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SIR EDWARD COLEY BURNE-JONES, 1ST BARONET ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement , who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner his stained glass works include the windows of St. Philip\'s Cathedral, Birmingham , St Martin in the Bull Ring , Birmingham, Holy Trinity Church, Sloane Square, Chelsea , St Martin\'s Church in Brampton , Cumbria (the church designed by Philip Webb ), St Michael\'s Church, Brighton , All Saints, Jesus Lane , Cambridge , Christ Church, Oxford and in St. Anne's Church, Brown Edge, Staffordshire Moorlands and St.Edward the Confessor church at Cheddleton Staffordshire. Burne-Jones's early paintings show the heavy inspiration of Dante Gabriel Rossetti , but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy ). These included _ The Beguiling of Merlin _. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement .

In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries , mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press 's _Chaucer_ in 1896.

CONTENTS

* 1 Early life * 2 Marriage and family

* 3 Artistic career

* 3.1 Early years: Rossetti and Morris * 3.2 Decorative arts: Morris "> Burne-Jones with William Morris , 1874, by Frederick Hollyer .

Edward Coley Burne Jones (the hyphen came later) was born in Birmingham , the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill , where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless and unintellectual local girl. He attended Birmingham's King Edward VI grammar school from 1844 and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford . At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set , speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson , visited churches, and worshipped the Middle Ages . At this time Burne-Jones discovered Thomas Malory 's _Le Morte d\'Arthur _ which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their _ Oxford and Cambridge Magazine_ which Morris founded in 1856 to promote their ideas.

Burne-Jones had intended to become a church minister, but under Rossetti's influence both he and Morris decided to become artists, and Burne-Jones left college before taking a degree to pursue a career in art. In February 1857, Rossetti wrote to William Bell Scott

Two young men, projectors of the _ Oxford and Cambridge Magazine,_ have recently come up to town 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 generally leads, and both are men of real genius. Jones's designs are marvels of finish and imaginative detail, unequalled by anything unless perhaps Albert Dürer 's finest works.

MARRIAGE AND FAMILY

_ Portrait of Georgiana Burne-Jones, with Philip and Margaret_, 1883 Margaret, daughter of Edward Coley Burne-Jones

In 1856 Burne-Jones became engaged to Georgiana "Georgie" MacDonald (1840–1920), one of the MacDonald sisters . She was training to be a painter, and was the sister of Burne-Jones's old school friend. The couple married in 1860, after which she made her own work in woodcuts and became a close friend of George Eliot . (Another MacDonald sister married the artist Sir Edward Poynter , a further sister married the ironmaster Alfred Baldwin and was the mother of the Prime Minister Stanley Baldwin , and yet another sister was the mother of Rudyard Kipling . Kipling and Baldwin were thus Burne-Jones's nephews by marriage).

Georgiana bore a son, Philip , in 1861. A second son, born in the winter of 1864 while Georgiana was gravely ill with scarlet fever, died soon after birth. The family soon moved to 41 Kensington Square, and their daughter Margaret was born there in 1866. In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a large garden in North End, Fulham , London. For much of the 1870s Burne-Jones did not exhibit, following a spate of bitterly hostile attacks in the press, and a passionate affair (described as the "emotional climax of his life" ) with his Greek model Maria Zambaco , which ended with her trying to commit suicide by throwing herself in Regent\'s Canal . During these difficult years Georgiana developed a close friendship with Morris, whose wife Jane had fallen in love with Rossetti. Morris and Georgie may have been in love, but if he asked her to leave her husband, she refused. In the end, the Burne-Joneses remained together, as did the Morrises, but Morris and Georgiana were close for the rest of their lives.

In 1880 the Burne-Joneses bought Prospect House in Rottingdean , near Brighton in Sussex, as their holiday home, and soon after the next door Aubrey Cottage to create North End House , reflecting the fact that their Fulham home was in North End Road. (Years later, in 1923, Sir Roderick Jones , head of Reuters , and his wife, playwright and novelist Enid Bagnold , were to add the adjacent Gothic House to the property, which became the inspiration and setting for her play _The Chalk Garden _).

