WILLIAM MORRIS POET CRAFTSMAN SOCIALIST BY ELISABETH LUTHER CARY

7/31/2019 WILLIAM MORRIS POET CRAFTSMAN SOCIALIST BY ELISABETH LUTHER CARY

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WILLIAMMORRIS

POET

CRAFTSMAN

SOCIALIST

BY

ELISABETH

LUTHER

CARY

G.P.PVTNAM'SSONSTHEKNICKERBOCKERPRESSNEWYORK&LONDON

PREFACE.

ThepersonallifeofWilliamMorrisisalreadyknowntousthroughMr.Mackail'sadmirablebiographyasfully,probably,asweshalleverknowit.MyownendeavourhasbeentopresentapictureofMorris'sbusycareerperhapsnotlessvividfortheabsenceofmuchdetail,andshowingonlythemanandhisworkastheyappearedtotheouterpublic.

Ihaveusedasabasisformynarrative,thevolumesbyMr.Mackail;WilliamMorris,hisArt,hisWritings,andhisPublicLife,byAymerVallance;TheBooksofWilliamMorris,byH.BuxtonForman;numerous

articlesinperiodicals,andMorris'sownvariedworks.

IwishtoexpressmyindebtednesstoMr.Bulkleyof42East14thStreet,NewYorkCity,forpermissiontoreproduceanumberofMorrispatternsinhispossession,notablyafragmentoftheSt.James'swall-paper.

Muchmaterialfortheletter-pressandfortheillustrationsIhaveobtainedthroughtheBostonPublicLibrary.TheFroissartpageswerefoundthereandmostoftheKelmscottpublicationsfromwhichIhavequoted.

ThebibliographyisthatpreparedbyMr.S.C.CockerellforthelastvolumeofMr.MorrisissuedbytheKelmscottPress,underthetitleofA

NotebyWilliamMorrisonHisAimsinFoundingtheKelmscottPress.TotheCockerellbibliographyhavebeenaddedafewnotesofmyown.

E.L.C.

BROOKLYN,Sept.10,1902.

CONTENTS.


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CHAPTERPAGE

I.--BOYHOOD1

II.--OXFORDLIFE21

III.--FROMROSSETTITOTHEREDHOUSE46

IV.--MORRISANDCOMPANY69

V.--FROMTHEREDHOUSETOKELMSCOTT96

VI.--POETRY114

VII.--PUBLICLIFEANDSOCIALISM146

VIII.--PUBLICLIFEANDSOCIALISM(Continued)174

IX.--LITERATUREOFTHESOCIALISTPERIOD194

X.--THEKELMSCOTTPRESS219

XI.--LATERWRITINGS239XII.--THEEND255

BIBLIOGRAPHY269

INDEX291

ILLUSTRATIONS.

Page

WilliamMorrisFrontispieceFromLife.

Title-pageof"TheOxfordandCambridgeMagazine"32

PortraitofRossetti36ByWatts.

IllustrationbyRossettito"TheLadyofShalott"intheMoxon"Tennyson."TheHeadofLauncelotisaPortraitof

Morris42

PortraitofJaneBurden(Mrs.Morris)58ByRossetti

Wall-PaperandCotton-PrintDesigns60

"Acanthus"Wall-Paper

"Pimpernel"Wall-Paper


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"AfricanMarigold"Cotton-Print

"Thesedesignsmustnotbetakenasexactastocolourafterwardsused,Mr.Morrisusingthecolourstohishandandafterwardssuperintendingtheactualcolouringinthecourseofmanufacture,inmostcasesmanyexperimentaltrialsbeingmadebeforethedesiredcolouringwasactuallydecidedupon."

ReproducedfromexamplesobtainedbycourtesyofMr.A.E.Bulkley.

TheMorrisdesignsinthisbookwerereproducedbypermissionofMessrs.Morris&Company.

"TheStrawberryThief"DesignforCotton-Print66

TulipDesignforAxminsterCarpet70

PeacockDesignforCoarseWoolHangings72

PaintedWallDecorationDesignedbyMorris76

PaintedWallDecorationDesignedbyMorris80DesignforSt.James'sPalaceWall-Paper82ReproducedfromsampleobtainedthroughcourtesyofMr.Bulkley.

EarlyDesignforMorrisWall-Paper"DaisyandColumbine"84

ChrysanthemumDesignforWall-Paper84

AnemonePatternforSilkandWoolCurtainMaterial88

PortionofHammersmithCarpet90

SecretaryDesignedbytheMorrisCo.94InpossessionofMr.Bulkley.

SofaDesignedbytheMorrisCo.94InpossessionofMr.Bulkley.

IllustrationbyBurne-JonesforProjectedEditionof"TheEarthlyParadise,"CutonWoodbyMorrisHimself98

KelmscottManorHouse.Twoviews100

DesignbyRossettiforWindowExecutedbyMorris&Co.

("TheParableoftheVineyard")110

DesignbyRossettiforStained-GlassWindowExecutedbytheMorrisCo.("TheParableoftheVineyard")110

Morris'sBed,withHangingsDesignedbyHimselfandEmbroideredbyhisDaughter114

KelmscottManorHousefromtheOrchard118


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PortraitofEdwardBurne-Jones120ByWatts.

WilliamMorris130

PicturebyRossettiinwhichtheChildren'sFacesarePortraitsofMayMorris148

HoneysuckleDesignforLinen162

WashingClothattheMertonAbbeyWorks174

MertonAbbeyWorks174

PortraitofMrs.Morris200ByRossetti.

StudyofMrs.Morris216MadebyRossettiforpicturecalled"TheDayDream."

KelmscottTypes220

PagefromKelmscott"Chaucer."IllustrationbyBurne-Jones.BorderandInitialLetterbyMorris222

Title-pageoftheKelmscott"Chaucer"224

TheSmallerKelmscottPress-Mark228

TheLargerKelmscottPress-Mark228

DrawingbyMorrisoftheLetter"h"forKelmscottType,withNotesandCorrections228

SpecimenPagefromtheKelmscott"Froissart"234ProjectedEdition

CHAPTERI.

BOYHOOD.

Thereis,perhaps,nosingleworkbyWilliamMorristhatstandsoutasamasterpieceinevidenceofhisindividualgenius.Hewasnotimpelledtogivepeculiarexpressiontohisownpersonality.HiswritingwasseldomemotionallyautobiographicasRossetti'salwayswas,hispaintinganddesigningwerenottheexpressionofapersonalmoodaswasthecasewith

Burne-Jones.Butnooneofhisspecialtimeandgroupgavehimselfmorefullyormorefreelyforothers.Noonecontributedmoregenerouslytothepublicpleasureandenlightenment.Noonetriedwithmorepersistenteffortfirsttocreateandthentosatisfyatasteforthepossiblebestinthelivesandhomesofthepeople.Heworkedtowardthisendinsomanydirectionsthatalesserenergythanhismusthavebeendissipatedandaweakerpurposerenderedimpotent.Histremendousvitalitysavedhimfromthemosthumiliatingoffailures,thefailuretomakegoodextravagantpromise.Heneverlostsightoftheresultintheendeavour,andhisdiscontentwithexistingmediocritywasneitherformlessnorempty.Itwas


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themotivepowerofallhislabour;hewasalwaystryingtomakeeverything"somethingdifferentfromwhatitwas,"andthisinstinctwas,alikeforstrengthandweakness,sayshischiefbiographer,"oftheveryessenceofhisnature."Totellthestoryofhislifeistowritedowntherecordofdreamsmadereal,ofnebuloustheoriesbroughtswiftlytothetestofexperiment,ofthespiritofthedistantpastreincarnatedinthepresent.But,aswithmostnaturesofsimilarmould,themanwasgreaterthananypartofhiswork,andevengreaterthanthesumofitall.Heremainsoneofthenot-to-be-forgottenfiguresofthenineteenthcentury,sointerestingwashe,soimpressive,sosimple-hearted,sonearlyadequatetothegreattaskshesethimself,sowellbelovedbyhiscompanions,souseful,despitehisblunders,tosocietyatlarge.

Theunitythatheldtogetherhismanifoldformsofexpressionwasmaintainedthroughthedifferentperiodsofhislife,makinghima"wholeman"toamorethanusualdegree.Fromtheearliestrecordedincidentsofhischildhoodwegainanimpressionnotunlikethatmadebyhislatestyears,andbyalltheintervalbetween.TheveryoppositeofRossetti,withwhose"school"hehasbeensolongandsomistakenlyidentified,hisnaturewasassingleashisaccomplishmentwascomplex,andtheonlymeansbywhichitispossibletogetajustideaofboththeformerandthelatteristoregardhimasamanofonepreoccupationamountingtoanobsession,thereconstructionofsocialandindustriallifeaccordingtoanidealbaseduponthemorepoeticaspectsoftheMiddleAges.Fromfirst

tolasttheearlyEnglishworld,theEnglishworldofthethirteenthandfourteenthcenturies,wastheworldtowhichhebelonged."Bornoutofhisduetime,"intruth,hebeganalmostfromhisbirthtoaccumulateassociationswiththetimetowhichheshouldhavebeennativeandwhosefaroffsplendourluredhimconstantlybacktowardit.

Thethirdofninechildren,hewasbornatWalthamstow,inEssex,England,onthe24thofMarch,1834.OntheMorrissidehecameofWelshancestry,afactaccountingperhapsforthemingledgloomandromanceofhistemperament.Hisfatherwasadiscountbrokerinopulentcircumstances,andhismotherwasdescendedfromafamilyofprosperousmerchantsandlandedproprietors.Onthematernalsideastrongtalentformusicexisted,butintheMorrisfamilynomoreartisticqualitycanbetraced

thanadevotiontogeneralexcellence,towhichWilliamMorriscertainlyfellheir.Foratimehewasasicklychild,andusedtheopportunitytoadvancehisreading,being"alreadydeepintheWaverleynovels"whenfouryearsold,andhavinggonethroughtheseandmanyothersbeforehewasseven.

In1840thefamilyremovedtoWoodfordHall,ahousebelongingtotheGeorgianperiod,standinginaboutfiftyacresofpark,ontheroadfromLondontoEpping,andhereMorrisledanoutdoorlifewiththeresultofrapidlyestablishinghishealth,steepingmindandsenseinthesightsandsoundsofnaturedeartohimforeverafter,andgainingintimateacquaintancewiththeromanticandmedivalsurroundingsbywhichhiswholecareerwastobeinfluenced.ThecountyofEssexwaswelladaptedto

feedhisprodigiousappetiteforantiquities.Itschurches,innumbersofwhichNormanmasonryistobefound,itsancientbrasses(thatoftheschoolboyThomasHeronbeingamongmanyotherswithineasyreachofWoodford),anditstapestry-hunghouses,allstimulatedhisinbornloveoftheMiddleAgesandstartedhimfairlyonthatpaththroughthethirteenthcenturywhichhefolloweddeviouslyaslongashelived.Eveninhisownhome,wearetold,certainofthehabitsofmedivalEnglandpersisted,suchasthebrewingofbeer,themealofcakesandaleat"highprime,"thekeepingofTwelfthNight,andothersuchfestivals.Theplaceshelivedincountedformuchwithhimalways,andtheimpressionsofthis


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childishperiodremained,likeallhislaterimpressions,keenandpermanent.TowardtheendofhislifeheprintedattheKelmscottPressthecarolGoodKingWenceslas,whichbeginswithalustyfreshness:

GoodKingWenceslaslook'dout,OnthefeastofStephen,Whenthesnowlayroundabout,Deepandcrispandeven.Brightlyshonethemoonthatnight,Thoughthefrostwascruel,WhenapoormancameinsightGath'ringwinterfuel.

