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Updated: May 15, 2025
The word "brotherhood" has a lure and a promise for every lonely and tired son of earth. And Burne-Jones pleaded for the prefix because it was like holy writ: it gave everybody an opportunity to read anything into it that he desired. Of this I am very sure, in the Preraphaelite Brotherhood there was no lack of appreciation for Raphael.
Allegorical figures designed with the purity of outline we admire in Botticelli, draperies that Burne-Jones might copy, troops of singing boys in the manner of Donatello, great angels traced upon the stone so delicately that they seem to be rather drawn than sculptured, statuettes in niches, personifications of all arts and sciences alternating with half-bestial shapes of satyrs and sea-children: such are the forms which fill the spaces of the chapel walls, and climb the pilasters, and fret the arches, in such abundance that had the whole church been finished as it was designed, it would have presented one splendid though bizarre effect of incrustation.
Manisty, and Colonel Barton, who had reappeared at luncheon, in order to urge Tatham to see Faversham as soon as possible on certain local affairs. "Oh! I give you my head in a charger," said Delorme, not without heat. "For you, Burne-Jones is 'pure' and I am 'decadent'; because he paints anemic knights in sham armour and I paint what I see." "The one absolutely fatal course! Don't you agree?"
The last elusive, undefinable stroke of the brush, that something uniting the spirit of the beholder with the spirit of the artist, so that you feel as he felt when he wrought that is art. Burne-Jones is the avatar of Giorgione. He subdues you into silence, and you wait, expecting that one of his tall, soulful dream-women will speak, if you are but worthy holding your soul in tune.
They are of every date, from ancient fragments, such as may be seen in the windows of the Library at Trinity, to the great Sir Joshua Reynolds' window in New College Chapel, and the still later examples of Burne-Jones' art, which are among the chief beauties of the Cathedral; and they include such splendid instances of old Flemish art as may be found in Lincoln College Chapel.
A series of articles on "English Artists of the Present Day" was contributed by Mr. Sidney Colvin, Mr. W. M. Rossetti, Mr. Tom Taylor, Mr. Beavington Atkinson, and the editor. These were illustrated by drawings most willingly lent by Mr. G. F. Watts, Mr. Poynter, Sir E. Burne-Jones, Mr. Calderon, Mr. H. S. Marks, Mr. G. D. Leslie, and other painters; and by paintings by Lord Leighton, Mr.
Aubrey Beardsley, dead at the age at which Keats died, builded on both, but he perverted their art and put a leer where Burne-Jones placed faith and abiding trust. Aubrey Beardsley got the cue for his hothouse art from one figure in Botticelli's "Spring," I need not state which figure: a glance at the picture and you behold sulphur fumes about the face of one of the women.
Only a few squares away lived Rossetti, with a wonderful collection of blue china, giving lessons in painting. There were weekly receptions at his house, where came Burne-Jones, William Morris, Madox Brown and many other excellent people.
"It was something Burne-Jones said of a picture he was going to paint: 'In the first picture I shall make a man walking in the street of a great city, full of all kinds of happy life: children, and lovers walking, and ladies leaning from the windows all down great lengths of a street leading to the city walls; and there the gates are wide open, letting in a space of green field and cornfield in harvest; and all round his head a great rain of swirling autumn leaves blowing from a little walled graveyard."
Giorgione never wrought so well as Burne-Jones, because he lived in a different age all art is an evolution. Painting is a form of expression, just as language is a form of expression. Every man who writes English is debtor to Shakespeare. Every man who paints and expresses something of that which his soul feels is debtor to Giorgione and Botticelli.
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