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 Chapter 7 Exercise Solutions
Exercises With Answers
Orthogonality

1. Without using a calculator or computer find the dot products of (a) w1 and w -1 ,
(b) w1 and w -2 (c) w11 and w 37 , where

é W40 ù
ê ú
ê W4k ú j 2 p /N
wk = ê 2k
ú and WN = e
ê W4 ú
ê W43k úú
êë û

to show that they are orthogonal.

é ù é ù
ê (e )
jp /2 0
ú é ê (e )
jp /2 0
ú é
ê ú ê 1 ùú ê ú ê 1 ùú
ê (e )
jp /2 1
ú ê j ú ê (e )
jp /2 -1
ú ê -j ú
(a) w1 = ê ú=ê w -1 = ê ú=ê
ê (e )
jp /2 2
ú ê -1 úú ê (e )
jp /2 -2
ú ê -1 úú
ê ú êë - j úû ê ú êë j úû
ê
êë (e )
jp /2 3 ú
úû
ê
êë (e )
jp /2 -3 ú
úû
é 1 ù
ê ú
-j
w1H w -1 = é 1 - j -1 j ùê ú = 1- 1+ 1- 1 = 0
ë û ê -1 ú
ê j ú
êë úû

é ù é ù
ê (e )
jp /2 0
ú é ê (e )
jp /2 0
ú
ê ú ê 1 ùú ê jp /2 -2 ú é 1 ù
ê (e )
jp /2 1
ú ê j ú ê (e ) ú ê -1
ú
(b) w1 = ê ú=ê w -2 = ê ú=ê ú
(e ) ú ê -1 úú ê ( e jp /2 ) ú ê ú
jp /2 2 -4
ê 1
ê ú êë - j úû ê ú êë -1 ú
û
ê
êë (e )
jp /2 3 ú
úû
ê ( e jp /2 )-6
êë
ú
úû

Solutions 7-1
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 é 1 ù
ê ú
-1
w1H w -2 = é 1 - j -1 j ùê ú = 1+ j - 1- j = 0
ë ûê 1 ú
ê -1 ú
ë û
é ù é
ê (e )
jp /2 0
( e jp /2 ) ùú é
0
ú é ê
ê ú ê 1 ùú ê ú ê 1 ù
ê (e ) (e ) ú ê j ú
jp /2 11 jp /2 37
ú ê -j ú ê ú
(c) w11 = ê ú=ê w 37 = ê 74 ú
=
ú ê -1 úú
ê ( e jp /2 ) ( e jp /2 ) ú êê -1 ú
22
ê ú
ê ú êë j úû ê ú êë - j úû
ê ( e jp /2 ) 33
ú ê ( e ) úû
jp /2 111 ú
êë úû êë
é 1 ù
ê ú
j
w11 w37 = ë 1 j 1 - j û ê
H é ù ú = 1- 1+ 1- 1 = 0
ê -1 ú
ê ú
êë - j úû

é 11 ù
2. Find the projection p of the vector x = ê ú in the direction of the vector
ë 4 û
é -2 ù
y=ê ú.
ë 1 û

é -2 ù
éë 11 4 ùû ê ú
x yT
ë 1 û é -2 ù -18 é -2 ù é 36 / 5 ù é 2/5 ù
p= T y= ê ú= ê ú=ê ú = 18 ê ú
y y é -2 ù ë 1 û 5 ë 1 û ë -18 / 5 û ë -1 / 5 û
éë -2 1 ùû ê ú
ë 1 û

é 2 ù
ê ú
-3 ú
3. Find the projection p of the vector x = ê in the direction of the vector
ê 1 ú
ê 5 ú
ë û
é 1 ù
ê ú
ê j ú
y= . Then find the DFT of x and compare this result with X [ 3] y / 4 .
ê -1 ú
ê -j ú
êë úû

Solutions 7-2
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 é 1 ù
ê ú
j ú
éë 2 -3 1 5 ùû ê
ê -1 ú é 1 ù é 1 ù é 1 / 4 - j2 ù
ê ê ú
xH y êë - j úú ê j ú 1 - j8 ê j ú ê 2 + j / 4 ú
p= H y= û ê ú= ê ú=
y y é 1 ù ê -1 ú 4 ê -1 ú ê -1 / 4 + j2 ú
ê úê ú ê -j ú ê ú
j ú êë - j úû êë úû êë -2 - j / 4 úû
é 1 - j -1 j ù ê
ë ûê -1 ú
ê - j úúû
êë

X = {5,1+ j8,1,1- j8} Þ X [ 3] = 1- j8

é 1 ù é 1 / 4 - j2 ù
ê ú ê ú
1 - j8 ê j ú ê 2 + j / 4 ú
X [ 3] y/ 4 = =
4 ê -1 ú ê -1 / 4 + j2 ú
ê -j ú ê ú
êë úû êë -2 - j / 4 úû

Discrete Fourier Transform

4. A periodic discrete-time signal with fundamental period N = 3 has the values

x [1] = 7 , x [ 2 ] = -3 , x [ 3] = 1 . If , find the
magnitude and angle (in radians) of X [1] .

