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. Art :

SIR EDWARD BURNE-JONES, Bart.
HIS LIFE AND WORK

THE GOLDEN STAIRS.
J'ROM THE PICTDKE BY SIR EDWARD BURNE-JONES . BART

LOHDOH' J S VIRTUE 5c C LIMITED.

THE ART ANNUAL, 1894

THE LIFE AND WORK

OF

SIR EDWARD BURNE-JONES

BART.

BY

JULIA CARTWRIGHT
(Mrs. HENRY ADY)

WITH NUMEROUS ILLUSTRATIONS

" A rt works for all whom it can teach, and I
want in gratitude to tell you that your work
makes life larger and more beautiful to we."
— Gkorge Eliot to Edward Burne-Jone.s,
March 20, 1873. "Life of George Ehot,"
vol, iii. p. 192.

LONDON :
THE ART JOURNAL OFFICE, 26, IVY LANE, PATERNOSTER ROW
Christmas, 1894

Thk Morning of the Rfsurrbction, (See page 23.)

SIR EDWARD BURNE-JONES, BART.

I.

WHEN the history of English painting in the nineteenth
century is written, the philosopher of the future will
find himself face to
face with a strange
problem. He will
have to account for
the fact that the most
original and remark
able manifestation of
art during this period
has been due to a
painter wliose aims
and achievements
were in marked con
trast to the leading
characteristics of his
age. The art of
Burne-Jones from
first to last has been
a silent and un
conscious protest
against the most
striking tendencies
of the modern world.
In an age when
the scientific spirit
has penetrated into
every department of
life, when skilful exe
cution and e.xperi-
mental research sup
ply the lack of ideas
and atone for poverty
of invention among'
our painters, this
master, almost alone
among his peers, has revealed an imaginative faculty of
the rarest description. In a period which is essentially
prosaic, .when realism has invaded both art and fiction,

Pan and Psyche. By Sir Edwahd Bukni;-Jom;s. i,See page 14.)

and material prosperity seems to be the end and aim of
all endeavour, he has remained a poet and an idealist. In
days when reverence has died out and no mystery is lield
sacred, the sense of wonder, that sense for which a recent
writer, M. Milsand,
tells us no word has
yet been found in the
French language, is
never absent from his
creations. Again,
his methods of paint
ing are as far re
moved from tliose in
fashion at t?ie present
time as his concep
tions. He is not con
tent to produce an
effect by tricks of
light and shade or
the clever arrange
ment of dots and
patches of colour,
but seeks with stre
nuous endeavour lo
attain beauty of line
and grace of form in
every canvas that he
paints. His pictures
are no hasty impres
sions thrown off in
the course of a few
hours. They are
carefully thought out
works which have
cost him weeks and
months of incessant
labour, for which
innumerable studies
have been made, which are allowed to remain in his studio
for ten, fifteen, and even twenty years. As far as possible
he stands apart from the rush and hurry of modern life, and
B

THE ART ANXUAL.

still believes in the words of his friend Browning, that "Work
done least rapidly. Art most cherishes."
Once more, this painter's subjects are never taken from
modern life. The actual has no attractions for him. The
life of the day, which appeals so powerfully to some of us,
has nothing to say to
him. From the dul-
ness and ugliness of
the present he turns
with all the passionate
ardour of his being
to the forgotten past,
and there, in the
mj'ths^and fairy-tales
of the old world, he
finds the food after
which his soul hun
gers. There his love
of beauty is satisfied,
his imagination finds
itself at home. His
fancy ranges freely
over the whole realm
of romance. His ideas
clothe themselves na
turally in classic or
chivalric garb. The
myth of Orpheus and
Eur^'dice, of Cupid
and Psyche, the Morte
d'Arthur, and the
Romaunt of the Rose
are as full of deep and
spiritual meanings for
him as the legend of
St. Francis or the
story of Bethlehem.
The same deep inborn
sympathy has natur
ally drawn him to the
old masters. His visits
to Italy have been few and far between. He has never
spent more than a few weeks in Florence and Venice, and
has only once been to Rome for tliree days. But these brief
glimpses have enabled him to e.xplore the whole field of
medieval and Renaissance art. The primitive altar-pieces of
Byzantine painters and the more learned art of Mantegna or
Lionardo, the tender charm of Renaissance sculptors, and
the quaint fancies of Florentine engravers, are alike eloquent
for him. He has caught wondrous secrets of colour from the
mosaics of Ravenna, and has realised the mysterious charm
of Botticelli's Virgins. From the first he has felt in
stinctively the close community of thought and spirit which
binds him to these old masters and has recognised in them
his own kith and kin. But to imagine, as some have done,
that he has tried to revive the art of the past, or to imitate
the work of either Tuscan or Venetian painter, is a complete
mistake. There is no affectation of this kind in the work of
our nineteenth-century master. His art is as original as it
is profound. He is enamoured of beauty in all its forms, and
his eyes have drunk in loveliness from a thousand diiferent
sources. And with that marvellous power of assimilation
which belongs to genius, he has absorbed all these separate

Sir Edward Eurne-Jones, Bart. By G. F. Watts, R.A.

elements into his being, and has created a new world that is
all of his own invention. "The pictures of Burne-Jones,"
wrote his friend and master, Dante Rossetti, "e.xhibit gorgeous
variegation of colour, sustained pitch of imagination, and wist
ful, sorrowful beauty,all conspiring to makethemnot only unique
in English work, but'
in the work of all
times and nations."
The art of Burne-
Jones, our French
neighbours tell us, is
essentially English.
In the shape of his
faces, in the tall, slen
der forms of liis wo
men, they recognise
a distinctly national
type. At first sight
this criticism may
sound a little surpris
ing, but it is not with
out an element of
truth. There can be
no doubt that our
English master has
inherited the deep,
melancholy, and mys
tic poetry of his Celtic
ancestors, that in his
high artistic instinct
and passionate ideal
ism we recognise the
characteristics of the
race from which he
sprang. In that splendid ex
hibition of Sir Edward
Burne-Jones's works,
at the New Gallery
two years ago, the
one impression left on
the visitor's mind was the strong personal cast of the artist's
genius. Each picture, each study bore the same unmis
takable stamp of powerful and distinctive individuality. It
is not only that, as in the case, of other great masters, the
same type of countenance, the same wistful, yearning expres
sion seems to meet us everywhere, but that in each work we
are invariably conscious of the artistic personality that is
present behind the picture. These old stories of Greek or
Christian origin, of classic or mediaeval days, are pages from
the romance of humanity, through which the poet-painter
speaks the thoughts of his own heart. These fair faces, in
which the old and new world seem to meet and modern senti
ment is as it were grafted on to a classic ideal, these sad eyes
which haunt us with their look of unsatisfied longing, are
laden with the burden and the sorrow of the present day.
They are the offspring of an imagination that is ever beating
against the walls of this life, asking what lies beyond, and
whither we are tending. And they bear witness to the same
eternal and unchangeable truths that lie at the root of all
myths, new or old— the power of the unseen, the endless
struggle of the human soul with destiny, the beauty of sacri
fice and the might of lo\c.

SIR EDWARD BURNE-JONES, BART,

To clothe these visions of his brain
in the fairest of shapes, and present
his dreams to the world in a perfect
and enduring form, has been the aim
of Burne-Jones's life. His endeavour
has been crowned with complete suc
cess, and critics of all schools now
recognise that he has attained a de
gree of technical perfection which is
seldom found in the work of artists
who are endowed with the highest
imaginative faculty. " He is," wrote
the well-known French critic, M.
Ernest Chesneau, "the only modern
artist whose high gifts of design, com
position, and colouring- are equal to
the poetry of his conceptions." In this
respect he has outstripped Rossetti,
whose magnificent imagination was
cramped and marred by obvious limi
tations. The scholar has surpassed
the master at whose feet he sat, and
by dint of years of arduous and un
remitting toil has attained a thorough
ness of workmanship and a mastery of
means which, in the words of Tenny
son, are "the best security for going
down the stream of time."
How the painter worked his way
through the most unpropitious sur
roundings until he reached his present
rank among the foremost masters of
the age, will be told in these pages.
As an instance of the power of human
endeavour to overcome difficulties and
drawbacks, the story of Edward Burne-
Jones's career in itself deserves to be
written. As a record of the gradual
development of artistic genius it is of
the deepest interest. II.
Edward Burne-Jones was born at
Birmingham on the 28th of August,
1833. His father, Edward Richard
Jones, was of Welsh descent. His
great-grandfather had been a school
master at Hanbury, in Worcestershire,
but nothing is known of his earlier
ancestors. Neither his parents iior
any members of their family ever
showed any artistic leanings, and
saving for the Celtic blood in his veins,
there is nothing to account for the
special nature of his gifts on princi
ples of heredity. Never perhaps was
genius more entirely spontaneous both
in its birth and in its development.
The painter of ' The Briar Rose ' and
of ' The Days of Creation ' grew up in
the dulness and ugliness of a provin
cial city before the days of municipal

The Wheel of Fortune. By Sir Edward Burne-Jones. (See page 23.)
Engraved bv Bisco.mbe Gardner.

THE ART ANNUAL.

picture galleries and schools of .^rt. There was no great
cathedral or ancient abbey in Birmingham to fill the boy's
soul with dreams, nothing to relieve the dull monotony of the
streets except modern churches, for the most part of the worst
treori,nan type. The name of .-Vrt was never even mentioned in
the middle-class home where he was brought up on the narrow
lines of English Protestanti.sm. Children's story-books, as we
all know, hardly existed in those days, and fairy-tales were
unknown in the nursei-j-. "Sandford and Merton" and
" Evenings at Home " were long the only books on which the
youthful imagination was allowed to feed. To this day the
painter remembers with what hungry eyes he used to linger
before the booksellers' shops, reading the titles of the books
in the windows and longing to change places with the fortunate
shopman who stood behind the counter. In the innocence of
his childish thoughts, it never even occurred to him that he
might some day be able to buy the much-coveted volumes.
Fortunately for the artist's future, his father was anxious
that his only son should take orders in the Church of England,
and with this intention the boy was sent, at eleven )'ears of
age, to King Edward's School, at that time a flourishing

-\ Sl.bKIM.NG MmdEN. .-\ .SiUDV FOR THE UrIAR RoSE. (SeE OPPOSITE.)

centre of education under its famous schoolmaster. Dr.
Prince Lee, afterwards Bishop of Manchester. Here young
Burne-Jones had among his fellow pupils two of our most
distinguished ecclesiastics— Dr. Lightfoot, the late Bishop of
Durham, and the present Archbishop of Canterbury, who was
four years his senior ; while another eminent prelate. Dr.
^^'estcott, the present Bishop of Durham, who, like himself,
was a native of Birmingham, had only lately left the school.
During the next eight years the lad remained a day-scholar at
King Edward's, and threw himself with ardour into his
classical studies. He read Homer and Virgil with delight,
and found an irresistible fascination in the myths and legends
of the old Greek world.
In 1852, he won an exhibition at Exeter College, and went
up to Oxford to follow the usual course of study and prepare him
self for his intended profession. The " city of dreaming spires,"
so venerable and lovely in the present, and so rich in her associa
tions of tlie past, was more congenial to his poetic nature than
the streets of Birmingham. But the routine of college life and
lectures soon became distasteful to him, and he was chilled
and disappointed to find how little sympathy his enthusiasm
for classical mythology met with from his teachers •
Fortunately he soon found one kindred soul with
in the walls of his own college. On the same day
that Edward Burne-Jones came up to Oxford,
a young Welshman named William Morris also
entered Exeter College, with the same intention
of taking orders. A close friendship soon sprang
up between the two young men, who were drawn
to each other by the same sense of mutual lone
liness, by the same literary and artistic tastes.
Th.°y poured out their secret thoughts to each
other and shared each aspiration of their ardent
young souls. But no one who in those days saw
the two shy undergraduates in their walks and
talks together could have dreamt what great
results were to spring from their intercourse, or
what a lasting infiuence this Oxford friendship
was to have upon the art of England. Nor was
this the only debt that the young painter owed to
Oxford. True to her character as the " home of
lost causes and unpopular beliefs," the University
city had early thrown her fostering care over the
pre-Raphaelite movement. The earnest young
artists of the Brotherhood had found some of
their first patrons in Oxford. Mr. Wyatt had
given Millais repeated commissions, and both of
Holman Hunt's pictures, 'The Light of the
Worid,' and 'The Christian Priest escaping from
the Druids,' were bought by Mr. Combe, the
Director of the CLirendon Press. The same en
lightened collector had lately obtained possession
of one of Rossetri's finest drawings. The subject
was taken from Dante's " Vita Nuova," and re
presented the poet, on the anniversary of Bea
trice's death, in the act of drawing her portrait
as an angel in heaven, and inteiTupted bv the
unexpected arrival of visitors—
" In they broke, these people of importance,
"We and Bice bear the loss for ever."
Before this, Burne-Jones's notice had already
been attracted by a little wood-cut of the Maids
of Elfinmere in a volume of poems by William

H

2)

THE ART ANNUAL.