His troubled son Philip, who became a successful portrait painter, died in 1926. His adored daughter Margaret (died 1953) married John William Mackail (1850–1945), the friend and biographer of Morris, and Professor of Poetry at Oxford from 1911–1916. Their children were the novelists Angela Thirkell and Denis Mackail . In an edition of the boys' magazine, Chums (No. 227, Vol. V, 13 January 1897), an article on Burne-Jones stated that "....his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance."

ARTISTIC CAREER

EARLY YEARS: ROSSETTI AND MORRIS

_ Sidonia von Borcke _, 1860

Burne-Jones once admitted that after leaving Oxford he "found himself at five-and-twenty what he ought to have been at fifteen". He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects, and he set himself to complete his set of skills by resolute labour, witnessed by innumerable drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum , exquisitely finished, of which his _Waxen Image_ (1856) is one of the earliest and best examples. Although the subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him.

Burne-Jones's first sketch in oils dates from this same year, 1856, and during 1857 he made for Bradfield College the first of what was to be an immense series of cartoons for stained glass. In 1858 he decorated a cabinet with the _Prioress's Tale_ from Geoffrey Chaucer 's _ Canterbury Tales _, his first direct 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 fields in which he was to labour.

In the autumn of 1857 Burne-Jones joined Morris, Valentine Prinsep , J. R. Spencer Stanhope and others in Rossetti's ill-fated scheme to decorate the walls of the Oxford Union . None of the painters had mastered the technique of fresco , and their pictures had begun to peel from the walls before they were completed. In 1859 Burne-Jones made his first journey to Italy. He saw Florence , Pisa , Siena , Venice and other places, and appears to have found the gentle and romantic Sienese more attractive than any other school. Rossetti's influence still persisted, and is visible, more strongly perhaps than ever before, in the two watercolours of 1860, _Sidonia von Bork_ and _Clara von Bork._ Both paintings illustrate the 1849 gothic novel _Sidonia the Sorceress_ by Lady Wilde , a translation of _Sidonia Von Bork: Die Klosterhexe_ (1847) by Johann Wilhelm Meinhold.

DECORATIVE ARTS: MORRIS ">_ Saint Cecilia _, c. 1900, Princeton University Art Museum , one of nearly thirty versions of a window designed by Burne-Jones and executed by Morris & Co. Main article: Morris & Co.

In 1861, William Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as partners, together with Charles Faulkner and Peter Paul Marshall , the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti. The prospectus set forth that the firm would undertake carving, stained glass , metal-work, paper-hangings, chintzes (printed fabrics), and carpets . The decoration of churches was from the first an important part of the business. The work shown by the firm at the 1862 International Exhibition attracted much notice, and within a few years it was flourishing. Two significant secular commissions helped establish the firm's reputation in the late 1860s: a royal project at St. James\'s Palace and the "green dining room" at the South Kensington Museum (now the Victoria and Albert ) of 1867 which featured stained glass windows and panel figures by Burne-Jones.

In 1871 Morris & Co. were responsible for the windows at All Saints , designed by Burne-Jones for Alfred Baldwin , his wife's brother-in-law. The firm was reorganized as Morris & Co. in 1875, and Burne-Jones continued to contribute designs for stained glass, and later tapestries until the end of his career. Stained glass windows in the Christ Church cathedral and other buildings in Oxford are by William Morris & Co. with designs by Burne-Jones Stanmore Hall was the last major decorating commission executed by Morris ">_ The Beguiling of Merlin_, 1874

In 1864 Burne-Jones was elected an associate of the Society of Painters in Water-Colours (also known as the Old Water-Colour Society), and exhibited, among other works, _ The Merciful Knight _, the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery. In 1866 Mrs Cassavetti commissioned Burne-Jones to paint her daughter, Maria Zambaco, in _Cupid finding Psyche_, an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting _Phyllis and Demophoön_. The features of Maria Zambaco were clearly recognizable in the barely draped Phyllis (as they are in several of Burne-Jones's finest works), and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended Victorian sensibilities. Burne-Jones was asked to make a slight alteration, but instead "withdrew not only the picture from the walls, but himself from the Society."