N -1 2
X [ k ] = å x [ n ] e- j 2 p kn/N = å x [ n ] e- j 2 p kn/3
n=0 n=0

2
X [1] = å x [ n ] e- j 2 p n/3 = x [ 0 ] + x [1] e- j 2 p /3 + x [ 2 ] e- j 4 p /3
n=0

X [1] = 1+ 7e- j 2 p /3 - 3e- j 4 p /3 = -1- j8.66 = 8.7178Ð - 1.6858

5. Using the direct summation formula find DFT harmonic function of d 10 [ n ] with
N = 10 and compare it with the DFT given in the table.
4
X[ k ] = å d 10 [ n ] e- j 2 p kn/10 = å d [ n] e
10
- j 2 p kn/10
= 1 = d1 [ k ]
n= 10 n=-5

Solutions 7-3
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
6. Without using a computer, find the forward DFT of the following sequence of data
and then find the inverse DFT of that sequence and verify that you get back the
original sequence.

{x [ 0 ],x [1],x [ 2 ],x [ 3]} = { 3, 4,1,- 2}

N -1
X [ k ] = å x [ n ] e- j 2 p nk /N
n=0

3
X [ 0 ] = å x [ n ] = 3 + 4 + 1- 2 = 6
n=0
3
X [1] = å x [ n ] e- jp n/2 = 3 - j4 - 1- j2 = 2 - j6
n=0
3
X [ 2 ] = å x [ n ] e- jp n = 3 - 4 + 1+ 2 = 2
n=0
3
X [ 3] = å x [ n ] e- j 3n/2 = 3 + j4 - 1+ j2 = 2 + j6
n=0

3
x [ 0 ] = (1 / 4 ) å X [ k ] = (1 / 4 ) [ 6 + 2 - j6 + 2 + 2 + j6 ] = 3
k=0
3
x [1] = (1 / 4 ) å X [ k ] e jp k/2 = (1 / 4 ) éë 6 + j ( 2 - j6 ) - 2 - j ( 2 + j6 ) ùû = 4
k=0
3
.
x [ 2 ] = (1 / 4 ) å X [ k ] e jp k
= (1 / 4 ) éë 6 - ( 2 - j6 ) + 2 - ( 2 + j6 ) ùû = 1
k=0
3
x [ 3] = (1 / 4 ) å X [ k ] e j 3p k/2 = (1 / 4 ) éë 6 - j ( 2 - j6 ) - 2 + j ( 2 + j6 ) ùû = -2
k=0

7. A signal x is sampled 8 times. The samples are

These samples are sent to a DFT algorithm and the output from that
algorithm is X, a set of 8 numbers .

(a) In terms of a,b,c,d,e, f , g and h what is X [ 0 ] ?

X[ 0 ] = a + b + c + d + e + f + g + h

Solutions 7-4
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 (b) In terms of a,b,c,d,e, f , g and h what is X [ 4 ] ?

X[ 4 ] = a - b + c - d + e - f + g - h

(c) If X [ 3] = 2 - j5 , what is the numerical value of X [ -3] ?

X [ -3] = X* [ 3] Þ X [ -3] = 2 + j5

(d) If X [ 5 ] = 3e- jp /3 , what is the numerical value of X [ -3] ?

X [ -3] = X [ -3 + 8 ] = X [ 5 ] = 3e- jp /3

(e) If X [ 5 ] = 9e j 3p /4 , what is the numerical value of X [ 3] ?

X [ 3] = X [ 3 - 8 ] = X [ -5 ] = X* [ 5 ] = 9e- j 3p /4

8. A discrete-time periodic signal with fundamental period N 0 = 6 has the values

x [ 4 ] = 3 , x [ 9 ] = -2 , x [ -1] = 1 , x [14 ] = 5 , x [ 24 ] = -3 , x [ 7 ] = 9 .

Also, .

(a) Find x [ -5 ] . x [ -5 ] = x [ -5 + 2 ´ 6 ] = x [ 7 ] = 9

(b) Find x [ 322 ] . x [ 322 ] = x [ 322 - 53 ´ 6 ] = x [ 4 ] = 3

(c) Find X [ 2 ] .

N -1 5 5
X [ k ] = å x [ n ] e- j 2 p kn/N = å x [ n ] e- jp kn/3 Þ X [ 2 ] = å x [ n ] e- j 2 p n/3
n=0 n=0 n=0

ìïx [ 0 + 4 ´ 6 ] + x [1+ 6 ] e- j 2 p /3 + x [ 2 + 2 ´ 6 ] e- j 4 p /3 üï
X[ 2 ] = í ý
ïî+ x [ 3 + 6 ] + x [ 4 ] e + x [ 5 - 6 ] e- j10 p /3
- j 8 p /3
ïþ

X [ 2 ] = -3 + 9e- j 2 p /3 + 5e- j 4 p /3 - 2 + 3e- j 8 p /3 + e- j10 p /3

Solutions 7-5
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 X [ 2 ] = 14.9332e-2.7862

9. Find the numerical values of the literal constants in

(a) .

Using

with m = 1 , n0 = -3 , n1 = 2 , N = 12

A = 40 , b = jp / 6 , c = 1 /12 , D = 5

(b)

X [ k ] = 5e- j 2 p k( 2 )/8 = 5e- jp k/2

A=5 a = -1/2

(c)

X [ k ] = jA (d 4 [ k + a ] - d 4 [ k - a ])

X [ k ] = e- j 2p k( -1)/4 - e- j 2p k(1)/4

X [ k ] = e jp k/2 - e- jp k/2 = j2sin (p k / 2 )

For even k X [ k ] = 0 , for X [ k ] = j2 and for

X [ k ] = - j2

Therefore X [ k ] = j2 (d 4 [ k + 1] - d 4 [ k - 1])

Solutions 7-6
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 A=2 a=1

10. The signal x [ n ] = 1 has a fundamental period N 0 = 1 .

(a) Find its DFT harmonic function using that fundamental period as the
representation time.