-•Allingham, which was signed with the initials D. G. R. The
mystic feeling of the faery forms had touched a chord in
his own breast, and now the sight of ^Mr. Combe's won-

come to his study in Chatham Place and showed him his
drawings. The result of this interview was that Rossetti, struck
bv the imaginative talent and fine sense of beauty apparent

A Sleeping JImden. .\ Study for -ihe Prur Rose. (See pktvious page.)

derful little picture, with its wealth of imagery and gem -like
colouring, filled him with passionate admiration for the un
known artist. From that moment he felt himself a painter,
and to pour out the dreams of his soul in art of this kind
became the passion of his life.
His friend, William Morris, shared his feelings on the
subject, and both young men determined to give up the pro
fession for which they had been intended and devote them
selves to the service of art. Both kept their resolve a secret
for the present, but soon Burne-Jones' longing to see the
painter whom he admired so greatly, proved too strong to be
resisted, and in the Christmas vacation of 1855, he came up to
town with the express object of seeking out Rossetti. I\Ir.
Ruskin was at that time much interested in the Working
Men's Colle.gc, which owed its existence lo the exertions of
Frederick Denison Alaurice and Charies Kingsley, and had
induced his friend Rossetri to give drawing-lessons at the
evening classes that were held in Great Ormond Street. There
the young Oxford undergraduate turned his steps, and to his
intense delight had the satisfaction of finding himself face to
face with his hero. The charm of Rossetti's presence helped
to increase the fascination of the artist, and though in his
shyness Burne-Jones shrank from an introduction to the
painter, he gladly accepted an invitation to meet him on the
following evening at :\Ir. \^ernon Lushington's rooms. This
time Rossetti not only spoke to him kindly but invited him to

in these first attempts of the untaught boy, urged him to
leave Oxford on the spot and devote himself ! without a mo
ment's delay to the serious study of art. '
Such a call could not be resisted, and by th^ beginning of
1856 Burne-Jones had given up all thoughts of taking his
degree and had settled in lodgings in Sloane; Terrace with
Rossetti for his guide and teacher. His new friend's theories
of art education were as original as everything else about him.
In Rossetti's eyes it was sheer folly to set a beginner to draw
from the antique. Either the drudgery of a task that was
beyond his comprehension and powers would Sicken him, or
else it would crush all the vitality out of him. Let the
student, he said, first of all learn how to paint, and then let
him express himself, however badly, in his own way.
Accordingly, one day when Burne-Jones had been watching
him at work on his drawing of ' Fra Pace,' Rossetti
put a brush in his hand and told him to paint the head of the
boy' who had been sitting to him. Burne-Jones obeyed
tremblingly, but Rossetti, who had the art of inspiring con
fidence into the most diffident, praised his sketch, and told
him that if he persevered he would some day be a great
artist. Some months later he came to see Burne-Jones in
Sloane Terrace, and found him at work on a Woodland land
scape, which he aftenvards used for the background of the
' Merciful Kni.ght.' After watching him for some time in
silence, he asked him what he had done with some drawings

SIR EDWARD BURNE-JONES, BART.

of his own which he had lent him to copy. Burne-Jones
immediately brought out the precious works, which he had
carefully mounted and laid away, upon which, to his amaze
ment, Rossetti deliber
ately tore them in two,
saying that he had no
thing more to learn from
.them. During the next few
years Burne-Jones lived
in almost daily companion
ship with Rossetti, and ex
perienced the full force of
that extraordinary ascen
dency, which made itself
felt upon all who came
in contact with his vigo
rous personality. What
that influence was can only
be realised by those who
have heard Sir Edward
Burne-Jones himself speak
of the master, of whom
he retains so vivid and
grateful a remembrance.
Certainly no one was
better fitted to kindle the
latent fire which, as Ros
setti's keen e3'es had so
quickly discerned, lay
slumbering in the breast
of his ardent young fol
lower. At the same time
his kindness showed itself
in more practical ways.
He exerted himself to
find remunerative work
for Burne-Jones, and pro
cured him first an order
for a drawing from the
Illustrated London
News, which was ulti
mately recalled, then a
more important commis
sion for designs for stained
glass from Messrs. Powell
of Whitefriars.
In the summer of 1856,
William Morris came up
to town and worked as an
architect under Mr. Street,
and settled with his old
college friend at 17, Red Lion Square. Both youn.c,'- men were
active promoters of the Oxford and Cambridge Magaeine, a
periodical which appeared that year under the editorship of
Mr. Fulford, with the express object of advocating moral ear
nestness and purpose in art and literature. It lasted exactly a
year, and during the course of its brief existence had the
honour of first giving Rossetti's " Burden of Nineveh " and
several of his other poems to the world, Rossetti on his part
watched the progress of the two young men with the keenest
interest, and the high opinion which he had already formed
of their talents is seen in the following letter, which he
addressed to his friend, Mr. William Bell Scott, early in 1857.

King Cophrtua and the Beggar Maid.
From the large Plate published

"Two young men, projectors of the Oxford and Cam
bridge Magazine, have recently come to town, also from
Oxford, and are now very intimate friends of mine. Their
names are Morris and
Jones. They have turned
artists, instead of taking
up any other career to
which the university ge
nerally leads, and both
are men of real ge
nius. Jones' designs
are marvels of finish
and imaginative de
tail, unequalled by any
thing, unless, perhaps,
Albert Diirer's finest
works, and Morris,
though without practice
as yet, has no less
power. He has written
some really wonderful
poetry too." *
Through Rossetti the
two young artists were
introduced to many of the
distinguished friends
whose intimacy he shared,
including, among others,
Tennyson and Browning,
Watts, and John Ruskin.
Burne-Jones had already
read the writings of the
Oxford graduate during
his college days, and had
hailed ' ' Modern Painters' '
as a message of light and
joy. Mr. Ruskin on his
part was equally fasci
nated with the genius of
the young painter, and
was as eager to enjoy the
charms of his conversa
tion as he was to buy his
drawings. From these
early days he lost no op
portunity of proclaiming
his admiration for his
friend's work, and, as our
readers are aware, some
of the most eloquent pas-
ages of his Oxford lec-

By .Sir E. Burne-Jones. (See page 23.)
BY Messrs. P. & D. Colnaghi & Co.

turcG were devoted to the art of Burne-Jones.

III.
When Burne-Jones finally adopted art as his profession, he
was already three-and-tweiity, and had passed the age at which
most artists have gone through the first drudgery of their ap
prenticeship, and mastered the rudiments of drawing. The years
spent at Oxford in classical studies had not been wasted, and
his fine literary taste and wide culture were to prove of the
* " Autobiographical Notes of the Life of W^illiani Bell Scott," edited by W.
Mioto, -Vol. II., p. 37.

THE ART ANNUAL.

utmost value. But no de.yree of imaginative power and poeti
cal feeling could supply the want of technical training. Of
this no one was more conscious than the painter himself, who,
in his own words, found himself at five-and-twenty where he
ought to have been at fifteen. He set himself resolutely to
work, to make up for these deficiencies, and bv slow and pain
ful degrees succeeded in recovering the ground which he had
lost. To-day he can look back at his early pictures with a
sense of satisfaction in the success of his efforts and the com
pleteness with which he has triumphed over the difficulties in
his way.
When the painter's works were brought together at the New
Galler)-, and we saw again these early drawings side by
side with the works of riper years, it was impossible not
to be struck by the constancy with which he had clung to
his old ideals, and the unity of purpose which marked the whole
of his artistic course. Saving for the great technical advance
that is evident in the later works, the painter at sixty is to
all intents and purposes the same as the youth of five-and-
twenty. The same mystic sentiment, the same delicate feeling
for beauty, lives in the pen-and-ink drawing, ' Sir Galahad
riding forth on his Sacred Quest' of 1858, as in the beautiful
cartoon of the ' Vision of the Holy Graal,' which he exhibited
last winter ; the same fanciful imagery, the same elaborate
ornament appears in Lord Lansdowne's ' King-'s Daughters,'
as in the pictures of the ' Briar Rose.'
At this period he devoted much of his time to these pen-and-
ink drawings on vellum, all finished with the same elaborate
care, and all marked with the same quaint richness of design.
One of these, bearing the date of 1856, had for its subject a
maiden watching the waxen effigy of her lover's heart melting

in the witch's furnace ; another of ' Childe Roulande ' is inter
esting as the first of the artist's works that was bought by
Mr. Ruskin. His first sketch in oils, a subject from the
" Nibelungen Lied," was begun in 1856 ; his first cartoons for
stained glass, an Adam and Eve and Tower of Babel, were made
for the Chapel of Bradfield College, and were designed in 1857.
That autumn he accompanied Rossetti to O.xford, and shared
in his memorable attempt to decorate the walls of the Union.
This building had been recently erected by his friend, Mr.
Woodward, and Rossetti, eager to try his hand at wall-painting,
offered to adorn the blank spaces above the windows of the
,t,'allery running round the top of the central hall with subjects
from the " Morte d'Arthur." The proposal was gladlyaccepted
and Sir Charies Bowen, the late Lord Justice of Appeal, who
was then President of the Union, entered warmly into the
details of the scheme, and readily agreed to defray the expenses
of the work, the only payment for which the artists asked.
Besides Burne-Jones and William Morris, the other artists
enlisted by Rossetti were Arthur Hughes, Spencer Stanhope,
Val Prinsep, T. Hungerford Pollen, and the sculptor, Alexan
der Munro ; " a more brilliant company," writes Mr. F. G. Ste
phens, " it would be difficult out of Paradise to select." But in
his enthusiasm, Rossetti had never paused to reflect that neither
he himself nor any one of his companions was acquainted with
the principles of tempera painting, and did not even see that
the walls were properly prepared to receive the colour. The
roof was painted in grotesque design by William Morris, and
a shield bearing the design of the Knights of the Round Table
was carved in the porch by Alexander Munro. The subject
selected b}' Burne-Jones was ' Nimue and Merlin,' a theme to
which he has twice veturned in later years. That of Rossetti was

St. George and the Dragon. By Sir Edward Burne-Jones. (See page 14.

LE CHANT D'AMOUR.
FROM IHB PAIHTIlfO BT SiB EDWARD BURNE-JONES. BAET,

^^yy^^^e^-^crkx^

SIR EDWARD BURNE-JONES, BART.

' Sir Lancelot before the Shrine of the Holy Grail.' Miss Siddall,
who afterwards became his wife, sat to him for the figure of
Queen Guinevere appearing in a vision to her lover, whose
guilty passion debars him from entering the Holy of Holies ;
while the sleeping knight was .studied from Burne-Jones. The

Chapel of Christ Church Cathedral, a commission given him
by Mr. Woodward, the architect of the University. The life
of St. Frideswide, the Saxon Virgin who founded the priory
at O.xford in the eighth century, was the subject which he
illustrated in sixteen richly coloured compartments. A

The Backgammon Players. By Sir Edward Burne-Jones. (See page io.)

difficulties of the work were endless. Instead of being accom
plished in a month's time, as Rossetti had fondly expected,
the paintings took six months, and before the end of that
time they had already begun to peel off the walls. At the
present time they are almost effaced, but in their ruined con
dition still bear witness to the enthusiasm and ardour of that
little band of artists.
In 1858 Burne-Jones was elected a member of the Hogarth
Club, a society which included most of the rising artists of
the day, among others Dante Rossetti, his brother W. M.
Rossetti, Madox Brown, Holman Hunt, Arthur Hughes,
Alfred Hunt, Frederic Leighton, G. Street, G. F. Bodley,
G. F. Boyce, William Morris, Val Prinsep, G. F. Watts,
Spencer Stanhope, and Thomas Woolner. Here his pen-and-
ink drawings and cartoons for stained glass were exhibited
side by side with the pictures of Rossetti and Madox Brown,
and the unknown youth who had come up from Oxford
two years before ignorant of the first principles of drawing
was already received in the most select artistic circle in
London. The year 1859 was a memorable one in his life, for that
autumn he took his first journey to Italy and visited Florence,
Pisa, Siena, and the hill-set cities of Tuscany. There, among
the painted dreams of Orcagna and Angelico, before the
Madonnas of Duccio and Sano di Pietro, he felt himself at
hom.e. He came back from his pilgrimage full of new creative
energy, and set to work on cartoons for a window in the Latin

window of the Creation was also designed for Waltham
Abbey, and a variety of pen-and-ink and water-colour draw
ings bear witness to the fertility of his brain and hand during
the course of i860. In June of that year the young painter,
then not quite twenty-seven years of age, was married, in the
cathedral of Manchester, to Miss Georgiana Macdonald, and
on his return to town settled in Russell Place, Fitzroy Square.
A month before, Dante Rossetti, who was only five years his
senior, had been married at Hastings to Miss Siddall. Mr.
Morris had also married in 1859, and was now settled in anew
house which he had built at Upton, Bexley Heath. There
Mr. Burne-Jones paid him a visit that autumn and painted
the portraits of Mr. and Mrs. Morris in a tempera picture
on the walls, as Sir Degrevaut and his bride, sitting robed and
crowned at their wedding feast.
Early in the following year, Mr. Bodley gave Burne-Jones
a commission for a triptych in St. Paul's Church, Brighton.
He painted the Annunciation on the central panel and the
Adoration of the Magi on the wings, but when the altar-
piece was placed in the church the elaborate details of the
background were found to interfere with the general
effect. Nothing daunted by his failure, the artist set to work on a
second triptych with a plain gold background which answered
its purpose better, and still hangs in St. Paul's Church. The
original picture was sold to a private collector, and after
passing through many hands was eventually offered to Mr.
D

IO

THE ART ANNUAL.

St. Doroike.a. and Theophilus. (.See page 12.)
From the Picture in the possession of A. E. Street,

Bodley as the work of an old master by a builder who had
picked it up at a sale for a few pounds, upon which the
architect immedi
ately recognised the
old altar-piece
which Burne-Jones
had long ago paint
ed for him.
The infiuence of
Rossetti, as might
be expected, is
strongly marked in
the water-colour
drawings which
Burne-Jones exe
cuted at tliis period
of his career. The
single figures of
Sidonia and Clara
von Bork, the hero
ines of Meinhold's
weird romance,
¦which he painted
in i860, might be
taken for Rossetti's
own work. The sorceress, with her mass of golden hair and
quaintly-patterned gown of black and
white, and her dark-haired sister
in green and amber robes, rival the
elder master's water-colour for
depth and brillianc)' of tone and ro
mantic conception. A group of little
pictures from the "Morte d'Arthur"
belongs to the next two years. In
'Merlin and Nimue' (page 15), the
artist returns to his old Oxford
theme, and .shows us the enchan
tress, Nimue, the white serpent, as
Tennyson's Vivien is called in an
cient versions of the story, luring the
old bard to his death. The false
siren .stands on the shore of the
magic lake with her book in her
hand, a little apart from the aged
seer whom she has caught in her
deadly toils, and the weird impres
sion of the story is heightened by
the desolate landscape and the pur
ple range of mountain peaks sharply
defined against the yellow sky.
Among the other subjects borrowed
from Mallory's romances were 'Mor
gan le Fay gathering poisonous herbs
for her spells,' and the ' Madness of
Sir Tristram,' a touching little pic
ture in which the love-sick knight
of Lyonnesse is seen lying on the
daisied grass, tended by fair dam
sels, who seek to heal his pain with
the sound of music and of song.

Esq.

