus' Bath ...
136 Building the Temple ...
137 Nativity
138 Crucifixion
139 Nativity (Torquay)
140 King and Shepherd (do.)
141 Flamma Vestalis
142 Sibylla Delphica
144 Faith
146 Faith (half length) ... ,,
147 Study
149 Wood Nymph...
150 Sea Nymph
151 Angel
153 Le Chant d'Amour
154 Faith...
155 Hope...
156 Wood Nymph...
T57 Sea Nymph ...
158 Angel
Photographed and Sold by
FREDERICK HOLLYER,
9, Pembroke Square,
Kensington, London

X 10
X 10
X 13
X III

96i ^1

13
16

9 X
36-5 X
36 X 14
36 X 13
364 X
36 X
20 X
i6| X
20-| X
205 X
13I X
i3f X
20 X
20 X
20 X
14^ X
13-1- X 9^

1 61
i7i 7i
16 81

81

7^ /8

Hi

lOf

X

I of

lOf X lOf
12 X <)i
14^ X 20|-
35^ X 12J
X I2i
X 26|

,-1
3 S3

261

261 28*

X 26J
X 2^1

PIlIlI':
UNMUUN
£ s.
o 7
o 7
O 12
o 5
o 10
o S
o 5
o 5
o 5
I 10
I 10
I 10
I 10
I 10
O 10
O 12
o 10
o 10
o S
o 5
O 10
O 10
o 10
o 7
o 5
o S
o 5
o q

o 12
I 10
I 10
I 10
I 10
I 10

t2:d.. d. 6
6
oo 6
o
ooo
o o
o
o o6
o 6
6
o
o 66
66
oooo o
oo ooo

.w.

THE FEAST OF PELEUS.

HIS ART AND HIS CRITICS. 91
of Rossetti, the Mort d'Arthur and certain of the less known Border
Ballads strongly affected his imagination, and several of the works of
this period are derived from these, as " The Beguilements of Nimue,"
"The Madness of Tristan," "Sir Degrevant," "Clerk Saunders,"
and much more recently, "King Cpphetua and the Beggar-Maid,"
but the author that first captured his fancy and held it longest
was " The well of English undefiled," the poet Chaucer.
His first oil-painting, as we have seen, was suggested by the
"Prioress' Tale," the "Assembly of Foules" has prompted several
water-colours, and a large number of designs have been drawn at
various times from " The Romaunt of the Rose" and "The Legende
of Goode Women." It is, however, for its general effect upon all his
work rather than> for the direct realizations it has inspired, that
this fascination is most remarkable, since we can, I believe, trace clearly
to it the sentiment that is, as a rule, attributed to an assimilation
with the early Italian painters. Italian, indeed, it remains, but far
more remotely. Chaucer himself borrowed largely from Boccaccio,
and still more from the authors of the old French metrical romances,
who in their turn took their good where they found it among the
Italian poets. Mr. Burne-Jones' allegories are Chaucerian, with
the single exception of the " Mask of Cupid," which comes from
later Italy through Spenser.
The artist shares with Chaucer his passionate love of birds
and flowers, and lavishes them with a tender hand over his work;
in especial, like the poet, he delights in the English flower, the
rose. It veils the horror of his ruins, it heightens the beauty of
his gardens, it crowns his Cupid, and drops in the pathway of his
Goddess of Love, and his great work, " The Legend of the Briar Rose,"
is quite an apotheosis of the beloved flower. His season, like
Chaucer's, is ever May, a time of song and blossoming, but one
also, like the poet's, the merriment of which is almost entirely
limited to nature, for the spirit of sadness that breathes from Mr.
Burne-Jones' pictures is Chaucer's.
" For whanne they may here the birdes singe.
And see the flowres and the leaves springe,
That bringeth into hertes remembraunce
A manner ease, medled with grevaunce
And lustie thoughts fulle of great longinge.

92 EDWARD BURNE-JONES.
And of that longing commeth hevinesse.
And thereof groweth grete sicknesse,
And for lack of that that they desire :
And thus in Maye ben hertes set on fire.
So that they brennen forth in great distresse."

These few lines from the "Cuckoo and the Nightingale" enshrine
the sentiment of scores of Mr. Burne-Jones' pictures. "A manner
ease, medled with grevaunce," and " lustie thoughts fulle of great
longinge " is the frame of mind of almost all his men and maidens.
In the lovely girls clustered around the Venus' mirror we find it,
and still more markedly in the knight and lady in the " Chant
d'Amour" and the pensive princess in "Laus Veneris." It looks
out at us from the eyes of the man and woman in "The Garden
of Pan," and in " Love among the Ruins," it weighs like lead upon
the persecuted Psyche, even the " Sponsa di Libano " is infected with it.
It is the sadness, the bitterness of love that predominates in the
merrie month.
His landscapes are the dream-lands in which Chaucer wandered,
of the earth, yet not earthly. He, too, likes to adorn his imaginings
with a wealth of colour and decoration, embroidery and jewelry,
pictured tapestries, carvings in wood and marble, paintings and
goldsmith's work, and he, too, seeks to give them significance as
well as beauty.
His classical figures, with their surroundings, are such as Chaucer
imaged them, his Troy is that of Dares Phrygius and Dictys
Cretensis, not of Homer or Virgil. Take, for example, the beautiful
" Feast of Peleus." Here the gods, high-perched on Olympus' top,
looking out and down upon a peaceful landscape of green woodland
and meadow, straits of blue sea and purple islands, sit feasting, served
by swift-footed centaurs, at a long narrow table covered with a crisp
damask cloth, spread with glasses of wine and dishes of fruit,
manchets of fair white bread and jars of grapes. On the extreme
right stands Envy, black-bat winged, and head wreathed with knotted
serpents, scowling exultantly at the mischief set afoot, yet shrinking
from the bursting reprobation of the feasters. Of these, the dark-
skinned Bacchus, the Indian god, crowned with ivy, sitting nearest at
the table, pauses in the act of crushing the grape-juice into his cup of
red wine, " with beaded bubbles winking at the brim," to gaze doubt-

HIS ART AND HIS CRITICS.

93

fully at the grim form beside him, while behind him Proserpine turns
in amazement, and Ceres, coroneted with yellow wheat, lifts her
hands to her head in very feminine affright. Next to him, wing-
heeled and wearing the cap of darkness, once lent to Perseus, kneels
Mercury, messenger of the gods, with his back to us, holding the
golden apple of discord in his left hand, while he reads the fatal
scroll " Detur Pulcherrima." Close to him Apollo, god of Music,
with golden harp between his knees, ceases his preluding to frown
with disgust upon the disturber of harmony, to him especially dis
tasteful. The centre of the long panel is occupied by a charming
group. Cupid, a slender youth, turns in surprise from the task of
supporting the web which the three Fates beside him continue to
spin ; Clotho, a wrinkled beldame with dry thorns entwined in her
grizzled hair, twisting the thread in her right hand from a bunch of
flax upheld in her left ; Lachesis, a younger woman, leaf-crowned,
portioning out the thread which Atropos, a nude maiden of exquisite
grace, garlanded with flowers, cuts with the ruthless shears.
Beyond them at the other end of the table. Mars, in act to rise
with clash of warlike steel, glares angrily from his place by Pluto.
On the further side of the table, at the same end, are the three
claimant goddesses, their different actions and prompting motions
delicately differentiated. Venus, a lovely youthful creature, leans eagerly
forward with both hands far outstretched asking the award. Minerva,
armed with segis and helmet, extends but one hand, resolutely demand
ing her right, while Juno holds out hands quietly expectant, as one
whose claims as Queen of Gods and men, admits no doubt or
hesitation, and therefore needs no assertion. Beside her, in the
centre, raised on a higher throne, sits mighty Jove with thunderous
wrath upon his brow, his right hand grasping the red bolt, his left
raised in angry dismissal of the unbidden visitant from whom, under
the sheltering wing of the eagle, the silver-footed Thetis and her
husband shrink back appalled.
It is an enchanting little picture, radiant with colour, but it is
not classical, nor is it Italian. These are the half-Pagan, half-
Christianized, deities of Chaucer, Dan Cupido and his mother Saint
Venus ; Pluto, " the king of fayerye," who quotes Salomon and
Ecclesiasticus, and Proserpine who cites the Christian martyrs and
the " Gesta Romanorum," while this is that Envy,

94 EDWARD BURNE-JONES.
"That never lough,
Nor never wel in her herte farede,
But if she either saw or herede,
Som gret mischaunce, or gret disese."

She who,

" Might loke in no vysage
Of man or woman forth right playn."

When the artist leaves Chaucer himself, it is very often only to
find him again under a more modern guise in the works of " the
idle singer of an empty day," the poet who in L'Envoi of his " Earthly
Paradise," speaking to his book, says :
"Well think of him, I bid thee on the road.
And if it hap that midst of thy defeat.
Fainting beneath thy follies' heavy load.
My master, Geoffrey Chaucer, thou do meet
Then shalt thou win a space of rest full sweet ; "
the poet who bids his reader
" Forget six counties overhung with smoke,
Forget the snorting steam and piston stroke,
Forget the spreading of the hideous town ;
Think rather of the pack-horse on the down ;
And dream of London, small, and white, and clean.
The clear Thames bordered by its garden green."
All the story of Perseus, and that of Cupid and Psyche, are
presented in the mediaeval manner in which Mr. Morris saw them.
"The brazen tower" is his in spirit, translated into form and colour
by the painter. It is one of those compositions in straight vertical
lines, which he has more than once produced : the tall, narrow portal,
with the heavy iron-studded door on the right ; in the foreground the
straight stems of iris and columbine ; in the background, beyond
a rough paved courtyard enclosing a tank, the straight sides of the
circular Brazen Tower, the corner of a stone one, the narrow arcades,
and lofty turrets of the top, the poles and ladder of the scaffolding,
the stern figure of the King Acrisius surrounded by armed guards
and councillors, and the labourers, one of whom alone stoops into
a curve to reach the mortar at his feet : within the garden the
irregular spire of a cypress tree, against which stands Danae gathering
her cloak about her into stately perpendicular folds with one hand.

THE TOWER OF BRAS.S.

THE STORY OF PYGMALION— I. THE HEART DESIRES.

THE STORY OF PYGMALION.— II. THE HAND REFRAINS.

TIIE STORY OF PYGMALION— III. THE GODDESS FIRES.

THE STORY OF PYGMALION— IV. THE HEART ATTAINS.

HIS ART AND HIS CRITICS.

95

while with her chin upon the other she gazes wonderingly at the work
in progress, " Because, poor soul, she knew not anything
Of those forebodings of the cruel King."
Behind her rise straight lines of lofty walls, and the archway of a stair.
The four pictures from " The Story of Pygmalion," also included
in the " Earthly Paradise," again show this preference of the poet and the
artist for the spirit before the form, provided only the last be beautiful.
The first, " The Heart Desires," is the idealization of unsatisfied
longing for the unknown. Pygmalion, a tall, dark-haired young man,
in a long garment falling in straight folds to his feet, stands brooding
on life's emptiness in the vestibule of his house. A sculptured group
of the three graces denotes his profession, and at the same time
typifies the cold beauty of artifice, the beauty of the mind, while two
girls seen through the open door speeding along the street in the
artless embrace of innocent maidenhood, represent the beauty of the
body, and the love that waits his winning, but in neither finds
he consolation. In the second, " The Hand Refrains," the days
of long labour are ended, and the artist's ideal, the cold pure figure
of the yet soulless image stands finished on the still rough pedestal,
surrounded by flakes and chips of marble, and implements of the
sculptor's craft, while Pygmalion, chisel and mallet in hand, stays
gazing in awe at the marvel his hand has achieved, his eyes content,
but his soul still hungering. Outside the window behind him,
women go about their daily business in the city-street, and through
another casement, in a recess between him and the image, is a glimpse
of a garden and a spurt of water falling into a marble basin, the con
stant dropping that wears away the stone, as his constant prayers
shall move the goddess Venus to a miracle on his behalf. The third
bears the motto, " The Godhead fires." Into the sculptor's chamber,
silent and solitary, while Pygmalion is away in the temple, floats
lightly the Queen of Love, clad in a soft transparent robe, flower-
crowned and bearing a branch of myrtle, emblem of marriage rites, her
feet brushed and environed by the white wings of her favourite doves.
Towards her, leaning both arms on one uplifted from the Goddess'
side, an exquisite piece of composition, the awakening image stoops
from the carved capital, blossom-strewn by the adoring Pygmalion,

