’ Bell M i nia ure Series Of Paint e rs s t .

Ed ed b G . C . O L . D . it y WILLIAMS N, itt

VE AZ EZ. . . WI LLI AMSON L t . D L U G C t . Q By , i

- U RN ON S . M LC LM ELL. SI R E. B E J E By A O B

L . . WI L S t F RA ANGE I CO . G C L I AM N L t. D . By O , i

WA A AND HI S P PI S EDG M TTE U U L . By CU BE

STALEY, B . A.

. F . W R . G A S A . C . . ATEMAN TT , By T B .

GEORGE ROMNEY . R WLEY CLEEVE By O .

O HERS TO F LL W T O O .

LONDON : G ORGE B LL SO E E NS,

YORK S COVENT G D TREET, AR EN.

Holl er o to F . y plz j

’ THE P R I R E TA LE O SS S .

’ Bell s M iniat ure Series Of Paint ers

S I R EDWA RD B U R N E - J O N E S

BY M ALCOLM BELL

LONDON GEORGE BE LL SONS

1 90 1 FAM I L OJ

T CHlSWlCK PRESS : CHA RLES WHI T I NG HA M A N D CO .

TOOK COURT C H NCE RY LA N E LO N DO N . S , A , TABLE OF CONTE NTS

C HAP. HI S B I . IRTH AND EDUCATION K II . HI S PICTORIAL WOR V WORR III . HI S DECORATI E V SO F O ART I . ME EATURES F HIS

V R S . OU ILLUSTRATION

CHRONOLOGICAL LIST OF CHIEF PI C

TURES . 7 1 LIST OF WORKS IN PUBLIC GALLERIES 74 A SHORT LIST OF PLACES WHERE WI N DOWS BY BURNE-JONES MAY BE SEEN 75

LI S T O F I L L U S TRATI ONS

PAGE ’ THE PRIORESS S TALE THE MERCIFUL KNIGHT THE WINE OF CIRCE LOVE AMONG THE RUINS THE MIRROR OF VENUS TEMPERANTI A DANAE AND THE BRAZEN TOWER THE STAR OF BETHLEHEM

S I R E DWA RD B U RNE- O N E S J ,

BART .

CHAPTER I

HI S BIRTH AN D EDUCATION

DWARD BURNE-JONES was born in B n a on a8th Au 1 8 irmi gh m the of gust, 33 , of a Welsh family in no way especially distin uished can n g , as far as be ascertai ed . His

- f w great grand ather, hich is the furthest gener n can atio to which it be traced back, is known

n n but to have bee a schoolmaster at Ha bury, n n his first ames have bee already forgotten . n n B v n n His o ly so , Edward e i Jo es, married A n r K u Edith lvi , and had issue, a daughte et ra, and son R n a Edward ichard Jo es, who married za and n a Eli beth Coley, also had two childre , an son n daughter Edith, d the whose ame, con n n B n - n solidated by a hyphe i to ur e Jo es, is known throughout the civiliz ed world. There is no evidence to be discovered that B — 2 SI R EDWARD BURNE JONES

n d n his extraordinary ge ius descen ed to him, eve

in f an f . n directly, rom y of his orbears His stro g artistic bent would seem to be an altogether n n n ne in an as spo ta eous growth, a otable o y c e, but in this one the more so as it did not burst n forth until comparatively late i life. His earlier years were void of the slightest impulse towards the objects to which his later life was destined so n to be utterly give up . n in 1 8 n v n He we t 44, whe he was just ele e , to the Old school founded in 1 5 2 2 by the King

Edward after whose title it is called . Here he n n worked dilige tly at the usual studies, and gai ed an n in an ra u i timate acqua t ce with classic lite t re, together with an unusual passion for it which n u f A he ourished thro ghout his li e . mong his classmates were many who have also distin uish d in a g e themselves diverse ways, p rticularly in n B L the Church, as wit ess ishop ightfoot and D B n n A octor e so , the late rchbishop of Cante r

. F r hi f n n B bury o t s pro essio , i deed, urne ones was n to and n in himself purposi g qualify, whe 1 85 2 he won an exhibition which gave him the n of n n C w mea s e teri g Exeter ollege, it as with the full intention of taking orders in due course to f that he went up Ox ord. To the same college on the same day came up HI S BIRTH AN D E DUCATION 3

n n m n a other you g a , also of Welsh descent, also n n n i te ded for the Church, and the two fell i to an n n d d to n acquai tanceship, desti e spee ily ripe n f n s i had an in i to warmest rie d h p, which has fluence quite immeasurable upon the art of the as n r eh l t thirty years, for the you g st anger thus countered was the late William Morris . There for the first time it was revealed to young Burne-Jones that there existed a strange enchanting world beyond the humdrum of this T f daily life. he first suspicion of that land O f him n in S aery came to whe , a mall volume of l a Allin ham n poems by Willi m g , he fou d a little l n M n woodcut, E fe ere, sig ed with a curious f n o n t s D . G R . T entwineme t the i i ial . his art, strange and incomprehensible as it had proved t o most, found here a chord that thrilled to it in A a and utmost sympathy. little l ter he stood in ecstasy before a more important work by the

s d . ame master, and bowe himself before him Mr . Combe, the director at that time of the a n P was n Cl rendo ress, a profou d admirer of the

Pre-R h nd n ap aelite school, a possessed, amo g ’ R D ante s Celebration others, a picture by ossetti, ’ o B eatr ce s B if f/d a f i y . m W The Mus c Mas ter and other Poe s b . i , y ‘ h e Alling am(Routledg , SI R EDWARD BURNE-JONES

By this he was aroused into an enthusiasm - The un which it were hard to over estimate. known man with the sweet-sounding foreign name who could conceive and body forth such visions became for him thenceforth a god-like To ain im hero . p t such pictures too would be t x possible, he felt, but to at empt to e press even falteringly the echo that they woke within him B seemed all that life was good for. y slow h n degrees, for all the w ile he was still worki g m resolutely at his acade ic studies, the firm con viction grew that these were merely waste of an n M energy, d he a d orris about the same time a n n Art c me to the , co clusio that , and not the

C n a . hurch, was their predesti ate field of ction F or long he hugged the project to his breast in n n n sile ce, imparti g it to no one save that si gle friend 'but in the end his longing waxed too n him and stro g for , he resolved to look, at least, of upon the hero his choice . Towards the end of 1 855 it was that this de n an terminatio came to a head, d he set out for n London to act upo it . He found out that at W n M n in the College for orki g e , Great Titch was n n f field Street, there an eve i g class or drawing to which his hero condescended to v f n n gi e, ree of charge, some eve i gs every week,

6 SI R EDWARD BURNE—JONES a bachelor evening at his rooms the following R to night, at which ossetti had promised be n prese t. n n With a flutteri g heart he we t, and shook n an to st him by the ha d d spoke him, the proude Wh n and the happt st youth in all the city . e

finally Rossetti asked him, as he asked every one if n n d to , he too was a pai ter, he ma age not n to admit that he was , but that he lo ged be, and having owned in answer to the question n r n to that he had do e some d awi gs, was made promise blushingly that he would bring them to the studio for consideration . T n f an his o the whole was highly avourable, d r n and he was u ged to follow his true be t, take n t n in n i at o ce o pai t g as a mea s of livel hood . F r a ' n o some time he still hesit ted , letti g I dare ” t not wait upon I would . A last he carried n f a e so diffi these, as the ce orward he c rri d many

culti and one . R es doubts, to his hero ossetti questioned him as to the delay entailed by taking n n the degree, and whe he lear ed that it must n n s i be, at shortest, seve mo th , adv sed him to fling the University and all its works behind and o him, to set f ot forthwith with firmness n was zar upo the other path . It a ha dous counsel to a n to n a an give, a gre t respo sibility u dert ke, d HI S BIRTH AND EDUCATION 7 it does marvellous credit to his 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 thatJ I e exerted his new-born authority over the young man SO to n n divert the i te ded course of his future life . n n and B me- n Whe it was do e, u Jo es, with small means and with no present power to procure was n m t n more, defi itely com itted o his ew R career, ossetti, as always while his health a n n f lasted, was l vish of e courageme t o every kind. His views upon the proper education Of an n n d and n not artist were pro ou ce , , it eed be said, entirely opposed to all the methods sanctioned

n. by traditio It was preposterous, he would n n to un nn mai tai , set a yo g begi er to draw n Y straightway from the a tique . ou put before in n an n him, so doi g, ideal beyo d his compre h n n n n and ear e sio or attai me t, either he w ies of r and it, o it masters him and crushes out all life Y u on t in i personality . o thrust him a s yle wh ch to write before he has learned to form his letters : no wonder when the words come that they are n v a Let him stale a d void of all it lity. first learn s SI R EDWARD BURNE -JONES

i s l ti l in his to express h m e f, however hal ng y, own Let way. him first practise the use of his an n ca materials, d whe he n avail himself Of n them to some good purpose, the let him go an see as a a d , by th t time he will be c pable Of in n t do g, what the first masters of a tiqui y have in con done with them, what way they have quered 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

. b n n n i n the present case With ur i g i terest, n n n n mixed with a sicke i g se se of hopeless ess, he sat day after day and followed carefully the on evolution of e Of those, to him, matchless — masterpieces and when the work was finished b n an a palette and rushes were put i to his h ds, 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 R i before him, but what ossetti said was r ght for

and n . The n him, pai t it somehow he did thi g of horror that his production seemed to him had ’ n poi ts that the skilled master s eye discovered, and with a hearty encouragement he bade him n persevere and have o fears . That was the whole extent of his art educa t n n io , except the lessons that he gai ed laboriously HI S BIRTH AND EDUCATION 9 from daily exercise of his profession carried on n n an n with i domitable resolutio , d, duri g the ar n an u e lier days, co stantly overlooked d g ided R r tw un by ossetti . F o o years he was almost n in an i terruptedly his society, d for the four or

five succeeding ones he met him very frequently .

