how did edward burne jones die
A trip to Italy in 1859 helped to build Burne-Jones’s reputation for being a painter. There he found the Sienese School of painting which emphasized decorative beauty and the elegance and grace of Gothic art. In 1860, he painted Sidonia von Bork and Clara von Bork, both watercolors, and also illustrated the 1849 Gothic novel by Wilde. In 1861, William Morris formed the decorative arts firm of Morris, Marshall, Faulkner, and Company, with Rossetti, Burne-Jones, Charles Faulkner, and Peter Marshall. This firm undertook carvings, stained glass windows, metal-work, and paper hangings. They also specialized in textiles such as chintzes, and carpets.
The adornment of churches was an important part of their business. Burne-Jones designed stained glass windows, and panel figures for a royal project at St. James Palace, among others, and his work was shown at an 1862 International Exhibition, attracting much attention, and within a few years, his work flourished. In 1871 Burne-Jones designed windows at All Saints, and Christ Church Cathedral. His last major decorating commission before Morris’s death in 1896 was at Stanmore Hall, which was his most extensive undertaking. It included a series of tapestries based on the story of the Holy Grail.
In 1885, Burne-Jones was elected to the Royal Academy, where he exhibited only once from which he resigned three years later. Meantime his marriage to the artist Georgiana (Georgie) MacDonald (1840-1920) was successful and happy. His son, Philip, became a portraitist, while his daughter Margaret married John William Mackail, Professor at Oxford and biographer of William Morris. In 1894 Burne-Jones was made a baronet. He died in 1898 after an attack of influenza.
Best known works by Burne-Jones include: The Beguiling of Merlin (1874, Lady Lever Art Gallery, UK); The Golden Stairs (1876-80, Tate Britain, London) The Beggar Maid (1884, Tate Gallery, London); his series Pygmalion and the Image (1878, Birmingham Museum of Art) and Fair Rosamund and Queen Eleanor (1862, Tate, London). In 1998, to commemorate the centenary of the death of Edward Burne-Jones, the Museum of Modern Art, New York, held a major retrospective of his painting, which later travelled to the Musee d’Orsay in Paris.
Sir Edward Coley Burne-Jones, Bt.
William Morris reading poetry to Edward Burne-Jones 1861
Victoria & Albert Museum
One of his most famous portraits depicts Georgiana MacDonald, his wife, and their two children Philip and Margaret. MacDonald was an essential figure in Burne-Jones’s life. She was a woodcut artist and an avid pianist. When Burne-Jones had an affair with Greek model Maria Zambaco, Macdonald remained his wife. She did, however, became closer with Morris. The two shared a mutual interest in politics and social liberalism. Morris’s wife was also having an affair with Rossetti, so the two found themselves in similar circumstances.
Three of Burne-Jones’s studio assistants, John Melhuish Strudwick, T. M. Rooke and Charles Fairfax Murray, went on to successful painting careers. Murray later became an important collector and respected art dealer. Between 1903 and 1907 he sold a great many works by Burne-Jones and the Pre-Raphaelites to the Birmingham Museum and Art Gallery, at far below their market worth. Birmingham Museum and Art Gallery now has the largest collection of works by Burne-Jones in the world, including the massive watercolour Star of Bethlehem, commissioned for the Gallery in 1897. The paintings are believed by some to have influenced the young J. R. R. Tolkien, then growing up in Birmingham. 
Edward Coley Burne Jones (the hyphen came later) was born in Birmingham, the son of a Welshman, Edward Richard Jones, a frame-maker at Bennetts Hill, where a blue plaque commemorates the painter’s childhood. His mother Elizabeth Coley Jones died within six days of his birth, and he was raised by his father, and the family housekeeper, Ann Sampson, an obsessively affectionate but humourless, and unintellectual local girl.   He attended Birmingham’s King Edward VI grammar school from 1844  and the Birmingham School of Art from 1848 to 1852, before studying theology at Exeter College, Oxford.  At Oxford he became a friend of William Morris as a consequence of a mutual interest in poetry. The two Exeter undergraduates, together with a group of Jones’ friends from Birmingham known as the Birmingham Set,  formed a society, which they called “The Brotherhood”. The members of the brotherhood read John Ruskin, and Tennyson, visited churches, and worshipped the Middle Ages. At this time Burne-Jones discovered Thomas Malory’s Le Morte d’Arthur which was to be so influential in his life. At that time neither Burne-Jones nor Morris knew Dante Gabriel Rossetti personally, but both were much influenced by his works, and met him by recruiting him as a contributor to their Oxford and Cambridge Magazine which Morris founded in 1856 to promote their ideas.  
Burne-Jones was educated at Exeter College, Oxford, where he met his future collaborator, the artist-poet William Morris, then a fellow divinity student. His meeting with the artist Dante Gabriel Rossetti in 1856 marked a turning point in his career, and he left Oxford without graduating. Morris and he then settled in London, working under Rossetti’s guidance.
Burne-Jones’s vivid imagination delighted in the stories of medieval chivalry, as is seen in his “King Cophetua and the Beggar Maid” (1884) and “Merlin and Nimue” (1858–59). Stylistically, such works owe much to Rossetti’s illustrations, but more often his own dreamworld drew inspiration from the melancholy, attenuated figures of the 15th-century Italian painters Filippino Lippi and Sandro Botticelli, suffusing them with a mood of romantic mysticism. His first big success came with an exhibition in 1877, which included oils such as “Days of Creation,” “The Beguiling of Merlin” (1872–77), and “The Mirror of Venus” (1867–77). From that date until his death, he was increasingly considered to be among the great painters of England. In 1894 he received a baronetcy.