"Thelegenditself,"hecomments,"isapleasingandgenuineone,andtheChristmas-likequalityofit,recallingthetimesofmyboyhood,appealstomeatleastasamemoryofpastdays."

Besideangling,shooting,andriding,heveryearlyoccupiedmuchofhistimewithvisitstotheoldchurches,apursuitofwhichhewasnevertoweary,studyingtheirmonumentsandaccumulatinganamountofgenuineeruditionconcerningthemquiteoutofproportiontohisrathermoderateaccomplishmentalongtheordinarylinesofstudy.AtanagewhenScottwasscouringhisnativeheathinsearchofBorderballadsandantiquities,thisalmostequallyprecociousboywascollectingrubbingsfromancient

inscriptions,andpicturingtohimself,ashewanderedabouttheregionofhishomeonfootoronhorseback,thelovelyfaceofEnglandasitlookedinthethirteenthorfourteenthcentury.InoneoftheearliestoftheboyishromancesthatappearedintheOxfordandCambridgeMagazine,heimagineshimselfthemaster-masonofachurchbuiltmorethansixcenturiesbefore,andwhichhasvanishedfromthefaceoftheearthwithnothingtoindicateitsexistencesaveearth-coveredruins"heavingtheyellowcornintogloriouswaves."Hisdescriptionofthecarvingonthebas-reliefsofthewestfrontandonthetombsshowswithwhatlovingintensityhehasstudiedthemostminutedetailsoftheworkoftheancientbuildersinwhosefootstepshewouldhaverejoicedmuchtotread.Howfarhisfamilysympathisedwithhistastesitisimpossibletosay,butprobablynotdeeply.Wehavefewhintsofthepersonalsideofhis

home-life;weknowthatavisittoCanterburyCathedralwithhisfatherwasamongtheindelibleexperiencesofhisfirstdecade,andthathepossessedamonghistoysalittlesuitofarmourinwhichherodeabouttheparkafterthemannerofaFroissartknight,andthatisaboutallwedoknowuntilwehearofthestrongdisapprovalofhismotherandoneofhissistersforthecareerthatfinallydivertedhisinterestfromtheChurchforwhichtheyhaddesignedhim.

Hisformaleducationbeganwhenhewassentattheageofninetoapreparatoryschoolkeptbyacoupleofmaidenladies.Thereheremaineduntilthedeathofhisfatherin1847.InFebruary,1848,hewenttoMarlboroughCollege,anominationtowhichhisfatherhadpurchasedforhim.Thebestthatcanbesaidforthisschoolseemstobethatitwas

situatedinapartofEnglandideallysuitedtoaboyofarchologicaltastes,andwasprovidedwithanexcellentarchologicalandarchitecturallibrary.HerehiseagermindbrowsedontheliteratureofEnglishGothic,andhisrestlessfeetcarriedhimfarafieldamongpre-Celticbarrows,stonecircles,andRomanvillas.SavernakeForestwascloseathandandhespentmanyofhisholidayswithinit.Itwasdoubtlessthefamiliaritywithallaspectsofthewoods,duetohispilgrimagesthroughSavernakeandEppingForestsandthelongrovingdaysidledawayamongtheirshadows,thatgaverisetotheallusionsinhisbooks--earlyandlate--towoodlandlife.Thepassagethroughthethickwoodandthecomingatlast


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totheplacewherethetreesthinoutandthelightbeginstoshimmerthroughthemisaconstantlyrecurringfigureofhisverseandofhisprose.Frequentlytheimportantsceneofaromanceorofalongpoemislaidinawildwood,asinthestoryentitledTheWoodbeyondtheWorld,orinGoldilocksandGoldilocks,theconcludingpoemofthevolumeofPoemsbytheWay,inwhichthegreatgreybolesofthetrees,thebramblebush,the"woodlawnclear,"andthecherishedoaksareasvividasthehumanactorsinthedrama.Hisheroesseldomfailofbeingdeftwoodsmen,abletothreadthetangleofunderbrushbyblindpaths,andobservantofallthecommonsightsandsoundsofthewoodland,rabbitsscuttlingoutofthegrass,adderssunningthemselvesonstonesintheclearedspaces,wildswinerunninggruntingtowardclosecovert,hartandhindboundingacrosstheway.Theyknowthemustysavourofwaterdippedfromaforestbrook,theyknowhowtogostraighttotheyewsticksthatquarterbestforbow-staves,theyknowthefeelingoftheboggymossundertheirfeet,andthesoundofthe"ironwind"throughthebranchesinthedepthofwinter;thereisnodetailofwildwoodlifeofwhichtheyareignorant.ThisintimacywithNatureinhermostsecludedmoments,inhershyestandmostmysteriousaspect,formsanelementofinexpressiblecharminthelovelybackgroundsagainstwhichMorrisdelightedtoplacehisvisionaryfigures.Henevertiredofcombiningtheimpressionsstoredawayinhismindonhisboyishramblesintopicturesthedelicatebeautyofwhichcanhardlybeoverestimated.

Whilehewasatschool,hisalreadyhighlydevelopedimaginationfoundanoutletinconstantfable-making,histalesofknightsandfairiesandmiraculousadventureshavingaconsiderablepopularityamonghiscomrades,withwhom,however,hehimselfwasnotespeciallypopular,makingfriendswiththemonlyinasuperficialfashion.Judgingfromtheautobiographicfragmentsoccasionallyfoundinhiswork,hewasaboyofmanymoods,mostofthemtingedwiththeself-consciousmelancholyofhisearlypoetry.Sentimentwasstrongwithhim,andapeculiarreticenceordetachmentoftemperamentkepthimindependentofothersduringhisschoolyears,andapparentlyuninfluencedbythetastesoropinionsofthoseabouthim,ifweexceptthecaseofhisAnglo-Catholicproclivities,whichobviouslywerefedbythetendenciesoftheschool,butwhich,sofarfromdivertinghimfromthegeneralschemeofhisindividualinterests,fittedintothem

andservedhimasanotherlinkbetweenthepresentandthemuchpreferredpast.

Outwardlyhecanhardlyhaveseemedthetypicaldreamerhehasdescribedhimselfasbeing.Beautifuloffeature,ofsturdybuild,withashoutingvoice,extraordinarymuscularstrength,andagustytemper,heimpressedhimselfuponhiscomradeschieflybyhisimpetuosityintheenergeticgameofsinglestick,bythesurplusvigourthatledhimattimestopunchhisownheadwithallhismightto"takeitoutofhimself,"andbythevehemenceandenthusiasmofhisargumentativetalk.

Hewaslittleofastudentalongtheorthodoxlines,andMarlboroughCollegewasnotcalculatedtoincreasehisrespect--neverundue--for

pedagogicmethods.Aletterwrittenwhenhewassixteentohiseldestandfavouritesisterreflectsquitefullyhispre-occupations.IthasnoneofthegenuinewitandliterarytoneofthejuvenileletterwrittenbyStevensontohisfather,presentinghisclaimsforreimbursements.ItshowsnosuchzestforbookishpursuitsasRossetti'sletters,writtenatthesameage,reveal.Butitisentirelyfreefromtheshallowflippancythatfrequentlycharacterisesthecorrespondenceofayoungman'sseconddecade--thatcharacterisedLowell's,forexample,toanalmostpainfuldegree;norhasitashadeoftheself-magnificationtowhichanyamountofflippancyispreferable.Itisstraightforwardandboyish,and


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remarkableonlyasshowingthethoroughandintelligentmethodwithwhichitswriterfollowedupwhatevercommandedhisinterest.CommencingwiththedescriptionofananthemsungatEasterbythetrainedchoirofBlore'sChapelconnectedwithhisschool,hepassesontoanaccountofhisarchologicalinvestigations,givingafterhischaracteristicfashionallthesmalldetailsnecessarytoenablehiscorrespondenttoformadefinitepictureoftheplaceshehadvisited.AfterhehadmadeonepilgrimagetotheDruidicalcircleandRomanentrenchmentatAvebury,hehadlearnedofthepeculiarmethodofplacingthestoneswhich,fromthedislocatedconditionoftheruins,hadnotbeenobvioustohim.Thereforehehadreturnedonthefollowingdaytostudyitoutandfixtheoriginalarrangementfirmlyinhisimagination,and,atthetimeofwritingtheletter,wasabletoexplainitquiteclearly,aresult,derivedfromtheexpenditureoftwoholidays,thatwascompletelysatisfactorytohim.Hewindsupwithapurelyboyishpleafora"goodlargecake"andsomebiscuitinadditiontoacheesethathadbeenpromisedhim,andforpaperandpostagestampsandhissilkwormeggsandapenboxtobesenthimfromhome.

Atschoolhewas"alwaysthinkingabouthome,"andwhenthefamilymovedagaintoWalthamstow,withinashortdistanceofhisfirsthome,andtoahouseboastingamoatandawoodedisland,hewaseagerlyresponsivetothepoeticsuggestionsconveyedbytheseromanticaccessories.Whenattheendof1851heleftschooltoprepareunderaprivatetutorfor

Oxford,herenewedhisearlyfamiliaritywithEppingForestandspentmostofhisholidaysamongthetreesthathadnotapparentlychangedsincethetimeofEdwardtheConfessor.ThegreatageofthewoodanditspeculiarlyEnglishcharactermadeaprofoundimpressionuponhim,anditiseasytoimaginethefurywithwhichhemusthavereceivedthesuggestion,madefortyyearslaterbyMr.AlfredWallace,thatinplaceof"ahideousassemblageofstuntedmop-likepollardsrisingfromathicketofscrubbybushes,"NorthAmericantreesshouldbeplantedandapartoftheforestmadeintoan"almostexactcopy"ofNorthAmericanwoodland.Indeed,asuppressedbutunmistakablefurybreathesfromtheletterswrittentotheDailyChronicle,aslateas1895,regardingthetree-fellingthatwasgoingonruthlesslyintheforest,destroyingitsnativecharacterandindividualcharm.Theseletters,curiouslyrecallingthosewrittenhalfa

centurybeforeconcerningboyishexcursionsthroughthesameregion,arewellworthquotinghere,whereproperlytheybelong,astheyareinspiredbytheearliestoftheassociationsandidealscherishedbyMorristotheendofhislife.Theyarefineexamplesofhisownnativecharacterinargument,hishumblydidactictoneearlycaughtfromRuskinandneverrelinquished,hismilitantirony,hiswillingnesstofortifyhispositionbypainstakinginvestigation,hismoralattitudetowardmattersartistic,hissuperbrightnessoftasteinthespecialproblemunderdiscussion.Theyshowalsohowcloselyhismemoryhadheldthroughhismanifoldintereststhedetailsthathadappealedtohiminhisboyhood.ThefirstletterisdatedApril23rd,andaddressedtotheeditoroftheDailyChronicle.