96 EDWARD BURNE-JONES.
her eyes raised in awe up to the goddess, who with fixed gaze and
pointed finger inspires her with the Promethean fire of life. Lastly,
" The Soul Attains." Heart and soul alike are satisfied. Pygmalion
kneels, looking up in trembling worship at the beautiful creature who
lingeringly yields him her hands, though she still gazes out beyond
him in dumb amazement at the mystery of consciousness that has
suddenly been born in her. Marble no longer, but not yet altogether
woman. Among the pictures drawn from the last of Mr. Burne-Jones' literary
sources, the Bible, we might expect to find traces, if anywhere, of the
Italian masters, and in some of the earliest works we do. There is a
curious water-colour triptych, painted in 1862-3, soon after the artist's
return from his second visit to Italy, which shows an evident desire to
reproduce the peculiar naivetd of the Siennese school. In the left
wing of this there is employed the device of representing two separate
incidents of the same story in one landscape ; in this case it is a
garden, occupying with its undulations the whole surface, through
which a rippling stream winds from top to bottom. At the top the
Virgin is standing by a well, while the angel Gabriel, with red wings,
enters through a quaint little doorway in the wall, and below, on a
small timbered wharf washed by the river, the meeting of Anne, in
blue and white, and Elizabeth, in dull purple, is represented. The
centre contains the main incidents of the Nativity. The Virgin, draped
in white, kneeling by the infant Jesus, and St. Joseph reading a book,
are seen through the wide open doors of the stable, upon the steep
snow-sprinkled roof of which kneeling angels are joyously singing.
Over the ridge of this the shepherds and the angelic host appear in
the distance against the midnight sky, while the Magi, bearing their
gifts, approach from a ship anchored by the shore on the right. The
third panel, filling the other wing, shows the flight into Egypt.
Joseph in purple walks beside the ass on which Mary, arrayed in the
traditional blue and white, rides with the infant Jesus in her arms,
and both are led by an angel in green who lights their footsteps with a
horn lantern. The background is a landscape of rolling hills, winding
among which are seen the flambeaux and weapons of the soldiers
issuing in pursuit from the walls of Jerusalem, which loom against
the sky at the top. The scarlet-hung bedstead and other accessories
in the Annunciation painted in 1861-2 also shows obvious suggestions

HIS ART AND HIS CRITICS. 97
of the Italian, but a sweeping charge of imitation can scarcely rest on
such slight grounds as these two works.
That these, moreover, were the result of an isolated impulse on
the painter's part, not of a persistent efi'ort, or even of an irresistible
influence exercised over him by the School he chose once or twice
to imitate is evident if we glance for a moment at the other works
begun or finished about the same time, as for instance, " The Wine of
Circe," "The Merciful Knight," " Cinderella," or " Green Summer," in
none of which is there a sign of imitation.
Nor, turning to the third division of the artist's works, the
symbolical, which includes all personifications of abstract qualities or
natural phenomena, do we find more evidence in support of this
accusation, though we might well look for it there. " The Angels of
Creation," "Venus Concordia," and " Venus Discordia," the " Hours,"
and the "Seasons," "Day," and "Night," "Earth," "Luna," and
" Flora," are all distinctively individual, and though the idea of
"The Wheel of Fortune" is an often used one, the vision of it which
the painter shows us, the impassive careless goddess and the submissive
victims of her caprice, are distinctly modern and original. Nor can I
discover in them that would-be abstruse profundity of meaning which
seems to have paralyzed the penetration, exhausted the patience, and
even slightly roused the temper of the critic.
Allegorical art, as Mr. Whistler's pet bugbear, " 'Arry " Quilter,
has remarked in luminous metaphor, whose variety atones for its
uncertainty, " allegorical art, always a difficult weapon to handle, cuts
its worker's fingers badly if the actors in its drama are not equal to
their parts," but Mr. Burne-Jones' weapons or actors neither cut his
fingers nor puzzle us by their performance. It would be difficult,
indeed, to miss the allusions in colour and accessories of the pictures
mentioned above. " Faith," again, is clearly and admirably typified by
a dignified figure, her head turned in profile to the right, watching a
burning lamp which she holds in her right hand. Her left, hanging
quietly by her side, carries a green branch, up which a serpent winds.
At her feet, in a flicker of flame, writhes the dragon of Doubt. She
stands in a semicircular marble niche bounded by pilasters, on the
capitals of which two babes sit supporting on threads between them
the beads which form an important part of the ritual of Roman
Catholicism and Buddhism alike. In " Hope," a graceful woman
o

98 EDWARD BURNE-JONES.
chained by the ancles stands before a grimly barred window through
which are seen the stern towers and houses of a walled town against a
pale sky. In her right hand is a branch of newly-blossomed apple,
resting delicately in the hollow of her bent arm, the sign of Spring, the
season of hope, while other flowers thrust up the same mute signal
from between the chinks of the cold, polished tiles. Rising lightly
with uplifted heels from these, she stretches an eager hand into a hazy
blue cloud that, floating within the bars, brings the hope of Heaven
to the captive, though the clay-cold colour of the flesh seen through
the veil would imply that only through the gates of death is it to be
attained. It is a realization, unconscious, doubtless, of Browning's
" Instans Tyrannus " :
" When sudden — how think ye the end ?
Did I say ' without friend ? '
Say rather from marge to blue marge
The whole sky grew his targe
With the sun's self for visible boss,
While an arm ran across
Which the earth heaved beneath like a breast
Where the wretch was safe pressed."
Neither shall we find any unnatural subtlety of ingenuity if we seek in
the pictures of the other classes for the occasional symbolical details,
such as the tapestry in " Laus Veneris," or the bas-relief of the
expulsion of Adam and Eve in "The Annunciation." They are
suggestive always, but never cryptic. The artist aims invariably at
expressing his idea in terms of beauty, but he does not misapply his
talents in setting pictorial puzzles or devising undecipherable hiero
glyphics of form and colour.
In one point alone does Mr. Burne-Jones approximate more nearly
than other English painters to the art of early Italy. He cares not at
all for minute archaeological accuracy. He has no affinity with the
purely modern art that laboriously builds up a picture on the basis of a
set of Greek or Roman toilet implements, or an Egyptian tear-bottle,
that frets itself about the correct tie of a shoe-latchet or the precise
period of a buckle, that demands a prolonged visit to the Holy Land
before depicting the Judgment of Solomon as it would have appeared
had it occurred last year. That the garments and accessories should
be in themselves beautiful and susceptible of rich adornment and fine
colouring, that they should be subordinate to, and yet expressive of

THE WINE OF CIRCE.

SPES. FIDES,

HIS ART AND HIS CRITICS.

99

the spirit of the picture, outweighs in his eyes all such considerations
as whether the person represented would really have worn such clothes
in such surroundings. It is the soul that he strives after, and so long
as the mantle that enwraps it is seemly and pleasing to the eye, he asks
no more. We see this in all his work, decorative and pictorial. The wily
Vivien weaving her mystic paces among the flowering hawthorn trees,
and conning from the enchanter's ravished volume the spell that is to
bind him for an eternity, could not, perhaps, have known that weird
clinging dress with its purple shadows and steely lights, but it is a
delight to look upon, and its sinister strangeness is truly significant of
the cunning traitress. His " Fatima," standing in fluttered curiosity
in the dim blue mystery of the castle corridor, and shrinkingly slipping
the long slender key into the forbidden door, has little characteristically
eastern in her garments. There is a suggestion of a turban in the scarlet
ring-like headdress crowning her waving locks, but there is no certain
place or period for the big swelling purple sleeves, the V-shaped bodice
with its embroidered hearts, or the long folds of the red skirt she lifts
so daintily with her left hand ; yet the feeling of anxiety and expectation,
of mystery and danger, is wonderful, and the veriest child, who had
once heard the tale, would recognize at once its heroine in this lovely
figure. To the Magi, in "The Star of Bethlehem," he has given a more
oriental aspect, but it is merely in broad suggestions, not in petty preci
sions. The first grey-headed king wears a scarf bound turban-wise
about his helmet, but no Asiatic monarch ever wore such a crown as
he has laid humbly down among the blossomed herbage at the feet of
the grave-faced Virgin. The earnest youth behind him bears armour
which Meyrick himself would find it hard to date, and the adoring
negro prince has on his mantle embroideries which only western nuns
could have stitched in the dim silences of mediaeval convents. Yet,
individually and collectively, they are all exquisite, and the self-abase
ment of wealth and power before the weak majesty of a homeless
mother and her babe has never found a truer or a fairer exposition.
The ingenious gentleman who writes annually to point out the
botanical and zoological errors of unscientific artists, has no terrors for
him. What matters it that Circe, enchantress though she was, would
not be likely to have changed her victims into a species of cat unknown

loo EDWARD BURNE-JONES.
to the old world, or to adorn her chamber with sunflowers as yet
growing unrevealed to Europe on the broad prairies of America ? The
black panther is more malevolently feline in appearance than his Asiatic
cousins, and there is a suggestion of bale and bane in the strong black
and yellow of the innocent sunflower that suits incomparably the tall,
witch-like, dark-haired woman in the red robe who, standing bare-footed
on the polished floor, leans forward in a malignant crouching attitude,
having but now descended from the dragon-armed throne of polished
steel, beside which stands a burning tripod, its light supports wreathed
round by serpents. The very phial has an evil look, from which, with
lithe, snake-like arm outstretched, she pours slow purple gouts of magic
brew into the great jar of wine. The glossy, sable fells of the beasts,
former victims of her malice, who gaze up at her out of their ill-omened,
yellow eyes, not only harmonize perfectly with the tawny hangings of
the room and the white cloth spread ready for the doomed guests, but
emphasize the sense of brooding danger to the mariners in the three
ships which are seen through a long low window, between the foliage
of an orange tree, hastening to their fate, with sails full-spread to the
following wind, and labouring oars lashing the blue sea into foam.
They assist in conveying the sentiment of the work, of embodying the
idea in the painter's mind, and that is all-sufficient for him. It seems
mere pedantry in the face of it to maintain that Circe, if she had ever
wrought her spells, could not have done so under such conditions.
In Mr. Burne-Jones' decorative work we do see many instances of
skilful adaptation of Italian methods, for he is too sound an artist not
to know when the best cannot be bettered, though here, also, it is
chiefly marked by the same determinate disregard of little accuracies.
This is perhaps most notable and has been most observed in the grand
window of " The Building of the Temple," in Trinity Church, Boston,
which city shares with New York, Albany, Longwood, and Newport,
the honour of being pioneers in American appreciation of this artist.
In this design, which was shown at the first Exhibition of Arts and
Crafts, in 1888, a throng of people fills the space, yet the arrangement
is so excellent that all is clear and orderly, and the story, as it
should in rightful decorative art, declares itself at the first glance. In
its composition, with the high horizon line and consequent sharp
perspective, it suggests, but no more, the crowded bas-reliefs of the
Italian sculptors, in particular the marvellous craft of Orcagna on the

HIS ART AND HIS CRITICS. loi
great tabernacle which towers so majestically in the little church of
Or San Michele, at Florence. The centre of the design is occupied
by a many-sided enclosure in the courtyard of King David's palace.
The straight lines and broad surfaces, only slightly relieved by
carvings, at once attract the eyes and lead them up to where the king,
a venerable, long-bearded figure, clad in complete mail, sits on a
throne, with arms carved in the form of peacocks, beneath a gabled
canopy richly gemmed and decorated, and hung with curtains looped
back around the columns. In one hand he holds upright upon his
knee the drawing of the temple to be built, and with the other he
emphasizes his advice to his son Solomon, who stands attentive by his
side, a slim boyish figure in a long robe gathered into sweeping folds,
with a golden collar round his shoulders, and his trim hair, flowing in
straight, ordered locks down his neck, crowned with a jewelled chaplet.
On either hand, but outside the throne space, stand reverend
men, the Councillors of the King. Those on the left of the design
are surrounded by figures of graceful women, who come bearing their
jewels and other possessions of price to contribute to the glory of
Jehovah. The flower-sprinkled turf of the courtyard in the fore
ground is already burdened with coffers of gems and coins, and
w^eighty vessels of gold and silver, the record of which four scribes,
seated either on the ground or on the steps of the dais, are busily
compiling. On the right stand warriors in resplendent armour, each
leaning on his huge shield and holding in his hand a banner-staff, the
straight lines of which lead up to the flags themselves, emblazoned
with subjects from the lives of Samson and David, which partly
conceal the minstrel maidens who look down from a gallery behind
the throne, their curiously fashioned harps untouched except for two
girls on the left who lightly ruffle the strings.
The whole result is so perfectly decorative and so effectively
expressive, that it would be surely idle to approach it with an archaeo
logical spy-glass and insist upon the obvious anachronisms. In such
a work strict adherence to fact, even if it were possible, is quite
uncalled for. Mr. Burne-Jones has not affected even to desire it. The
dresses of the aged councillors are, indeed, oriental in general
character, but the armour of the king and his attendant knights is
frankly mediaeval in design, and the throne and its canopy as undis-
guisedly Byzantine. That King David never did wear such a suit of