ìx [ n / 4 ] , n / 4 an integer
(b) Now let z [ n ] = í . Find the DFT harmonic
î0 , otherwise
function for z [ n ] using its fundamental period as the representation time.

ìï x é n / m ùû , n / m an integer
z éë n ùû = í ë , N ® mN Þ Z éë k ùû = X éë k ùû
îï0 , otherwise

\ Z [ k ] = X [ k ] = Nd N [ k ]

(c) Verify that z [ 0 ] = 1 and that z [1] = 0 by using the DFT representation of
z[ n] .
1
z [ n ] = å Z [ k ] e j 2p kn/N
N k= N
1 1+ 1+ 1+ 1
z [ 0 ] = å 1e0 = =1
4 k= 4 4
2p k
1 1 æ 0 j p2 3p
ö 1
z [1] = å ÷ø = 4 (1+ j - 1- j ) = 0
j j
jp
e 4
= ç e + e + e + e 2
N k= 4 4è

11. If x [ n ] = tri ( n / 3) and x p [ n ] = x [ n ] * d10 [ n ] and ,

what is the numerical value of X p [ 0 ] ?

X p [ 0 ] is the average value of x p [ n ] . The average value of any periodic

signal is the sum of the impulse strengths in one period, divided by the
period. In this case

1 4 1 3
X p [0] = å
10 n=-5
tri ( n / 3 ) = å tri( n / 3)
10 n=-3

Solutions 7-7
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 0 + 1 / 3 + 2 / 3 + 1+ 2 / 3 + 1 / 3 + 0
X p [0] = = 0.3
10
12. Find the DFT harmonic function of x [ n ] = ( u [ n ] - u [ n - 20 ]) * d 20 [ n ] using its
fundamental period as the representation time. There are at least two ways of
computing X [ k ] and one of them is much easier than the other. Find the easy
way.

x [ n ] is just the constant one. Therefore X [ k ] = 20d 20 [ k ] .

13. For each of these signals find the DFT over one fundamental period and show that
X [ N 0 / 2 ] is real.

(a) x [ n ] = ( u [ n + 2 ] - u [ n - 3]) * d 12 [ n ]
Using

X [ k ] = 5 drcl ( k /12,5 )
æ 6 ö sin ( 5p / 2 )
X [ 6 ] = X [ k ] = 5 drcl ç ,5 ÷ = =1 , Real.
è 12 ø sin ( p / 2 )

(b) x [ n ] = ( u [ n + 3] - u [ n - 2 ]) * d 12 [ n ]

X [ k ] = 5 drcl ( k /12,5 ) e jp k/6

æ 6 ö sin ( 5p / 2 ) jp
X [ 6 ] = 5 drcl ç ,5 ÷ e jp 6/6 = e = -1 , Real
è 12 ø sin (p / 2 )

(c) x [ n ] = cos (14p n /16 ) cos ( 2p n /16 )

x [ n ] = (1 / 2 ) éë cos (12p n /16 ) + cos (16p n /16 ) ùû

x [ n ] = (1 / 2 ) éë cos ( 2p n ( 3 / 8 ) ) + cos ( p n ) ùû

é ù
x [ n ] = (1 / 2 ) cos ( 2p n ( 3 / 8 )) + cos ( p n ) ú
ê
ê 1442443 12 4 4 3ú
ë14444 N 01 =8
4244444
N 02 =2
3û
N 0 =8

Solutions 7-8
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 The fundamental periods of the two individual functions that are multiplied
are both 16 but the fundamental period of the product is 8.

Alternate Solution:

From the table of DFT pairs

From the table of DFT properties

Using N = 16 and m = 1

X [ k ] = 4 (d 16 [ k - 7 ] + d 16 [ k + 7 ]) * (d [ k - 1] + d [ k + 1])

X [ k ] = 4 (d 16 [ k - 8 ] + d 16 [ k - 6 ] + d 16 [ k + 6 ] + d 16 [ k + 8 ])

This is the DFT based on N = 16 . If we now convert it to a DFT

based on N = 8 , we get

X [ k ] = 2 ( d 8 [ k - 4 ] + d 8 [ k - 3] + d 8 [ k + 3] + d 8 [ k + 4 ] )

because when we halve the fundamental period what was at the

second harmonic (k = 2) is now at the fundamental (k = 1) and all the
other even harmonics move to a new harmonic number that is half the
old one. (There cannot be any odd harmonics because the
fundamental period really is 8.) Also because d 8 [ k - 4 ] = d 8 [ k + 4 ] ,
this result can also be expressed as

Solutions 7-9
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 X [ k ] = 2 ( 2d 8 [ k - 4 ] + d 8 [ k - 3] + d 8 [ k + 3])
Then

X [ 4 ] = 2 ( 2d 8 [ 0 ] + d 8 [1] + d 8 [ 7 ]) = 4

Real.

æ 2p ( n - 3) ö
(d) x [ n ] = cos (12p n /14 ) cos ç ÷ø
è 14

The multiplication-convolution property is

{ }
X [ k ] = ( 49 /14 ) (d 14 [ k - 6 ] + d 14 [ k + 6 ]) * (d [ k - 1] + d [ k + 1]) e- j 3p k/7

X [ k ] = ( 49 /14 ) (d 14 [ k - 7 ] + d 14 [ k - 5 ] + d 14 [ k + 5 ] + d 14 [ k + 7 ]) e- j 3p k/7

X [ 7 ] = ( 49 /14 ) (d 14 [ 0 ] + d 14 [ 2 ] + d 14 [12 ] + d 14 [14 ]) e- j 3p = -98 /14 = -7

Real

Discrete-Time Fourier Transform Definition

14. From the summation definition, find the DTFT of

x [ n ] = 10 ( u [ n + 4 ] - u [ n - 5 ])

and compare with the DTFT table.

