The Seasons Cycle: Earlier Conception for the Planets Cycle. The Planets cycle was early conceived as part of a Seasons cycle, which was first designed in 1864, completed in 1868 as “four drawings of the Seasons in red chalk,” and expanded in 1869 as a series of watercolors, including individual personifications of the seasons.14 This version of the seasons was exhibited at the Grosvenor Gallery in 1878, becoming part of Frederick Richards Leyland’s collection of art, which was then sold by his estate in 1892 (see Figures 12-15).15 In the Seasons cycle, Burne-Jones’s vertical compositional design and viewing di sotto in su (from below up) the pictorial form derives from nineteenth-century Japanese art16 and Italian Renaissance art and engravings.17 In the drawing of the Seasons cycle, Burne-Jones continues to show the influence of Italian Renaissance.18 To some extent Burne-Jones followed the conception that Baccio Baldini expressed in his The Planets and Their Children, engraving edition of 1460 (inv. 1585-1591) at the Museo Civico in Pavia.19 But Baldini focused on the terrestrial landscape of the season and its astral zodiacal influence, while Burne-Jones focused on the imagery, removing the sychological influences and ramifications on the individual’s astral chart. Baldini’s engravings are an example of the type of pictorial form where the design is composed to be seen from below up. The engraver depicted a geocentric or Ptolemaic conception of the universe, where seven planets transit around the earth, including the Moon, the Sun, Mercury, Venus, Mars, Jupiter, and Saturn. These planets, depicted as personifications, control the activities of those individuals born under their astral cycle. Baldini composed the imagery of each planet as a symphonic crescendo: at the bottom of each design there is an extensive description explaining the influence of the planets on the temperaments and inclinations of individuals born under this planetary cycle. Above this written description there is a visualization of the numerous activities performed by “the children” born under this planet in the terrestrial realm. At the top, in the celestial realm, the personification of the planet transits across the sky in an elaborate chariot, supervising and ruling over the terrestrial realm. In Burne-Jones’s Seasons cycle, each season is composed of a pictorial design that begins at the bottom with Mantegna-like putti (cupids) holding a scroll with a Latin inscription. Above them a landscape defines the season, while at the top of this terrestrial landscape a large inscription identifies the ruling planet. This crowned celestial ruler is seated on clouds, holding appropriate attributes. The ruling planet’s astral sign appears above. Between the ruling planet and its corresponding sign, a zodiacal band, containing the season’s astrological signs, is diagonally placed, alluding to the changes of seasons through time and space.20 The season of Spring is announced by two Mantegna-like putti, one clothed and the other mostly nude; they are holding a large scroll with the Latin inscription Veris suscitatio (Awakening Spring, see Figure 12). Above them is a view of a hilly landscape with vegetation, with a citadel visible in the distance. The ruling planet Apollo, the Sun God, resides in the sky; his radiant sun’s rays bathe the whole scene. Seated on clouds and crowned with laurel, Apollo plays the lyre, announcing with music the season of Spring. The zodiac signs in the zodiacal band signify Apollo’s astral influence on creators, poets, musicians, and lovers of beauty. These depictions correspond with the months of the calendar year and include the ram Aries (March); the bull Taurus (April); and the twins Gemini (May). The next depicted season is Summer. Two putti, one seminude and the other nude, wrap around a scroll with the Latin inscription Aestatis gesta (Summer Events, see Figure 13). The nude putto, seen from the back, looks at the seascape where a sailboat on rippling waters tranquilly voyages under a blazing sun. A cluster of birds flies along the few floating clouds. Celestial Venus, the governing planet, announces the beginning of the terrestrial season. Seated on a large cloud, a Botticelli-like Venus braids her long tresses. She is crowned with flowers as the astral ruler of the season. More blooming flowers are found on her lap, where her son Cupid rests against her knees. Above Venus, the summer signs of the zodiac form a trio, which moves slowly through the season: the crab of Cancer (June); the roaring lion as Leo (July); guided with the sword of a maiden, Virgo or the Virgin (August). The next depicted season is Summer. Two putti, one seminude and the other nude, wrap around a scroll with the Latin inscription Aestatis gesta (Summer Events, see Figure 13). The nude putto, seen from the back, looks at the seascape where a sailboat on rippling waters tranquilly voyages under a blazing sun. A cluster of birds flies along the few floating clouds. Celestial Venus, the governing planet, announces the beginning of the terrestrial season. Seated on a large cloud, a Botticelli-like Venus braids her long tresses. She is crowned with flowers as the astral ruler of the season. More blooming flowers are found on her lap, where her son Cupid rests against her knees. Above Venus, the summer signs of the zodiac form a trio, which moves slowly through the season: the