I02 EDWARD BURNE-JONES.
mail or sit on such a throne it needs no scholar to declare, but an
attempt at recreating an approach to what he might have used, would
possibly have resulted in but little nearer approach to the unknown
truth, and would most certainly have lacked the decorative qualities at
present found in the production.
There are many other instances in which Mr. Burne-Jones has
not hesitated to avail himself of the discoveries or inspirations of his
predecessors, more especially of those renaissance sculptors and
engravers who, under the fostering patronage of the Medici and other
noble families, carried the art of decoration to its highest pitch of
perfection, though it can hardly be said in any case that he has
committed himself to downright imitation, since he has rather made
intelligent use of their methods. The designs to the " Song of
Solomon," alreadyreferre d to, are of this nature; the high horizon,
which carries up the landscape as a background to the whole or almost
the whole height of the picture, the prim formality of the trees and
flowered turf, the richness of ornamental detail, and the use of lettered
scrolls, are all characteristic of the engravings by Baccio Baldini and
Pollaiolo, from designs by Botticelli, in the Monte Santo di Dio of
1477, ^'^d an edition of Dante, published by Niccolo di Lorenzo della
Magna in 1481.
The decorative use of pure line, so favoured by this school, is
even more strongly marked in the four designs of " The Seasons," as
is the elaborate but manifest significance of the details. In the first
Apollo, as presiding genius of Spring, the season of song, sits, laurel-
crowned, playing upon a lyre, his feet resting upon floating flakes of
cloud. Behind him the broad sun blazes, crossed by the upward
sweep of the zodiac, along which pace the two youthful Gemini,
followed by the Bull and the Ram. The lower part of this design, as
of the other three, is occupied by two infants, very suggestive of the
droll little people, carved by the mysterious Florentine Simone, who
gambol and play over the pilasters in Malatesta's strange Pagan-
Christian temple at Rimini. These two — one of whom, as representing
early spring, is draped, while the other is nearly nude — bear a scroll
with the inscription, " Veris suscitatio," and behind them stretches an
undulating landscape crowned by a city set upon a hill.
The second, " Summer," has for its central figure Venus, braiding
her flowing locks, with the young Cupid leaning against her knees.

WINDOW nv TRINITY CHURCH, BOSTON, U.S.A.

r

SPRING. SUMMER.
'% <'~*W^TTsrwr

I /I

^V^ '^: '^tS -r^

,/''

•^ ''^\t!^^.

' y

\ 7
V
lv
.r \ \
^ ''AV:<fcA^ i
/'
,f"ff
r^
I \
I ... ^^-
^1 I
/
M \ \
',ff '
Mi
*> »
J ' )
!¦'
// « '
¦>
I ; V
«^F^
^
"I^pW
A
«.'S I
'^•-.^>.^^''>5^f^:i ,1,
.J UTUMN. WINTER.
HIS ART AND HIS CRITICS. 103
Her planet burns behind her, below the almost level zodiac along
which strides the Lion lead by the Virgin, bearing the sword that
strikes by noonday, the burning rays of the August sun, and followed
by the Crab. The scroll in this, one of whose supporters is quite
nude, significant of summer heat, shows the inscription, " ^statis
gesta," and in the distance is seen the rippled ocean, birth-place of the
goddess, bearing one ship driving before the favouring breeze.
Saturn, emblem of Autumn, the golden season of incipient decay,
an old man with flowing hair and beard, crowned with a. golden crown
and bearing a broad bladed scythe, broods, in the third, on his marble
throne, beneath the now descending curves of the sun's highway, along
which gallops the centaur Sagittarius bow in hand, the Scorpion
and the Scales being displayed behind him. The label bears the
words " Autumni dona," and the landscape is a rocky, gull-haunted
shore. Stern Mars is the ruler of the winter months, with his wolf, the
emblem of harsh cold. He sits in full armour with his drawn sword,
sharp to slay, in one hand, and a shield in the other, bearing the
Gorgon's head that freezes men to stone. Upon the now swiftly
descending curve stands Aquarius, with one jar under his arm and
another supported on his shoulder, from each of which rushes a
stream of water in which the Fishes leap, while the Goat trots behind.
The children below, fully draped, support the inscription, " Hyemis
recordatio," and the landscape is a barren mountain gorge.
In one other point, moreover, Mr. Burne-Jones does follow closely
the early Italian painters, one in which he might well find fellow-imita
tors, the tireless attention he pays to his craft, as an important part of
his art. Hasty or careless work he has never once produced, while he
spares no pains to ensure that the materials he employs shall be sound
and enduring. With all his devotion to art and the lofty views he
takes of it, he never permits himself to forget that the painting of the
picture is in essence a manufacture, and that sound workmanship is as
necessary a part of it as of a chair or table. His pictures are built up
with as much thought for their endurance as well as for the beauty of
their general effect and appropriateness of detail as a Gothic cathedral.
The permanence of a colour is to him as serious a matter as the
strength of his stone or timber to the architect, and as a consequence
the beautiful " Green Summer," to choose an example haphazard from

104 EDWARD BURNE-JONES.
all his works, is as fresh and bright in appearance to-day as when it
left the artist's easel in 1868.
His first process in the creation of a picture is the crystallization
of the floating visions in his mind into a design carefully drawn out in
chalk or pencil. This is generally modified from time to time, while
numerous studies for every detail are carried out in the intervals of
other work. In the case of a large picture this is, as a rule, followed
by a cartoon painted in water-colours of the same size as the proposed
canvas, and finished elaborately from a small coloured sketch. From
this the final work is copied, and further studies are made before the
painting is begun. Each stage of this is left to dry thoroughly, often
for months at a time, before another is commenced, and when the last
has been concluded, the whole is left for several years before it is
permitted to be varnished, an operation which Mr. Burne-Jones always
prefers to perform himself with scrupulous care.
Thus, in conclusion, we find in the production of each individual
work this same inexhaustible patience, unfailing honesty of purpose,
and minute care for the smallest details, which, ceaselessly exercised
for six-and-thirty years, have raised the young artist of 1856, blindly
groping in the footsteps of a masterful leader, into the most original
and distinctive English painter living, whose fame has spread from
among a small circle of staunch admirers out to the furthermost
borders of the world of Art. In the acknowledged capital of this,
moreover, it stands the highest. There the many cordial acknowledge
ments of it have been within the last few months supplemented by the
election of its possessor to a Corresponding Membership in the
Department of Painting in the Academy of Fine Arts in France, an
honour which seems likely to be followed by his unsought promotion
to leadership among the younger generation of artists in revolt alike
against the formalism of the Academy and the emptiness of realism
and impressionism. Useful as his influence may be as an inspiring motive to the
young Parisian painters, it is to be hoped that they too will not attempt
the impossible, an effort to imitate his style, the originality and
individuality of which are necessarily unattainable. It is because
each picture of his is an expression of himself that his peculiar genius
is inimitable. It is this personal element that is to his admirers so
irresistibly attractive, and of it one of them has written : " These

STUDY OF HEADS.

JVINDOW IN ROCHDALE CHURCH.

HIS ART AND HIS CRITICS. 105
beautiful impassioned eyes and faces, this infinitely varied grace of
harmony and design in limbs and draperies, this play and magic of
colour, this touch which makes every corner and square inch of canvas
thrill with life and appeal to the pictorial sense — ^just as the choice and
cadence of every separate word in a fine poem appeals to the poetical
sense — to qualities such as these let such as will be blind or hostile."

PENCIL STUDY.

APPENDIX I.
Chronological Catalogue of Mr. Burne-Jones' Finished
Pictures, excluding coloured cartoons for windows.

NAME.

MATERIAL.

BEGUN

FINISHED.

The Waxen Image.

Pen-and-ink.

1856

1856

The Prioresses Tale (cabinet).

Oil.

1858

1858

Merlin and Nimue.

Tempera.

1S58

1859

Sir Galahad.

Pen-aitd-ink.

1859

1859

Alice la belle pelerine.

M

1859

1859

Going to the Battle.

j»

1859

1859

Annunciation.

Water-colour.

1859

I86I

Kings' Daughters.

Pen-and-ink.

1859

i8S9

Ezekiel, The Parable of the Boiling Pot.

„

i860

i860

The Wedding of Buondelmonte.

„

i860

i860

The Parable of the Ten Virgins.

n

i860

i860

Sir Degrevant (3).

Tempera.

i860

i860

Belle et blonde et coloree.

Water-colour.

i860

i860

Sidonia von Bork.

„

i860

i860

Clara von Bork.

,,

i860

i860

Summer Snow.

_,

1861

1861

Triptych.

Oil.

1861

1861

Triptych (altered replica).

„

1861

1861

Cupid's Forge.

Water-colour.

1861

1861

Blind Love.

„

1861

1861

Viridis of Milan.

,,

1861

1862

Clerk Saunders.

»t

1861

1861

King Rent's Honeymoon.

,,

1861

1861

Theseus and Ariadne.

n

1861

1862

Ladies and Death.

Pen-and-ink.

1861

1861

Childe Rowlande.

JJ

1861

1861

Laus Veneris.

Water-colour.

186]

1878

Girl and Goldfish.

Jt

186

[ 1862

Castle of Heavy Sorrow (unfinished).

»

186

Chess-players.

Pencil.

186

[ 1862

Chess-players.

Water-colour.

186:

I 1862

H K 5j <:

SB
PJ rD

2. S-

P' *T3

n

w3on3
o
T3 tr
oO:3

c ^
rt- 1-
p33

K.'J'

oq

aq 3£^5'3!"3CL
^-^ n>

O r 3 ^ ?

n

n 3"
fi3
a. >3op

crq (T)

!U

o

3CL

— '^

cOJ!"3O.r^3"
ft > 3
C«3 a

o

n
ft

H3'm
O !U"1P^3
CL
'c' 3313_ 3"
(DCL

in m n X

o

3-
o
Id cfo
tr m

3CL

H 3-

3^(Tl

P3 CLh> oq
crq '^
2-Q

3"

(D

P 3
a.
en n
13-m

Q r ?1 >
P !— . c-h
c n crq g
n 3- 3" 2.
H) p c-h O
P- 3 p ffq
3 p
M CL CL •

g O H C^ O

3 p

CL 3

3CL
?L -1 rt
.in I — '
pT
3n>Cfi"op
>33C3np'r-to' 3
H 3-
ft n>
^ ft
3p
o n ft
3
oq" 3"
P
H 3-
ftw 3
. . O
3 §
^ ffi
ftp
oca
ft p
wp3O i-t
P 3D.poOIfiP
o o
i-h 3
crt
>ti g H
o o
3 £f i^
O 3 p
Q, rt 3
• 1-..1 ft
p w
^ OH co'
ft
p3
P3CL
Ifi
rt
o
D>
C)
Q)
«-*.
V
\
r^ -
a'
N -
¦;4
>
r>
c:^
VI
s-
^^
?
to
c:
>
Z
W
t^
o
z
m
in
a
. . m
CO 00 CO CO 00 00 o
~ _ - d
o o o o o
ooooooooooooooooooooooooooooooooooooooooooooooco
__ __ o^0^o^O^O^o^o^0^o^O^C5^0^P^~~~~~"~~~~~
VOvO^O^VOvO OOOOOOOOVj^^^ 0\V"'-"'-^<-ril.nl_rLLj^l.n4i.^^
O0CO0000000000COCO0000CO0000COco.-^^-.^^-xr^ir'ir.^^^^^^^i^^^'-~^:.rxr:xr^-^^iyN«^-^'i^'^^^ir:ir^ir:^:i.r,--^;=.rxr?^
^^^vt^O^O^c^O^O^O^O^O^O^O^o^O^O^c^O^O^O^o^O^O^O^C^O^O^O^C^o\O^O^o^O^O^O^p^c^O^O^CJ^p\o^p^
OOOJOJOJOJt^OJOJ to to to
to lo to to to
2S
CO 00 00 CO 00 00 oo
oo ^J
to O
OOOOOOOOOOOOOOOOOOOOOOCOCOOOCOOOOOOOOOTOOOOOOOOOOOOOOOOOOOCOCOOOCOOOOOCOOOOOCOm
vt^j^jvi o^c^O^O^^J C^^-J ooO\C^^] o^O^O^O^O^o^0^o^O\C^O^O^O^O\o^O^O^o^O^C^O^O\0^0^0^0\0^0^0\
O O O^J'OVO^^'O OOVl.^ OO^J^J^J ONO\'-rLLJ-i 0<^ij^ija0^4i.4^C.UOJOJt/Jt..JOJ^OJ to to to to to tOCM to to
APPENDIX I.

