Questions to arouse interest. What does this picture represent? What is there unusual about this stairway? Why do you suppose Burne-Jones painted the stairs without a railing? What is there unusual about these figures? What are they carrying in their hands? Where are they going? Where did they come from? Do they seem to be standing still or moving? What makes you think so? Are they noisy or quiet in their movements? Why do you think so? Why has the leader raised her hand? What can you see in the window above the stairs? Is this a sad or a happy procession? Why do you think so? What do you like best about this picture?

The story of the picture. The artist, Burne-Jones, was a student and a dreamer. As a small, motherless boy he had been left much alone in a home in which storybooks were considered wicked, so there were none for him to read. His father was a strong churchman and intended his son for the ministry. He was endeavoring as best he knew how to fit him for his high calling by a training which, though perfectly sincere and honest in purpose, was rather gloomy and severe for the delicate, sensitive boy. However, little Edward was naturally of an imaginative mind, so he made up his own stories. A relative sent him a copy of Æsop’s Fables, and this book he was permitted to keep. It seems to have brought the turning point in the boy’s life. From that time on he dwelt in a fairyland of his own making.

When he was sent away to school to prepare for the ministry, he carried his fancies with him, adding to them the many legends of Greek mythology; of literature, especially those wonderful stories of King Arthur’s court; and of the Bible. His desire to become an artist was aroused by another student, William Morris, the two spending all their spare time drawing and painting. Nevertheless, he was twenty-three years old before he saw any of the great masterpieces in painting.

From the very first, Burne-Jones chose subjects which were mysterious, fairylike, and unreal, but his pictures were so filled with music, beauty, and happiness that it was a delight to look at them.

His idea of a good picture was very different from that of the practical, painstaking Millet, who represented everything and everybody as they actually appeared before him in the very field or place he had found them.

Burne-Jones tells us: “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 has ever shone, in a land no one can define or remember, only dream.” And so when asked to paint a decoration for a hallway in one of the fine old London homes he thought at once of a stairway, and the painting of “The Golden Stairs” is the result. It would seem indeed a dream, this angel host descending from we know not where and halting at that mysterious closed door which leads we know not whither. But hush! the leader has half raised her hand, turning this way as if to ask for silence. Each figure stops instantly, holding herself motionless, while the musical instruments are slightly lowered that all may listen more intently. And yet, this is a joyous procession,—the gayly colored wreaths of flowers which most of them are wearing, the musical instruments, the happy faces, all tell us this is an errand of pleasure. Might it not be that this host of angels is descending upon the sleeping world to soothe the restless, worried ones, and smooth the puckered, aching brows in quiet slumber? Lulled by their gentle music, or the rustle of their approaching footsteps, the weary one would soon find refreshing sleep.

The light in the picture seems to come from above, yet is all about and around the figures, as if they were the source of the illumination. They come from a darkened doorway, and enter one quite as dark except for the light they bring to it.

The greater part of the picture is painted in shades of gray, but it is relieved by the flesh tints, and the gayly colored flowers worn in wreaths or scattered on the steps. Here is delicate, exquisite coloring, and figures drawn with such careful attention to details that each seems complete in itself, yet all are held together in one great harmony.

It is interesting to draw an oblong of this same proportion and then represent the curved lines in this picture; it makes us feel the movement, swing, and rhythm which come to us like approaching music.

The picture is full of idyllic charm which takes us away from all the prosaic details of everyday life to a fairyland where this happy throng may come and go with music, flowers, and delight. The calm, thoughtful faces, so full of kindly purpose and high ideals, cannot fail to inspire us with good thoughts.

The dove in the upper casement window is typical of the peace that pervades this scene. The faint, far from earthly, shadows, the bare feet, even the stairway without a railing or protection of any kind, all suggest that our youthful maidens are celestial beings. Their destination we can only guess. Perhaps that is why the picture has had several names: “The King’s Wedding,” “Music on the Stairs,” and the one by which it is now known, “The Golden Stairs.”

Burne-Jones made many beautiful designs for stained-glass windows, and we can but regret that he did not produce this picture in that way also.

