See also:

• RICHARD
• RICHARD (d. 1184)
• RICHARD, FRANCOIS MARIE BENJAMIN (18,9-1908)
• RICHARD, HENRY (1812-1888)
• RICHARD, ST

RICHARD See also:

• RICHARD BURN (1709-1785)

BURN (1709-1785)  , See also:

• ENGLISH

English legal writer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Winton, See also:

• WESTMORLAND
• WESTMORLAND, EARLS OF

Westmorland, in 1709 . Educated at See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen's See also:

• COLLEGE (Collegium)

College, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, he entered the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church, and in 1736 became See also:

• VICAR (Lat. vicarius, substitute)

vicar of See also:

• ORTON, JOB (1717–1783)

Orton in Westmorland . He was a See also:

• JUSTICE (Lat. justitia)

justice of the See also:

• PEACE
• PEACE, BREACH OF THE

peace for the counties of Westmorland and See also:

• CUMBERLAND
• CUMBERLAND, DUKES AND EARLS OF
• CUMBERLAND, RICHARD (1632-1718)
• CUMBERLAND, RICHARD (1732-1811)
• CUMBERLAND, WILLIAM AUGUSTUS

Cumberland, and devoted himself to the study of See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law . He was appointed See also:

• CHANCELLOR (M. Eng. and Anglo-Fr. canceler, chanceler, Fr. chancelier, Lat. cancellarius)

chancellor of the See also:

• DIOCESE (formed on Fr. diocese, in place of the Eng. form diocess—current until the 19th century—from Lat. dioecesis, med. Lat. variant diocesis, from Gr. Swucio•tc, " house-keeping," " administration," &miceas, " to keep house," " to govern ")

diocese of See also:

• CARLISLE
• CARLISLE, EARLS OF

Carlisle in 1765, an See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office which he held till his See also:

• DEATH

death at Orton on the 12th of See also:

• NOVEMBER (Lat. novem, nine)

November 1785 . See also:

• BURN, RICHARD (1709-1785)

Burn's Justice of the Peace and See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

Parish Officer, first published in 1755, was for many years the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard authority on the law See also:

• RELATING

relating to justices of the peace . It has passed through innumerable See also:

• EDITIONS

editions . His Ecclesiastical Law (176o), a See also:

• WORK

work of much See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research,' was the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation upon which were built many See also:

• MODERN

modern commentaries on ecclesiastical law . The best edition is that by R . See also:

• PHILLIMORE, SIR ROBERT JOSEPH (1810-1885)

Phillimore (4 vols., 1842) . mutually stimulated . Burne-See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones resumed his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early love of See also:

• DRAWING

drawing and designing . With See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris he read Modern Painters and the Morte d' See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur .

He studied the See also:

• ITALIAN

Italian pictures in the University galleries, and Diirer's engravings; but his keenest See also:

• ENTHUSIASM

enthusiasm was kindled by the sight of two See also:

• WORKS

works by a living See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, See also:

• ROSSETTI, CHRISTINA GEORGINA (1830-1894)
• ROSSETTI, DANTE GABRIEL (1828-1882)

Rossetti . One of these was a woodcut in See also:

• ALLINGHAM, WILLIAM (1824-1889)

Allingham's poems, " The Maids of Elfinmere "; the other was the See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour " See also:

• DANTE

Dante drawing an See also:

• ANGEL

Angel," then belonging to Mr Coombe, of the See also:

• CLARENDON, CONSTITUTIONS OF
• CLARENDON, EDWARD HYDE, 1ST EARL OF (1609-1674)
• CLARENDON, GEORGE WILLIAM FREDERICK VILLIERS, 4TH EARL OF (in the Villiers line) (1800-r87o)
• CLARENDON, HENRY HYDE

Clarendon See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

Press, and now in the University collection . Having found his true vocation, Burne-Jones, like his friend Morris, determined to relinquish his thoughts of the Church and to become an artist . Rossetti, although not yet seen by him, was his chosen See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; and early in 1856 he had the happiness, in See also:

• LONDON

London, of See also:

• MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)

meeting him . At See also:

• EASTER

Easter he See also:

