The close relationship between Frances Horner and Burne-Jones inspired the artist in many ways, not only did she sit as a model in a number of well know paintings, but also she was involved in executing his designs in embroidery. She developed her skill through initial simple exercises in which Burne-Jones drew on to canvas and she stitched over, until she became an expert needlewoman. These working examples of the mid 1870s anticipated the methods the artist used with Catterson-Smith in the preparation of the Kelmscott Press illustrations.
By the 1870s and 80s art needlework had become increasingly popular among certain ‘aesthetic’ ladies. Alongside members of her circle, including her sister, Agnes Jekyll, Frances Horner (1854–1940) was involved in the establishment of the Royal School of Needlework, for which Edward Burne-Jones produced designs. In a series of embroideries, Burne-Jones drew a composition on cloth, leaving it to Frances to embroider over his marks. In this way she became able to execute exactly what he designed, producing some enchanting fabric pictures. Notable examples are L’Amor che muove in St Andrew’s Church, Mells, and a large floral embroidery hanging over the fireplace in the Drawing Room at Mells Manor. Other smaller pieces were taken from Burne-Jones’s designs for paintings and stained glass. In these embroideries the faces and hands were left to be painted by the artist himself. The present work, which was untouched by Frances, reveals the first stage of the process.