The March Marigold by Sir Edward Coley Burne-Jones

by 19th century ArtArtArt of the United KingdomPre-Raphaelite movementStudent ActivitiesVictorian ArtWorksheets
Sir Edward Coley Burne-Jones, British Artist, 1833–1898
The March Marigold, circa the 1870s, Oil and Mixed Media on Canvas, 71.7×77.4 cm, Private Collection https://www.wikiart.org/en/edward-burne-jones/the-march-marigold

The March Marigold by Sir Edward Coley Burne-Jones celebrates the vibrantly tinted and warmly hued, Μarigold, the flower that carries rich symbolic meaning across various cultures. Often associated with the sun, these flowers symbolize positivity, joy, and the life-giving energy of sunlight. In many traditions, marigolds are also linked to themes of celebration, prosperity, and good fortune, making them popular choices for festivals, weddings, and other auspicious occasions. Additionally, marigolds are known for their resilience and ability to thrive in diverse conditions, serving as a symbol of endurance and tenacity. Whether used in religious ceremonies, cultural celebrations, or simply as decorative elements, marigolds convey a profound message of optimism, resilience, and the enduring beauty that can emerge from even challenging circumstances.

So… What Do Marigolds Symbolize Internationally?

The scientific name of the Marigold flower is Calendula officinalis, and it comes from Latin. The Romans noticed the plant’s consistent flowering on the Calends, the first days of each month in the Roman Calendar and associated it with the regular intervals of their calendar, hence the name Calendula. The specific epithet officinalis, Latin as well, indicates that the plant was officially used as a medicinal or culinary herb, emphasizing its recognized and established role in traditional practices.

In ancient Greece and Rome, the bright and vibrant marigold flowers were seen as a reflection of the sun’s rays, and they were sometimes considered symbols of light and positivity, often linked to the God Apollo, and Goddesses Aphrodite or Hera. They were also valued for their medicinal properties. Calendula flowers, used for their healing attributes, were employed in salves and ointments to treat wounds, inflammation, and various skin conditions. Additionally, Calendula petals were incorporated into culinary practices, lending color to salads and dishes. The plant’s association with health and well-being is reflected in its use in rituals and ceremonies, demonstrating its cultural and practical importance in ancient Greek and Roman society.

Sir Edward Coley Burne-Jones, British Artist, 1833–1898
Stooping Woman, circa the 1870s, Chalk on paper, 152 × 165 mm, TATE, London, UK https://www.tate.org.uk/art/artworks/burne-jones-stooping-woman-a00069

In Europe, during the Middle Ages, the golden color of the Marigolds, reminiscent of the radiance associated with Mary’s purity and divine nature in the Christian tradition, was linked to the Virgin Mary and her pure heart. Over time, this visual connection, coupled with the flowers’ frequent use in religious ceremonies and art, solidified the link between marigolds and the Virgin Mary in Christian symbolism. While marigolds are not explicitly mentioned in the Bible, their use in religious and cultural practices reflects a rich tapestry of symbolic meanings within the Christian context.

In Mexico, Marigolds, or Cempasúchil in Spanish, hold deep cultural significance, particularly during the Dia de los Muertos (Day of the Dead) celebration. Marigolds are thought to guide the spirits of the deceased back to the world of the living with their vibrant orange and yellow colors. Families often create intricate floral arrangements and altars adorned with marigolds, candles, and mementos to honor and remember loved ones who have passed away. The flower’s strong aroma is believed to attract the spirits, and its use in Day of the Dead rituals reflects a blend of indigenous traditions with Catholicism, symbolizing the interconnectedness of life and death in Mexican culture. Marigold’s role in these traditions goes beyond aesthetics, embodying a powerful symbol of remembrance, spirituality, and the enduring connection between the living and the deceased.

In India, Marigolds hold multifaceted cultural and religious significance. These vibrant flowers, known as Genda Phool in Hindi, are commonly used in religious ceremonies, festivals, and decorations. Marigold garlands are often offered in temples to various deities, symbolizing purity and auspiciousness. The golden hue of Marigolds is associated with the sun, representing positive energy and prosperity. Additionally, during festivals like Diwali and Durga Puja, Marigolds are extensively used for decoration, adorning homes, and public spaces as a symbol of joy and celebration. The flower’s resilience and vibrant color contribute to its popularity in Indian culture, where marigolds serve as more than mere ornamental elements, embodying spiritual, cultural, and festive significance.