• LEFT

left college without taking a degree . This was his own decision, not due (as often stated) to Rossetti's persuasion; but on settling in London, where Morris soon joined him at 17 Red See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

Lion Square, he began to work under Rossetti's friendly instruction and encouraging guidance . As Burne-Jones once said, he " found himself at five-andtwenty what he ought to have been at fifteen." He had had no See also:

• REGULAR

regular training as a draughtsman, and lacked the confidence of See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science . But his extraordinary See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty of invention as a designer was already ripening; his mind, See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich in knowledge of classical See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story and See also:

• MEDIEVAL

medieval See also:

• ROMANCE

romance, teemed with pictorial subjects; and he set himself to See also:

• COMPLETE

complete his equipment by resolute labour, witnessed by innumerable drawings . The works of this first See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period are all more or less tinged by the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Rossetti; but they are already differentiated from the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder master's See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style by their more facile though less intensely See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt elaboration of imaginative detail . Many are See also:

• PEN (Lat. penna, a feather, pen)

pen-and-See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink drawings on vellum, exquisitely finished, of which the " Waxen See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

Image " is one of the earliest and best examples; it is dated 1856 . Although subject, See also:

• MEDIUM

medium and manner derive from Rossetti's See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration, it is not the See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil merely, but of a potential master . This was recognized by Rossetti himself, who before See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long avowed that he had nothing more to See also:

• TEACH [THATCH OR THACH], EDWARD (d. 1718)

teach him .

Burne-Jones's first See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch in See also:

• OILS (adopted from the Fr. oile, mod. huile, Lat. oleum, olive oil)

oils See also:

• DATES

dates from this same See also:

• YEAR

year, 1856; and during 1857 he made for Bradfield College the first of what was to be an immense See also:

• SERIES (a Latin word from serere, to join)

series of cartoons for stained See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass . In 1858 he decorated a See also:

• CABINET

cabinet with the " Prioress's See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

Tale" from See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer, his first See also:

• DIRECT

direct See also:

• ILLUSTRATION

illustration of the work of a poet whom he especially loved and who inspired him with endless subjects . Thus early, therefore, we see the artist busy in all the various See also:

• FIELDS, JAMES THOMAS (1817-1881)

fields in which he was to labour . In the autumn of 1857 Bume-Jones joined in Rossetti's See also:

• ILL

ill-fated See also:

• SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme to decorate the walls of the Oxford See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

Union . None of the painters had mastered the technique of See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, and their pictures had begun to See also:

• PEEL
• PEEL, ARTHUR WELLESLEY PEEL, 1ST VISCOUNT (1829- )
• PEEL, SIR ROBERT, BART

peel from the walls before they were completed . In 1859 Burne-Jones made his first See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• ITALY
• ITALY (Italia)

Italy . He saw See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, See also:

• SIENA

Siena, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice and other places, and appears to have found the See also:

• GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family)

gentle and romantic Sienese more attractive than any other school . Rossetti's influence still persisted; and its impress is visible, more strongly perhaps than ever before, in the two water-See also:

• COLOURS, MILITARY

colours " Sidonia von Bork " and " See also:

• CLARA, SAINT (1194-1253)

Clara von Bork," painted in 186o . These little masterpieces have a directness of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution rare with the artist . In powerful characterization, combined with a decorative See also:

• MOTIVE (from Lat. movere, to move)

motive, they See also:

• RIVAL

rival Rossetti at his best . In See also:

• JUNE

June of this year Burne-Jones was married to See also:

• MISS

Miss Georgiana See also:

• MACDONALD, FLORA (1722—1790)
• MACDONALD, GEORGE (1824-1905)
• MACDONALD, JACQUES ETIENNE JOSEPH
• MACDONALD, JOHN SANDFIELD (1812-1872)
• MACDONALD, LAWRENCE (1799-1878)
• MACDONALD, SIR HECTOR ARCHIBALD (1852-1903)
• MACDONALD, SIR JOHN ALEXANDER (1815-1891)

Macdonald, two of whose sisters were the wives of See also:

• SIR

Sir E . See also:

• POYNTER, SIR EDWARD JOHN, BART

Poynter and Mr J .

