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Edward Burne-Jones

Sir Edward Burne-Jones, Bt
Photogravure of a portrait of Edward Burne-Jones by his son Philip Burne-Jones, 1898
Born Edward Coley Burne-Jones
28 August 1833
Birmingham, England, U.K.
Died 17 June 1898(1898-06-17) (aged 64)
London, England, U.K.
Movement Pre-Raphaelite Brotherhood, Aesthetic Movement, Arts and Crafts Movement

Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833 – 17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner & Co. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain; his stained glass works include the windows of St. Philip's Cathedral, Birmingham, St Martin in the Bull Ring, Birmingham, Holy Trinity Church, Sloane Square, Chelsea, St Martin's Church in Brampton, Cumbria (the church designed by Philip Webb), St Michael's Church, Brighton, All Saints, Jesus Lane, Cambridge, Christ Church, Oxford and in St. Anne's Church, Brown Edge, Staffordshire Moorlands. Burne-Jones's early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic "voice". In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement.

In addition to painting and stained glass, Burne-Jones worked in a variety of crafts; including designing ceramic tiles, jewellery, tapestries, mosaics and book illustration, most famously designing woodcuts for the Kelmscott Press's Chaucer in 1896.


  • Early life 1
  • Marriage and family 2
  • Artistic career 3
    • Early years: Rossetti and Morris 3.1
    • Decorative arts: Morris & Co. 3.2
    • Illustration work 3.3
    • Painting 3.4
    • Design for the theatre 3.5
    • Aesthetics 3.6
  • Honours 4
  • Influence 5
  • Neglect and rediscovery 6
  • Gallery 7
    • Stained and painted glass 7.1
    • Drawings 7.2
    • Paintings 7.3
    • Decorative arts 7.4
    • Theatre 7.5
    • Photographs 7.6
  • See also 8
  • References 9
  • External links 10

Early life

Burne-Jones with William Morris, 1874, by Frederick Hollyer.

Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter's childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his grieving father and the family housekeeper, Ann Sampson, an obsessively affectionate but humorless and unintellectual local girl.[1][2] He attended Birmingham's King Edward VI grammar school from 1844[3] and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford.[4] At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a small group of Jones' friends from Birmingham known as the Birmingham Set,[5] speedily formed a very close and intimate society, which they called "The Brotherhood". The members of the Brotherhood read John Ruskin and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory's Le Morte d'Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas.[3][6]

Burne-Jones had intended to become a church minister, but under Rossetti's influence both he and Morris decided to become artists, and Burne-Jones left college before taking a degree to pursue a career in art. In February 1857, Rossetti wrote to William Bell Scott

Marriage and family

Portrait of Georgiana Burne-Jones, with Philip and Margaret, 1883
Margaret, daughter of Edward Coley Burne-Jones

In 1856 Burne-Jones became engaged to Edward Poynter, a further sister married the ironmaster Alfred Baldwin and was the mother of the Prime Minister Stanley Baldwin, and yet another sister was the mother of Rudyard Kipling. Kipling and Baldwin were thus Burne-Jones's nephews by marriage).

Georgiana bore a son,

Baronetage of the United Kingdom
New creation Baronet
(of Rottingdean and of the Grange)
Succeeded by
Philip Burne-Jones
  • The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910 Online version of exhibit at the Tate Britain 16 October 1997 – 4 January 1998, with 100 works by Burne-Jones, at Art Magick
  • Birmingham Museums and Art Gallery's Pre-Raphaelite Online Resource Large online collection of the works of Edward Burne Jones
  • Lady Lever Art Gallery
  • (1881)The Last Sleep of Arthur in Avalon in the Museo de Arte de Ponce
  • Pre-Raphaelite online resource project website at the Birmingham Museums & Art Gallery, with about a thousand paintings on canvas and works on paper by Edward Burne-Jones
  • Burne-Jones Stained Glass Windows in Cumbria
  • The Pre-Raphaelite Church - Brampton
  • Some Burne-Jones stained glass designs
  • Speldhurst Church
  • Phryne's list of pictures in public galleries in the UK
  • Mary Lago Collection at the University of Missouri Libraries. Personal papers of a Burne-Jones scholar.