- n n His first wild hero worship lo g e dured, its distant awe tempered by gratitude and a sincere ff n and n a ectio , for a time the striki g individuality of the elder man quite swept away that of the younger. It was not until the gradual clouding of ’ R n n ossetti s i tellect, which darke ed his later had far no years, so developed, that he was longer to be held responsible for his words or ai of n un n so deeds, that the p n e co teri g him in n n sadly cha ged a guise became u bearable, and ’ brought about to Burne-Jones s never-failing sor n n row the inevitable fi al parti g. Nor did Rossetti restrict hi s kindnesses to n ot merely verbal cou sel and applause . He g Burne- jones an order from the proprietors of ” the ' Illustrated London News to do a drawing in black and white of the B a rd Helen by the

- n n Pre Raphaelite pai ter Wi dus, though, his cap in ability be g deemed doubtful, the order was rescinded. He also got for him the first com m SI R EDWARD BURNE JONES

- missions for stained glass windows from Messrs .

P n M r. R n owell . He i troduced him to uski ,

Mr. A and s e t n d rthur Hughes, other artist , h ar e e n an him whe he was depressed, d showed him n n a many i sta ces Of his pproval . CHAPTER II

HI S PICTORIAL WORK

N 1 8 6 n n was a 5 , the , whe he alre dy two years as an p t his majority, age at which most is n art ts, havi g submitted themselves to eight or ten n nn n years of patie t study, are begi i g to try their strength in the arena of the public ex hibi

n B n - n n t tio s, ur e Jo es bega o draw with directed ff . As n to n n for e ort he o ce observed, all i te ts, ’ of n -fi ve the purpose his life s work, at twe ty he n was fiftee . P n h n of artly owi g to t is se se his disabilities, n h a partly to weak ess of e lth at the time, much Of his early work consisted of pen-and-ink draw n out n n n i gs, carried with extraordi ary mi ute ess n n an h n a d delicacy of fi ish, d s owi g most clearly through their obvious and inevitable imperfec n and tio s the passionate love of beauty, the ex quisite feeling which marks all his work from n the begin ing. H The Wax en I ma e is very first work, g , dis 1 I 1 2 SI R EDWARD BURNE-JONES

in eas n plays, moreover, full m ure that inve tive ness which was destined to become one of the ’ n n leadi g features Of the artist s creatio s.

The 1 8 6 at same year, 5 , witnessed his first t u tempt in Oils, a ci y background to a pict re n L of illustrating the Nibelu gen ied, a choice to subject due, perhaps, the companionship W M Of illiam orris, who came, about that time, t o a n 1 Red L n sh re lodgi gs with him at 7 , io S quare . The year 1 85 7 is notable forthe first of a really n f n for prodigious umber o cartoo s stained glass. In the spring of 1 858 the painter who breathes so much Of the spirit of Chaucer began his first ’ direct illustration of that poet s works upon a cabinet which long stood fittingly in William ’ M n - o K orris s drawi g r om at elmscott House, M and now Ash Hammersmith all, is in the l n mo ea Museum at Oxford . On the completion of this work he went up to Oxford to bear a part in a great scheme of M r decoration which owed its inception to . Th f Woodward . e Ox ord Union had moved the previous year into a new building erected and for it by that architect, he suggested to Rossetti that he should paint a picture in tem pera for the embellishment of a blank stretch of

1 4 SI R EDWARD BURNE -JONES ignorance among the painters of the conditions n and requireme ts Of the process employed, the results . Of so much toil have during the last n thirty years become quite indisti guishable. While still engaged at Oxford he occupied the intervals of the more ambitious labours in

’ - l e A nnuna alion beginning a water colour of , and during visits to Little Holland House he ’ did drawings in pen-and-ink on vellum of Kings D a u lzi ers Alice la B elle P elerine g , , from the ’ ” M d Arthur oin to tire B attle an Si r ort , G g , d

I n September he paid a first visit to Italy, and studied the works of the great Italian n n F n masters, visiti g amo g other places lore ce,

P a an e n . is , d Si a On n n in L n his retur he settled o ce more ondo ,

m n R P F z . re ovi g to ussell lace, it roy Square Here in nn n ar 1 860 n the begi i g of the next ye , , he bega to paint roughly in Oils the original cartoons for a window depicting sixteen incidents in the life i swi e i t . F r e d n of S d , wh ch were subseque tly finished in 1 86 2 and framed into a screen that ’ adorned the artist s studio in Grea t Russell

- S to n 1 86 1 . treet, which he we t in A pen and ink r of E z ekiel and Me B oil n d awing i g P ot, a n in 1 860 was n r dr w , e g aved on wood by HI S PICTORIAL WORK 1 5

M D z for i r n essrs . al iel the r illust ated editio Of the Bible . On June oth the most important event in a life conspicuously uneventful apart from hi s art occurred when he was married in Manchester

Cathedral to Miss Georgiana Macdonald . The summer was occupied by the production t - —B elle ei B londe et l ri e of hree water colours Ca o , i Sk onia an B ork lara on B ork. v , and C w I n n R the autum a visit to the ed House, which William Morris had just built for himself B x n n at e ley Heath, was devoted to the pai ti g of three pictures in tempera on the walls Of an The n r and upper room . e d of this yea the whole of the next two were marked by a great ’ increas e of production but owing to the artist s method Of work it is not always possible to A n date the individual pictures exactly . mo g the il w earliest was an O picture, which as afterwards r e as n n eu reproduced, reve s d, a wood e gravi g, m er now in G title d .Su m S , ood Words for

a 1 86 . I n i n n 1 86 1 r M y, 3 the beg n i g of a t ip tych was begun as a commission from Mr. ’

r t. P B i n Bodley fo S aul s Church, r ghto ' but, when it was hung in the place appropriated to it n in the church, the artist fou d that he had neg lected to take due account of the distance from 1 6 SI R EDWARD BURNE -JONES

which it must be regarded . Eager, as he always was a n n , to profit by every lesson and to g i k ow m own n ledge fro his shortcomi gs, he at once took n n the picture back a d set to work upon a seco d, keeping the same composition Of the Annuncia n n M n n tio in the ce tre with the agi o the wi gs, n n n n n and but e largi g the figures, stre gthe i g n n n broadeni g the treatme t, and substituti g a plain gold background for the more elaborate in T t n one the first picture . hese al eratio s had ff c an now the desired e e t, d this amended copy n in ha gs the church . Another of the direct realiz ations of subjects ’ m C n in 1 8 1 Cu id s fro haucer was fi ished 6 , p F or e T n r g . he origi al design of La w Vene is

un l e /zan imae was next beg . E ne tments of N

in - n water colour, also pai ted this year, was pur chased in 1 893 for the public by the authorities Of V and A the ictoria lbert Museum .

Ma 1 86 2 Bu n - n n I n y, , r e Jo es paid a seco d W n visit to Italy, here he remai ed for three in an Mr R months the comp y of . uskin, for whom many small copies of various pictures by in V i n his the Old masters were made en ce . O ‘ return Tn stram a nd Yseult and l e M adness

' n in - Th of Tn stramwere pai ted water colour. e - F atima s water colour , and a mall replica Of the l e r lzo la F . Hol y j l

THE M ER C I F U L KN I GHT.

HI S PICTORIAL WORK

a a . n all s me, were also painted this ye r I these later works the influence of Rossetti has per ’ ceptibly yielded by degrees to the artist s own n l in i dividua ity, but it revives for awhile a little water-colour of a girl holding an apple with a ' scroll round it bearing the words If hope were ” not ear . , h t would break ’ I n 1 863 Rossetti s mastery waned still further '

7 7x M ere el la an Tire I'Vi ne irce ifi n d of C , n which were comme ced that year, show little or t no traces of it . Other works Of his year were - me A nnunciation Tire two water colours, and

at i i n n for M ss . Dal N iv iy, wh ch were i te ded e rs ” ’ r B l z iel s Illust ated ib e, but subsequently sold by them without having been engraved for that n inderella t purpose ' a very charmi g C ' a S . ’ Va lentine s D a and in y, the first picture water colour Of Green S ummer. I n the course of the same year he was elected an Associate of the S P i n in W Royal ociety Of a ters ater Colours . f Some o these works, however, were probably n 1 86 completed duri g 4, which must Otherwise n no n have bee , for obvious reason, a si gularly unproductive year. I n 1 865 the artist removed to Kensington A n r for ar Square . project eve completed, a l ge ’ illustrated edition Of William Morris s Earthly c 1 8 SI R EDWARD BURNE-JONES

P r a v a adise, was started this ye r, and se enty subjects from the beautiful story of Cupid and ” n Th n Psyche were desig ed . e profou d artistic sympathy between the artist and the author i a e n fac lit ted the task gr atly, and re dered it a n ne o highly co genial o to b th, so much so to the f ar n in ormer that, the same ye , he pai ted water colour a Zeplzy ras oeari ng away P sy ene and

u nd n lze T C pid fi i g P sye . his last he afterwards e a n and repeat d twice with slight lteratio s, he further re designed the whole story for the ’ decoration of the Earl of Carlisle s dining-room

at Palace Green. e r e A set of panels of the story Of St . G o g was n in 1 86 ar of begu 5 , but occupied the l ger part the next year also before it reached completion. M r B It was undertaken at the request of . irket F Oster for the adornment of the dining-room in W in n n the house at itley to which, co ju ction r R n with Mo ris and ossetti, he co tributed so T much . hey were subsequently largely re n an A 1 8 pai ted by the artist, d in ugust, 97 , gained for the painter a gold medal at the

Munich International Exhibition . eo lz la a l t . l nd tire S p i s A nge , finished this a v n on v ye r, shows a marked ad a ce all the pre ious of work . Complicated groups figures are com

2 0 SI R EDWARD BURNE-JONES

n n to n in i n devoted ki d ess the pai ter his ll ess .

