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Student Artwork Guide

Design for

Edward Coley Burne-Jones, 1881

Name Class Date
Edward Coley Burne-Jones, Design for (1881), William Morris Gallery. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Edward Coley Burne-Jones originaluniqueart.com/en/artists/edward-coley-burne-jones/
Artist’s dates
1833 – 1898
Painted
1881
Original size
172 x 57 cm
Movement
Pre-Raphaelite Brotherhood British painters returning to bright colour and sharp detail, rejecting everything taught after Raphael.
Held at
William Morris Gallery originaluniqueart.com/en/museums/william-morris-gallery-walthamstow/
Artistic style
Romanticism
Influences
Medieval Art
Notable elements or techniques
Detailed depiction of St Martin's East Window.
Subject or theme
Religious Iconography

Copyright This work is in the public domain. Edward Coley Burne-Jones died in 1898; copyright lasts 70 years after the artist’s death, so it ended in 1968.

Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

Design for — Edward Coley Burne-Jones Part 1 · The artwork

In context

Design for — Edward Coley Burne-Jones

How big is it?

The original measures 172 × 57 cm (height × width), drawn here beside an adult of average height. It is too large to draw to scale on this page.

When was this painted?

  1. 1830
  2. 1840
  3. 1850
  4. 1860
  5. 1870
  6. 1880
  7. 1890
  8. 1900

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 65 at death.

Painted when the artist was 48. The artist lived to 65. 55 of the 95 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Edward Coley Burne-Jones (1833–1898) ▲ this work, 1881 every dated painting, decade by decade

First works: up to 1868 Main working years: 1868–1887 Late works: from 1887

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/edward-coley-burne-jones-design-for-D4K2SV-en/

Colours

Measured from the image

    Main colour

    Gray #717878

    Catalogued palette

    • #717878
    • #533A29
    • #ADA18E
    • #8A6247

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Edward Coley Burne-Jones over the last twelve months — 13 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 68.1%16,900 visits
    2. 2 Hong Kong 11.7%2,900 visits
    3. 3 United States of America 7.3%1,800 visits
    4. 4 Singapore 4.0%1,000 visits
    5. 5 Bulgaria 2.0%500 visits
    6. 6 Japan 2.0%500 visits
    7. 7 France 1.6%400 visits
    8. 8 Italy 0.8%200 visits
    9. 9 Romania 0.8%200 visits
    10. 10 Argentina 0.4%100 visits
    11. · 3 other countries 1.3%300 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Edward Coley Burne-Jones

    1. 1 The Wheel of Fortune, 1875 2.9%800 visits
    2. 2 Night, 1870 2.2%600 visits
    3. 3 Three Female Figures, Dancing And Playing 1.8%500 visits
    4. 4 The Vision of Saint Catherine 1.8%500 visits
    5. 5 Head Of A Girl, Reputedly The Artist's Daughter Margaret 1.5%400 visits
    6. 6 Study Of A Standing Female Figure Holding A Staff 1.5%400 visits
    7. 7 The Heart of the Rose, 1890 1.1%300 visits
    8. 8 Pygmalion and the Image I - The Heart Desires 1.1%300 visits
    9. 9 The Lament, 1866 1.1%300 visits
    10. 10 Figure Riding a Horse through a Wood, 1865 1.1%300 visits
    11. 11 The perseus series the doom fulfilled, 1885 1.1%300 visits
    12. 12 The Golden Stairs (also known as 'The King's Wedding' or 'Music on the Stairs'), 1876 1.1%300 visits
    13. 13 Head-Study of Maria Zambaco, probably for 'The Wine of Circe' 1.1%300 visits
    14. 14 The attempted suicide of La Belle Isoude 1.1%300 visits
    15. 15 Daniel 1.1%300 visits
    16. 16 Gudrun Setting Fire to Atli's Palace 1.1%300 visits
    17. 17 Pilgrim at the Gate of Idleness 1.1%300 visits
    18. 18 Costume design for Morgan le Fay in J.Comyns Carr's play 'King Arthur' 1.1%300 visits
    19. 19 Fair Rosamund and Queen Eleanor, 1862 1.1%300 visits
    20. 26 Design for, 1881 this painting 0.7%200 visits

    Together these works take 26.7% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 560 works by this artist, of which 174 were looked at at least once. This painting ranks 26 of them, with 0.7% of that attention (200 visits). The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    Design for — Edward Coley Burne-Jones Part 2 · In context

    About this artwork

    Design for — Edward Coley Burne-Jones

    A Vision of Mythic Majesty: Exploring Burne-Jones’ ‘The Last Sleep of Arthur in Avalon’

    Edward Coley Burne-Jones's 'The Last Sleep of Arthur in Avalon,' completed in 1897, stands as a monumental testament to the Pre-Raphaelite Brotherhood’s fascination with medieval legend and their mastery of symbolic representation. More than just a painting; it embodies an entire aesthetic philosophy—a deliberate rejection of academic conventions in favor of emotive power and meticulous craftsmanship. Commissioned by George Howard, 9th Earl of Carlisle, Burne-Jones envisioned this grand tableau as a centerpiece for Naworth Castle’s library, reflecting the Earl's profound admiration for Arthurian lore.

