the legend 
 
 OF 
 
 XTfye Briar IRose.” 
 
 
 PRICE SIXPENCE. 
 
™ a ver y use f ul Idtle manual on Jewellery, of importance .”— Public Observer, 16th 
 JSov., 1867. 
 
 “ This volume is worth its weight in gold — Court Journal, 9th Feb., 1867. 
 
 “ Every intending buyer of Jewellery should make Mr. Streeter's little book his vade mecum."— 
 Illustrated Ne-sv3, 30th November, 1867. 
 
THE LEGEND 
 
 OF 
 
 "0)2 23rictr &os 2 . 
 
 A SERIES OF PICTURES 
 
 PAINTED BY 
 
 E. BURNE JONES, a.r.a. 
 
 EXHIBITED iAT 
 
 Thos. agnew & sons- Galleries, 
 
 2, Dale Street, Liverpool. 
 
 1890. 
 

 —St' 
 
 “2 
 
 Nov., ±4ST.™ 
 
 “ This volume is worth its weight in gold " — Court Journal, 9th Feb., 1867. 
 
 Every intending buyer of Jewellery should male Mr. Streeter's little booh his vade mecum / 
 Illustrated News, 30lh November, 1867. 
 
“THE BRIAR 
 
 ROSE.” 
 
 given us 
 
 |HE joyous Realm of Fairyland has never 
 received such elaborate and such lovely 
 illustration as in this series of four spacious 
 canvases upon which Mr. Burne Jones has 
 his own version and view of the charming 
 old-world legend of “ The Sleeping Beauty.” 
 
 The story itself, in its simpler form, is familiar 
 enough to every nursery. Every young reader of Mother 
 Goose’s Fairy Tales knows all about the belated, but 
 beautiful child born at last to the long lamenting king 
 and queen, who lived in that convenient period, both 
 for fairy legend and ideal art, known as “ once upon 
 a time.” The splendid christening of the young 
 Princess, the Seven Fairy Godmothers and their 
 gracious gifts, the malice of the recluse old Fairy who 
 by inadvertence had not been invited, all these things 
 are too well known to need detailed setting forth. 
 Every reader will remember how, after the kindly 
 fairies had endowed the child with every gift and 
 grace, the slighted “ vieille F6e qu’on n’avoit point 
 pri6e, parcequ’il y avoit plus de cinquante ans quelle 
 n’etoit sortie d’une Tour, et qu’on la croyoit morte, ou 
 enchantee,” gave unpleasant proof of her existence by 
 declaring that “the Princess should pierce her hand 
 with a spindle and die of the wound.” But the fiats 
 
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 THE ‘BRItAR OSS . 
 
 of fairyland are not quite so inexorably unalterable as 
 Medo-Persic laws, and childhood was relieved to find 
 that the benignant young Fairy, who had hidden behind 
 the tapestry, was able to commute the sentence of 
 death upon the beautiful Princess into slumbering 
 imprisonment for one hundred years, in a silent 
 palace hidden within an enchanted wood. 
 
 The fated spindle of course pierced the Princess's 
 fair hand, of course the century of sleep followed, and 
 equally of course, at the appointed time, the fated 
 Prince penetrated the wood, broke the spell, and 
 awoke the Sleeping Beauty to life and love. 
 
 Mr. Burne Jones has naturally treated the old 
 legend in his own way. Perrault called his “ Conte 
 du Terns passe/' “ La Belle au Bois Dormant; " Lord 
 Tennyson in his delicious “ Day-Dream,” delineates 
 first “ The Sleeping Palace ; ” the painter for pictorial 
 purposes deals with the story as “ The Legend of the 
 Briar Rose.” In all four pictures the Briar Rose is 
 everywhere, tangling the woody approach, clustering 
 up the “ Council Room,” trailing about the “ Garden 
 Court,” and crowding with its sweet, spicy blossoms 
 and tooth-like thorns the inner “ Rosebower,” where 
 the Sleeping Beauty, surrounded by her slumbering 
 tire-maidens, lies awaiting the advent of the Awakener. 
 It is a beautiful conception, linking and harmonising 
 everything, pictorially-speaking, and from this point of 
 view must the series be regarded. 
 
 Perrault says, “ II crut dans un quart d’heure tout 
 autour du Parc une si grande quantity de grands 
 arbres et de petits, de ronces et d’^pines entrelasses 
 les unes dans les autres, que bete ni homme n y auroit 
 
 —Si 
 
 “ j 
 
 Nov.,' 
 
 “ LV 
 
 41 iW# intending buyei' of Jewellery should Kale 3A Streeter's little "booh his vade 
 Illustrated New 3, 30:h November, 1867. 
 
 mecum. 
 
 
THE ‘BRLAR <RJ)SE. 
 
 5 
 
 pfl passer” (Histoires on Contes du Terns passe, par 
 M. Perrault, m.dcc.xlii). Mr. Burne Jones does not 
 show us the large trees or the small, but only the 
 ubiquitous maze and tangle of stout-stemmed and 
 pinkly blossoming briar. And where should Art be 
 free if not in Fairy Land ? Tennyson, painting with 
 the liberal, the unrestrained brush of the poet, says :— 
 
 * All round a hedge upshoots, and shows 
 At distance like a little wood ; 
 
 Thoms, ivies, woodbine, mistletoes, 
 
 And grapes with bunches red as blood ; 
 
 All creeping plants, a wall of green, 
 
 Close-matted, bur and brake and briar, 
 
 And glimpsing over these, just seen 
 High up, the topmost palace spire.” 
 
 A lovely picture—in words. But here and for the 
 painter’s purpose of art, to say nothing of possible 
 symbolism, the solitary prevalence of the wild-rose 
 trails and tangles lends a wonderful unity, and an 
 indescribable charm, to the four glowing, but diversely 
 glowing, canvases upon which the artist has told his 
 tale, and, it may be, pointed his moral. For 
 
 “ Liberal applications lie 
 In Art like Nature,” 
 
 though the commentator need not “ cramp its use ” by 
 any attempt to “ hook it to some useful end.” 
 