"SIR:IventuretoaskyoutoallowmeafewwordsonthesubjectofthepresenttreatmentofEppingForest.Iwasbornandbredinitsneighbourhood(WalthamstowandWoodford),andwhenIwasaboyandyoungmanIknewityardbyyardfromWansteadtotheTheydons,andfromHaleEndtotheFairlopOak.Inthosedaysithadnoworsefoesthanthegravelstealerandtherolling-fencemaker,andwasalwaysinterestingandoftenverybeautiful.FromwhatIcanhearitisyearssincethegreaterpartofithasbeendestroyed,andIfear,Sir,thatinspiteofyourlateoptimisticnoteonthesubject,whatisleftofitnowrunsthedangeroffurtherruin.


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"Thespecialcharacterofitwasderivedfromthefactthatbyfarthegreaterpartwasawoodofhornbeams,atreenotcommonsaveinEssexandHerts.Itwascertainlythebiggesthornbeamwoodintheseislands,andIsupposeintheworld.Thesaidhornbeamswereallpollards,beingshroudedeveryfourorsixyears,andwereinterspersedinmanyplaceswithhollythickets,andtheresultwasaverycuriousandcharacteristicwood,suchascanbeseennowhereelse.AndIsubmitthatnotreatmentofitcanbetolerablewhichdoesnotmaintainthishornbeamwoodintact.

"Butthehornbeam,thoughaninterestingtreetoanartistandreasonableperson,isnofavouritewiththelandscapegardener,andIverymuchfearthattheintentionoftheauthoritiesistocleartheforestofnativetrees,andtoplantvileweedslikedeodarsandoutlandishconifersinstead.Wearetoldthatacommitteeof'experts'hasbeenformedtositinjudgmentonEppingForest;but,Sir,Ideclinetobegaggedbytheword'expert,'andIcallonthepublicgenerallytotakethesameposition.An'expert'maybeaverydangerousperson,becauseheislikelytonarrowhisviewstotheparticularbusiness(usuallyacommercialone)whichherepresents.Inthiscase,forinstance,wedonotwanttobeunderthethumbofeitherawoodbailiffwhosebusinessistogrowtimberforthemarket,orofabotanistwhosebusinessistocollectspecimensfora

botanicalgarden;orofalandscapegardenerwhosebusinessistovulgariseagardenorlandscapetotheutmostextentthathispatron'spursewillallowof.Whatwewantisreasonablemenofrealartistictastetotakeintoconsiderationwhattheessentialneedsofthecaseare,andtoadviseaccordingly.NowitseemstomethattheauthoritieswhohaveEppingForestinhandmayhavetwointentionsastoit.First,theymayintendtolandscape-gardenit,orturnitintogolfgrounds(andIverymuchfearthateventhelatternuisancemaybeintheirminds);orsecond,theymayreallythinkitnecessary(asyousuggest)tothinthehornbeams,soastogivethemabetterchanceofgrowing.ThefirstalternativeweLondonersshouldprotestagainsttotheutmost,forifitbecarriedoutthenEppingForestisturnedintoamereplaceofvulgarity,isdestroyedinfact.

"Astothesecond,toputourmindsatrest,weoughttobeassuredthattheclearedspaceswouldbeplantedagain,andthatalmostwhollywithhornbeam.And,further,thegreatestpossiblecareshouldbetakenthatnotasingletreeshouldbefelledunlessitisnecessaryforthegrowthofitsfellows.Because,mindyou,withcomparativelysmalltrees,thereallybeautifuleffectofthemcanonlybegotbytheirstandingasclosetogetherastheemergenciesofgrowthwillallow.Wewantathicket,notapark,fromEppingForest.

"Inshort,agreatandpracticallyirreparablemistakewillbemadeif,undertheshelteroftheopinionof'experts,'frommerecarelessnessandthoughtlessness,weletthematterslipoutofthe

handsofthethoughtfulpartofthepublic;theessentialcharacterofoneofthegreatestornamentsofLondonwilldisappear,andnoonewillhaveevenasamplelefttoshowwhatthegreatnorth-easternforestwaslike.Iam,Sir,yoursobediently,

"WILLIAMMORRIS

"KelmscottHouse,Hammersmith."

Thesecondletteriswrittentwoorthreeweekslater,andshowsMorrisas


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characteristicallypromptandthoroughinactionasheispositiveinspeech.

"Yesterday,"hesays,"IcarriedoutmyintentionofvisitingEppingForest.IwenttoLoughtonfirst,andsawtheworkthathadbeendoneaboutClayRoad,thencetoMonkWood,thencetoTheydonWoods,andthencetothepartabouttheChingfordHotel,passingbyFairMeadBottomandlastlytoBuryWoodandthewoodontheothersideoftheroadthereby.

"Icanverifycloselyyourrepresentative'saccountofthedoingsontheClayRoad,whichisanuglyscaroriginallymadebythelordofthemanorwhenhecontemplatedhandingovertothebuilderapartofwhathethoughtwashisproperty.Thefellingshereseemtomeallpuredamagetotheforest,andinfactwerequiteunaccountabletome,andwouldsurelybesotoanyunprejudicedperson.Icannotseewhatcouldbepleadedforthemeitheronthesideofutilityortaste.

"AboutMonkWoodtherehadbeenmuch,andIshouldsayexcessive,fellingoftreesapparentlyquitesound.Thisisaverybeautifulspot,andIwasinformedthatthetreestherehadnotbeenpolledforaperiodlongbeforetheacquisitionoftheforestforthepublic;andnothingcouldbemoreinterestingandromanticthantheeffectofthelongpolesofthehornbeamsrisingfromthetrunksandseenagainst

themassofthewoodbehind.Thiswoodshouldbeguardedmostjealouslyasatreasureofbeautysonearto'theWen.'IntheTheydonWoods,whicharemainlyofbeech,agreatdealoffellinghasgoneon,tomymindquiteunnecessary,andthereforeharmful.OntheroadbetweentheWakeArmsandtheKing'sOakHoteltherehasbeenagainmuchfelling,obviouslydestructive.

"InBuryWood(bySewardstoneGreen)wesawthetrunksofagreatnumberofoaktrees(notpollards),allofthemsound,andagreatnumberwereyetstandinginthewoodmarkedforfelling,which,however,weheardhadbeensavedbyamajorityofthecommitteeofexperts.Icanonlysaythatitwouldhavebeenaverygreatmisfortuneiftheyhadbeenlost;inalmosteverycasewherethe

stumpsofthefelledtreesshowedthereseemedtohavebeennoreasonfortheirdestruction.ThewoodontheothersideoftheroadtoBuryWood,calledinthemapWoodman'sGlade,hasnotsufferedfromfelling,andstandsasanobjectlessontoshowhowunnecessarysuchfellingis.Itisoneofthethickestpartsoftheforest,andlooksinallrespectslikesuchwoodswerefortyyearsago,thegrowthoftheheadsofthehornbeamsbeingbutslow;butthereisnodifficultyingettingthroughitinalldirections,andithasapeculiarcharmofitsownnottobefoundinanyotherforest;inshort,itisthoroughlycharacteristic.Ishouldmentionthatthewholeofthesewoodsarecomposedofpollardhornbeamsand'spear'--i.e.,unpolled--oaks.

"IamcompelledtosayfromwhatIsawinalongday'sinspection,that,thoughnodoubtactingwiththebestintentions,themanagementoftheforestisgoingonthewrongtack;itismakingwaronthenaturalaspectoftheforest,whichtheActofParliamentthatconferreditonthenationexpresslystipulatedwastoberetained.ThetendencyofallthesefellingsisontheonehandtoturnoverLondonforestintoapark,whichwouldbemoreorlesslikeotherparks,andontheotherhandtogrowsizabletrees,asifforthetimbermarket.ImustbegtobeallowedashortquotationherefromanexcellentlittleguidebooktotheforestbyMr.EdwardNorthBuxton,


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verdereroftheforest(Sanford,1885).Hesays,p.38:'Inthedrierpartsoftheforestbeechestoagreatextenttaketheplaceofoaks.These"spear"treeswillmakefinetimberforfuturegenerations,providedtheyreceivetimelyattentionbybeingrelievedofthecompetinggrowthoftheunpicturesquehornbeampollards.ThroughoutthewoodbetweenChingfordandHighBeech,thishasbeenrecentlydone,tothegreatadvantageofthefinertrees.'

"Theitalicsaremine,andIask,Sir,ifwewantanyfurtherevidencethanthisofoneoftheverderersastothetendencyofthefellings.Mr.Buxtondeclaresinsomanywordsthathewantstochangethespecialcharacteroftheforest;totakeawaythisstrange,unexampled,andmostromanticwood,andleaveusnothingbutacommonplaceinstead.IentirelydenyhisrighttodosointheteethoftheActofParliament.Iassert,asIdidinmyformerletter,thatthehornbeamsarethemostimportanttreesintheforest,sincetheygiveititsspecialcharacter.AtthesametimeIwouldnotencouragethehornbeamsattheexpenseofthebeeches,anymorethanIwouldthebeechesattheexpenseofthehornbeams.Iwouldleavethemalltonature,whichisnotsoniggardafterall,evenonEppingForestgravel,ase.g.,onecanseeinplaceswhereforestfireshavedenudedspaces,andwhereinashorttimebirchesspringupself-sown.

"ThecommitteeoftheCommonCouncilhasnowhadEppingForestinhand

forseventeenyears,andhas,Iamtold,inthattimefelled100,000trees.Ithinkthepublicmaynowfairlyaskforarestonbehalfofthewoods,which,ifthepresentsystemoffellinggoeson,willberuinedasanaturalforest;anditisgoodandusefultomaketheclaimatonce,when,inspiteofalldisfigurements,thenorthernpartoftheforest,fromSewardstoneGreentobeyondEpping,isstilllefttous,nottobesurpassedininterestbyanyotherwoodnearagreatcapital.Iam,Sir,yoursobediently,

"WILLIAMMORRIS."

TheselettersemphasiseinasingleinstancewhattheclosestudentofMorriswillfindemphasisedateveryturninhiscareer,--thepersistent

andstronginfluenceoverhimofthetastesandoccupationsofhisboyhood.Unlessthisiskeptconstantlyinmind,itiseasytofallintothecommonerrorofregardingthevariousactivitiesintowhichhethrewhimselfasseparateanddissociatedinsteadofseeingthemastheywere,componentpartsofaperfectlysimplepurposeandunalterableideal.Withmostmenwhoareonthewholetruetotheanalogyofthechamberednautilusandcastofftheoutwornshelloftheirsuccessivephasesofindividualityastheseasonsroll,theeffectofearlyenvironmentandtendencymayeasilybeexaggerated,butMorrisgrewinthefashionofhisbelovedoaks,keepingtheringsbywhichhisadvanceinexperiencewasmarked;attheendallwerevisible.Hiseducationbeganandcontinuedlargelyoutsidethedomainofbooksandawayfrommasters.Hiswanderingsinthedepthsofthequaintandbeautifulforest,hisintimate

acquaintancewiththenatureofGothicarchitecture,hisfamiliaritywithScott,hispromptadoptionofRuskin,alltheseformedthefoundationonwhichhewastobuildhisowntheoryoflife,andallwerehisbeforehewentuptoOxford.Theypreparedhimforthemany-sidedprofession,ifprofessionitcanbecalled,whichwastoabsorbandatlasttoexhausthismightyenergy.Itwasthetangiblesurfaceoftheworldthatmostinspiredhiminboyhoodandinmaturity.Lovingsomuchevenasachilditsaspects,itslightsandshadows,theformsoftreesandbirdsandbeasts,thechangesofseason,thelivesofmenlivingcloseto"thekindsoil"andintouchwithitthroughheartymanuallabour,itwasbutastep


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totheoccupationsthatfinallyengrossedhim.Henevergotsofarawayfromthevisionsofhisyouthastoforgetthem.Inoneformoranotherhewasconstantlytryingtoembodythemthatothersmightseethemwithhiseyesandworshipthemwithhisdevotion."Thespiritofthenewdays,ofourdays,"saystheoldmaninNewsfromNowhere,"wastobedelightinthelifeoftheworld,intenseandalmostoverweeningloveoftheveryskinandsurfaceoftheearthonwhichmandwells."