A of R umour n in - figure was begu water colours, ' ’ and l e P moress s Tale in a replica of , Oils, P an a nd n while P sy clze was desig ed. During 1 87 0 the water- colour of Plzy llis a nd n Th n D emoplzoo was painted. e series begu the

n N zt previous year was further e riched by igl . ’ l e Ki ng s Wedding and 'one D i sgu i sed as n Reaso were other works finished this year .

' Love a mon Me R ui ns Tbc He emdes and l e g , y ,

Alill were begun. I n 1 8 1 S ummer D a and nter 7 , y , Wi were

r completed . A smaller set Of the B gma lion

n An n N lzt pictures was begu . other visio of ig a girl seated at an organ two circular pictures of singing boys and girls 'and a much altered ’ of Clza ucer s D rea m h copy the , were finis ed ' while Venus EpiMa la mia was painted in water

on an and in - on colour c vas, water colour vellum a little picture of l e Sleeping B eauty and n T a D on ge . his ye r was also in particular nota ble for the commencement in oil of the first small now f B riar R ose in set Of the amous series, G which, however, the third picture Of the arden

not n u Court was i cl ded. During 1 87 2 quite an extraordinary number nd of designs a pictures were begun or completed .

HI S PICTORIAL WORK 2 1

A n Pides n mo g the latter was , and amo g the former Spes ' a third companion picture was n Tem erantia and of begu , p , the large copy the n A 01 Cupid a nd P sy clze was fi ished . picture D ana? w atclti ng Me B uildi ng of Me B raz en Tower was followed by the beginning O f P a n a nd P s clze and of L una y , and the series from the story of Cupid and P sy c/ze was arranged and n n nv n draw o ca as. Some of the desig s were also

' painted this year and at diflerent intervals up to

1 88 1 in he nd n n was n , but t e the u dertaki g fou d to be too extensive for a painter with so much o n n n and ther work demandi g his atte tio , they M n n . were finished by Mr. Walter Cra e a y de ’ signs were also made for another Of Morris s L n poems, ove is E ough much study was n f r n The devoted to two desig s o yet a other, ” R n n V n an Tile F east o P eleu i g give to e us, d f s in T i n . n n was begu Oils his year, fact, was otable ’ as the starting- point of a number of the artist s f in n h most amous works, for additio to t ose n n B e uili n o M erli n already me tio ed, the large g g f , e A n els o rea on a Tile olden tai l g f C ti , nd G S rs , ’

un . T l C/za nt d Amour L were beg he arge , ove a mon Me R ui ns and l e m emdes g , sp , were carried u Tire B ri a r R ose a f rther, as was the series of , nd th P ramus a nd w as.» n e triptych of y was begu . 2 2 SI R EDWARD BURNE-JONES

I n 1 873 the artist made a brief reappearance in public at the Dudley Gallery with two pic

'

Love a mon Me R ui ns Tile B k s en des . tures, g and p Tempera ntia and Vesper and the B ri ar R ose nd S es series were all three finished a p , the ’ /za nt d A ur Tire Alill and St . Geor e large C mo , , g , n rl Th were all worked o more o ess . is year also saw the beginning in Oils of three celebrated

Tire B e u ili n erli n one works, g g of M , the begun n n n n the year before havi g bee , aba do ed, the

Mirror o Venus and La us Veneris h large f , , per aps t ’ i the most discussed of the ar ist s exhib ted works, ’ n h f was n upo w ich most o the year s work spe t. The year 1 874 was mainly devoted to the

r n Tlre Alirror ca ryi g forward of three pictures, o Venus 27x F ea t P eleus and La us Veneri f , s of , s to a larger B riar R ose series of four pictures be n be an to n n P a n a nd gu the year fore, d fi ishi g

Tire B e u ili n o M erlin Tire F east Peleu g g f , of s, an La us Veneris m 1 8 d , took up uch Of 75 , but most of it was spent in working on T/ze A ngels o reation The a rden Court of B ri a r f C . G the R ose series and the large Pygmalion set also t e ceiv n n L una and n ed some atte tio , and the k eel ing Cupid of the Pyramus a nd l isbe triptych were finished . HI S PICTORIAL WORK 2 3

The first five months of 1 8 76 were given up l e A n els Creation r n to g of , which we e the j n A in fi ished. small upright picture Oils of ‘ D a nae and Me B raz en Tower was painted this

P r mus a nd l isoe J Yero year, and y a , , and the n Tire girls with music and viol, were fi ished .

D eaM o M edusa in P f , the story Of erseus, was n n begu , and three mo ths were also spent upon Perseus and A ndromeda for the same series . Tile Annuncia tion n T was begu , as were ire Golden Stairs Tire Garden o P a n and , f , a small P rocession omMe R oma unt o Me R ose fi f .

The year 1 8 7 7 saw the opening of the Gros ' n n y e or Gallery, i time for which several works which had been long in progress were carried to completion . an n n n n It was, perhaps, u precede ted eve t whe n fi a pai ter thus displayed, practically for the rst to u n n an a re re time, the p blic co sideratio mple p sentation of n n the full ple titude of his ge ius, n n n n F i i matured by lo g a d u remitti g toil . rst n perfection of design and colouring were the six n Tire A n els o Crea tion n n t pa els of g f , early if o Tim Mirror o Venus i quite equalled by . f , w th u Merlin the great B eg iling of . to complete a n i oble trio of larger works, llustrating respect ivel and y the symbolic, the pictorial, the more 24 SI R EDWARD BURNE-JONES

’ The literary sides Of the artist s development. more Italianate and less individual personifica tion Of abstract qualities to which he has on rarer occasion given shape was seen in the n n w - F des S es compa io pictures in ater colour, i , p , and Tem erantia tw n n n s p , while o u fi ished ca va es, A io l and A Kn ht a re S y ig , m de up this most i markable exh bit. f Around themthe war o words raged furiously. To eff n ff some they were emi ate, a ected, imita n s n tive, pessimistic, u whole ome, eve immoral ' to f of n n others ull hau ti g and delightful charm, r n masterpieces alike of d awi g and Of colour, the triumphant creation of a world of undreamed - of a and beauty, the mess ges Of high holy mysteries . The public read and wondered at the conflict

n . T O ffl i ing comme ts O many, ba ed n their ex pectations of a conveniently neat opinion ready - - r for d r cut and d ied aily use at ball o dinner, re signed themselves to the belief that the artist n was far too profou d for them, that it were vain for to to n r n him an them try u de sta d , d that,

n n - as co solation for their wou ded self esteem, he was not worth the understanding were it o ai c f p ssible. Had the p nter, as on e be ore, shrunk from the clamour which brawled around and r him his work, and withd awn his art thence

2 6 SI R EDWARD BURNE -JONES to whose high deserts the eyes of English critics have been opened by their colleagues across the

nn T/I e M ill and l e A nnun a an Cha el . ci tion d

P malion n the large yg pictures were worked o , and Atlas and P e as u f r P g s o the story of erseus, and F ortitude n were begu . The earlier months of 1 8 79 were again de to n n G n and voted fi ishi g works for the rosve or, Tire Story of B tgma lian and the great Annunci a tion Ma Tire ast o were ready for it by y. F e f P eleu ire H urs Tire 11 an n s, T o , M , d D ie Roma u t o Me Rose n n a n f desig s were the t ke up again,

i r u together with T m F o t ne. I n this year the artist for the first time turned his attention to portraiture at the request Of his early and con

a n M r. G W s st nt patro raham, hose two daughter

he painted . I n 1 880 n Tire olden Stairs , after completi g G , which alone represented him at the Spring Ex i n f v n n hibit o o the Gros e or, he agai devoted

o u a n n M r. G himself t portrait re, p i ti g raham

The n Kin Co lzet ua and Me himself. desig of g p

r-M aid c of B egg a was proje ted, while a picture ’ tella Ves ertina n an u d s Hunt S p was begu , d C pi i ng F ields was painted in low tones Of grey and n The n in gree . rest Of the year was spe t pre

paration for the Winter Exhibition at the Gros. HI S PICTORIAL WORK 2 7 venorG n o f e allery, at which a large umber studi s and n for a was desig s, the most p rt decorative, S T es hown . he most purely pictorial was D i D m o i ni .

