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Updated: May 15, 2025
Our guest, I find, was to have come down "with Mr. Balfour and Mr. Burne-Jones." But in the end she came down alone; and we talked all day, sitting under hawthorns white with bloom, wandering through rushy fields ablaze with marsh marigold and orchis.
'Pre-Raphaelites? said Wilderspin, 'the Master rhymes, madam, and Burne-Jones actually reads the rhymes! However, they are on the right track in art, though neither has the slightest intercourse with the spirit world, not the slightest. 'My exploits as a painter have not been noticeable as yet, I said; 'but an amateur may know what a barley-field is. That is one before us.
The romance of The Holy Grail gave happy theme for the work, and three beautiful tapestries made the set. The Adoration of the Magi was another, made for Exeter College, Oxford. Sir Edward Burne-Jones designed all these wondrous pictures, and the wisdom of Morris decreed that the Grail series should not be oft repeated.
Rossetti would have set everybody to painting, I think, for, in his opinion, it was the only occupation worth living for, and he was absolutely free from personal jealousy. Of Burne-Jones I saw little in those days. He was still working out his artistic problem, and came now and then to the studio of Rossetti, who had the highest opinion of his abilities.
Externally, the chapel has no architectural beauty, but inside a richly-coloured Burne-Jones window, placed so low as to give the impression of an altar-piece, lights up the building. Cavendish Square is the nucleus from which all the surrounding streets have radiated. The ground was laid out in 1717, when the circular garden in the centre was designed.
Most of us were very anxious to be up-to-date and in the fashion, whether in esthetics, in housekeeping, or in education. But our fashion was not that of Belgravia or Mayfair, which, indeed, we scorned! It was the fashion of the movement which sprang from Morris and Burne-Jones.
And hence the enormous importance given to the decorative arts in our English Renaissance; hence all that marvel of design that comes from the hand of Edward Burne-Jones, all that weaving of tapestry and staining of glass, that beautiful working in clay and metal and wood which we owe to William Morris, the greatest handicraftsman we have had in England since the fourteenth century.
Burne-Jones was elected as an Associate before he had exhibited in the Royal Academy advances my argument. Being in doubt as to the particular fact, I unconsciously imagined the general fact, and when man's imagination intervenes it is always to soften, to attenuate crudities which only nature is capable of. For twenty years, possibly for more, Mr.
Hugo's Les Miserables, Baudelaire's Fleurs du Mal, the note of pity in Russian novels, Verlaine and Verlaine's poems, the stained glass and tapestries and the quattro-cento work of Burne-Jones and Morris, belong to him no less than the tower of Giotto, Lancelot and Guinevere, Tannhauser, the troubled romantic marbles of Michael Angelo, pointed architecture, and the love of children and flowers for both of which, indeed, in classical art there was but little place, hardly enough for them to grow or play in, but which, from the twelfth century down to our own day, have been continually making their appearances in art, under various modes and at various times, coming fitfully and wilfully, as children, as flowers, are apt to do: spring always seeming to one as if the flowers had been in hiding, and only came out into the sun because they were afraid that grown up people would grow tired of looking for them and give up the search; and the life of a child being no more than an April day on which there is both rain and sun for the narcissus.
SIR, Your art critic "G. M." is in error on a matter of fact, and as everybody knows the relationship between fact and theory, I am afraid his little error vitiates the argument he propounds with so much vigour. It was after, and not before, his election as an Associate that Mr. Burne-Jones made his solitary appearance as an exhibitor at the Royal Academy. Yours truly, etc.,
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