New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-06-26

arm for instance with consummate fneness or
line and he could follow its contours with mas
,ery. hut b. chose TO see the arm as elongated
and unnatural with a result that his drawing
was scnsuously beautiful but artistically tad.
The highest at joins beauty to truth. Rossetti
was satisfied with tho beauty HIS approval
moulded Burne-Joncs and it hurt him. At the
cam TIM hat the young student was being
encourage in al Interpretation If forms which
was bound bcrauso Of is artiGciality. to be
come hammered his association with Kossctt.
and William Morris was fostering in him dan
eerously exclusive affection FOR med:eval an
NEUROLOGICAL IDEAS. Properly assinliIated along
with the iGcas of his time. th,." would have
done Burnc- Jones no harm Ho might have gone
on putting them into pictures until thu day 81
his death and he would never have Suggested
doubt il any ones mind as to the porm.ncnce
Of his WORK But he made the mistake % AL
the Pre-RaphacItes. the mistake of William
Morris As much as Of Kossetti-hc lived go en-
urey among distractions and poetical dreams
that no matter how arduously he strovc 80 real
lie nature forms he transnogrihcd the latter
into designs as formal anything In the
arabesques Of the Moors You cannot paint a
picture out Of Mallory or Chaucer unless you
see it in as vivid light as the light ~ the
present day. The men must be men. the women
must be women the breeze must be clear and
alive. and The leaves must rustic III tho trees
with sunlight shifting through them
Burne-Jonos saw his figures and his Landscape
as through mist He was saturated in poetry
and mythology in lcgcnl and romance. Some
times his passion for them was SO deep and
strong that i was communicated to his brush.
and. have said before. he then brought
the ancient, mm ,mOrial forests 50 near that III
his pictures Of them there H. a wonderful sylvan
charm, one recognizes the accent OF nature
beneath th' fantastic design. But u Is mpossi-
bic 10 deny that with Burnc-Joncs the design
was the frs, thing and nature the second, just
as in the drawings he showed To- kossett the
facts Of nature were subord.natcd 20 beauties OF
line
There Is picture Of his depicting the coming
Of Cupid 10 Psyche in which the latter lies
asleep before screen OF roses. Love bends
over her. ard ID his attitude one Is conscious
Of lines which blend exquisitely with those OF
The reclining girl But these two figures are un-
real beyond Tho license allowed to painter 81
myths The first and eternal obligation OF a
painter ~ Visions. "" have sad or BuiHc-J"hes |
before this IS tC body forth the figures he sees
20 that what IS reality t. him and them III the |
sphere q imagination shall be reality to US In |
ne sphere 81 Imagination plus canvas ana |
'aint In other words. We must bc made to |
believe IN IN" creatures Of the artists world |
ootucel makes us believe H. tn" figures Of his |
friMayera." in his Incompatible venus, as |
hchael Angelo makes ms believe IN ali the hG- |
lies Of the S.stinc ceiling; but Burnc-Jones |
cald not make Us believe in his CUPID or ms |
'syche, IN has Venus or his Galahad II" could |
hrapiure as through IN charm Of the signs
Mo which he threw them. 1t is doubtful, IN |
act If ne eyer produced a composition when
vas not a. least grace full The lines IN the
anous series f THE Days Of Creation are
@hdlec with that perfect judgment which con
'h'"s H." spectator OF the imposslbllity OF ever
hanging them ~ hairs breadth without IN
'"hg disaster. Linear subtlety he had by III
uhcl. Linear ingenuity and variety ne galheo
" study and practice. Yntil, "a picture IKE
venus Mirror or in one ike "Cupids Hunt
70 tTOUud' or la 4 series like that devoted 10