The G v in 1 88 1 n no con ros enor, , contai ed tribution f th Tire F east rom e artist, though of

P eleus was finished very shortly after it opened . ’ The a a s artist s ppetite for portr it , meanwhile, to h n on seems ave grow by what it fed , for n three more were pai ted this year, those of M r l . B enson Lad F rances B a our and M iss , y f ,

Gertrude Lewis The u id a nd P s Me . C p y series in the dining- room at Palace Green received n n an t e Wireel o F ortune the fi ishi g touches, d f ,

Tire Afill Ki n o lzetua a nd Me B e ar- M aid , g C p gg , an r n d Tne Hou s were worked upon at i tervals . King ArMur i n Ava lon was designed and partly worked out ' H e Tree of F orgi veness and a l t arger F east of P eleus were begun . A the nnua n aen l in a l E c ia he d at Oxford the summer, he was presented by the University with their h f wn onorary degree o his o college, n on Exeter, havi g before bestowed him a fellow h T one n n s ip. his probably was the recog itio

i n all n e wh ch, amo g the others that were exte d d ff him r ratifica to him latter, a orded the g eatest g tion. 2 8 SI R EDWARD BURNE-JONES

The Wheel of F ortune was not finished for the n in 1 88 2 The Grosvenor Gallery Exhibitio , but M ill The Tree o F or iveness two , together with f g , The re raia E arth small pictures, G y G and , the

mal D anae a d Me B raz en Tower The F east s l n , o P eleus tud o a hild -f f , a S y f C , the sweet aced ’ A n el an n of Cu id s Hunti n g , d the mo ochrome p g ’ o n The F ields made up the artist s contributi . rest of the year was mostly given to A rthur i n

Avalon The M orni n o the Resurrection , though g f Hours The F li ht P er was begun, and The , g of eu a he R a unt the Rose s s, nd T om of were carried

I n 1 88 2 the commending voices of the F rench f r in n press procured o him, compa y with the P n R A n an in reside t of the oyal cademy alo e, vita tion from the Government to represent Great Brita in at the International Exhibition of Con — temporary Art a flattering request to which he was unfortunately unable to respond. The first months of 1 883 were given to finish in Wheel o F ortune The Hours g the large f and , which were exhibited at the Grosvenor together hili n a rr and with a portrait of P p Comy s C , the smaller F ortune and The Pilgrim at the Gate of I dleness M were worked on . any studies were made for A rthur in Avalon and JYi ng Cophetua HI S PICTORIAL WORK 29 a nd the B e ar-M aid an - z n gg , d a full si ed cartoo n an The Of the latter was draw d coloured. work of the summer was grievously interrupted in u m n by ill health, which the autumn c l i ated, and n n in T fortu ately e ded, a fever. his period of enforced relaxation was happily followed by an of n h access i creased vigour, w ich facilitated,

n n and n 1 8 duri g the wi ter the spri g Of 84, the

n the m n Kin o completio Of ag ificent g C phetua .

T e ood-n m h his picture, xhibited with the W y p the G n n at rosve or the same year, assured fi ally ’ the painter s claim to the highest place in English I n n u riar o art. Ju e the s bject Of the B R se was t n a n and The ake up ag i , the first Of the series, B ri ar Wood on n , was worked u til November, with the exception of the slight interruption caused by the finishing Of F lora and the painting in a of M iss F itz era I n July of a portr it g ld. November the painter returned to the story Of P n n n erseus, and duri g the ext five mo ths pro d uced full- siz ed cartoons Of the last three sub

ects The R och o D oom The D oom F ul lled j , f , fi , n The ale d ad a d B fi He .

I n A 1 88 n n t Yhe B ria r pril, 5 , he agai retur ed o d n Th Woo a d finished it . e summer was devoted to forArthur in Avalon and n studies , the autum , after the completion of the smaller I Vheel of 3° SI R EDWARD BURNE-JONES

F ortune B riar Rose , to the fourth Of the pictures,

I n 1 885 the attention of the British public was finally fixed upon his importance in the art n n n a as world by a demo stratio , as u reli ble well one to may be, but the only which many Of its t n n r members at ach the leas t sig ifica ce, the p ices which his pictures fetched when put up to auction ’ r l n in n at the sale of M . El is s collectio the Ju e in n of that year, prices which, though o way ns n n to th a se atio al, betoke ed e aver ge English m in Th an some merit the artist. e art that was so an u n as u e repaid by m y g i e a sq ar foot, he not — reasoned, could but be some good good n in no n as a speculatio , haply, if other way 'a d in th e n R A ff same mo th, the oyal cademy pro ered to n T him all u solicited an Associateship . hat

' this step was not followed up by the profler Of the full honours of Academicianship cannot be too e f n much r gretted, but the act remai s that it not in A 1 8 ed was , and pril, 93, the artist reliev an equivocal position by resigning his member ship . I n f w n a 1 886 the beginning of the ollo i g ye r, , talis and the Sihy lla D elphica were completed and in r n exhibited at the Grosvenor the sp i g,

3 2 SI R EDWARD BURNE-JONES m ew r . The ouncil Roo N Galle y C , the second

ar ose w on for of the B ri R series, as worked a d h end f a time, an t e o the ye r was spent upon

’ ne f N a vi ' two pictures, o o the n o, the other of Kin nd a She herd in A g a p , which were finished ’ n u T a December for St . Joh s Ch rch at orqu y,

B ath o Venus n and The f , which was se t at once n 1 888 to the Institute at Glasgow. I he, together B n a with Sir F rederick urto , was un nimously re elected a member ofthe Royal Society of Painters fr t e in Water Colours, om which they had both in 1 8 0 in n n of tired 7 , co seque ce a dispute which

need not be recalled . I n 1 889 the Paris Exhibition showed further he m t c h t esti a ion in which foreign ritics eld him , and brought him the ribbon of the Knight Of n The tar o B et ehe the Legion of Ho our. S f hl m w n nd as begu , but nearly the whole Of this year a the early part of 1 890 were spent in finishing c B ri ar Rose h the magnifi ent series, w ich were n and x bought by Messrs . Ag ew e hibited during f the summer to crowds o visitors . The 1 8 1 ' rest of the year and the spring of 9 were given to The Star of B ethlehemand Sponsa di Lihano fin ed , which were both ish and ex hibited the New G a at allery that ye r . A long and painful illness now unhappily HI S PICTORIAL WORK 33

’ n n to a a i terve ed st y the p inter s hand, and it was not until the Spring of 1 89 2 that he was well enough to resume work upon the earlier d ria r Ros in an he Si rens . B e series Oils, T The large design of The Annuncia tion for the American Church at Rome was produced this year and sent to the Murano Glass Company for

u i n in e P il r m a t the a te exec t o mosaic. Th g i G of I dleness and The mart of the R ose were next taken up and completed for the New Gallery in

1 8 and he a P erseus and the raia 93, t l rge G was also finished about the same time and exhibited

n in M P . A at the Salo the Champ de ars, aris n for The Tree Li e in desig of f , also executed out and of s mosaic, was carried , a portrait M i s h l in f w Gas e l pa ted this year, but most o it as given up to a reproduction in Oils of Love n he uins T a mo g t R . hese were exhibited at the

ew Ga in 1 8 Ves erti na N llery 94, together with p Th n An Quies . e jury at the Exhibitio at twerp an in F awarded him a first class medal, d ebruary that year Queen Victoria conferred upon him The the honour Of a baronetcy. year was n n al n devoted to adva ci g sever works, amo g

The F all Luc Tr t which of i/ , a deligh ful portrait M iss D oroth D rew n Of y , the first versio of the f B riar Rose and The Wed fourth o the series, D 34 SI R EDWARD BURNE- JONES di ng of P syche were ready for the New Gallery in n 1 8 n n Ne 1 895 . I 96 his co tributio s to the w Gallery were A urora and The D reamofLa uncelot

‘ a t the ha el o the Sa n raa l nt C p f G , while the wi er exhibition Of the Water-colour Society included The New in 1 8 c n some studies . Gallery 97 o ’ tained n one u The o ly of the artist s pict res,

l r m o L e M n P i g i f ov . uch time was subseque tly given to work on A rthur in Ava lon and to the ’ n f The P rioress s Tale an u f completio o , d a fig re o St eor e New . G g , which were sent to the Gallery in 1 8 8 9 .

I I I h n nha ih ealth more than o ce, u ppily, terru ted n p the labours of the succeedi g year, and especially an attack of influenz a in the

n . F a early mo ths rom this, however, he had p arentl n p y quite recovered, whe shortly after mid n of n 1 6 n n ight Ju e th he was take sudde ly ill, and in the early morning of June 1 7th passed Th away . e preceding day had been passed in u n n an the q iet co te t Of his studio, d there was no premonition that the hand that laid down the at w n n brush t ilight would ever take it up agai . S n n n of n pared the li geri g weari ess ill ess, and sad n n the co viction of faili g skill, in the full plenitude of his powers he was called swiftly and— — for him mercifully away, leaving much HI S PICTORIAL WORK unaccomplished by which the world would have n bee richer, but leaving, nevertheless, such a has legacy of perfected beauty as seldom, if r n eve , bee equalled . C HAPTER III