Charity, (see page 17. j

For all their imperfections, their
lack of modelling, their angular forms and rigid draperies,
these early drawings have a strange charm. The hand of

the master is still untrained, his tongue still falters, he is
stammering out the first words of the language that will
ere long find its
full and perfect ex
pression. The works of
Chaucer were ano-
therfavourite source
to which the painter
owed some of his
happiest inspira
tions. Already in
1858 he had deco
rated a cabinet for
Mr. Morris with an
oil painting of the
Prioress' "Tale of
the little Christian
Child murdered by
the Jews," on
whose tongue —
" The Blessed Mary laid,
when he was dead,
A g^rain — who straight
way praised her name
in song."
A series of figures from the "Legende of Goode Women" were
now designed, and a picture of
Cupid sharpening his arrows in the
enchanted garden, described in the
Assembly of Foules, was painted in
1861. In common with Rossetti and
Morris, Burne-Jones has felt the
fascination of the bard whom the
poet of the "Earthly Paradise''
owns as " my master, Geoffrey
Chaucer." There is indeed a singular
affinity between this English singer
and artist, who are divided by so
long an interval of years. In both
we find the same passionate delight
in birds and flowers ; in both the
same love of rich and intricate deco
ration. And something of the same
deep melancholy, born of infinite
longing, wakes in the heart of the
old poet and of the modern painter,
when the " flowers and leaves
springe" and the "little birdes "
begin to sing in "the pleasant
month of Maye " —
"And of that longing commethhevinesse."
The influence of Rossetti is still
apparent in the figure of ' Hope,' a
giri holding an apple in her hand,
and a scroll with the words, "If
Hope were not, the heart would
break," painted in 1862, and in
' The Backgammon Players,' that
well-known picture (illustrated on
page nine) of a knight and lady sit
ting at their game in a garden fenced round with a trellis of
roses, which was sold at a bazaar for the relief of the distressed

SIR EDWARD BURNE-JONES, BART

1 1

Lancashire weavers, during the cotton famine of 1862. That
year the painter's work was interrupted by a serious illness,
and he was ordered abroad in the early spring. He and Mrs.
Burne-Jones both accompanied Mr. Ruskin to Milan, and after
wards went on by themselves to Venice, where the painter
spent some weeks copying Mr. Ruskin's favourite pictures,
especially the works of Tintoretto. But the sympathies of Mr.
Burne-Jones himself went out rather to the older Venetian
masters, and it was on this occasion that he first directed his
friend's attention to Carpaccio, whom the author of "The
Stones of Venice" had not yet discovered, and whose 'St.
Ursula ' and ' St. George ' were to inspire some of the most
eloquent pages of his later writings. When, seven years

IV.
On the Sth of February, 1864, Burne-Jones was elected an
Associate of the Society of Painters in Water-colours, on the
same day as Frederick Walker. In the following May he
sent four drawings to the exhibition that was held in the
Society's rooms in Pall Mall. All four were of great interest,
and their appearance was hailed as marking a new stage in
the artist's development. ' Fair Rosamond,' which had been
painted two years before, caught the notice of Mr. Ruskin's
father, who bought the drawing, and then found to his
surprise that it was the work of his son's intimate friend.
The other three were of more recent date. Cinderella was

The Wine of Circe. By Sir Edward Burne-Jones. (See page 15.)

afterwards, Mr. Ruskin returned to Venice, he acknowledged
his debt to the painter in the following characteristic letter : —
" Venice, I'^ik May, 1869.
" My Dearest Ned : —
"There's nothing here like Carpaccio ! There's a
little bit of humble pie for you ! Well, the fact was, I had
never once looked at him, having classed him in glance and
thought with Gentile Bellini and other men of the more or less
incipient and hard schools, and Tintoret went better with
clouds and hills. But this Carpaccio is a new world to me !
I've only seen the Academy once yet, and am going this
morning (cloudless light!) to your St. George of the Schiavoni,
but I must send this word first to catch post.
" From your loving J. R."
" I don't give up my Tintoret, but his dissolution of expres
sion into drapery and shadow is too licentious for me now."

represented trying on the glass slipper in a kitchen, with a
row of blue china plates that make a charming background
to her green skirt andWhite apron. ' The Annunciation ' was
the final expression of an idea that had long haunted the
artist's brain, and in design and colour formed an interesting
contrast to Rossetti's famous little picture, ' Ecce Ancilla
Domini.' The white-robed Virgin kneels all in white by the
bedside, with an expression of lowly awe and wonder on her
youthful face, and the bright red robes of the angel Gabriel,
who stands before her with outspread wings, match the
drapery of the couch and the carpet on the floor. But of the
four pictures exhibited that summer by far the most remark
able was that of ' Christ kissing the Merciful Knight.' The
visitor to Florence is familiar with the legend of St. Giovanni
Gualberto, the knight who rode out on Good Friday to avenge
his brother's death, but sheathed his sword and forgave the
murderer when he prayed for mercy in the name of Christ
who had died on the Cross that day. That evening, as the

12

THE ART ANNUAL.

.Spring (See page i6,)

Autumn. (See page 17,)

Merciful Knight knelt at the wayside chapel on the
hill of San Miniato, the Christ on the cruciflx bowed
to kiss his cheek, and at that miracle the warrior laid
down his arms to devote himself to the religious life,
and became the founder of Vallombrosa. This, then,
was the subject which, with the bloom of Italy still
upon him, the artist had set himself to paint on his
return from his travels. The forest background, with
its clear pool of water and glancing sunlight, was
the same which Rossetti had admired many years
before, but the hedge of flowering roses recalls the
Florentine hillside, where the miraculous event is
said to have taken place. Here the good knight
kneels, clad in steel armour, at the wayside shrine,
and his pale face, worn and wearied with the
struggle through which he has passed, gleams with
a look of unearthly beauty as the image of Christ
bends towards him. W^e are conscious of a divine
presence, and seem to hear the voice which tells us
that the merciful are blessed. The picture made a
profound impression at the time. Some were startled
and others repelled by the strangeness of the con
ception, but it was impossible not to recognise the
power and originality of the artist. In the Merciful
Knight, for the first time Burne-Jones revealed a new
and independent personality, entirely distinct from
Rossetti and utterly unlike any of his contempo
raries. All things, it was felt, were possible to the
painter of this picture.
From that time the individual genius of the artist
asserted itself more completely in each successive
picture. In 1865, a ' Knight and Lady,' a first version
of the ' Chant d' Amour,' was exhibited in the Pall Mall
gallery, together with ' Green Summer,' a group of
Venetian-looking women in olive-green robes, seated
in a grassy meadow, and a majestic figure of Astro-
logia, robed in crimson, gazing intently into the
sphere while she reads the fortunes of men. The
next year came 'Theophilus and the Angel,' a more
ambitious work, with several groups of figures and
a more complicated action. Here the subject is the
martyrdom of St. Dorothea and the conversion of St.
Theophilus. The Roman protonotary, meeting the
Christian maiden on the way to execution, one
February day when the snow still lay on the ground,
asked her why she persisted in throwing away her
young life. St. Dorothea replied that she was going
to join her Bridegroom in the garden of Paradise,
upon which he bade her mockingly send him some
flowers and fruits from that garden. In Burne-Jones'
picture (page 10) we see Theophilus onhis wayto the
law-courts, and a boy-angel standing in the portal to
await his coming, bearing a basket of roses and
apples, which Dorothea, true to her promise, has
sent the unbeheving Roman. In the background we
see the dead virgin, borne to her rest before the
pitying eyes of her old companions, and other
maidens are led by the priest to offer that sacrifice
which Dorothea had refused to pay at the altar of
Venus. On the right, another group of girls are
drawing water from a fountain crowned by a statue
of Pan, and above the red wall is a row of bare elms,
m the leafless branches of which the rooks are build-

SuMMER, (See page i6,f

,_  ^ ^_j^^2i

Winter. (See page 17.)

Love among the Ruins. By Sir Edward Burne-Jones. (See page 15.)

14

THE ART ANNUAL.

ing their nests. At first sight the picture recalls Carpaccio's
' St. Ursula,' and mi.ght almost be mistaken for the work of a
Quattrocento artist. Somethin.g of the same .spirit breathes in
the panels of
the story of
' St. George
and the
Dragon,'
which was
p a i n t e d
about this
time for
Mr. Birket
Foster's
house at
W i t 1 e y .
One of our
illustrations(page 8 )
shows the
Warrior Saint in the
act of slay
ing the dra
gon before
the eyes of
the captive
Princess Sabra. The other illustration above is taken from
the second picture of the set,
and represents the young
Princess Sabra, a quaint and
graceful little figure, reading
her missal, carefully holding
up her long skirts as she
paces the walk under the
rose - trellised wall which
divides her garden from the
thicket beyond.
In the year 1865 the idea
of publishing an edition, with
illustrations by Burne-Jones,
of Mr. Morris's poem, "The
Earthly Paradise," was first
started. Seldom, indeed,
has so close a community of
thou.ght existed as that which
is revealed in the poetry and
painting of these two friends,
and we can only regret that
the plan has never been
carried out. But to this un
finished project we owe some
of Burne-Jones' finest de
signs. In 1865 he prepared
seventy designs for the story
of Cupid and Psyche, which
were bought by INIr. Ruskin,
and presented by him to the
Oxford Museum. The same myth formed the subject of a series
of decorative paintings in the dining-room of Lord Carlisle's
house at Palace Green, which was begun b)' ^Nlr. Burne-Jones,
and ^afterwards finished by Mr. Walter Crane. He has also
given us several incidents of the story on a larger scale, both

.Si. George .\nd the Draco.v. Seiond .'^uijject. (See page 14.}

in oil and water-colour. One of the finest of these is the
' Cupid and Psyche ' painted and exhibited at the Water-
Colour Society's rooms in 1867, and afterwards repeated in
oils for Mr.
¦"^ ^ Leyland, in
whose house
it hung for
many years
over the
mantel-piece
in the hall.
Here the
god of love
is seen
stooping
from heaven
to the rescue
of Psyche,
when on her
return from
Hades she
opens the
dreadful cas
ket , and
finds her ly
ing in death
like slumber
by the marble fountain, with the fatal box at her side and
the rocky caverns of Taen-

arus and the
behind her.

river Styx

blUDY FOR THE AnGEL IN THE 'ANNUNCIATION.' (See PAGE 21.)

" But at that sight out burst the
smothered flame
Of Love, when he remembered all
her shame,
The stripes, the labour, and the
wretched fear,
And kneeling down, he whispered
in her ear,
' Rise, Psyche, and be mine for
evermore,
For evil is long tarrying on this
ihore.' "
The charm of the poetry
is marvellously rendered in
the delicate forms and soft
bright tints of the picture.
Still more lovely is the
'Pan and Psyche' (see
page one), painted in i86g,
but only exhibited for the
first time at the Grosvenor
Gallery in 1878. There
again the poet's description
is exactly followed. The
shepherd ,god Pan, kneeling
on the bank of the river, lays
his hand tenderly on the
head of Psyche, who lifts
her fair face sadly to him as
she stands in the rushes of
the stream, where she had vainly tried to drown herself in
her despair. The nude form of the hapless maiden and the
pitying expression of the compassionate god are both ren
dered with exquisite truth and charm.
There is a marked advance in the drawing and modelling

SIR EDWARD BURNE-JONES, BART.

15

of the pictures painted about this time. Nowhere is this pro
gress more apparent than in 'The Wine of Circe ' (see page 11),
exhibited in 1869 at the Gallery of the Water-Colour Society,
and long one of the chief ornaments of Mr. Leyland' s collec
tion. The old Greek story is told with dramatic force. The
feast is spread in the enchanted halls, golden sunflowers and
costly dishes adorn the board, and through the open loggia
we see the sails of Ulysses' ships making their way across the
green waves to the siren
isle. Clad in amber
robes, the dark-haired
witch glides stealthily
through the hall, where
black panthers gambol
at her feet, and drops the
poisonous charm into the
wine-jar prepared for her
guests. In 1870 the artist ex
hibited two more fine
water-colours at the same
gallery. One was the
charming little picture
of ' Love disguised as
Reason ' — Dan Cupid in
doctor's garb, with a roll
under his arm, and in
stead of quiver and
arrows, an ink-horn and
scarlet-tipped pens at his
side, discoursing gravely,
in a gay flower garden, to
two maidens, who listen
with attentive faces to the
words of wisdom that drop
from his lips, all uncon
scious that their teacher
IS the mischief-making
god himself. The other
was a subject from the
story of Phyllis of Demo-
phoon, the Greek myth,
¦ft'hich told how the
almond-tree first blos
somed. The deserted
maiden, whom the gods,
in compassion for her
despair, have changed
into an almond - tree,
already feels her limbs
stiffening into branches, when her faithless lover returns, and
forgetful of her wrongs she bends to clasp him once more in
her arms. The whole charm of the drawing lies in the pas
sionate expression of the maiden's love ; but strange to say, its
meaning failed to be understood by some persons, and a dispute
on the subject arose between the members of the Royal Water-
Colour Society. The artist immediately withdrew his picture,
and himself resigned his membership. His example was
promptly followed by Sir Frederick Burton, and the Society thus
lost two of its most distinguished members. This mistake was
not repaired until when, in 1888, eighteen years afterwards,
both Sir Edward Bilrne-Jones and Sir Frederick Burton were
re-elected members. of the Society. Since then the paintings of

The Beguiling of Merlin. j)y Sir Edward Burne- Jones. (See page 19.)

the great artist have once more adorned the walls of the
Old Society, where some of his earlier works were originally
exhibited, and his past laurels were won.
V.
During the next seven years the works of Burne-Jones were
no longer seen in London exhibitions, and his name was prac
tically forgotten by the
public. Only once during
the whole of that period
did he break through his
rule.. It was when, in
1873, he sent two water-
colour paintings to the
exhibition held by the
Dudley Gallery at the
Egyptian Hall, — ' The
Garden of the Hespe
rides,' and ' Love among
the Ruins.' This last
work has been again ex
hibited of late years at
the Manchester Exhibi
tion in 1887, and at the
Guildhall in 1892, and is
well known as one of the
master's mostperfect and
beautiful creations (see
page 13). Two lovers
meet among the ruins of
' ' what was once a city
great and gay," but
where now the grass
grows thick upon the
crumbling archway, and
the wild rose trails its
briars over fallen column
and sculptured frieze.
The young maiden, in
raiment of sapphire blue,
clings to her lover's neck,
her eyes still haunted
with the tale of horror
and ruin, while he throws
his arm protectingly
about her, and clasps
her in a loving embrace.
The expression of the
faces, the glory of
colour, and wealth of flowers that spring up in this scene of
desolation and havoc, all tell the same tale of love that is
stronger than death, and which time and fate have no power
to change. Yet this picture passed almost unnoticed by the
public, and was known to few persons until it was exhibited at
Manchester, fourteen years afterwards.
The painter worked on in silence, laying the foundations of
his future greatness, and producing one by one the pictures
which were to make his name famous in the coming years.
The ' Briar Rose ' series, the ' Days of Creation,' the ' Mirror
of Venus,' the ' Beguiling of Merlin,' the ' F'east of Peleus,'
' Laus Veneris,' the ' Chant d' Amour,' and the ' Golden
Stairs,' all belong to this period, and were worked at in turn

i6

THE ART ANNUAL.

during the years between 1870 and 1877. A large triptych of
' Troy Town ' was be.gun in 1870, but never completed. Seve
ral portions of this picture, however, have been separately
finished, and exhibited under different names ; such, for in
stance, as the ' Wheel of Fortune,' which was originally to
have formed part of the predella, and the two fine drawings of
' ^^enus Concordia ' and ' Venus Discordia,' belonging to Mr.
Po}'nter, that were exhibited at the New Gallery in 1892.
Another interesting work, for which cartoons were first de
signed in 1 87 1, was the ' Masque of Cupid, or the Procession of
Love's Victims ' (see page 17), described by Spenser's "Faery
Queen" (Book III., canto xii.), which Britomart sees pictured
on the tapestries of the castle of Busyrane. Fancy, the " lovely
boy, of rare aspect and beauty without peere," leads the way,
looking up to heaven, followed by Desire, Death, Danger, Mis
chief, " Griefe all in sable sorrowfully clad," and a long line
of good and evil companions. Last of all we see the " faire
Dame," led by those two grisly villeins, " Saevitia and
Crudelitas," and closely followed by Dan Cupid himself, riding
on a ravenous Lion, clapping his coloured wings and shaking
his feathered darts as he goes. The symbolic imagery of
Spenser's allegory is elaborately reproduced, and the words

Temperance. By Sir E. Eurne-Jones. (Si.e page 17.]