 The tale is told, so far as Mr. Burne Jones purposes 
 to tell it, in four pictures, to each of which Mr. William 
 Morris has supplied, in flowing quatrain, a musical 
 
MR. EDWIN W. STREETER, 
 
 6 THE ‘BRIAR •ROSE. 
 
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 motto. The story in the artist’s version, begins with 
 the Knight’s entry into the enchanted “ Briarwood, 
 and closes with a glimpse of the “ Rosebower of 
 the Sleeping Princess. The Knight or Prince of “the 
 fated hand and heart,” as he looks fixedly forward 
 over the recumbent bodies of his sleep-stricken pre¬ 
 decessors in the adventure, is supposed to see before 
 him what the spectator only discovers picture by 
 picture on the three succeeding canvases. Here we 
 have nothing to do, except inferentially, with the 
 spiteful spell of the Slighted Fairy, or with the actual 
 awakening, or the less pleasing incidents which some¬ 
 how seem much to mar the sequel of the dainty 
 story in Perrault’s version. Here each picture ex¬ 
 plains, by foreshadowing or illustrating, the others; 
 and the “ flower and quintessence ” of the legend is 
 conveyed with artistic completeness, but with a subtle 
 and satisfying suggestiveness which avoids what Edgar 
 Poe (in his “ Fall of the House of Usher ) calls that 
 “ uncouth and unimaginative prolixity which could 
 have little interest for lofty and spiritual ideality.” 
 Indeed, the whole treatment of the theme is ideal in 
 the highest degree ) we are veritably and consciously 
 in Fairyland— 
 
 “ A wild weird clime that lieth, sublime, 
 
 Out of Space—out of Time,” 
 
 “P suffused with the “light which never was on sea or 
 
 shore,” above Archaeology, and independent of the 
 claims of Costume. 
 
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 Not. 
 
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 Lv&'i) intending buyer of Jeicelltry should make Mr. Streeter's little book his vade \ 
 Illustrated New3 , 30th November, 1867. 
 
THE *BRItAR %OSS. 
 
 7 
 
 i •—Oje ^rtarmoob. 
 
 * The fateful slumber floats and flows 
 About the tangle of the rose ; 
 
 But lo ! the fated hand and heart 
 To rend the slumberous curse apart! ” 
 
 The first picture presents to us the enchanted briar- 
 thicket, the prostrate and slumbering forms of the 
 knights who from time to time have failed to penetrate 
 It, and the entrance of the Fairy Prince who is fated 
 to succeed. Before his advance the intricate and 
 thorny “Tangles of the Rose” yield readily. “A 
 peine s’ava^a-t-il vers le Bois, que tous ces grands 
 arbres, ces ronces, et ces Opines s’ecartbrent d’elles- 
 memes pour le laisser passer: il marche vers le 
 Chateau qu’il voyoit au bout d’une grande avenue ou 
 il entra, et ce qui le surprit un peu, il vit que per- 
 sonne de ses gens ne l’avoient pu suivre, parceque 
 les arbres s’etoient rapprochez des qu’il avoit 6t6 
 pass£.” So says the old French legend. 
 
 The solitary Knight enters at the left of the picture, 
 lifting with his shield the spiny sweeps of the briar, 
 and with lowered sword, gazing intently and gravely 
 forward, as though rapt in vision of his adventurous 
 Quest. This is not the 
 
 “ Fairy Prince, with joyful eyes, 
 
 And lighter-footed than the fox,” 
 
MR. EDWIN W. STREETER, 
 
 8 THE ‘BRLAR * 3 '{OSS. 
 
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 of the Laureate's verse; rather a steel-clad young 
 Lancelot, dark-eyed and gravely dauntless. His 
 closely-fitting and complete suit of steel is wonderfully 
 painted, mirroring in its subdued lustre the gloom of 
 the thicket, the glow of the pinky-rose blossoms, and 
 the gleam of scattered lights. 
 
 Before him lie the sleep-locked forms of five other 
 knights, diversely clad, who have failed in the tempt¬ 
 ing quest, and mastered by the “ slumberous curse," 
 are heavily drowsing amidst the bramble-knots, their 
 armour, Gothic, Moorish, or Saracenic, unrusted in the 
 magic air; their casques fallen aside, showing their 
 faces set in sleep, but living and unmarred; their 
 shields caught up above them by the ceaseless growth 
 of the Briarwood. Here lies a loosened sword, and 
 there an unstrung bow. Beautiful in composition and 
 lovely in colour, the picture satisfies the eye, and 
 invites the closer scrutiny it well repays. Armour, 
 drapery, faces, all abound in passages of exquisite 
 colour, of subdued lustre and subtle graduation, blent 
 in one admirable whole in which nothing jars or fails 
 to harmonise. And all about is the beautiful briary 
 wilderness, ubiquitous but so artistically managed as 
 never to be wearisome or obtrusive. “ The Briarwood " 
 is a triumph of poetical sentiment and unstrained 
 decorative treatment. 
 
 —S 
 
 u 
 
 Nov\ 
 
 ■if -|H| u yj oousouc/tf onuu 
 
 Illustrated News, 30ih November, 1867. 
 
 
THE <BRI<AR %OSE. 
 
 9 
 
 n -—0)£ Council Hoorn, 
 
 “ The threat of war, the hope of peace, 
 
 The Kingdom’s peril and increase 
 Sleep on, and bide the latter day, 
 
 When Fate shall take her chain away.” 
 
 Here we are introduced to the council-chamber of 
 the sleep-smitten king. He is huddled up with bowed 
 head, trailing white beard, and contracted feet, in quaint 
 costume, upon a highly decorative cage-like throne. 
 Bronze, silver, lapis lazuli, and all delicately subdued 
 jewel-tints are blent in his ingeniously devised sur¬ 
 roundings. An open written scroll lies unregarded on 
 his lap. At his side on a low stool stands an hour¬ 
 glass, whose sands last run a century since. Nearest 
 his feet reclines his councillor-in-chief, asleep indeed, 
 but astute-looking even in slumber, seeming as though 
 he were either feigning somnolence, or dreaming in 
 some brief nap of diplomatic subtleties and deep 
 devices of statecraft. His face presents perhaps the 
 only touch of obvious humour in the composition. 
 Tennyson speaks of his “lay” as “earnest wed with 
 sport.” In Mr. Burne Jones's treatment the sportive¬ 
 ness is far from conspicuous, the earnestness, as usual 
 with him, is dominant everywhere. 
 
 Nearest him couches the chancellor or treasurer, 
 his slumber-relaxed fingers lying within a scrip or 
 purse. All about lie the slumber-locked councillors 
 and courtiers of the drowsing king. Like a congre- 
 

 MR. EDWIN W. STREETER, 
 
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 THE <BRhAR %OSE. 
 
 gation of courtly lotos-eaters they “live and lie re¬ 
 clined,^ in attitudes skilfully varied, with draperies 
 beautifully designed and deliciously coloured. The 
 opiate charm holds them all, even the sentry on the 
 left, who with forward fallen head sits leaning on his 
 spear. Behind a beautifully painted bronze grille are 
 visible faces of guards and attendants, also all lapped 
 in unstirring slumber. And everywhere, the only 
 quick and changing thing in the whole sleep-locked 
 scene, twines and trails the flowering tangle of the 
 Magic Briar. 
 
 hi— Oje (Sarbert Court. 
 
