Most of Burne-Jones's studio properties were designed by the artist himself. Dresses tended to be made by Aglaia Coronio, yet another of the Ionides siblings, while the good-looking young architect and metalworker W. A. S. Benson, who sat to Burne-Jones for the head of Pygmalion and remodeled his Rottingdean house, made armor, crowns, and other three- dimensional objects (fig. 105). Burne-Jones's purpose in designing these things was not only, in Georgie's words, "expressly in order to lift them out of association with any his- torical time," 1 but, as he said himself, to ensure that "what eventually gets onto the canvas is a reflection of a reflection of something purely imaginary." 2
Probably designs for the stage set for the play King Arthur by J. Comyns Carr that premiered in London in January 1895.