LI
SIR EDWARD BURNE-JONES, BART.
I
It was to Irving an intense pleasure to work with Sir Edward Burne-Jones. The painter seemed to bring to whatever he had in hand a sort of concentration of all his great gifts, and to apply them with unsparing purpose and energy. His energy was of that kind which seems to accomplish without strenuous effort; after all it is the waste of force and not its use which proclaims itself in the doing. This man had such mighty gifts that in his work there was no waste; all the creations of his teeming brain were so fine in themselves that they simply stood ready for artistic use. His imagination working out through perfected art, peopled a whole world of its own and filled that world around them with beautiful things. This world had been opened to Irving as to every one else who admired it. But when the player came adventuring into it, the painter displayed to him a vast of hidden treasures. There was simply no end to his imaginative ideas, his artistic efforts, his working into material beauty the thoughts which flitted through his mind. As a colourist he was supreme, and he could use colour as a medium of conveying ideas to the same effect as others used form. His own power of dealing with the beauties of form was supreme.
To work with such an artist was to Irving a real joy. He simply revelled in the task. Every time they met it was to him a fresh stimulation. Burne-Jones, too, seemed to be stimulated; the stage had always been to him a fairyland of its own, but he had not had artistic dealings with it. Now he entered it with full power to let himself run free. The play which he undertook for Irving, King Arthur, was of the period which he had made his own: that mystic time when life had single purposes and the noblest prevailed the most; when beauty was a symbol of inner worth; when love in some dainty as well as some holy form showed that even flesh, which was God’s handiwork, was not base.
In the working out of the play each day saw some new evidence of the painter’s thought; the roughest sketch given as a direction or a light to scene-painter or property maker or costumier was in itself a thing of beauty. I veritably believe that Irving was sorry when the production of the play was complete. He so enjoyed the creative process that the completion was a lesser good.
Regarding human nature, which was Irving’s own especial study, Burne-Jones had a mind tuned to the same key as his own. To them both the things which were basic and typal were closest. The varieties of mankind were of lesser importance than the species. The individual was the particular method and opportunity of conveyance of an idea; and, as such, was of original importance. To each of the two great artists such individual grew in his mind, and ever grew; till in the end, on canvas or before the footlights, the being lived.
II
It would be hard to better illustrate the mental attitude of both to men and type and individual than by some of the stories which Burne-Jones loved to tell and Irving to hear. The painter had an endless collection of stories of all sorts; but those relating to children seemed closest to his heart. In our meetings on the stage or at supper in the Beefsteak Room, or on those delightful Sunday afternoons when he allowed a friend to stroll with him round his studio, there was always some little tale breathing the very essence of human nature.
I remember once when he told us an incident in the life of his daughter, who was then a most beautiful girl and is now a most beautiful woman, Mrs. J. W. Mackail. When she was quite a little girl, she came home from school one day and with thoughtful eyes and puckered brows asked her mother:
“Mother, can you tell me why it is that whenever I see a little boy crying in the street I always want to kiss him; and when I see a little girl crying I want to slap her?”