External links

  • Arscott, Caroline. William Morris and Edward Burne-Jones: Interlacings, (New Haven and London: Yale University Press (Published for the Paul Mellon Centre for Studies in British Art), 2008). ISBN 978-0-300-14093-4.
  • Mackail, J. W., The Life of William Morris in two volumes, London, New York and Bombay: Longmans, Green and Co., 1899.
    • Google Books edition of Volume I and Volume II (1911 reprint) retrieved 16 August 2008.
  • Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938, London, Pandora Press, 1986 ISBN 0-86358-026-2.
  • Marsh, Jan, Jane and May Morris: A Biographical Story 1839–1938 (updated edition, privately published by author), London, 2000.
  • Robinson, Duncan (1982). William Morris, Edward Burne-Jones and the Kelmscott Chaucer. London: Gordon Fraser. 
Further reading
  • Dale, Antony, Brighton Churches, London, Routledge, 1989, ISBN 0-415-00863-8
  • Daly, Gay, Pre-Raphaelites in Love, New York, Ticknor & Fields, 1989, ISBN 0-89919-450-8
  • Flanders, Judith, A Circle of Sisters: Alice Kipling, Georgiana Burne Jones, Agnes Poynter, and Louisa Baldwin, Norton, 2001, ISBN 0-393-05210-9
  • Marsh, Jan: The Pre-Raphaelites: Their Lives in Letters and Diaries, Trafalgar Square, 1997, ISBN 1-85585-246-2
  • Parry, Linda, ed., William Morris, Abrams, 1996, ISBN 0-8109-4282-8
  • Taylor, Ina, Victorian Sisters, Weidenfeld and Nicolson, 1987
  • Todd, Pamela, Pre-Raphaelites at Home, New York, Watson-Guptill Publications, 2001, ISBN 0-8230-4285-5
  • Wildman, Stephen: Edward Burne-Jones: Victorian Artist-Dreamer, Metropolitan Museum of Art, 1998, ISBN 0-87099-859-5
  • Wood, Christopher: Burne-Jones, Phoenix Illustrated, 1997, ISBN 978-0-7538-0727-9
  • This article also incorporates text from the Dictionary of National Biography, supplemental volume 3 (1901) and volume 22 (1909), publications now in the public domain
  1. ^ Wildman, Burne-Jones, p. 42-43.
  2. ^ Daly, Pre-Raphaelites in Love, p. 249-251
  3. ^ a b c d Dictionary of National Biography (1909), "Edward Burne-Jones"
  4. ^ Newall, Christopher (2004). "Jones, Sir Edward Coley Burne-, first baronet (1833–1898)". Oxford Dictionary of National Biography. Oxford: Oxford University Press. Retrieved 22 June 2008. 
  5. ^ Rose, Andrea (1981). Pre-Raphaelite portraits. Oxford: Oxford Illustrated Press. p. 78.  
  6. ^ a b Dictionary of National Biography (1901), "William Morris"
  7. ^ Wildman, Edward Burne-Jones, p. 107
  8. ^ a b Wildman, Edward Burne-Jones, p. 114
  9. ^ Flanders, Circle of Sisters, p. 118-120.
  10. ^ Flanders, Circle of Sisters, p. 136
  11. ^ a b c d e f g h i j k  
  12. ^ Marsh, Letters and Diaries, p. 110
  13. ^ Wildman, Edward Burne-Jones, p. 66.
  14. ^ Linda Parry, "Domestic Decoration." In Parry, William Morris, p. 139-140
  15. ^ Edward Burne-Jones Southgate Green Association "His work included both stained-glass windows for Christ Church in Oxford and the stained glass windows for Christ Church on Southgate Green."
  16. ^ PreRaphaelite Painting and Design University of Texas
  17. ^ Linda Parry, "Domestic Decoration." In Parry, William Morris, p. 146-147
  18. ^ Souter, Nick and Tessa (2012). The Illustration Handbook: A guide to the world's greatest illustrators. Oceana. p. 19.  
  19. ^ J. J. Roget, A History of the "Old" Water-Colour Society, (1891), quoted in Wildman, Edward Burne-Jones, p. 138
  20. ^ Wildman, Burne-Jones, p. 197-98.
  21. ^ Wildman, p. 315
  22. ^ Wood, p. 119
  23. ^ "Miss Terry as Guinevere; In a Play by Comyns Carr, Dressed by Sir Edward Burne-Jones".  
  24. ^ Wood, p. 120
  25. ^ Wildman, Edward Burne-Jones, p. 112-113
  26. ^ a b Taylor, Victorian Sisters, p. 150-51
  27. ^ a b c Flanders, Circle of Sisters, p. 258
  28. ^ The London Gazette: no. 26509. p. 2613. 4 May 1894. Retrieved 25 September 2008.
  29. ^ The London Gazette: no. 26988. p. 4396. 19 July 1898. Retrieved 25 September 2008.
  30. ^ Dale, Brighton Churches, p. 212
  31. ^ a b "The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain 1860-1910". Retrieved 12 September 2008. 
  32. ^ Bracken, Pamela (4 March 2006). "Echoes of Fellowship: The PRB and the Inklings". Conference paper, C. S. Lewis & the Inklings. Retrieved 23 June 2014. 
  33. ^ "Centenary exhibition of Sir Edward Burne-Jones at London Tate Gallery". Straits Times. 24 July 1933. p. 6. 
  34. ^ Wildman, Edward Burne-Jones, p. 1
  35. ^ Wildman, Edward Burne-Jones, front matter
  36. ^ Tate: "A Visionary Oddity: Fiona MacCarthy on Edward Burne-Jones"
  37. ^ "Burne-Jones's Hope".  