HI S DECORATIVE WORK

EMARKABLE both for its quantity and ’ quality as Sir Edward Burne-Jones s pic t and to ial work is, frequent as have been the opportunities given to the public for forming an n n opi ion of it, he is to this day, as I imagi e, more widely and more favourably known by his still more numerous productions of a decorative character. ’ Works Of such price as this artist s pictures n n of v n inevitably fell i to the ha ds pri ate patro s, and after their first appearance in a public n a to gallery, if eve they att ined that, were caught away from the general eye only to emerge again O n ai n ccasionally, at u cert n i tervals and for a t brief space, while o her patrons dispute at ’ i f n h Christie s the r ght of uture guardia s ip . D On a ecorative art, the other hand, is l rgely

o . M r popular and dem cratic uch deco ative work, n to Of course, co tributes the adornment of 36 HI S DECORATIVE WORK 3 7

v e pri ate hous s, but a large remainder becomes, far f m n ro as as ree enjoy e t of it goes, the p r of and n pe ty all, counts its admirers by te s of thousands while the picture reckons only n hu dreds. Another reason for this wider field of influence Occupied by works of a decorative nature is to n in n f be fou d the co ditions of their manu acture . I n pictorial work of this elaborate nature the ’ details must be carried out by the artist s own n s in u n ha d, wherea decorative work the exec tio n in t n to may be i trusted, large par at all eve ts, i n less sk lful workme whose time is of less value . I n this last point the designer was particularly un n n in l M fort ate, si ce he fou d Wil iam orris a n n ffin o and in mi d in si gular a ity with his wn, the crafts men trained under his control hands admirably adapted to carry to the utmost pitch of excellence any idea that he might indicate . It is in this perfect sympathy of aim and method betwee n the two that we discover the reason of the mighty force that they exerted over f the domestic art o the last thirty years . Almost the first works that he produced were

r n - n n and cartoons fo stai ed glass wi dows, draw

n 1 8 f r M . P of h coloured i 5 7 , o essrs owell W ite of ex friars . Three these cartoons were ecuted, 3s SI R EDWARD BURNE-JONES

da m a nd e The Tower o B abel and Kin A E v , f , g

olomon a nd the ueen o heba are now S Q f S , and ’ in n n l t . An B the di i g ha l of S drew s College, rad A n a B . field, erkshire nother work, desig ed lso i i n f r th t . F r esw d o the same firm, was e S d e wi dow in ed Christ Church, Oxford, which was execut 1 8 A r n The reation in 5 9 . g eat wi dow of C for A n in 1 86 1 a Waltham bbey, desig ed , was the l st M P T n work done for essrs owell . he ceforth in the production of stained-glass windows the names of Burne-Jones and William Morris are inseparably associated. V and n f arious umberless, in act, as the results of their co-Operation have been since Morris began the business which was destined to reform n the taste of England, they are seen most co spicuously in the stupendous catalogue ofstained a n for him gl ss wi dows, designed by this artist, an him and d executed by his workmen . It seems incredible that one man could have pro uce so nd n n ne n d d much, a it is o ly whe o k ows with what extraordinary speed and certainty the out n n artist worked the cartoo s, that the appare t n t r impossibility va ishes, o leave behind it a g ow in n n h g wo der at the precisio of eye and and, a which never hesit ted, the wonderful fertility of n n an i ve tion, which never failed, d the profound

4o SI R EDWARD BURNE-JONES mellow light cast by the windows in the quiet R tt e n f rn n country church at o ingd an, o the a te oo t 1 8 8 n a v of of June 2 1 s , 9 , the fu er l ser ice the n the un great artist was co ducted, and in s ny

- t s s south west angle, just wi hout, his a hes repo e, n ringed round by flowering red and white valeria . The works in stained glass have been men i n n a s was t o ed to begi with, bec u e that the first ’ form in which the artist s decorative faculties a x found expression, and bec use the e amples of it are by far the most numerous and widely dis The n n be tributed . splendid achieveme t ext to n in im co sidered is, however, every way the most portant decorative scheme to which he has given in all l t shape, and is, human probabi i y, the work by which this painter will longest survive the d G chances an changes of destroying time . hir landajo is reported to have said that he alone for n in and designed eter ity who worked mosaic, it is in that enduring and resplendent material that Burne-Jones has written his name for all

I n 1 posterity to read. 88 2 the Chance came to him to decorate the American Protestant C e n u M r hurch which had b e b ilt by . Street, the n in Via az i Ro E glish architect, the N onale at me . The cartoons of The N ew jerusalem were in 1 88 n begun 3, and fi ished and sent to Doctor HI S DECORATIVE WORK 4 1

’ Salviati s glass works at Murano for execution f 8 The r n be ore the end of 1 8 4 . o igi al scheme in comprised a large series of mosaics, and the succeeding years further designs of The F all of the Rebel A n els The Tree o L e The A nnu g , f if ,

ci ation a . , and other simil r subjects were made To measure year by year the flood of beauty that he poured into the world would be a serious undertaking merely to indicate the most important and typical details is all that can T be attempted here . here is scarcely a single department of the Applied Arts in which a t n t n n the r ist did o at o e time or a other labour, either directly or in designs to be carried out by M Man orris or other skilled workers . y of his pictures were intended to form a part of schemes for wall decoration he designed several bas f in relie s, and himself executed others gesso ' both the piano and the organ have been embel lished n n by his ha d, while o e of his earliest

in Oil n a n : and works was o cabi et tapestry,

’ n and n stufls his eedlework, wove have claimed ’ a n n a nu f s in M r B F tte tio ' mber o tile . irket oster s former house at Witley owe their great beauty to

of - in a him a form bas relief which met l, wood n work, and gesso are variously stai ed, gilded, az an n n of own and gl ed, is i ventio his he guided 4 2 SI R EDWARD BURNE-JONES the hand of the goldsmith and set forth The Tri umph of Love upon the frail surface of a fan an fi a n f be d, n lly, he worked i cessantly rom the ginning of his career at cartoons for stained-glass n wi dows . CHAPTER I V

SOME FEATURES OF HI S ART

N delivering his first lecture to the young students placed under his charge on the opening of the Slade School of F ine Arts at C L n in 1 8 1 University ollege, ondo , October, 7 ,

Mr E. n . . P R . A R e J oy ter, . , said ememb r that n t the true object of art is to create a world, o ” to r imitate what is constantly before ou eyes. Th n in is remark, which should be i scribed ’ letters of gold round the rim of every art-c ritic s in - ot n t k p , made by so scholarly and ear es a painter on an occasion on which he would natur e n ally w igh, with more tha usual care, the truth and n mea ing of his words, would deserve a full and n n n n i sta ta eous acceptance, eve were it not supported by a number of similar utterances by of other artists skill.

An t S M r. S n v o her lade professor, id ey Col in, W e of Cambridge, has said : hat reasonabl of and judges require an artist, especially of an 43 44 SI R EDWARD BURNE-JONES

a n a not his im gi ative rtist, is that work should n ar o co form to their own stand d, but that it sh uld n u be good of its kind, and that its ki d sho ld be l ” personal to himse f. A n rmed with these two axioms, and usi g them n n n r the u n in ho estly a d si ce ely, st de t will be a ’ n n T positio to judge fairly the pai ter s work . hey not r n will , of cou se, i sure that he shall like it , for it displays so constant and powe rful an in dividualit win his y, that it must either or revolt l n in sympathy, but they wi l preve t him from try g it with false standards they should show him r in that, whether he likes o dislikes it, it is s e n an all and it elf exc lle t d worthy of respect, they ought to hinder his falling in with the fal lacies of some of the critics who have so furiously attacked the artist . Two strange errors have obscured the minds

f hi a a . F of some o s re lly critic l assessors irstly, the conviction that his art is not the outcome ” or even a generaliz ation Of nature . It is a frequent assumption that he painted to a large u of h n n extent o t his ead, without co sideri g r n n an n o Observi g ature, assumptio which is the more remarkable as a long series of his studies in various materials have been on exhibition h at various times . T e many reproductions of

46 SI R EDWARD BURNE -JONES

n in his that he ever saw nature such skies as . ’ O u N , said the artist, but don t you wish yo could n n an inconsist Seco dly, that the weak esses d

nci a n the e es of his e rlier tech ique, the result of a n n R system of his educ tio as i itiated by ossetti, were wilfully assumed in imitation of certain un identified early Italian painters who were also

Pr - R B n F imitated by the e aphaelite rethre . aults of r n n z the r d awi g, recog i able by veriest igno amus, f u n in his are, o co rse, to be fou d all earlier works n a n t n n but they are accide t l, o i tentio al, and there is in spite of them an all-pervading sense of beauty and delicacy of feeling about these ten

- tative efforts at self expression . The sources of inspiration from which he drew many of his subjects are highly interesting a n n n as illustr ti g phases in his developme t, a d in throwing light upon the real origin of that Italianiz ed spirit that many profess to detect in

s . I n i his work the earlier days, wh le he was still n n n of R u der the i flue ce ossetti, the Mort ’ d Arthur and certain of the less known Border

' B n afiected his a n n allads stro gly im gi atio , and several of the works of this period are derived

The B e u ilements o J Vimue The from these, as g f ,

M adness o Tri stram Si r D e r a f , g ev nt, Clerk SOM E F EATURES OF HI S ART 4 7

S aunders and n K n o , much more rece tly, i g C phetua a nd the B egg a r-M aid 'but the author who first captured his fancy and held it longest was n undefiled the well of E glish , the poet

Chaucer . His first oil - painting was suggested by the Prioress’s Tale the Assembly of F oules

- and prompted several water colours, a large number of designs drawn at various times ” from The Romaunt of the Rose and The f ” Le n o G n . ge de oode Wome It is, however, for

' ’ its general eflect upon all his work rather than for iz a n in the direct real tio s it has spired, that this f n n n asci atio is most remarkable, si ce we can, I e tr to n n b lieve, ace clearly it the se time t that is, as an l n a rule, attributed to assimi atio with the early

n . n n Italian pai ters Italia , i deed, it remains, but ar f more remotely. Chaucer himself borrowed B and largely from occaccio, still more from the of F n authors the old re ch metrical romances, who in their turn took their good where theyfound

it among the Italian poets . His allegories were n n n f Chauceria , with the si gle exceptio o the ask o u id M f C p , which comes from later Italy n through Spe ser. The artist shared with Chaucer his passionate i v love of b rds and flowers, and la ished them with 48 SI R EDWARD BURNE-JONES

n in e h a te der hand over his work ' special, like t e in n poet, he delighted the E glish flower, the rose . n u It veils the desolatio of his r ins, it heightens n hi s C the beauty of his garde s, it crowns upid, in G s L and drops the pathway ofhis oddes of ove, an hi The Le end o the B ri a d s great work, g f r

R ose , is quite an apotheosis of the beloved flower. ’ u v Ma His season, like Cha cer s, was e er y, a time n n one of so g and blossomi g, but also, like the ’ n Of en poet s, the merrime t which was almost t n for of n ti ely limited to ature, the spirit sad ess ’ that breathes from Burne-Jones s pictures is ’ Chaucer s. n revaunce A ma ner ease, medled with g , 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 ’ V n fi n the e us mirror we nd it, a d still more ’ in the knight and lady in the Cha nt d Amour and n r n in Laus Veneri s the pe sive p i cess . It looks out at us from the eyes of the man and in The arden o a n woman G f P , and in Love among the R uins it weighs like lead upon the persecuted Psyche 'even the Sponsa di Liba no is

n . the n i fected with it It is sad ess, the bitterness of n in n love that predomi ates the merrie mo th .