L . See also:

• KIPLING, RUDYARD (1865— )

Kipling, and they settled in Bloomsbury . Five years later he moved to See also:

• KENSINGTON

Kensington Square, and shortly afterwards to the See also:

• GRANGE (through the A.-Fr. graunge, from the Med. Lat. granea, a place for storing grain, granum)

Grange, See also:

• FULHAM

Fulham, an old See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house with a See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

garden, where he resided till his death . In 1862 the artist and his wife accompanied See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin to Italy, visiting See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan and Venice . In 1864 he was elected an See also:

• ASSOCIATE (Lat. associates, from ad, to, and sociare to join)

associate of the Society of Painters in Water-Colours, and exhibited, among other works, " The Merciful See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight," the first picture which fully revealed his ripened See also:

• PERSONALITY (from Lat. persona, originally an actor's mask, from personare,1 to sound through)

personality as an artist . The next six years saw a series of See also:

• FINE

fine water-colours at the same See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery; but in 1870, owing . to a misunderstanding, Burne-Jones resigned his membershipof the society . He was re-elected in 1886 . During the next seven years, 1870-1877, only two works of the painter's were exhibited . These were two water-colours, shown at the See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley Gallery in 1873, one of them being the beautiful " Love among the Ruins," destroyed twenty years later by a cleaner who supposed it to be an oil See also:

• PAINTING

painting, but afterwards reproduced in oils by the painter . This silent period was, however, one of unremitting See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production . Hitherto Burne-Jones had worked almost entirely in water-colours . He now began a number of large pictures in oils, working at them in turn, and having always several on hand .

The " Briar See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose " series, "Laus Veneris," the " See also:

• GOLDEN

Golden Stairs," the " See also:

• PYGMALION

Pygmalion " series, and " The See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

Mirror of See also:

• VENUS

Venus " are among the works planned and completed, or carried far towards completion, during these years . At last, in May 1877, the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of recognition came, with the opening of the first See also:

• EXHIBITION

exhibition of the Grosvenor Gallery, when the " Days, of Creation," the " Beguiling of See also:

• MERLIN, ANTOINE CHRISTOPHE (1762-1833)
• MERLIN, PHILIPPE ANTOINE, COUNT (1754-1838)

Merlin," and the " Mirror of• Venus " were all shown . Burne-Jones followed up the See also:

• SIGNAL

signal success of these pictures with " Laus Veneris," the " See also:

• CHANT (derived through the Fr. from the Lat. cantare, to sing; an old form is " chaunt ")

Chant d'Amour," " See also:

• PAN (" pasturer ")
• PAN (common in various forms to many Teutonic languages, cf. Ger. Pfanne; it is generally taken to be an early adaptation in a shortened form of Lat. patina, shallow bowl or dish, from patere, to lie open)

Pan and See also:

• PSYCHE (//vxi7)

Psyche," and other works, exhibited in 1878 . Most of these pictures are painted in See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay and brilliant colours . A See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change is noticeable next year, 1879, in the " See also:

• ANNUNCIATION

Annunciation" and in the four pictures called "Pygmalion and the Image "; the former of these, one of the simplest and most perfect of the artist's works, is subdued and sober; in the latter a scheme of soft and delicate tints was attempted, not with entire success . A similar See also:

• TEMPERANCE

temperance of colours marks the " Golden Stairs," first exhibited in 1880 . In 1884, following the almost sombre " See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

Wheel of See also:

• FORTUNE, ROBERT (1813-188o)

Fortune " of the preceding year, appeared " See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King Cophetua and the See also:

• BEGGAR

Beggar Maid," in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-See also:

• RESTRAINT (from " to restrain," Lat. restringere, to hold back, prevent)

restraint . This masterpiece is now in the See also:

• NATIONAL

National collection . He next turned to two important sets of pictures, " The Briar Rose " and " The Story of See also:

• PERSEUS

Perseus," though these were not completed for some years to come . In 1886, having been elected A.R.A. the previous year, he exhibited (for the only See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time) at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy " The Depths of the See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

Sea," a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love . This picture adds to the habitual haunting See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm a tragic See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony of conception and a felicity of execution which give it a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place apart among Burne-Jones's works . He resigned his Associateship in 1893 .

