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Like his fellow Pre-Raphaelite artists, Edward Burne-Jones' paintings often included a range of mythological subjects, from early Greece to the screenplay. Burne-Jones was exceptionally interested in mythology by a young age, developing a fantasy world for himself to compensate because of his harsh upbringing at the hands of their strict housekeeper. This fascination with myths, particularly the Arthurian legend, lasted for his whole life and Burne-Jones' art was response against the 'moral ugliness' of the industrial world he grew up in, where realism had obtained over in art. Julia Cartwright wrote in 'The Art Annual' of 1894 that 'the craft of Burne-Jones from first to last has been a silent and respectful protest against the most striking tendencies of the contemporary world'. Burne-Jones' function is nostalgic and he wanted to bring the beauty, passion and spirit of those classic myths back to art. Burne-Jones was especially inspired during a visit to Italy in which he witnessed the work of early renaissance artists, Michelangelo, Botticelli, and Mantegna. He despised the way that they painted with rich colours and particularly the way they, particularly Botticelli, treated the individual form. Botticelli is known for his depictions of naked women. Lots of the idiosyncratic characteristics of Burne-Jones work - exactly the way the paint is gently applied, the limited palette of rich and soft colours, the strong emphasis on line and how he elongates the figure - were motivated by the artists of the early renaissance. Burne-Jones elongates the figure to a almost angelic height, giving his subjects a fuzzy quality. This can be seen in 'The Annunciation'. The slim, long figure of Mary, together with the flowing pink gown, emphasise her innocence and beauty. The canva...