109

NAME.

material.

BEGUN.

FINISHED.

Love disguised as Reason.

Water-colour.

1870

1870

Charity.

))

1870

1870

The King's Wedding.

ii

1870

1870

Love among the Ruins.

a

1870

187.^

Hesperides.

a

1870

1873

The Hours.

Oil.

1870

1883

Fortune.

Water-colour,

187I

187I

Fame.

IJ

187I

187I

Oblivion.

t)

187I

187I

Love.

JJ

187I

187I

Venus Concordia.

Pencil.

187I

1871

Pygmalion (The Heart Desires).

Water-colour.

1871

187I

Summer.

")»

187I

187I

Day.

)»

1871

1871

Winter.

,,

187I

187I

Night.

JI

I87I

187I

Girl with an Organ.

I)

187I

187I

Circles of Singing Children (2).

/I

1871

I87I

Cupid and Psyche (replica).

Oil.

187I

1872

Pygmalion (small 4).

ii

187I

1883

Venus Epithalamia.

Water-colour.

187I

187I

Dorigen.

)i

187I

187I

Chaucer's Dream (altered copy).

JJ

187I

187I

The Sleeping Beauty.

11

187I

187I

The Briar Rose (3 small).

Oil.

187I

1873

Fides.

Water-colour.

1872

1872

Temperantia.

JI

1872

1873

Vesper (altered copy).

Oil.

1872

1872

Sleeping Girls.

Water-colour.

1872

1872

Man playing Organ.

Oil.

1872

1872

Spes.

Water-colour.

1872

1877

Danae and the Brazen Tower (small). Oil.

1872

1872

Pan and Psyche.

I)

1872

1874

Luna.

JJ

1872

187s

Venus Discordia.

Pencil.

1872

1872

Angels of Creation.

Water-colour.

1872

1876

Fortune (small).

Oil.

1872

1885

The Feast of Peleus.

,,

1872

1881

The Beguiling of Merlin.

JJ

1872

1877

Pyramus and Thisbe.

Water-colottr.

1872

1876

The Bath of Venus.

JJ

1873

1888

The Mirror of Venus (large).

Oil.

1873

1877

Laus Veneris.

JJ

1873

1878

Sibylla Cumana.

Water-colour.

1873

1873

Saint George.

Oil.

1873

1877

Sibyl.

)j

1874

1874

no

EDWARD BURNE-JONES.

NAME.

MATERIAL.

BEGUN.

FINISHED

Sibyl.

Oil.

1874

1877

Annunciation.

JJ

1874

1874

Two Girls with Viol and Music.

J)

1875

1876

Hero.

JJ

1875

1876

Hjmenseus.

,,

187s

1875

Fortune (small replica).

Water-colour.

187s

1875

Annunciation (design).

JJ

1876

1887

Annunciation.

Oil.

1876

1879

The Golden Stairs.

JJ

1876

1880

Danae.

JJ

1876

1876

Fortune (large).

IJ

1877

1883

Sibylla Tiburtina.

Water-colour.

1877

1877

Portrait of the Misses Graham.

Oil.

1879

1879

Wisdom and the House of Wisdom.

Pen-and-ink.

1879

1879

Woodnymph

Oil.

1879

1880

Portrait of Mr. Graham.

,,

1880

1880

Cupid's Hunting-Fields.

JJ

1880

1880

Dies Domini.

Water-colour.

1880

1880

King Cophetua and the Beggar Maid.

Oil.

1880

1884

Sea-nymph.

JJ

1880

1880

Portrait of Mr. Benson.

,,

I881

1881

Portrait of Lady Frances Balfour.

,,

1881

1881

The Tree of Forgiveness.

,,

1881

1882

Portrait of Miss Gertrude Lewis.

JJ

188I

i88i

Angels (3).

JJ

188I

1881

Angels (3 larger replicas).

Water-colour.

1881

1881

Earth.

Oil

1882

1882

Perseus and the Graiae (small).

)i

1882

1882

The Morning of the Resurrection.

JJ

1883

1886

Portrait of Philip Comyns Carr.

JJ

1883

1883

King Cophetua and the Beggar Maid (cartoon).

Water-colour.

1883

1883

Hope.

,,

1883

1883

Girl on the Downs.

JJ

1883

1883

Portrait of Miss Fitzgerald.

Oil.

1884

1884

The Rock of Doom.

J>

1884

1888

The Doom's Fulfilment.

J)

1884

1888

The Baleful Head.

IJ

1884

1887

The Briar Wood.

JJ

1884

1890

Portrait of the Painter's Daughter.

„

1885

1886

The Rose Bower.

JJ

1885

1890

The Depths of the Sea.

JJ

1886

1886

Flamma Vestalis.

Jt

1886

1886

The Garden of Pan.

JJ

1886

1887

Portrait of Miss Norton.

JJ

1886

1887

Portrait of Miss K. Lewis.

,,

1886

1887

The Depths of the Sea (replica).

Water-colour.

1887

1887

APPENDIX II.

Ill

NAME.

MATERIAL.

BEGUN.

FINISHED.

The Garden Court.

Oil.

1887

1890

Angel.

ii

1887

1887

St. Francis.

Pencil.

1887

1887

The Star of Bethlehem.

Water-colour.

1888

I89I

The Council Room.

Oil.

1888

' 1890

King and Shepherd.

JJ

1888

1888

Nativity.

I)

1888

1888

Danae and the Brazen Tower.

^,

1888

1888

Sponsa di Libano.

Water-colour.

I89I

I89I

Note. — The dates of the earlier works are in some cases only approximate, the picture
having been either begun or finished at the time assigned. Where an unfinished picture is
included it is one tha.t has, nevertheless, passed out of the painter's possession.

APPENDIX II.

List of Cartoons for Stained Glass Windows designed by
Mr. Burne-Jones. Many of these have been
EXECUTED more THAN ONCE.

DATE OF

DESIGN.
SUBJECT.
EXECUTED BY
PLACE.
1857
Adam and Eve
Messrs.
Powell.
1 St. Andrew's College,
The Tower of Babel
JJ
Bradfield,
King Solomon and th.e Queen
of
Berks.
Sheba
JJ
/
1859
St. Frideswide
JJ
Christ Church, Oxford.
i860
Creation
JJ
Waltham Abbey.
1861
Christ Blessing Children
Messrs. Morris & Co.
St. Stephen's, Gateacre.
Resurrection
JJ
Heads of Apostles (2)
JJ
King and Queen
JJ
Majesty
JJ
1862
Angels Playing Bells
Virgin and Child
JJ
JJ
Two Panels
JJ
Brazenose Coll. Oxford.
Panel
JJ
King Stanley Church.
Baptism of Christ
7J
Adam and Eve
JJ
Trefoils
JJ
Lyndhurst.
Small Window
JJ
Kentish Town.
ii;

EDWARD BURNE-JONES.

I).\TE OF
DESIGN. SUBJECT.
Tristram

EXECUTED BY
Messrs. Morris & Co.

PLACE.

Flight into Egypt (2)
Trefoils

Lyndhurst.

Tristram Two Lights

Kentish Town
John the Baptist (2)
The Wedding of Tristram
Sexfoil
Lyndhurst.
Trefoil
J.
Two Angels
Jt
1862 Angels JJ
The Marys
The Apostles
1863 Tristram AnnunciationAngel and Woman
Angel and Man
Nativity
Building of Jerusalem
TempleThe Virgin Mary
David
Judgment St. Mary Magdalen
St. Mark
Majesty St. Peter
St. Stephen
Elijah
Joshua Angel with Censer
1864 Dream of Good Women (7)
Crucifixion Mary
John Shepherds NativityMagi St. Stephen
Lyndhurst.
Kentish Town.
Bradford. Anington.
Lyndhurst.
Peterhouse, Cambridge.
Anington.
St. Alban
Two subjects
Sunderland.
APPENDIX II.

"3

DATE OF

DESIGN.

SUBJECT.

EXECUTED BY

St. Lewis

Messrs Morris dv Co.

St. James
St. Ethelbert
St. Jude
St. Nicholas
St. George
St. Michael
1865
Majesty
Rivers of Paradise
Chorus of Angels (2)
Angels
St. John
St. Mary
Baptism
Last Supper
Worship of the Lamb
Angels and Saints
Annunciation
David and Melchisedek
Ezekiel and Isaiah
St. John and St. Peter
St. Boniface and St. Richard
Paradise
Angels Playing on Bells (6)
Angel
Saint
St. John
Elijah
Faith
Hope
Charity
1866
St. Dorothy
St. Agnes
St. Radigunda
St. Barbara
Melchisedek
Judas Maccabeus
Adam
Eve
St. Luke
St. Cecilia
Worship of the Golden Calf
Maidens (4)
PLACE.
Gatcombe. Putney.
Liverpool.
Cambridge, All Saints.
S. Kensington Museum.
9
114

EDWARD BURNE-JONES.

D.-iTE OF

DESIGN.

SUBJI-XT.

1867

Charity

Maiden

Maiden

St. Christopher
1868
Samuel
EXECUTED BY
Messrs. Morris & Co.
PL.\CE.
Christ blessing Children
St. Ursula
Virgin and Child
1869 St. John
Cherubs and Seraphs
St. Catherine and St. Cecilia
Angels with Trumpets (3)
St. Peter and St. Paul
1870 Angels Weeping at the Cross
JJ JJ JJ
St.John, Nicodemus, and St. Joseph
Three Marys at the Cross
CrucifixionChrist Blessing Children
Clothing the Naked
Feeding the Hungry
Visiting the Prisoners
Leading the Blind
Visiting the Sick
Teaching the Ignorant
Drink to the Thirsty
Launcelot ElaineFra Angelico
St. Philip
St. Matthew
St. Andrew
Six days of Creation (executed
1874)
Shadrach, Meshach,and Abednego
Adam and Eve
Holy Children
Christ and Banner
Charity
Temperance Holy Family
1 87 1 FaithHope
Adoration of the Magi
Transfiguration
S. Kensington Museum.
Liverpool.
Bloxham. JJ
Cheddleton.
Bloxham.
Brighouse.
Savoy Chapel.
Tamworth.
Middleton Cheney.
Kirkhampton. Gourock. JJ
Meole Brace.
APPENDIX II.

115

DATE OF

DESIGN.
SUBJECT. EXECUTED
BY
PLACE.
Pentecost Messrs. Morris & Co.
Meole Brace.
St. Hugh
Peterhouse Coll. Camb.
St. Peter
Llandaff.
St. George
Peterhouse Coll. Camb,
1872
Christ and St. Mary Magdalen
^schylus „
Peterhouse Coll. Camb.
Homer ,,
JJ JJ
Salvator Mundi ,,
Mater Dolorosa ,,
Monkhouse.
Crucifixion „
Troutbeck.
Last- Supper
David and Goliath „
Eli and Samuel „
Marlborough College.
St. Timothy and Eunice „
JJ »
St. Timothy „
j> »
Samuel „
It »
Nativity „
Castle Howard.
Four Boys
Meole Brace.
Castle Howard.
1873
Annunciation Adoration of the Magi
Flight into Egypt
Miriam
Absolom Solomon
St. Luke
Delphic Sibyl
Cumaean Sibyl
Virgil and Horace
Two Angels
Symbols of the Four Evangelists
St. Mary Magdalen at Christ's
Feet
Sacrifice of Noah
Sacrifice of Abraham
Adam and Eve
Enos
AbelAbrahamAaron Daniel Stephen
EnvyFolly
Jesus Coll. Cambridge.
JJ JJ
Peterhouse Coll. Camb.
Castle Howard.
Rochdale.
Frankby.
Scarborough.
Rochdale.
ii6

EDWARD BURNE-JONES.