CHAPTERII.

OXFORDLIFE.

LikethemajorityofthestudentswhowentuptoOxfordinthefifties,Morrismatriculatedwiththedefiniteintentionoftakingholyorders.Unlikethemajority,hewasimpellednotonlybythesensuousbeautyofritualisticworship,towhich,however,noonecouldhavebeenmorekeenlyalivethanhe,butbyagenuineenthusiasmforalifedevotedtohighpurposes.Afinebuoyantdesiretobetterexistingconditionsandsweepasmuchevilaspossibleoffthefaceoftheearthearlyinspiredhim.Hismindturnedtowardtheconventuallifeasthatwhichcombinedthemedival

suggestionsalwaysalluringtohimwiththemoralbeautyofholiness.Heplanneda"CrusadeandHolyWarfareagainsttheAge,"sangplainsongatdailymorningservice,readmassesofmedivalchroniclesandecclesiasticalLatinpoetry,andhoveredjustthissideoftheRomanCommunion.HadtheecclesiologyoftheUniversitybeensupportedatthattimebyaninwardandspiritualgracesufficienttoholdtheheartofyouthtoasustainedallegiance,thereislittledoubtthatMorriswouldhavethrownhimselfardentlyintothereligiouspath.ButOxfordhadbecomeanindolentandindifferentmothertoherchildren.ThestormoffeelingarousedbytheTractarianmovementhaddieddownandthereactionfromitwasevident.AtBalliolJowett'senergyhadmadeitsmark,butatExeter,whereMorriswas,theeducationalsystemdeserved(andreceived)thecontemptofanambitiousboywithanunusuallylargesupplyof

stored-upintellectualforceseekingoutletandguidance.Norwasthesociallifemorestimulatingtomoralactivity.Theabusesrecordedin1852bytheUniversityCommissionwereinessencesoshamefulthatinthelightofthatfamousreport"thesweetcitywithherdreamingspires"seemstohaveonlythebeautyofthedaughterofHelios,underwhoseenchantmentsmenwereturnedtoswineforlovingher.ThecleanmindandhonestnatureofMorrisrevoltedfromtheexcessesthatwentonabouthim.Hewrotetohismothertwoyearsafterhismatriculation,defendingthepropositionthathisOxfordeducationhadnotbeenthrownaway:"Ifbylivinghereandseeingevilandsininitsfoulestandcoarsestforms,asonedoesdaybyday,Ihavelearnedtohateanyformofsinandtowishtofightagainstit,isnotthiswelltoo?"Itisproofofhispurityoftasteandstrengthofwillthat,despitehisamplemeans,thewanton

extravaganceofthetypicalundergraduatehadforhimnoallurement.Itiscertainthathewasneverseenatthosedinnerswhichwerepronouncedbyanofficialcensor"acurseandadisgracetoaplaceofChristianeducation,"andascertainlyheplayednopartinthemadcarnivalsatwhichnoviceswereinitiatedintoacurriculumofvice.YethecouldnotindeedsaywithanytruthwhatGibbonhadsaidahundredyearsbefore,thatthetimehespentatOxfordwasthemostidleandunprofitableofhiswholelife.Ifhefelt,asGibbondid,thathisformalstudieswere"equallydevoidofprofitandpleasure,"andifhefoundnothingridiculousinRuskin'sbittercomplaintthatOxfordtaughthimallthe


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LatinandGreekthathewouldlearn,butdidnotteachhimthatfritillariesgrewinIffleymeadow,hedidfindalittlebandofhelpfulassociates.WiththeseherealisedthepricelessadvantageswhichMr.Bagehotsayscannotbegotoutsideacollegeandwhichhesumsupasfound"inthebooksthatallreadbecausealllike;inwhatalltalkofbecauseallareinterested;intheargumentativewalkordisputatiouslounge;intheimpactoffreshthoughtonfreshthought,ofhotthoughtonhotthought;inmirthandrefutation,inridiculeandlaughter."ThefirstofthefewstrongpersonalattachmentsinthelifeofMorrisdatesfromhisfirstdayatOxford.AttheendofJanuary,1853,hewentupforhismatriculation,andbesidehimattheexaminationintheHallsatBurne-Jones,whowithinaweekoftheirformalentrancetothecollegebecamehisintimate.ThefriendshipthusspontaneouslyformedonthevergeofmanhoodlasteduntilMorrisdied.Intheirstudies,intheirtruantreading,intheirlateraimsandwork,thetwo,diametricallyastheydifferedinaspectandintemperamentandinqualityofmind,weresympatheticanddearcompanions.Togethertheyjoinedagroupofotherhappilygiftedmen--Fulford,Faulkner,Dixon,CormellPrice,andMacdonald--whometinoneanother'sroomsforthedisputatiousloungeovertheexuberantidealsbywhichtheywereincommoninspired.Tennyson,Keats,andShelley,Shakespeare,Ruskin,Carlyle,Kingsley,Thackeray,Dickens,andMissYongewerethegodsandhalfgodsoftheiryoungandpassionateenthusiasm.Thelast,curiouslyenough,wasaninfluenceaspotentasany.Theheroofhernovelof1853,TheHeirofRedclyffe,was

thepatternchosenbyMorris,accordingtoMr.Mackail'saccount,tobuildhimselfupon.Singularasitseemsto-daythatanymarkedimpressionshouldhavebeenmadeuponanevenfairlywell-trainedmindbyawriterofsuchslightliteraryquality,itistruethattheauthorofTheDaisyChaincountedamongherdevotedreadersmenofbrilliantanddominantintellectualpower.Shehadtheluckytouchtokindleinyoungmindsthatfireofsympathywithwhichtheygreetwhatevershowsthemtheirownworld,theirage,themselvesastheybestliketoseethem.ToMorrisinparticulartheyoungheirofRedclyffemadetheappealofacongenialtemperamentinapositionsimilartohisown.LikeMorris,hewasheadstrongandpassionate,giventoexcessiveburstsofrageandtorepentancesnotlessexcessive;likeMorris,heunitedtohisnaturalprideanunnaturalandslightlyobtrusivehumility;likeMorris,hewas

richandbeautiful,generousandlovable.ItwasnogreatwonderthatMorris,poringwithhischaracteristicabsorptionoverthepleasantpagesonwhichGuyMorville'schivalrouslifeisportrayed,saidasDromiotoDromio,"Methinksyouaremyglassandnotmybrother;IseebyyouIamasweet-facedyouth."

Mr.MackailnoteswithanaccentofsurprisethatKingsleywasmuchmorewidelyreadthanNewman,thinkingthechoiceacuriousoneinthecaseofpassionateAnglo-Catholics.SofarasMorriswasconcerned,however,therewaslittleenoughtorelishinNewman'ssubtletheologyandrelentlesslogic.Themantowhomreligionasameresentimentwas"adreamandamockery"couldhardlyappealtoonetowhomalllifewasasentiment.Kingsley,ontheotherhand,althoughhewasanti-Catholicintemper,and

disposedtooverthrowtheillusionsbywhichsuchromanticistsasScott,suchdreamersasFouqu,hadsurroundedtheMiddleAges,picturingtheircoarseandbarbaroussidewithharshrealism,washappyinrenderingthecharmsofoutdoorlifeandboldadventure,andthesongsoftheCrusadersinhisSaint'sTragedymusthavegonefarthertowardwinningMorristhanpagesofNewman'sreasoningdevotion.

GraduallythemonasticidealfadedbeforethebrightnessofartandliteratureandthelifeoftheworldasthesebecamemoreandmoreimpresseduponMorris'sconsciousness.Toliveinthespiritandinthe


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regionofpurelyintellectualinterestscouldnothavebeenhischoiceafterthepassingofthefirstfanaticimpulseofyouthtodedicateitselftowhatisdifficult,ignorantofthejoyofchoosing.Manyinfluencesunitedtodeterminethepreciseformintowhichheshouldshapethefuturethatforallpracticalpurposeswasunderhiscontrol.HisinterestinpictorialartwasstimulatedbyBurne-Jones,whowasalreadymakingfantasticlittledrawings,andstudiesofflowersandfoliage.OfgreatartheknewnothinguntilhespenttheLongVacationof1854intravellingthroughBelgiumandNorthernFrance,wherehesawVanEyckandMemling,whoatoncebecametohim,astheyweretoRossetti,mastersofincontestablesupremacy.OnthistriphesawalsothebeautifulchurchesofAmiens,Beauvais,andChartres,whichinhisunbridledexpansivenessofphrasehecalled"thegrandest,themostbeautiful,thekindest,andmostlovingofallthebuildingsthattheearthhaseverborne."Thefollowingyearherepeatedtheexperience,withBurne-JonesandFulfordforcompanions.Thistimethejourneywastohavebeenmadeonfootfrommotivesofeconomy,asBurne-JoneswaspoorandMorrisembracedthehabitsofpovertywheninhiscompanywithunaffecteddelicacyoffeeling.AtAmiens,however,Morriswentlame,and,"afterfillingthestreetswithimprecationsonallboot-makers,"boughtapairofgaycarpetslippersinwhichtocontinuethetrip.Theseprovednottoservethepurpose,andthetravellerswereobligedtoreachChartresbytheusualmethodsofconveyance,MorrisarguingwithfuryandfutilityinfavourofskirtingParis,"evenbytwodays'journey,soasnottoseethestreetsofit."

Theyhadwiththemonebook,Keats,andtheirmindswerefilledwiththepoeticideasofartastheexpressionofman'spleasureinhistoil,andofbeautyasthenaturalandnecessaryaccompanimentofproductivelabour,whichRuskinhadbeenpreachinginTheStonesofVeniceandintheEdinburghlectures.BythistimetheyhadbecomeacquaintedwiththeworkofthePre-Raphaelites,andBurne-JoneshadannouncedthatofallmenwholivedonearththeonehewantedtoseewasRossetti.Morrishadusedhissparetime,ofwhichwemayimaginehehadaconsiderableamount,inthestudyofmedivaldesignasthesplendidmanuscriptsintheBodleianLibraryillustrateit.Anarchitecturalnewspaperalsoformedpartofhisregularreadingoutsideofhisstudies.Thusprimedfordefiniteaction,onthisholidayfilledwithstimulatinginterestsandthedeliciousfreedomofroamingquiteatwillwiththebestofcompanionsthroughthe

sweetfertilecountryofNorthernFrance,Morrisputquiteasideallaimsthathadnotdirectlytodowithart.HeandBurne-Jones,walkinglateonenightonthequaysofHavre,discussedtheirplans.Bothgaveuponceandforalltheideaoftakingorders;bothdecidedtoleaveOxfordasquicklyastheycould;bothweretobeartists,Burne-JonesapainterandMorrisanarchitect.