    Subject Matter: The painting depicts Arthur, King of Camelot, peacefully slumbering amidst his knights—Merlin, Tristan and Isolde—in a serene meadow bathed in ethereal moonlight. This scene draws directly from Geoffrey Chaucer’s ‘The Tale of Camelot,’ capturing the poignant moment of repose before Arthur's final demise.

    Style & Technique: Burne-Jones employed a distinctive watercolor technique combined with bodycolor, layering translucent washes to achieve remarkable luminosity and depth. The artist meticulously rendered every detail—the knights’ robes, Arthur’s face, and the surrounding foliage—demonstrating an unparalleled level of artistic precision.

    Historical Context: Burne-Jones's work emerged during a period of intense cultural revival in Britain, fueled by Romantic idealism and a renewed interest in medieval art and literature. The Pre-Raphaelites deliberately rejected the idealized forms favored by the Royal Academy, prioritizing emotional sincerity and artistic innovation over stylistic imitation.

    Symbolism: The meadow itself symbolizes Paradise—a realm of tranquility and spiritual contemplation—contrasting sharply with the turbulent events surrounding Arthur’s reign. Merlin's presence embodies wisdom and prophecy, Tristan and Isolde represent enduring love amidst adversity, and Arthur himself represents noble leadership and unwavering devotion to duty.

    Emotional Impact: ‘The Last Sleep of Arthur in Avalon’ evokes a profound sense of melancholy beauty—a poignant meditation on mortality and the passing of glory. Burne-Jones's masterful use of color and composition creates an atmosphere of solemn reverence, inviting viewers to contemplate the timeless themes of heroism, faith, and remembrance.

    Detailed Examination: Watercolor Layers & Artistic Precision

    Burne-Jones’s technique was revolutionary for its time. Rather than adhering to traditional oil painting methods—which prioritized smooth surfaces and tonal gradations—he opted for watercolor with bodycolor, a process that allowed him to achieve unparalleled luminosity and textural richness. The artist painstakingly built up layers of translucent washes, meticulously blending colors to create subtle nuances and atmospheric effects. This approach demanded immense patience and skill, reflecting Burne-Jones’s unwavering commitment to artistic excellence. Careful observation of the natural world—particularly moonlight—informed his compositional choices and contributed to the painting's ethereal quality.

    Color Palette: The dominant hues are muted blues and greens—reflecting the twilight meadow—contrasting with the warm tones of Arthur’s robes and Merlin’s cloak. Burne-Jones skillfully employed color symbolism, associating blue with serenity and spirituality, while gold represented majesty and divine grace.

    Composition: The central figure of Arthur is positioned at the apex of a pyramidal arrangement, emphasizing his importance as the focal point of the scene. The knights surround him in concentric circles, creating a harmonious balance between stillness and movement.

    Brushwork: Burne-Jones’s brushstrokes are remarkably delicate—almost imperceptible—resulting in surfaces that appear velvety smooth. This meticulous attention to detail underscores his dedication to capturing the essence of his subject matter with breathtaking accuracy.

    Beyond Aesthetics: Reflections on Myth and Mortality

    ‘The Last Sleep of Arthur in Avalon’ transcends mere visual beauty; it engages viewers on a deeper emotional level—provoking contemplation about the inevitability of death and the enduring power of mythic narratives. Burne-Jones's artistic vision aligns seamlessly with the broader Pre-Raphaelite preoccupation with exploring spiritual themes through imaginative storytelling. The painting serves as a poignant reminder that even kings must eventually surrender to time, yet their legacy persists in the hearts of those who cherish tales of heroism and virtue.

    Philosophical Resonance: Burne-Jones’s work embodies the Pre-Raphaelite belief in the transformative potential of art—its ability to inspire awe and elevate the human spirit.

    Cultural Significance: The painting's depiction of Arthurian legend reflects a wider cultural fascination with medieval chivalry and idealism during the Victorian era.

    Legacy: Burne-Jones’s masterpiece continues to captivate audiences today—serving as an enduring symbol of artistic brilliance and spiritual contemplation.