See also

External video
Burne-Jones' King Cophetua and the Beggar Maid
Burne Jones's The Golden Stairs

Burne-Jones's Hope,

All at Smarthistory[37]



Decorative arts

Later works

The Legend of Briar Rose (second series)

The Grosvenor Gallery years

Pygmalion and the Image (second series)

Pygmalion (first series)

Early works



Stained and painted glass


Fiona MacCarthy in a review of Burne-Jones's legacy notes that he was "a painter who, while quintessentially Victorian, leads us forward to the psychological and sexual introspection of the early twentieth century."[36]

A second lavish centenary exhibit—this time marking the 100th anniversary of Burne-Jones's death—was held at the Metropolitan Museum of Art in New York in 1998, before traveling to the Birmingham Museum and Art Gallery and the Musée d'Orsay, Paris.[35]

But in fact, long before 1933, Burne-Jones was hopelessly out-of-fashion in the art world, much of which soon preferred the major trends in Modern art, and the exhibit marking the 100th anniversary of his birth was a sad affair, poorly attended.[34] It was not until the mid-1970s that his work began to be re-assessed and once again acclaimed. A major exhibit in 1989 at the Barbican Art Gallery, London (in book form as: John Christian, The Last Romantics, 1989) traced Burne-Jones's influence on the next generation of artists, and another at Tate Britain in 1997 explored the links between British Aestheticism and Symbolism.[31]

On 16 June 1933, Prime Minister Stanley Baldwin, a nephew of Burne-Jones, officially opened the centenary exhibition featuring Burne-Jones's drawings and paintings at the Tate Gallery in London. In his opening speech at the exhibition, Mr Baldwin expressed what the art of Burne-Jones stood for:

Neglect and rediscovery

Burne-Jones was also a very strong influence on the Birmingham Group of artists, from the 1890s onwards.

