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Edward Burne-Jones|Stained Glass|Tapestry

Updated on June 25, 2014

Sir Edward Coley Burne-Jones-Stained Glass-Tapestry

Edward Burne-Jones was a fabulous designer, creating designs for stained glass and wonderful tapestries. There is a wonderful sense of romanticism in his work as well as a certain sadness. That is my own opinion though as I look at his work. The stained glass being done for cathedrals and churches has a bit of gloom about them as does his tapestries, be it from the color and just the general theme. Interesting to ponder as I look at his work. View some of it and see what you think. This lens is about Edward Burne-Jones as well as leaded or stained glass and tapestry.


~ an excerpt from Layla D

British painter, designer, and illustrator Sir Edward Burne-Jones is one of the most well known of the second generation Pre-Raphaelite artists. Born in Birmingham, Burne-Jones mother died six days after giving birth. Having no siblings the lonely child escaped to the world of drawing. Burne-Jones studied theology at Exeter College in Oxford where he met fellow poet and artist William Morris. The two read the writings of Ruskin and studied and the paintings of the Pre-Raphaelites and decided they should devote their lives to art. In 1856, he met Dante Gabriel Rossetti, who became a great influence on directing Burne-Jones artHe designed stained-glass windows, mosaics, and tapestries along with book illustrations under the name of Edward Coley Jones. His designs, along with his medieval crafts style, paved the way for the Arts Nouveau movement. Burne-Jones was knighted in 1894 and died in 1898.

About the Author: Layla D. is a art lover and contributor to

This article may be reprinted in full so long as the resource box and the live links are included intact.

Ahh YES the talent of Sir Edward Coley Burne-Jones Extra ordinary!




as you enjoy my lens


Edward Burne-Jones once said...

As Burne-Jones once said, 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 equipment by resolute labor, witnessed by innumerable drawings.

Sleeping Beauty, Edward Burne-Jones

Sleeping Beauty, Edward Burne-Jones
Sleeping Beauty, Edward Burne-Jones

Have you always dreamed of doing stained glass but just didn't have the courage to learn?

Do you think you can learn stained glass from a how to book?

5 Ways to Kill a Fantasy Fairy and Get Rid of Those Dreams Once and For All!

by Kathy Ostman-Magnusen

Artist Edward Jones and let me say that with ALL artist the operative word is ARTIST, thus we dream and attempt to concur our demons. A fairy is not a demon though so this is a twisted tale that I HOPE Edward Jones would approve of.

The poem:


how to kill them

and stomp out their stupid magic

lets all join together now


She slept in the desert

I told her not to

but there was simply no stopping her.

I asked her to




but there, there, dear baby

there were no pathways.

Five ways to kill a fantasy fairy

isn't that one?

Put them in the desert

beneath the beating



Ohh those horrible fairies!

Lets all blot them out

lets gather them altogether

and stop their playful fun

and cause magic block


Flowers tended to with care

who needs that?

Let put together a sound committee

and focus on them




Lets be evil for a day

shall we?

Gather all those flower fairies

spray them with some kind of poison

and then

wash that magic



I don't feel like sunshine!


not today

I am bent on my own destruction(?).

So I'll

cast a shadow

on every little whimsical angel


my own possibilities

and with a sense of my own coldness

find a way of


I want to


Yell it loudly

that I am




I am thinking past it all

and want to say at this very second

that I

am sorry

that I am within this fairy killing


I said


and maybe

just maybe

this approach of mine

to killing off faeries

should be delayed...(?)



lets just see.



I thought about it

and I've decided


let's stand on another


Let put a bunch of test tubes together

one for me

and one

for YOU!

Lets gather all those memories

the kind that wind.. time

and offer unsettling



YES let it be!

Gather it all

don't hide those deeds

those strides that

Weep (? and who cares.. fairy killers don't despair)

Sorry I am feeling


so I.. found myself and thus


I left you this note

this note describing who I thought

was me


that I am one

yes indeed

I am one

who kills fairies

despite anyone's NO


Conscious now

let me see

how do I

or how do WE


FIVE ways to kill a fantasy faery?

