愛德華‧伯恩-瓊斯（Edward Burne-Jones, 1833-1898）受到拉斐爾前派（Pre-Raphaelite）靈魂人物羅賽蒂（Dante Gabriel Rossetti）的藝術啟蒙，而成為拉斐爾前派第二代的佼佼者。伯恩-瓊斯本身並未接受長期正統美術訓練，藉著觀摩羅賽蒂作畫、臨摹義大利古代畫作展開藝術生涯，雖然初期藝術創作風格不被傳統學院中人所接受，於 1870年退出舊水彩協會（Old Water-Colour Society）展覽場域並蟄伏於個人創作，1877年再度受邀參與葛洛斯凡納藝廊（Grosvenor Gallery）開幕展，一夕之間成為藝壇矚目的焦點而被視為「唯美主義的領航者」。學界普遍認為拉斐爾前派後繼者，已將其原創精神轉變為唯美主義（Aestheticism）。伯恩-瓊斯早期承襲羅賽蒂的藝術特質，而後融合古典雕刻、義大利文藝復興等多樣藝術風格，與拉斐爾前派第一代所追求的自然寫實主義有著不同的藝術面貌，藉由伯恩-瓊斯個人藝術風格的並置排比，以檢視唯美主義藝術特質及其理念乃為本文首要之焦點。伯恩-瓊斯於1870年退出公開展覽之後，繪畫多為其藝術贊助者所委託製作。藝術家與贊助者兩造之間的關係，將述及贊助者如何看待藝術品，擴及當代審美觀點與審視藝術品的角度。再者，伯恩-瓊斯於1877年後再度於葛洛斯凡納藝廊公開展覽，該藝廊在伯恩-瓊斯藝術生涯中扮演關鍵性的角色，因此本文意欲探討的另一面向，便是透過伯恩-瓊斯私人藝術贊助者，瞭解唯美主義觀者群的視覺品味，並擴及伯恩-瓊斯於葛洛斯凡那藝廊公開展覽所獲得之評論與迴響，以獲悉觀者對於唯美藝術特質的觀感。然而鑑於唯美主義乃為一抽象的藝術思潮，是維多利亞整體變遷發展下的時代產物，在論述之時，不先行界定唯美主義的理念特質，而是著眼於伯恩-瓊斯具體風格呈顯，及其藝術觀者群的藝術品味與價值觀，逐步抽絲剝繭以瞭解唯美思潮的實質表現，歸結檢視唯美主義的具體成果。

I. 書籍
（一）伯恩-瓊斯與拉斐爾前派
Adams, Steven. The Art of the Pre-Raphaelites (London: Quintet Publishing Limited, 1988)
Ash, Russell. Sir Edward Burne-Jones (London: Pavilion Books Ltd, 1993)
Barnes, Pachel. The Pre-Raphaelites and Their World (London: Tate Gallery Publishing, 1998)
Barring, Tim. Reading the Pre-Raphaelites (London: The Orion Publishing Group, 1998)
Bell, Malcom. Sir Edward Burne-Jones: A Record and Review (London: George Bell & Sons, 1892)
Bell, Quentin. A New and Nobel School: the Pre-Raphaelites (London: Macdonald and Co. Ltd., 1982)
Bill, Waters. Sir Edward Burne-Jones: Laus Veneris (Newcastle upon Tyne: Laing Art Gallery, 1973)
Bullen, J. B., The Pre-Raphaelite Body: Fear Desire in Painting, Poetry, and Criticism (Oxford: Clarendon Press, 1998)
Burne-Jones, Georgiana. Memorials of Edwards Burne-Jones (London: Macmillan & Co., 1904)
Bryden, Inga. ed. The Pre-Raphaelites Writings and Sources (London: Routledge/ Thoemmes Press, 1998)
Casters, Susan P. & Faxon, Alicia Craig. eds. Pre-Raphaelite Art in its European Context (London: Associated University Presses, 1995)
Cecil, David. Visionary and dreamer: two poetic painters: Samuel Palmer and Edward Burne-Jones (New Jersey: Princeton University Press, 1979)
Christian, John. ed. Burne-Jones: The Paintings, Graphic, and Decorative Work of Sir Edward Burne-Jones, 1833-98 (London: The Arts Council of Great British, 1975)
Christian, John. & Stevens, Mary Anne. eds. The Last Romantics－ the Romantics Tradition in British Art: Burne-Jones to Stanley Spencer (London: Barbican Art Gallery, 1993)
Dean, Ann S. Edward Burne-Jones (London: Pitkin Guldes Ltd, 1998)
Fitzgerald, Penelope. Edward Burne-Jones (London: Sutton Publishing Limited, 1997)
Garnett, Oliver. Burne-Jones: dal preraffaellismo a cura di Maria Teresa Benedetti e Gianna Piantoni (Roma, Galleria Nazionale d’Arte Moderna, 1986)
Hardin, Terri. The Pre-Raphaelites: Inspiration from the Past (New York: Todtri Productions Limited, 1996)
Hardwick, Paul. & Campbell, Elaine. eds. Edward Burne-Jones: 1833-1898 (Birmingham: The Pre-Raphaelite Society, 1998)
