The First Marriage 

Editor: Here we have “The First Marriage”, a watercolor and gouache piece by Edward Burne-Jones. The use of color and the angelic figures give it such a dreamlike, ethereal feel. The central figure’s blindfold is especially striking. What do you see in this work, what is being evoked here? Curator: The blindfolded figure is particularly fascinating, isn't it? Consider that in the context of marriage, which is itself a potent symbol, this points to a complex set of ideas. Blindness in art often represents a lack of foresight, but equally a dependence on faith or divine guidance. How do you feel the other two figures, gently holding her, play into that symbolism? Editor: They seem supportive, guiding… almost like aspects of her own self? Maybe one represents reason, the other emotion? Curator: That's a compelling observation. And thinking about this image within the Pre-Raphaelite movement, do you see echoes of other works dealing with fate, morality, or even self-discovery through allegorical figures? They certainly explored themes of human relationships within classical myth, dreams and symbolic codes. Editor: Absolutely. The piece has that Pre-Raphaelite fondness for medievalism and literary subjects but with, as you say, deeper layers of symbolism about psychological states. The bond seems fragile but also enduring somehow. Curator: Precisely. Marriage, then, not simply as a social contract, but as a psychological journey, guided by faith and supported by unseen forces. It speaks volumes about the cultural memory of love, obligation and destiny during this historical period, and frankly continues to influence our modern understanding today. Editor: It’s amazing how a single image can unlock so much meaning and continue to resonate across centuries. It seems deceptively simple at first glance. Curator: Exactly. That's the power of the visual symbol; layers upon layers, connecting us to the past, challenging us in the present.