Study for the Head of 'Fortune.' (See page 3,

which Britomart read on the iron doors of the chamber, " Be
bold, be bold, be not too bold," are repeated at intervals above
tlie frieze.
The same love of allegory led the painter to revert to a prac
tice common among Renaissance masters and to represent
the Virtues, the Seasons, and other abstractions in a succes
sion of single figures. Mr. Burne-Jones' genius is peculiarly
well adapted to this form of art. Each portion of his
allegorical pictures is carefully thought out and expressed in
beautiful and poetic imagery. Nothing which may heighten
the significance of his design or detail or help to bring out the
central thought is left undone. The very colours which he
employs, the hues and folds of his drapery, his landscapes and
skies are full of meaning. Even ornament in his hands is not
without its spiritual intention. Each jewel or embroidery is
alive with fancy, the fretwork of pillar or casket, the patterns
of damask and brocade are inspired by some definite purpose.
Among the allegorical figures which had been already
exhibited at the Water-Colour Society's rooms were ' Spring '
and 'Autumn,' the two first of the set of Seasons originally
painted for Mr. Leyland. ' AVinter ' and 'Summer' were
completed in 1871, and seven years later the whole series
(illustrated on page 12) were exhibited at the Grosvenor
Gallery. Each picture bears a verse, written by Mr. William
Morris, which harmonizes exactly with the spirit and poetry
of the design. Spring, a fair-haired maiden, robed in pale
grass-green, and holding a spray of blossom in her hand,
stands looking out pensively from a background of flowers and
yellow drapery ; the whole decoration suggestive of the young
leaves, the primroses, and the daffodils which she brings in
her train. " Spring am I, too soft of heart
Much to speak ere I depart.
Ask the summer-tide to prove
The abundance of my love."
Summer is a dark-haired maid with a lovely face and a
white gossamer robe, wreathed with roses, standing on the
marble steps of a crystal pool where blue forget-me-nots
blossom in the water at her feet.
*' Summer looked for long, am I,
Much shall change or ere I die.
Prythee take it not amiss.
Though I weary thee with bliss."

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SIR EDWARD BURNE-JONES, BART.

17

Autumn wears a rich
crimson robe and holds
a pomegranate in her
hand, as she stands
under the fruit-laden
boughs on the edge of
a marble tank full of
water-lilies, and gazes
mournfullyat us, weary
of all her gains, and only
longing to be at rest.
" Laden Autumn here I stand.
Worn of heart and weak of
hand.
Naught but rest seems good
to me,
Speak the word that sets me
free."
Winter is a matron
of riper years, with se
rene blue eyes and
quiet brows, who
stands by the frozen
waters, wearing a long
white mantle lined with
fur, and holding an
open book in one hand,
while she warms the
other at an open fire
burning on the marble
hearth. She, too, has
a message to give, a
word of hope for those
dark days when the
,,,„„„ ,^ impressions of the
The First Day of Creation. (See page 19) '^
past are garnered up,
and we live on the memories of vanished joys.
" I am Winter, that doth keep
Longing safe amidst of sleep.
Who shall say if I were dead
What should be remembered ? "
This beautiful series was closely followed by two figures of Day
and Night, for which Mr. Morris again supplied the mottoes.
Day, a bright-haired boy with lighted torch, and the white
mists of morning trailing at his feet, unbars the eastern gates
and lets in a flood of light over the grey land and sea at his
feet. " I am Dawn, I bring again
Life and glory, love and pain.
Awake, arise from death to death,
Through me the world's tale quickeneth."'

Night, clad in deep
blue, stands under the
starlit sky, with fast-
closed eyes and in
verted torch, before
a portal overgrown
with hops, and closes
the door upon the
world without.

"I

bring

am Night, I
again
Hope of pleasure, rest
from pain ;
Thought unsaid 'twixt life
and death
My fruitful silence quick
eneth."

Study for the ilAsyuL ui- Cuiid-Penlil. (See page luj

To these we may
add Luna, . a curved,
blue-robed figure, fly
ing through the sky,
her face clouded with
drapery, and her. feet
resting upon the silver
crescent ; and Vesper,
a lovely vision of a fair
maiden in pale green,
with her face turned
away, and her long
locks flying on the
breeze, as she floats
calmly through the
blue twilight air over
the domes and cy
presses of a sleeping
city, on the shores of a
silent sea (page 18).
The three Christian
virtues. Faith, Hope,
and Charity, form an
other set, which was
painted at intervals
between 1870 and
1877. Faith is a stately
woman holding a burn
ing lamp in one hand
and a green bough of
unfading leaves in the
other, while the dra
gon of Doubt writhes
under her feet. Hope,
fast bound in prison walls, looks up with a serene and steadfast
gaze, reaching out one hand to tlie blue cloud which brings
the promise of heaven to cheer her captive hours, and holding
a bough of apple-blossom in the other. Charity (illustrated
on page 10) is a fair matron in blue and crimson robes with a
look of tender love and pity on her face, clasping two babes in
her arms, while four other little ones cling to her skirts and
play with the long ends of her girdle. The figure of Temper
ance (see page 16), pouring water from ajar ontheflames that
have no power to harm her, also belongs to this period. Yet
another set of symbolical figures, the Hours, originally
designed in 1865, were first painted in 1870, and not exhibited
until 1883. These differ from the other allegories in one par
ticular, all six figures
being set in the same
frame and represented
sitting on a bench in
a row. All six are fair
maidens arrayed in
the brightest of hues.
The first, in blue, is
. *#, waking from sleep;
the second, in flame
colour, wipes her
hands on a towel ; the
third, in red, is spin
ning ; the fourth, in
green, feasting; the
fifth, in crimson, plays
1'-

The Si.xTii Day of Creation. (See page ig)

THE ART ANNUAL.

the lute ; and the sixth, in pur
ple, falls asleep. Work and
meals divide the earlier part
of the day ; at nightfall, music
and rest lead us hand in hand
to sleep. These allegorical
pictures, interesting and elabo
rate as they are, formed but
a small part of the painter's
work at this period. But they
illustrate his studies, and show
the current which his thoughts
were taking during these years
that he spent hidden from the
outer world. In 1865, he had
moved to Kensington Square,
and in 1867 he settled in his
present home at The Grange, in
North End Road. Here he
lived and worked, undisturbed
by the praise and blame of
critics and forgotten by the
outer world. His pictures at
this time were only seen by a
small circle of private friends.
Even his old admirers re
mained, for the most part, ig
norant of the long list of great conceptions which were silentl}'
growing into shape, and were unprepared for the surprise
which broke upon their eyes when in May, 1877, the Gros
venor Gallery first
opened its doors.

VI.
The first exhibition
at the Grosvenor Gal
lery was held in the
summer of 1877, and
on this occasion Mr.
Burne-Jones appeared
once more before the
public with no less
than eight pictures.
Chief among these
were the ' Days of
Creation,' which, to
gether with the ' Be
guiling of Merlin ' and
the 'Mirror of Venus,'
hung at the one end
of the principal room.
That May morning
was a memorable mo.
ment in the annals
of English art. Other
distinguished artists
contributed to the ex
hibition, but the
works of Burne-Jones
proved the great at
traction of the show.

The Evening Star. (See page 17.)

Call of Perseus. (First T)i;sign) (See page 24.]

and the honours of the day
were altogether his own.
Lovers of Italian art saw with
surprise that here was a
painter of our own, English
born and English bred, who
had an imagination as full of
mystic poetry, a sense of
beauty as intense as any old
master of Renaissance times.
It was as if a new world, full
of glamour and enchantment,
had suddenly burst upon them ;
that world of which Mr.
Swinburne, in the famous de
dication of his poems, had
written in such glowing lan
guage twelve years before, at
a time when the British public
as yet had hardly even heard
of Burne-Jones.
" In a land of clear colours and stories,
In a region of shadowless hours.
Where earth has a garment of glories
And a murmur of musical flowers,
In woods where the springhalfuncovcr.
The flush of her amorous face.
By the waters that listen for lovers.
For these is there place ?
Though the world of your hands be more gracious
And lovelier in lordship of things.
Clothed round by sweet art with the spacious
Warm heaven of her imminent wings. Let them enter, unfledged
and nigh fainting,
For the love of old loves
and lost times.
And receive in your palace
of painting
This revel of rh3-mes.''

Mr. Burne - Jones'
pictures of course ex
cited a large amount
of ridicule and abuse,
and not a little of that
curious anger which
all serious art of a
decidedly original
kind seems to pro
voke. They were
called effeminate,
morbid, pessimistic,
even immoral, and in
some quarters their
tendency was pro
nounced to be a dan
gerous symptom of
the decadence of the
English race. But
even those who could
not forgive the painter
for not seeing things
as they saw them,
recognised in him an
artist of rare talent
and distinction. The
sympathetic critics

SIR EDWARD BURNE-JONES, BART.

19

who had considered him rather
in the light of an amateur of
genius than of a serious artist,
saw with surprise how com
pletely he had mastered the
technical difficulties which for
merly hampered the expression
of his thoughts, and owned
that he had surpassed their
highest expectations.
Among the works then exhi
bited, the 'Days of Creation'
held the foremost place, both by
reason of the originality of the
conception, and the high de
gree of finish which the painter
had bestowea: upon them. All
the resources of his genius had
been brought to bear upon
these six grand angels, who with
widespread wings and calm
solemn faces stand before us,
holding in their hands a crys
tal sphere, in which some act of
creation is pictured. Each is
a separate picture in itself, yet
the whole series is linked to
gether by an unbroken chain
of thought. Each angel has his own attributes, each is dis
tinguished by different gradations of tone and colour, ac
cording to the place which he holds in the ascending
scale of creation. The robes and wings of all are painted
in varying shades of blue and purple, touched with gold,
and gradually increasing in brightness and richness of effect,
with each succeeding day. The first angel (see page 17)
holds a sphere which reveals the ordering of chaos, in obe
dience to the words, "Let there be light"; the second
shows the dividing of
the waters from the
dry land. In the third
picture we see the crea
tion of the trees and
plants; in the fourth,
that of the sun and
moon; in the fifth that
of the birds and fishes
of the seas ; and in the
sixth (page 17), Adam
and Eve are seen, with
the tree of knowledge
and the serpent coiled
around its stem in the
background. Certain
features, the flame-
crowned brows, the
great sorrowful eyes,
and the majestic wings,
are repeated through
out the series. In each
picture, the form of the
preceding angel appears
in the background. The
first angel is seen be- A Sea Nymph.

The Virgin. F''rom * The Annunciation.' (See page 21.)

hind the second, and the first
and second are repeated in the
third picture, and so on, until
in the last, all six angels ap
pear together, and the angel
of the Seventh Day is seen
crowned with roses at the feet
of the others, chanting the
praises of the great work of
Creation to the music of his
lyre. The whole series is
thought out and painted with
marvellous completeness, and
in point of grandeur of form,
subtle dehcacy of colours, and
mystic beauty of expression,
the ' Days of Creation ' remain
unsurpassed by any of this
master's works.
The 'Mirror of Venus' was
begun as far back as 1867.
The first and smaller version
was painted for Mr. William
Graham, and now belongs to
Mr. Charles BuUer. The larger
and finer version exhibited on
this occasion, became the pro
perly of Mr. Leyland, after
whose death it was sold for the large sumof;^3,57o. It is
one of those dreams of pure beauty with which the painter
loves to delight his soul, after the manner of the old Flo
rentine and Venetian masters. As shown in our large plate,
a group of nine maidens are seen in a green valley, "love
lier than all the valleys of Ionian hills," under a blue
sky, kneeling and bending in different attitudes round a
clear lake which reflects their flower-like faces and rain
bow-coloured robes in its crystal waters. Venus herself, the
tallest and fairest of
the group, stands erect
among her maids, in
an azure robe, with a
myrtle bush at her side,
and behind them the
rolling uplands frame
in a stretch of 3rellow
sands and of blue sea.
Every shadow in the
distant hills, each petal
in the water-lilies and
forget-me-nots of the
pool is painted with ex
quisite delicacy. It is
a picture which lifts us
for a httle while out of
this work-a-day world,
and takes us back to
Arcady. The 'Beguiling of
Meriin' (illustrated on
page 15), was also
painted for Mr. Leyland,
and sold at his death for
(See page 22.) 3,780 guineas. Here

20

THE ART INNUAL.

the painter goes b.ick
to his old favour
ite, the " Morte d'Ar
thur," and shows us
the great Wizard
caught in the wiles of
the enchantress in the
woods of Broceliande.
Under the blossom-
inghawthorn- tree that
winds its boughs in
fantastic shapes above
herhead, we see Vivien
in her purple robe and
snake-like grace, with
the magic book open
before her, as she puts
forth the spell of wo
ven paces and waving
hands Which is to
make Merlin's glory
hers. Already the fa
tal charm has begun
to work, and the fixed
glassy look of death is
stealing over the great
magician's face as he
lies at the feet of the
siren, ' lost alike to
life and use, to name
and fame.'
In 1878 Mr. Burne-
Jones followed up
his first success with
a no less splendid
array of pictures. 'Laus Veneris,' a work begun seven
teen years before, and only recently taken up again and
finished ; the new version of the ' Chant d'Amour,' painted in
1873; 'Pan and Psyche,' the 'Seasons,' and 'Day' and
' Night,' were all exhibited at the Grosvenor Gallery during
that summer.
The first of
these attracted
universal at
tention by its
sumptuous co
louring, and the
flavour of Pro
vencal romance
which lent a
charm to the
subject. A
love-sickqueen,royally attired
in flame - co
loured bro
cades, but sad
and pale for all
her splendour,
rechnes wearily
in a bower
hung with
green tapestries

Pygmalion. 'The Hand Refrains.' (See page 21.)

