who modeled for edward burne-jones
5. . What role does Burne-Jones play in the classical movement in Victorian culture? Does the so-called decadence/aesthetic movement have any parallels in Rome?
Waters, Bill. Burne-Jones — A Quest for Love: Works by Sir Edward Burne-Jones Bt and Related Works by Contemporary Artists . London: Peter Nahum, 1993.
Like filmmakers who adapt novels, Burne-Jones was the Victorian equivalent who transformed tales into spectacular visuals. Ancient myths particularly interested Burne-Jones. Arthur Balfour, the future Prime Minister, commissioned Burne-Jones to create a series based on the Greek myth of Perseus. The ten paintings tell of Perseus’s quest to kill the monster Medusa and rescue Andromeda. Burne-Jones was so zealous, Balfour had to alter the room by blocking off windows and changing doors for the paintings to fit. The task was so aspirational though that Burne-Jones was unable to finish the commission.
As a Pre-Raphaelite, Burne-Jones moved away from glorifying religion. He felt it distanced the viewer from understanding God’s message. By portraying Biblical stories with realism, he made religion relatable and accessible. He felt he could convey this through his paintings, rather than through the study of theology. Art was accessible to all. Theology, on the other hand, was reserved for the scholar and couldn’t inspire the masses.
Edward Burne-Jones is at Tate Britain until 24 February 2019.
He was forever philandering with, and fixating on, his pretty young models, with little regard for his long-suffering wife
In 1864 Burne-Jones was elected an associate of the Society of Painters in Water-Colours—which is known as the Old Water-Colour Society, and exhibited, among other works, The Merciful Knight, the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery.  In 1866 Mrs Cassavetti commissioned Burne-Jones to paint her daughter, Maria Zambaco, in Cupid finding Psyche, an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting Phyllis and Demophoön. The features of Maria Zambaco were clearly recognisable in the barely draped Phyllis, and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended Victorian sensibilities. Burne-Jones was asked to make a slight alteration, but instead “withdrew not only the picture from the walls, but himself from the Society.”  
Burne-Jones once admitted that after leaving Oxford he “found himself at five-and-twenty what he ought to have been at fifteen”. He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects, and he set himself to complete his set of skills by resolute labour, witnessed by his drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master’s style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum, exquisitely finished, of which his Waxen Image (1856) is one of the earliest and best examples. Although the subject, medium and manner derive from Rossetti’s inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognised by Rossetti himself, who before long avowed that he had nothing more to teach him. 
The Legend of Briar Rose is the title of a series of paintings by Burne-Jones completed between 1885 and 1890. The title of the series comes from the version presented by the Brothers Grimm in their collection of 1812. The four original paintings – The Briar Wood, The Council Chamber, The Garden Court and The Rose Bower – and the additional ten adjoining panels, are located at Buscot Park in Oxfordshire, England.
One Good Friday Giovanni was entering Florence accompanied by armed followers, when in a narrow lane he came upon a man who had killed his brother. He was about to kill the man in revenge, when the other fell down on his knees with arms outstretched in the form of a cross and begged for mercy in the name of Christ who had been crucified on that day. John forgave him. He entered the Benedictine Church at San Miniato to pray, and the figure on the crucifix bowed its head to him in recognition of his generosity. This is why he was canonised.