 “ The maiden pleasance of the land 
 Knoweth no stir of voice or hand, 
 
 No cup the sleeping waters fill, 
 
 The restless shuttle lieth still.” 
 
 As the second canvas showed the slumbering king’s 
 councillors, so this, an open-air scene, shows the 
 sleeping handmaidens of the spell-bound princess. 
 It would seem to be the painter’s own conception, 
 unborrowed from Legend or Laureate. “ II traverse 
 plusieurs chambres pleines de Gentilhommes et de 
 Dames, dormanstous, les uns debout, les autres assis.” 
 So says Perrault briefly. Mr. Burne Jones gives us 
 the Garden Court, with fountain and sun-dial, and 
 background of exquisitely painted Gothic wall. A 
 loom has been erected here, and here, when the 
 
TH£ BRIAR OSS . 
 
 II 
 
 “ slumbrous curse ” first fell, the Princess's maidens 
 were at work or at play. In garments delicately 
 moulded, of colours beautifully harmonised, they 
 recline in the attitudes into which sudden sleep struck 
 them a century since. Lovely are the tones and tints 
 of this canvas; charming, with the painter's own 
 peculiar charm, are the soft pensive faces of the 
 drowsing girls. One, robed in red, has fallen forward 
 on the framework of the loom, her head upon her 
 rounded arm, the shuttle lying where her relaxed 
 fingers dropped it so long ago. About the loom, and 
 beside the unflowing fountain, recline the other 
 maidens. The woodwork of the loom, the wools, the 
 stone and metal of fount and sundial, the background 
 of wall and window are, like the skilfully varied 
 draperies of the girls themselves, most delicately and 
 deliciously painted. The whole picture is steeped in 
 the very glamour of romance; the glow and gleam of 
 the enchanted numbers of Keats are over it all. Not 
 more witchingly painted—in words as here in tints— 
 are the poet’s 
 
 “ Magic casements opening on the foam 
 Of perilous seas, in fairy-lands forlom. ,, 
 
 The spirit of poetry indeed pervades the whole pic¬ 
 ture, like the lovely trails of the Magic Briar which, in 
 sunlight and shade, on marble floor and in mid-air, 
 cluster about the recumbent forms, stretch from wall 
 to wall, and loop rosily from loom to fountain. 
 
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 “ There lies the hoarded love, the key 
 To all the treasures that shall be ; 
 
 Come fated hand the gift to take, 
 
 And smite this sleeping world awake.’' 
 
 Says Perrault, following the adventurous footsteps 
 of his fairy Prince, “ II entre dans une chambre toute 
 dor£e, et il vit sur un lit, dont les rideaux £toient 
 ouverts de tous cotez, le plus beau spectacle quil eut 
 jamais vd: une Princesse qui paroissoit avoir quinze 
 ou seize ans, et dont l'dclat resplendissant avoit quelque 
 chose de lumineux et de divin.” 
 
 Here is the “ chambre toute dor^e,” and about the 
 slumbering Princess there is doubtless “ quelque chose 
 de lumineux et de divin.” But it is the luminousness 
 of purity, the divinity of virginal grace, rather than 
 any “ £clat resplendissant.” The Princess fulfils the 
 Laureate’s idea of “ a simple maiden in her flower,” 
 rather than that of the opulent loveliness suggested 
 by his glowing description of the “ Sleeping Beauty” 
 in her “ Day-Dream ” :— 
 
 u Year after year, unto her feet, 
 
 She lying on the couch alone, 
 
 Across the purpled coverlet 
 
 The maiden’s jet-black hair has grown, 
 
 On either side her tranced form, 
 
 Forth streaming from a braid of pearl : 
 
 The slumbrous light is rich and warm, 
 
 And moves not on the rounded curl 
 
 -—S '*.-*-.lJAKUf ora January, icoe. -- ~ — 
 
 ** & a ver y useful little manual on Jewellery , of importance .”— Public Observer, 16th 
 
 iNOV*j loo /. 
 
 “ This volume is worth its weight in gold 1 ' — Court Journal, 9th Feb., 1867. 
 
 ‘ Evei'y intending buyer of Jewellery should make Mr. Streeter's little book his vade mecum ."— 
 Illustrated New3, 30th November, 1867. 
 
13 
 
 ..._ J 
 
 
 TH8 c BRItAR %OSE. 
 
 “ The silk star-broider’d coverlid 
 Unto her limbs itself doth mould 
 Languidly ever ; and, amid 
 
 Her full black ringlets downward roll'd, 
 
 Glows forth each softly shadow’d arm 
 With bracelets of the diamond bright; 
 
 Her constant beauty doth inform 
 
 Stillness with love, and day with light. 
 
 “ She sleeps : her breathings are not heard 
 In palace chambers far apart. 
 
 The fragrant tresses are not stirr’d 
 That lie upon her charmed heart. 
 
 She sleeps : on either hand upswells 
 The gold-fringed pillow lightly prest; 
 
 She sleeps, nor dreams, but ever dwells 
 A perfect form in perfect rest.'' 
 
 This is a picture of gorgeous loveliness indeed. It 
 will be seen that the ideal of the youthful poet differs 
 materially from that of the mature painter. The 
 painter’s Princess, the centre and core of the whole 
 beautiful dream— 
 
 “ The hoarded love, the key 
 To all the treasures that shall be," 
 
 3 
 
 is no raven-tressed beauty of Oriental splendour, such 
 as might have stepped out of the “ Arabian Nights,” 
 but a sweet-faced girl with hair lightly loosened, but 
 not abundant or “ forth-streaming," reclining simply 
 upon a couch finely wrought, but quaint rather than 
 sumptuous. 
 
 Such a Lancelot-like Knight as is seen entering the 
 
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 7 HE <BRLAR 70S8. 
 