OK a wonderful idea

Lets spray all the flowers

with a lack of dreams


Lets do that scheme

without thinking

no silly blinking in disbelief

of a fairies wants

and who cares about any of their griefs?

3rd way on my list


lets devour ALL the colors

the ones that make life shine

lets capture rainbows

and then

cast them

past all memories

and thoughts of faery-dom


I want to meet the day described

count the ways

and cast them


Yes, every single delicate fairy



Sad are you?

A bit surprised?

Well s-o-r-r-y

for your sentiments

on with it now

lets get on with a sinking fairies


Fourth on the line

take a bit of time

and take all water



Why give a fairy

any way at all

to find strength

to meet a second day's

second call?


Find a way of a fairies


Let that venomous tide

in you


yes me and vooo-doo



Quite Simply

I don't know whatever stopped me


just stop...


yes stand DEAD

in your tracks

and STOP...

yes.. that's the answer

standing here in this moment

I am quite satisfaction-ed




This is copyriighted so use as you will but give me credit!

The image is of my sculpture "Bleeding Wings 5"


ABOUT Kathy Ostman-Magnusen: I am an artist, represented by Monkdogz Urban Art, New York. ORIGINAL ART may be purchased through Monkdogz:

My newest website:

Supplies For Getting Started in Stained Glass - by Wilbur Brooks

This list is meant to aid create a shopping list for the beginning stained glass art student. Not all of the items will be essential for every project, for instance you will employ either lead cames OR copper foil and their corresponding accessories dependent on the stained glass style you will be using. Other tools listed may well be very helpful, but not entirely necessary, one pair of pliers may be adequate to do several jobs for example.

Glass Cutters - One of the most significant tools you will employ in stained glass making, good glass cuts will make or break your job. These range from very inexpensive carbide steel wheel cutters (you will require to include cutting oil as you go along) to slightly more expensive self-oiling tungsten carbide or pistol grip wheel cutters.

Cutting Oil - This assists reduce friction allowing a smoother cut and in addition keeps glass debris from encumbering the cutting wheel's progress.

Soldering Iron - (pronounced like soddering) This is once did melt lead solder which in turn is accustomed to join bits of metal, such as the lead cames or copper foil that will hold your glass pieces together.

Solder - The type you will be employing in stained glass making should be an alloy (mixture) of tin and lead. This normally enters a spool of either a 50/50 or 60/40 blend. The 60/40 is slightly more expensive, flows more smoothly and is consequently preferable for making a glass project.

Sal Ammoniac - This is soldering iron tip cleaner made from a naturally occurring mineral that reacts to the heat of the soldering iron and removes debris when the iron is gently rubbed on it.

Flux - Helps remove oxidation and other dirt and debris from the metal surfaces so that the solder can adhere to it. This is an absolute necessity to keep your glass pieces together; the solder just won't "stick" without it!

Flux Brush - A very inexpensive brush used to put on the flux.

Flux Remover - Can be familiar with neutralize flux or patina and is oftentimes used at the conclusion of projects to tidy up small errors and over-flow.

Cutting Square - Helpful when drawing squares or other designs requiring a right angle.

Ruler - Employed for measuring project dimensions in addition to for drawing or cutting a straight line. A non-skid backing like cork or rubber will help keep it from sliding on the glass.

Pattern Shears - These are the special scissors that automatically cut the proper size strip of paper between pattern pieces to allow room for the lead cames or copper foils to be placed between the various glass bits of the purpose.

Grozing Pliers - These pliers have narrow, serrated jaws for picking up small chucks of glass and can be used to remove uneven or jagged pieces of stained glass after cutting.

Running Pliers - These thick pliers help to carefully break stained glass pieces that have been scored on the purpose furrows.

Needle Nose Pliers - A good all around tool to possess handy, can be employed for small detail work.

Wire Cutters - These can be used to cut reinforcing wire or the picture hanging wire to hang your finished glass art project.

Hammer or Mallet - A good rubber headed mallet can be used to gently tap stained glass pieces into place.