¥ ¥
X ( e jW ) =
4

å x [ n ] e- jWn = å 10 ( u [ n + 4 ] - u [ n - 5 ]) e- jWn = 10 å e- jWn

n=-¥ n=-¥ n=-4

Let m = n + 4 . Then

Solutions 7-10
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 1- e- j 9W
X( e ) = 10 å e
8 8
jW - jW( m-4 )
= 10e j 4W
åe - jWm
= 10e j 4W

1- e- jW
m=0 m=0

e- j 9W/2 e j 9W/2 - e- j 9W/2 sin ( 9W / 2 )

X ( e jW ) = 10e j 4 W = 10 = 90 drcl ( W / 2p ,9 )
e - jW/2
e - jW/2
-e - jW/2
sin ( W / 2 )

From the table,

15. From the definition, derive a general expression for the W form of the DTFT of
functions of the form

x [ n ] = a n sin ( W0 n ) u [ n ] , a < 1 .

Compare with the DTFT table.

¥ ¥
e jW0n - e- jW0n - jWn
X ( e jW ) = å a n sin ( W0 n ) u [ n ] e- jWn = åa n e
n=-¥ n=0 j2

) = (1 / j2 ) å { éëa e ( } , a <1
¥
X( e j W 0 -W )
ù - éa e- j( W0 +W ) ù
n n
jW
û ë û
n=0

é ù
X ( e jW ) = ( - j / 2 ) ê
1 1
j ( W 0 -W )
- - j ( W 0 +W ) ú
, a <1
ë 1- a e 1- a e û

é j2a e- jW sin ( W 0 ) ù
X( e ) = (- j / 2) ê
jW
2 - j 2W ú
, a <1
ë 1- 2a e cos ( W 0 ) + a e
- jW
û

a e jW sin ( W 0 )
X ( e ) = j 2W
jW
, a <1
e - 2a e jW cos ( W 0 ) + a 2

Solutions 7-11
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
16. Given the DTFT pairs below convert them from the radian frequency form to the
cyclic frequency form using W = 2p F without doing any inverse DTFT's.

(a)

(b)

Using the scaling property of the periodic impulse,

( ) ( )
d T a ( t - t0 ) = 1/ a d T / a ( t - t0 ) , we get

or

17. If x [ n ] = n 2 ( u [ n ] - u [ n - 3]) and ( )

, what is X e jW
W=0
?

¥ ¥ ¥
X ( e jW ) = å x [ n ] e- jWn Þ X ( e jW )W=0 = å x[n] = å n ( u [ n ] - u [ n - 3] )
2

n=-¥ n=-¥ n=-¥

X ( e jW )W=0 = å n 2 = 0 + 1+ 4 = 5
2

n=0

Forward and Inverse Discrete-Time Fourier Transforms

18. A signal is defined by

Solutions 7-12
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 x [ n ] = sinc ( n / 8 ) .

Graph the magnitude and phase of the DTFT of x [ n - 2 ] .

From the table of transform pairs,

or

19. If X ( F ) = 3 éëd 1 ( F - 1 / 4 ) + d 1 ( F +1 / 4 ) ùû - j4 éëd 1 ( F + 1 / 9 ) - d ( F - 1 / 9 ) ùû and

, what is the fundamental period of x [ n ]?

x [ n ] = 6 cos ( 2p n / 4 ) - 8 sin ( 2p n / 9 )

The fundamental period of x [ n ] is the least common multiple of the

fundamental periods of the sine and cosine which are added to form it.
The least common multiple of 4 and 9 is 36.

Solutions 7-13
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
20. If X ( F ) = d 1 ( F - 1 /10 ) + d 1 ( F + 1 /10 ) + d 1/16 ( F ) and , what is
the fundamental period of x [ n ]?

or

Fundamental period is the least common multiple of 10 and 16 which is

80.

21. Graph the magnitude and phase of the DTFT of

x [ n ] = ( u [ n + 4 ] - u [ n - 5 ]) * cos ( 2p n / 6 ) .
Then graph x [ n ] .

From the table,

and

X ( F ) = 9 drcl ( F,9 ) ´ (1 / 2 ) éëd 1 ( F -1 / 6 ) + d 1 ( F + 1 / 6 ) ùû

Solutions 7-14
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
 Since both functions are periodic with period, one, at every impulse in the periodic
impulse the value of the Dirichlet function will be the same.