 
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 Briarwood in the first picture, might well be charmed 
 and drawn by such an Elaine-like face as that of this 
 “ Sleeping Beauty.” It is the proper climax of the 
 painters original and refined conception. “The fated 
 heart” is set upon just such a vision, and this is the 
 “gift” that the “fated hand ” is to take. Not yet, 
 however, is there any sign of the sleeping world being 
 smitten awake. That does not enter into the painter’s 
 scheme. The “ perfect form ” of the princess is still 
 “ in perfect rest,” her ladies are still lapt in unbroken 
 slumbers. The light with which the chamber glows 
 is the wonderfully-rendered light of the land of 
 dreams, untouched by the most distant suggestion of 
 the long-delayed but now imminent day-dawn. The 
 hanging-lamp above still burns, though the silver 
 bells are silent, the lute is mute, the jewel-casket is 
 unsearched. All these details are painted as only 
 Mr. Burne Jones could paint them. The subdued 
 splendour, the polychromatic harmony of this picture, 
 will be acknowledged to be marvellous. The frame¬ 
 work and hangings of the bed, the rose and silver of 
 the pillow, the pale purple of the couch, the golden 
 hem, the red carpet, with its quaint pattern of dusky- 
 blue peacocks, the subdued sheen of metal, the soft 
 lustre of jewels,—all these make up a dream of 
 dainty colouring which hardly another hand could 
 realize. The sleeping maidens are very lovely, their 
 draperies are exquisite, their embroideries and orna¬ 
 ments wonderful. The “ quaint devices ” and 
 “ splendid dyes,” the “ warm gules,” and “ rose- 
 bloom,” and “ silver,” and “ soft amethyst ” of 
 Madeline’s chamber in the “ Eve of St. Agnes,” could 
 
 “ J 
 
 “\ 
 
 —s o_ .. 
 
 AT ***?£.?? a very use f ul manual on JaccUtry , of’importance." — Public Observer, 16th 
 -Nov., 1857* 
 
 “ This whime is worth its weight in gold " — Court Journal, 9th Feb., 1867. 
 
 “ Evei'y intending huger of Jewellery should make Mr. Streeter's little hook his vade 
 Illustrated New3, 30th November, 1867. 
 
 mecum ,”— 
 
THE ‘BRItAR %OSE. 
 
 15 
 
 not be more lovely than are the tints of this other 
 virginal chamber, in which Mr. Burne Jones’s girl¬ 
 faced princess had “ laid her down in loveliness ” and 
 slept for the fated hundred years. 
 
 And into the Rosebower also the ever-present Briar 
 Rose has forced its fated way. “ The tangle of the 
 rose ” is about the Sleeping Princess here, as about 
 the destined Awakener in the first picture, the Council 
 Room of the second, and the “ Maiden Pleasance ” of 
 the third. Its spiny trails and pink blossoms link and 
 bind into a subtly suggested unity the splendid series 
 of marvellously painted pictures in which Mr. Burne 
 Jones has as skilfully as beautifully illustrated “ The 
 Legend of the Briar Rose.” 
 
 E. J. MILLIKEN. 
 

 “ The description of the manufacture of Gold and the various Hall-marls are well worth perusal” 
 —Standard, 3rd January, 1868. 
 
 “ This is a very useful little manual on Jewellery , of importance .”— Public Observer, 16th 
 -Nov., 1867. 
 
 “ This volume is worth its weight in gold —Court Journal, 9th Feb., 1867. 
 
 Evei'y intending buyer of Jewellery should male Mr. Streeter's little booh his vade mecum. '— 
 Illustrated Nev^, 30th November, 1867. 
 
 
OPINIONS OF THE PRESS. 
 
 “THE TIMES,” April 25, 1890. 
 
 At last the public and the artist may alike congratulate them¬ 
 selves that the “ Sleeping Beauty” series is finished. For many 
 years Mr. Burne-Jones has been at work upon it ; for many 
 years, whatever else he may have begun and finished in the in¬ 
 terval, these four large pictures have been, so to speak, in the 
 background, always occupying his thoughts and his invention, 
 even when they were not occupying his hand. During the past 
 year they have demanded his almost exclusive service ; and now 
 at last they are finished, and are on view to all the world at 
 Messrs. Agnew’s Gallery, in Old Bond Street. It had been 
 hoped that they would form part of the forthcoming exhibition 
 at the New Gallery, and some had even thought it possible that 
 they might go to the Royal Academy ; but neither of these plans 
 suited the arrangements of the owners, Messrs. Agnew, who 
 have, perhaps naturally, preferred to show so important a series 
 of works in their own gallery. It is said that they will after¬ 
 wards make the tour of the country, and perhaps, if tariff diffi¬ 
 culties can be got over, they may be shown in America. It is 
 safe to prophesy that wherever they go they will receive, together 
 with no little criticism, an abundance of admiration, for they 
 certainly display in the most striking form all the characteristics 
 of Mr. Burne-Jones’s extremely interesting art. 
 
 It is with something of a shock that one finds all this inven¬ 
 tion, all this abundant wealth of fancy, all this research after 
 beauty, and all this minute elaboration of the parts devoted to 
 the illustration of a fairy-tale. For it is nothing more nor less 
 than the old story of the Sleeping Beauty, the Belle au Bots 
 dormant , that Mr. Burne-Jones has painted in four pictures, 
 each 9 ft. by 4 ft., and each full of figures three parts the size of 
 life. One is tempted to ask for the moral of it all, but the 
 painter would meet such a question as the poet of “The Day- 
 Dream ” met it long ago :— 
 
 “ Oh, to what uses shall we put 
 The wildweed flower that simply blows? 
 
 And is there any moral shut 
 Within the bosom of the rose?” 
 
 If the mind of an artist lives and moves among myths and 
 fairy tales, it is to Fairyland that he must go for his subjects, 
 
V ■ 
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 18 
 
 THE ‘BRI'AR TfiSE. 
 
 
 and all that we have to ask is that he should paint them beau¬ 
 tifully. And few will be found to deny that Mr. Burne-Jones 
 has lavished beauty upon his rendering of the ancient story, or 
 that he has surpassed himself in the prodigality of delightful 
 colour, and in the unfailing charm of line which he offers us in 
 these pictures. Moreover, both friendly and hostile critics will 
 agree that the subject chosen is one admirably suited to his art 
 —an art which is of no certain date, which delights to interpret 
 a world that never was and never will be, a world as far removed 
 from the actualities of life as dreams are, or the shining visions 
 of the old glass-painters. We have to take all this for granted 
 in judging Mr. Burne-Jones. Our enjoyment of his pictures 
 must in a great measure depend on our feelings for or against 
 that remote, half allegorical poetry which was once so much in 
 vogue throughout Europe, though it has become hopelessly out 
 of fashion with a positive-minded generation that seeks for 
 realism in all things. Indeed, we might say that the art of Mr. 
 Burne-Jones was the poetry of the Roman de la Rose stripped of 
 its longueurs , concentrated, made definite, and invested with a 
 new brilliancy of colour by the painter’s hand. 
 