Harrison, Martin. & Waters, Bill. Burne-Jones (London: Barrie & Jenkins Ltd., 1973)
Hewison, Robert. Ed., Ruskin’s Artists: Studies in the Victorian Visual Economy (London: Ashgate Publishing Company, 2000)
Hilton, Timothy. The Pre-Raphaelites (London: Thames and Hudson Ltd, 1970)
Johnson, May. Burne-Jones, all colour paperback (New York: Rizzoli International Publication, Inc, 1979)
Lago, Mary. ed. Burne-Jones Talking: His Conversations 1895-1898 preserved by his studio assistant Thomas Rooke (Columbia: University of Missouri Press, 1981)
Mancoff, Debra N. Burne-Jones (California: Pomegranate, 1998)
Marsh. Jan. Pre-Raphaelite Women: Images of Femininity in Pre-Raphaelite Art (London: Weidenfeld and Nicolson Ltd, 1987)
Nahum, Peter. ed. Burne-Jones, the Pre-Raphaelites and their century (London: Peter Naham Ltd, 1989)
Parris, Leslie. ed. Pre-Raphaelite Papers (London: Tate Gallery, 1984)
Pointon, Marcia. ed. Pre-Raphaelites Re-viewed (London: Manchester University Press, 1989)
Prettejohn, Elizabeth. ed. After the Pre-Raphaelites (Manchester: Manchester University Press, 1999)
, Rossetti and his Circle (London: Tate Gallery, 1997)
Rossetti, Dante Gabriel.The Rossetti-Leyland Letters: The Correspondence of an Artist and his Patron Francis ed. by L. Fennell Jr., (Ohio: Ohio University Press, 1978)
Waters, William. Laus Veneris: Sir Edward Coley Burne-Jones (Laing Art Gallery, Newcastle upon Tyne 1973)
Watson, Margaretta Frederick. ed. Collecting the Pre-Raphaelites: the Anglo-American enchantment. (London: Ashgate Publishing Limited, 1997)
Wilton, Andrew. ＆ Upstone, Robert. eds. The Age of Rossetti, Burne-Jones & Watts (London: Tate Gallery Publishing, 1997)
Wildoman, Stephen. and Christian, John. Edward Burne-Jones, Victorian artist-dreamer（New York, The Metropolitan Museum of Art, 1998）
Wood, Christopher. Burne-Jones (London: Orion Publishing Group Ltd, 1998)
（二）其他相關資料
Archambault, Michele. The Grosvenor Gallery, 1877-1890 (London: Courtauld Institute of Art, 1978)
Barnard, Malcolm. Art, Design and Visual Culture: An Introduction (New York, St. Martin’s Press, Inc., 1998)
Baxandall, Michael. Painting and Experience in fifteenth Century: A primer in the social history of pictorial style (Oxford: Oxford University Press, second edition, 1988)
Bell, Clive. Art (New York: Oxford University Press, 1987)
Bell, Quentin. Victorian Artists (Cambridge, Mass.: Harvard University Press, 1967)
Bourdieu, Pierre. Distinction: A social critique of the judgement of taste, Richard Nice trans. (London & New York: Routledge & Kegan Paul, 1984)
Büger, Peter. Theory of the Avant-Garde, trans. by Michael Shaw (Minneapolis: University of Minnesota Press, 1984)
Casters, Susan P. & Denney, Colleen. eds. The Grosvenor Gallery: A Palace of Art in Victorian England.(New Haven: Yale University Press, 1996)
Chadwick, Owen. The Spirit of the Oxford Movement (Cambridge: Cambridge University Press, 1990)
Clark, Kenneth. The Nude: a study in ideal form (New Jersey: Princeton University Press, 1956)