crab of Cancer (June); the roaring lion as Leo (July); guided with the sword of a maiden, Virgo or the Virgin (August). The season of Autumn is identified by seminude putti holding a scroll with the Latin inscription Autumn idona (Suitable Autumn, see Figure 14), alluding to the vision of an extended coastal landscape with seashore, sea gulls gliding, and rocky cliffs hiding a citadel from view. Tired Saturn, the ruler of the astral season, is seated on a marble throne. His long beard alludes to his old age, while his royal crown suggests the passing of a golden season. While he is resting, he holds onto a large bladed scythe, a symbol of harvesting and the passage of time. Above Saturn, the signs of the zodiac that correspond to his astral season are the scales for Libra (September), a large scorpion for Scorpio (October), and the galloping centaur for Sagittarius (November). The Seasons cycle is completed with Winter. The two putti, now both fully draped, are in reverse position from the putti of Summer. They rest on a scroll with the Latin inscription Hyemis recordation (Rigors of Remembrance, see Figure 15). Burne-Jones depicted a desolate seascape, barren mountains, and lack of any lifelike existence. Seated on a cloud in full armor, Mars is the astral planet of winter. His animal companion, a grim wolf, reinforces the harsh cold symbolism.21 Mars is at rest. In one hand he holds a sword upright and in the other a shield, which is chained to his breastplate. The shield is designed with a relief of a Medusa’s head that freezes and transforms into stone those who gaze at her image. The zodiacal band shows the running goat of Capricorn (December) and the water-bearer of Aquarius (January), who with one vessel under his arm and another held on his shoulder provides water for the diving fishes of the zodiac sign of Pisces (February). Although inspired by the compositions of the Seasons cycles, the Planets cycle elaborates on the astral aspects of the planets. Burne-Jones created a background for their compositions with stars and seated the personifications of the planets on clouds, embracing or resting on their dominant zodiac sign and holding their respective astral attribute. The terrestrial and seasonal landscape is reduced to a minimum. In the Seasons cycle the Latin inscriptions referred to seasonal transformations, whereas in the Planets cycle the inscriptions announce the planet’s sovereignty. Burne-Jones focused on the astral nature of the planets but only on the dominant zodiac sign of each. He replaced the zodiacal band of the Seasons cycle with the depiction of the dominant zodiac sign associated with the planet, e.g., the bull (Taurus) with Venus; the crab (Cancer) with Luna; the lion (Leo) with Apollo; the scorpion (Scorpio) with Mars; the water-bearer (Aquarius) with Saturn; and the centaur (Sagittarius) with Jupiter. The Planets Cycle Three entries in Burne-Jones’s Account Books at the Fitzwilliam Museum record his progress on the project: (1) 18 August 1878: “First four figures of Planets. Pound 15 ea. viz. Venus, Luna, Morning and Evening Stars. Pound 60” (see Figures 2-5); (2) 22 August 1878: two more Planets were completed, “Saturn and Mars” (see Figures 6-7); and (3) 1 November 1878: complete “Figures of Earth, Jupiter and Apollo. Pound 45” (see Figures 8-10).22 The description of the each Planets cycle in this essay follows the order listed in Burne-Jones’s account entries. All the cartoons are drawn in pencil, charcoal, and colored chalks. Most are framed with a bold black line culminating in an arch shape (Tudor arch) atop, indicating the glass-panel design. The Planets cycle’s compositions are designed with a lower or foreground area with a seasonal landscape and a middle or middle ground area with a planetary deity seated on a respective zodiac sign. The personifications of the planetary deities are crowned and wear a specific type of celestial halo while holding an additional symbolic attribute that identifies the nature of the astral deity. Most backgrounds are decorated with scattered shining stars. At the top of each composition, a large scroll with a Latin inscription affirms the deity’s sovereignty and provides the clavis interpretendi for the astral symbolism. The planetary divinities rule both terrestrial and celestial realms, and their corresponding attributes allude to this dual conceit. Interestingly, some of the Planets cycle’s cartoons contain notations and instructions for the artisan transferring the image into a glass panel. The lateral perforations of the cartoons are further indications of the media-transferring process from pencil to glass. In conception, the Planets cycle is a derivative creation from the compositions of the Seasons cycle but focusing on astral sovereignty. It is possible that Burne-Jones also conceived a separate Zodiac cycle as part of the Woodlands’ window, or perhaps he integrated that conceit with the Planets cycle, as noted in this essay.23 A brief analysis of each individual planet depicted in Burne-Jones’s Planets cycle assists in understanding his furor artisticus (creative process) and furor poeticus (intellectual inspiration). He used classical metaphors of astronomy to express his artistic quest for a canon of art.24 He held fast to one goal: “To love beauty.” He noted: “Only this is true, that beauty is very beautiful and softens, and comforts, and inspires, and rouses, and lifts up, and never fails.”25 In this he echoed the Italian Renaissance theory of art or Neoplatonism. In this philosophy, “beauty consists of a certain charm” as something spiritual that transcends sensual experience and makes us long for the origin of what we perceive.26 Burne-Jones explained what art is for him: I mean by a picture 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—and then I wake up.27 The astral imagery of Burne-Jones’s Planets cycle wonderfully reveals his pursuit for art and beauty. 