Jones, indicates that the artist followed a definite system,
instead of repeating technical errors, until his senses were
.. o perverted that he saw beauty where only ugliness
. xisted. Another indication of an underlying system in
the work of Burne-Jones is found Mi his setecOveness.
His book of "studies," or preliminary drawings, shows
how carefully his first intentions were modified again and
again, in order that they might fit together and become
integral parts of an important picture. His was certainly
a completeness laboriously acquired. He attained an
expressive line, but it was not through economic draughts-


,* .A &W-1,&&"%A L& t.LaJta.AL.] Y VWILL&, al-L
fl .L  - Ju114n,.,
Hokosai, the eighteenth centurK   Japanese, or
the modem    Frenchman, in whose sketches-
.ous and yet restrained-At would be difficult to
re each line stops and where each beis.   .
                 Consequent upon this selective-
at is the power to choose, absorb and assimilate,
ones offered frequently in his work suggestions
r artists whom he had closely, but never servilely,
He was no borrower or thief, but simply an
,egitimate inheritor of the great capital andpatri-
art. His most marked preference was, of course,
icelli, with whom he saw and felt in common.
aught him much in the handling of the orchestra
r.  Michelangelo's "Slaves"    writhe on    the
painter'sI" WteeI of Fortune," as they were pur-
) suffer on the tomb of Pope Julius Second.
o often opened to him the secret of his alluring
But it is simple justice to assert that, strengthened
ned by his contact with ltalian and Greek art,
nes never falsified his distinctive personality.
gnized his own wherever he found it, mastered it
t displayed it without fear of question or criticism.
                 These    unvarying   methods,
early in life and pursued throughout an art-career
yrears, the gradual gathering of materials, the slow


WILLIAM MORRIS


43