Denis, Cardoso Rafael. & Trodd, Colin. eds. Art and the Academy in the Nineteenth Century. (Manchester: Manchester University Press, 2000)
Denny, Colleen. At the temple of Art: the Grosvenor Gallery, 1877-1890. (London: Associated University Presses, 2000)
Fletcher, Ian. ed. Decadence and the 1890s (London: Edward Arnold, 1979)
Gaunt, William. English Painting（London: Thames and Hudson, 1964）
Gillett, Paula. World of Art: Painters in Victorian Society (New Brunswick, New Jersey: Rutgers University Press, 1990)
Graves, Robert. The Greek Myth (Baltimore: Penguin Books, 1955)
Harker, Richard., Mahar, Cheleen. and Wiljes, Chris. eds., An Introduction to the work of Pierre Bourdieu: The Practice of Theory (London: The Macmillan Press Ltd., 1990)
Helmstadter, Richard J. and Lightman, Bernard. eds. Victorian Faith in Crisis: on Continuity and Change in Nineteenth-Century Religious Belief (Stanford: Stanford University Press, 1986)
Houghton, Walter Edwards. The Victorian Frame of Mind 1830-1870 (New Haven and London: Yale University Press, 1957)
James, Henry. The Painter’s Eye: Note and Essay on the Pictorial Arts, ed. by John L. Sweeney (London: The University of Wisconisn Press, 1989)
Kandinsky, Wassily. Concerning the Spiritual in Art, trans by M. T. H. Sadler (New York: Dover Publication, Inc, 1981)
Lambourne, Lionel. The Aesthetic Movement (London: Phaidon Press Limited, 1996)
Macleod, Dianne Sachko. Art and Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge: Cambridge University Press, 1996)
Newall, Christopher. The Grosvenor gallery exhibitions: Change and continuity in the Victorian Art World（New York & Cambridge: Cambridge University Press, 1995）
Pater, Walter. The Renaissance: Studies in Art and poetry (Oxford: Oxford University Press, 1986)
Psomiades, Kathy Alexis. Beauty’s Body: Femininity and Representation in British Aestheticism (Stanford, California: Stanford University Press, 1997)
Ruskin, John. Modern Painters, David Barrie ed., (New York: Alfred A. Knopf, Inc., 1987)
Shaw, Michael. trans. Theorie der Avant-garde (Minneapolis : University of Minnesota Press, 1984)
Spencer, Robin. The Aesthetic Movement: Theory and Practice(London & New York: Studio Vista/ Dutton, 1972)
Swinburne, Algernon Charles. A Selection, ed. by Dame Edith Sitwell (London: Weidenfeld and Nicolson, 1960)
Thomas, Julia. Victorian Narrative Painting (London: Tate Publishing, 2000)
Treuherz, Julian. Victorian Painting (London: Thames and Hudson Ltd, 1993)
Wölfflin, Heinrich. Principles of Art History, M. D. Hottinger trans. (New York: Dover Publications, INC., 1950)
波特萊爾（Charles Baudelaire）著，《惡之華》（Les Fleurs du Mal），莫渝譯，（台北：志文出版社，1985）
蘇利．賈伯立克（Suzi Gablik），滕立平譯，《現代主義失敗了嗎？》（Has Modernism Falled？），（台北：遠流出版公司，1991）
邱天助，《布爾迪厄文化再製理論》（台北：桂冠圖書有限出版公司，1998）
II. 期刊論文
Attwood, Philip. “ Maria Zambaco: Femme Fatale of the Pre-Raphaelites,” Apollo vol.124, no.293, (July 1986), pp.31-37.
