Marguerite Steen describes the creation of the Ellen Terry Museum as ‘the most permanent of Edy’s works’:

the natural outcome of her industry, her historical scholarship, her endless patience and perseverance in the classification of material and facts. All her life she had kept up the Victorian ritual of the scrapbook, and had jealously preserved all her mother’s possessions, which, of latter years, Ellen Terry had been inclined too freely to give away. 1