X ( F ) = ( 9 / 2 ) éë drcl (1 / 6,9 )d 1 ( F - 1 / 6 ) + drcl ( -1 / 6,9 )d 1 ( F + 1 / 6 ) ùû

X ( F ) = ( 9 / 2 ) drcl (1 / 6, 9 ) éëd 1 ( F - 1 / 6 ) + d 1 ( F + 1 / 6 ) ùû
14243
sin( 3p /2 )
=-2/9
9 sin( p /6 )

X ( F ) = - éëd 1 ( F - 1 / 6 ) + d 1 ( F + 1 / 6 ) ùû
Then, using

and, therefore,
x [ n ] = -2 cos ( 2p n / 6 )

x[n] |X( F )|
1
2

-1 1
F
-12 12
n Phase of X( F )|
p
-2 -1 1
F
-p

22. Graph the inverse DTFT of .

From the table,

and

Therefore

and

Therefore using multiplication-convolution duality,

Solutions 7-15
Copyright © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior
written consent of McGraw-Hill Education.
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carefully and beautifully furnished: the brass knocker on the door,
the entrance into a sort of sun parlor paved with tiles and bright with
beautiful flowers, and the sound of a fountain near at hand. A flight
of marble steps leads to a hall in which beautiful painted panels (the
gifts of friends) are the chief decoration. Great tiger skins cover the
floor.
Mrs. Tadema also is an artist, and has her studio on this floor. In
her studio and the living rooms she has given full sway to her own
fancy for the sixteenth-century old Dutch, most of their contents
having been brought from the Netherlands. Alma-Tadema’s taste is
purely classical, and his studio is consistent in all respects—marble
pillars, carved wood-work, chairs, and cushions. Here he lived and
worked with this motto before him:
“As the Sun colours Flowers
So Art colours Life.”

Questions about the artist. Of what nationality was the artist?

Why was his mother so anxious to have him learn a trade or
profession? What did he like to study? What picture did he exhibit
when he was fifteen years old? What prevented his becoming a
lawyer? What countries did he prefer to represent? What materials
did he excel in painting? For what has he become famous?
 THE GOLDEN STAIRS
Questions to arouse interest. What does this picture
represent? What is there unusual about this stairway? Why do you
suppose Burne-Jones painted the stairs without a railing? What is
there unusual about these figures? What are they carrying in their
hands? Where are they going? Where did they come from? Do they
seem to be standing still or moving? What makes you think so? Are
they noisy or quiet in their movements? Why do you think so? Why
has the leader raised her hand? What can you see in the window
above the stairs? Is this a sad or a happy procession? Why do you
think so? What do you like best about this picture?

Original Picture: Private Collection of Lord Battersea, England.

Artist: Sir Edward Burne-Jones (bûrn-jōnz).
Birthplace: Birmingham, England.
Dates: Born, 1833; died, 1898.

The story of the picture. The artist, Burne-Jones, was a student

and a dreamer. As a small, motherless boy he had been left much
alone in a home in which storybooks were considered wicked, so
there were none for him to read. His father was a strong churchman
and intended his son for the ministry. He was endeavoring as best
he knew how to fit him for his high calling by a training which,
though perfectly sincere and honest in purpose, was rather gloomy
and severe for the delicate, sensitive boy. However, little Edward was
naturally of an imaginative mind, so he made up his own stories. A
relative sent him a copy of Æsop’s Fables, and this book he was
permitted to keep. It seems to have brought the turning point in the
boy’s life. From that time on he dwelt in a fairyland of his own
making.
When he was sent away to school to prepare for the ministry, he
carried his fancies with him, adding to them the many legends of
Greek mythology; of literature, especially those wonderful stories of
King Arthur’s court; and of the Bible. His desire to become an artist
was aroused by another student, William Morris, the two spending
all their spare time drawing and painting. Nevertheless, he was
twenty-three years old before he saw any of the great masterpieces
in painting.
From the very first, Burne-Jones chose subjects which were
mysterious, fairylike, and unreal, but his pictures were so filled with
music, beauty, and happiness that it was a delight to look at them.
His idea of a good picture was very different from that of the
practical, painstaking Millet, who represented everything and
everybody as they actually appeared before him in the very field or
place he had found them.
Burne-Jones tells us: “I mean by a picture a beautiful, romantic
dream of something that never was, never will be, in a light better
than any light that has ever shone, in a land no one can define or
remember, only dream.” And so when asked to paint a decoration for
a hallway in one of the fine old London homes he thought at once of
a stairway, and the painting of “The Golden Stairs” is the result. It
would seem indeed a dream, this angel host descending from we
know not where and halting at that mysterious closed door which
leads we know not whither. But hush! the leader has half raised her
hand, turning this way as if to ask for silence. Each figure stops
instantly, holding herself motionless, while the musical instruments
are slightly lowered that all may listen more intently. And yet, this is
a joyous procession,—the gayly colored wreaths of flowers which
most of them are wearing, the musical instruments, the happy faces,
all tell us this is an errand of pleasure. Might it not be that this host
of angels is descending upon the sleeping world to soothe the
restless, worried ones, and smooth the puckered, aching brows in
quiet slumber? Lulled by their gentle music, or the rustle of their
approaching footsteps, the weary one would soon find refreshing
sleep.
The light in the picture seems to come from above, yet is all about
and around the figures, as if they were the source of the
illumination. They come from a darkened doorway, and enter one
quite as dark except for the light they bring to it.
The greater part of the picture is painted in shades of gray, but it
is relieved by the flesh tints, and the gayly colored flowers worn in
wreaths or scattered on the steps. Here is delicate, exquisite
coloring, and figures drawn with such careful attention to details that
each seems complete in itself, yet all are held together in one great
harmony.
It is interesting to draw an oblong of this same proportion and
then represent the curved lines in this picture; it makes us feel the
movement, swing, and rhythm which come to us like approaching
music.
The picture is full of idyllic charm which takes us away from all the
prosaic details of everyday life to a fairyland where this happy
throng may come and go with music, flowers, and delight. The calm,
thoughtful faces, so full of kindly purpose and high ideals, cannot fail
to inspire us with good thoughts.
The dove in the upper casement window is typical of the peace
that pervades this scene. The faint, far from earthly, shadows, the
bare feet, even the stairway without a railing or protection of any
kind, all suggest that our youthful maidens are celestial beings. Their
destination we can only guess. Perhaps that is why the picture has
had several names: “The King’s Wedding,” “Music on the Stairs,” and
the one by which it is now known, “The Golden Stairs.”
Burne-Jones made many beautiful designs for stained-glass
windows, and we can but regret that he did not produce this picture
in that way also.

