In a note accompanying the set of prints now in the William Morris Gallery, Sir Sydney Cockerell stated that thirty-five blocks were engraved by Morris, four by George Campfield. two by George Wardle, one by Charles Faulkner, one by Elizabeth Burden (sister of Jane Morris), and two by an unidentified engraver. Wardle, who had participated in the project mentioned Lucy but not Charles in to of his accounts and Vallance included both Miss Faulkner's, adding that one of them "had learnt the technique of the process at Messrs. Smith and Linton's." Georgiana Burne-Jones included her sister Louisa among the co-operating friends. "About this plan my sister Louie was of course eager, for she was to help in the engraving, on which she dreamed of spending quiet, busy years." Joseph R Dunlap "The Book that Never was" pub 1971 p 24 From the above, it can be understood that the amateur hand that produced the tracing is almost impossible to identify. Amongst the group of tracings of the Cupid and Pysche illustrations, of which this is one, there are tracings of engravings by Durer and other German artists and copies of two of the series of Burne-Jones's Good Women, and the head of Danae (1863 version). This might point to Louie as being the most likely candidate as Burne-Jones encouraged her within his studio. The drawing from which this is taken is on a very large scale and therefore the present tracing has to have been taken from a photograph. Frederick Hollyer began working with Burne-Jones circa 1866, at the time the original drawing was made.
From the hand of a copyist working in the mid 1860s. Burne-Jones' design dates from c1863. Replying to an enquiry from PN, William Waters stated: It is confusing! The figures on the left are as follows: Ariadne Cleopatra Hypermnestra Hypsiphele Thisbe I hope this clears up the inconsistences caused by some anonymous person after they were designed in 1864 for Birket Foster.