More than 21 feet wide and 9 feet high, it proved too difficult to arrange for the work to travel. While many ofBurne-Jones's stellar Arthurian subjects are represented, including The Beguiling ofMerlin (Lady Lever Art Gallery), The Holy Grail Tapestries, and the four light Questfor the Sangreal windows (Victoria and Albert Museum), the grand scale Sleep ofArthur in Avalon does not appear. Like Morris in his Earthly Paradise, Burne-Jones sought to present a world oflegend-not simply one aspect- and his late work offers his vision of physical beauty as the singular force through which we recognize and honor mythology. From the arcane medievalizing style he learned from Rossetti in his youth, he forged a powerful aesthetic form-tall, statuesque figures owing as much to Michelangelo and Mantegna as medieval illuminators- that he used not only for his medieval knights and Christian saints but for his classical heroes (Perseus) and African Princes (King Cophetua). L62ARTHURIANA Burne-Jones's artistic development presents an elegant evolution ofa visual language for the legendary and the mythological. In lieu of an abstract, here is a brief excerpt of the content:
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