'^|«M/iin'3siiSiffle K^'ihrnukc mw nm\s mMmu wmi) vh i oii/tMionoKm'K.fiofiiiHns

The King and the Shepherd. Design for -Window at Torquay. (See page 26.)

embroidered with love
tales of olden time in
blueandgold. Around
her stand her maidens
who, decked in bril
liant raiment, and
holding open scrolls
ofmusicintheirhands, sing the praises of
love to cheer their
mistress in her lonely
hours, and through
the open casement we
see live knights on
whitehorses who pause
to listen as they ride
by, and look in with
eager and expectant
faces at the lovely
group within.
If the gay colour of
' Laus Veneris ' re
called the illumina
tions of mediseval
service books, the ex
quisitely blended hues
and the romantic sen
timent of the ' Chant
d'Amour ' seemed an
echo of Giorgione's
art. No lovelier idyl
was ever painted than
this of the love-lorn
knight in his crimson
doublet and gleaming-
armour, listening to the music which his lady plays on the
organ in the flowery pleasaunce, where Love blows the bellows
and the setting sun steeps castle towers and distant woods in
the radiant light of evening. We give a large illustration of
this subject. As a rule, all these pictures, painted between
1870 and 1878,
are remarkable
for their rich
and brilliant
colour. But to
wards the close
of this period
the painter
seems to enter
on a new phase,
and to take
pleasure in
showing how
much depth and
variety can be
obtained by
working either
in a single line
or in subdued
tones. This
preference for a
low key and
soft tints of

SIR EDWARD BURNE-JONES, BART.

21

colour is evident
in the four pictures
of 'Pygmalion and
the Image,' one of
the series suggested
by the ' Earthly Pa
radise,' and which,
after being worked
upon at intervals
during ten years,
was finally com
pleted in time for
the Grosvenor Gal
lery Exhibition of
1879. First of the
four comes ' The
Heart'sDesire': the
tall, dark-eyed
sculptor brooding
sadly over the Graces
which he has carved
in stone, sick with
longing for an unat
tainable ideal, and
disappointed and
dissatisfied alike
with work and life.
Through the open
door we see the
merry girls passing
by in the sunny
street, but even they
have lost the power
to charm him now,
and cannot Hft the
weight of longing from his heart. In the second picture,
' The Hand Refrains,' (page 20), we see Pygmalion
gazing wistfully on the lovely statue that his hands have
fashioned, enamoured with the beauty of his own crea
tion, and yet
powerless to en
dow her with
1 ife. In the
third, 'The
Godhead Fires,'
(page 21), we
see Venus,
moved by his
prayer, des
cending from.
Heaven in a
blue cloud, with
roses fallingand
doves fluttering
about her, to
breathe the di
vine spark of
life into Pygma-
lion's image.
At her touch
the life-blood
kindles, and a
rosy glow

Pygmalion. ' The Godhead Fires.' (See PAdE 21.)

The Nativity. Design for Wivdow at Torquay. (See page 2.t.)

spreads over the
cold marble as
the statue bends
forward with out
stretched arms to
wards the life-giving
goddess. In the
fourth, ' The Soul
Attains,' Pygma
lion sees the. work
of his hands be
come alive, and
falls in a passion of
love and worship
at the feet of the
fair woman, who
yields her hands to
him, and gazes in
tently before her,
with eyes full of
newborn wonder,
while the blossom
ing lilies of the
garden outside tell
of the return of
spring. 1879 was also me
morable as the year
when Mr. Burne-
Jones' great 'An
nunciation' was
exhibited at the
Grosvenor Gallery.
This again, is al-
most entirely
painted in monochrome, and its effect depends altogether on
design and expression. Yet the very whiteness of the whole
gives his rendering of the angelic salutation a wonderful
charm. The Virgin receives the heavenly message standing
in the wTiite
porch of her
home at Naza
reth, before a
narrow arch
way adorned
with a bas-re
lief of 'The Fall
of Man.' A
tall bay-tree
spreads its dark
green foliage
over the wall,
and in the
branches, his
wings serenely
folded, and feet
meeting to
gether, stands
the angel who
has come from
the presence of
God to bring
the news of
G

THE ART ANNUAL.

peace and goodwill to
man. The simple and
severe beauty of the com
position, the pure love
liness of Mary's face,
the white folds of her
clinging robe, recall the
early works of the old
Italians ; but none the
less, the conception is
entirely modern ; modern
in the wonderful sense
of arrested movement
that marks the suddenly-
descended angel ; mo
dern above all in the
expression of the Virgin's
face (see page 19), as
filled with wonder and
awe at the divine mes
sage, she ponders these
things in her heart. The
novelty of the whole con
ception, and the peculiar
shape of the picture,
startled some of us at
first, but by degrees peo
ple began to realise its
truth and beauty, and to see in this 'Annunciation ' one of
the finest religious pictures of the day.
Closely akin to this work, both in its sympathy with
mediseval Art and in the quality of its colour, is the roundel of
'Dies Domini.' Here we see a youthful and beardless Christ
borne through
space on the
wings of angels,
whose fair faces
look out through
the maze of azure
plumage faintly
touched with rose
and silver, as He
comes to judge
the world. One
arm is lifted in
wrath, the other
points to his
wounded side,
while a smile of
love and mercy
hovers about the
gracious lips.
Nowhere is the
powerful original
ity of the artist's
imagination, the
strength and
beauty of his de
sign, more con
spicuous than in
this water-colour,
which was ex
hibited at the

Dies Domini." (See page 22

-A. \\ ooD Ny.mph. (See page 22.)

Winter Exhibition at the
Grosvenor Gallery in
1881, and isnow the pro
perty of Lord Carlisle.
Another and totally
opposite example of Mr.
Burne-Jones' success in
monochrome is ' The
Golden Stairs,' first ex
hibited in the summer
of 1880. Unhke the last-
named works, this pic
ture does not depend on
the interest of the sub
ject or the mystic charm
of expression in the faces.
As may be seen in our
plate, it is simply a troop
of young girls descend
ing a winding flight of
stairs bearing musical
instruments in their
hands. All alike are
robed in varying shades
of ivory white and grey,
only relieved by the de
licate carnations of their
faces and the bright
flowers wreathed in their hair or scattered on the steps at
their feet. What other colour there is in the picture — the
red tiles of the roof and the plumage of the doves— is of the
softest tints. But each movement of arm and foot, each turn
of head and neck, is rendered with subtle charm, and the
sight of all these
youthful faces and
lovely forms in
motion leaves the
same impression
on the mind as
some perfect poem
set to exquisile
music. The two pic
tures of the
' Wood Nymph '
(page 22), and
the ' Sea Nymph,'
(page 19), both
painted in 1880,
are another in
stance of the ma
gical effect which
the artist can pro
duce by working
in a single colour.
Both were origi
nally intended to
be executed in
plaster, and are
accordingly more
purely conven
tional in character
than most of

SIR EDWARD BURNE-JONES, BART.

23

Burne-Jones' work. The ' Wood Nymph ' is seated in the
heart of a laurel thicket, surrounded by foliage of every shade
of green. Her ocean-born sister dances on the blue waves,
sporting with the fish that dart to and fro, and the ruddy locks
of her hair wafted on the breeze, repeat the undulating flow
of the billows.
Yet another picture of this period, ' Perseus and the
Graiae,' is painted in practically
the same uniform key. Here
the cold grey-blu'j tints are
¦admirably adapted to the sub
ject, and the three weird sisters
are seen huddled together in
their grey hall, rocking their
bodies to and fro, and crooning
their dreary song on the deso
late plain, by the shores of the
tideless sea. This picture was
exhibited at the Grosvenor
Gallery in 1882, together with
the 'Mill,' a charming group
of girls dancing in a meadow
near the water-wheels of an
old mill; the ' Tree of Forgive
ness,' a larger version of the
story of Phyllis and Demo-
phoon ; and the ' Feast of
Peleus,' a brilliant little pic
ture of Mercury picking up the
fatal apple which Discord has
thrown into the banquet-hall
where the gods are feasting.
The next year came the
'Wheel of Fortune,' that noble
picture of t'he goddess slowly
turning the wheel to which the
helpless victims of fate are
bound, from the slave enjoying
his brief hour of triumph and
trampling on the crowned
monarch at his feet, to the poet,
who from the lowest rung of
the ladder, looks up with a hght
in his eye and the hope of a
better day in his heart. The
sombre greys and purples of
Fortune's robes, her calm, sad
but immovable face, and the
huge size of the wheel (see page
three) all help to convey the
impression of irresistible might
and fixed unchangeable destiny.
This was followed in 1884
by ' King Cophetua and the
Beggar Maid,' the most gene
rally admired, and, in some
ways, the most complete of all Burne-Jones' works. The
same romantic sentiment which had inspired ' Love among
the Ruins,' the ' Chant d'Amour,' and ' The Garden of Pan,'
here attains its highest development. All the wealth of the
painter's fancy and splendour of colour at his command are
employed to glorify his favourite theme. The most costly
marbles and richest draperies, the brightest hues of blue and

The Depths of the Sea.
From the Picture in the Possession of R. H. Benson, Esq.
The only One by the Artist ever Exhibited at the Royal Acade.my
(See page 24.)

purple, of rose and violet, adorn the throne where the maid of
low degree sits in her plain grey robe ; the chased armour of
her royal lover and the crown which he bears in his hand are
marvels of the goldsmith's art, and beyond the faces of the
fair children who stand behind the throne, we catch a glimpse
of blue sky and woodland. But all these separate details only
serve to give fuller expression to the central thought of the
picture — the passion of worship
in the eyes of the warrior king
as, lost in the supreme aban
donment of love, he gazes on
the face of the shrinking beg
gar maid whom he has raised
to share his throne. This pic
ture excited universal admira
tion in Paris at the Interna
tional Exhibition of 1889. On
that occasion it occupied the
place of honour in the English
gallery, and the best French
critics paid the highest tribute
to its impassioned sentiment
and high technical merit. By
the courtesy of Lord Wharn-
cliffe and of Messrs. P. & D.
Colnaghi & Co., we give, on
page seven, a reproduction of
this subject, which is not pub
lished except in a large plate.
Thenextfewyearswere chiefly
devoted to the ' Briar Rose '
series and the pictures from the
'Story of Perseus.' But three
fine works appeared at the
Grosvenor Gallery of 1886.
' The Morning of the Resur
rection ' (see page one), was a
solemn and impressive render
ing of the Easter story. Two
angels, with outspread wings
and flame-crowned foreheads,
keep watch by the red porphyry
tomb in the rock-hewn grave
where their Lord has lain. Each
raises a finger to his lips
with a whispered Hush ! as
they become aware of the si
lent form who draws near,
wrapt in a long blue robe. The
sorrowful Magdalene, standing
by the empty tomb, turns sud
denly round and fixes her
yearning eyes on the mysterious
Stranger, whom she will pre
sently own as her risen Lord.
Here, again, we realise the
same sense of mystic meaning, the same consciousness of a
divine event that makes itself felt in the ' Merciful Knight ' or in
the great 'Annunciation.' Two single figures were exhibited at
the same time. One was the Sibylla Delphica (page 24), who,
arrayed in fiery orange, and divining the oracles of Apollo from
the laurel bough above the tripod, recalls, in her inspired air, the
Astrologia of 1865, The other was that lovely profile of a fair

24

THE ART ANNUAL.

The B.\th of '\'-enus.
(See page 24.)

young girl in blue drapery and hood, holding her beads in her
hand, which goes bythe nameofFlammaVestalis(page 25), and
is perhaps the most popular
of all Burne-Jones' pictures.
It belongs at the present
time to Lord Justice Davey,
by whose kind leave it is re
produced. The same year he was re
presented at Burlington
House by a work of an en
tirely novel description, dif
ferent, indeed, from anything
he has painted before or
since. In 1885, Mr. Burne-
Jones had been elected an
Associate of the Royal Aca
demy, and recognised the
compliment paid him by
sending the picture known
as 'The Depths of the
Sea' to the yearly exhibition.
A mermaid, with a strange
smile on her lips, is seen
dragging her mortal lover
down to her home in the
rocky column- and shell-
strewn caves of the deep,
all unconscious that the
breath has left his body, and
that the manly form she
clasps in her arms is growing
cold in her embrace. This
picture, reproduced on page 23, one of the most dramatic ever
painted by the artist, is the property of Mr. R. H. Benson, and
enjoys the distinction of being the only work which the
painter has ever exhibited at Burlington House. Sir Edward
Burne-Jones, to the general surprise and regret of his
countrymen, has never been advanced to the full honours of
Royal Academician. In the spring of 1893, more than seven
years after his election, he resigned his Associateship, and
severed his connection with a body which can hardly be said
to have appreciated the position which he holds in the eyes
of the civilised world. VII.
One of the most important sets of pictures which owes its
origin to the 'Earthly Paradise' is the 'Story of Perseus,'
which Mr. Lowell pronounces to be, in his opinion, "the
greatest achievement in Art of our time or of any time."
Eight designs were made about 1875 and several large
oil paintings of the series have been completed in recent
years. In the first of these, the ' Call of Perseus' (page 18),
we see the goddess Athene appearing to the hero and bring
ing him the cap of darkness, the sword, and the polished
shield, with which lie is to vanquish the Gorgon. Two
others, ' The Rock of Doom ' and ' The Doom fulfilled,'
were exhibited at the opening of the New Gallery in 1888.
In the one the hero pauses as he flashes through the air on
his winged sandals, at the sight of the captive Andromeda
chained to the rock. In the other he plunges the magic
sword into the giant sea-serpent before the eyes of the maiden
who was to have been his prey. In a third, ' The Baleful

Head,' exhibited at the Grosvenor Gallery in 1887, Perseus
allows Andromeda to gaze at the reflection of the Gorgon's
head in an octagonal fountain of the garden. Another pic
ture, representing an incident in the same story, although
it does not actually form one of the Perseus designs, is ' The
Tower of Brass,' which was also exhibited at the opening
of the New Gallery. Here Danae, the hero's mother, robed
in bright crimson, stands by a cypress-tree in a garden
full of iris and columbine, and looks, with dim foreboding
in her eyes, at the brazen tower which the king, her father,
is building to be her perpetual prison, in the hope of averting
the death which awaits him at his grandson's hand. In
the same year, ' The Bath of Venus' (page 24), a picture
of the goddess, surrounded by her maidens, stepping down a
flight of marble stairs to the water's edge, which had been
commenced fifteen years before, was finished and sent to the
Institute at Glasgow. Among the works exhibited at the
Grosvenor in 1889 was ' The Garden of Pan,' a charming
picture of two lovers listening to the shepherd-god's magic
song, in a garden where blue king-fishers and dragon-flies
dart to and fro among traihng ivy and tall flowering grasses,
and a green hillside shuts in the valley, and keeps them safe
from the outside world.
The year 1890 was rendered memorable by the exhibition of
the ' Briar Rose' pictures (pages four, five, and six), which
was held at Messrs. Agnew's Rooms in Bond Street. Cartoons
of the sleeping maidens had for many years past been
admired in the artist's studio, and the date 1870 — 1890
was inscribed upon the
completed series. The
old fairy tale was sin
gularly well adapted
to his peculiar genius.
The faces that he
paints are always la
den with dreams, and,
as it were, haunted by
memories of the sleep
from which they have
lately awakened.
These slumbering
knights and maidens,
in every attitude of re
pose, were a theme
after his own heart.
With instinctive skill,
he has chosen not the
actual moment of awa
kening, but the eve of
that awakening, and
has lavished all the
treasures of his pro
digal invention, the
richest decoration and
choicest ornament, on
the scenes of this fairy
world. The first picture
shows us the Briar-
wood ; that tangled
thicket which has
grown up round the sleeping palace during the hundred years'
sleep. Through this, the knight who is to " smite the sieoping

Sibylla Delphica. (See page 23.)