Questions to help the pupil understand the picture. Tell about the boyhood and early training of the artist. What book influenced him most? How did it affect his choice of subjects to paint? How did he happen to become interested in art? How old was he before he first saw a great painting? Compare the subjects chosen by Burne-Jones and by Millet as to character and feeling. What was Burne-Jones’s idea of a good picture? How did he happen to paint “The Golden Stairs”? For what room was it intended? What colors did the artist use in this painting? In what ways does it suggest music? How would you explain the destination of these maidens? their errand? from whence they come? What would you consider the chief charm in the picture?

The story of the artist. We have heard how the small Burne-Jones was brought up by a rather strict but ambitious father, and perhaps have felt sorry for the boy who used to spend hours before the windows of a book store, gazing at the even rows of books with such wistful longing. But we need not feel so, for it was this very desire for books and stories that led him to use his own imaginative power.

When he was old enough to begin serious preparation for the ministry his father sent him to King Edward’s School. Here he earned a scholarship to Oxford. When he left home for Oxford it seemed as if his real life had begun, for it was here that he met friends who had the same tastes and longings as himself. One friend in particular, William Morris, shared with him his new-found delight in art. Both had intended to prepare for the ministry, but now they decided to give up all else and pursue the study of art. So at the age of twenty-three Burne-Jones left Oxford and went to London, where he began painting in earnest. From the very first he showed great originality both in his subjects and in his manner of representation.

Many of his subjects were taken from the Bible, from Greek mythology, or from stories of King Arthur’s court. Sometimes he painted with but the one idea of making something beautiful, as in this picture of “The Golden Stairs.”

Burne-Jones was fortunate in his first teacher, Rossetti, who was a man so filled with the beauty of a scene that he must paint it for sheer joy. In order to pay for this instruction Burne-Jones made designs for stained-glass windows, and became famous for the beauty of these windows. The one at Trinity Church, Boston, is called “David Instructing Solomon in the Building of the Temple.” At Oxford is the famous Saint Cecilia window he designed for Christ Church College.

It seems strange that Burne-Jones should wait until he grew to manhood before he discovered that he had the desire and the ability to draw. Other artists tell of the years spent in longing, and their constant struggle for the sake of their art. But when Burne-Jones made up his mind, he spent no time in experiment or even practice. He devoted all his time to the one idea which filled his thoughts. He made no effort whatever to find out whether his work would meet with popular favor or not, beginning at once with what he knew to be his right material.

The only difference to be noticed in his first and his last paintings was a difference in the speed and skill with which he handled the paints. New ideas occurred to him so rapidly that he formed the habit of making quick sketches and putting them aside until he had time to work them out carefully.

Burne-Jones had never rebelled against the profession his father chose for him. Indeed, he felt satisfied and made every effort to succeed in it. Perhaps if he had remained at home, or even if he had not met the enthusiastic William Morris just when he did, he might never have discovered his power as a painter.

The knowledge of the disappointment at home and the small means at his disposal did not hinder him from forsaking the profession his family had chosen for him, for was he not following the advice of the great painter, Rossetti? Not many young artists have found such a friend as Rossetti was to Burne-Jones. He not only gave the desired instruction but helped his pupil get such work as he was capable of doing. When the glass makers applied to Rossetti for a design for a stained-glass window, he declined to undertake the work but recommended his pupil instead.

A visit to Italy gave Burne-Jones new inspiration. Later when William Morris married and went to live in a house which had been built for him at Bexley Heath, he had difficulty in furnishing this house to suit his taste and desire for beautiful things. This led Morris to establish a firm to make such things. Of course Burne-Jones was heartily in sympathy with his friend and put his talents as a designer at the disposal of the firm. His wonderful imagination and fine powers of expression produced all kinds of decorative work, such as tapestries, embroideries, carved chests, book covers, book illustrations, and decorations for pianos, screens, and friezes.

Although he received so much praise in his later years, at first he, too, had to pass through the fire of criticism and even ridicule. At one time Burne-Jones was ridiculed in the pages of Punch, while in another magazine he was spoken of as the “greenery-yallery Grosvenor-gallery young man.” But these criticisms were soon forgotten, and all England was proud to honor this artist with medals. In 1894 Burne-Jones was given the title of baronet.

Questions about the artist. Tell about the boyhood of Burne-Jones; his education. What kind of subjects did he choose for his paintings? What was his idea of a good painting? Who was his first teacher? Why did he wait so long before he began to study painting? What can you say of his imagination? Tell about William Morris and his new home. What did Burne-Jones do for his friend?