. Burne-Jones. e year 1861 must be particularly notedbecause it marks the commencement of anundertaking with which Burne-Jones wasclosely associated for the rest of his Morris, who had also left Oxfordin 1856 without waiting to take his degree,had gone for rather less than a year intothe office of George Edmund Street, thewell-known architect, with some idea of PLATE IV.—SIBYLLA DELPHICA (Manchester Art Gallery) In this painting of the Delphic oracle Burne-Jones made no attemptto reconstruct archaeologically an incident from classic times. Thesymbolism of the subject appealed to h
. Burne-Jones. e year 1861 must be particularly notedbecause it marks the commencement of anundertaking with which Burne-Jones wasclosely associated for the rest of his Morris, who had also left Oxfordin 1856 without waiting to take his degree,had gone for rather less than a year intothe office of George Edmund Street, thewell-known architect, with some idea of PLATE IV.—SIBYLLA DELPHICA (Manchester Art Gallery) In this painting of the Delphic oracle Burne-Jones made no attemptto reconstruct archaeologically an incident from classic times. Thesymbolism of the subject appealed to him rather than its possibilitiesof being represented realistically, and he treated it in a mannerentirely personal, with strength and decision, but with exquisitetenderness of poetic sentiment as well. The picture has a certainintensity of feeling that is especially convincing, and its finedraughtsmanship, splendid colour, and well-considered suggestion ofmovement make it technically of very great BURNE-JONES 35 adopting that profession; and then, becom-ing quickly disillusioned, had after someexperiments in painting settled down for awhile to literary work. In 1859 ne marriedand went to live in a house which had beenbuilt for him at Bexley Heath; and it issaid that the difficulty he experienced ingetting, for the fitting up of this house,things which would please his fastidioustaste and gratify his intense love of beauty,induced him to consider whether he couldnot actively intervene in the much-neededreformation of the decorative arts. At anyrate, less than two years after his marriage,he was busy with the details of a schemewhich was ambitious enough to satisfy evenhis love of big things and in which therewere endless possibilities. This scheme took definite form towards 36 BURNE-JONES the end of 1861, when the firm of Morris,Marshall, Faulkner, and Co. was started inRed Lion Square. Burne-Jones, naturallyenough, was an active sympathiser withthe plans of Willi
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