Three of Burne-Jones's studio assistants, John Melhuish Strudwick, T.M. Rooke and Charles Fairfax Murray went on to successful painting careers. Murray later became an important collector and respected art dealer. Between 1903 and 1907 he sold a great many works by Burne-Jones and the Pre-Raphaelites to the Birmingham Museum and Art Gallery, at far below their market worth. Birmingham Museum and Art Gallery now has the largest collection of works by Burne-Jones in the world, including the massive watercolour Star of Bethlehem, commissioned for the Gallery in 1897. The paintings are believed by some to have influenced the young J. R. R. Tolkien, then growing up in Birmingham.[32]

Burne-Jones exerted a considerable influence on French painting. Burne-Jones was also highly influential among French symbolist painters, from 1889.[31] His work inspired poetry by Swinburne — Swinburne's 1886 Poems & Ballads is dedicated to Burne-Jones.

Blue plaque on Bennetts Hill, Birmingham


Morris died in 1896, and the devastated Burne-Jones's health declined substantially. In 1898 he had an attack of influenza, and had apparently recovered, when he was again taken suddenly ill, and died on 17 June 1898.[11][29] Six days later, at the intervention of the Prince of Wales, a memorial service was held at Westminster Abbey. It was the first time an artist had been so honoured. Burne-Jones was buried in the churchyard at St Margaret's Church, Rottingdean,[30] a place he knew through summer family holidays.

[27] and would inherit the title, truly wanted it.Prince of Wales Only his son Philip, who mixed with the set of the [27][26] In 1881 Burne-Jones received an honorary degree from

Burne-Jones' The last sleep of Arthur at Museo de Arte de Ponce, Ponce, Puerto Rico


No artist was ever more true to his aim. Ideals resolutely pursued are apt to provoke the resentment of the world, and Burne-Jones encountered, endured and conquered an extraordinary amount of angry criticism. Insofar as this was directed against the lack of realism in his pictures, it was beside the point. The earth, the sky, the rocks, the trees, the men and women of Burne-Jones are not those of this world; but they are themselves a world, consistent with itself, and having therefore its own reality. Charged with the beauty and with the strangeness of dreams, it has nothing of a dream's incoherence. Yet it is a dreamer always whose nature penetrates these works, a nature out of sympathy with struggle and strenuous action. Burne-Jones's men and women are dreamers too. It was this which, more than anything else, estranged him from the age into which he was born. But he had an inbred "revolt from fact" which would have estranged him from the actualities of any age. That criticism seems to be more justified which has found in him a lack of such victorious energy and mastery over his materials as would have enabled him to carry out his conceptions in their original intensity. Yet Burne-Jones was singularly strenuous in production. His industry was inexhaustible, and needed to be, if it was to keep pace with the constant pressure of his ideas. Whatever faults his paintings may have, they have always the fundamental virtue of design; they are always pictures. His designs were informed with a mind of romantic temper, apt in the discovery of beautiful subjects, and impassioned with a delight in pure and variegated colour.[11]

Burne-Jones's aim in art is best given in some of his own words, written to a friend:

Burne-Jones's paintings were one strand in the evolving tapestry of Aestheticism from the 1860s through the 1880s, which considered that art should be valued as an object of beauty engendering a sensual response, rather than for the story or moral implicit in the subject matter. In many ways this was antithetical to the ideals of Ruskin and the early Pre-Raphaelites.[25]


In 1894, theatrical manager and actor Henry Irving commissioned Burne-Jones to design sets and costumes for the Lyceum Theatre production of King Arthur by J. Comyns Carr, who was Burne-Jones's patron and the director of the New Gallery as well as a playwright. The play starred Irving as King Arthur and Ellen Terry as Guinevere, and toured America following its London run.[21][22][23] Burne-Jones accepted the commission with some enthuisiasm, but was disappointed with much of the final result. He wrote confidentially to his friend Helen Mary Gaskell (known as May), "The armour is good—they have taken pains with it ... Perceval looked the one romantic thing in it ... I hate the stage, don't tell—but I do."[24]