Carborundum Stone - A trademarked name for a grinding tool once was smooth the edges of cut pieces of stained glass. Should be wetted periodically to make smoothing easier.

Electric Glass Grinder - A bit bigger technique to smooth the glass edges; this is a machine that will do the job faster and more efficiently. This is definitely nice, but optional.

Copper Foil - One of the choices of material to grasp the pieces of stained glass together. Enters various widths depending on the appearance of your job- make certain your pattern shears are similar width as your foil or came.

Copper Foil Dispenser - One other nicety, this makes handling the copper foil easier, much the way a tape dispenser makes tape easier to deal with.

Lead Cames - The original choice in stained glass support systems. These come as long strips of lead with grooves or channels on either one side or both, depending on whether it is to be used as an inside or fringes piece of the stained glass.

Lead Vise - Holds the lead were sent out place to allow it to be stretched before use.

Lead Cutters - Also called lead pliers these snips are especially helpful when trimming cames for use in the corners of your stained glass project.

Lead Knife - Can be employed to make clean straight cuts on lead cames.

Horseshoe Nails - Great for holding frames in place when assembling your stained glass project.

Dustpan and Brush - Helps to look after your workplace clean which is important in making stained glass projects because debris will prevent things from sticking properly.

Security Goggles - Keeps bits of lead or glass from damaging the eyes during cutting, always keep in mind "wellbeing first"!

Wooden Block Holder - Can be useful for holding pieces of stained glass.

Masking Tape - Always handy in the workshop; may be familiar with hold pattern pieces together or a number of other uses.

Picture Hanging Wire or Other Fasteners - For hanging your completed stained glass project.

Lead Plank with Right Angle Support - Helpful in holding a lead stained glass project in place during assembly while keeping the edges clean and straight.

Timber or Plastic Fid - Great as a burnishing or spreading tool when applying foil to stained glass.

Glazing Concrete - Seals and beefs up the joint areas of the lead cames.

Whiting - Serves to dry and set the glazing concrete. Can also be familiar with remove excess putty from the stained glass.

Stiff Bristle Brush - Used for trying glazing cement.

Patina - Liquid answer that changes the appearance of solder, can give a more antiqued visual aspect.

Rubber Your mitts - Completely necessary when employing patina or any other solvents to the project; you do not want these penetrating your skin!

Mirror Sealer - This aerosol spray is used on the rear of mirrors to possess the reflective coating from being scratched or damaged.

Finishing Compound - Offers the finishing touch to your stained glass project, adding polish and shine while providing a protective finish to aid prevent oxidation and tarnish buildup.

Pushpins, Tacks and Jig Material - Items that might be of use in holding certain pieces together while assembling your stained glass project.

Craft Knife - Perfect for correcting small errors in copper foiling and other small tasks.

Steel Wool - May remove oxidized material from solder and other metal parts.

Plastic Basin and Sponge - With warm soapy water to clean glass and metal debris from your stained glass workspace.

Carbon Paper - For making pattern copies.

Tracing Paper - For tracing the original design unto a clean copy.

Rubber Concrete - For holding pattern pieces on glass to make cutting them out easier.

Pens, Pencils, Markers and Colored Pencils - Required for drawing and coloring in pattern pieces.

There you have it, a not-so-condensed shopping list to get you on your way to a new hobby in stained glass art making!

Wilbur has been writing articles online for nearly 5 years now. Not only does this author specialize in weight loss,fitness and diet, you can also check out his latest website on bathroom lighting fixture and low voltage outdoor lighting.

Article Source:

The panel pictured by Edward Burns-Jones was designed for the chapel at Manchester College,now Harris-Manchester College, Oxford.

Edward Burne-Jones Video

Stained Glass-David's Charge to Soloman

Stained-glass window of David's Charge to Soloman. Designed by Edward Burne-Jones and executed by the William Morris Company. At Trinity Church in Boston.