For a Student Activity inspired by the Marigold Flower, please… Check HERE!

Fireplace Artistry and Overmantel Splendor at Queens’ College

by 19th century ArtArtArt of the United KingdomPowerpointsPre-Raphaelite movementVictorian Art
Old Hall, Queen’s College, The Hall’s Fireplace, Cambridge, UK https://www.flickr.com/photos/costi-londra/2670523596
January, designed possibly by Edward Burne-Jones (1833-1898), or possibly by William Morris (1834 – 3 October 1896) https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

Step into the enchanting world of this English Medieval Ballad, where each stanza unfolds the rhythm of the passing months, offering a vivid glimpse into the seasonal activities of a bygone era. The verses paint a pastoral tableau, capturing the essence of daily life through the lens of nature’s cycles… Januar By thys fyre I warme my handys; / Februar And with my spade I delfe my landys. / Marche Here I sette my thynge to sprynge; / Aprile And here I here the fowlis synge. / Maij I am as lyght as byrde in bowe; / Junij And I wede my corne well I-now. / Julij With my sythe my mede I mawe; / Auguste And here I shere my corne full lowe. / September With my flayll I erne my brede; / October And here I sawe my whete so rede. / November At Martynesmasse I kylle my swyne; / December And at Cristesmasse I drynke redde wyne… next, step into the pictorial world of the Arts and Crafts Movement and the splendid Fireplace Artistry and Overmantel Splendor at Queens’ College, in Cambridge.

Morris, Marshall, Faulkner & Co. was a notable design and decorative arts firm that operated in England during the second half of the 19th century. The company was founded in 1861 by a group of artists and designers, including William Morris, Edward Burne-Jones, Ford Madox Brown, Dante Gabriel Rossetti, Philip Webb, Charles Faulkner, and Peter Paul Marshall. The firm played a crucial role in the Arts and Crafts Movement, which emerged as a reaction to the Industrial Revolution and mass production. The firm’s influence extended beyond its immediate time, and its principles had a lasting impact on design and the decorative arts. The emphasis on quality craftsmanship and the use of natural materials became enduring themes in subsequent design movements.

Artists collaborating with Morris, Marshall, Faulkner & Co., UK Company, 1861–1875
Overmantel Panel decorated with ceramic Tiles depicting the two Queens’ College foundress queens, the two patron saints, the Angel of Night, the Angel of Day, and a Labour of the Month for each of the twelve months, Installed in 1864, modified in 1873, in 1875, Old Hall, Queen’s College, Cambridge, UK https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

Queens College is one of the constituent colleges of the University of Cambridge in England. The college was founded in 1448 by Margaret of Anjou, the Queen of Henry VI. The Old Hall is one of the oldest, most notable buildings within the college. It is located on the college’s main site, known as the Old Court. The Hall was originally constructed in the late 15th century and has undergone various modifications and renovations over the centuries. It serves various functions, including dining, events, and ceremonies. https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/old-hall-chronology

In 1861–4, the Hall’s classical fireplace was removed, and a new fireplace was erected, designed by the architect G.F. Bodley, of alabaster and tiles… the decoration of which includes a red rose (House of Lancaster: Henry VI and Margaret of Anjou), a white rose (House of York: Edward IV and Elizabeth Woodville), and the college’s motto: Floreat Domus. Painted above the fireplace, Philip Webb designed the eleven coats of arms of the college’s founders, foundresses, and benefactors. Further up, in 1864, a composition of painted tiles created by the artists of Morris, Marshall, Faulkner & Co. were installed as an overmantel decorative piece which by 1873 depicted the two foundress queens, the two patron saints, the Angel of Night, the Angel of Day, and a Labour of the Month for each of the twelve months of the year. The spaces between the represented figures are filled by tiles decorated with a swan design in blue. The tiles of this design, which appear for the first time around 1863-64, are divided by a linear grid into squares, in which a stylized swan alternates with a diagonally-placed twig. The entire tile panel is framed by a border with a foliate pattern in blue. https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/old-hall-chronology and https://www.queens.cam.ac.uk/files/downloads/tile_decoration_by_morris_and_co_0.pdf

https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles
https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

According to Dr. Michaela Braesel, the popular representations of the Labours of the Months, with their lettered scrolls, were inspired by 15th-century Calendars found in Books of Hours at the University Library. The tiles produced by Morris, Marshall, Faulkner & Co. were created by various artists collaborating with the company. While some tiles can be confidently attributed to specific Company artists, the exact attribution for others, such as January, remains uncertain.

