THE GOLDEN STAIRS (1876-80) † NCM 1900-649 This work depicts eighteen women, perhaps Angels, carrying various musical instruments and wearing archaic-looking dress whilst descending on a grand staircase. Burne-Jones originally intended to enter the Church, but lost most of his conventional religious beliefs whilst studying theology at Oxford University. Nevertheless, there are several indicators of Burne-Jones’s catholic influence in this piece. The doves on the roof for example may be a symbol of peace and innocence, but are also indicative of the Holy Spirit.
Burne-Jones’s daughter Margaret (1866-1926) is present as a model; she is at the top of the stairs, holding a trumpet. There are a few other models in this image too, including May Morris the daughter of BurneJones’s close friend and associate William Morris, and Frances Graham the daughter of BurneJones’s patron, William Graham. Laura Lytteton, who died in childbirth at a young age, is also modelled in this piece. It is, however, quite hard to distinguish between the models and they could almost be the same woman walking down the stairs.
The lack of a narrative is typical of the Aesthetic movement that Burne-Jones adopted. The meaning of this piece is elusive; could these be the stairs to heaven, or perhaps a metaphor for following a religious path? The stairs may also allude to the passage of time. The vertical configuration of this piece allows for an interesting composition and adds a fluidity to the movement of the women.
21