’ ” Chaucers Cuckoo and N ht n al ig i g e.

SOM E F EATURES OF HI S ART 49

His landscapes are the dream-lands in which n of not a h Chaucer wa dered, the earth, yet e rt ly . to n n n He, too, liked ador his imagi i gs with a an n an wealth Of colour d decoratio , embroidery d a a i in an jewelry, pictured t pestries, c rv ngs wood d ’ n and an marble, pai ting goldsmith s work, d he, u n n too, so ght to give them sig ifica ce as well as beauty .

u r n n are His classical figures, withtheirs r ou di gs, T such as Chaucer imaged them, his roy is that D Phr ius and D n n t of ares yg ictys Crete sis, o of V r T i Homer or i gil . ake, for example, the beaut

F east o eleu ful f P s . an n n n n It is e cha ti g little picture, radia t with

not n r n. colour, but it is classical, o is it Italia

T -P - n z hese are the half agan, half Christia i ed f Dan an deities O Chaucer, Cupido d his mother ' ” S V n P n fa er e aint e us luto, the ki g of y y , who S n P quotes alomo and Ecclesiasticus, and roser n n a and pi e, who cites the Christia m rtyrs the

Gesta Romanorum. W n he the artist left Chaucer himself, it was very often only to find him again under a more modern guise in the works of the idle singer of ” an empty day. l f P Al the story o erseus, and that of Cupid P n in ae man and ysche, are prese ted the medi val 5 o SI R EDWARD BURNE-JONES

The B ra z en ner in which Morris saw them . Tower in and is his spirit, translated into form colour by the pai nter. malion The fourpictures from The Story on g , ” o n in The E P r e in als i cluded arthly a adis , aga show this preference of the poet and the artist n for the spirit before the form, provided o ly the

last be beautiful . Among the pictures drawn from the last of the ’ B artist s literary sources, the ible, we might ex ct to fi nd n of a pe traces, if a ywhere, the It lian s in f ma ters, and some o the earliest works we T - do . here is a curious water colour triptych, ’ n in 1 86 2 -6 n n pai ted 3, soo after the artist s retur n an from his seco d visit to Italy, which shows evident desire to reproduce the peculiar nai vete n of the Sie ese school . The scarlet-hung bedstead and other acces sot ies in The A nnuncia tion painted in 1 86 1 -6 2 t n a n u also show Obvious sugges io s of the It lia , b t a sweeping charge of imitation can scarcely rest n o such slight grounds as these two works . T o o an hat these, m reover, were the result f ’ i on n not a solated impulse the pai ter s part, of n ff n of n persiste t e ort, or eve a irresistible influ ence exercised over him by the school he chose n to o ce or twice imitate, is evident if we glance

5 2 SI R EDWARD BURNE-JONES outweighed in his eyes all such considerations as whether the person represented would really have worn such clothes in such surroundings . and n as It was the soul that he strove after, so lo g the mantle that enwraps it was seemly and pleas in to g the eye, he asked no more.

i a l and We see this n l his work, decorative

. The V vien n pictorial wily i , weavi g her mystic n paces among the flowering hawthor trees, could not n n n n , perhaps, have k ow that weird cli gi g w n dress ith its purple shadows a d steely lights, n and n but it is a delight to look upo , its si ister strangeness is truly significant of the cunning

F a h r l traitress . His atim as little characte istica ly n in n T n easter her garme ts . here is a suggestio of a turban in the ring- like headdress crowning n no n her wavi g locks, but there is certai place n V or period for the big swelli g sleeves, the shaped bodice with its embroidered hearts, or the long folds of the skirt ' yet the feeling of n n an a xiety and expectatio , of mystery d danger, r and the n is wonde ful, veriest child, who had o ce

n z n in heard the tale, would recog i e its heroi e u this lovely fig re .

To M in The Star o B ethlehem the agi, f , he n gave a more orie tal aspect, but it is merely in n not in broad suggestio s, petty precisions . The SOME F EATURES OF HI S ART 53

first grey-headed king wears a scarf bound turban u u no A n wise abo t his helmet, b t siatic mo arch ever wore such a crown as he has laid humbly down among the blossomed herbage at the feet of -f V n The n the grave aced irgi . ear est youth behind him bears armour which Meyrick himself fi nd and n n r would it hard to date, the adori g eg o prince has on his mantle embroideries which Only/ western nuns could have stitched in the Y in n f n n . t dim sile ces o mediaeval co ve ts e ,

u an are divid ally d collectively, they all exquisite, and the self-aba sement of wealth and power be fore the weak majesty of a homeless mother and her babe has never found a truer or a fairer n expositio . The ingenious gentleman who writes annually to point out the botanical and z oological errors r of unscientific artists had no terrors fo him . h W at matters it that Circe, enchantress though not n she was, would be likely to have cha ged her victims into a species of cat unknown to the ld n sun O world, or to ador her chamber with flowers as yet growing unrevealed to Europe on the broad prairies of America ? The black panther is more malevolently feline in appear n h n A n a ce t a his siatic cousi s, and there is a sug gestion of bale and bane in the strong black and 54 SI R EDWARD BURNE-JONES yellow of the innocent sunflower that assists in n n n n co veyi g the se time t of the work, Of embody

° ’ in idea in the a n n n wa s g the p i ter s mi d, a d that all-s ffi i nt u c e for him . It seems mere pedantry in f of n a n the ace it to mai t i that Circe, if she n had ever wrought her spells, could ot have n n n n do e so u der such co ditio s . I n his decorative work we do see many in n Of i a n n sta ces sk lful adapt tio of Italia methods, for he was too sound an artist not to know when

nn o the best ca ot be bettered, th ugh here also it is chiefly marked by the same determinate of u T a disregard little acc racies. his is perh ps most nota ble and has been most observed in the

n in of The B uildin o the Tem le in gra d w dow g f p , T n C u B n ri ity h rch, osto , which city shares with

New Y A n L n and ork, lba y, o gwood, Newport, the honour of being pioneers in American ap n of preciatio this artist . I n n such a work strict adhere ce to fact, even u n Th if it were possible, is q ite u called for. e not ffe n T artist has a cted eve to desire it . he of the un n dresses aged co cillors are, i deed,

n in n r bu orie tal ge eral cha acter, t the armour of the king and his attendant knights is frankly ae in n and medi val desig , the throne and its canopy n B z n n T K n as u disguisedly y a ti e. hat i g David SOME F EATURES OF HI S ART 5 5

never did wear such a suit of mail or sit on such n n no to n a thro e it eeds scholar declare, but a attempt at re creating an approach to what he u might have used, wo ld possibly have resulted in but little nearer approach to the unknown and n truth, would most certai ly have lacked the decorative qualities at present found in the pro n ductio . I n ne n n o other poi t, moreover, the pai ter did a n n one in follow closely the e rly Italia pai ters,

find - n which he might well fellow imitators, amely n n to f the tireless atte tio he paid his cra t, as an

important part ofhis art . Hasty or careless work n be no he never o ce produced, while spared pains to insure that the materials he employed n n n should be sound a d e duri g . With all his f of devotion to art and the lo ty views he took it, he never permitted himself to forget that the , painting of a picture is in essence a manufac an h un n n ture, d t at so d workma ship is as ecessary

a part of it as of a chair or table. His pictures were built up with as much thought for their endurance as well as for the beauty of their

' general eflect and appropriateness Of detail as a The n n of Gothic cathedral. perma e ce a colour was to him as serious a matter as the strength of or and his stone timber to the architect, as a 56 SI R EDWARD BU RNE J ONES

n n a Green Summer to co seque ce the be utiful , an za choose example hapha rd from all his works , is as fresh and bright in appearance tod ay as ’ in 1 8 8 when it left the artist s easel 6 . His first process in the creation of a picture was the crystalliz ation of the floating visions in his mind into a design carefully drawn out in Th n chalk or pencil . is was ge erally modified nu from time to time, while merous studies for every detail were carried out in the intervals of I n a of other work . the c se a large picture this w n n in as, as a rule, followed by a cartoo pai ted water-colours of the same siz e as the proposed n and n abo ca vas, fi ished el rately from a small F n coloured sketch . rom this the fi al work was and u u Copied, f rther st dies were made before n n un of h the pai ti g was beg . Each stage t is was n f r n left to dry thoroughly, ofte o mo ths at a n was n and n time, before a other comme ced, whe a n the l st had bee concluded, the whole was left for several years before it was permitte d to be an n varnished, Operatio which he always pre ferred to perform himself with scrupulous care . T in n n e find in hus, co clusio , w the production of each individual work this same inexhaust n n n n t of ible patie ce, u faili g ho es y purpose, and n the t mi ute care for smalles details, which, SOME F EATURES OF HI S ART 5 7

s - cea elessly exercised for forty three years, raised n 1 8 6 n in the you g artist Of 5 , bli dly groping the a n footsteps of a masterful le der, i to the most origi nal and distinctive painter that E ngland has n produced, whose fame has spread from amo g a small circle of staunch admirers out to the n furthermost borders of the world of Art . I F n an n T ra ce it st ds amo gst the highest . here many cordial acknowledgments were supple mented some years ago by the election ofBume Jones to a Corresponding Membership in the Department of Painting in the Academy of F ine A in F n an n rts ra ce, ho our which seems likely to be followed by his unsought promotion to leadership among the younger generation Of artists who are in revolt alike against the form alism of the Academy and the emptiness of realism and impressionism . Useful as his influence may be as an inspiring n P n is motive to the you g arisia painters, it to be hoped that they will not attempt the im an ff a n possible, e ort to imit te his style, the origi ality and individuality of which are necessarily a us a unattainable . It is bec e e ch picture of his was an expression of himself that his peculiar n genius is inimitable . It is this perso al element i that is to his admirers so irresistibly attract ve . CHAPTER V