Questions to help the pupil understand the picture. Tell

about the boyhood and early training of the artist. What book
influenced him most? How did it affect his choice of subjects to
paint? How did he happen to become interested in art? How old was
he before he first saw a great painting? Compare the subjects
chosen by Burne-Jones and by Millet as to character and feeling.
What was Burne-Jones’s idea of a good picture? How did he happen
to paint “The Golden Stairs”? For what room was it intended? What
colors did the artist use in this painting? In what ways does it
suggest music? How would you explain the destination of these
maidens? their errand? from whence they come? What would you
consider the chief charm in the picture?

The story of the artist. We have heard how the small Burne-
Jones was brought up by a rather strict but ambitious father, and
perhaps have felt sorry for the boy who used to spend hours before
the windows of a book store, gazing at the even rows of books with
such wistful longing. But we need not feel so, for it was this very
desire for books and stories that led him to use his own imaginative
power.
When he was old enough to begin serious preparation for the
ministry his father sent him to King Edward’s School. Here he earned
a scholarship to Oxford. When he left home for Oxford it seemed as
if his real life had begun, for it was here that he met friends who had
the same tastes and longings as himself. One friend in particular,
William Morris, shared with him his new-found delight in art. Both
had intended to prepare for the ministry, but now they decided to
give up all else and pursue the study of art. So at the age of twenty-
three Burne-Jones left Oxford and went to London, where he began
painting in earnest. From the very first he showed great originality
both in his subjects and in his manner of representation.
Many of his subjects were taken from the Bible, from Greek
mythology, or from stories of King Arthur’s court. Sometimes he
painted with but the one idea of making something beautiful, as in
this picture of “The Golden Stairs.”
Burne-Jones was fortunate in his first teacher, Rossetti, who was a
man so filled with the beauty of a scene that he must paint it for
sheer joy. In order to pay for this instruction Burne-Jones made
designs for stained-glass windows, and became famous for the
beauty of these windows. The one at Trinity Church, Boston, is
called “David Instructing Solomon in the Building of the Temple.” At
Oxford is the famous Saint Cecilia window he designed for Christ
Church College.
It seems strange that Burne-Jones should wait until he grew to
manhood before he discovered that he had the desire and the ability
to draw. Other artists tell of the years spent in longing, and their
constant struggle for the sake of their art. But when Burne-Jones
made up his mind, he spent no time in experiment or even practice.
He devoted all his time to the one idea which filled his thoughts. He
made no effort whatever to find out whether his work would meet
with popular favor or not, beginning at once with what he knew to
be his right material.
The only difference to be noticed in his first and his last paintings
was a difference in the speed and skill with which he handled the
paints. New ideas occurred to him so rapidly that he formed the
habit of making quick sketches and putting them aside until he had
time to work them out carefully.
Burne-Jones had never rebelled against the profession his father
chose for him. Indeed, he felt satisfied and made every effort to
succeed in it. Perhaps if he had remained at home, or even if he had
not met the enthusiastic William Morris just when he did, he might
never have discovered his power as a painter.
The knowledge of the disappointment at home and the small
means at his disposal did not hinder him from forsaking the
profession his family had chosen for him, for was he not following
the advice of the great painter, Rossetti? Not many young artists
have found such a friend as Rossetti was to Burne-Jones. He not
only gave the desired instruction but helped his pupil get such work
as he was capable of doing. When the glass makers applied to
Rossetti for a design for a stained-glass window, he declined to
undertake the work but recommended his pupil instead.
A visit to Italy gave Burne-Jones new inspiration. Later when
William Morris married and went to live in a house which had been
built for him at Bexley Heath, he had difficulty in furnishing this
house to suit his taste and desire for beautiful things. This led Morris
to establish a firm to make such things. Of course Burne-Jones was
heartily in sympathy with his friend and put his talents as a designer
at the disposal of the firm. His wonderful imagination and fine
powers of expression produced all kinds of decorative work, such as
tapestries, embroideries, carved chests, book covers, book
illustrations, and decorations for pianos, screens, and friezes.
Although he received so much praise in his later years, at first he,
too, had to pass through the fire of criticism and even ridicule. At
one time Burne-Jones was ridiculed in the pages of Punch, while in
another magazine he was spoken of as the “greenery-yallery
Grosvenor-gallery young man.” But these criticisms were soon
forgotten, and all England was proud to honor this artist with
medals. In 1894 Burne-Jones was given the title of baronet.

Questions about the artist. Tell about the boyhood of Burne-

Jones; his education. What kind of subjects did he choose for his
paintings? What was his idea of a good painting? Who was his first
teacher? Why did he wait so long before he began to study painting?
What can you say of his imagination? Tell about William Morris and
his new home. What did Burne-Jones do for his friend?
 AURORA
Questions to arouse interest. What goddess does this
represent? Whom is she leading? Upon what do they rest? Over
what are they passing? What has Aurora in her hands? Toward
whom is she looking? In what is Apollo riding? How many horses has
he? What has the cherub in his hand? Which way does the flame
blow? why? What makes you think they are moving? In what
direction do their garments blow? Who painted this picture? Why do
you like it?