    Reproductions & Artistic Appreciation

    High-quality reproductions of ‘The Last Sleep of Arthur in Avalon’ allow viewers to experience the painting's luminous beauty and profound symbolism firsthand. Collectors appreciate its masterful technique, historical importance, and enduring emotional impact—a testament to Burne-Jones’s unparalleled artistic achievement. Interior designers incorporate this iconic artwork into spaces seeking inspiration—creating environments that evoke tranquility, reverence, and a connection to timeless narratives of heroism and grace.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    Design for — Edward Coley Burne-Jones Part 3 · About this artwork

    Artist and museum

    Artist

    Edward Coley Burne-Jones

    Born in Birmingham, United Kingdom

    A Dream Woven in Color: The Life and Art of Edward Burne-Jones

    Born in the burgeoning industrial heartland of Birmingham in 1833, Sir Edward Coley Burne-Jones emerged as a pivotal figure bridging the romantic currents of the Pre-Raphaelite Brotherhood with the aesthetic sensibilities of the late Victorian era. His life, marked by both profound artistic vision and personal complexities, unfolded against a backdrop of societal change and a fervent rediscovery of medieval ideals. The early loss of his mother cast a long shadow, shaping a childhood nurtured by his father and the steadfast housekeeper Ann Sampson – an upbringing that fostered a contemplative nature and a deep immersion in imaginative worlds. His formal education at King Edward VI Grammar School and later the Birmingham School of Art laid the foundation for his technical skill, but it was his time at Exeter College, Oxford, that truly ignited his artistic destiny. There, he forged an enduring friendship with William Morris, a bond built on shared intellectual passions and a mutual yearning for beauty in a rapidly modernizing world. This connection would prove instrumental, not only in shaping Burne-Jones’s artistic trajectory but also in establishing the influential firm of Morris & Co., dedicated to reviving traditional craftsmanship.

    The Brotherhood and the Birth of a Unique Vision

    Oxford became a crucible for artistic experimentation, as Burne-Jones and Morris, alongside their circle of friends – “the Birmingham Set” – immersed themselves in the writings of John Ruskin and Alfred Tennyson, finding inspiration in the art and ethos of the Middle Ages. This fervent embrace of medievalism wasn't merely nostalgic; it was a rejection of what they perceived as the ugliness and materialism of contemporary society. The formation of "The Brotherhood" solidified their commitment to artistic ideals, fostering an environment where poetry, literature, and visual arts intertwined. A pivotal moment arrived with his introduction to Dante Gabriel Rossetti, whose work profoundly impacted Burne-Jones’s early style. However, he quickly transcended imitation, developing a distinctive aesthetic characterized by ethereal beauty, melancholic grace, and a meticulous attention to detail. His paintings weren't simply illustrations of medieval tales; they were evocative dreamscapes imbued with symbolism and psychological depth. The influence of Botticelli and Filippo Lippi became apparent in his attenuated figures and delicate compositions, yet Burne-Jones infused these influences with a uniquely British sensibility. He sought not to replicate the past but to distill its essence, creating works that felt both ancient and utterly new.

    From Painting to Tapestry: A Renaissance of Craft

    Burne-Jones’s artistic output extended far beyond the canvas. His collaboration with William Morris led to the founding of Morris & Co., a firm that revolutionized decorative arts in England. He wasn't merely designing patterns; he was reimagining the very concept of artistry, advocating for a holistic approach where art permeated every aspect of life. The firm produced exquisite textiles, wallpapers, furniture, and stained glass – all bearing the hallmark of Burne-Jones’s refined aesthetic. His designs for stained glass are particularly noteworthy, transforming churches and cathedrals into luminous realms of color and narrative. The medium allowed him to explore his fascination with light and symbolism in a new dimension, creating windows that served as both devotional objects and works of art. This commitment to craftsmanship wasn't simply about reviving traditional techniques; it was a deliberate attempt to elevate the status of decorative arts, challenging the prevailing hierarchy that placed painting and sculpture at the pinnacle of artistic achievement. The Beguiling of Merlin, exhibited in 1877, marked a turning point, establishing Burne-Jones as a leading figure of the Aesthetic Movement – a movement that championed “art for art’s sake” and celebrated beauty above all else.