 The story of the Sleeping Beauty is told, as we have said, in 
 four pictures, to each of which Mr. William Morris has added 
 an explanatory quatrain. The first describes how the magic 
 Briar Rose—that protection which plays in this story almost the 
 same part that is played by the watchful dragon or by the triple 
 wall in parallel stories all over the world—has grown round the 
 palace, but how the Prince passes through :— 
 
 “ A fateful slumber floats and flows 
 About the tangle of the rose ; 
 
 But lo ! the fated hand and heart 
 To rend the slumberous curse apart.’* 
 
 The five knights are lying asleep on the ground; their shields, 
 each of which bears some subtle, allegorical design, are hung 
 on the thick branches of the briar ; only the Prince is standing 
 awake and with drawn sword. As to the detail, it is enough 
 to say that here, as in the other pictures, the artist has revelled 
 in his opportunities, and that the light and shade of the armour, 
 the colours of the knights’ scarves, and the fantastic lines of 
 the rose-branches have found in him a loving interpreter. In 
 the second picture we are introduced into the sleeping palace 
 itself, where the spell has fallen upon the King and his Court:— 
 
 “ The threat of war, the hope of peace, 
 
 The kingdom’s peril and increase, 
 
 Sleep on and bide the latter day, 
 
 When Fate shall take her chain away." 
 
 “A 
 
 * 
 
 The description of the manufacture of Gold and the various IIall-mar hs are well worth perns all’ 
 —Standard. 3rd January, 1868. 
 
 ‘ This is a very useful little manual on Jewellery , of importance .”— Public Observer, 16ih 
 Nov., 1867. ’ . 
 
 “ This volume is worth its weight in gold"— Court Journal, 9th Feb., 1867. 
 
 Eveiy intending buyer of Jeivelltry should malce Mr, Streeter's little booh his vade mecumT — 
 Illustrated New3, 30th November, 1867. 
 
THE <BRI<AR ‘RJJSS. 
 
 To the right is the old King asleep on his throne; his dress, 
 like that of the later Roman Emperors, is almost exactly that 
 which has been preserved for us in the Papal robes, white, with 
 a crown that suggests the tiara ; his throne, with its green 
 twisted columns, is curiously beautiful. Before him sleep his 
 minister, whose wily features show the adept in statecraft; his 
 favourite poet, some of his courtiers, and a brilliant young 
 soldier. Their figures and the exquisitely harmonised colours 
 of their robes are reflected in a wonderful marble pavement; 
 and beyond, on the other side of a trellis and curtain, other 
 sleeping figures are dimly seen. These two are pictures of men; 
 the third and the fourth have to do with the Princess and her 
 fair damsels. The third will probably be the general favourite ; 
 it shows three girls who have fallen asleep at the well, and three 
 on whom the spell has come as they worked at the loom :— 
 
 “ The maiden pleasance of the land 
 Knoweth no stir of voice or hand 1 
 No cup the sleeping waters fill, 
 
 The restless shuttle lieth still.” 
 
 It is hard to find words to express the delicate beauty of this 
 picture, or the subtle skill with which these blues and purples, 
 these greens and greys have been wrought into harmony. The 
 transparent floor is a marvel of painting, and the artist has been 
 as careful with the details of jar and basket as ever were Lippi 
 or Ghiriandajo. In the last picture we have the Sleeping 
 Beauty herself, stretched stiff and straight upon her couch ; two 
 sleeping maidens at her feet and one by her side :— 
 
 “ Here lies the hoarded love, the key 
 To all the treasure that shall be ; 
 
 Come, fated hand, the gift to take, 
 
 And smite the sleeping world awake !* 
 
 The painter has naturally put his whole strength into the face6 
 of the Princess and her maidens, but the eye is tempted to 
 wander from them to the lovely accessories of this picture—to 
 the greyish-white coverlet, to the purple cloth over the couch 
 inwrought with figures of doves, to the amulets and charms with 
 which the quaint invention of the painter has surrounded her ; 
 to the carpet, with its delicious design of blue peacocks on a red 
 ground, to the gorgeous casket. We are accustomed to this 
 evidence of loving care in Mr. Burne-Jones’s pictures, but it 
 has never been shown before on so large a scale and with such 
 exuberance of fancy as in these four pictures. The world of 
 dreams and fairies has surely never been so prodigally illustrated. 
 
20 
 
 THE ‘BRItAR %0SE. 
 
 i 
 
 t 
 
 1 
 
 ] 
 
 Si i 
 
 V ; 
 
 H 
 
 “THE ATHEN/EUM,” April 26th, 1890. 
 
 After about seven years’ intermitting labour, Mr. Burne- 
 Jones has finished the four important paintings in oil (to which 
 we have more than once referred) which are designed to illustrate 
 the “Legend of the Briar Rose,” which is a version of the 
 ancient and better-known history of the Sleeping Beauty, or 
 “Sleeping Palace,” as the Laureate has it. These pictures are 
 highly and brilliantly finished, full of figures and details of many 
 kinds, and of uniform size, about II ft. by 5 ft., landscape way. 
 They were begun on commission from the late Mr. Graham, but 
 are the property of Messrs. Agnew & Son, who intend to exhibit 
 them all during the season at their gallery in Old Bond Street. 
 The private view occurred yesterday (Friday). 
 
 Mr. William Morris has supplied mottoes for his friend’s 
 pictures, as he did for a previous series which the Athenceum 
 described. It is hardly needful to say that in illustrating a date¬ 
 less legend the painter has selected what costume he thought fit, 
 without the least regard to archaeology. As he has to deal with 
 a romance, not with a history, antiquaries must take, or leave, 
 the paintings as they find them. The first in order is inscribed : 
 The fatefid Slumber floats and flows about the Tangles of the 
 Rose , but, Lo , the fated Hand and Heart to rend the slumbrous 
 Curse apart! 
 
 Here, at the outset of the series, we observe that each work is 
 pervaded by a pure, soft, and mystical light, differing in degree 
 of intensity, and adapted to the progress of the legend from the 
 semi-darkness of the woodland which is the scene of the first 
 painting to the uniform, but subdued brightness of the “chamber 
 far apart,” where the enchanted lady and her maidens lie at rest. 
 We are to understand that since the “ slumbrous curse” began 
 to operate centuries have passed. The lives of the King, his 
 councillors and knights, the royal damsel and her attendants, 
 have been suspended ; but all the rest of the world has gone on 
 its way. The trees have grown larger and more numerous, the 
 shrubs have flourished unchecked, so that the building was 
 almost covered by the briars, which, developing in the magic 
 air, form a dense thicket, till now impenetrable, and have 
 blocked the doors and crept in at the windows, and thrust 
 themselves along the corridors until they have reached the 
 chamber of the princess. 
 