Today, on January 1, 2024, we turn our attention to the January scene, the most surprising of all the tiles featured in the Queens’ College fireplace panel. Designed either by Edward Burne-Jones or William Morris, it presents an unusual depiction within a calendar context—the ancient Roman god Janus holding a key and a wheel. Janus is associated with doorways, gates, transitions, and beginnings. Depicted with two faces, one looking forward and the other backward, this duality symbolizes his role as a god of both beginnings and endings, as well as his ability to perceive both the past and the future.

January, designed possibly by Edward Burne-Jones (1833-1898), or possibly by William Morris (1834 – 3 October 1896) https://www.queens.cam.ac.uk/visiting-the-college/history/college-facts/the-buildings/morris-co-tiles

One of Janus’s two heads is turned towards the old year and is characterized as an old bearded king, while the other, which looks to the future, shows a young king in profile. In his right hand, correctly depicted by either Morris or Burne Jones, Janus holds his traditional attribute, a key, while his left hand is shown resting on a wheel. The key signifies the end of the previous year, while the wheel might possibly hint at the wheel of Fortune, since what the coming year will bring remains unknown. https://www.queens.cam.ac.uk/files/downloads/tile_decoration_by_morris_and_co_0.pdf

As a guardian of entrances and exits, Janus was invoked at the commencement of significant events and ceremonies. The first month of the year, January, is named after him. In addition to his association with time and transitions, Janus was also regarded as a god of diplomacy and peace, as he could oversee and facilitate communication between different phases or states.

Janus was perfectly chosen, in my humble opinion, to mark the beginning of the New Year. Allow me to use his attributes and wish you all… Peace, a bright Future, and a Happy New Beginning!

For a PowerPoint on all Morris, Marshall, Faulkner & Co. Tiles for the Old Hall, Queens’ College, Overmantel Fireplace Panel, fully identified and explained, please… Check Here!

Marie Euphrosyne Spartali-Stillman

by 19th century ArtArtPowerpointsPre-Raphaelite movementVictorian Art
Marie Spartali Stillman, 1844-1927
Self-Portrait, 1874, gouache and pastel with gum arabic on paper, 63.5 by 50.8 cm, property of a private collector
https://byronsmuse.wordpress.com/2015/02/14/marie-spartali-stillman-a-grecian-muse/ and https://www.invaluable.com/auction-lot/marie-spartali-stillman-112-c-5vbtvxatmp

Imagine a gender equal world. A world free of bias, stereotypes, and discrimination. A world that’s diverse, equitable, and inclusive. A world where difference is valued and celebrated. Today, the 8th of March, many countries around the world celebrate International Women’s Day, a day when women are recognized for their achievements without regard to divisions, whether national, ethnic, linguistic, cultural, economic, or political. The United Nations page on Women’s Day reminds us how… the growing international women’s movement, which has been strengthened by four global United Nations women’s conferences, has helped make the commemoration a rallying point to build support for women’s rights and participation in the political and economic arenas.  A BLOG POST on Marie Euphrosyne Spartali-Stillman, a Pre-Raphaelite artist par excellence, will be my humble contribution to the importance of the day. https://www.internationalwomensday.com/ and https://www.un.org/en/observances/womens-day/background