AlthoughMorriswasnevertobecomeapractisingarchitect,thischoiceofaprofessionatthebeginningofhiscareerisbothcharacteristicandsignificant.Buildings,aswehaveseen,hadinterestedhimfromhischildhood.Hisfavouriteexcursions,longandshort,hadbeentotheregionofchurches.Intheartofbuildinghesawthemeansofelevatingallthetastesofman.Architecturemeanttohim"theartofcreatinga

buildingwithalltheappliancesfitforcarryingonadignifiedandhappylife."Itseemedtohimevenattheoutset,beforetheword"socialism"hadcomeintohisvocabulary,incrediblethatpeoplelivinginpleasanthomesandengagedinmakingandusingtheseappliancesofwhichhespeaks,shouldleadlivesotherthandignifiedandhappy.Itwasmuchmoreinaccordancewithhisidealofavocation,aministrytoman,thatheshouldcontributetothedailymaterialcomfortandpleasureoftheworld,thatheshouldmakeplacesgoodforthebodytoliveinandfairfortheeyetorestupon,andthereforesoothingtothesoul,thanthatheshouldconstructabstractspiritualmansionsofwhichhecouldatbestformbuta


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vagueconception.Itwas,then,withacertainsenseofdedication,anexchangeofmethodwithoutachangeofspirit,thathegaveupthethoughtofholyordersandturnedtothethoughtoffurtheringthegoodofmankindbyworkingtowardthebeautyandorderofthevisibleworld.

Fromthepointofviewofhislaterinterestsasadecoratorofhouses,hewasshowingtheutmostwisdominbeginningwiththeframework,whichmustexistbeforeanydecorationcanbeapplied."Ihavespokenofthepopulararts,"hesayshimself,inoneofhislectures,"buttheymightallbesummedupinthatonewordArchitecture;theyareallpartsofthatgreatwhole,andtheartofhouse-buildingbeginsitall.Ifwedidnotknowhowtodyeortoweave;ifwehadneithergoldnorsilvernorsilk,andnopigmentstopaintwithbuthalfadozenochresandumbers,wemightyetframeaworthyartthatwouldleadtoeverything,ifwehadbuttimber,stoneandlime,andafewcuttingtoolstomakethesecommonthingsnotonlyshelterusfromwindandweatherbutalsoexpressthethoughtsandaspirationsthatstirinus.Architecturewouldleadustoallthearts,asitdidwiththeearliermen;butifwedespiseitandtakenonoteofhowwearehoused,theotherartswillhaveahardtimeofitindeed."

Andagain:"Atruearchitecturalwork,"hesays,"isabuildingdulyprovidedwithallthenecessaryfurniture,decoratedwithalldueornament,accordingtotheuse,quality,anddignityofthebuilding,frommeremouldingsorabstractlinestothegreatepicalworksofsculpture

andpainting,whichexceptasdecorationsofthenoblerformofsuchbuildingscannotbeproducedatall.Solookedupon,aworkofarchitectureisaharmonious,co-operativeworkofart,inclusiveofalltheseriousarts--thosewhicharenotengagedintheproductionofmeretoysorephemeralprettinesses."

Morriscommunicatedhismomentousdecisiontohisfamilyassoonasitwasmade,andtheyreceiveditwithamazementanddistress.Whiletheiroriginwasnotespeciallyaristocratic,theirtastesrantowardthesymbolsofaristocracy.WhenMorriswasnineyearsold,hisfatherobtainedagrantofarmsfromtheHeralds'College,andthesonhadnosmalllikingforthebearingsassigned--bearingswhichincludedahorse'sheaderasedargentbetweenthreehorseshoes.Thehorse'sheadheintroducedonthetilesand

glassofthehousehebuiltforhimselfinlateryears,andhewasinthehabitofmakingayearlypilgrimagetothefamousWhiteHorseoftheBerkshireDowns,connectingitinsomeobscurewaywithhisancestry.InEngland,duringthefifties,nothingwaslesscalculatedtoappealtoanaristocratictendencythananyformofartconsideredasaprofession.InTheNewcomesMr.Honeymanremarkswithblanddignitytohisaspiringyoungrelative;"MydearClive,therearedegreesinsocietywhichwemustrespect.Yousurelycannotthinkofbeingaprofessionalartist."Inmuchthisspirit,apparently,Mrs.Morrisreceivedherson'sannouncement,conveyedinalongandaffectionateletterstatingindetailthemotivesthathadledhimtohisresolution.Afterdefendinghischosenprofessionatsomelength,callingitwithcharacteristicavoidanceofpompousphraseology,"ausefultrade,"hedwellsuponthemoderationofhishopes

andexpectations.Hedoesnothope"tobegreatatallinanything,"butthinkshemaylookforwardtoreasonablehappinessinhiswork.Itwillbegrievoustohisprideandself-will,hesays,tohavetodojustasheistoldforthreelongyears,but"goodforit,too,"andhelooksforwardwithlittledelighttothedrudgeryoflearninganewtrade,butisprettyconfidentofsuccess,andishappyinbeingabletopay"thepremiumandallthat"withoutlayinganyfreshburdenofexpenseuponhismother.FinallyheproposestakingashismasterGeorgeEdmundStreet,whowaslivinginOxfordasarchitectofthediocese,andwhoseenthusiasmforthethirteenthcenturycouldhardlyhavefailedtoclaimthesympathyof


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Morris.Certainlyitseemedpreciselythefittingopportunitythatoffered.Therecouldhavebeennobettermomentforhimtofollowtheadvicehesofrequentlygavetoothers--toturnhisbackuponanuglyage,choosetheepochthatsuitedhimbest,andidentifyhimselfwiththat.Gothictothecore,hehadcometoOxford,not,asMr.Dayhassuggested,tocatchtheinfectionofmedivalismabroadthere,buttoassimilateandthriveuponalltheinfluencestowhichhisindependentlymedivalspiritwasacutelysusceptible.Scott,Pugin,Shaw,Viollet-le-Duc,hadbrokenthewaythroughpopularprejudice,andStreetwasengagedatthetimeMorriswenttohimintheworkofrestoringancientchurchesanddesigningGothicbuildings."Restoration"hadnotthensoevilasoundtoMorrisasitlatercametohave.Somethirtyyearsafter,hewastosay:"Nomanornobodyofmen,howeverlearnedtheymaybeinancientart,whateverskillindesignorloveofbeautytheymayhave,canpersuade,orbribe,orforceourworkmenofto-daytodotheirworkinthesamewayastheworkmenofKingEdwardI.didtheirs.WakeupTheodorictheGothfromhissleepofcenturiesandplacehimonthethroneofItaly,turnourmodernHouseofCommonsintotheWitenagemote(orMeetingoftheWiseMen)ofKingAlfredtheGreat!--nolessafeatistherestorationofanancientbuilding."In1855,however,hehadnotfullyarrivedatthisconviction.Itwasthentheperiodof"freshhopeandpartialinsight"which,regardingitretrospectively,hesays,"producedmanyinterestingbuildingsandotherworksofart,andaffordedapleasanttimeindeedtothehopefulbutverysmallminorityengagedinit,inspiteofall

vexationsanddisappointments."Thereseemednoreasontosupposethat,helpedashewasbyhispredilectionsandbyhisenvironment,hecouldnotbecomethemaster-builderofthehousebeautifulthatconstantlyhauntedhisimagination.

Hewasnottobeginatonce,however.Indeferencetohismother'swishhewentthroughhisfinalterm,passedintheFinalSchoolswithoutdifficulty,and,togetherwithhiscompanions--TheBrotherhoodastheynowcalledthemselves,--gavedistinctiontohislastyearattheUniversity,wheredespitealldrawbackshehadbeenaboundinglyhappy,byfoundingthesincefamouslittleOxfordandCambridgeMagazine.

[Illustration:TITLE-PAGEOF"THEOXFORDANDCAMBRIDGEMAGAZINE"]

LikethePre-RaphaeliteGerm,thisperiodicalaimedatanunusuallyhighstandard.ItwasprintedattheChiswickPresswithsomepretensionstotypographicalbeauty.Eachnumberhaduponitstitle-pageanornamentalheadingdesignedbyoneofCharlesWhittingham'sdaughtersandengravedbyMaryByfield.Onthegreenwrappersthenameofthemagazinewasprintedintheold-fashionedtypewhichtheChiswickPresswasthefirsttorevive,andalthough,unlikeTheGerm,itwasnotillustrated,photographsofWoolner'smedallionsofCarlyleandTennysonweremountedtobindwithitandsoldatashillingapiecetosubscribers.Thepriceofeachnumberwasalsoashilling,andtwelvemonthlynumbersappeared,makingitthriceaslonglivedasitsprototype,TheGerm.Thefinancialresponsibility,saysMr.Mackail,wasundertakenwhollybyMorris,andhe

atfirstattemptedthegeneralcontrol.Thishewassoongladtorelinquish,payingasalaryofahundredpoundsayeartohiseditor.Thetitle,whichinfullreadTheOxfordandCambridgeMagazine,ConductedbyMembersoftheTwoUniversities,indicatesrathermoreco-operationthanexisted,themagazinebeingconductedentirelybyOxfordmenandfullytwo-thirdswrittenbythem.Thetoneofthecontributionswastobeimpeccable."Itisunanimouslyagreed,"wrotePrice,"thatthereistobenoshewingoff,noquips,nosneers,nolampooninginourMagazine."Politicsweretobealmosteschewed,"Tales,Poetry,friendlyCritiques,andsocialarticles"makingupthebodyofthetext.


