The superb drawing for Love Disguised as Reason, one of Burne-Jones's finest large-scale studies, demonstrates how he would devote full attention to each part of such a design, modeling the figure of Love (Cupid) from the nude even though it was to appear wholly clothed in the picture itself. An individual study for Love, this time draped, is in the Birmingham collection. 1 There is no literary narrative in the subject, nor any intended reference to the kind of moral dia- logue one would expect from a late-eighteenth-century image with such a title. Cupid's "young face, half hidden by the falling folds of his hood, wears an appearance of wisdom, as, duly emphasising his points by the action of his hands, he lays before his fair listeners some eloquent and quite irrefutable 47 Edward Burne-Jones, Love Disguised as Reason. Watercolor and bodycolor, 26V2 x 12V2 in. (67.5 x 32 cm). South African Cultural History Museum, on loan to the South African National Gallery, Cape Town argument." 2 This whimsical element is balanced by an exceptional amount of incidental detail, including an unusually extensive background townscape. 1. Birmingham collection 1939, p. 94 (529'27). 2. De Lisle 1904, p. 80