llness for
some time checked the painter's activity, which, when resumed, was much
occupied with decorative schemes. An exhibition of his work was held at the
New Gallery in the winter of 1892-1893. To this period belong several of
his comparatively few portraits. In 1894 Burne-Jones was made a baronet.
Ill-health again interrupted the progress of his works, chief among which
was the vast "Arthur in Avalon." In 1898 he had an attack of influenza, and
had apparently recovered, when he was again taken suddenly ill, and died on
the 17th of June. In the following winter a second exhibition of his works
was held at the New Gallery, and an exhibition of his drawings (including
some of the charmingly humorous sketches made for children) at the
Burlington Fine Arts Club.

His son and successor in the baronetcy, Sir Philip Burne-Jones (b. 1861),
also became well known as an artist. The only daughter, Margaret, married
Mr J.W. Mackail.

Burne-Jones's influence has been exercised far less in painting than in the
wide field of decorative design. Here it has been enormous. His first
designs for stained glass, 1857-1861, were made for Messrs Powell, but
after 1861 he worked exclusively for Morris & Co. Windows executed from his
cartoons are to be found all over England; others exist in churches abroad.
For the American Church in Rome he designed a number of mosaics. Reliefs in
metal, tiles, gesso-work, decorations for [v.04 p.0850] pianos and organs,
and cartoons for tapestry represent his manifold activity. In all works,
however, which were only designed and not carried out by him, a decided
loss of delicacy is to be noted. The colouring of the tapestries (of which
the "Adoration of the Magi" at Exeter College is the best-known) is more
brilliant than successful. The range and fertility of Burne-Jones as a
decorative inventor can be perhaps most conveniently studied in the
sketch-book, 1885-1895, which he bequeathed to the British Museum. The
artist's influence on book-illustration must also be recorded. In early
years he made a few drawings on wood for Dalziel's Bible and for _Good
Words_; but his later work for the Kelmscott Press, founded by Morris in
1891, is that by which he is best remembered. Besides several illustrations
to other Kelmscott books, he made eighty-seven designs for the _Chaucer_ of
1897.

Burne-Jones's aim in art is best given in some of his own words, written to
a friend: "I mean by a picture a beautiful, ro