DATE OF
DESIGN. 1873

1874

SUBJECT.
Despair St. Dorothy
AngelSt. Theophilus
Noah's Sacrifice
Hope
St. Ann and the Virgin
Repose in Egypt
Angels of Hierarchy (10)
St. Simon
Repose in Egypt
St. Radigunda
St. Gregory
St. Jerome
St. Ambrose
Bishop Alcock
St. Ursula
St. Gregory
St. Bernard
St. David
St. Matthew
Sibylla Persica
Sibylla Cumana
LucretiusDanteSalvator Mundi
Melchisedek St. John the Evangelist
Nativity St. John
Annunciation Magi
Ascension Horace
ChaucerNoah Crucifixion
St. Mary and St. John
Adam
Adam and Eve
NoahBuilding of the Ark
Enoch and Angel
Sacrifice of Isaac
Virtuous Woman

EXECUTED BY PL.\CE.
Messrs. Morris &¦ Co. Rochdale.
„ Scarborough.

Meole Brace.
JJ
Brighouse.

Jesus Coll. Cambridge.
Marple.
Jesus Coll. Cambridge.

Speldhurst. JJ
Margam. JJ
Jesus Coll. Cambridge.
JJ JJ
JJ Jt
Peterhouse Coll. Camb.
JJ JI
Monkton. JJ tj
Jesus Coll. Cambridge.

St. Giles, Edinburgh.
Peterhouse Coll. Camb.
JJ JJ
Jesus Coll, Cambridge.
Vantipool. JJ
Jesus Coll. Cambridge.

Paisley

APPENDIX II.

117

DATE OF

DESIGN. SUBJECT.

EXECUTED BY

1874 ^, Spinning

Messrs. Morris & Co,

„ Giveth to the Poor

J)

„ Planteth a Vineyard

St. Mark

Abraham's Sacrifice

Noah
Abel
Sibylla Phrygia
Sibylla Libica
JJ
Ascension
Ascension
JJ
Justice with Scales
Elijah
Thomas
St. Paul
Solomon
Enoch
Charity
JJ
David
JJ
Justice with Sword
JJ
Brazen Serpent
JJ
Jonah Preaching
JJ
Building of the Ark
,,
Lot's Family
JJ
Reception into Paradise
„
St. Paul Preaching
„
Calling of St. Peter
JJ
Last Judgment (design)
JJ
Crucifixion
JJ
Ascension
,,
Transfiguration
„
St. Cecilia
Poetry
Ascension
JJ
Baptism of Christ
JJ
The Carpenter's Shop
Dispute in the Temple
Blessing Children
>)
SS. Mary and Elizabeth
JJ
Paradise
JJ
Seraphs in Tracery
JJ
87s Acts of Mercy (7)
JJ
Sibylla Erythrea
))
Sibylla Tiburtina
JJ
Agnus Dei
ii
PLACE.
Paisley.
Jesus Coll. Cambridge.
Leigh.
Jesus Coll. Cambridge.
Brown Edge.
Calcutta.
Easthampstead. Llantrisant.
Lytham. Christ Church, Oxford.
Jolwynds. Ruskington.
Speldhurst.
AUerton.Great Yarmouth.
Bramley.
Jesus Coll. Cambridge.
ii8

EDWARD BURNE-JONES.

DATE OF
DESIGN.

1875

1876

SUBJECT.
Trinity Sacrifice of Isaac
Samuel brought to the Temple
Good Samaritan
Dorcas
PrudenceFortitude
Joseph distributing Corn
Solomon
David and Goliath
Ascension St. Paul preaching at Athens
Calling of St. Peter
Martyrdom of St. James
The Miraculous Draught of Fishes
St. James
St. Jude
St. Paul
St. Michael and the Dragon
InjusticeFear FollyRage
Justice FortitudePrudenceTemperance St. Helena
St. Oswald
St. Aidan
St. Alban
St. Walburga
St. Boniface
St. Helena
Daniel Ezekiel
Jeremiah Isaiah
Baptism Calling of St. Peter
St. Paul at Athens
Vision of St. John
St. John the Baptist
St. John the Evangelist
St. Paul

EXECUTED BY
Messrs. Morris & Co.

PLACE.
Jesus Coll. Cambridge.
Allerton. JJ
Southgate, j»
St. Patrick's, Dublin.

Jesus Coll. Cambridge.
Coats.

Genesco.
Jesus Coll. Cambridge.

Speldhurst.

Tavistock.

Paisley.

WINDOW, CHRISTCHURCH, OXFORD.

APPENDIX II.

119

DATE OF
DESIGN. 1876

1877

SUBJECT.
St. Peter
Elizabeth and St. John the Baptist
Holy Family
Eunice and St. Timothy
Salome, St. James, and St. John
Sacrifice of Isaac
Samuel brought to Eli
Rebecca
Virgin Mary
SalomeEunice
St. John the Baptist Preaching
EntombmentFlagellationSt. Agnes
Beautiful Gate of the Temple
Eve Spinning
Harrowing Hell
Expulsion
Fall of Man
Angels (3)
Miraculous Draught of Fishes
Christ Preaching from the Ship
Calling of Peter
St. Andrew
St. Simon
St. Peter
St. James
St. Jude
St. John
Crucifixion
Daniel in the Lion's Den
Annunciation to the Shepherds
St. Mary Magdalen at Christ's Feet
Christ Cleansing the Temple
Elijah Preaching to the Dry Bones
Sennacherib's Army
Nebuchadnezzar St. Mary Magdalen at the Sepulchre
Christ and St. Mary Magdalen in the
Garden
Virgin Crowned
St. Mary
St. John
Raising of I.,azarus

EXECUTED BY
Messrs. Morris & Co.

PLACE.

Paisley.

Allerton. JJ
Forest Hill.
JJ
Paisley. JJ
Monefieth. Birmingham. JJ
Walton.
Lanercost. Lamerton.

New

Ferry.

Torquay.
Jesus Coll. Cambridge.
Torquay.

Jesus Coll. Cambridge.

Easthampstead.

Dedworth.
Torquay. JJ
Whatton.

I20

EDWARD BURNE-JONES.

DATE OF

DESIGN.

SUBJECT. EXECUTED

BY PLACE.

1877

Healing Blind Bartimaeus Messrs. Morris & Co. Whatton.

Beautiful Gate of the Temple

J JJ

Crucifixion
Ponsonby.
St. Peter
J JJ
St. John
J J>
Isaiah
Jesus Coll. Cambridg
Jeremiah
J JJ It
P^zekiel
It JJ JI
Daniel
t JJ JJ
David
Forest Hill.
Jonathan
J IJ
Angels (3) in trefoils
Christ Church, Oxford
1878
St. Catherine
J JJ JJ
St. Richard
Leeds.
Baptism of Eunuch
, Norfolk Island.
St. Stephen
Tadcaster.
St. Ehzabeth
, Castle Howard.
St. Mary
J JJ
Majesty
J JJ
Angeli Laudantes
Salisbury Cathedral.
Angeli Ministrantes
I JJ
Venus
Woodlands.
Luna
J JJ
Morning Star
J JJ
Evening Star
J JJ
Saturn ,
J JJ
Mars
J JJ
Earth
J JJ
Jupiter ,
Apollo
Jacob
, Gilsborough.
Rachel
) J)
St. Mary
I JJ
Lazarus
J JJ
1879
Ethelbert
Welton.
Queen Bertha
1 JJ
Constantine
) JJ
St. Helena
J JJ
Nathaniel
Edgehill.
Virgin Mary
Allerton.
Miriam
JJ JJ
Ruth
ij JJ
Esther
JI JJ
Gleaning in Cornfields
JI JI
Golden Sceptre presented to Ahasuerus
}} J'
i^i/ Jag.?

WINDOW IN EASIHAMPSTEAD CHURCH.

APPENDIX II.

121

DATE OF
DESIGN.

1879

1880

I««I

1882

1883

1884 1885

SUBJECT.
Finding of Moses
Magi led by Star of Bethlehem
St. Dorothy
St. Mary
St. Martin
Christ as Good Shepherd
St. George
PelicanAngels (9)
Christ and the Woman of Samaria
Angels (2)
The Announcement of the Birth
St. Margaret
Resurrection
St. Peter
The Marriage of Cana
The Building of the Temple
Christ St. Joseph
Seraphs in Tracery (10)
Christ blessing little Children
St. Maurice
Justice Humility
Entry into Jerusalem
Thor Odin Frey
Thorfinn Karlsefne
Gudrida
Leif the Lucky
St. Ursula
AscensionAdoration of the Magi
Angels (S) in Tracery
Crossing the River Jordan
Jepthah's Daughter
Miriam Ruth
Seraphs in Tracery
Resurrection House of Simon
Crucifixion

EXECUTED BY
Messrs. Morris &• Co.

PLACE.

Allerton.

Brampton.

St. Peter's, Vere Street.
Allerton. Bramley. Hopton.
Bramley. Biarritz.
Boston, U. S. A.
Castle Howard.
Mossley Hill.
Gateacre. Easthampstead. JJ
Longwood, Mass. U.S.A.
St. Peter's, Vere Street.
Newport, U. S. A.

Whiteland's Training
College, Chelsea.
Birmingham.Easthampstead.
Allerton.Edinburgh.

Designs

Allerton.

R

EDWARD BURNE-JONES.

DATE OF
DESIGN.

l88S

1886

1887

1888

1889

1890

189I

1892

SUBJECT.
Raising the Widow's Son
Passage of the Red Sea
Four Windows
Cartoons of above Design
Nativity Baptism of Christ
Christ Disputing with the Doctors
St. George
St. Michael
Peace
Justice St. Anna Teaching the Virgin
Christ appearing to Doubting
Thomas
St. Francis Praying
Crucifixion Nativity Christ blessing little Children
Visiting the Sick
David, Earl of Huntingdon
Sir William Wallace
Robert Bruce
Provost Halliburton
George Wishart
Queen Mary Stuart
Waters of Babylon (2)
Pelican
Angels (2)
Nativity. Shepherds and Angels
Good Shepherd
Angels Singing (2)
St. Theresa
St. Martha
St. Lucia
St. Agatha
St. Veronica
St. Barbara
St. Clement
St. Valentine
St. Paul Preaching at Athens
Stoning of St. Stephen
Moses and the Burning Bush
The Burial of Moses
Gabriel

EXECUTED BY
Messrs. Morris &• Co.

PLACE.

Kirkcaldy. JJ
Fulham.Edinburgh. Allerton.

Berlin.

Weybridge.

Birmingham. JJ
Brampton.Fochabers.
Dundee. (Free Library).

Kirkcaldy.
Ingestre. JJ
Lanercost. Marylebone.

Whiteland's Training
College, Chelsea.

Ilford Hospital. JJ
Morton. JJ
Kirkcaldy. JJ
Rottingdean.

.1

''THE GOOD SHEPHERD." WIXDOW IX ST. fAMES' MARYLEBONE.

APPENDIX II. 123
DATE OF
DESIGN. SUBJECT. EXECUTED BY PLACE.
1892 Raphael Messrs. Morris & Co. Rottingdean.
Michael „ „
Annunciation „ „
St. George and the Dragon „ „
Guardian Angel „ „

Note. — In many of these windows, cartoons previously used have bee n reproduced
together with the new designs. Thus to the window at Brampton, Christ blessing little
children, designed in 1888, were added, Elizabeth and St. John the Baptist, Salome with St.
James and St. John, St. Timothy and Eunice and the Holy Family designed in 1876,
and to the "Seraphs" at Gateacre designed in 1882 were added "St. Martin," "Charity,"
"Justice," " St. George," and the "Acts of Mercy" which had already been used elsewhere.
Exigencies of space compel the inclusion in the above list of the designs only at the
time they were first made, without reference to any subsequent reproductions of them.

INDEX.