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FirstamongthecontributorsinquantityandregularityofsupplywasMorris.DuringhissecondyearattheUniversityhehaddiscoveredthathecouldwritepoetry,andhadcommunicatedthefacttohiscompanionswithoutlossoftime.CanonDixon,recallingtheverythrillingoccasionofhisreadinghisfirstpoemtothegroupgatheredintheoldExeterroomsoccupiedbyBurne-Jones,affirmsthathereachedhisperfectionatonce,thatnothingcouldhavebeenalteredforthebetter,andalsoquoteshimassaying,"Well,ifthisispoetry,itisveryeasytowrite."Hewasnotonetoletacapabilityfustinhimunused.Poetryandprose,equallyeasytohim,pouredafterthisfromhispen,givingexpressionwithsomeconfusionandincoherencetohisboyishrapturesoverthethingshebestlovedandmostthoughtabout.Duringthetwelvemonthsofthemagazine'slifehecontributedtoitfivepoems,eightprosetales,areviewofBrowning'sMenandWomen,andtwospecialarticles,oneonacoupleofengravingsbyAlfredBethelandoneontheCathedralatAmiens.Inallthisearlywork,filledwithsuperabundantimagery,self-conscious,sensuous,unsubstantial,pictorial,wehaveMorristhewriterashewasatthebeginningandmuchashewasagainattheend.Hisfirststrangelittleromancespassbeforetheeyesashislateonesdo,likestripsofbeautifulfabric,deeplydyedwithcoloursbothdimandrich,andprintedwithfaintlyoutlinedfiguresinposturesillustratingthedreamyeventsofdreamylives.Manyofthepagesechowiththesoundoftrumpetsandtheclashofarms,buttheechoisfromsofarawaythattheheartofthe

readerdeclinestoleap.Passionateemotionsareportrayedinpassionatelanguage.Menandwomenloveanddiewithwildadventure.Splendidsacrificesaremade,anddarkrevengestaken.Buttheeffectisofmarionettes,admirablycostumedandingeniouslymanagedyetinevitablysuggestingartificeandfailingtosuggestlife.NeverthelessMorriswroteinthefashioncommonlysupposedtoimpartvitalityifnothingelsetocomposition.Hesatuplateofnights,afterthemannerofyoungwriters,andlethiswordsstandastheyfellhotandunpremeditatedonthepage.Thelabouroflearningtheart,ashisfavourite,Keats,learnedit,byindefatigablepracticeinfindingtheperfectword,theoneexquisitephrase,wasquiteoutsidehismethod.Aslongashelived,hepreferredrewritingtorevisingamanuscript.Theausterityofmindthatleadstoimpatienceofsuperfluouscolourortone,andthatdreadsastheplague

superfluoussentiment,wasforeigntohim,nordidheeveracquireitaseventheEpicureantemperamentmaydobyardentself-restraint.InmostoftheromancesandpoemsthesceneislaidsomewhatvaguelybutunmistakablyintheMiddleAges.Werarelysurprisetheyoungwriterinadate,buttheatmosphereisthatofthethirteenthcenturythoughwithmanythirteenth-centurycharacteristicsleftout.TheincidentsappealtowhatBagehotcalls"thatkindofboyishfancywhichidolisesmedivalsocietyasthe'fightingtime.'"Thedistinctionliesinthefertilityandbeautyofthedescriptions.Onnearlyeverypageissomepassagethathasthequalityofapicture.InTheHollowLand,inGertha'sLovers,inSvendandhisBrethren,andespeciallyinthearticleontheAmiensCathedral,areexquisitelandscapesandbackgroundsagainstwhichthepersonagesgroupthemselveswithperfectfittingness."ImustpaintGertha

beforeIdie,"saidBurne-Jones,afterMorrishimselfwasdead,recallingthecharmofthisstorywhichwaswritteninhiscompany,underthewillowsbytheriverside."Theopeningandtheclosingsentencesalwaysinvitedmeinanindescribableway,butthemotiveparexcellencewasthatofGerthaafterdeath,inthechapterentitled'WhatEdiththeHandmaidenSawfromtheWarSaddle,'wherethebeautifulqueenliesonthebattle-fieldwiththebluespeedwellaboutherpaleface,whileasoftwindrustlesthesunset-litaspensoverhead."

[Illustration:PortraitofRossetti


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ByWatts]

Tohisgeniusforevokingascenefrommemoryorimaginationwithagraceanddelicacymissinginthedesignshewaslatertomakewithtoolsmorerebelliousthanwords,Morrisaddedasingularabilitytoconveytohisreadersthemostsignificantqualityofwhatheadmired,toimpressthemwiththefeaturethathadmostimpressedhim.Thefancyforgold,inspiredperhapsbystudyofmedivalillumination,runslikeaglitteringthreadthroughthestoryofSvendandhisBrethren.Cissela'sgoldhair,hercrownofgold,thegoldenringshebreakswithherlover,thegoldclothoverwhichshewalksacrossthetrampledbattle-field,thesamiteofpurplewroughtwithgoldstars,thegoldenlettersonthesword-blade,--alltheserecurlikesomanybrightaccentsfromwhichtheattentioncannotescape.Again,inthedescriptionofAmiensCathedral,wegetfromsimpleverbalrepetitiontheeffectofmassivemodelling,thesenseofweightinthedesignasMorrisfeltitinoneofthesculpturedfiguresoftheniches:"Astatelyfigurewithaking'scrownonhishead,andhairfallinginthreewavesoverhisshoulders;averykinglyfacelookingstraightonward;agreatjewelledcollarfallingheavilytohiselbows:hisrighthandholdingaheavysceptreformedofmanybuddingflowers,andhisleftjusttouchinginfrontthefoldsofhisraimentthatfallsheavily,veryheavilytothegroundoverhisfeet.Saul,KingofIsrael."Inanotherpassagedescribingwithminutedetailthefiguresof

theVirginandChild,asimilaremphasisislaidonthequalityofrestfulness."Thetwofiguresareveryfullofrest;everythingaboutthemexpressesitfromthebroadforeheadoftheVirgin,totherestingofthefeetoftheChild(whoisalmostself-balanced)inthefoldoftherobethatsheholdsgently,tothefallingofthequietlinesofherrobeoverherfeet,totherestingofitsfoldsbetweenthem."Andiftheeffecttoberenderedisoneofcolour,atouchoffinereloquenceisaddedtothissomewhatcrudemethod.ThefinalpassageoftheaccountofthegreatCathedralisagenuinetriumphofpoeticobservation,carryingthefancyofthereaderlightlyoverthesilverylovelinessofthepictureasitlaybeforetheboyenrapturedbyit:"Andnow,farewelltothechurchthatIlove,tothecarvedtemple-mountainthatrisessohighabovethewater-meadowsoftheSomme,abovethegreyroofsofthegoodtown.

Farewelltothesweepofthearches,upfromthebronzebishopslyingatthewestend,uptothebeltofsolemnwindows,where,throughthepaintedglass,thelightcomessolemnly.Farewelltothecavernousporchesofthewestfront,sogreyunderthefadingAugustsun,greywiththewind-storms,greywiththerain-storms,greywiththebeatofmanydays'sun,fromsunrisetosunset;showingwhitesometimes,too,whenthesunstrikesitstrongly;snowy-white,sometimes,whenthemoonisonit,andtheshadowsgrowingblacker;butgreynow,frettedintodeepergrey,frettedintoblackbythemitresofthebishops,bythesolemncoveredheadsoftheprophets,bythecompanyoftherisen,andthelongrobesofthejudgment-angelsbyhell-mouthanditsflamesgapingthere,andthedevilsthatfeedit;bythesavedsoulsandthecrowningangels;bythepresenceoftheJudge,andbytherosesgrowingabovethemallforever."

ThereviewofBrowning'sMenandWomen,thenrecentlypublished,ismorevaluableastestifyingtotheimpressionproducedbyBrowninguponhisyoungcontemporary,thanforanyespecialilluminationitthrowsuponthepoemsthemselves.BrowningwaspopularwiththestudentsofOxfordlongbeforehegainedhiswideraudience,andalthoughMorrisdidnotfollowhimfarinhisinvestigationofthehumansoulandcameheartilytodislike"hisconstantdwellingonsinandprobingofthesecretsoftheheart,"heplacedhimatthetimeofwritinghiscriticism"highamongthepoetsofalltime"andhe"hardlyknewwhetherfirstorsecondinour


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own,"andhisdefenceofhim,bristlingwithejaculations,andcouchedinboyishphrases,showsinpartamorethanboyishdivination."Itdoesnothelppoemsmuchtosolvethem,"hesays,afterwhat,intruth,isasomewhatdisastrousattempttointerpretthemeaningofWomenandRoses,"becausethereareinpoemssomanyexquisitelysmallanddelicateturnsofthoughtrunningthroughtheirmusic,andalongwithit,thatcannotbedoneintoprose,anymorethantheinfinitevarietyofform,andshadow,andcolourinagreatpicturecanberenderedbyacolouredwoodcut."Itwas"abitterthing"tohimtoseethewayinwhichthepoethadbeenreceivedby"almosteverybody,"andheassuredhislittleworldthatwhatthecriticscalledobscurityinBrowning'spoemsresultedfromdepthofthoughtandgreatnessofsubjectonthepoet'spart,andonhisreaders'part,"fromtheirshallowerbrainsandmoreboundedknowledge,"ifnotindeedfrom"merewantonignoranceandidleness,"andtothiskindofobscurityonehadlittlerighttoobject.Itwasthefirsttiltinthelists,thebeginningofthelongcombatagainstthePhilistinesuponwhichMorrisenteredwithhighresolveandfirmconviction,whichhelustilyenjoyed,andinwhichdespitemanyabrokenlanceheborehimselfasaboldandskilfulknight.

InthelittletalecalledTheHollowLand,writtenforthemagazinejustbeforeit"wenttosmash,"touseBurne-Jones'sexpressivephrase,anamusinglysignificantsentenceoccurs:"ThenItriedtolearnpainting,"saysthehero,"tillIthoughtIshoulddie,butatlastlearnedthrough

verymuchpainandgrief."Hereitisnotdifficulttorecogniseanautobiographictouch.PaintingwasalreadybeginningtobeckonMorrisawayfromtheprofessionhehadsorecentlychosen.Attheendof1855,duringtheChristmasvacation,andjustbeforeMorrisenteredStreet'soffice,Burne-JoneshadmadeavisittoLondon,whereatamonthlymeetingattheWorkingMen'sCollegeheforthefirsttimesawRossetti,andlaterheardhimrendinpiecestheopinionsofthosewhodifferedwithhim,andstoutlysupporthisinfrangibletheorythatallmenshouldbepainters.HowreadyBurne-Joneswastoyieldhimselftothispotentinfluence,howpromptlyRossetti'svividandoriginaltemperamentacteduponhisadmirer,isclearfromthelatter'sdescription,writtenmanyyearsafter,ofthefirstencounter--theyoungundergraduatesittinghalf-frightened,embarrassedandworshipping,amongstrangers,eatingthickbreadand

butter,andlisteningtospeechesabouttheprogressofthecollege,untiltheentranceofhisidol,whosesensitive,gentle,indolentface,withitsflickeringofhumourandthefireofgenius,entirelysatisfiedhispoeticimagination.ThegreatqualitiesofRossettiinthosedaysrevealedthemselvesinhisface,andhisimperiouswillandkeenintellectwerenolessobviousinhistalk.Burne-JonesreturnedtoOxfordwiththeideaofdedicatinghimselftoartmorethaneverfirmlyfixedinhismind.Rossettihadapprovedthedrawingswhichhehadbroughttohimforconsideration,andhadpronouncedthesevenmonthsstilltoelapsebeforehecouldtakehisdegreetimetoovaluabletowasteoutsideofart,counsellinghimtoflingtheUniversityandallitsworksbehindhimandbeginpaintingatonce.WithmingleddelightandterrorBurne-Jones,inspiteofsmallmeansandweakhealth,followedhisleader,who,however

rashtoadvise,wasnotonetoneglecthischarge,andwhoworkedloyallytobringhimthroughwithtriumph,criticising,teaching,approving,encouragingwithoutstint,andpresently,afterhisowninimitablefashion,bringingpatronstohim,biddingthembuy,whichobedientlytheydid.