    Personal Shadows and Enduring Legacy

    Burne-Jones's personal life was not without its complexities. His marriage to Georgiana MacDonald, though enduring, was shadowed by a passionate affair with his Greek model, Maria Zambaco, which culminated in a dramatic crisis. Despite these emotional upheavals, he continued to produce an astonishing body of work, exploring themes of love, loss, and the search for spiritual meaning. His later paintings became increasingly introspective, characterized by a heightened sense of melancholy and a more abstract approach to form. He received a baronetcy in 1895, recognizing his significant contributions to British art and culture. Upon his death in 1898, Burne-Jones left behind a legacy that continues to resonate today. His influence can be seen in the work of countless artists who followed, and his designs continue to inspire contemporary craftspeople and designers. He remains a testament to the power of art to transcend time and touch the deepest recesses of the human soul. Burne-Jones’s enduring appeal lies in his ability to evoke a sense of longing for a lost paradise, a world where beauty and spirituality reign supreme.

    A Lasting Influence

    Burne-Jones’s work embodies the Pre-Raphaelite ideals of beauty, detail, and symbolism, yet he developed a unique style that set him apart from his contemporaries.

    His contributions to decorative arts through Morris & Co. revitalized traditional crafts and elevated the status of design.

    His stained glass windows remain iconic examples of Victorian artistry, transforming sacred spaces with their luminous beauty.

    He profoundly influenced subsequent generations of artists, inspiring a renewed appreciation for craftsmanship and aesthetic values.

    Burne-Jones’s exploration of myth, legend, and psychological themes continues to captivate audiences today, solidifying his place as one of the most important British artists of the 19th century.

    Museum

    William Morris Gallery

    On show in Walthamstow, United Kingdom

    A Sanctuary of Craft and Thought: Exploring the William Morris Gallery

    Nestled within the vibrant London borough of Walthamstow, the William Morris Gallery stands as more than just a repository of beautiful objects; it’s an immersive journey into the life and legacy of one of Britain's most multifaceted figures – William Morris. This remarkable space invites visitors to step back in time, not merely to see art, but to truly feel the spirit of a man who passionately believed in the dignity of labour, the beauty of everyday life, and the transformative power of design. From its humble beginnings as an engine house for the local waterworks to its current incarnation as a celebration of Morris’s artistic vision, the Gallery offers a uniquely intimate experience, revealing the depth and breadth of his influence on Victorian society and beyond.

    The building itself, Water House, is a crucial element of the gallery's appeal. Constructed in 1762, this graceful Georgian structure whispers tales of its past – serving as a public library before finding its final purpose as a testament to Morris’s life. The architecture—characterized by elegant proportions and restrained ornamentation—echoes the very principles of design that Morris championed: a deliberate rejection of the excessive clutter prevalent in Victorian society in favour of clarity, honesty, and meticulous craftsmanship. Recent renovations have seamlessly blended historical preservation with modern accessibility, creating an inviting atmosphere where visitors can wander through rooms filled with treasures, each telling a story of artistic innovation and social idealism. The careful restoration has preserved the building’s original character while ensuring that Morris's message resonates powerfully in the 21st century.

    The Tapestry of a Life: Unveiling the Collection

    Within Water House’s walls resides the world’s most comprehensive collection dedicated to William Morris, an astonishing assemblage encompassing over 10,000 objects. This isn't simply a display of finished artworks; it’s a carefully curated narrative tracing the evolution of Morris’s artistic vision from its Pre-Raphaelite roots to the fully realized aesthetic of the Arts & Crafts movement. Immediately captivating visitors is the sheer abundance of textiles – breathtaking wallpapers bursting with intricate floral patterns, richly woven fabrics that seem to breathe with life, and magnificent tapestries depicting scenes drawn from medieval romance and the natural world. These aren’t merely decorative elements; they represent a deliberate attempt to revive traditional British craft techniques, offering a powerful alternative to the mass-produced goods flooding the market during the Industrial Revolution. Beyond textiles, the collection delves into Morris's literary pursuits, showcasing original manuscripts of his poetry and prose, including a first edition of The Earthly Paradise. Equally compelling are exhibits detailing his socialist ideals – pamphlets, letters, and artwork that reveal a man deeply concerned with social justice and committed to creating a more equitable society. The connections to Kelmscott Manor, his beloved rural retreat, and the Red House, his early home, offer intimate glimpses into the environments that nurtured his creativity—spaces where he wrestled with ideas of beauty, craftsmanship, and social reform.

    Beyond Aesthetics: Morris’s Enduring Influence

    What distinguishes the William Morris Gallery is its commitment to exploring the multifaceted nature of Morris's influence. The gallery doesn’t simply celebrate his aesthetic achievements; it actively engages with contemporary issues, demonstrating the continued relevance of his ideas about sustainability, craftsmanship, and social responsibility. It serves as a vital resource for designers seeking inspiration, historians conducting research, and anyone interested in gaining a deeper understanding of British cultural history. The Gallery's connection to the Pre-Raphaelite movement is particularly significant, highlighting how Morris was both shaped by and profoundly influenced this pivotal force in Victorian art. The gallery’s programming frequently features exhibitions that explore these connections, demonstrating the dynamic interplay between artistic movements and intellectual currents.