 During the lapse of ages many knights had striven to pene¬ 
 trate the thicket and deliver the princess. Adventurer after 
 adventurer has entered, but none has passed through or re¬ 
 turned. Failing to overcome the spell, each succumbed to it, 
 
 “A 
 
 \ 
 
 REVIEWS OF MR. EDWIN W. STREETER’S BOOK OF JEWELLERY 
 
 AND GOLD. 
 
 “ The description of the manufacture of Gold and the various Hall-marks are well worth perusal.” 
 —Standard, 3rd January, 18G8. 
 
 “ This is a very useful little manual on Jewellery, of importance .”— Public Observer, 16lh 
 Nov., 1867. 
 
 “ Th™ volume is worth its weight in gold —Court Journal, 9 th Feb., 1867. 
 
 Evei'y intending buyer of Jewellery should make Mr. Streeter's little booh his vade mecuin ,”— 
 Illustrated New3, 30th November, 1867. 
 
THE ‘BRLAR e P0S8. 
 
 21 
 
 and sinking to the earth slept as the inmates of the palace slept. 
 Suffering no change, his weapons have not rusted, nor his attire 
 decayed. Accordingly the painter has represented each man in 
 the garb of his time : the Celt in tegulated armour, the Gothic 
 knight beside the Saracen or Moor; here a champion clad in 
 mail, there another in steel plates. From every head but one 
 the helmets have rolled away, leaving bare the martial faces, in 
 which the look of life is stilled, but not lost. The shields that 
 have fallen from their grasp have been lifted up by the ever¬ 
 growing briars that have twined about the baldrics, so that each 
 escutcheon hangs above its owner. So profound is the repose 
 of the unsuccessful champions that when the fated knight 
 appears, breaking his way through the underwood, their slum¬ 
 bers are unbroken. He is clad in steel from head to foot, and 
 upon the polished surface of his armour the gloom of the thicket 
 is reflected, and so are rays of light from above, and flecks of 
 colour from the roses round about. He pushes aside the 
 branches with his shield, and in the other hand holds his sword. 
 A large part of the charm of this picture is due to the look of 
 the knight. His dark eyes are distinct in the shadow of his 
 vizor, but, heedless of the lost champions at his feet, he seems to 
 gaze far beyond the tangles of the wood and discern victory 
 where others have failed. The features are as beautiful as their 
 expression is poetical. The picture’s coloration, light, and 
 shade, the very gloom of the briary wilderness, the strange 
 armour of the knights, the immobility of their faces, and the 
 rapture of the prince, who moves as in a world apart, are appro¬ 
 priate to the magic whose charm is soon to be broken. 
 
 The motto of the second picture is The Threat of War, the 
 Hope of Peace , the Kingdom's Peril and Increase , sleep on ’and 
 hide the later Day when Fate shall take her Chain away. It 
 depicts the council chamber of the white-bearded king. He sits 
 on his throne of bronze, wrapped in embroidered cloth of silver, 
 and wearing a quaint crown. Although sleeping, he still holds 
 in one hand an open scroll, which seems to have been the 
 subject of discussion wuth the lords who lie on couches or on 
 the floor near their master. Nearest, reclines the chief coun¬ 
 cillor in blue, a crafty smile fixed upon his face ; close by is the 
 treasurer, with his hand on his special charge, the purse; next 
 to him slumbers the general in his armour. On our left the 
 sentry, fixed in sleep, leans upon his spear. Through a grille 
 of gilt bronze behind these figures are visible the faces of the 
 guards and attendants in an outer chamber. The hour-glass, 
 long at rest, is on a stool near the king. The briars penetrate 
 the grille and extend themselves over the couches and the 
 
“/I; 
 
 1 
 
 co THE *BRItAR \0S£. 
 
 “THE ATHENAEUM,” April 26th, 1890. 
 
 After about seven years’ intermitting labour, Mr. Burne- 
 Jones has finished the four important paintings in oil (to which 
 we have more than once referred) which are designed to illustrate 
 the “Legend of the Briar Rose,” which is a version of the 
 ancient and better-known history of the Sleeping Beauty, or 
 “Sleeping Palace,” as the Laureate has it. These pictures are 
 highly and brilliantly finished, full of figures and details of many 
 kinds, and of uniform size, about ii ft. by 5 ft., landscape way. 
 They were begun on commission from the late Mr. Graham, but 
 are the property of Messrs. Agnew & Son, who intend to exhibit 
 them all during the season at their gallery in Old Bond Street. 
 The private view occurred yesterday (Friday). 
 
 Mr. William Morris has supplied mottoes for his friend’s 
 pictures, as he did for a previous series which the AthencEum 
 described. It is hardly needful to say that in illustrating a date¬ 
 less legend the painter has selected what costume he thought fit, 
 without the least regard to archaeology. As he has to deal with 
 a romance, not with a history, antiquaries must take, or leave, 
 the paintings as they find them. The first in order is inscribed : 
 The fateful Slutnber floats and flows about the Tangles of the 
 Tose, but , Lo , the fated Hand and Heart to rend the slumbrous 
 Curse apart! 
 
 Here, at the outset of the series, we observe that each work is 
 pervaded by a pure, soft, and mystical light, differing in degree 
 of intensity, and adapted to the progress of the legend from the 
 semi-darkness of the woodland which is the scene of the first 
 painting to the uniform, but subdued brightness of the “chamber 
 far apart,” where the enchanted lady and her maidens lie at rest. 
 We are to understand that since the “ slumbrous curse” began 
 to operate centuries have passed. The lives of the King, his 
 councillors and knights, the royal damsel and her attendants, 
 have been suspended ; but all the rest of the world has gone on 
 its way. The trees have grown larger and more numerous, the 
 shrubs have flourished unchecked, so that the building was 
 almost covered by the briars, which, developing in the magic 
 air, form a dense thicket, till now impenetrable, and have 
 blocked the doors and crept in at the windows, and thrust 
 themselves along the corridors until they have reached the 
 chamber of the princess. 
 
 During the lapse of ages many knights had striven to pene¬ 
 trate the thicket and deliver the princess. Adventurer after 
 adventurer has entered, but none has passed through or re¬ 
 turned. Failing to overcome the spell, each succumbed to it, 
 
 I 
 
 1 
 
 
 —Si\ 
 
 Nov., .lO'o y. 
 
 “ Jll is volume is worth its weight in gold 1 '— Court Journal, 9 th Feb., 1867. 
 
 Evei'y intending huger of Jewellery should make Mr. Streeter's little hook his va.de 
 Illustrated New3, 30:h November, 1867. 
 
 mecutn 
 
THE ‘BRhAR %OSE. 
 
