Burne-Jones and Morris collaborated on several embroi- dery designs for the Royal School, and on the embroidered hangings for Rounton Grange, which present scenes from the Romaunt of the Rose y a medieval dream-debate over love then attributed to Chaucer (fig. 14; cat. nos. 72-81). The techniques and materials of the Rounton hangings belong to embroi- dery — shimmering silks, wools, and gold thread worked in the long stitches and subtle gradations of colour typical of English medieval embroidery and late-seventeenth-century crewelwork. But their size — they are about three feet high and about sixty feet long — is more like tapestry. They look back to the embroidered hangings of the 1860s and forward to the Morris /Burne-Jones tapestries of the 1880s. On a quite different scale were some of the designs Burne-Jones made to be embroidered by Frances, the daughter of his friend and client William Graham, one of a number of clever, and usu- ally beautiful, young women with whom he was at various times platonically, and perhaps deeply, in love (fig. 15). These were so small that the details of faces, hands, and feet were too fine for silks and wools, and he painted them in himself, as in some embroidered pictures he had seen in her father's collec- tion. It was typical of Burne-Jones that he should see the pos- sibilities for love in the domestic production of embroidery.