Original Picture: Pavilion of the Rospigliosi Palace, Rome, Italy.

Artist: Guido Reni (gwē’dō rā’nē).
Birthplace: Bologna, Italy.
Dates: Born, 1575; died, 1642.

The story of the picture. Imagine yourself in that far-famed city

of Rome, driving through its white streets to the great Quirinal
Palace to see the original of our picture. The Quirinal, a very large
and very ordinary looking building, has been the scene of many
interesting events, and is always used as the meeting place for the
cardinals who elect the pope. Our drive ends here, but it is only the
beginning of our journey. After a delightful walk through a courtyard
so completely surrounded by high stone walls that we should never
have guessed its existence, we come to another palace. This palace
is much more beautiful, although not so large. It is called the
Rospigliosi Palace because it has always belonged to a family of that
name. Then we pass on through a beautiful garden of magnolias
until we reach the pavilion or casino of the palace, where we find
our picture.
There are several rooms in this pavilion, but it is the middle room
which holds our attention, for it is up on the ceiling of this room that
we see Aurora, goddess of the morning, leading the way for the fiery
steeds of Apollo, the sun god. As we enter, such a glow of color fills
the room that we know instinctively this must be the place. First, we
see Aurora herself, flying ahead, scattering the clouds of night and
showering roses and dewdrops over the sleeping earth. She looks
back toward Apollo, the sun god, to see if he is following her on his
journey around the heavens in his chariot of the sun. The horses are
restless and eager and it takes a steady hand to guide them.
Some idea of the difficulties attending such a journey may be
gained from the Greek story of Phaëthon. According to this story,
Apollo had a son named Phaëthon. One day the boy came to him,
complaining that the other boys made fun of him when he told them
who his father was. They said they did not believe that a boy who
could do nothing at all could be the son of the mighty Apollo. This
made the father very angry, and when Phaëthon asked him to let
him do something that should prove to the world that he was
Apollo’s son, Apollo told the boy he would give him permission to do
whatever he asked.
The boy quickly asked permission to drive the sun chariot for one
day. But this request alarmed Apollo, who said, “None but myself
may drive the flaming car of day,—not even Jupiter, whose terrible
right arm drives the thunderbolts.”
He urged his son to take back his request before it was too late,
warning him it would prove his destruction. But the boy was only the
more anxious to drive, and held his father to his promise.
 Then Apollo told Phaëthon of the journey. “The first part of the
way,” he said, “is so very steep that, although the horses start out in
the best possible condition, they can hardly climb it; the next part is
so high up in the heavens that I dare not look down upon the earth
and sea below, lest I grow dizzy and fall; the last part of the journey
is the most difficult of all, because the road descends rapidly and it
is hard to guide the horses. And all this time,” Apollo went on, “the
heavens are turning around and carrying the stars with them.”
But even as he spoke, Aurora threw open the cloud curtains which
hid the earth, and there appeared the road upon which she cast her
roses while beckoning to the eager boy. Hardly listening to his
father’s anxious warnings, Phaëthon jumped into the golden chariot,
grasped the reins of the four fiery steeds, and off they started.
At first he remembered what Apollo had said, and was careful, but
he soon grew reckless, driving at full speed. The horses, knowing it
was not their master’s hand, took the bits between their teeth and
were soon out of his control. For a time they followed the road, but
when that was lost they began to descend toward the earth so
rapidly it seemed as if they would be dashed to pieces. Then up
again they started in reckless, dizzy flight. At times they came so
close to fields and woods as to scorch and blacken them. Other
fields they did not pass, and these were frostbitten.
Then a great wail of complaint went up from the earth. This cry
was heard by Jupiter, the most powerful of the gods, who, looking
earth-ward and discovering the cause of all this trouble, was very
angry. With his terrible right arm he drove a thunderbolt at the
reckless youth, and in an instant Phaëthon fell from the chariot
headlong into the sea. The horses, finding themselves free, returned
to Apollo, and never since then has any hand but his been permitted
to guide them.
The Greeks declared that the great desert of Sahara in Africa is
the place where the sun’s chariot scorched the earth, and that it was
then that the African negroes were burned black. Phaëthon’s boy
friend, who was constantly diving down into the water trying to
recover his body, was turned into a swan, and Phaëthon’s weeping
sisters were changed into poplar trees.
In our picture we see Apollo holding the reins, accompanied by
the Hours and preceded by Aurora and the cherub torch-bearer or
morning star. They seem to be moving rapidly on their way, borne
up by the clouds. The sky is a brilliant, golden yellow, and its fleecy
clouds are tinged with purple. The graceful figures of the Hours are
each represented in pale or brighter-colored draperies according to
the time of day to which they belong. Aurora herself is clothed in
rainbow hues, her draperies flying with her swift progress. Far below
we see the land and sea, wrapped in slumber, awaiting the coming
of the dawn.

Questions to help the pupil understand the picture. Where

is the original painting of the “Aurora”? What goddess does it
represent? What is the Greek myth concerning her? What part has
Apollo in this picture? How many horses does he drive? How are the
Hours represented? What does the cherub carrying a torch
represent? In what direction does the flame of the torch blow? Why
is Apollo’s journey so difficult? Who was Phaëthon? What did he ask
of Apollo? Why did he wish to do this? Why was Apollo alarmed? Tell
about Phaëthon’s journey, and what happened to him. Upon what
does the chariot seem to rest? Over what are they passing? What
colors did the artist use in this painting?

