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“... his life took place before he was born. He was the great-grandchild of the Pre-Raphaelite painter, Edward Burne-Jones, and was thus connected with both the Kipling and the Baldwin families; he was the grandson of an Oxford Professor of Poetry (of no great distinction, it must be admitted); and the son of Angela Thirkell, the novelist of upper-class ...”

“... Macdonald, an independent woman tied by an early marriage to the demanding, fickle, hypochondriac Edward Burne-Jones, who first took sick on their wedding night – the intended honeymoon was in Paris, but they got no further than Chester. The Macdonald family’s origins were modest. They were from Methodist stock, their paternal grandfather had been ...”

“... illustrations are among the best made for 19th-century fiction), he was at one with his public. Burne-Jones, who has had a better posthumous press and prices, was a bohemian. He was making beautiful paintings when you could call a painting ‘beautiful’ in much the same way you could a girl, a horse or a grove of trees. Beautiful pictures were of ...”

“... of means-ends rationality. ‘I hope sincerely it will be all the age does not want’ (this is Burne-Jones writing about the glorious Kelmscott Chaucer): ‘I have omitted nothing I could think of to obstruct the onward march of the world … I have done all I can to impede progress … having put my hand to the plough I invariably look ...”

“... princely powers of Rossetti, exerted quite carelessly and even unintentionally, made the young Burne-Jones his disciple. ‘I would have been chopped up for Gabriel,’ he said. Rossetti supervised him, tried to jolly him along, and introduced him everywhere. In the July of 1857, when Burne-Jones was 24: ‘Gabriel took ...”

“... There are​ self-trained artists; then there are self-willed ones. Edward Burne-Jones, like Vincent Van Gogh, was one of the latter. That’s to say, he decided, in 1855, to be an artist – he was studying for a theology degree at Oxford at the time – without knowing whether he was capable of being one, perhaps even without considering absence of talent a potential obstacle ...”

“... to Giorgione, she refers to its possible influence on George Frederic Watts in the 1860s and Edward Burne-Jones in the 1870s. It also influenced Pater’s own fiction, as readers of Marius the Epicurean (1885) will appreciate: the young knight Cornelius tries on his armour ‘and as he gleamed there amid that old interchange of light and shade, with ...”

“... which in the early 1850s fired the imaginations of the Oxford undergraduates William Morris and Edward Burne Jones. But De Morgan was enrolled at University College, where there was no scope for picturesque medievalism. The spirit of place did not haunt Gower Street. Having failed to get a degree, De Morgan decided to become a painter. He made friends among ...”

“... he studied at Ghent and in the Antwerp Academy. Unlike William Morris, Dante Gabriel Rossetti, or Edward Burne-Jones, Brown profited from a broad and thorough education in the business of painting. Later, his art became a passion and a vocation. But it never ceased to be a job from which a living had somehow to be wrung. Adult cares came early. His ...”

“... went up to post-Newmanite Oxford to encounter Ruskin and (in the form of his lifelong colleague Edward Burne-Jones) Pre-Raphaelitism. After Oxford, he and his friends set up an arts and crafts workshop in Red Lion Square and helped to paint the Arthurian murals in the Oxford Union, while Morris himself unleashed an unstaunchable stream of poetry. He ...”

“... Edward Jones – the Burne came later – was born in Birmingham to a mother who died giving birth to him and a father who eked out a living as a frame-maker, although art, his son reported, ‘was always a great bewilderment to him’. The only person who seems to have recognised the boy’s talent – a neighbour who bought pictures to rework – had the dubious merit of having once painted stormy waves over a calm harbour scene by Turner ...”

“... novel and fifth book; her first books had been biographies, of her father’s famous family and of Edward Burne-Jones. She was 62 when she won the Booker, a widow and the mother of three grown-up children, and although no longer in straits as desperate as those she had drawn on for the novel, she was accustomed to making do on very little. She lived on ...”

“... cathedrals at Ely and St Albans, and St Mark’s in Venice. In September 1880 he told Georgiana Burne-Jones: ‘I have more than ever at my heart the importance for people of living in beautiful places; I mean the sort of beauty which would be attainable by all, if people could but begin to long for it. I do most earnestly desire that something more ...”

“... Two months after Tennyson’s death Burne-Jones was reluctantly following the instructions of the poet’s widow and son in repainting the portrait of Tennyson as a young man which now hangs in the National Portrait Gallery. Emily Tennyson had never liked the picture, perhaps in part because she also disliked Edward FitzGerald, who had originally commissioned it from Samuel Laurence ...”

“... to ‘usually gives’. The sentence wasn’t included at all in the book. At Wilde’s trial, Edward Carson used the text of Dorian as evidence against Wilde, and made a clear distinction between the two versions, referring to the book as ‘the purged edition’. But the story, as Frankel makes clear, is not as simple as that. Lippincott’s, using a ...”