44 Grosvenor Place, S.W. My dear Jones Thanks for your kind note. I am very pleased to hear so good an account of the look forward with anticipation of great enjoyment to the [drawing] of the [illegible]. I to peep behind the scenes prematurely. I am off to Glasgow to the irksome task of public meetings but on my return shall not appearance at the Grange and when I come back we hope you will be induced both evening with us and see the little Carpaccio (?) Maidens in their Spirit Garden [(I207].1 When I hear of your having cleared off so much old work, I wonder (regretfully at not departs from reach of public sight) what it is and where it goes. Is the big picture with I must see that surely before it goes away. Don't forget that the Laus Veneris [bii] is to Chant d'Amour - is it not and the Blind Love3 to hang between! What of Hamilton's4 Psyche.5 He has left Liverpool now and sold all his pictures6 but keep her - if not I am to have her from him I think. Ever Yours Sincerely W. Graham 29/1/73 1 EBJ was particularly interested in Carpaccio: see Bume-Jones (Arts Council, 1975), p. 91, and Wildman and Christian, 1998, p. 96. 2 Perhaps the Troy Triptych , which was begun in 1870, but never finished: see Wildman and Christian, 1998, no. 50. 3 Not completed. 4 See A4, n. 2. 5 Pan and Psyche (Fogg Art Museum, Cambridge, Mass.). The picture was begun in 1869, commissioned by Hamilton for £200 in 1872, finished in 1874 and retouched in 1878. Hamilton owned it until at least 1886, when he lent it for engraving: see The Reproductive Engravings after Sir Edward Coley Bume-Jones (Julian Hartnoll, London, 1988), p. 24, and Wildman and Christian, 1998, p. 238. 6 Dr Hamilton s sale, Christie s, 27 March 1872.