BURNAND, SIR Francis Cowley, English author: b. 29 Nov. 1837; d. 21 April 1917. He was educated at Eton and Trinity College, Cam bridge, and at first studied with a view to enter ing the Church of England, but when in 1858 he became a Roman Catholic he devoted himself to legal studies, and was called to the bar in 1862. By that year he had already achieved some success as a writer, and in consequence he seldom practised. After about ayear's connec tion with Fun he joined the staff of Punch in 1863, and was editor from 1880 to 1906. His book, 'Happy. Thoughts,' republished from Punch went through several editions, and was followed by 'More Happy Thoughts' (1871); 'Happy Thought Hall) (1872); 'Quito at Home' (1890). Other successful productions of his are the extravaganzas, 'New Light on Darkest Africa,' and 'Ride to (making fun out of Stanley and Colonel Burnaby respec tively), the parody on Ouida's novel, which he published under the title of 'Strapmore,' and 'The Modern Sandford and Merton.) Numerous plays have come from his pen, mostly of the nature of burlesques and light comedies, such as the plays 'Black-eyed Susan) (a burlesque of Douglas Jerrold's drama), and 'The He issued a his tory of the Amateur Dramatic Club which he had founded at Cambridge University. He col laborated with Sir A. Sullivan in the light operas 'The Chieftain,' produced in 1894, and 'Contrabandista.' He was knighted, in 1902, and published an interesting volume of 'Records and Reminiscences.' SIR Edward, English painter: b. Birmingham, 28 Aug. 1833; d. Lon don, 17 June 1898. In 1852 he went to Exeter College, Oxford, where he was a fellow student of William Morris, and afterward became ac quainted with A. C. Swinburne (who dedicated his and Ballads' to him). His first intention was to enter the Church of England, and it was not till he had reached his 22d year that he seriously devoted himself to art studies; but, going to London in 1855, he came under the influence of D. G. Rossetti and the Pre Raphaelite movement, and soon attained con siderable success in various departments of artistic work. In 1859 he set out on a journey
through Italy in order to see the productions of the early Italian paintets and sculptors, and on his return to England he gave in his stained glass designs and his pictures splendid promise of his subsequent triumphs. In 1865 he began a series of illustrations to Morris' Ear thl y Para dise,' and he also executed some 70 designs for the (Story of Cupid and Psyche,' besides pictures dealing with the same subject. He was elected a member of the Old Society of Painters in Water Colors in 1864, but withdrew from it in 1870, and from this year till 1877 scarcely ever exhibited in London. In the Grosvenor Gallery exhibition of the latter year, however, his works formed the chief attraction. He re ceived the Cross of the Legion of Honor in 1880, was elected in 1885 Associate of the Royal Academy, a position which he resigned in 1893 (having only exhibited one picture at the Acad emy, 'The Depths of the Sea)), and he was created a baronet in 1894. His most important pictures are (Day, Night' • 'Spring, Summer, Autumn, Winter' (1867-68); 'The Wine of (1869); 'Chant d'Amour' (1873); 'Be guiling of Merlin' (1877), an illustration of Tennyson's 'Merlin and Vivien'; 'Six Days of .
Creation' (1877)- 'The Golden Stairs) (1880); The Wheel of Fortune' (1883); 'Wood Nymph) • 'King Cophetua' (1884); 'Laus Ven ens ; 'The Depths of the Sea' (1886) ; and 'The Briar Rose' series (1890). He holds a specially high place as a designer for stained glass windows, and in many other departments of decorative art. His leading characteristics as a painter are his fertile imagination and fine poetic feeling, qualities which no painter of the century has possessed in anything like the same degree. The Old-World dreaminess of his work is finely aided by his wonderful power as a colorist. In common with his friends, Morris and Rossetti, he exercised a most potent itn fluence on Victorian art. Consult Bell, 'Ed ward Burne-Jones' (1902).