During the next seven years, 1870–1877, only two works of the painter's were exhibited. These were two water-colours, shown at the 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 painting, but afterwards reproduced in oils by the painter. This silent period was, however, one of unremitting 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 first _Briar Rose_ series, _Laus Veneris,_ the _Golden Stairs,_ the _Pygmalion_ series, and _The Mirror of Venus_ are among the works planned and completed, or carried far towards completion, during these years. These years also mark the beginnings of Burne-Jones's partnership with the fine-art photographer Frederick Hollyer , whose reproductions of paintings and—especially—drawings would expose a wider audience to Burne-Jones's works in the coming decades. _ King Cophetua and the Beggar Maid _, 1884, currently in the Tate Gallery , London.

At last, in May 1877, the day of recognition came, with the opening of the first exhibition of the Grosvenor Gallery , when the _Days of Creation,_ _ The Beguiling of Merlin ,_ and the _Mirror of Venus_ were all shown. Burne-Jones followed up the signal success of these pictures with _Laus Veneris,_ the _Chant d'Amour,_ _Pan and Psyche,_ and other works, exhibited in 1878. Most of these pictures are painted in brilliant colours. A change is noticeable the next year, 1879, in the _Annunciation_ and in the four pictures making up the second series of _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 temperance of colours marks _The Golden Stairs ,_ first exhibited in 1880. The almost sombre _Wheel of Fortune_ was shown in 1883, followed in 1884 by _King Cophetua and the Beggar Maid ,_ in which Burne-Jones once more indulged his love of gorgeous colour, refined by the period of self-restraint. He next turned to two important sets of pictures, _The Briar Rose_ and _The Story of Perseus,_ though these were not completed for some years.

Burne-Jones was elected an Associate of the Royal Academy in 1885, and the following year he exhibited (for the only time) at the Academy, showing _The Depths of the Sea,_ a painting of 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 charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893. One of the _Perseus_ series was exhibited in 1887, two more in 1888, with _The Brazen Tower,_ inspired by the same legend. In 1890 the second series of _The Legend of Briar Rose _ were exhibited by themselves, and won the widest admiration. The huge watercolor, _The Star of Bethlehem ,_ painted for the corporation of 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 winter of 1892-1893. To this period belong several of his comparatively few portraits. In 1894 Burne-Jones was made a baronet . Ill-health again interrupted the progress of his works, chief among which was the vast _Arthur in Avalon _. In the winter following his death 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 children) at the Burlington Fine Arts Club .

DESIGN FOR THE THEATRE

In 1894, theatrical manager and actor Henry Irving commissioned Burne-Jones to design sets and costumes for the Lyceum Theatre production of _King Arthur_ by J. Comyns Carr , who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as King Arthur and Ellen Terry as Guinevere , and toured America following its London run. Burne-Jones accepted the commission with some enthusiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."

AESTHETICS

_ The Golden Stairs _, 1880

Burne-Jones's paintings were one strand in the evolving tapestry of Aestheticism from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites. Burne-Jones's aim in art is best given in some of his own words, written to a friend:

I mean by a picture a beautiful, romantic dream of something that never was, never will be - in a light better than any light that ever shone - in a land no one can define or remember, only desire - and the forms divinely beautiful - and then I wake up, with the waking of Brynhild.

No artist was ever more true to his aim. Ideals resolutely pursued are apt to provoke the resentment of the world, and Burne-Jones encountered, endured and conquered an extraordinary amount of angry criticism. Insofar as this was directed against the lack of realism in his pictures, it was beside the point. The earth, the sky, the rocks, the trees, the men and 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 action. Burne-Jones's men and women are dreamers too. It was this which, more than anything else, estranged him from the 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 energy and mastery over his materials as would have enabled him to carry out his conceptions in their original intensity. Yet Burne-Jones was singularly strenuous in production. His industry was inexhaustible, and needed to be, if it was to keep pace with the constant pressure of his ideas. Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures. His designs were informed with a mind of romantic temper, apt in the discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour.

HONOURS

_ Burne-Jones' The last sleep of Arthur_ at Museo de Arte de Ponce , Ponce, Puerto Rico

In 1881 Burne-Jones received an honorary degree from Oxford , and was made an Honorary Fellow in 1882. In 1885 he became the President of the Birmingham Society of Artists . At about that time he began hyphenating his name, merely—as he wrote later—to avoid "annihilation" in the mass of Joneses. In November 1893, he was approached to see if he would accept a Baronetcy on the recommendation of the outgoing Prime Minister William Ewart Gladstone , the following February he legally changed his name to Burne-Jones He was formally created a baronet of Rottingdean, in the county of Sussex, and of the Grange, in the parish of Fulham, in the county of London in the baronetage of the United Kingdom on 3 May 1894, but remained unhappy about accepting the honour, which disgusted his socialist friend Morris and was scorned by his equally socialist wife Georgiana. Only his son Philip, who mixed with the set of the Prince of Wales and would inherit the title, truly wanted it.

