DAYS OF CREATION † NCM 1900-617, 619, 622 He presents various Angels holding magical orbs, each containing divine manifestation for different realms. The first Angel selected is holding an orb that represents the division of light and darkness, whilst the next scene represents the division of water and land. The final piece represents the creation of the Adam and Eve, whilst the ‘Day of Rest’ is symbolised by an Angel seated holding a musical instrument. The burning feathery flame of each Angel distinguishes them from the other Angels in the previous scenes.
These designs were created repeatedly in a variety of mediums, including stained glass, oil and gouache. They are considered one of Burne-Jones’s greatest works. They portray the Christian story of Creation as told in the book of Genesis. In total, there are six panels, one for each day with the Angel at rest on the bottom of the sixth panel. We are showing three panels here. The Days of Creation was an unusual theme for an artist of the time to undertake, and Burne-Jones may have been one of the first artists to explore this concept since medieval times. Perhaps Burne-Jones saw parallels between God’s artistry and his own human creativity as an artist.
Burne-Jones clerical ambitions in early life were a lasting influence in his artistry. This piece was made during a period of withdrawal from public exhibitions, and was originally designed as a stained glass cartoon in 1870 in collaboration with William Morris, the British textile designer, poet, novelist, translator, and socialist activist associated with the British Arts and Crafts Movement. The model for these Angels was William Morris’s eldest daughter, Jenny. 37