One of the " Perseus " series was exhibited in 1887, two more in 1888, with " The Brazen See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower," inspired by the same See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend . In 1890 the four pictures of " The Briar Rose " were exhibited by themselves, and won the widest admiration . The huge See also:

• TEMPERA (the Italian term), or DISTEMPER

tempera picture, " The See also:

• STAR

Star of See also:

• BETHLEHEM
• BETHLEHEM (Heb. " House of Bread," or, according to a more questionable etymology, " of [the god] Lakhmu ")

Bethlehem," painted for the See also:

• CORPORATION (from Lat. corporare, to form into a body, corpus, corporis)

corporation of See also:

• BIRMINGHAM

Birmingham, was exhibited in 1891 . A long illness for some time checked the painter's activity, which, when resumed, was much occupied with decorative schemes . An exhibition of his work was held at the New Gallery in the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter of 1892-1893 . To this period belong several of his comparatively few portraits . In 1894 Burne-Jones was made a See also:

• BARONET

baronet Ill-See also:

• HEALTH

health again interrupted the progress of his works, See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief among which was the vast " Arthur in See also:

• AVALON (also written AVALLON, AVOLLON, AVILION and AVELION)

Avalon." In 1898 he had an attack of See also:

• INFLUENZA (syn. " grip," la grippe)

influenza, and had apparently recovered, when he was again taken suddenly ill, and died on the 17th of June . In the following winter a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings (including some of the charmingly humorous sketches made for See also:

• CHILDREN, LAW RELATING TO

children) at the See also:

• BURLINGTON

Burlington Fine Arts See also:

• CLUB (connected with " clump ")

Club . His son and successor in the baronetcy, Sir See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip Burne-Jones (b . 1861), also became well known as an artist . The only daughter, See also:

• MARGARET
• MARGARET (1283–1290)
• MARGARET (1353-1412)
• MARGARET (1489–1541)
• MARGARET, ST (c. 1045–1093)
• MARGARET, ST (SANCTA MARGARITA)

Margaret, married Mr J . W .

Mackail . Burne-Jones's influence has been exercised far less in painting than in the wide See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of decorative See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . Here it has been enormous . His first designs for stained glass, 1857-1861, were made for Messrs See also:

• POWELL, FREDERICK YORK (1850-1904)
• POWELL, GEORGE (c. 1658-1714)
• POWELL, JOHN WESLEY (1834–1902)
• POWELL, VAVASOR (1617-1670)

Powell, but after 1861 he worked exclusively for Morris & Co . Windows executed from his cartoons are to be found all over See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England; others exist in churches abroad . For the See also:

• AMERICAN

American Church in See also:

• ROME
• ROME (Roma)

Rome he designed a number of mosaics . Reliefs in See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, tiles, See also:

• GESSO

gesso-work, decorations for pianos and See also:

• ORGANS

organs, and cartoons for See also:

• TAPESTRY

tapestry represent his manifold activity . In all works, however, which were only designed and not carried out by him, a decided loss of delicacy is to be noted . The colouring of the tapestries (of which the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " at See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter College is the best-known) is more brilliant than successful . The range and fertility of Burne-Jones as a decorative inventor See also:

• CALF
• CALF, THE GOLDEN

calf be perhaps most conveniently studied in the sketch-See also:

• BOOK

book, 1885–1895, which he bequeathed to the See also:

• BRITISH

British Museum . The artist's influence on book-illustration must also be recorded . In early years he made a few drawings on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood for Dalziel's See also:

• BIBLE
• BIBLE, ENGLISH

Bible and for See also:

• GOOD, JOHN MASON (1764-1827)

Good Words; but his later work for the Kelmscott Press, founded by Morris in 1891, is that by which he is best remembered .