Morris died in 1896, and the health of the devastated Burne-Jones declined substantially. In 1898 he suffered an attack of influenza , and had apparently recovered when he was again taken suddenly ill, and died on 17 June 1898. Six days later, at the intervention of the Prince of Wales, a memorial service was held at Westminster Abbey . It was the first time an artist had been so honoured. Burne-Jones was buried in the churchyard at St Margaret\'s Church, Rottingdean , a place he knew through summer family holidays.

Elected member of the Royal Academy of Science, Letters and Fine Arts of Belgium in 1897.

INFLUENCE

Blue plaque on Bennetts Hill , Birmingham

Burne-Jones exerted a considerable influence on French painting. He was also highly influential among French symbolist painters, from 1889. His work inspired poetry by Swinburne – Swinburne's 1866 _Poems ">

Cartoon for _Daniel_ window, St. Martin\'s-on-the-Hill , Scarborough , 1873 *

Edward Burne-Jones and William Morris ' Nativity windows (1882), Trinity Church, Boston *

_The Worship of the Magi _ window (1882), Trinity Church, Boston. *

_The Worship of the Shepherds_ window (1882), Trinity Church, Boston *

Nativity scene in St Mary's Church, Huish Episcopi , Somerset *

_David_ 1872, in St Michael and All Angels, Waterford, Hertfordshire *

_Miriam_, 1872 in St Michael and All Angels, Waterford, Hertfordshire *

_Miriam_, 1886 in St Giles\' Cathedral , Edinburgh *

_Christ as Salvator Mundi_, 1896 in St Michael and All Angels, Waterford, Hertfordshire *

St. Cecilia window, Second Presbyterian Church (Chicago, Illinois) *

Crucifixion window in St James's Church, Staveley , Cumbria *

Angel window in St. James's Church, Staveley, Cumbria *

_Faith_ in the Old West Kirk, Greenock *

_Music_ in the Old West Kirk, Greenock

DRAWINGS

*

_The Knight's Farewell_, 1858, pen-and-ink on vellum, 1858 *

_Going to the Battle_, pen-and-ink with gray wash on vellum, 1858 *

_King Sigurd_, woodcut engraving by the Dalziel Bros. after a pen-and-ink drawing, 1862 *

_Portrait of Ignacy Jan Paderewski _, 1892

PAINTINGS

EARLY WORKS

*

_The Princess Sabra Led to the Dragon,_ 1866 *

_Portrait of Maria Zambaco_, 1870 *

_Phyllis and Demophoön_, 1870 *

_Temperantia_, 1872

_PYGMALION_ _(first series)_

*

_ The Heart Desires _, 1868–70 *

_ The Hand Refrains _, 1868-1870 *

_ The Godhead Fires _, 1868–70 *

_ The Soul Attains _, 1868–70

_PYGMALION AND THE IMAGE _ _(second series)_

*

_ The Heart Desires _, 1878 *

_ The Hand Refrains _, 1878 *

_ The Godhead Fires _, 1878 *

_ The Soul Attains _, 1878

THE GROSVENOR GALLERY YEARS

*

_Pan and Psyche_, 1874 *

_The Annunciation_, 1879 *

_The Angel_, 1881 *

_The Mill_, 1882 *

_An Angel Playing a Flageolet_ - Sudley House, Liverpool, England

_THE LEGEND OF BRIAR ROSE_ _(second series)_ Main article: The Legend of Briar Rose

*

_The Briar Wood_, completed 1890 *

_The Council Chamber_, 1890 *

_The Garden Court_, 1890 *

_The Rose Bower_, 1890

LATER WORKS

*

_The Doom Fulfilled_, 1888 (Perseus Cycle 7) *

_The Baleful Head_, 1887 (Perseus Cycle 8) *

_The Star of Bethlehem _, 1890 *

_Vespertina Quies_, 1893 *

_Love Among the Ruins_, 1894 recreation in oils *

_ The Last Sleep of Arthur in Avalon _ 1881–1898

DECORATIVE ARTS

*

Illuminated manuscript of the _ Rubaiyat of Omar Khayyam _ by William Morris, illustrated by Burne-Jones with a variant of _Love Among the Ruins_, 1870s *