ItwasinevitablethatMorrisshouldbestirredtoemulationbythissteponthepartofhisfriend.AfterBurne-JoneswenttoLondontobeginpaintingunderRossetti'sdirection,MorrisspentnearlyallhisSundayswithhimathislodgingsinChelsea.Theseholidayswerefullof


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excitement.ItwasagloriouslittleworldthatopenedoutunderRossetti'senthusiastic,dogmatic,andcontinuoustalkandargument.Morriswasdeeplyimpressedbyhisnotionthateveryoneshouldbeapainter,andafterStreetmovedhisofficetoLondonandMorrisandBurne-Jonestooklodgingstogether,theformertriedthecharacteristicexperimentofcombiningpaintingwitharchitecture,attemptingtogetsixhoursadayathisdrawinginadditiontohisofficework.Itisinterestingtofindhimwritingatthisjuncturethathecannotenterintopolitico-socialsubjectswithanyinterest,thatthingsareinamuddleandthathehasnopowertosetthemrightinthesmallestdegree,thathisworkistheembodimentofdreamsinoneformoranother.WhatRossettithoughtofhistwodisciplesisseeninaletterwrittenbyhimtoWilliamAllinghaminDecember,1856,whenMorrishadbeennearlyayearwithStreet.Hefoundboth"wondersaftertheirkind.""Jonesisdoingdesignswhichquiteputonetoshame,"hewrote,"sofullaretheyofeverything--AuroraLeighsofart.Hewilltaketheleadinnotime."Morrishedeemed"oneofthefinestlittlefellowsalive--withatouchoftheincoherent,butarealman,"and"inallilluminationandworkofthatkind"heconsideredhimquiteunrivalledbyanythingmodernthatheknew.Withaguidethusconfidentandinspiring,itisnotstrangethatMorrispresentlyyieldedtothespell,andrenouncedarchitecturetopursuepaintingasanendandaiminitself,although,liketheheroofhisromance,helearnedwithmuchpainandgrief.

[Illustration:ILLUSTRATIONBYROSSETTITO"THELADYOFSHALOTT"INTHEMOXON"TENNYSON."THEHEADOFLAUNCELOTISAPORTRAITOFMORRIS]

Rossetti'sservicetoMorrisisdifficulttoestimate.Forabriefperiodhisinfluenceoverhimwassupreme.PerhapsintheworkandtemperofthisItalian,Morrissawmoredeeplyintotheheartofthemedivalworldthanallhischurchesandilluminatedmanuscriptscouldhelphimtosee.Atallevents,hewasforthetimeclosetogeniusanddominatedbyit.Hisdevotiontohismasterpartookoftheviolenceinseparablefromhistemperament.Hewassoonreadytosay,whenBurne-JonescomplainedthatheworkedbetterinRossetti'smannerthaninhisown:"Ihavegotbeyondthat;IwanttoimitateGabrielasmuchasIcan."Buthewasnevertobeforverylongunderanypersonalinfluence.Norcouldhebepersuadedby

themostbrillianteloquenceintheworldthatgoodcouldbegotoutofdoingwhathedidnotenjoy;andheneverenjoyedanylabourthatrequiredlongpatienceandpersistentconcentrationofeffort.Withoutbeingfickle,hismindwassorestlessastoproducetheeffectofficklenessandtoprecludethepossibilityofhisdoingreallygreatwork.Whilehewastrying,underRossetti'sstimulatingbutperemptoryrule,tomasterapainter'smethodshebecamegloomyanddespondent."HowlongRossetti'sdailyinfluencemighthavekepthimlabouringatwhathecouldnotdo,"writesMr.Mackailwithatingeofbitterness,"whentherewasworkallroundthathecoulddo,onthewhole,betterthananymanliving,itisneedlesstoinquire."ButthatRossettididmanagetokeephimforacoupleofyearsatthestudyofpaintingcannotbecountedamisfortune.Probablythatexperience,togetherwithhisbrieftermunderStreet,did

asmuchasanythingtosavehisdesignfrommediocrityandimitativeness.Hedidnotmakehimselfanarchitect,andheneverlearnedtodrawanythingthatremotelyresembledtheactualstructureofthehumanform,buthemusthavegainedthroughhisstudysomeknowledgeoftheinviolablelawsofartthathecouldnothavegainedbypassiveobservationhoweverkeen,orbysympathyhoweverardent.Rossetticanhardlyhavebeenthebestmasterforhim.Hisownnaturewastooundisciplined,andhehadasfewoftheacademicvirtuesasanymanonrecordofthesametechnicalability.Buthiswasthesupremefacultyofrousingenthusiasm.ItmaybedoubtedwhetheranyotherpainterinEnglandcouldhavekeptMorrisatthe


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appointedandimpossibletaskforsolongatime.Itiseasytoimaginehowtheimpatientspiritofthelatterrebelledagainsttheslowprocessoflearningtodrawthehumanfigureinitscomplicatedandsubtlebeautyofconstructionandsurface.Thefactthathestoppedsofarshortofsatisfactoryaccomplishmentseemstoaccountformanyofthedefectstobefoundinhislaterdesigns,whichattheirbestwerenevertobeentirelybeautiful,thoughfullofzestandfreedom.Histendencytodropanybranchofhisworkassoonasitbecametedioustohim,toturntosomethingelse,kepthiscreativeimpulsecontinuallyfreshandeffective;butkepthimalsofromachievingthepenetratingdistinctionofartisticself-possession.Whateverhelpedhiminanydegreetowardthisself-possession,whateverhegotinthewayofdisciplineofmindandhand,shouldbeacknowledgedbyhisadmirerswithgratitude,anditisbutjusttorecogniseinRossettitheonemanwhoseemstohavekepttheprodigiousimpetuosityofMorrisdownwithoutpromptlylosingholduponhisinterest.AddtothistheclearvisionofaromanticidealwhichallwhoworkedwithRossettiwereprivilegedtoshare,andtheconstantinspirationofthedramaofsentimentandemotionrenderedinhiscolourandlineandinhisexotictreatmentofform,andwemustownthatnowhereelsecouldMorrishavefoundsuchfoodforanimaginationalreadyquickenedbyinfluencesreachingitfromaremotetimeandanalienworld.Nowhereelsecouldhehavecomesoclosetotheconcealedmysteriesofthehumansoul,despitethedisillusionmenthewasboundtofeelindailycontactwithacharacterascontradictoryasitwascompelling.

CHAPTERIII.

FROMROSSETTITOTHEREDHOUSE.

AlthoughablightofdiscouragementseemstohavefallenuponMorrisunderRossetti'stuition,thereweresomeblithecompensations.Nottheleastofthesewasthefittingupoftheroomsat17RedLionSquarewhereheandBurne-Jonestookquarters."TopsyandIlivetogether,"wroteBurne-Jones,

"inthequaintestroominallLondon,hungwithbrassesofoldknightsanddrawingsofAlbertDrer."Forthefurniture,Morris,who,Rossettisaid,was"bentondoingthemagnificent,"madedesignstobecarriedoutindealbyacarpenteroftheneighbourhood.Everythingwasverylargeandheavy,intenselymedival,anddoubtlessratheruglyinanhonestfashion,butintheenditwasfurnituretobecoveted,foritofferedgreatspacesfordecoration,andRossettiaswellasMorrisandBurne-JonespaintedonitsubjectsfromChaucerandDanteandtheArthurianstories.ThepanelsofacupboardglowedwithRossetti'sbeautifulpicturesrepresentingDanteandBeatricemeetinginFlorenceandmeetinginParadise,andonthewidebacksofthechairshepaintedscenesfromsomeofthepoemsMorrishadwritten.ThewardrobewasdecoratedbyBurne-JoneswithpaintingsfromThePrioress'sTale.Onthewallsoftheroomwerehung,nodoubt,the

severalwater-coloursboughtfromRossetti,tothelovelynamesofwhichMorrispromptlywroteballads.Anowlwasco-tenantwiththeyoungartists,andtheywereservedandalsocriticisedbyahousemaidofliteraryambitions.Inthishighlyindividualapartment,where,curiouslyenough,RossettiandhisfriendDeverellhadhadtheirstudiotogetherfiveorsixyearsbefore,lifewasnotalllabourandstriving.Therewere,moreover,holidaysspentattheZologicalGardens,eveningsatthetheatre,night-longsessionsinRossetti'srooms,andexcursionsontheThames.OneofthelatterisvividlydescribedinDr.BirkbeckHill'sLettersofGabrielRossettitoWilliamAllingham,givingajoyous


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pictureofMorrisatthemercyofhisungovernabletemper.Theparty,consistingofHill,Morris,andFaulkner,hadstartedouttorowdowntheThamesfromOxfordtoaLondonsuburb.BythetimetheyhadreachedHenleytheyhadspentalltheirmoneyexceptenoughforFaulkner'sreturntickettoOxford,wherehewastoattendacollegemeeting.Forthishedeparted,promisingtobringbackasupplyofmoneyintheevening."Theweatherwasunusuallyhot,"writesDr.Hill,"MorrisandIsaunteredalongtheriver-side.Ihavenotforgottenthelongingglanceshecastonalargebasketofstrawberries.HehadalwaysbeensoplentifullysuppliedwithmoneythatheborewithfargreaterimpatiencethanIdidthisprivation.Atlasttheshadowshadgrownlongandtheheatwasmorebearable.Wewentwithlightheartstotherailwaystationtomeetourcomrade.'Well,Faulkner,'criedoutMorris,cheerfully,'howmuchmoneyhaveyoubrought?'Ourfriendgaveastart.'Goodheavens,'hereplied,'Iforgotallaboutit.'Morristhrustbothhishandsintohislongdarkcurlyhair,tuggedatitwildly,groundhisteeth,sworelikeatrooper,andstampedupanddowntheplatform--infact,behavedjustlikeSinbad'scaptainwhenhefoundthathisshipwasdrivingupontherocks.Hisoutburstsofrage,Ihastentosay,werealwaysharmless.Theyleftnosullennessbehind,andaseachrapidlypassedawayhewasreadytojoininaheartylaughatit.Faulkner,whowasnotthemostpatientofmen,noticedthatpassengers,station-master,porters,engine-driver,andstokerwereallgazinginastonishment.He,too,losthistemper,and,thoughinafarlowerkey,stormedback.Morrissoonquieteddown,andacouncilofwarwasheld.He

fortunatelyhadagoldwatch-chainonwhichheraisedenoughtopayallneedfulexpenses.IrememberwellhowtherestofourjourneywerowedbymanyatavernonthebankaseffectuallyconstrainedaseverwasUlyssesnottolistentoitssirencall.Itwasthroughnoearthlyparadisethattheyoungpoetandartistpassedontheafternoonofourlastday."Whentheylandedtheyhadjustapennyamongthem,andwerestillsomesixorsevenmilesfromtheirdestination,sotheywereobligedtohireacabandtrusttogoodfortunefornotcomingtoaturnpikegatebeforearrivingatRedLionSquare.