I

O u
<: U3

£ 'iS

SIR EDWARD BURNE-JONES, BART.

25

world awake," makes his way with drawn sword. The horror
of a nameless dread is upon him as he enters the enchanted
forest, but his eyes are fired with the ardour of his high
resolve, and he looks onward through the gloom to the joy
beyond, and for love's sake is ready to venture all. The
second picture takes us to the Council-room, where the aged
king slumbers on his jewelled throne, a golden tiara on his
head, and his long white beard flowing down to his feet,
while councillors and courtiers sleep around him. In this pic
ture the light is stronger and the colour warmer than in the
first. The third is steeped in the warm glow of afternoon.
There, in the Garden Court, under the grey palace walls, the
Princess's maidens slumber at the loom or on the steps of
the well. One fair girl in rose-coloured robe has fallen
asleep in the act of throwing the shuttle, and rests her
golden head on her arm. Another has slipped on to the floor,
and a third, the loveliest of all, in a grey robe, with a flush on
her cheek, leans against the framework of the loom. Their
robes of rose and amethyst, of sapphire and emerald hues, are
reflected in the polished marble floor, and the giant briar
winds its big loops among their sleeping forms, and climbs up
the stonework of the well and round the silent bell hanging from
the archway overhead. No sweeter dream was ever painted
than this group of maidens sleeping among the flowering roses
in the radiant light of the summer afternoon. By Messrs.
Agnew's kind permission we give a large illustration of the
' Garden Court,' which was, naturally enough, from the first,
the most popular of the series. Yet the fourth picture has,
for some of us, a still greater charm. Here we reach the core
of the poet's dream, the rose-bower where the sleeping
Princess awaits the coming of her deliverer. There she lies, a
simple child-like figure, with her white arms stretched out on
the embroidered counterpane, and one tress of fair hair lying
loose on her neck. In her innocent charm, in the straight
lines of the slumbering form, she recalls the carved effigies of
old Itahan tombs, Ilaria di Carretto sleeping under the cathe
dral wall, or the virgin Ursula in Carpaccio's fanlous picture.
When we think of these wonderful works, when we recall
the beauty of the painter's conception and the exquisite rich
ness of the setting, it is impossible not to regret that they have
been allowed to pass into private hands, and to be practically
out of reach of the public. But we have at least the con
solation of knowing that they have found a fitting home in
a gallery e.xpressly prepared to receive them in Mr. Hender
son's country house at Buscot, in Berkshire.
The painter's next important work was the great water-
colour of the ' Star of Bethlehem,' which adorns the gallery of
his native town of Birmingham. The commission had been
given him in 1887 by the Corporation of that city, and the
picture, one of the largest water-colours ever painted, measur
ing 12 feet by 8 feet, was exhibited at the New Gallery in
1891. The Corporation have kindly consented to a reproduction
appearing here. The Madonna, wearing the blue and pink
robes of early tradition, and holding her Babe in her arms, is
seated under the thatched pent-house in a forest glade, where
reeds and bulrushes grow thick on the banks of a clear pool.
Tall white lilies blossom at her side, red roses creep up the
wattled fence, and flowers of every shape and hue spring up in
the grass at her feet. The long-expected day has dawned upon
the world, the Desire of nations is born and the wilderness has
rejoiced and blossomed as the rose. On the left Joseph stands
with a faggot of sticks under his arm, watching over the

Mother and Child. On the right are the Three Kings, led by a
stately angel, bearing in his upraised hands the star which
has guided their steps from their home in tbe Far East, The

F-LAMMA 'Vestalis. By Sir E. Burne-Jones. (See page 24.}
kingdoms of this world and the flowers of the field alike bring
their best to lay before the manger-throne.
Two other pictures of the Nativity were painted about the
same time for the church of St. Michael at Torquay. In one
of these, the Virgin and Child (page 21) are seen lying on a

26

THE ART ANNUAL.

The Painter-s Daughter. By Sir E. Burne-Jones. (See page 27.]
low bed of straw under two birch-trees, rudely thatched
over with rushes, and three sad-eyed angels stand at
the foot of the couch, bearing their gifts — the instru
ments of the Passion — in their hands.
In the other (page 20), two angels are seen, the one
leading a king, the other a shepherd, by separate
paths, towards the stable of Bethlehem. As before,
the scene is laid in the same English woodland, and
the same background of forest trees connects the two
pictures. A tall, narrow picture, entitled the ' Sponsa di
Libano,' appeared in the New Gallery in the same year.
It was one of five designs from the ' Song of Solomon,'
executed in 1876, andrepresented the Bride of the Can
ticles in her garden of lilies, and the spirits of the North
and South Winds, wrapt in a maze of flying drapery,
breathing soft airs and dropping roses from their lips.
A long illness interrupted the artist's work during
the following winter, but in 1893 two pictures from the
" Romaunt of the Rose'' appeared at the New Gal
lerj' — ' The Pilgrim at the Gate of Idleness,' and
'L'Amant' discovering the fair face of his love in the

heart of the rose. A third very charming
design from the same, which exists as yet
only in pencil, represents Love as he is
described by the mediaeval poet, his head
crowned with roses and encircled with an
aureole of singing-birds, leading the pil
grim safely over the briars and rocks of
the wilderness.
During the year 1893 Sir Edward has ex
hibited four pictures at the New Gallery.
Chief among these was a new version in
oil of the beautiful water-colour ' Love
among the Ruins,' which had been unfor
tunately destroyed by a lamentable accident
last autumn. The painter set himself
bravely to the task of repairing the dam
age, and the replica which he has produced
in this more permanent medium has lost
none of the romantic charm of the ori
ginal, while it is still finer in point of
colour. Together with this important work was a
small ' Danae,' differing in several par
ticulars from the larger composition of the
same subject, and another picture, called
'Vespertina Quies,' representing a fair-
haired girl in a deep blue robe, with pea
cock sleeves, leaning on a red balustrade,
with a background of convent buildings
and green hillside, in the quiet light of
evening. Finally the same exhibition con
tained a profile portrait of Miss Amy
Gaskell, a dark-haired, pale-faced girl,
wearing a dark dress on a dark back-

Pencil Portrait of Paderewski. By Sir E. Burne-Jones. (See page 27.)

SIR EDWARD BURNE-JONES, BART.

27

Memorial to Mrs. A. Lyttelton. (See page 29.)

ground. Both
in grace of
line and as a
studyinblacks of va ry ing
tones, this
portrait was a
triumph of
technical skill,
while in the
dreamy ex
pression of the
eyes we re
cognised the
unmistakable stamp of the
painter's ge
nius. His
portraits, like
those of most
imaginativeartists, are all
marked with
an intensity of
expression pe
culiar to him
self, which
makes them
unlike all other portraits. He is for ever haunted by a certain
type of beauty, a certain spiritual charm that is never absent
from his women or child faces, and as studies of expression his
drawings of
heads deserve to
rank with those
of Lionardo him
self. That of the
famous musician,
Paderewski (p.
26), is equally ad
mirable as a like
ness and as a
work of art. But
the most perfect
ly charming por
trait which he
has ever painted,
is that of his
own daughter,
Margaret, now
Mrs. J. W. Mac
kail. This pic
ture (p. 26) has
been often de
scribed and re
produced, but
neither wordsnor
black and white
can do justice to
the simple grace
of the youthful
form, to the
creamy tints of r^ c.
¦^ David giving Solomon instruci
the fair skin, set Window designed by Sir B. Burne-Jones for

off as it is by rich blue draperies, or the soft curling locks of hair
that are reflected in the round mirror on the wall behind.

VIII.
These paintings in oil and water-colour, numerous and
varied as they are, form, after all, but a small portion of
Sir Edward Burne-Jones' work. His overflowing fancy and
marvellous facility of hand have found expression in every
form of decorative art, but more especially in designs for
stained glass and mosaic. This is part of the debt which
the world owes to Rossetti, who first obtained commissions
for his comrade from Messrs. Powell. But in 1861 Mr. WiUiam
Morris and his friends founded the firm that has effected so
widespread a revival of decorative art in England, and from
this time all Burne-Jones' cartoons were executed in glass
by this company. To the united efforts of these two men,
William Morris and Edward Burne-Jones, we owe the happy
change which has banished the glaring crudities that in
past years defaced our churches, and has accomplished a
complete revolution in ecclesiastical taste. Now, wherever
we go, throughout the length and breadth of the land, in
our cathedrals and college chapels, in the grimiest and most
squalid quarters of our big cities, as well as in the green lanes
and quiet meadows of our country villages, their windows meet
our eyes, and the poet-painter's dreams bring down visions of
paradise across our path. Nor has his activity in this direction
been limited to his native shores. His windows are to be seen
in France and Germany, in America and India, at Calcutta and
Boston, at Biarritz and Berlin. They have made his name fami
liar in the ears of thousands who have never seen his pictures.
Acompleteac-
count of all the
windows which
he has designed
would fill a vo
lume. Here we
can only men
tion two or three
of the most im
portant. Three
remarkable ex
amples adorn the
east end of St.
Philip's Church
in his native city
of Birmingham.
On the right we
have the Nati
vity. On the left
Christ hangs up
on a lofty cross,
surrounded by
a crowd of sol
diers bearing
rows of tall spears
andcrimsonban-
ners, which stand
out with striking
effect against
the sombre sky.
IONS for BuiLDi..a THE Temple. ^" ^^^ ^^^ntral
Holy Tri.nity, Boston, U.S..\. (See page 28.) window between.

28

THE ART ANNUAL.

A i'li

,4

we have a noble rendering of the Ascension. Another
less-known but very interesting series is to be seen in the
fine old church of Middleton Cheney, a village in South
Northamptonshire. Thirty years ago, the rector of this
parish, Mr. W. E. Buckley, a distinguished scholar and Vice-
President of the Roxburghe Club, determined to make the
windows of his church a complete record of Bible history.
In 1865, Mr. Morris filled the large east window with a picture
of the'celestial Country, for which Mr. Burne-Jones designed
the ' Adoration of the Lamb,' and a figure of S. Alban, while
Mr. Ford Madox Brown and other artists supplied cartoons
for the remaining
saints. In 1867, full-
length figures of the
Virgin and Prophet
Samuel were placed in
the north aisle. These
were designed by Mr.
Burne-Jones, as well
as the west window in
the tower. Here the
Three Children are
seen walking in the
flames, which seem to
curl and leap about
them, as the evening
sunlight streams
through the glowing
panes, and with rapt
eyes and parted lips
they pour forth their
great song of praise.
Above, in the upper
lights of the win
dow, are the six an
gels, bearing in their
hands the crystal
spheres which tell of
the leafy bowers
and the clear waters
of Paradise, the vision
which came to these
blessed martyrs in
the flames. It may
interest our readers to
learn that the famous
pictures of the ' Days
of Creation' were originally designed for this window, which
was erected in 1873, and repeated at Tamworth a year later.
Since Mr. Buckley's death in 1892, two more windows, repre
senting the chief events of the life of Christ, have been
designed by the painter and placed in the chancel of the
church, thus completing the series in accordance with the
original intention.
Among other windows designed of late years by Burne-Jones,
we have the ' Angeli laudantes ' and ' Angeli rainistrantes ' in
Salisbury Cathedral ; the holy women at St. Giles', Edinburgh ;
St. Ursula and her Companion Virgins at Whiteland's College,
Chelsea ; the lovely St. Cecilia and St. Katherine in Christ
Church Cathedral ; and the fine series of Old Testament
saints, of Sibyls and Angels, Vices and Virtues, at Jesus Col
lege, Cambridge. ' David giving Solomon instructions for
Building the Temple ' at Holy Trinity, Boston (see page 27) ;

and the grand ' Last Judgment,' at Easthampstead, are strik
ing instances of the artist's skill in the disposal of a large
number of personages. Among his single figures, especial
interest attaches to the Archangels which he has given to
St. Margaret's Church at Rottingdean, his country home
near Brighton, the one in thanksgiving for his own happy
marriage, the other for love of his only daughter Margaret.
Most of Sir Edward Burne-Jones' windows have been de
signed for churches, but a few may be seen in buildings
devoted to secular uses. The common room at Peterhouse,
Cambridge, boasts a series of Greek and Latin poets, and ano
ther of the Good Wo
men of Chaucer ; and
a private house at
Newport, United
States, is adorned with
sea figures of Norse
gods and heroes, de
signed by his hand.
He has also supplied
cartoons of Bruce and
Wallace, and Mary,
Queen of Scots, for
windows in the Free
Library at Dundee,
and another series of
maidens for a hall at
South Kensington
Museum.

Sir Edward Burne-Jones, Bari. From a Phoiograph by F. Hollyer. (See page 32.)

IX.
In 1884 Mr. Burne-
Jones designed the
mosaic decorations for
the apse of the Ame
rican church in Rome.
Here he has followed
the main lines of the
mosaic vaulting gene
rally seen in the old
Roman churches, but
has carried out the
scheme in a thorough
ly modern spirit. In
the centre of the semi-
dome is the figure of
Christ, holding the globe in his hand and surrounded by a
glory of Cherubim. The four rivers of Paradise descend from
the rainbow round about his throne, and wash the golden
ramparts of the New Jerusalem. Five archangels, in shining
armour, guard the portals of the City of God, but the sixth
door is closed, and a vacant space on the right of the throne
reminds us that Lucifer, once the brightest son of the morning,
has fallen from his high estate. The effect of the whole is
exceedingly imposing, and it is to be hoped that before long
the other walls will also be covered with mosaic decorations.
As yet, however, only one other cartoon has been executed,
that of the ' Tree of Life.' Christ, the Saviour of the world, is
seen hanging upon his cross. On the right is Adam, with a
sheaf of ripe corn, the bread for which he labours in the
sweat of his brow. On the left. Eve, the mother of all living,
bears Abel in her arms, while Cain is clinging to her side, and

SIR EDWARD BURNE-JONES, BART.