Bullen, Barrie. “The Palace of Art: Sir Coutts Lindsay and the Grosvenor Gallery,” Apollo, no.102, (November 1975), pp.352-357.
Cassidy, Brendan. ”Introduction: Iconography, Text, and Audience,” in Cassidy, ed., Iconography at the Crossroads (Princeton: Princeton University Press, 1993), pp.3-15.
Casteras, Susan P. “Pre-Raphaelite Challenges to Victorian Canons of Beauty,” The Huntington Library Quarterly, vol. 55, (Winter 1992), pp. 13-35.
Codell, Julie. “Expression over Beauty: Facial Expression, Body Language, and Circumstantiality in the Paintings of the Pre-Raphaelite Brotherhood,” Victorian Studies 29, vol.29, no.2 (winter 1986), pp.255-290.
Corbett, David Peters. “Visuality and Unmediation in Burne-Jones’s Laus Veneris,” Art History, vol. 24, no. 1, (February 2001), pp. 83-102.
Duval, M. Susan. “F. R. Leyland: A Maecenas from Liverpool,” Apollo, vol.124, no.294, (August 1986), pp.110-115.
Editorial.” Victorian Cross-Currents,” Apollo, no.85, (January 1967), pp.2-11.
Fagence, S. “Representations of Music in the Art of Burne-Jones,” Apollo, vol. 147, no. 435, (May 1998), pp. 9-14.
Fenwick, Simon. “Working for Morris, Burne-Jones and Ruskin: the Memories of Thomas Rooke(1842-1942),” Apollo, no.416, (1996), pp.33-36.
Fyfe, Gordon F. “Art Exhibitions and Power during the Nineteenth Century,” in Sociological Review Monograph 32. Power, Action and Belief: A New Sociology of Knowledge (London, Boston, and Henley: Routledge and Kegan Paul, 1986), pp. 30-38.
Ferriday, Peter. “Peacock Room,” Architectural Review, vol.125, (June 1959), pp.407-414.
Macleod, Dianne Sachko. “Private and Public Patronage in Victorian Newcastle,” Journal of the Warburg and Courtauld Institutes, vol. 52, pp.188-208.
________ , “Art Collecting and Victorian Middle-Class Taste,” Art History, vol.10, no.3, (September 1987), pp.328-50.
Munro, Jane A. “’This hateful letter-writing’: selected correspondence of Sir Edward Burne-Jones in the Huntington Library,” The Huntington Library Quarterly, vol.55, (Winter 1992), pp.75-146.
Nahum, Peter. & Waters, Bill. “Inner Vision: Edward Burne-Jones’s Dreamy Damsels of Myth and Legend Limned the Painter’s Stormy Emotional Life,” Art & Antique, vol.21, no.6, (June 1998), pp.54-61.
Shaw, W. David. “Edward Burne-Jones and Pre-Raphaelite Melancholy,” University of Toronto Quarterly, Vol. 66, No.2, (Spring 1997), pp. 444-453.
Shrimpton, Nicholas. “Pater and the ‘aesthetical sect’ in Comparative Criticism 17 (Cambridge: Cambridge University Press, 1995), pp. 61-84.
Russell, Francis. “Advice for a young Traveller from Burne-Jones: Letters to Agnes Graham, 1876,” Apollo, no.108, (December 1978), pp. 424-427.
Waters, Bill. “Painter and Patron: The Palace Green Murals,” Apollo, no.102, (November 1975), pp.338-341.
Wollheim, Richard. “Walter Pater: from philosophy to art,” in Comparative Criticism 17 (Cambridge: Cambridge University Press, 1995), pp. 21 –39.