Academy of Fine Arts of France,
Burne-Jones elected Correspond
ing Member of, 104.
Adam and Eve, Study for, in An
gels of Creation, 87 ; in the An
nunciation, 98.
Adam and Eve, Windows, 67.
Adoration of Magi, Tapestry, 14,
65, 80, 99.
^neid. Illustrations to William
Morris' translation of, 51, 52.
Agnew's, "The Briar Rose," at, 8.
Agnus Dei, Window, 74.
Alice la belle pelerine, 29, 90.
Allegory in Burne-Jones' pictures,
91, 98.
Allegory in Art, Harry Quilter on,
97-
Allingham, William, 17.
Altar Piece, St. Peter's, Vere Street,
78.
Alvin, Edith, 12.
American Civil War, 35.
America, Norse discoverers of, 73.
American Protestant Church in
Rome, 74.
Angels, 58, 59, 60, 62.
Angels of Creation, The, 4, 46, 49,
52, 53, 63, 87, 97.
Angeli Laudantes, Window, 68 ;
Ministrantes, Window, 68.
.Annunciation, large, 24, 57, 63 ;
first water-colour of, 29, 35.
Annunciation, for Messrs. Dalziel's
" Bible,'' 37 ; replica of first
water-colour, 43 ; oil, 51 ; de
sign for the large, 54, 62 ; Pro
fessor Colvin on the large, 86 ;
adverse criticism of, 87 ; early
triptych, 96 ; Adam and Eve in
the large, 98.
Apollo in " The Seasons," 102.
Archbishop of Canterbury, Dr.
Benson, 16.
Archaeological accuracy, Burne-
Jones' disregard of, 98.
Arts and Crafts Exhibition, 1888,
70, 80, 100.

Art Needlework, School of, 81.
"Assembly of Foules," 33, 91.
Associateship of the Royal Aca
demy conferred upon Burne-
Jones, 7.
Astrologia, 38.
Atlas, 57.
Autumn, 5, 24, 42, 103 ; E.xhibition
at Birmingham, 15.
Baccio Baldini, Engravings by,
102.
Baleful Head, The, 60, 61, Tj.
Balfour, Lady Frances, Portrait of,
58.
Barry, Sir Charles, 16.
Bas-reliefs, 66, 79.
Bath of Venus, The, 24, 51, 62.
Bazaar for the Relief of Cotton
Weavers, 35.
Beatrice, 43, 90.
Beguiling of Merlin, The, 3, 4, 6,
49j SIj 52j 56,63,99.
Beguilements of Nimue, The, 36, 91.
Belle et blonde et colorde, 30.
Benson, Doctor, 16.
Benson, Portrait of Mr., 58.
Bexley Heath, Tempera pictures in
Mr. Morris' house at, 31.
Biarritz, Window at, 72.
Birket Foster, Mr. ; his house at
Whitley, 8, 30, 37, 39, 40, 66 ; his
illustrations, 81.
Birmingham, Burne-Jones' youth
in, 12, 14, 15, 16 ; exhibition at,
in 1885, 50, 52 ; ditto, 1891, 15 ;
windows in St. Philip's Church,
at, 69.
Blind Love, 34.
Boccaccio, gi.
Bodley, Mr., 32, 33.
Boehm, R.A., Sir J. E., 79.
Bonifazio, Copy of a Picture by, 35.
Book Illustration, Reform in, 81.
Bookplate, designed by Burne-
Jones, 82.
Border Ballads, Subjects from. See
Subjects.

Boston, U.S.A., Window in Trinity
Church, 71, 100, 101.
Botticelli, Pictures by, 55, 87.
Boyce, G. P., 34.
Bradfield, Windows at St. Andrew's
College, 67.
Brazen Tower, The, 62, 94.
Briar Rose, The small, 45, 50, 63 ;
Second Series, 51 ; " The Legend
of the " Large, 8, 9, 10, 25, 60, 63,
78, 91.
Briar Wood, The, 8, 60, 61.
Brighton, Triptych in St. Paul's
Church, 32, 78.
Britomart, The Vision of, 46.
Brummagem, 14.
Building of the Temple, The, 71,
100, 101.
Burd Helen, 21.
Burne-Jones, Edward, his allego
ries, 91, 98 ; his art education.
20, 22 ; at King Edward's School,
Birmingham, 16 ; his birth, 12 ;
his change of profession, 18 ;
Chaucer's influence in his work,
91 ; his classical subjects, 92 ;
his contribution to the Academy,
61 ; his critics, 4, 5, 84 ; des
lined for the Church, 16 ; his
disregard of Archseological ac
curacy, 98 ; his early drawings,
12 ; his election as A.R.A., 7 ;
his election as Knight of the
Legion of Honour, 8 ; his elec
tion to the Royal Society of
Painters in Water-Colours, 30 ;
effeminacy of his work, alleged,
89 ; his entrance at Exeter Col
lege, 16 ; expression in his pic
tures, 36, 86 ; his first commis
sion, 67 ; his first drawing, 24,
25 ; his first interview with Ros
setti, 18, 19 ; French critics on
his work, 6, 8 ; " Good Words,"
his illustrations in, 82 ; Hono
rary Degree conferred on, 6 ; his
illness, 42, 43, 60, 63 ; his illus
trations for Messrs. Dalziel's

126

EDWARD BURNE-JONES.

Bible, 82 ; his imitation of Italian
painters, 85, 88, 89, 97 ; his in
dividuality, 22, 31, 84, 97, 104 ;
his influence on modern French
art, 104 ; Italian spirit in his
work, 4, 90, 91 ; his landscapes,
92 ; melancholy in his work, 12,
91 ; his methods of work, 23,
104 ; morality of his work dis
puted, 89 ; his pictures, allegory
in, 98 ; his pictures at the first
Grosvenor, 4 ; his pictures as
schemes of decoration, 66 ; his
portraits, 84 ; realism, his atti
tude towards, 88 ; his re-appear
ance as exhibitor, 2, 3, 4, 5 ; his
re-election to Royal Society of
Painters in Water-Colours, 8 ; his
secession from the Grosvenor,
62 ; his sources of inspiration,
90; strictures on his work, 85 ;
his subjects from the Bible,
96 {see Subjects) ; his subjects
from Border Ballads, 91 {see
Subjects) ; his subjects from
Chaucer, 91 {see Subjects) ; his
subjects from Morris, 94 {see
Subjects) ; his symbolical art,
4, 5, 97 ; his work at Oxford, 28 ;
his work, Nature in, 85, 87, 88 ;
Burne-Jones, Mrs., portrait of, 60.
Burton, Sir Frederick, 8.
Buscot, Mr. Henderson's house at,
78.
Busyrane, Castle of, 46.
Cabinet, 30 ; (Prioress's Tale), 26,
27 ; (King Rene's honeymoon), 34.
Call of Perseus, The ; 57, 73.
Camden Society, 31, 32.
Caritas, 7, 44.
Carr, J. Comyns, 62.
Carr, Philip Comyns, portrait of,
60.
Cassone (Hesperides), 80.
Castle of Heavy Sorrow, 35.
Chaucer, his influence in Burne-
Jones' works, 26, 55, 56, 91, 92,
93, 94 ; subjects from, see Sub
jects ; illustrations to, 34.
Chaucer's Dream, 38.
Chesneau, Ernest, on Burne-Jones,
63-
Chess-players, 31;.
Childe Rowlande, 34.
Christ and Magdalen (window), 72.
Christ preaching (window), 74.
Christ Church Cathedral, Oxford,
67, 69, 72.
Cinderella, 37, 90, 97.
Circe, the wine of, 21, 37, 42, 63, go,
97j 99-
Clara von Bork, 30.

Clarendon Press, 17.
Classical subjects, Burne-Jones', 92.
Clerk Sanders, g, 34.
Cliff'ord, Mr., 35, 62.
Coley, Elizabeth, 12.
College for Working Men, Great
Titchfield Street, 18.
Colvin, Professor Sidney, 43, 83,
86.
Combe, Mr., 17.
Copies at Venice, 35.
Corporation of Birmingham, 15.
Corresponding Membership of Aca
demy of Fine Arts of France, 104.
Council Chamber, The, 8, 62.
Crane, Walter, 4g, yj.
Creation, (windows), 52 ; The
Angels of, 4, 46, 4g, 52, 53, 63,
87j 97-
Critics of Burne - Jones, 4, 5, 84 ;
difference among the, 4, 5, 86,
87, 88.
Crucifixion, window at Birming
ham, 70.
Cuckoo and the Nightingale, The,
93.
Cumaean Sibyl, The, 51.
Cupid and Psyche, 41, 48, 52, go,
92, 94 ; illustrations to, 3g ; De
coration at Palace Green, 3g, 49,
59j 77-
Cupid's Forge, 33, 90.
Cupid's Hunting Fields, 58, 59, 79.
Dalziel's " Bible," Burne-Jones' il
lustrations in, 30, 37, 81.
Damien, Father, 62.
Danae, 37.
Danae and the Brazen Tower, 49,
54, 59, 62, 94.
Dance oftlie Seasons, 51.
Dante and certain people of impor.
tance, Rossetti's picture, 17.
Dante, Delia Magna's Edition of,
102.
Dares Phrygius, g2.
I5ay, 5, 24, 42, 44, 63, 97.
D.C.L., Honorary degree of, 6.
Death of Medusa, The, 54, 73.
Decorative work, Importance of
Burne-Jones', 64 ; Italian influ
ence in Burne-Jones', 100, 102 ;
Variety of Burne-Jones', 66 ; re
cent revival of, 64.
Delia Magna's edition of Dante,
102.
Depths of the Sea, The, 61 ; replica
of, 62.
Derby Day, 10.
Designs exhibited, 62.
Designs in gold, 51.
Deverell, W. H., 26.
Diana, 52.

Dictys Cretensis, 92.
Dies Domini, 58.
Difference among the Critics of
Burne-Jones, 4, 5, 86, 87, 88.
Diploma Gallery, 7.
Doom Fulfilled, The, 60, 62, 77.
Dorigen, 45, go.
Draught of Fishes, (window), 73.
Dream of Good Women, 37.
Dream of John Ball, illustration to
Morris', 62.
Druids and Christians ; (Mr. Hol
man Hunt's picture), 17.
Dudley, Gallery Exhibition at, 18,
50j 73-
Duke of Westminster, The, 7g.
Earl of Carlisle, The (Mr. George
Howard), 3g, 4g.
Earl of Wharnechffe, The, 60.
Early drawings of Burne-Jones, 12.
Earth, 59, 97.
Earth and her Children (Piano)
80.
Earthly Paradise, Illustrations to
the, 38, 39, 40, 41 ; subjects from
the, see Subjects from Morris's
Poems.
Easthampstead, Window at, 71, 89.
Edinburgh, Windows at, 73.
Effeminacy, Burne-Jones' alleged
8g.
Eleanor and Rosamond, 36.
Elfinmere, 17.
Ellis' sale, 7, 44.
Enchantments of Nimue, The, 36,
91.
Encenia at Oxford, 6.
Entombment (Bronze), 79.
Evening Star, The, 43 ; 'copy of,
48.
Exeter College, Oxford, Burne-
Jones' entrance of, 16.
Exeter College, Oxford, Fellowship
conferred on Burne-Jones, 6 ;
tapestr)' at, 14, 65, 80.
Expression in Burne-Jones' pictures,
36, 86.
Ezekiel and the Boiling Pot, 30.
Fairy Queen, Spenser's, 46, 47, 48.
Fall of the Rebel Angels, The,
(Mosaic), 77.
Fame, 44, 49.
Fates, The, 39.
Fatima, 36, go, gg ; replica of, 36.
Feast of Peleus, The, 24, 4g, 52, 57,
58, 59>92 ; (large), 5g.
Fellowship of Exeter College, Ox
ford, conferred upon Burne-Jones,
6.
Fides, 4, 7, 48, 97.
First Marriage, The, 42.

INDEX.

