Banner; verso: Banner c. 19th century

Curator: Edward Burne-Jones’s pencil drawing, "Banner; verso: Banner," now residing at the Harvard Art Museums, presents us with a compelling study in form. Editor: It evokes a subdued feeling, almost melancholic, despite being a preparatory sketch. The folds suggest a weight, perhaps of a cause either won or lost. Curator: Indeed. Banners are powerful semiotic devices. They represent not only affiliations but aspirations. Burne-Jones, steeped in the Pre-Raphaelite ethos, understood how to imbue objects with layered meaning. Editor: And how that meaning shifts depending on the socio-political moment! Was this a commission? What purpose did it serve in its time? The very act of banner-making—its public display, its potential for protest—adds another dimension. Curator: A poignant reminder of the symbolic power we invest in objects, even in the humblest of sketches. Editor: Yes, it certainly adds more than just an aesthetic appreciation.