David's Charge to Soloman-Designed by Edward Burne-Jones

David's Charge to Soloman-Designed by Edward Burne-Jones
David's Charge to Soloman-Designed by Edward Burne-Jones



MORE MUSIC... for your listening pleasure...

as you enjoy my lens.

Aloha, Kathy


Enigma and Sarah Brightman cds


Here is the music focused on the UTubes...



Edward Burne-Jones Quote


The more materialistic science becomes, the more angels shall I paint. Their wings are my protest in favor of the immortality of the soul.

Edward Burne-Jones



This tapestry was designed by William Morris (1834 - 1896) and Edward Burne-Jones (1833 - 1898) in 1885. It depicts Flora, the goddess of abundance, who personifies summer, standing barefoot in flowing garments with a wreath in her hair. She holds fresh flowers in her hand, and we can see the intricate floral background, inspired by the Medieval decorative technique known as Mille Fleurs (thousand flowers), demonstrating the artists' admiration for pre-Renaissance art. The piece is also inscribed with the following verse, beautifully rendered in Gothic type:

"I am the handmaid of the Earth, I broider fair her glorious gown and deck her on her days of mirth with many a garland of renown and while earth's little onesare fain and play about the mother's hem I scatter every gift I gain from sun and wind to gladden them"

This tapestry can be purchased at:


I Will Measure Happiness With My Eyes Closed - A Fairies Call

poem by Kathy Ostman-Magnusen

Maybe we can just stop


dear fairies

and start all over again.

And I won't ask you

if it's OK.

I won't ask anyone at all.

I will step out into that outside world

and hold a victory march

past all my false starts.

Camille and Lily

sacred souls

will meet me


and let me mend

my stolen heart.


I must admit it

in the end

that fantasy and pretend

cannot outlive the wounded lark.

Only wilting flowers

would understand that poem.

A poem considered

one who would close up

not bloom

and visit no one

go nowhere at all

like words gathered

resembling leaves in the fall.

If you see that sparrow

Remind her I am still waiting

and tell her to find me.

A feather in the skyline

tell her too

to send me her poems

when she feels empty.

I contemplate

those who still measure happy


if there is some kind of code

or justified routine

that meets that channel.

Maybe happiness is over rated.

Darkness requires a lot of alone time.

All my cruelties

so sincerely sorry.

Twas not till this moment

that I understood the consequence

of such failures.

Stopped only by me

with only me to blame

and like any delicate flowers I have known

I fold their wings gently

wishing I could dismiss it all

but of course


Despite my efforts to see at times

I am left with the blindness of sight.

How far can I reach?

How much can be felt?

I am not sure.

But I will consider the day

measure it all with my eyes closed

Camille and Lily

fairies call

watch ore

and my fingertips

will measure my way


ABOUT Kathy Ostman-Magnusen: I am an artist, represented by Monkdogz Urban Art, New York. ORIGINAL ART may be purchased through Monkdogz:

FREE ART GIFTS, suitable for children plus prints, giclees, cards, available on my website:

the image is of my painting "Bleeding Wings 5"


Quick, what do you think of Edward Burne-Jones?

See results

Tapestry Design by Edward Burne-Jones

Tapestry Design by Edward Burne-Jones
Tapestry Design by Edward Burne-Jones



~for visiting... let me know you were here OK?

Share your stories, sightings, thoughts, rants, raves...

Aloha, Kathy


Shout Out For Edward Burne-Jones!

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    • sponias lm profile image

      sponias lm 

      5 years ago

      This is a beautiful lens, with wonderful art pieces and meaningful poems. It deserves to be blessed!

    • goo2eyes lm profile image

      goo2eyes lm 

      6 years ago

      thank you for sharing this lens. squidangel blessed.

    • goo2eyes lm profile image

      goo2eyes lm 

      6 years ago

      wow, this gobelin is amazing. sleeping beauty and stained glass caught my eyes too. job well done, kathy.

    • profile image


      10 years ago

      Edward Burne-Jones was a major part of the Kelmscott Chaucer. He drew 87 major illustrations for this massive work. Some of his illustrations can be seen at His drawings are incredible. He was a close friend of William Morris.


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