29

the tall Madonna lily behind her speaks of the world's great
hope. Below are the words : In mundo f>ressuram habebitis;
sed confidite. Ego vici mundum,. " In the world ye shall
have tribulation, but be of good cheer.
I have overcome the world,"
But the long roll of our painter's
works does not end here. There is
hardly a single branch of arts and
crafts in which he has not laboured at
one time or other of his life. He has
painted cabinets and cassoni, and
decorated pianos and organs. He
has supplied designs for tapestry and
needlework, for tiles and bas-reliefs,
and has himself executed panels in
gesso and metal-work. In all of these
different forms of art his success has
been in great part due to the care
with which he observes the principles
of design and the limits imposed by
the capabilities of his material. His
great tapestry of the ' Adoration of
the Magi,' executed from his design
by Mr. William Morris, now hangs in
the chapel of Exeter College, a fitting
memorial of that memorable friendship
between the poet and painter, which had its origin in Oxford
days. This beautiful work retains much of the charm that be
longs to the original cartoon, and is probably the finest example
of the weaver's craft that has been produced in modern times.
The same glowing colour and romantic sentiment was conspicu
ous in the tapestry of ' Sir Galahad's Vision of the Holy Grail.'
In 1879 Burne-Jones prepared cartoons for two bronze bas-
reliefs of the Nativity and Entombment for a monument to
Lord Carlisle's father. In 1887 he designed the peacock rest
ing on a laurel-tree (see page 27), which, as a symbol of
undying love and im
mortal hope, forms so
beautiful and appropri
ate a memorial of the late
Mrs. Alfred Lyttelton.
No less original an ex
ample of his decorative
skill is the wonderful
piano which the artist
adorned for his friend
Mr. Graham, and which
now belongs to his
daughter, Mrs. Horner.
The inside of the lid bears
a figure of Terra omni-
farens, in the form of
a fair woman surrounded
by a troop of babies at
play among the inter
lacing branches of a
spreading vine. On the
outer surface, the Muse is seen appearing in a vision to the
poet, and along the sides of the piano the story of Orpheus
is illustrated in a series of small roundels. These last designs
are of rare beauty. We follow Orpheus in his love and in his
sorrow, we see him vanishing in the dreadful jaws of hell, and
watch him charming the king of Hades and his dusky queen

Entrance to "The Grange." (See page 31.^

with his magic song, and bearing back his lost Eurydice to
the light of day, only to see her torn from his embrace once
more by a cruel destiny. And last of all, we see him lying
dead on the wild shores of Thrace,
and wept over by the maidens, who
wring their hands and cry aloud for
grief that they will hear his golden
song no more.
Yet another branch of art, the illus
tration of books, to which this master
turned his attention very early in his
career, must be briefly mentioned.
Two of his drawings, ' Sigurd ' and
' Summer Snow,' appeared in Good
Words in October, 1862, and May,
1863 ; and a little wood-cut of the
'Nativity' was designed in 1864 for
Mrs. Gatty's " Parables from Nature."
Besides the illustrations for the poems
of " Cupid and Psyche," of " Perseus
and Pygmalion," which were origi
nally executed forthe "Earthly Para
dise," twenty drawings were made in
1866 for the "Hill of Venus," and
two for the "Ring given to Venus,"
another poem in the same work.
Another set was prepared in 1872 for Mr. Morris's poem of
" Love is Enough," and quite recently, designs have been
supplied for the same writer's "John Ball," and his edition
of " The Golden Legend," as well as for the late Lord Lytton's
poem, " King Poppy." Sir Edward Burne-Jones has also
composed a large number of elaborate designs for the illus
tration of his favourite poet Chaucer, which cannot fail to
delight the eyes of his admirers when they are before the
world. But, as yet, the flnest and best-known of his works in
this direction is the series of drawings illustrating the twelve
books of the .ffineid, ori
ginally intended to adorn
an illuminated manu
script of Virgil's epic,
which had been planned
some twenty years ago
by Mr. William Morris
and Mr. Fairfax Murray.
For beauty of line and
exquisite finish, these
pencil studies of Virgil's
gods and heroes have
never been surpassed in
the whole range of this
master's creations.

'The Grange" from the Garden. (See page 31.)

X.
All great and original
work has to wait for
many years before it
meets with the recognition which it deserves. This is espe
cially the case with imaginative art of the highest quality.
It is uncommon and needs an effort to be understood by the
multitude. It puzzles some minds, it disturbs and offends
others. But, sooner or later, the long-delayed moment comes.
Truth wins the day and the world bows down before the great

30

THE ART ANNUAL.

new birth of time. In the case of Sir Edward Burne-Jones,
we may at least rejoice to think that his genius has been

estimation in which this English master is held in the capital of
modern art. Nor is he without honour in his own country. In

The Garden Studio of Sir Edward Burne-Jones. (See page 32.)

recognised while he is still in the prime of life. For a long
time, like Browning, he had for his admirers " not the many,
but the few," whom, with the poet, perhaps he valued more.
But by slow degrees, suspicion and ridicule, opposition and
misunderstanding, have melted away, and to-day the work of
the great master is the object of his countrymen's enthusiastic
admiration. His genius is recognised abroad as well as at
home, and of late years, honours have flowed in upon him from
all sides. In 1882 he was asked to represent Great Britain at
the International Exhibition of Contemporary Art, in Paris,
and in 1889 his picture of King Cophetua received a first-class
medal from the jury of the International Exhibition held in the
French capital that year. This was followed, in 1890, by the
decoration of the Legion of Honour. Two years later he was
elected to a corresponding membership in the Academy of Fine
Arts, in Paris, and still more recently he has been asked to
paint a picture for the Luxembourg. His works are as much
admired at the Champ de Mars as they are at the New Gallery.
The most distinguished Frenchmen flock to visit his studio,
and hardly a day passes without some fresh proof of the high

1881 his old college elected him to an honorary fellowship, and
the University of Oxford conferred the degree of D.C.L. upon her
distinguished member. The exhibition of the Briar Rose pic
tures, which had aroused such universal attention in 189O, was
followed by a memorable display of his collected works at the
New Gallery in 1890. The interest shown by the public in
that exhibition is still fresh in our minds, and its success
exceeded the most sanguine expectations of his admirers. A
further proof of the popularity which he enjoys may be seen in
the large sums which his works command in the auction-room.
The Ellis sale in 1885, the Graham sale of 1886, and the
Leyland sale in 1892, have successively shown the great and
increasing value which his countrymen set upon his works,
At the Graham sale, for instance, a single picture, the ' Chant
d'Artiour,' sold for ^^3,307, and the total sum reahsed by his
works on this occasion was upwards of ^17,000. Within the
last twelve months his merit has received fresh recognition in
the baronetcy which was offered him by the Queen, on the
recommendation of Mr. Gladstone, before the late Premier
resigned office. That offer was accepted, to the universal

SIR EDWARD BURNE-JONES, BART.

31

satisfaction of his countrymen, and Sir Edward Burne-Jones
enjoys the distinction of being the only English artist outside
the pale of the Academy upon whom this honour has been
bestowed. But of wealth and honours the painter has shown
himself singularly independent. He has never stooped to
answer the attacks which have been made upon him in past
years, and has never troubled himself as to what the critics
said or the public thought about his work. His whole life has
been devoted to the production of beautiful art, and in that
art he has found his best reward. Next to art, books are still,
what they were in his boyhood, his chief delight. His literary
tastes are well known, and the most distinguished men of
letters take pleasure in his society. Many years ago, Mr.
Ruskin described him as the most cultured artist whom he
had ever known, and after meeting him, Mr. Lowell declared
that in his opinion BurtierJones was a great man, indepen--
dently of his work as a painter. As a whole, in spite of
delicate and uncertain health, his life has been singularly
complete and happy. He has gained the man's joy, if he has
not missed the artist's sorrow. And he has further had the!

has lived at The Grange, West Kensington, an old-fashioned
red-brick house, once inhabited by Richardson, who wrote
his famous novels and received visits from Dr. Johnson and
Hogarth under this roof. When the painterflrst settled here,
the house stood in the midst of fields, on the outskirts of
London. Now, whole rows of new streets have sprung up' on
every side, the fields are built over and omnibuses and district
trains have their stations within a stone's throw. But the
leafy trees and sheltered garden of the painter's house reihain,
a green oasis in the sandy waste. From the noise and dust of
crowded thoroughfares we step into the quiet garden with its
shady lawns and gay flower-borders, its flne old mulberry-tree
and rows of limes. Here snowdrops and crocuses blossom in
the eariy spring, and later in the year, blue irises and white
lilies, sunflowers and hollyhocks grow tall under the ' ivied
wall. And here, at the end of the garden, among the flowers
and leaves, is the studio where the master works. Here,
careless of the hurrying rush of men and of the changes that
are happening at his door, he paints his wonderful colour-
dreams, and day by day adds something to the joy and beauty

The Home Studio of Sir Edw.\rd Burne-Jones. (See page 32.)

satisfaction of seeing his only son, Philip, become an artist in
his turn, and acquire considerable reputation by his clever
portraits. For the last twenty-seven years, Sir Edward Burne-Jones

of the world. The perennial flow of his fancy never seems to
tarry for a single instant. His brain is always busy with
some new idea, his hand is always shaping some fresh design.
To him the work of creation is never a fatigue or weariness;

32

THE ART ANNUAL.

on the contrary, it seems to endow his mind with the freshness
and vigour of perpetual youth. A new picture is a holiday in
itself, a run as it were into an undiscovered country. At the
same time no one is more keenly conscious of his own mistakes
and failures. He is himself the severest critic of his works, a
critic quick to discern every shortcoming, and never satisfied
with anything short of perfection. He does what many dream
of all their lives — " dream, strive to do, agonise to do, and fail
in doing ; " and yet, true artist that he is, he still seeks after an
ideal beyond his reach, and a goal that is out of sight. He
has been painting forthe last forty years, and now, he tells us,
the Himalayas are still in front of him. The Graal still
beckons him onward, and like Galahad of old, he follows
where it leads.
A visit to Sir Edward's house perhaps gives us the best idea
both of the amazing fertility of his invention and of the infinite
pains which he bestows upon every part of his pictures. Here,
in the garden studio (p. 30), you may see some of the pictures
upon which he is engaged at the present time, new scenes
from the myth of Perseus, a Nativity with St. Joseph reading
in the foreground, and that great 'Morte d'Arthur ' which bids
fair to be one of his finest works. The blameless king lies
sleeping under the apple-trees of Avalon, between the hills
and the sea, in that land where the wind never blows and the
rain never falls, and a deep hush of peace is over all, while the
four queens keep watch at his side, until the first streak of
dawn breaks in the east, and the warder blows the horn and
the hero wakes, to bring back the good old times. Other
pictures, in different stages of progress, will be found in
another studio within the house (p-3i), a procession of Psyche
and her maidens, a troupe of merry mermaidens at play in
the waves, Lancelot dreaming of Guinevere as he lies asleep
before the chapel of the Graal, which he may not enter,
Lucifer and his host cast out of the heavenly citadel and
descending with flying banners and all the honours of war into
the abyss below. And between these two last-named subjects
is the portrait of a young English lady, whose gracious air
and simple charm forms a strange contrast to these tales of
guilt and sorrow.
But these are only a few of the many pictures on which
the painter is now at work. Wherever you turn, the walls
are hung with sketches and studies. At every step your
attention is arrested by some beauteous face or form. Car
toons of the ' Briar Rose' and 'Masque of Cupid ' hang side

by side with designs for mosaic and stained glass, with care
fully finished drawings of trees and flowers, of drapery and
armour. Most of these are studies for well-known pictures,
others are merely inspirations of the moment, never destined
to find more permanent record.
In the hall, surrounded by these visions of lovely shape and
hue, hangs the noble portrait of the master (page two),
painted some fifteen years ago by his old friend, Mr. G. F.
Watts. It is an admirable likeness of Sir Edward in the prime
of life, and renders in a striking manner that peculiar
brightness of eye which is so remarkable a feature in the
countenance of this " dreamer of dreams — born out of his
due time." Our other portrait (page 28) is taken from an
excellent photograph by Mr. F. Hollyer, whose fine reproduc
tions of the painter's works, many of them given in these pages,
are so much valued by his admirers. It is interesting to notice
the marked likeness that exists between this photograph and
the head of Christ, in Rossetti's well-known drawing of ' Mary
Magdalene at the door of Simon the Pharisee,' for which
Burne-Jones sat as model, five-and-thirty years ago. The
shape of the forehead, the wave of the hair, and the expression
of the eye are exactly the same in both portraits, and the
photograph thus bears witness to the truth and exactness of
Rossetti's study.
When we look back at this portrait of t'ne painter's youth
and think of all the great things which he has accomplished
during the interval, we begin to realise how large a debt we
owe to the man who thirty years ago painted the ' Merciful
Knight,' and who has lived to give us the ' Briar Rose ' and
the ' Star of Bethlehem ' to-day. Burne-Jones has never tried
to point a moral or to teach a lesson. But he has rescued
beauty from the forgetfulness to which it seemed doomed in a
restless and material age, and in so doing, has given us an
example of the highest value. His whole life has been one
long search after loveliness, one long endeavour to lay hold of
the fairest and the best. In this quest he has never faltered.
He has helped us to rise out of the dust that blinds our eyes
in this all too prosaic world, and to realise the enduring might
of the things that are unseen. The appeal which he has
addressed to the children of his generation has been the
appeal of art, and he will not have lived in vain if he has
spoken to the hearts of men through beauty, " which is the
other side of truth." Julia Cartwright.

The Garden Studio from the Garden. (See page 31.)

printed by j. S. virtue & CO , LTD.,

[294, city road, LONDON.

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Mr. WILLIAM HEINEMANN'S FINE ART WORKS.

Masterpieces of Greek Sculpture.

By ADOLF FURTWANGLER.

In One Volume, Large ^to.