    A Living Inspiration: A Visit for All

    Visiting the William Morris Gallery is an invitation to reimagine the future—a testament to the power of art to inspire social change, celebrate beauty in the everyday, and remind us of the enduring value of human creativity. The gallery’s free admission policy ensures that Morris's legacy remains accessible to all, fostering a vibrant center for learning, inspiration, and appreciation. More than just a museum, it is a sanctuary—a place where visitors can lose themselves in the intricate details of Morris’s designs, contemplate his radical ideas, and connect with the spirit of a man who sought to elevate both art and life.

    Further Exploration:

    For those seeking deeper insights into Morris's artistic world, consider exploring related works such as Dante Rossetti’s “Study for,” a Pre-Raphaelite chalk sketch depicting medieval magic & love (available at

    here

    ). And don't miss the opportunity to learn more about Charles Heathcote Tatham, a British architect whose designs influenced Morris’s own aesthetic sensibilities (available at

    here

    ).

    Where to read more

    Find this online

    QR code linking to the download page for Design for

    originaluniqueart.com/en/art/download/edward-coley-burne-jones-design-for-D4K2SV-en/

    Cite this artwork

    MLA
    Burne-Jones, Edward Coley. Design for . 1881, William Morris Gallery. https://originaluniqueart.com/en/art/edward-coley-burne-jones-design-for-D4K2SV-en/
    APA
    Burne-Jones, Edward Coley (1881). Design for [Painting]. William Morris Gallery. https://originaluniqueart.com/en/art/edward-coley-burne-jones-design-for-D4K2SV-en/
    Chicago
    Edward Coley Burne-Jones. Design for . 1881. William Morris Gallery. https://originaluniqueart.com/en/art/edward-coley-burne-jones-design-for-D4K2SV-en/
    Harvard
    Burne-Jones, Edward Coley (1881) Design for . William Morris Gallery. Available at: https://originaluniqueart.com/en/art/edward-coley-burne-jones-design-for-D4K2SV-en/

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    Design for — Edward Coley Burne-Jones Part 4 · Artist and museum

    Look closely

    Design for — Edward Coley Burne-Jones

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: mythology, arthurian legend, stained glass. Do you agree? What would you add, or take away?
    4. Look back at The Heart of the Rose (1890), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Pre-Raphaelite Brotherhood: British painters returning to bright colour and sharp detail, rejecting everything taught after Raphael. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    Design for — Edward Coley Burne-Jones Part 5 · Look closely

    Art quiz

    Design for — Edward Coley Burne-Jones

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject matter of ‘Study for The Last Sleep of Arthur in Avalon’?

      • A A depiction of a medieval knight battling dragons.
      • B An idealized portrayal of King Arthur peacefully sleeping.
      • C A detailed illustration of Merlin's magical workshop.

    2. 2. Which artistic movement is closely associated with Edward Burne-Jones and the creation of this artwork?

      • A Cubism
      • B Impressionism
      • C Pre-Raphaelite Brotherhood

    3. 3. What technique did Burne-Jones primarily employ in creating this painting?

      • A Oil paint on canvas
      • B Watercolor and gouache
      • C Colored chalks

    4. 4. Who commissioned Burne-Jones to create ‘The Last Sleep of Arthur in Avalon’?

      • A William Morris
      • B Gustav Klimt
      • C George Howard, 9th Earl of Carlisle

    5. 5. What symbolic element is prominently featured in the painting's composition?

      • A A vibrant sunset over a mountain landscape.
      • B The depiction of a bustling medieval marketplace.
      • C The serene stillness representing Arthur’s final repose.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3C · 4C · 5C

    Check any answer against the catalogue record for this painting

    Source: OriginalUniqueArt.com — accessed Oct. 10, 2026

    Design for — Edward Coley Burne-Jones Part 6 · Art quiz

    Questions & Answers

    Do the colors of "Design for" appear strong or soft?

    The color intensity of "Design for" is balanced. Intensity describes how strong the colors appear.

    What was Edward Coley Burne-Jones's age when "Design for" was created?

    Edward Coley Burne-Jones was 48 years old when creating "Design for" in 1881. The age is computed from the artist's birth year, 1833.

    What does "Design for" by Edward Coley Burne-Jones depict, and in what mood?

    "Design for" shows mythology, arthurian legend, stained glass, medieval art, symbolism, pastoral landscape, victorian era, and its recorded mood is romantic.