OU R ILLUSTRATIONS

’ I R EDWARD BURNE-J ONES S pictures lend themselves less than those of most n can artists to a divisio into periods. We dis cover in them neither a sud den and radical n n cha ge of method, such as, for i stance, denoted

' ’ SirJ ohn Millais secession from the Pre-Raphael nor n of n ite brotherhood, a marked tra sfer i terest one of n as from class subjects to a other, such f L A may be observed in the works o Sir . lma

T Sir E . . P n and . i n adema, J oy ter others Hav g n a n an chose his p th he ever swerved from it, d

' the works left unfinished at his death difier only from those of 1 856 in the greater perfection of n n their tech ical mea s . Norwould it be any advantage to divide them

n oil - u for i to and water colour pict res, he made little or no distinction between the two materials ' his technical methods of using both were prae a n a an tic lly ide tic l, d it would be impossible to 58

OU R ILLUSTRATIONS 5 9 say I n any given case he had chosen one ' why material rather than the other . T can n n n n hey , however, be co ve ie tly arra ged in classes according to the source of inspiration

u n and our from which the s bject was draw , illustrations have accordingly been selected with a view to giving as typica l a representative as T possible of each clas s . hese, some of which n n n in have already bee co sidered, are seve — n e . I T in f umb r . hose chiefly dat g rom the ’ R i a n n period of ossett s gre test i flue ce, suggested — ae r n . T by medi val ballads o legio s II . hose n —T n take from the classics . III . hose i spired by William Morris’s series Of poetical stories ” The V —T P I . ue Earthly aradise . hose d to — V . n B Chaucer . Subjects draw from the ible. ' V — — I . A al s And V I . llegoric subject . I Works f u Th o p re imagination . eorder in which these out classes are here set is, it may be added, r r n in purely arbit a y, si ce they have themselves no al n an n n chronologic sig ific ce, o o e for any length of time having absorbed his energy to the n of and al in exclusio the rest, we sh l therefore, n to n so in proceedi g co sider the pictures, do r order of their inception as fa as ascertainable.

’ The P rioress s Tale (see fi ontzkpziece) is cer 69 SI R EDWARD BURNE-JONES

i l in as a ta n y the first this respect, though it was matter of fact the last picture that he finishe d . This curious circumstance was due to the persist n of n w o f e cy his ideas, reacti g ith his methods A n n n n was work . conceptio o ce formed i his mi d

a n n or f A rarely ba do ed wearied o . picture de signed one year might not be begun till ten years not n ten o r later, might be completed for a other n in n more, but his i terest his subject ever failed n n of him, and his comprehe sio exactly what he meant to do with it was as distinct and as n u altered at the last as at the first. However n a n lo g the l pse of time might be, whe he

u n rec lle ret r ed to it, he did so with as vivid a o c tion of what he had intended as though he had but laid it aside at dusk the day before . He kept in this way a large number of pictures in a of n n n a st te progress or of suspe ded a imatio , n a n n in an worki g at e ch o ly whe the mood, d . laying it aside for some other at frequent in ls n n terva , u til the mome t seemed ripe for its n n n n w completio , though eve the he early al ays preferred to finish more than one about the same time . Of this deliberate method the present work is n a a ot ble example . It was first designed in 1 8 8 n in 5 , and pai ted oils as part of the decora OU R ILLUSTRATIONS 6 1

n n n in tio of a cabi et, which was for ma y years n of M in the possessio orris, and is now the Th Ashmolean Museum at Oxford . e picture itself was not begun until eleven years later in 1 86 an n n 1 8 8 n 9, d o ly fi ished in 9 , whe it formed part of the las t contribution he ever sent to N ew G . The n n the allery subject, belo gi g to V as I . n n Cl s , is take from Chaucer, illustrati g the story told by the Prioress on the road to of n Canterbury, the little Christe child who angered the Jews of a great citee in Acy by singing the praises of the Virgi n on his way and u through the Jewry to school, who was co se quently waylaid and murdered by an assassin

. n an hired by them His mother, seeki g him d n n n calli g him by ame, passed ear the place where his body with the throat cut lay in a dark r n cupboa d, and straightway he began to si g ” A Red m toris and n n n lma e p , so co ti ued, eve after his murderers had been captured and he n on h had bee laid his bier before the igh altar, n T e u til the abbot asked him why he sang so . h boy replied that the Virgi n had laid a grain n n r be eath his to gue, by vi tue of which he retained consciousness and was enabled to con

tinne chanting her praises until it was removed . The abbot thereupon took out the grain and the 6 2 SI R EDWARD BURNE-JONES

I n a n B n ne s child died . tre ti g the subject ur e o n a n a n has elimi ated the horror, ad pti g rather th d n . Th n n a directly illustrati g the story e sce e, i ste ’ is of the loathsome wardrobe of Chaucer s tale, a narrow grass-grown graveyard set with poppies and n r and s o su flowe s, the cut throat, which is ’ n on in n s i sisted the story, is ig ored, the boy n n f ed death bei g i dicated by his pale ace, clos

an u . Th V n in n eyes, d bo nd arms e irgi , a lo g an al in s blue m tle f ling stately folds, stoop

' him o to i the towards , ab ut place n his mouth grain which she has just taken from a bunch of in n I n n ears held her left ha d. the backgrou d is in no A the Jewry, way siatic, but frankly medi aeval n E glish, as doubtless Chaucer himself saw it ’ in n his mi d s eye, and here, by a device borrowed f a a n rom the e rly masters, two other e rlier sce es n from the story are depicted . O the left the boys n n are going i to the school, o the right a woman with a knife in her left hand draws to her the man n n boy who kneels at her feet, while a lea i g to from a shop urges her the murder . The u of in B bea ty the picture lies partly, as all urne ’ n in c and n Jo es s works, the ri h sple did colouring, a in n and n n p rtly the te der restrai ed se timent, in the O partly wealth f careful detail, the quai nt n s of r picturesque e s the city backg ound, the OU R ILLUSTRATIONS 63

n V n ff sweet dig ity of the irgi , the sti pathetic an little figure of the boy, d the exquisite treat

n n - d on me t of the pla ts, the wall owers the red al and n and brick w l, the poppies su flowers, the n white lilies of the Madonna in the foregrou d . n and Every i ch of the picture is full of charm, worth a careful study.

ur n The M erc ul Kni ht O seco d picture, if g

. n in 1 86 (p was fi ished 3, though it was cer talnl n y begun some years earlier, as we k ow by R in a story connected with it . ossetti early his acquaintance with Burne-Jones gave to him a n umber of his drawings and designs for purposes o f an B ne- n s r study, d ur Jo es trea u ed them as ne n the apple of his eye. O day some few mo ths R and n later ossetti came to see him, fou d him

painting on the background of this very picture . n in He stood for some time watchi g silence, and then abruptly asked him for the studies he r and on n had forme ly given him, receivi g them, a n n and without word, tore them i to fragme ts n n n B n n we t away, mea i g thereby that ur e o es h n o n An ad nothi g more t lear from him . d indeed this peaceful woodla nd landscape seen against the sun is exquisite enough to justify his

n n. The co clusio story of the picture, which 64 SI R E DWARD BURNE -JONES

n I . an n n o n belo gs to Class , is told by i scriptio the frame of a knight who forgave his enemy when he might have destroyed him 'and ho w the image of Christ kissed him in token that ” od I n n his acts had pleased G . this agai we have to observe the varied beauty of the an n th e accessories, the woodwork d decoratio of n f shri e, the armour o the knight, the marigolds in n n the grass, the roses o the wattle fe ce, but always in the end we come back to the landscape n with its su lit pool and wooded hillside, perhaps s n a the mo t truthful, certai ly the most be utiful , n n n amo g ma y true a d beautiful .

n The Wi ne of Circe (p . take from the

was n in 1 86 and n d in 1 86 . classics, begu 3 fi ishe 9 The story of Circe whose wine-cup turned all men who partook of it into beasts is too well kn n n n an do no ow to eed retelli g, d we need an n more th poi t out how subtly each detail, in n n bea utiful itself, co duces to the feeli g of

a n n - in thre te i g evil, the pale dark haired witch her orange robe crouching malevolently with

n - n outstretched s ake like arm, the steel thro e

and n- w n la and drago t i ed tripod, the heavy b ck n n n n ora ge su flowers, the i ky pa thers with their

n - k wicked yellow eyes, a d the thick blood li e

66 SI R EDWARD BURNE-JONES

sa u nothing to y, however much the mere bea ty

of others of hi s works may please them .