 21 
 
 and sinking to the earth slept as the inmates of the palace slept. 
 Suffering no change, his weapons have not rusted, nor his attire 
 decayed. Accordingly the painter has represented each man in 
 the garb of his time : the Celt in tegulated armour, the Gothic 
 knight beside the Saracen or Moor; here a champion clad in 
 mail, there another in steel plates. From every head but one 
 the helmets have rolled away, leaving bare the martial faces, in 
 which the look of life is stilled, but not lost. The shields that 
 have fallen from their grasp have been lifted up by the ever¬ 
 growing briars that have twined about the baldrics, so that each 
 escutcheon hangs above its owner. So profound is the repose 
 of the unsuccessful champions that when the fated knight 
 appears, breaking his way through the underwood, their sliTm- 
 bers are unbroken. He is clad in steel from head to foot, and 
 upon the polished surface of his armour the gloom of the thicket 
 is reflected, and so are rays of light from above, and flecks of 
 colour from the roses round about. He pushes aside the 
 branches with his shield, and in the other hand holds his sword. 
 A large part of the charm of this picture is due to the look of 
 the knight. His dark eyes are distinct in the shadow of his 
 vizor, but, heedless of the lost champions at his feet, he seems to 
 gaze far beyond the tangles of the wood and discern victory 
 where others have failed. The features are as beautiful as their 
 expression is poetical. The picture’s coloration, light, and 
 shade, the very gloom of the briary wilderness, the strange 
 armour of the knights, the immobility of their faces, and the 
 rapture of the prince, who moves as in a world apart, are appro¬ 
 priate to the magic whose charm is soon to be broken. 
 
 The motto of the second picture is The Threat of War, the 
 Hope of Peace> the Kingdom's Peril and Increase , sleep on and 
 bide the later Day when Fate shall take her Chain away. It 
 depicts the council chamber of the white-bearded king. He sits 
 on his throne of bronze, wrapped in embroidered cloth of silver, 
 and wearing a quaint crown. Although sleeping, he still holds 
 in one hand an open scroll, which seems to have been the 
 subject of discussion with the lords who lie on couches or on 
 the floor near their master. Nearest, reclines the chief coun¬ 
 cillor in blue, a crafty smile fixed upon his face; close by is the 
 treasurer, with his hand on his special charge, the purse; next 
 to him slumbers the general in his armour. On our left the 
 sentry, fixed in sleep, leans upon his spear. Through a grille 
 of gilt bronze behind these figures are visible the faces of the 
 guards and attendants in an outer chamber. The hour-glass, 
 long at rest, is on a stool near the king. The briars penetrate 
 the grille and extend themselves over the couches and the 
 
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 throne. The softened light is much brighter than in the first 
 
 ^ The motto of the third picture is The Maiden Pleasannce of the 
 Land knoweth no Stir of Voice or Hand. No Cup the sleeping 
 Waters fill; the restless Shuttle lieth still. Here the scene is a 
 courtyard open to the air, where the giant arms of the magical 
 briars form great loops, and from the fountain on one side to the 
 loom on the other stretch along in the sunlight. The maiden at 
 the loom (she is clad in deep rose-red) leans over her wrap, and, 
 with her face resting on her crossed arms, sleeps as she has slept 
 for centuries. Another lies on the floor, and a third sits on the 
 loom frame. At the fountain slumber three other maidens clad 
 in beautiful colours, which are beautifully harmonized with the 
 chromatic and tone schemes of the entire picture. 
 
 The motto of the fourth painting is Here lies the hoarded Love> 
 the Key to all the Treasures that shall be. Come, fated Handy 
 the Gift to take , and s?nite this sleeping World awake. This 
 depicts the princess’s chamber, which is surcharged with a rosy 
 and golden light, so that there are hardly any shadows, and the 
 delicate splendour of the scene, the beautiful forms of the sleep¬ 
 ing ladies, their sumptuous garments, embroideries, and jewel¬ 
 lery, lose none of their charms. The royal damsel, who is clad 
 in warm white, lies under a coverlet adorned with needlework 
 in silver ; her face, which is turned towards us, is a little flushed 
 by the life within, her lips are touched with a smile, and every 
 limb and feature bespeaks “ a perfect form in perfect rest.” The 
 charm of her face is enhanced by the slight disorder of her hair 
 and the stillness of her eyelids. The pillow on which her head 
 rests is of dark rose colour and silver ; her couch is pale purple, 
 with a broad hem of gold, upon which a quaint line of silver 
 bells hangs from a cord of the same metal. Near the princess’s 
 shoulder the fairest of her maids of honour reposes upon the 
 floor, her lute lying at her hand, while near her feet two other 
 maidens form a fine group. In front lies a casket of jewellery, 
 to which a briar has reached ; near it is an inlaid mirror ; over 
 the princess’s head hangs a silver bell; the carpet at the side of 
 her couch is of a dark red ground with a pattern of deep blue 
 peacocks. Upon the central group the artist has concentrated 
 all the resources of his palette, and he has displayed exquisite 
 taste in producing a combination of hues more lovely than any¬ 
 thing he has hitherto achieved. The figures and faces of the 
 princess and her principal attendant are worthy of their place as 
 the crowning elements of the superb series which closes with 
 them. 
 
 I 
 
 (< 
 
 —Si\ 
 
 “5 
 
 Nov., u-tio#. 
 
 “ I7lis volume is worth its weight in gold ’—Court Journal, 9th Feb., 1867. 
 
 Evei'y intending buyer of Jewellery should make Mr. Streeter's little book his vade meciun. "- 
 Illustrated New3, 30th November, 1867. 
 
_ 
 
 THE *BRItAR T^OSE. 
 
 “THE SPEAKER,” May 3, 1890. 
 
 Before the bustle and tumult of the Royal Academy, the 
 Grosvenor, and the New, are fully upon us, it may not be alto¬ 
 gether loss to spare a little time for Mr. Burne-Jones, A.R.A., 
 and his four great pictures illustrative of the legend of Prince 
 Charming and the Lady of the Sleeping Wood. Their painter, 
 indeed, has given them seven years of unremitting industry. 
 And it well may be that in the distant future, when every other 
 picture of this year of grace, whether shown in busy London or 
 by the fashionable banks of the Seine, has been forgotten, these 
 works will be remembered and held in ever-increasing reverence; 
 for whatever their merits or demerits, they have this high quality 
 —they are unique ; they and their painter stand royally alone. 
 Nor dispute as we will about their conventionality, their technique , 
 their meaning, and much else concerning them, about which 
 Mr. Burne-Jones never troubled his thoughts, can we with 
 justice, if we have any sense of what is artistic, refuse to admit 
 that a spirit of indefinable and subtle beauty pervades them. 
 