To the Teacher:

Subjects for Compositions

Aurora, Goddess of the Morning.

Apollo, the Sun God.
The Story of Phaëthon, Apollo’s Son.
 The story of the artist. Guido Reni was born in the little village
of Bologna, Italy. As a small child he gave every promise of
becoming an accomplished musician. His father, himself a gifted
performer, began to teach him to play the flute and harpsichord as
soon as he was old enough to handle the instruments. Guido had a
beautiful voice, and the father hoped to make a fine musician of
him. But the boy also had a beautiful, sunshiny face which attracted
the attention of an artist, who asked permission to paint him as an
angel in several pictures. After watching this artist at work, Guido
began to wish to paint pictures, too, and was permitted to take a
few lessons.
His first picture was a surprise to the artist, causing him to urge
Guido’s father to allow the boy to develop his talent. About this time,
too, Guido began to make all kinds of interesting figures in clay, and
his fingers were always busy.
At thirteen years of age he so excelled the other pupils of the
artist that he was allowed to teach some of them.
Later Guido went to Rome, where he remained for twenty years in
great favor. He then moved to Bologna and there opened a large
school for art students. He made his home in Bologna during the
rest of his life. Guido Reni might have lived all his life in splendor and
ease, for he earned great sums of money; but as his fame grew he
became more and more extravagant in his habits, and so was always
in debt. He was obliged to paint hurriedly, and to the utmost of his
genius, that he might have more pictures to sell.
However, his keen sense of beauty did not desert him, and his
popularity continued to the end. He was especially skillful in
representing beautiful upraised faces of women and children. One
day a young nobleman met Guido Reni and asked him where he
found such lovely models for his paintings. He said the other artists
were wondering about it and thought him very selfish to keep them
to himself. Guido replied in a mysterious voice, “Come to my studio,
signor, and I will show you my beautiful model.” So, filled with
delight and eager anticipation, the nobleman tiptoed after the artist
up the stairs to the studio. You can imagine how he must have felt
when Guido Reni called his color-grinder, who has been described as
“a great greasy fellow, with a brutal look,” and posed him.
As the color-grinder sat quietly looking up through the skylight,
Guido took a pencil and after sketching very rapidly for a few
minutes, showed his guest a sketch of a beautiful Magdalen gazing
upward. Then turning to his visitor, he said earnestly, “Dear Count,
say to your ‘other artists’ that a beautiful idea must be in the
imagination, and in that case any model will serve.”
Guido Reni had the greatest admiration for the paintings of
Raphael and went to Rome just to study them.
As he loved to work with clay himself, he spent much of his time in
Rome studying the beautiful pieces of statuary there. He tells us that
his favorites were the Venus de Medici and Niobe.
Pleasant and courteous to all, he made friends everywhere and
was greatly beloved. Once when he was very ill his friends hired
musicians to play just outside his door. This pleased him greatly, as
he was always passionately fond of music. He said to them, “And
what, then, will be the melodies of Paradise?”
Guido Reni was a great favorite of Pope Paul V and many of his
pictures were painted for the Pope. When he returned from Rome to
Bologna, he found himself more popular than ever and quite
overwhelmed with orders for pictures.
Of all his paintings, the “Aurora” is generally considered his best.
The story is told of a little girl who had lived all her life in the
country. Upon her first visit to her uncle in the city, she discovered a
large and splendid copy of the “Aurora” in his living room. One
morning her uncle came into the room and found his little niece
gazing at the picture in rapt admiration.
“Well, Mary,” he said, “what do you think of it?”
“Oh, uncle,” she replied, “I like it ‘cause they are in such a hurry.”
 So young and old have found one reason or another for liking this
picture.
Guido Reni painted many portraits as well as many historical and
mythological pictures. Some of the best known of Guido’s paintings
are: “Reclining Venus with Cupid,” “St. Michael and the Dragon,”
“Beatrice Cenci,” “Little Bacchus Drinking,” and “The Mater Dolorosa
of Solimena.”

Questions about the artist. Where was the artist born? What
two talents had he? How did he happen to study painting? How did
he succeed with his first picture? What was his progress? Why was
he never rich? What subjects did he choose? What did the young
nobleman ask him? Tell of the nobleman’s visit to the artist’s studio.
Whose paintings did Guido Reni admire greatly? What statues? How
was he able to make so many friends? What was his masterpiece?
What did the little country girl say about it? Name some of his
paintings.
 AVENUE AT MIDDELHARNIS
Questions to arouse interest. What occupies the most
important part of this picture? Describe the trees bordering the road.
Where does the road lead? What does it pass on its way to the
village? Where must the artist have been standing? why do you think
so? What can you say about the perspective of this road? How much
of this picture is sky? What kind of lines predominate—curved,
straight, vertical, or horizontal? In what country do you think it is?
Why is it so level? What are the people in the picture doing? What
do you like best about this picture?

Original Picture: National Gallery, London, England.

Artist: Meyndert Hobbema (hŏb’ĕ mä).
Birthplace: Amsterdam, the Netherlands.
Dates: Born, 1638; died, 1709.

The story of the picture. There is a little village in the

Netherlands by the name of Middelharnis, and if we should go there
to-day we should find just such an avenue of trees as this one in our
picture. The artist, Hobbema, spent many years in this village,
painting scenes in and around it. Probably he traveled over this very
road countless times. It would seem as if we, too, were walking
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