127

Fitzgerald, Portrait of Miss, 60.
Flamma Vestalis, 61.
Flight of Perseus, The, jg.
Flodden Field, 7g.
Flora, 42, 60, g7 ; tapestry, 80.
Florence, Burne-Jones' visit to, 2g ;
Botticelli's pictures in the Uffizzii
at, 55.
Fors Clavigera, Ruskin on Burne-
Jones in, 34.
Fortitude, 57.
Fortune, (small), 44, 4g ; (replica),
52 ; (large), 24, 57, 5g, 65, g7.
Fountain of Youth, The, 51, 52, 57,
59-
Fra Angelico, 8g.
Fra Pace (Picture by Rossetti), 20.
Franklin's Tale (Chaucer), 45.
French Art, Burne-Jones' influence
on recent, 104.
French criticism of Burne-Jones, 6,
8,63.
Frey (window), 73.
Furniss, Harry, Burlesque of Burne-
Jones by, 61.
Garden of Pan, The, 54, 61, go, g2.
Garden Court, The, g, 45, 52, 62.
Garland, The, 42.
Gatty, Burne-Jones' illustration to
" Parables from Nature " by Mrs.,
82.
Gesso, 66, 7g.
Ghirlandajo on mosaic, 74.
Gilbert, Mr. W. S., 3.
Gillum, Colonel, 2g.
Girl and a Goldfish, A, 34.
Girl at an Organ, A, 45.
Girl in a Garden, A, 61.
Girl on the Downs, A, 60.
Girls with Lanterns, 49, 50, 51.
Girls with Music, 52, 54; replica, 56.
Glasgow Institute, 62.
Godhead Fires, The, 95.
" Golden Legend," Designs for
Morris' edition of the, 82.
Golden Stairs, The, 24, 49, 54, 58,
63-
" Good Words," Burne-Jones' illus
trations in, 32, 82.
Graham, William (piano), 80.
Graham, Portrait of William, 58.
Graham, Portrait of the Misses, 58.
Graham sale. The, 7, 42, 44, 53, 561
60.
Great Russell Street, 30.
Great Titchfield Street, Working
Men's College in, 18.
Greek Art, 8g.
Green Summer, 2)7 1 38, go, g7, 103 ;
(large), 42.
Grosvenor Gallery, Exhibition at, in
1877, I, 2, 4, 48, 52, 56 ; in 1878,

24,34,42,49,51,57, 79; in 1879,
57 ; in 1880, 58 ; winter of 1880-
81, 58, 71 ; in i88l, 6, 58, 71 ; in
1882,59; in 1883, 57,60; ini884,
60; in 1886, 61 ; in 1887, 61, 77,
80 ; Burne-Jones' secession from,
62.
Guildhall, City of London, E.xhibi-
tions at, 50, 65.
Halld, Charles E., 62.
Hammersmith, Mr. Morris' house
at, 26.
Hanbury, 12.
Hand Refrains, The, 95.
Harvey, Illustrations by William, 81.
Heart Desires, The, 95.
Henderson, Mr. Alexander, 54 ; his
house at Buscot, 78.
Hero, 52, 54.
Hesperides, The, 44, 50, 56 ; (cas
sone), 80.
Hill of Venus, Illustrations to the, 40.
Holman Hunt, Pictures by Mr., 17.
Honorary degree of D.C.L. con
ferred on Burne-Jones, 6.
Hopton Church, Window in, 72.
Houghton, Illustrations by, 81.
Hours, The, 39, 44, 57, 59, 97.
Howard, Mr. George (The Earl of
Carhsle), 39, 4g, 7g.
Hughes, Arthur, 21, 28.
Hymen, 43, 52, 62.
If Hope were not. Heart would
break, 37.
"Illustrated London News," 21.
Imitation of Italian painters in
Burne-Jones' works, 85, 88, 8g, g7.
Individuality, Burne-Jones', 22, 31,
84, 97, 104.
Ingestre Church, Window in, 6g.
International Exhibition of Contem
porary Art at Paris, 6.
lonides, Mr. Alecco, 4g.
Italian painters. Imitation of, in
Burne-Jones' works, 85, 88, 8g, g7.
Italian influence on Burne-Jones'
work, 100, 102.
Italian spirit in Burne-Jones' work,
4, go, gi.
Italy, Burne-Jones' visits to, 2g, 35,
96.
Jebb, Professor, 79.
Jephthah's daughter, (window), 72).
Jesus College, Cambridge, Windows
at, 74.
Jones, Edith, 12.
Jones, Edward Bevin, 12.
Jones, Edward Burne-, see Burne-
Jones.
Jones, Edward Richard, 12.

Jones, Keturah, 12.
Judgment (window at Easthamp
stead), 71, 8g.
Keene, Charles, 81.
Kensington Square, 30, 38.
King and Shepherd at Torquay, 62,
78.
King Arthur in Avalon, 5g, 60, 61.
Kings' Daughters, 2g.
King Edward's School, Birming
ham, 16.
King Cophetua and the Beggar-
Maid, 58, 59, 60, 63, gi.
King Rene's Honeymoon, 34, 35.
King's Wedding, 44.
Kipling, Rudyard, 88.
Knight, A, 4.
Knight in Armour with a Lady, A,
38.
Knight of the Legion of Honour,
Burne-Jones elected, 8.
Ladies and Death, 34.
Lady Lyttleton, Memorial tablet to,
7g-
Lament, The, 38.
Landscapes, Burne-Jones', 92.
Lansdowne, Lord, 29,
Laus Veneris, 5, 24, 34, 51, 52, 57,
63j 87j 92, g8.
Le Chant d'Amour (large), 5, 24,
30, 38,42, 50, 51, 56, 63, 87, g2;
(small), 65.
Legend of Good Women, The, gi.
Leighton, P.R.A., Sir Frederick, 6,
38.
Lewis, Portrait of Miss Gertrude,
58 ; Katie, 61.
Leyland Collection, 5, 21, 4g.
Leyland Sale, 3, 42, 43, 49, 56.
Light of the World, The, 17.
Lightfoot, Bishop, 16.
Lindsay, Sir Coutts, 62.
Literary art, go ; Burne-Jones', 4,
go-
Little Holland House, 29.
Lord Lansdowne, 29.
Love, 44, 4g.
Love and the Pilgrim, 46.
Love among the Ruins, 44, 50, 56,
90, 92.
Love disguised as Reason, 44.
Love in a Triumphal Car, 45.
" Love is Enough," Illustrations to
William Morris's, 49.
Love's Wayfaring, 59.
Luna, 5, 24, 4gj 52j g7-
Lushington, Mr. Vernon, 18, ig.
Maddox-Brown, Mr., 34, 35.
Madness of Tristan, The, 23, 35, gi.
Magazine of Art, The, 43.

128

EDWARD BURNE-JONES.

Maiden, 38.
Malatesta, Sigismund, his church
at Rimini, 102.
Man and a Maiden, A, 38.
Man playing an Organ, A, 4g.
Manchester Jubilee Exhibition, 50,
51-
Mantegna, 8g.
Marriage of Cana, The (window),
72.
Mars, 103.
Mars and Venus, Botticelli's, 87.
Mask of Cupid, The, 46, 47, 48, 50,
gi.
Medal of the First Class, Paris, 8.
Meinholt, 30.
Melancholy in Burne-Jones' work,
12, gi.
Memorial Tablet to Lady Lyttleton,
79-
Merciful Knight, The, 21, 37, g7.
Merhn and Nimue, 28.
Methods, Burne-Jones' 23, 104.
Mill, The, 44, 51, 57, 5g, go.
Millais, R.A., Sir John Everett, 23,
81.
Miriam, (window), 73.
Mirror of Venus, The (large), 3, 4,
51, 52, 56, 63, go, g2 ; (small), 42,
56.
Molokai, 62.
Morality of Burne-Jones' pictures
disputed, 8g.
Morgan-le-Fay, 35, 36.
Moreau, Gustave, 63.
Morning of the Resurrection, The,
59, 61.
Morris, Mr. William, 8, 14, 16, 17,
18, 26, 28, 31, 32, 34, 37, 38, 3g,
51,62,81.
Morris, Burne-Jones' decorative con
nection Avith, 65, 66, 67, 68 ;
Burne-Jones' subjects from the
poems of, see Subjects ; Burne-
Jones' illustrations to the poems
of, 38, 39, 40, 49, 5ij 52j 82;
Burne-Jones' illustrations to
" Love is Enough," 4, 4g ; wood
cuts by, 3g
"Mort d'Arthur," 2g, 35, 80, gi.
Morton Church, window in, 72.
Mosaic at Ravenna, 74 ; Burne-
Jones', 74 ; Ghirlandajo on, 74.
Murray, Charles Fairfax, 45.
Museums, Provincial, 13, 14.
Names of flowers, Illustrations of,
62.
Nativity, 37, 62 ; (bronze), 7g ; (win
dows), 70, 78 ; (woodcut), 82.
Nature in Burne-Jones' work, 85,
87, 88.
Naworth Castle, 7g.

Needlework, Designs for, 66, 80,
81.
New Ferry, Windows at, 73.
New Gallery, Exhibition at in 1888,
52, 62, 77; -in i88g, 42; in i8gi,
i5j 55j 63.
New Jerusalem, llie (Mosaic), 74.
Newport, U.S.A., Round Tower at,
73 ; windows at, 73.
Nibelungen Lied, 26.
Night, 5, 24, 42, 43, 45, 63, g7.
Norse discoverers of America, 73.
North End Road, Fulham, 2, 43.
Norton, Portrait of Miss, 61, 84 ;
Professor Eliot, of Harvard Uni
versity, U.S.A., 61.
Oblivion, 44, 49.
Odin (window), 7;^.
"On the Old Road," Ruskin on
Burne-Jones in, 34.
"Once a Week," 81.
Orcagna, 89, 100.
Organ, 49, 66.
Orpheus, The Story of, 50, 51 ;
(Piano), 80.
Oxford, Burne-Jones' entrance at,
16 ; Tempera painting in Union
at, 27, 28, 31 ; Christ Church
Cathedral at, 67, 6g, 72 ; Exeter
College, 14, 16, 80; Priory of
St. Frideswide, 67 ; Taylorian
Museum, 3g, 40 ; Union, 27, 28,
31-
Paderewski, Portrait of, 84.
Painter's daughter. Portrait of the,
61.
Palace Green, " Cupid and Psyche "
decoration at, 3g, 5g ; Organ at,
49-
Palace of Art, Parody in " Punch ''
of the, 3.
Pan, 51.
Pan and Psyche, 5, 24,43, 4g, 51,63.
"Parables from Nature," Illustra
tion to, 82.
Paris, Exhibitions at, 6, 8, 78, 8g.
" Patience," Mr. Gilbert's opera of,
3-
Pegasus, 57, 78.
Pelican (window), 6g.
Pencil drawings, 37, 44, 4g, 56.-
Pen-and-ink drawings, 25, 29, 30,
32, 34, 58.
Perseus, The Story of, 52, 54, 57,
59, 60, 61, 63, 77, 78, go, g4.
Perseus and Andromeda, 54.
Perseus and Atlas, 57, 78.
Perseus and the Grais (large), 57,
78 ; (small), 59 : (panel), 5, 79.
Perseus and Medusa, 78.
Perseus and the Sea-Maidens, 78.

Perugino, 89.
Peterhouse College, Cambridge,
Windows at, 37.
Phyllis and Demophoon, 43.
Piano, 30, 66 ; Mr. William Gra
ham's, 80.
Pictures, Sets of, 66, 77.
Pilgrim at the Gate of Idleness,
The, 60, 62.
Pinwell, 81.
Pisa, Burne-Jones' visit to, 29 ;
Frescoes in the Campo Santo at,
8g.
Pollaiolo, Engravings by, 102.
Pomona, (Tapestry), 80.
Portraits, Burne-Jones', 84.
Portrait of Lady Frances Balfour,
58 ; of Mr. Benson, 58 ; of Mrs.
Burne-Jones, 60 ; of Philip Co
myns Carr, 60 ; of Miss Fitz
gerald, 60 ; of the Misses Graham,
58 ; of Mr. Graham, 58 ; of Miss
Gertrude Lewis, 58 ; of Miss
Katie Lewis, 61 ; of Miss Nor
ton, 61, 84 ; of Paderewski, 84 ;
of the Painter's daughter, 61.
Powell, Messrs., 21, 67.
Poynter, R.A., Mr. E. J., 23, 44, 4g,
81 ; on Art, 83.
Pre-Raphaelite Brotherhood, 17, 22,
26, 28, 85.
President of the Royal Academy,
the late, 2 ; the present, 6, 38.
Prince's Gate, Mr. Leyland's house
in, 21, 49.
Prinsep, A.R.A., Mr. Val, 23.
Prioress' Tale, The (Cabinet), 26, 27,
9 1 ; (RepHca), 43.
Proserpine, 52.
" Punch " on Burne-Jones, 3, 5.
Pygmalion and the Image (largej,
42, 44, 52, 57, 63, 95, g6 ; (small),
45 ; illustrations to Mr. Morris'
poem of, 42.
Pyramus and Thisbe, 50, 52, 54.
"Quia multum amavit," 51, 52.
Quilter on allegorical art, g7.
Radcliffe, Doctor, 43.
Ravenna, Mosaics at, 74.
Realism, Burne-Jones' attitude to
wards, 88.
Reappearance as exhibitor, Burne-
Jones', 2, 3, 4, 5.
Red House, Bexley Heath, Tem
pera paintings at the, 3 1 .
Red Lion Square, 26.
Resurrection (window in Hopton
Church), 72.
Rimini, Malatesta's church at, 102.
Ring of Venus, The, 4g.
Rochdale, Windows at, 72.

