Study of a nude male figure on hands and knees holding a shield; for the Figure of Hercules Previously related to Burne-Jones's painting St. George Fighting the Dragon (1865), this dynamic drawing is now recognised as a study for the decorative design Hercules whose purpose, date and whereabouts is unknown. The structure of the figure in the present drawing shows the more Michelangelesque qualities that Burne-Jones introduced to his drawings in the early 1870's. Beauty was Burne-Jones's main aim in art. I mean by a picture, he wrote, a beautiful romantic dream of something that never was, never will be - in a light better than any light that ever shone - in a land no one can define or remember, only desire - and the forms divinely beautiful. This same desire for beauty permeates his drawings, whether they are finished works of art, studies for pictures or even the comic drawings with which he delighted his friends. Graham Robertson recalled that: as a master of line he was always unequalled; to draw was his natural mode of expression - line flowed from him almost without volition. If he were merely playing with a pencil the result was never a scribble, but a thing of beauty however slight, a perfect design. Robertson, himself a painter, noted that this instinctive sense of design was rare, even in great academic draughtsmen such as Edward Poynter or great artists like Whistler. Burne-Jones was deeply concerned with technical perfection in his drawing. He discussed his use of pencil with his studio assistant, T.M.Rooke: I never use it to sketch with, I use it as a finishing instrument. But it's always touch and go whether I can manage it even now. Sometimes knots will come in it and I can never get them out, I mean little black specks. There's no drawing I consider perfect. I often let one pass only because of expression or facts I want in it but unless - if I've once india-rubbered it, it doesn't make a good drawing. I look on a perfectly successful drawing as one built up on a groundwork of clear lines till it's finished. It's the same kind of thing in red chalk. It mustn't be taken out. Rubbing with the finger's all right. This is Burne-Jones's fullest account of his drawing technique. There was great interest in Burne-Jones's drawings at the end of his life and in the decade after his death. Numerous exhibitions were held, of which the most important was that at the Fine Art Society in 1896, which contained 148 items. Others included a mixed exhibition of drawings and photographs at Frederick Hollyer's premises in Pembroke Square in 1898, a memorial exhibition at the Burlington Fine Arts Club in 1899, and further exhibitions in 1904, and 1905 at the Leicester Galleries and the Manchester School of Art.
Further research has revealed that the design of Hercules was made for the Romaunt of the Rose embroidery at Rounton Grange, North Allerton (made for Sir Isaac and Lady Lowthian Bell and embroidered by the family; now in the William Morris Gallery).