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''While speaking of Athens, it may not be unfitting to mention that remarkable book,
whose recent appearance marks probably the end of some old controversies, and possibly tbe
commencement of some new ones, Furtwangler's Meisterwerke der grieckischen Plastik,
a reconstruction of Greek Art in the Fifth and Fourth centuries B.C. Among the many fruitful
ideas in which the work abounds is the view that Athens, in the latter part of the Fifth
century B.C., witnessed a movement like the pre-Raphaelite — a conscious return to modified
archaism— of which the sculptor Cathipachus was the Prophet. New lights are thrown, too,
on the art of Pheidias, for whom this critic indicates the sculptured decorations of the
Parthenon ; as he has also shown that an unsuspected memorial of that master exists in tbe
Dresden Museum — nothing^ less than a copy {though now mutilated) of the once famous
Lemnian Athena, holding a helmet in her left hand and a spear in her right, which Phedias
made about 450 B.C. for those Athenian citizens who held allotments of land in the island of
Lcmnos. , , Space would fail to indicate Furtwangler's contributions to the intricate

temple-problems of the Acropolis ; but we may notice his theory that the Parthenon does
not mean the Temple ofthe Virgin-Goddess." — Prof. Jebb, M.P.
" This book, the work of one of the chief living authorities on the history of aticient Art,
is of high interest on various grounds. It is, as it were, a summing up of what has been done
by modern archseological scholarship in the way of reconstructing what has been of its nature
extremely fragmentary — the record of" Greek plastic art of the great epoch from Pheidias
onwards. . . In his new book Prof. Furtwangler not only contributes a mass of new material,
but in a series of connected essays he systematizes the results attained by himself or by others,
so that his work has all the value of a consecutive history of Greek Art during the period of its
prime. . . The 146 illustrations inserted in the text, and the portfolio of 31 plates, reproduce
works of art which, with a few exceptions, are either published for the first time or were very
little known hitherto." — Tke TiTn^s.

Rembrandt

IN THE GALLERY AT CASSEL.
' Seventeen Photogravures from Rembrandt's Mosterpieces.
WITH AN ESSAY.
By FREDERICK WEDMORE.
In Large Portfolio 27J inches by 20 inches.
The Collection of .Rembrandts in the^Cassel Gallery enjoys the] distinction of consisting
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Rembrandt

HIS LIFE, HIS WORK, AND HIS TIME.
By ]6mILE MICHEL
Member of the Institute of France.
Translated from the French by Florence Simmons.
Edited by FREDERICK WEDMORE.
A New Edition, to be completed in Sixteen Monthly Paris, each of vlhick will contain Five
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Furnishing Establishment

USEFUL PRESENTS ofuslEUL?Sms USEFUL PRESENTS

Very artistie New Design Folistaed n.

Brass Table I.ainp. with Safety Duplex
Burner, Nebalesoent Shade and Chimney

complete, 37/6.

Post Free.

Artistic
pvelties ''^

ijAMP SHADES.
Designs free

Breakfast Sets

l\/r A P I 17 .ft- Cr\ l"^™ always an immense
IVl^-rLiIl Ot UU. assemhlttge of DINNRE,
TEA, and BEBAKrAST SERVICES, comprising the
beautiful productions of Minton, Worcester, Derby,
Wedgwood. Coalport, and other potteries, as weU as
less expensive varieties. A Dinner Set of artistic
design and colourings for 15/6.

CUTLERY ELECTRO PLATE
lADI ET P r^r\ have also a most exten-
Hfl r A/ 111! sive assortment of all the
vx, ""• flngji and best qualities
ot TABLE CUTLERY, as well as every
description of Copper Goods, Ironmongery,
and Culinary Utensils. They supply and fornish a
kitchen with these requisites for £8 3/6, or with a
larger stock for £i6 4/-.

Very Pretty New Design Wronglit
Iron and Copper Table T-amp, fltted
with Safety Duplex Burner, Etched Globe,
and Chimney Complete, 1 6/9.
THE ARCADIAN OIL STOVE
Thi=f stove is constructed on perfect scientific principles,
is absolutely safe, entirely free from smell, possesses a
heating power e^ual to that of oiclinary stoves consuming
twicettiequantity of oil. ".
Coats less than One Farthmff an Horn-
Pesign and all particulars post tree

011 Lamps
ntted wltH
aDsolutelg SUFE
Burneis

Very artistic Vew Design FoUsbed Brass
and Copper Telescopic Floor Iiamp, 4 It. s
in. high, rising to 6 ft. 6 in. with Patent Movement,
Safety Duplex Burner and Chimney complete, 67/6.
Shade Extra. A very graceful Silk Shnde, with re
gistered reather trimming, complete with Brass sup
port, 32/6.

WE'D'DID^^q Ti^ese^Ts

ARTISTIC SCREENS

TIJCNJ) S
EASY CHAIRS
esC'RiToii{es

, New Model Wrought Iron Extending
rioor ,Xamp, i ft. 6 in. high, rising to 6 ft. 9 in.,
strongly made, and fltted with Copper Container,
Duplex Burner, and Chimney, complete 14(6.' If
fltted with very best Safety Burner, 18/9. Khade
extra. Pretty Shade in Sateen, with Ribbon Bows
and Lace to match, and Brass Support, complete,
11/9

TtQBDDING PRESENTS
STERLING SILVER
ELECTRO SILVER PLATE
CLOCKS, DRESSING CASES

WRITING TABLES

Catalogues of JfH-
pRESENTS

FOBT FBEi:

_ "rfiatle Wrought Iron and Copper
"^ ?f„e rioor lamp, 4 ft. 6 in. high, risinp
F^*S°9to r^th Patent Safety Duplex Burner and
to 6 ft. 9 !»•'", J 2 6/6. Shade extra. The
Chimney cMOpiet^^^g/^^ .^ Florentine Silk, with
Htpatia, K."„;,„„vti. with Brass suPBort, 18/9.
lac

Very Chaste FOlished Brass Telescopic
Floor Iiamp, 4 It. 6 in. high rising to 6 ft. 9. in,,
fitted with Patent Safety Duplex Burner, and Chimney,
complete 3 9/6- Shade extea. Dainty Shade in Flo
rentine Silk and Lace, with Brass support, complete,
15/9.

A very Massive Wrought Iron and Copper
Telescopic Floor Lamp, i ft. 6 in. high, risine
to 6 ft. 9. in., fitted with Safety Duplex Burner, and
Chimney, complete. 29/6. Shade extra. Large
decorative Shade in Sateen and Lace to match, com-
iplete with Brass support, 14/6«

14

TEE ART ANNUAL ADVERTISER.

BRAND & CO.'S
MEAT JUICE.
The juice of the finest English meat, ready for immediate use.

INVALID TURTLE SOUP.
Prepared from the finest West Indian Turtles, of very fine flavour,
and highly nutritious.

THE Al SAUCE.
A fine tonic and digestive, an excellent relish for
" fish, flesh, or fowl."
SOLD EVERYWHERE.

Full Price Lists on Application to
BRAND AND CO., MAYFAIR, W.

PERMANENT PHOTOGRAPHS
OF THE WORKS OF: SIR EDWARD
BURNE-JONES, BART., AN D MANY
OF THE PORTRAITS BY G. F.
WATTS, R.A. D. G. ROSSETTI'S
BEATA BEATRIX AND DANTE'S
DREAM; ALSO THE HOLBEIN
DRAWINGS ATWINDSOR CASTLE
photographed by the gracious permis
sion of Her Majesty the Queen can
now be obtained from
FREDERICK HOLLYER,
9 Pembroke Square, Kensington, W.
LIST OF SUBJECTS AND PRICES will be
sent post free on application, or Illustrated Catalogues
will be sent on receipt of twelve stamps.

BIjOOIA of XTZITOIT^
Betains its superiority over all other cosmetics for preserving the Beauty and Freshness of the Complexion. It ia of a delicate roseate hue and perfectly harmless
Price 6d., Is., and 2s. 6d. ; free by post for 7, 13, or 33 stamps.
Also prepared without colour as Satjndekb's Pure White Face Powder, and for Brunettes of a Jaune or Cream tint. Price Is. or 28. 6d. ; free for 13 or 33 stamps.
To avoid the substitution of the many worthless imitations of this world-renowned article, observe the name and address,
J. TOUZEAU SAUNDERS, 312, OXFORD STREET, LONDON, W.
Sold by all Chemists and Perfumers throughout the World.

Established 1851.
BIRKBECK BANE
Southampton Buildings, Chancery Lane, Loudon.
TWO-AND-A-HALF per CENT. INTEREST aUowed on DEPOSITS, repayable on
demand. 
TWO per CENT, on CTJEEENT ACCOUNTS, on the minimum monthly balances, when
Dot drawn below £100.
STOCKS, SHAEE8, and ANNUITIES pnrohaBed and sold.
SAVINGS DEPARTMENT
For the encouragement of Thrift the Bank receives small sums on deposit, and allows
Interest monthly on each completed £1.
BIRKBEOK BUILDING SOCIETY
EOW TO PURCHASE A HOUSE
rOR TWO GUINEAS PER MONTH.
BIRKBEOK FREEHOLD LAND SOCIETY
HOW TO FUHCHASE A PLOT OF LAND
POR rrVK SHILLnfGS PER MONTH.
The BIRKBEOK ALMANACK, with full particulars, post free.
FRANCIS RAVENSCROFT, Mmager.

DoiitCough-jusiuse
They at once check the cough
and remove the cause — without
any after effect.
XheUnriyalledReniecfjr
One gives relief theywUJ cure,
and they will not injure your
health.
KeatingsiLo2:eii^ SOLD VS TINS, ISi? each

TEE ART ANNUAL ADVERTISER.

13

OETZMANN m

HAMPSTEAD EOAD,

THE "BOJffiBAY" TAPESTRY.
In imitation of Indian Embroidery,
, 3/6 per yard.

L0IiTID03Sr, "VT".

[Near Tottenham Court Boad and Gower Street Station.)

FOE CONDITIONS UPON WHICH

THE "lEIS
Worsted ground
gold ground)

TAPESTRY.
in new art green or
I, 4/6 per yard.

GOODS ARE SENT CARRIAGE PAID

^^s

W§*^^

1

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?SE9if?HkStt£^
'^^^m
EA«<^^||^
Ml^^ffil!&
^(!^«<S1
PLEASE SEE
"IllastFated Guide to Jlouse Fapnishing."
Til pOJ^TENTS.— Complete Estimates for Furnishing at £120 and £250, with full-page
Illuatrationa.--" Notes on Furniture," by M. E. Frith, late of the Lady's Fictorial.—
Articles on Artistic Furnishing:, reprinted from The Lady.—U2 pages, and over 2,000
illustrations, with description and price of every item required in Complete House
Furnishing, GRATIS and POST FREE.
THE "EMPIRE" TAPESTRY — -»~— ^»— -»,— — ^.»— THE " aENOA" TAPEsTRY
''^i^^i.''^Z,tef^f^r''' Useful and Decorative Novelties suitable for Presents. ^^^o^'Lf^^^gtttpe^^'^cir
Genoa yelvet, 4/11 per yard.
Illustrated Price List
Post
Free.
arAHOO-ANY OR WALNUT WRITINa TABLE,
with two drawers, brass handles, top lined leather,
with gold border, 47/6.
VERY HANDSOME OAK, ¦WALNTTT, OR DARE MAHOOANY MOORISH
BUREATT. With silk screen to upper part, fall-down flap lined with cloth or leather, and interior
fitted for stationery. Five useful drawers below. Brass handles. Good locks  £5 10 Q
HANDSOME COSEY CORNER, of Natural or Tortoiseshell Bamboo, with panels of best HANDSOME INLAID ROSEWOOD DRAW-
Japaneee lacquer, and complete with coshions of cretonne. Size, 4 ft. by 2 ft. 8 in. outside measure, ING- ROOM CABINET, with bevelled edge plates
about 6 ft. 6 in. high. The end shown with curtain can be had either at the end of the long or short and shelves for China, enclosed centre, i ft. wide
tide. When ordering please state which is preferred. Complete  £6 16 0 £4 13 Q
OBTZMANN'S "GITINBA" STANDARD LAMP AND SHADE,
In Beaten Iron and Capper, rising to 7 ft., with beet duplex eztin^sher burner, and 18 in. lace shade and holder complete  SI/-
16

THE ART ANNUAL ADVERTISER.

MANUFACTURER OF EVERY article FOR
THE ARTIST IN OIL COLOURS.
THE ARTIST IN WATER COLOURS.
THE PHOTOGRAPHIC COLOURIST.
OF SUPERIOR QUALITY.
24 SOHO SQUARE, LONDON.
Catalogues and Circulars Post Free.

GEORGE ROWNEY & Co.s
SUPERFINE WATER COLOUJ^S.
Prepared in Cakes, Half-Cakes, and
Quarter-Cakes ; Moist in Pans, Half-Pans, Tubes,
and Half-Tubes.
GEORGE ROWNEY & Co.s
SUPERIOR OIL COLOUflS.
Ground Extra Pine, in Patent Metallic Tubes.

The most brilliant Blaok with Body Colour for Process Work.
POR THE BRUSH,
THE "ARTIST LIQUID BLACK."
(A thin paste-like moist Body Colour.)
In Special Bottlts, Is., and larger. See Circular, post free.
The Best Blaek for Pen work is
THE ORlEHTflIt IpEItlBliE BliRCK fll^TIST I^.
The most delicate lines are BLACK not GREY, &o.
In Special Bottles, Is., and larger. See Circular, post free.

24, SOHO SftUARE, LONDON, W.

MESSES. G. R. & CO. feel assured the Oil Colours ground by their
improved process will he found to he finer, brighter, hss oily, and to dry
quicker than any others at present manufactured; and that their WATEK
COLOURS, prepared hy the same process, will prove to he finer, brighter, and to
fioat more easily without granulation than any other colours hitherto produced.
Messks. Rowney & Oo. have great satisfaction in knowing that their efforts
to improve Artists' Pigments are appreciated and acknowledged by many of the
most eminent Artists of the day.
TO BE OBTAINED AT ALL ARTISTS' COLOITRMEN AND STATIONERS.

RETAIL DEPARTMENTS:

64, Oxford Street, and Prince's Hall, Piccadilly, London, W.

THE ANNUAL

EXHIBITION OF OIL PAIN

IS NOW OPEN

AT

THOMAS MCLEAN'S GALLERY,
7, HAYMARKET, LONDON.

"l^iDg Gophetaa and the Beggar IVlaid,"
Done in the Finest Style of Photogravure from the Picture
By Sir EDWARD BUENE-JONES, Bart.

THE ENGRAVING MEASURES 26 INCHES BY 12 INCHES.

Artist's Proofs with Autograph . .
India Paper Proofs
Prints

£6 6 0
£2 2 O
£110

Subscribers' names received by the Publishers —
P. & D. COLNAGHI & CO., 13 and 14, Pall Mall East, London, S.W-

YALE UNIVERSITY LIBRARY

3 9002 08854 3872

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