“A new rendering of an old subject” as the Times put it, The Tree of Forgiveness is a relatively straightforward revision of Phyllis and Demophoon (cat. no. 48), which had caused so much trouble at the Old Water-Colour Society in 1870. Painted quickly in the winter of 1881, it was one of nine works exhibited at the Grosvenor Gallery the following spring, and was immediately snapped up by Agnew's, which sold it within the year to the Liverpool shipping magnate William Imrie, a partner in Ismay, Imrie and Co. (of the White Star Line). 1 No such furor developed on this occasion, although it is noticeable that Burne -Jones must have felt it prudent to avoid further controversy by adding a wisp of concealing drapery, of apparently doubtful function as an article of clothing; in fact, this was the trailing end of a scarf originally intended as Dart of additional drapery for the figure of Phyllis, which the artist decided to remove at a late stage. 2 The resemblance to the fea- tures of Maria Zambaco as the model for Phyllis is also decreased. This time there was less general objection by the press to the idea of a "love chase" instigated by the woman, although the Times still found the picture "a strange one, its effect repellant in the extreme." 3 Both that newspaper and the Art Journal con- sidered the pose and musculature of the bodies exaggerated, giving the composition "an air of strained and unnatural action, which greatly mars its effect." 4 As if in direct reply to this criticism, Henry James pointed out in the Atlantic Monthly that "the subject was difficult, and there could be no question of making it 'natural'; Mr. Burne-Jones has had to content himself with making it lovely. It is a large, elaborate study of the undraped figure, the painter's treatment of which surely gives sufficient evidence of his knowing how to draw — an accomplishment that has sometimes been denied him. The drawing of the two figures in 'The Tree of Forgiveness' has knowledge and power, as well as refinement, and we should be at a loss to mention another English artist who would have acquitted himself so honourably of such an attempt." 5 Commentators were unanimous, however, in praise of the background and incidental details, especially the curtain of almond blossom and flowers beneath, all "drawn and painted with a thoroughness, with a depth of colour and a minuteness of detail, which can hardly be over-praised." 6 F. G. Stephens thought that "the linking of [Phyllis s] hands so as to clasp the waist of Demophoon is one of the beauties of a picture which is remarkable for its earnestness and profound pathos as well as for the wonderful loveliness of its colour." 7 To Henry James, its color was delightfully cool — "cool with the coolness of a gray day in summer." 8 Even the Art Journal relented in the face of "colour harmonies in which the glowing hues of a Venetian palette [are] used with a skill which could not be surpassed by any contemporary painter." 9 1. See Lady Lever Art Gallery Collection 1994, pp. 17-19. 2. "Her draperies are of dark sea-green, and kirtle-like, fall from her waist. Her scarf, the design of which illustrates the mode of that school to which the art of Mr. Burne-Jones frequently refers, partakes of its mistress's emotion, and, wind-driven, twines around the limbs of Demophoon" {Athenaeum, December 24, 1881, p. 859). 3. Times (London), May 8, 1882. 4. Ibid. 5. Atlantic Monthly, August 1882, reprinted in James 1956, p. 207. 6. Times (London), May 8, 1882. 7. Athenaeum, May 6, 1882, p. 575. 8. Atlantic Monthly, August 1882, reprinted in James 1956, p. 207. 9. Art Journal, June 1882, p. 189.
Fitzwilliam work lists 1881 ...Began and worked much on big Phyllis and Demophoon 1882... Finished Big Phyllis & Demophoon called now the Tree of Forgiveness . Agnew It was Frances who supplanted Maria as his muse, it is very significant he chooses to put her features in the Tree of Forgiveness, being well aware of the furor that the first version had caused. Society at large would have been unaware of the underlying importance to the artist, it therefore comes as a surprise that his imitates would have been aware of the likeness and no reference is made by them in the literature.
Rossetti letter to Madox Brown 23 January 1869: Poor Ned's affairs have come to a smash altogether, and he and Topsy, after the most dreadful to-do, started for Rome suddenly, leaving the Greek damsel beating up the quarters of all his friends for him and howling like Cassandra. Georgie stayed behind. I hear to-day however that Top and Ned got no further than Dover, Ned being so dreadfully ill that they will probably have to return to London.
In January 1869 his wife Georgiana found a letter from Maria in his clothing and Burne-Jones reluctantly ended the affair.