 To describe them at all adequately would need more space 
 than we can give. They are uniform in size, 11 feet long by 
 5 feet high. The artist has chosen, not the very incident of the 
 awakening from the century of mystic slumber, but the eve of 
 that fateful moment. In the first we have “ the fated fairy 
 Prince,’’just stepping into light, with his shield pushing back 
 the mighty Rose-briar which, “ thick, close-matted, a wall of 
 green,” obscures the dim light, and creeps along the earth in 
 brown coils, big as serpents’ bodies. Before him lie, just as 
 they fell, his predecessors. But “ the many fail ; the one 
 succeeds; ” and he is the obedient servant of the high gods. 
 Preceding the Prince into the council-room where King, Chan¬ 
 cellor, and courtiers; all, 
 
 “ The threat of war, the hope of peace, 
 
 The Kingdom’s peril and increase, 
 
 Sleep on,” 
 
 next we are in the “maiden pleasance of the land,” an open 
 quadrangle, spacious, luminous with mellow light, where virgins 
 clad in robes of soft splendour, rich, deep-toned and beautiful, 
 sleep in attitudes of exquisite grace. Lastly, we enter the Rose- 
 bower, the sanctuary of the Princess, where, in this finer light, 
 the silence is almost audible, and the palpable stillness of the 
 charm rests on all till the magic kiss shall touch the lady’s lips, 
 and invincible love “ smite this sleeping world awake.” 
 
 These pictures must be looked upon chiefly as a very noble 
 form of decorative art. They are, of course, entirely conven¬ 
 tional in their treatment. But all art is so. All that we can 
 demand is that the convention be broad and consistent through- 
 
24 
 
 THE BTJ-AR %0S£. 
 
 3 
 
 Si 
 
 I 
 
 33 
 
 Vi; 
 
 foii 
 
 H 
 
 If i 
 
 
 out. Here the convention is noble, dignified, tranquil, homo¬ 
 geneous in all its details, and satisfying. Mr. Burne-Tones 
 takes us into the ideal land of pure romance. At first glance 
 there is much we feel inclined to resent, but gradually we see 
 the artist’s meaning as a whole, and every detail grows har¬ 
 monious, and his work clearly comprehensible, not to say in a 
 certain sense natural. In the third picture we find the artist at 
 his perfection—balance of composition, luminosity, breadth, 
 daring and luxurious colour, and the most graceful figures he 
 has ever drawn. In the fourth the high merits cease to rise in 
 crescendo , and he in some sense fails to realise the crowning 
 loveliness, the constant beauty which informs “stillness with 
 love and day with light,” the perfect form in perfect rest. 
 
 Dealing with fairy-land, the artist has asserted his right to 
 be eclectic as to place and date. The folds of his drapery are 
 all conventionally treated, especially when he desires to imply 
 deeper repose, as in the rigid folds of the Princess’s couch¬ 
 covering. Sir Joshua Reynolds held that artists were wrong to 
 concern themselves with texture, that they had no right to 
 indicate fabrics—silk, velvet, linen—that to paint drapery 
 should be their only aim. Mr. Burne-Jones apparently agrees 
 with him. He indicates but one material, though in some cases 
 we wish he would make it less felt or baize-like—something a 
 little diaphanous would here and there be such a relief. And 
 this brings us to the artist’s abiding fault. v His colour is superb ; 
 his management of crimsons, blues, and purples of Oriental 
 voluptuousness and splendour, and yet a “soft lustre” suffuses 
 it all. But it lacks brilliancy, depth, light, variety. A sense 
 of monotony characterises all this artist’s paintings, giving them 
 almost the appearance of tapestries. Mr. Burne-Jones’ feeling 
 is, of course, toward the earlier Italian masters ; but they had 
 mechanical secrets for compounding, making, and applying 
 their colour undreamed of by their living admirer. Rossetti at 
 whose feet Mr. Burne-Jones sat, has been surpassed in freedom 
 and grace of drawing, in imagination, and in refinement by his 
 pupil, who attains in these pictures, his master-work, to a 
 position of which we may be proud as a nation—for he is 
 British by birth, education, and feeling, has studied in no 
 foreign schools, and the substance and the manner of his work 
 are totally unlike anything else at home or abroad. 
 
 What is the soul of this allegory ? Is not beauty sufficient ? 
 And we may say in Carlyle’s pfirase that these pictures are sig¬ 
 nificant of much—or nothing—according to those who look at 
 them. It only remains to add that they are on view at Messrs. 
 Agnew’s, in Bond Street, where they are seen to the best advan¬ 
 tage in a gallery especially and admirably prepared to suit them. 
 
 A 
 
 _c 
 
 u i his is a very useful little manual on Jaucllery , of importance.’ —-Public Observer, lfith 
 -Nov., 1867. 
 
 “ 7his volume is worth its weight in gold."— Court Journal, 9th Feb., 1867. 
 
 Evei'y intending buyer of Jewelltry should mahe Mr. Streeter's little booh his vade niecum .''— 
 Illustrated New 3, 30th November, 1867. 
 
THE LEGEND 
 
 OF 
 
 “m?e JBriar IRose.” 
 
 The Series of Pictures will be reproduced by 
 Photogravure, under the guidance of 
 
 Mr. BURNE JONES. 
 
 Subscription for the Series of Four Pictures 
 
 Artist’s Proofs . £^\ io o 
 
 Proofs before Letters . 18 18 o 
 
 India Prints . , Q IQ n 
 
 Or Separately:— 
 
 Artist’s Proofs. 
 
 Proofs before Letters 
 
 India Prints . 
 
 Prints . 
 
 £8 8 o each . 
 5 5o„ 
 
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 220,, 
 
 THOS. AGNEW &: SONS, Publishers, 
 39, Old Bond Street, London, W. 
 
 2, Dale Street, Liverpool. 
 
 14, Exchange Street, Manchester. 
 
 Hot, m'f 
 
u Pro) 
 (( 
 
 u Aria 
 
 HE 
 
 “ Th: 
 -Stas 
 
 “ Thu^ u utry usejui little manual on Jewellery , of importance.” — Public Observer, 16 tb 
 xsov., 1867. 
 
 “ Ihis lohme is worth its weight in gold "— Court Journal, 9th Feb., 1867. 
 
 Evei y intending buyer of Jewellery should make Mr. Streeter's little booh his vade mecuni. '— 
 Illustrated News, 30:h November, 1867. 
 
 J