14 See Georgiana Burne-Jones, Memorials of Edward Burne-Jones, 2 vols. (London: Macmillan Company, 1904), 2: 9, hereafter cited as GBJ Memorials. In a letter of 1868 to Frederick Richards Leyland (1831-1892), Burne-Jones acknowledged that he had completed “the whole scheme of The Seasons—Spring, Autumn, Summer and Winter.” Burne-Jones expressed his wish that each of the set be kept together in one room, stating: “I think they would make a nice set of decorative pictures for one room.” A place was arranged in Leyland’s home, which was the dining room. Leyland was a wealthy British ship-owner and avid collector of Pre-Raphaelite art, including Dante Gabriel Rossetti. 15 See Bell, Edward Burne-Jones: Record and Review, 34 and 102. 16 See Ayako Ono, Japonismein Britain: Whistler, Menpes, Henry, Hornel and Nineteenth-Century Japan (London: Routledge Curzon, 2003); Stephen Wildman (Ed.), Waking Dreams: The Art of the Pre-Raphaelites from the Delaware Art Museum (Alexandria, VA: Arts Service International, 2004), 224, 286, 365 (Japanese art was first displayed in London in 1862 at South Kensington, 224); Stephen Wildman and John Christian, Edward Burne-Jones: Victorian Artist-Dreamer (New York: Metropolitan Museum of Art, 1998), 114-116; and Martin Harrisons and Bill Waters, Burne-Jones (New York: Putnam’s Sons, 1973), 112-114, 133. 17 Burne-Jones’s inspiration from Italian art is well noted. See GBJ Memorials, 1: 200 and 2: 23. 18 See Harrisons and Waters, Burne-Jones, 56-58, 77, 84, 94, 104, 107, 115-116, 144-146. 19 See Mark J. Zucker, The Illustrated Bartsch, Early Italian Masters (New York: Abaris, 1980), vol. 24, Commentary on Baccio Baldini (c. 1436-1487). Also note that in the composition of Venus and Cupid, Burne-Jones recalled Michelangelo’s Bruges Madonna of 1501-1504, in the Church of Our Lady in Bruges. 20 See Morris Hickey Morgan (Ed.), Vitruvius, The Ten Books On Architecture (New York: Dover, 1960), 256-270, for a classical description of the zodiac signs and planets. 21 See Whitworth Wallis and Arthur Bensley Chamberlain, Illustrated Catalogue with Descriptive Notes of the Permanent Collection of Paintings and Sculpture, and the Pictures in Aston Hall (Birmingham: Hudson and Son, 1904). The drawing on the Season of Winter (Mars) is mentioned in connection with the cartoon of Mars from the Planets cycle. 22 See Malcolm Bell, Edward Burne-Jones: A Record and Review, 102–02, for a discussion of four designs on the Seasons cycle as an earlier conception for the Planets cycle. There were two drawings for the planet Sol, a variant of an Apollo cartoon. In most of the Planets cycle cartoon’s margins there are handwritten notations with the word Woodlands. However, some scholars concur that these notations are not in Burne-Jones’s handwriting. I disagree. Probably Burne-Jones made these instructional notations to assist the glassmakers. Perhaps the stained-glass artists also made additional notations. I am grateful for the assistance of the Curator of Drawings from the Fitzwilliam Museum in Cambridge. 23 See Sewter, The Stained Glass of William Morris and His Circle, 208. 24 I am associating Burne-Jones’s creative inspiration with the Platonic and Renaissance Neoplatonic concept of furor poeticus (poetic inspiration), which derives from the writings of the Greek philosopher Plato (d. 348 BCE) that were translated and commented upon by Marsilio Ficino (1433-1499), an Italian Renaissance physician and philosopher. Ficino explained in his Orphic writings and Commentary on Plato’s Symposium (7: 14) that there are “four divine furors: first poetical, then mythical, third prophetic and amorous fourth” (“Quatuor ergo divini furoris sunt speties. Primus quidem poeticus furor, alter mysterialis, tertius vaticinium, amatorious affectus est quartus”). See Michael J. Allen, The Platonism of Marsilio Ficino (Los Angeles: University of California Press, 1984), 41-67; Paul Oskar Kristeller (Ed.), The Letters of Marsilio Ficino, 3 vols. (New York: Ginko, 1985), 1: 14-20, in particular, Marsilio Ficino’s letter to Peregrino Agli on De divino furore; and see Liana De Girolami Cheney, “Giorgio Vasari’s Fine Arts from the Vite of 1550,” Journal of Literature and Art Studies 7 (February, 2017): 162. 25 See William Gaunt, The Pre-Raphaelite Tragedy (New York: Harcourt, Brace and Company, 1942), 152; and Robin Spencer, The Aesthetic Movement: Theory and Practice (London: Studio Vista, 1972), 37. 26 See Marsilio Ficino, Symposium, I. 3, in Opera omnia (Basel: Janus Cornarius, 156l); and for a study on the impact of Marsilio Ficino’s Neoplatonism and Renaissance art, see Liana Cheney, Botticelli’s Neoplatonic Images (Potomac, MD: Scripta Humanistica, 1993). 27 See David Cecil, Visionary and Dreamer: Two Poetic Painters, Samuel Palmer and Edward Burne-Jones (Princeton: Princeton University Press, 1969), 143, quoting from a letter Burne-Jones wrote to Morris.