Design for the theatre

Burne-Jones was elected an Associate of the Royal Academy in 1885, and the following year he exhibited (for the only time) at the Academy, showing The Depths of the Sea, a painting of a mermaid carrying down with her a youth whom she has unconsciously drowned in the impetuosity of her love. This picture adds to the habitual haunting charm a tragic irony of conception and a felicity of execution which give it a place apart among Burne-Jones's works. He formally resigned his Associateship in 1893. One of the Perseus series was exhibited in 1887, two more in 1888, with The Brazen Tower, inspired by the same legend. In 1890 the second series of The Legend of Briar Rose were exhibited by themselves, and won the widest admiration. The huge watercolor, The Star of Bethlehem, painted for the corporation of Birmingham, was exhibited in 1891. A long illness for some time checked the painter's activity, which, when resumed, was much occupied with decorative schemes. An exhibition of his work was held at the New Gallery in the winter of 1892-1893. To this period belong several of his comparatively few portraits. In 1894 Burne-Jones was made a baronet. Ill-health again interrupted the progress of his works, chief among which was the vast Arthur in Avalon. In the winter following his death a second exhibition of his works was held at the New Gallery, and an exhibition of his drawings (including some of the charmingly humorous sketches made for children) at the Burlington Fine Arts Club.[11]

[11] At last, in May 1877, the day of recognition came, with the opening of the first exhibition of the

"King Cophetua and the Beggar Maid", 1884, currently in the Tate Gallery, London.

During the next seven years, 1870–1877, only two works of the painter's were exhibited. These were two water-colours, shown at the Dudley Gallery in 1873, one of them being the beautiful Love among the Ruins, destroyed twenty years later by a cleaner who supposed it to be an oil painting, but afterwards reproduced in oils by the painter. This silent period was, however, one of unremitting production. Hitherto Burne-Jones had worked almost entirely in water-colours. He now began a number of large pictures in oils, working at them in turn, and having always several on hand. The first Briar Rose series, Laus Veneris, the Golden Stairs, the Pygmalion series, and The Mirror of Venus are among the works planned and completed, or carried far towards completion, during these years.[11] These years also mark the beginnings of Burne-Jones's partnership with the fine-art photographer Frederick Hollyer, whose reproductions of paintings and—especially—drawings would expose a wider audience to Burne-Jones's works in the coming decades.[20]

In 1864 Burne-Jones was elected an associate of the Society of Painters in Water-Colours (also known as the Old Water-Colour Society), and exhibited, among other works, The Merciful Knight, the first picture which fully revealed his ripened personality as an artist. The next six years saw a series of fine watercolours at the same gallery.[11] In 1866 Mrs Cassavetti commissioned Burne-Jones to paint her daughter, Maria Zambaco, in Cupid finding Psyche, an introduction which led to their tragic affair. In 1870, Burne-Jones resigned his membership following a controversy over his painting Phyllis and Demophoön. The features of Maria Zambaco were clearly recognizable in the barely draped Phyllis (as they are in several of Burne-Jones's finest works), and the undraped nakedness of Demophoön coupled with the suggestion of female sexual assertiveness offended Victorian sensibilities. Burne-Jones was asked to make a slight alteration, but instead "withdrew not only the picture from the walls, but himself from the Society."[19]

The Beguiling of Merlin, 1874


Although known primarily as a painter, Burne-Jones was also an illustrator, helping the Pre-Raphaelite aesthetic to enter mainstream awareness. In addition, he designed books for the Kelmscott Press between 1892 and 1898. His illustrations appeared in the following books, among others:[18]

Illustration work

In 1891 Jones was elected a member of the Art Workers Guild.

In 1871 Morris & Co. were responsible for the windows at Christ Church cathedral and other buildings in Oxford are by William Morris & Co. with designs by Burne-Jones[15][16] Stanmore Hall was the last major decorating commission executed by Morris & Co. before Morris's death in 1896. It was also the most extensive commission undertaken by the firm, and included a series of tapestries based on the story of the Holy Grail for the dining room, with figures by Burne-Jones.[17]

In 1861, William Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co. with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as partners, together with Charles Faulkner and Peter Paul Marshall, the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti.[6] The prospectus set forth that the firm would undertake carving, stained glass, metal-work, paper-hangings, chintzes (printed fabrics), and carpets.[11] The decoration of churches was from the first an important part of the business. The work shown by the firm at the 1862 International Exhibition attracted much notice, and within a few years it was flourishing. Two significant secular commissions helped establish the firm's reputation in the late 1860s: a royal project at St. James's Palace and the "green dining room" at the South Kensington Museum (now the Victoria and Albert) of 1867 which featured stained glass windows and panel figures by Burne-Jones.[14]

"David's Charge to Solomon" (1882), a stained-glass window by Burne-Jones and Morris in Trinity Church, Boston, Massachusetts.

