Then there are the various versions of Queen Eleanor hunting down Fair Rosamund in her bower; of which the one in the collection of the Yale Center for British Art also has a bay leaf outer frame, whilst another version has a frame which was praised by Ruskin’s father [11]. The Frame Blog
Fitzwilliam work list 1861 Eleanor and Rosamond - Leathart Memorials Vol 1 p 215 Georgiana notes that Burne-Jones's father made the frame for the background mirror in the painting. Rosamund, the daughter of Walter, Lord Clifford, was reputedly the mistress of Henry II, who built her a bower at Woodstock, entered only by way of a maze of which the two lovers alone knew the secret. Eleanor, Henry's jealous queen, succeeded in penetrating the maze, and eventually 'so dealt with her [Rosamund] that she lived no longer after'. In 1854 Burne-Jones travelled to Godstow to visit the burial place of Rosamund, only to visit it again about five years later with a group of friends which included the poet Swinburne. Consequently Swinburne published 'Rosamund' privately in 1860, Rossetti painted his interpretation in 1861, and Burne-Jones painted four versions between 1860 and 1863. The subject had, in fact, already been treated earlier by William Bell Scott, in 185354, and Arthur Hughes in 1854.