roduction. Hitherto Burne-Jones had worked almost entirely in
water-colours. He now began a number of large pictures in oils, working at
them in turn, and having always several on hand. The "Briar Rose" series,
"Laus Veneris," the "Golden Stairs," the "Pygmalion" series, and "The
Mirror of Venus" are among the works planned and completed, or carried far
towards completion, during these years. At last, in May 1877, the day of
recognition came, with the opening of the first exhibition of the Grosvenor
Gallery, when the "Days of Creation," the "Beguiling of Merlin," and the
"Mirror of Venus" were all shown. Burne-Jones followed up the signal
success of these pictures with "Laus Veneris," the "Chant d'Amour," "Pan
and Psyche," and other works, exhibited in 1878. Most of these pictures are
painted in gay and brilliant colours. A change is noticeable next year,
1879, in the "Annunciation" and in the four pictures called "Pygmalion and
the Image"; the former of these, one of the simplest and most perfect of
the artist's works, is subdued and sober; in the latter a scheme of soft
and delicate tints was attempted, not with entire success. A similar
temperance of colours marks the "Golden Stairs," first exhibited in 1880.
In 1884, following the almost sombre "Wheel of Fortune" of the preceding
year, appeared "King Cophetua and the Beggar Maid," in which Burne-Jones
once more indulged his love of gorgeous colour, refined by the period of
self-restraint. This masterpiece is now in the National collection. He next
turned to two important sets of pictures, "The Briar Rose" and "The Story
of Perseus," though these were not completed for some years to come. In
1886, having been elected A.R.A. the previous year, he exhibited (for the
only time) at the Royal Academy "The Depths of the Sea," a mermaid carrying
down with her a youth whom she has unconsciously drowned in the impetuosity
of her love. This picture adds to the habitual haunting charm a tragic
irony of conception and a felicity of execution which give it a place apart
among Burne-Jones's works. He resigned his Associateship in 1893. One of
the "Perseus" series was exhibited in 1887, two more in 1888, with "The
Brazen Tower," inspired by the same legend. In 1890 the four pictures of
"The Briar Rose" were exhibited by themselves, and won the widest
admiration. The huge tempera picture, "The Star of Bethlehem," painted for
the corporation of Birmingham, was exhibited in 1891. A long i