. Burne-Jones. iest escaping from the Druids, whichwere then at Oxford, gave him a veritableinspiration. For Rossetti in particular he con-ceived immediately a passionate adoration,and to sit at the feet of such a master seemedto him the noblest aim in life. From thatmoment, indeed, his fate was decided, thoughsome little time had yet to elapse before PLATE III.—SPONSA DI LIBANO(Walker Art Gallery, Liverpool) The first idea for the Sponsa di Libano was embodied in one ofa series of pencil designs from the Song of Solomon, which wereprepared by Burne-Jones in 1876. This picture, the only one ou
. Burne-Jones. iest escaping from the Druids, whichwere then at Oxford, gave him a veritableinspiration. For Rossetti in particular he con-ceived immediately a passionate adoration,and to sit at the feet of such a master seemedto him the noblest aim in life. From thatmoment, indeed, his fate was decided, thoughsome little time had yet to elapse before PLATE III.—SPONSA DI LIBANO(Walker Art Gallery, Liverpool) The first idea for the Sponsa di Libano was embodied in one ofa series of pencil designs from the Song of Solomon, which wereprepared by Burne-Jones in 1876. This picture, the only one out ofthe series which he actually completed pictorially, was exhibited atthe New Gallery in 1801. The motive of the composition is explainedin the text which the original drawing illustrated: Awake, O NorthWind; and come, thou South; blow upon my garden that the spicesthereof may flow out In the treatment of the subject the artistspoetic fancy and sense of decorative arrangement are particularlywell BURNE-JONES 25 his dreams could be realised and his planscould be put into working shape. For the abandonment of all the ideaswhich had brought him to the universitywas no small matter and not to be lightlyundertaken. He had to think of the dis-appointment at home which such action onhis part would cause, and he had also toconsider what would be his own positionwhile he was preparing himself for a pro-fession of which he had not so far hadthe smallest practical experience. So, withlittle heart in his work, he went on readingfor his degree until the winter of 1855,when he came up to London with the in-tention of seeing in the flesh the manwhom he had hitherto worshipped afar was introduced to Rossetti at the houseof Mr. Vernon Lushington, and by the 26 BURNE-JONES kindly painter, who discerned the promisein the young mans tentative drawings, hewas given the heartiest encouragement. Alittle later he laid before Rossetti all hishopes and fears, his doubts whether or
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