Besides several illustrations to other Kelmscott books, he made eighty-seven designs for the Chaucer of 1897 . Burne-Jones's aim in See also:

• ART

art is best given in some of his own •words, written to a friend: " I mean by a picture a beautiful, romantic See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream of something that never was, never will be—in a See also:

• LIGHT

light better than any light that ever shone—in a See also:

• LAND

land no one can define or remember, only See also:

• DESIRE

desire—and the forms divinely beautiful—and then I See also:

• WAKE (A.S. wacan, to " wake " or " watch ")
• WAKE, THOMAS (1297-1349)
• WAKE, WILLIAM (1657-1737)

wake up, with the waking of Brynhild." No artist was ever more true to his aim . Ideals resolutely pursued are See also:

• APT

apt to provoke the resentment of the See also:

• WORLD

world, and Burne-Jones encountered, endured and conquered an extraordinary amount of, angry See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . In so far as this was directed against the lack of See also:

• REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism in his pictures, it was beside the point . The See also:

• EARTH
• EARTH (a word common to Teutonic languages, cf. Ger. Erde, Dutch aarde, Swed. and Dan. jord; outside Teutonic it appears only in the Gr. 'pq'e, on the ground; it has been connected by some etymologists with the Aryan root ar-, to plough, which is seen in
• EARTH, FIGURE OF
• EARTH, FIGURE OF THE

earth, the See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky, the rocks, the trees, the men and See also:

• WOMEN

women of Burne-Jones are not those of this world; but they are themselves a world, consistent with itself, and having therefore its own reality . Charged with the beauty and with the strangeness of dreams, it has nothing of a dream's incoherence . Yet it is a dreamer always whose nature penetrates these works, a nature out of sympathy with struggle and strenuous See also:

• ACTION

action . Burne-Jones's men and women are dreamers too . It was this which, more than anything else, estranged him from the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age into which he was born . But he had an inbred "revolt from fact" which would have estranged him from the actualities of any age . That criticism seems to be more justified which has found in him a lack of such victorious See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and mastery over his materials as would have enabled him to carry out his conceptions in their See also:

• ORIGINAL

original intensity . Representing the same See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of tendency as distinguished his See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French contemporary, Puvis de Chavannes, he was far less in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main current of art, and his position suffers accordingly .

Often compared with See also:

• BOTTICELLI, SANDRO

Botticelli, he had nothing of the See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire and vehemence of the Florentine . Yet, if aloof from strenuous action, Burne-Jones was singularly strenuous in production . His See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry was inexhaustible, and needed to be, if it was to keep See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

pace with the See also:

• CONSTANT, BENJAMIN (1845-1902)

constant pressure of his ideas . Invention, a very rare excellence, was his pre-eminent See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift . Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures . His fame might See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest on his purely decorative work . But his designs were informed with a mind of romantic See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper, apt in the See also:

• DISCOVERY

discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour . These splendid gifts were directed in a See also:

• CRITICAL (in alphabetical order of authors)

critical and fortunate moment by the See also:

• GENIUS (from Lat. genere, gignere)

genius of Rossetti . Hence a career which shows little See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

waste or misdirection of See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power, and, granted the aim proposed, a rare level of real success . AUT11oRIT1Es.–In 1904 was published Memorials of See also:

• EDWARD

Edward Burne-Jones, by his widow, two volumes of extreme See also:

• INTEREST

interest and charm . The Work of Burne-Jones, a collection of ninety-one photogravures, appeared in 1900 . See also See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

Catalogue to Burlington Club Exhibition of Drawings by Burne-Jones, with Introduction by Cosmo See also:

• MONKHOUSE, WILLIAM COSMO (1840—1901)

Monkhouse (1899; Sir E .

Burne-Jones: a See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

Record and a See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

Review, by See also:

• MALCOLM
• MALCOLM, SIR JOHN (1769-1833)

Malcolm See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell (1898); Sir E . Burne-Jones, his See also:

• LIFE

Life and Work, by Julia See also:

• CARTWRIGHT, EDMUND (1743–1823)
• CARTWRIGHT, JOHN (1740–1824)
• CARTWRIGHT, PETER (1785–1872)
• CARTWRIGHT, SIR RICHARD JOHN (1835– )
• CARTWRIGHT, THOMAS (c. 1535–1603)
• CARTWRIGHT, WILLIAM (1611–1643)

Cartwright (Mrs Ady) (1894); The Life of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William Morris, by J . W . Mackail (1899) . (L .