This issue of 19 reconsiders the Gothic Revival architect William Burges (1827–1881) through the lens of cooperation and relationality. Long marginalized beyond architectural history, Burges emerges here as a central, cosmopolitan figure in the Victorian art world. Although responsible for relatively few completed buildings, Burges was a highly connected ‘art-architect’ whose work was shaped by extensive collaborations with artists, writers, designers, and patrons, and by an insatiable engagement with historical and global cultures, including Japan. Drawing on new research into his networks, travels, club memberships, and intellectual exchanges, this collection of articles situates Burges at the intersection of architecture, literature, decorative arts, and colour theory.

Cover image: Henry Stacy Marks’s Pierides, detail from William Burges’s Great Bookcase (1859–62). Ashmolean Museum, University of Oxford.

Editors: Madeline Hewitson (Guest Editor), Charlotte Ribeyrol (Guest Editor), Matthew Winterbottom (Guest Editor)

Introduction

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Articles

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