_The Arming and Departure of the Knights_, one of the Holy Grail tapestries , 1890s, figures by Burne-Jones. *

A page from the Kelmscott _Chaucer_, decoration by Morris and illustration by Burne-Jones, 1896

THEATRE

*

Scene from _King Arthur_, sets by Burne-Jones, 1895 *

Ellen Terry as Guinevere, costume by Burne-Jones, 1894

PHOTOGRAPHS

*

The Burne-Jones and Morris families in the garden at the Grange, 1874, photograph by Frederick Hollyer *

Edward Burne-Jones, c. 1882 (Hollyer) *

Georgiana Burne-Jones, c. 1882 (Hollyer) *

Burne-Jones's garden studio at the Grange, 1887 (Hollyer)

External video _ Burne-Jones\' King Cophetua and the Beggar Maid_

_ Burne Jones\'s The Golden Stairs_

_ Burne-Jones\'s Hope_, All at Smarthistory

SEE ALSO

* List of paintings by Edward Burne-Jones * _The Flower Book_ * Stained Glass Designs for the Vinland House, 1881

REFERENCES

Notes

* ^ Wildman 1998 , pp. 42-43. * ^ Daly 1989 , pp. 249-251. * ^ _A_ _B_ _C_ _D_ _Dictionary of National Biography_ (1909), "Edward Burne-Jones" * ^ Newall, Christopher (2004). "Jones, Sir Edward Coley Burne-, first baronet (1833–1898)". _ Oxford Dictionary of National Biography_. Oxford: Oxford University Press. doi :10.1093/ref:odnb/4051 . (Subscription required (help)). * ^ Rose 1981 , p. 78. * ^ _A_ _B_ _Dictionary of National Biography_ (1901), "William Morris" * ^ Wildman 1998 , p. 107. * ^ _A_ _B_ Wildman 1998 , p. 114. * ^ Flanders 2001 , pp. 118-120. * ^ Flanders 2001 , p. 136. * ^ _A_ _B_ _C_ _D_ _E_ _F_ _G_ _H_ _I_ _J_ _K_ _ One or more of the preceding sentences incorporates text from a publication now in the public domain : Chisholm, Hugh, ed. (1911). "Burne-Jones, Sir Edward Burne". Encyclopædia Britannica _. 4 (11th ed.). Cambridge University Press. pp. 848–850. * ^ Marsh, _Letters and Diaries_, p. 110 * ^ Wildman 1998 , p. 66. * ^ " Saint Cecilia (y1974-84)". _Princeton University Art Museum_. Princeton University. * ^ Linda Parry, "Domestic Decoration." In Parry, _William Morris_, p. 139-140 * ^ Edward Burne-Jones Southgate Green Association "His work included both stained-glass windows for Christ Church in Oxford and the stained glass windows for Christ Church on Southgate Green." * ^ PreRaphaelite Painting and Design University of Texas * ^ Linda Parry, "Domestic Decoration." In Parry, _William Morris_, p. 146-147 * ^ Souter In a Play by Comyns Carr, Dressed by Sir Edward Burne-Jones". _ New York Times _. 5 November 1895. Retrieved 8 August 2008. * ^ Wood 1999 , p. 120. * ^ Wildman 1998 , pp. 112-113. * ^ _A_ _B_ Taylor 1987 , pp. 150-151. * ^ _A_ _B_ _C_ Flanders 2001 , p. 258. * ^ "No. 26509". _ The London Gazette _. 4 May 1894. p. 2613. * ^ "No. 26988". _ The London Gazette _. 19 July 1898. p. 4396. * ^ Dale 1989 , p. 212. * ^ Index biographique des membres et associés de l'Académie royale de Belgique (1769-2005). p 44 * ^ _A_ _B_ "The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910". Retrieved 12 September 2008. * ^ Bracken, Pamela (4 March 2006). "Echoes of Fellowship: The PRB and the Inklings". Conference paper, C. S. Lewis & the Inklings. Retrieved 23 June 2014. * ^ "Centenary exhibition of Sir Edward Burne-Jones at