Marie Euphrosyne Spartali-Stillman was a Grecian beauty! She was statuesque, nearly 1.90 m in height, with big, dark eyes and long, thick brown hair. Along with her sister Christina, the daughters of Michael Spartali, a wealthy Greek-born businessman and Consul-General of Greece in London, the Spartali girls frequented London’s artistic and literary salons of the 1860s creating a stir. The artist Thomas Armstrong, for example, met the two young women at a Sunday get-together at their parents’ house in 1863 and recalled, “We were all à genoux before them, and of course every one of us burned with a desire to try to paint them.” The poet Algernon Charles Swinburne seeing Marie wearing a white dress with blue ribbon sashes was short of words but quite emotional, writing… “She (Marie) is so beautiful that I want to sit down and cry.” Along with her cousins, Maria Zambaco and Aglaia Coronio were known collectively among friends as “the Three Graces”, after the Charites of Greek mythology (Aglaia, Euphrosyne, and Thalia), as all three were noted beauties of Greek heritage. https://www.artandantiquesmag.com/stillman-paintings/ and https://www.facebook.com/female.artists.in.history/photos/marie-spartali-stillman-british-painter-1844-1927portrait-of-a-young-woman-1868w/1870113673273513/

Thus… she became the muse and the model to several important artists of the time, particularly artists of the Pre-Raphaelite movement, enchanting them with her elegant stature and classical feature! Her beauty, however, was not easy to capture! Dante Gabriel Rossetti loved her to pose for him but on a letter addressed to Jane Morris, dated  August 14, 1867, he wrote… “I find her head the most difficult I ever drew. It depends not so much on real form as on a subtle charm of life which one cannot recreate.” https://www.facebook.com/female.artists.in.history/photos/marie-spartali-stillman-british-painter-1844-1927portrait-of-a-young-woman-1868w/1870113673273513/

The young woman was artistic and an intellectual. Starting in 1864, and for several years, she became the student of artist Ford Madox Brown. Once more, in a letter addressed to Brown, Rossetti writes “I just hear Miss Spartali is to be your pupil. I hear too that she is one and the same with a marvelous beauty of whom I have heard much talk. So box her up and don’t let fellows see her, as I mean to have first shy at her in the way of sitting.” https://byronsmuse.wordpress.com/2015/02/14/marie-spartali-stillman-a-grecian-muse/

In 1871, against her parents’ wishes, she married American journalist, diplomat, author, historian, photographer, and trained artist William J. Stillman (1828 – 1901). A captivating personality, Stillman served as a war correspondent in Crete and the Balkans, a United States consul in Rome, and afterward in Crete, during the Cretan insurrection. He is known for training the young Arthur Evans as a war correspondent in the Balkans, remaining a lifelong friend and confidant. He is also known for considering taking over the excavation at Knossos from Minos Kalokairinos! The couple, along with their children, lived an exciting life between England, Italy, and the United States, Marie being at the time, the only Pre-Raphaelite artist to work and exhibit in the United States. https://digitalcollections.union.edu/s/home/page/william-james-stillman-collection  

According to Margaretta Frederick, curator of the major monographic exhibition, “Poetry in Beauty: The Pre-Raphaelite Art of Marie Spartali Stillman,” (November 7, 2015–January 31, 2016, at the Delaware Museum of Art) Marie  “…abhorred publicity and never wanted to put herself forward, because she was suspicious of critics and publicity.” She was also a victim of the Victorian mentality, further wrote Margaretta Frederick, that dictated that a woman should not compete with men, or at least not appear to do so… explaining that even Spartali Stillman’s choice of medium—watercolor—was guided by this code of conduct: “In a middle- to upper-middle-class family, women painted in watercolor. So she was fixated on this medium that allowed her to situate herself next to the men and compete on their level without transgressing too many social barriers.” https://www.artandantiquesmag.com/stillman-paintings/

Marie might have abhorred publicity, but she did not labor in obscurity. She exhibited at the Royal Academy starting in 1870 and had dealers selling her work on both sides of the Atlantic. Influenced by the Pre-Raphaelite movement and the Italian Renaissance, she is known for creating over one hundred paintings of dreamy medievalism, plenty of Dante-and-Boccaccio scenes, and Portraits of unusual psychological acuteness. Her style, free, and painterly, is an integral link in the chain of Victorian Aestheticism. https://www.artandantiquesmag.com/stillman-paintings/

For a PowerPoint of artwork by Marie Spartali Stillman at the Delaware Art Gallery in the USA, please… Check HERE!