Decorative arts: Morris & Co.

In the autumn of 1857 Burne-Jones joined Morris, Valentine Prinsep, J. R. Spencer Stanhope[12] and others in Rossetti's ill-fated scheme to decorate the walls of the Oxford Union. None of the painters had mastered the technique of fresco, and their pictures had begun to peel from the walls before they were completed. In 1859 Burne-Jones made his first journey to Italy. He saw Florence, Pisa, Siena, Venice and other places, and appears to have found the gentle and romantic Sienese more attractive than any other school. Rossetti's influence still persisted, and is visible, more strongly perhaps than ever before, in the two watercolours of 1860, Sidonia von Bork and Clara von Bork.[11] Both paintings illustrate the 1849 gothic novel Sidonia the Sorceress by Lady Wilde, a translation of Sidonia Von Bork: Die Klosterhexe (1847) by Johann Wilhelm Meinhold.[13]

Burne-Jones's first sketch in oils dates from this same year, 1856; and during 1857 he made for Bradfield College the first of what was to be an immense series of cartoons for stained glass. In 1858 he decorated a cabinet with the Prioress's Tale from Geoffrey Chaucer's Canterbury Tales, his first direct illustration of the work of a poet whom he especially loved and who inspired him with endless subjects. Thus early, therefore, we see the artist busy in all the various fields in which he was to labour.[11]

Burne-Jones once admitted that after leaving Oxford he "found himself at five-and-twenty what he ought to have been at fifteen." He had had no regular training as a draughtsman, and lacked the confidence of science. But his extraordinary faculty of invention as a designer was already ripening; his mind, rich in knowledge of classical story and medieval romance, teemed with pictorial subjects; and he set himself to complete his equipment by resolute labour, witnessed by innumerable drawings. The works of this first period are all more or less tinged by the influence of Rossetti; but they are already differentiated from the elder master's style by their more facile though less intensely felt elaboration of imaginative detail. Many are pen-and-ink drawings on vellum, exquisitely finished, of which 1856's Waxen Image is one of the earliest and best examples. Although subject, medium and manner derive from Rossetti's inspiration, it is not the hand of a pupil merely, but of a potential master. This was recognized by Rossetti himself, who before long avowed that he had nothing more to teach him.[11]

Early years: Rossetti and Morris

Artistic career

His troubled son Philip became a successful portrait painter and died in 1926. His adored daughter Margaret (died 1953) married John William Mackail (1850–1945), the friend and biographer of Morris, and Professor of Poetry at Oxford from 1911–1916. Their children were the novelists Angela Thirkell and Denis Mackail. In an edition of the boys' magazine, Chums (No. 227, Vol. V, 13 January 1897) an article on Burne-Jones stated that "....his pet grandson used to be punished by being sent to stand in a corner with his face to the wall. One day on being sent there he was delighted to find the wall prettily decorated with fairies, flowers, birds, and bunnies. His indulgent grandfather had utilised his talent to alleviate the tedium of his favourite's period of penance."

In 1880 the Burne-Joneses bought Prospect House in Rottingdean, near Brighton in Sussex, as their holiday home, and soon after the next door Aubrey Cottage to create North End House, reflecting the fact that their Fulham home was in North End Road. (Years later, in 1923, Sir Roderick Jones, head of Reuters, and his wife, playwright and novelist Enid Bagnold, were to add the adjacent Gothic House to the property and which became the inspiration and setting for her play The Chalk Garden).

[10] In 1867 Burne-Jones and his family settled at the Grange, an 18th-century house set in a large garden in


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