The rror o Venus . n on .Mi f (p 44) was begu a 1 86 and r one in small scale in 7 , a second la ger 1 8 in 1 8 are 73, while both were finished 7 7, and in many ways the most purely beautiful of all his h V n introdu c creations . T e idea itself of e us first ing femininity to the fascinations of the mirror in n and the shape of a glassy pool is charmi g, the The carrying of it out is no less exquisite. grace i n or of the various g rlish figures, sitti g, kneeling, can a standing about the water, be fully appreci ted, n n in an n eve in a reproductio black d white, but o words can do justice to the varied harmony of the a in glowing colour. Especi lly to be noted the picture itself are the flowers which he loved and t n -hl s udied so fo dly, the broad water y leaves, -me n ts th i the sheets of blue forget o , and e wh te -c V flowered myrtle beside the tall blue lad enus .

' Notable also are the difierent attitudes of the az n in girls, some g i g at themselves wonder,

s e in n - ra n i others ab orb d fra k self admi tio , wh le two alone turn from their own attractions to gaz e in awe upon the far greater beauty of the goddess.

Tem era ntia 8 n p (p . 4 ) is o e of many allegorical OU R ILLUSTRATIONS 67

n d in V I . subjects i clu ed Class , and the symbolism of the stately woman pouring water from a jar on to the flames which are powerless to harm her own bare feet is too simple to need com

ment . It was begun in 1 8 7 2 and finished in w n the follo i g year.

D a nae and the B raz en Tower (p . which

n in 1 88 was pai ted 8 , though derived originally a from the cl ssics, belongs rather to those sub ects n n n j formi g Class III . , the direct i spiratio of ' ” f The P an which came rom Earthly aradise, d ’ which may be best described in Morris s own ' A K A n war words, crisius, ing of rgos, bei g ned by an oracle that the son of his daughter Danae in z n should slay him, shut her up a bra e tower ” A M built for that end beside the sea. s orris

n B - n hinted imagi ed it and as urne Jo es p it, Danae was ignorant of what an evil bearing on n her desti y the tower was to have, and watched The its building with innocent wonder alone . picture is one of those compositions in vertical straight lines which he more than once produced . v n Notice the tall, narrow portal, with the hea y iro studded door on the right ' in the foreground the straight stems of iris and columbine 'in the

u - v backgro nd, beyond a rough pa ed courtyard 68 SI R EDWARD BURNE-JONES

n t i closing a tank, the s raight sides of the circula r raz n n of ne th b e tower, the cor er a stone o , e n area es n th arrow d and lofty turrets of the tow , e

' e and of scafloldin the t pol s ladder the g, s ern figure of King Acrisius surrounded by armed n s and guards and cou sellor , the labourers, one alone of whom stoops into a curve to reach the mortar at his feet ' within the garden the i t n irregular sp re of a cypress ree, agai st which stands Danaé gathering her cloak about her into at n one an hi st ely perpe dicular folds with h d, w le with her chin resting upon the other she gaz es n n r in r wo deri gly at the st ange work p ogress .

tar o B ethlehem one B a The S f , of his iblic l

- is subjects, is a large water colour, which a repro n a ductio , slightly altered, and th t chiefly in the colour scheme and the more strictly pictorial i of the ne treatment of deta ls, tapestry desig d by the artist and executed by William Morris for

x r . The of Exeter College, O fo d outcome a

' commI SSI on oflered by the Corporation of 8 was u Birmingham in 1 87 , it beg n in the autu mn of 1 888 and finished in the spring of

1 1 . T n a n no 89 here is nothi g, s i deed there is r f r a a n oom o anything, p rticul rly ovel in the e n tr atment of the subject, if we except the i tro .

OU R ILLUSTRATIONS 69 duction of the hovering angel bearing the guid in o not in an g star, which we d remember y h other treatment of the story . T e deliberate ignoring of archaeological accuracy has already n o n i un n bee referred t , a d as th s is fort ately o e of the too few works of the master accessible at i l s all t mes to the pub ic, while it lends it elf n u n t u usually well to reprod ctio , we need no in delay to describe it more detail .

To sum up briefly, What is the secret of the ’ charm that this artist s works exercise upon an ” ever-increasing multitude of admirers ? It lies firstly in the vividly poetica l imaginativeness of n n n n in a his co ceptio s, a d seco dly the we lth Of beautiful accessories in which be embodied and n n n t a n e shri ed them . He was o a gre t pai ter n n n i the true sense of the word . He ever attai ed to that absolute mastery of the materials of hi s of o craft, that positively riotous ease w rkmanship that belonged to such painters as Rembrandt n V az z n s a d el que , but amo g great artist he takes n in r hi s place u disputed the ve y front rank . His earlier work suffered technically from the delayed commencement and peculiar nature of his art n n in hi s r educatio , and eve maturer yea s, though be attained a marvellous accuracy and exquisite 7 9 SI R EDWARD BURNE-JONES n f in r n n ess o touch d awi g, he ever reached real breadth or strength of style ' but from the first he possessed an infallible sense of beauty of and and r h n form colour, a powerful ove w elmi g n un r n Origi ality, and an equalled g ace a d delicacy f n o fa cy .

7 2 SI R EDWARD BURNE-JONES

1 86 T W ertrude F oster. . h Aliss 9 e ine of Circe. G

- 1 86 1 . S t S Au 9 7 pring, wi h ummer,

tumn n Da and . , Wi ter, y Night

The rst our D ou las F letcher E s . the fi f , j. g , q uston s last two, R , E q.

- 1 86 P n . 9 79. ygmalio and the Image A ( set of four pictures . ) '

hn M ddlemore E s . jo T. , q ’ - 1 86 . h P Lad Colvile. 9 98 T e rioress s Tale. y

1 8 0 . 7 . Love disguised as Reason

- 1 8 0 8 . T 7 3 he Hours . Trust es the late F 3 A usten E s e o . f , q 1 8 2 T m an i . r t a 7 e pe . E x e o the la te Lord Want e cutors a . f g , V. C

- 1 8 2 6 Th f . 7 7 . e Angels o Creation

Six a . Alex ander Henderson E s ( p nels ) , q.

- 1 2 The B . 87 7 7 . eguiling of Merlin Lili an D uchess o M arlborou h , f g .

1 8 2 -8 1 Th F of P 7 . e eas t eleus . I/VilliamKenrich E s , q.

1 8 . n R n 73 Love amo g the ui s . r H B en o M . n s . R s .

- 8 Th Ann n a n. 1 74 79 . e u ci tio

- 1 8 6 80 . Th G n 7 e olde Stairs. e Th Lord B attersea . CHRONOLOGICAL LIST 73

Th M of V n . 1 87 7 . e irror e us

Sidne Goldma nn E s . C . y , q

- T f F n . 1 87 7 83 . he Wheel o ortu e B l ur M P e R i ht Hon . A rthur . a o . Th g j f ,

1 8 D The E a rl o arli sle. D n . C 8 0 . ies omi i f

- 1 1 . 88 8 2 The Tree of F orgiveness .

1 88 Kin n 3 . g Cophetua a d the

- B Tate Galler . eggar Maid . y

8 - 1 8 . n 3 93 Perseus a d the Graiae. P T R on rthur B a our M . he ht H . A ig j . lf ,

8 - f 1 8 . T Set o 4 90 he Rose Bower. (

u s B R . four pict re , the riar ose ) E l x a r Henderson s . A e nde , q 1 86 D l i 8 S e h ca . . ibylla p a ler M anchester Corporation G l y .

1 886 The D of Sea. . epths the

ma V i Lord e 1 886. F lam es l s . The D av ta y .

1 888 Danaé and B z n T . . the ra e ower

1 1 Th ar B . 89 . e St of ethlehem B rmin ham Galler i g y .

1 8 . V s 93 e pertina Quies . M r M aurice B eddin t s. g on.

1 6 A . 89 . urora A in A n Le rthur valo . ( ft unfinished . ) LI ST OF WORKS I N PU BLI C GA LLERIE S

B P G ART S . IRMIN HAM . COR ORATION GALLERIE The S a of B t r ethlehem .

Elijah .

Mars . and n Numerous studies cartoo s . L Y T . ONDON . ATE GALLER

- King Cophetua and the Beggar Maid . M LON O V O A A B . D N . ICT RI AND L ERT USEUM i The Enchantment of N mue . h M T e ill . D n orige . h L T e Tree of ife .

Cassandra.

T . P ART G S MANCHES ER COR ORATION ALLERIE .

Sibylla Delphica .

O A O M . O'F RD . SHM LEAN USEUM ’ n The Prioress s Tale (cabi et). n P an Illustrations to Cupid a d syche, d the V n n Hill of e us (pe cil) .

Various studies .

M O C HI SWI C K PRESS : C HAR LES WHI TT I NG I I A A ND C .

TOO KS COU RT C HA NGE R? L N E LO N DO N . , A PERMANENT PHOTOGRAPHS

OF THE WORKS OF

- S I R EDW ARD B U RNE J ONES , Bart .

G . F . WATTS , R. A .

DANTE GAB RI EL ROS S ETTI .

H BA A . a . ARRY TES , R. A . Homer nd others

DUB LI N AND HAG U E GALLERY. A F H LLY R n . O E N . Selectio from, by , J U

Dr n n HOLB EI N. awi gs at Wi dsor Castle, by kind n M THE E permissio of Her late ajesty QUE N .

m The Stud os are O en to V s tors Da l from 1 0 a . . to i p i i i y, m m t . . m. 1 a . . o P 6 . and on Monda s from 0 to ortra ts p , y p i tm v l n ent ad sable . from Life taken on Mondays on y. Appoi i

CAN BE OBTAI NED OF

F REDK. HOLLYER,

9 , Pemb rok e S quare , Kens ing t on .

I llustrated Catato u Post F re 1 2 S am s or r g e, e, t p , F o eig n S ta mps to that value.