INDEX.

129

Rock of Doom, The, 62, 77.
" Romaunt of the Rose," The, 52,
54j 57, 49, 62, gi.
Rome, Mosaics in the American
Protestant Church at, 74.
Rosamond, 36, go.
Rose Bower, The, g, 61.
Rossetti, D. G., 3g, 40, 67 ; at Ox
ford, 27, 28 ; and his studies, 21,
22 ; Burne-Jones' first meeting
with, 18, ig, 20, 21 ; cabinet
painted by, 34, 35 ; his influence
on Burne-Jones, 17, 18, 19, 20,
23, 3', 36, 37j 4ij 91 ; on art edu
cation, 20.
Royal Academy, i, 2, 4 ; Burne-
Jones' election as Associate of, 7 ;
Burne-Jones' contribuf^on to Ex
hibition of, 61.
Royal Society of Painters in Water-
colours, Burne-Jones' election to,
30 ; retirement from, 8 ; re-elec
tion to, 8 ; Exhibition in 1864,
36, 37; in 1865, 36, 37 38; in
1866, 38; in 1867, 40; in i86g,
38, 42 ; in 1870, 43 ; in i8go,
44.
Rumour, 43.
Ruskin, Mr., 36, 37, 3g ; Burne-
Jones' introduction to, 3 1 ; Burne-
Jones' visit to Italy with, 35 ; on
Art, 34 ; on Mr. Burne-Jones'
works, 34 ; (Senior), 36.
Russell Place, Fitzroy Square, 30.
Ruth, (window), 73.
Sacrifice of Isaac, (window), 72.
St. Andrew's College, Bradfield,
Windows at, 67.
St. Anne and the Virgin (window),
72.
St. Catherine (window), 6g.
St. Cecilia (window), 69, 72.
St. Dorothy, 40, 41.
St. Francis, 62.
St. Frideswide (window), 30, 67, 72 ;
(screen), 30.
St. George, 51, 52, 56, 62 ; The
story of, at Witley, 39, 77, 90.
St. James's, Weybridge, Windows
at, 72.
St. John's, Torquay, Pictures in,
62.
St. Jude's, Whitechapel, Exhibi
tion at, 40.
St. Nicholas, 50.
St. Peter's, Vere Street, Altar-piece
in, 78 ; windows in, 68.
St. Philip's, Birmingham, Windows
in, 69.
St. Theophilus and the Angel, 41 ;
(replica), 42.
St. Valentines' Day, 2)7-

Sale, Ellis, 7, 44 ; Graham, 7, 42,
44j S3, 56, 60 ; Leyland. 3, 42, 43,
40. 56 ; Trist, 38.
Salisbury Cathedral, Windows in,
68.
Salviati's glassworks at Murano, 77.
Sandys, 81.
Saturn, 103.
School of Art, Birmingham, 14.
School of Art-Needlework, 81.
Sea children, 59.
Sea-nymphs, 59.
Sea-nymph, The, 58.
Seasons, The, 38, 63, 97, 102 ; Dance
of the, 51.
Sets of Pictures, 77.
Sibyl, 4j 5ij 56.
Sibylla Cumana, 51.
Sibylla Delphica, 61.
Sibylla Tiburtina, 56.
Sidonia the Sorceress, 30 ; von Bork,
30j 31-
Sienna, Burne Jones' visit to, 29.
Siennese School, Influence of on
Burne-Jones, 29, 96.
Sigurd, 82.
Simone Fiorentino, Can'ings at Ri
mini by, 102.
Sir Degrevant, 31, 32, 77, 91.
Sir Galahad, 29 ; (tapestry), 80.
Sirens, The, 44, 58, 63.
Slade School of Art, University
College, London, 83.
Sleeping Beauty, 8, 45.
Sloane Terrace, 21.
Society of British Artists, Suffolk
Street, Exhibition in i8g2, 23, 4g,
61.
Solomon and the Queen of Sheba,
(window), 67.
Song of Solomon, Designs to the,
35j 54j 55, 56, 102.
Soul Attains, The, g6.
South Kensington Art Department,
13 ; Museum, Cartoons in, 70.
Sources of Burne-Jones' inspiration,
go.
Spenser's "Faery Queen," 46, 47,
48, 50, 52, gi.
Spes, 47, 48, 50, 56, 60, 97.
Sponsa di Libano, 23, 25, 55, 63, 70,
92.
Spring, 5, 24, 42, 102.
Stained glass, 26, 30, 52, 66, 67, 68,
69, 70j 7ij 72, 73j 74 ; subjects of
Burne-Jones', 73 ; quantity of, 68.
Star of Bethlehem, The, 14, 63, 78,
90j gg.
Stella Vespertina, 58.
Stevenson, Robert Louis, 88.
Stoning of St. Stephen, The, (win
dow), 72.
Story of PygmaHon, The, g5.
S

Street, R. A., Mr., 68, 74.
Studies, 87 ; exhibited, 62 ; by Ros
setti, 21, 22.
Subjects from Border Ballads, g, 31,
34, 58, 60, 63, 77, 91.
Subjects from the Bible, 14, 23, 24,
25, 30, 32j 33j 35j 37j 43j 5Ij 52,
54j 5Sj 56, 57, 58, 59> 61, 62, 63,
65, 78, 80, g6, gg, 102 ; from the
Classics, 5, 24, 35, 2,7, 39j 42j 43j
44j 49j 50, 5ij 52, S4j 56, 57j 58,
59, 60, 62, 63, 77, 78, 80, go, g2,
94j g5, 96, 97j 102, 103 ; from
Chaucer, 26, 27, 33, 34, 37, 38, 43,
45j 46, 52j 56, 57j 59j 60, 62, 6g,
72, go, gi ; from Mr. Morris'
Poems, 5, 24, 3g, 40, 41, 42, 43, 44,
45j 48, 4g, Sij 52, 54, 57, 59j 60,
61, 62, 63, 77, 78, g4, g5, g6 ; from
" Mort d' Arthur," 3, 4, 6, 23, 28,
2gj 3Sj 36, 46, 49j 50j SIj 52j 56j
60, 61, 63, 66, go, 91, gg.
Suffolk Street, Society of British
Artists, 23, 4g, 61.
Summer, 5, 24, 42, 44, 102.
Summer Snow, 32, 82.
Symbolical art, Burne-Jones', 45, g7.
Tadema, L. Alma, 23.
Tamworth, Window at, 52.
Tannhaiiser, 40.
Tapestry, 80; The Adoration of the
Magi, at Exeter College Oxford,
14, 65, 80, gg ; Sir Galahad and
the Siege Perilous, 80 ; Vision of
the Holy Grail, 66, 80.
Taylorian Museum, Oxford, 39, 40.
Tempera painting, 28, 31.
Temperantia, 4, 7, 48, 50.
Tennyson'sinfluencein Burne-Jones'
work, 29 ; Parody in "Punch " of
"The Palace of Art," by, 3.
Thackeray on Artists, 15.
Theseus and Ariadne, 35.
Thor (window), 72,.
Thornhill, Sir James, 28.
Thornton's Romances, 31.
Tiburtine Sibyl, 56.
Tiles at Witley, 8, 66.
Tintoretto, Copies of pictures by, 35.
Torquay, St. John's Church, 62,
78.
Tower of Babel, The, (window), 67.
Tree of Forgiveness, The, 59, 63,
Tree of Life, The, (mosaic), 77.
Trinity Church, Boston, U.S.A.,
Window in, 71, loo, loi.
Triptych. (Annunciation), 32 ; re
plica, 32, 37, 78, 96.
Trist sale, 38.
Tristram and Yseult, 35, 46, 50.
Triumph of Love. (Panel), 79.
Triumph of Venus, 52.

^

130

INDEX.

Troy triptych, 44, 4g, 52.
Troy, Burne-Jones', 92.
Union, Oxford, 27, 28.
United States, Burne-Jones' Pic
tures in, 65 ; windows in, 65.
University College, London, Slade
School of Art, 83.
Venus, 102 ; Anadyomene, Botti
celli's, 87; The Bath of, 24, 51,
62 ; Concordia, 44 ; Discordia,
49, 51 ; Epithalamia, 45 ; The
Mirror of (large), 3 ; (small), 42,
56 ; Triumph of, 52.
Vere Street, St. Peter's, Altar-piece
in, 78 ; window in, 68.
Vesper, 50.

Via Nazionale, Rome, American
Protestant Church in the, 74.
Vineland, 73.
Virgil, 92.
Viridis of Milan, 34.
Vision of the Holy Grail (tapestry),
66, 80.
Walker, Fred, 81.
Waltham Abbey, Window in, 67.
Watts, R.A., Mr. G. F., 38.
Waxen Image, The, 25, 26.
Wedding of Buondelmonte, The, 30.
Wells, R.A., Mr., 34.
Westminster, Duke of, 79.
Weybridge, Window in St. James's
Church, 72.
Wheel of Fortune, The (large), 24,
57j 59j 65, 97 ; (small), 60, 61.

Whistler on British Art, 64.
William of Malmesbury, 49.
Windus, Mr., 21.
Winter, 5, 24, 42, 45, io3-
Wisdom and the House of Wisdom,
58.
Wise and Foolish Virgins, The,
30.
Witley, Mr. Birket Foster's house
at, 8, 30, 37, 39, 40, 77.
Wood-blocks, 32, 81.
Woodnymph, The, 58, 60.
Woodward, Mr., 27, 67.
Woven Stuffs, Designs for, 66.
Ypsiphile and Medea, 2)7-
Zephyrus and Psyche, 37.

INDEX OF DATES.

ye a k

PAGE

YEAR

I'AGE

year

1833-

12.

1866.

39j 40, 108.

i87g.

1844.

16.

1867.

40, 41, 56, 108.

1880.

1852.

16.

1868.

24, 42, 104.

1881.
1855.
18.
i86g.
5, 24, 38, 42, 56-
1882.
1856.
23, 24, 25, 26, 104.
1870.
5, 8, 24, 43, 48, 50, 51,
58,
1883.
1857.
26, 67.
59-
1884.
1858.
26, 28, 43.
1871.
5, 24, 44, 61, 83.
1885.
i85g.
28, 67, 81.
1872.
24j48, 51, 52, 54, 56, 59,
77.
1886.
i860.
30, 77, 107.
1873-
24, 50, 54, 56, 62.
1887.
1861.
30j 32, 33j 67, 78, 96.
1874.
24, 51, 52, 6g.
1888.
1862.
23j 30, 35j 82, 96.
1875.
24, 52, 62, 6g, 71, 78.
i88g.
1863.
30, 32, 37, 43, 82, g6.
1876.
1, 24, 52, 59j 61, 62, 78.
i8go.
1864.
36, 37, 82, 108.
1877.
I, 5, 24, 52, 56, 78, 7g.
i8gi.
1S65.
30, 36, 37j 38, 39j 44. 48,
75-
1878.
5, 24j34, 42, 49, 5ij S7j
78 79.
69j
i8g2.
24, 57, 68, 7g, 80.
24, 58, 71, 80.
6j24, 4g, 58,60,68, 71.
6, 5g, 62, 72, 74, 78, 79-
24, 4°, 57, 59j 7Ij 73, 77-
43, 60, 77, 108, no, 122.
7, 44, 50, 52j 61, 77.
7, 42, 61, 7g.
15, 50, 51, 61, 6g, 72, 77,80.
8, 15,24, 52,62, 70, 77,80, 100.
8, 42, 62.
8j 25, 44, 63.
15,23,42, 55,63.
23i 38, 42, 49, 50, 61, 65, 82.
CHISWICK press: — CHARLES WHITTINGHAM AND CO.,
TOOKS COURT, CHANCERY LANE,

YALE UNIVERSITY LIBRARY

3 9002 08854 3864