AboutthistimealsoRossettiandMorrismadeanexcursiontoOxfordforthepurposeofvisitingBenjaminWoodward,thearchitectandRossetti'sfriend.Mr.WoodwardhadrecentlyerectedabuildingfortheOxfordUnion,

asocietycomposedofpastandpresentmembersoftheUniversity.InexhibitingthebuildingtoRossettiitwassuggestedthattheblankstretchofwallwhichranaroundthetopoftheDebatingRoomaffordedanadmirableopportunityfordecoration,andRossettiwithpromptenthusiasmevolvedaplanforacoperativeenterprise.HeandMorris,withseveralotherwillingspirits,--Burne-Jones,ofcourse,ArthurHughes,ValentinePrinsep,SpencerStanhope,andJ.HungerfordPollen,--weretogouptoOxfordinabody.EachwastochooseasubjectfromtheMorted'Arthur,andexecuteittothebestofhisabilityonthewallsoftheDebatingRoom.Thewholeaffairwastobeamatterofafewweeks.Theartistsofferedtheirservicesfornothing;theirexpenses(whichturnedouttobeasfreeastheiroffer)weretobepaidbytheUnion.Itiseasytoimaginetheensuingbustleandardour.Rossettieagerlymanaging,Morris

delightedwiththecharminglymedivalsituation,--afewhumblepaintersworkingtogetherpiously,withouthopeofgloryorthoughtofgain,--theothersfollowingtheirleaderwithlamb-likedocility.Hadtheirknowledgeofmethodsbeenequaltotheirzeal,thewallsoftheDebatingRoommusthavebecometheloveliestofrealisedvisionsandthedelightofmanygenerations.Theyoungworkmensatforeachother,Morris,Burne-Jones,andRossettiallpossessingfinepaintableheads.Theyclamberedupanddownendlessladderstogainasatisfactoryviewoftheirperformance,andattackedthemoststupendousdifficultieswithpatienceandingenuity.ThefacesinthesubjectundertakenbyBurne-Joneswerepainted,forexample,


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inthreeplanesatrightanglestooneanother,owingtotheprojectionofastring-courseofbricksstraightacrossthespacetobefilledbytheheadsofthefigures.SomestudiesbyRossettihavebeenpreserved,andshowthathispartatleastofthedecorationwasconceivedinafreshpoeticspirit,withfulnessandquaintnessofexpressionandsuggestion.Butthecongenialbandhadenteredupontheirlabourswithacarelessnessthatcanonlybedescribedaswanton.Notoneofthemknewhowtopaintintempera,andthenewdampwallsweresmearedoverwithathincoatofwhitelimewashlaiduponthebarebricksassolepreparationforasortofwater-colourpaintingthatblossomedlikeaflowerunderthegiftedhandsoftheartists,andfadedalmostassoonaway.Theeffectatthetimewassobrilliantastomakethewalls,accordingtoMr.CoventryPatmore'scontemporaneoustestimony,"looklikethemarginofanilluminatedmanuscript,"butinthecourseofafewmonthsthecolourshadsunkintothesponge-likesurfacetosuchanextentthatthedesignswerealreadydimandindistinguishable.

Morris,withcharacteristicpromptness,wasthefirstonthefield,andhispicturewasfinishedinadvanceofanyoftheothers.Hewas,however,nobetterinstructedthanhiscompanionsinthespecialrequirementsofhismaterial,andpresentlyallthatwasleftofhispaintingwastheheadofhisbraveknightpeeringoverthetopsofmultitudinoussunflowers.Thedecorationoftheceilingwasalsoassignedtohim,andhemadehisdesignforitinasingleday.Later,in1875,herepaintedit,butmostofthe

artofthismerryperiodhasrecededintocompleteoblivion.ThestayinOxfordlengthenedintomonthsascomplicationsincreased,andfinallytheenterprisewasabandonedwiththeworkunfinished.Ithadled,however,toaneventofparamountimportancetoMorris,andofconsiderableimportancetoRossetti--themeetingwithMissBurden,whowastofigureinsomanyofRossetti'ssymbolicpictures,andwhobecamethewifeofMorris.HerremarkablebeautyhadattractedtheattentionoftheyoungmenonenightatthelittleOxfordtheatre."Mybrotherwasthefirsttoobserveher,"writesWilliamRossetti;"herfacewasatoncetragic,mystic,passionate,calm,beautiful,andgracious--afaceforasculptorandafaceforapainter--afacesolitaryinEngland,andnotatalllikethatofanEnglishwoman,butratherofanIonianGreek."InRossetti'sportraitofherateighteen,paintedshortlyafterthismeeting,weseethegrave,

unusualfeaturesalmostpreciselyastheyaredrawnwithwordsinapoembyMorris,entitledPraiseofMyLady,whichMr.MackailsayswaswrittenduringavisittotheManchesterExhibitionof1857,butwhichassuredlyisnoearlierthanthedateofhisacquaintancewithJaneBurden.Thedescription,Pre-Raphaeliteinitsdetail,runsthroughthefirsthalfofthepoem:

MyLadyseemsofivoryForehead,straightnose,andcheeksthatbeHollow'dalittlemournfully.BeatameaDomina!

Herforehead,overshadow'dmuch

Bybowsofhair,hasawavesuchAsGodwasgoodtomakeforme.BeatameaDomina!

Notgreatlylongmylady'shair,Noryetwithyellowcolorfair,Butthickandcrispedwonderfully;BeatameaDomina!

Heavytomakethepalefacesad,


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Anddark,butdeadasthoughithadBeenforgedbyGodmostwonderfully;BeatameaDomina!

Ofsomestrangemetal,threadbythread,Tostandoutfrommylady'shead,Notmovingmuchtotangleme.BeatameaDomina!

Beneathherbrowsthelidsfallslow,ThelashesaclearshadowthrowWhereIwouldwishmylipstobe.BeatameaDomina!

Hergreateyes,standingfarapart,Drawupsomememoryfromherheart,Andgazeoutverymournfully;BeatameaDomina!

Sobeautifulandkindtheyare,Butmosttimeslookingoutafar,Waitingforsomething,notforme.BeatameaDomina!

IwonderifthelasheslongArethosethatdoherbrighteyeswrong,Foralwayshalftearsseemtobe.BeatameaDomina!

Lurkingbelowtheunderlid,Darkeningtheplacewheretheyliehid--Iftheyshouldriseandflowforme!BeatameaDomina!

Herfulllipsbeingmadetokiss,Curl'dupandpensiveeachoneis;Thismakesmefainttostandandsee.

BeatameaDomina!

ItwastheforceofthisattractionthatkeptMorrislongatOxfordafterRossettiandBurne-JoneshadreturnedtoLondon,leavingthewallsoftheOxfordUniontotheirsadfate.Butitwasnoloveinidlenessforhim,ratheratimeofmanybeginnings.Hewascarvinginstone,modellinginclay,makingdesignsforstainedglasswindows,even"doingworstedwork,"inRossetti'scontemptuousphraseforhiseffortsatrevivingthelostartofembroidery,withaframemadefromanoldmodelandwoolsdyedespeciallyforhim.Mostofallhewaswritingpoetry,theproperoccupationofaloversostheticallyendowed.Earlyin1858hehadTheDefenceofGuenevere,acollectionofthirtypoems,readytobringout.SaveforaslimlittlepamphletentitledSirGalahad:AChristmas

Mystery,thecontentsofwhichwereincludedinit,itwashisfirstvolumeand,likeSwinburne'sRosamondpublishedtwoyearslater,itwasdedicatedtoRossetti.

Inthisyouthful,fantastic,emotionalpoetrywegettheveryessenceofthewriter'searlyspiritwithoutthestrangeshadowofforeboding,theconstantsenseofswiftlypassingtime,thatcomesintothepoetryofhismaturity.Technically,thepoemscouldhardlybemorepicturesquelydefectivethantheyare.Theonegivingthevolumeitsnameisnearlyunintelligibleinparts,evenwhenthereaderisawareoftheincidentsof


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Guenevere'sstory,andpreparedtointerpretthehystericalravingsofawomanovercomebysorrow,shame,andlove.

Butnopoems,exceptRossetti'sown,havesosuggestedromanticartinstrangeshapesandunbridledcolour.They,too,likethewall-paintingsofthatearlyandunrivalledtime,resemblethemarginsofanilluminatedmanuscript,remindingoneofnothinginnature,butflashingtherichnessofmedivalsymbolismupontheimaginationinmoreorlessawkwardforms.IfMorriscouldnot"imitateGabriel"inhispictures,hecouldatleastimitateGabriel'spicturesinhispoems.FromtheBeataBeatrix,fromtheGhirlandata,fromtheProserpine,fromalmostanyofRossetti'spaintingsofwomen,thesecuriousandaffectedlines,forexample,mighthavebeengleaned:

SeethroughmylongthroathowthewordsgoupInripplestomymouth;howinmyhandTheshadowlieslikewinewithinacupOfmarvellouslycolour'dgold.

InTheEveofCrecywehavetheglitterofgoldandthesplendourofmaterialthings,renderedwithachildishabandon,asintheproseromances:

Goldonherheadandgoldonherfeet,

Andgoldwherethehemsofherkirtlemeet,Andagoldengirdleroundmysweet;--Ah!qu'elleestbelle,LaMarguerite.

Yetevennowitisgoodtothink

*****

OfMargaretsittinggloriousthere,Ingloryofgoldandgloryofhair,Andgloryofgloriousfacemostfair;Ah!qu'elleestbelle,LaMarguerite.

Thefullhuesthathadforthedecoratorsofmedivalmissalsareligioussignificancerecuragainandagaininlinesthathavemuchmoretodowithearththanwithheaven,andshowlessconcernwiththehumansoulthanwiththehumanheart.DamozelsholdscarletliliessuchasMaidenMargaretbears"onthegreatchurchwalls;"ladieswalkintheirgardenscladinwhiteandscarlet;thevisionofChristappearstoGalahad"withraimenthalfblood-red,halfwhiteassnow";angelsappearcladinwhitewithscarletwings;scarletisthepredominatingcolourthroughout,ifweexceptgold,whichservesasbackgroundandornamenttoeverything.Nexttoscarletcomesgreen,whichMorriswaslatertocall"theworkadaycolour,"andwefindoccasionalpatchesofblueandofgreyinpaintedboatsandinhangings.Thefollowingstanzashowsafavouritemethodofemphasisingtheprevailingcolourofapoem:

Thewaterslips,Thered-bill'dherondips,Sweetkissesonredlips,Alas!theredrustgrips,Andtheblood-reddaggerrips,Yet,Oknight,cometome!

Forpureincoherence,thequalitythatRossettidiscernedinMorrisattheirfirstmeeting,thesongfromwhichthisstanzaistakenis


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unsurpassed.Yetanemotionaleffectisgainedinit.Whatwechieflymissinthelittlecraftsailingundersuchvividcolours,isthat"deep-graspingkeelofreason"which,Lowellsays,"alonecansteadyandgivedirection"toverse.Excitableandimpatient,inpursuitofavagueideal,giftedwiththepowertobringoutthepictorialqualityofdetachedscenes,butwithoutafinemetricalsense,andaversetolucidstatement,theyoungpoetintroducedhimselftotheworldasasymbolistinthemodernacceptationoftheword.Oneofhispoems,Rapunzel,hasbeensaidtoforecastMaeterlinck'smannerandspirit,andthegeneralcharacteristicsofthepoem--afairytalesomewhattoo"grown-up"intreatment--certainlysuggestthecomparison.Inallthisworkphysicalcharacteristicsplayanimportantpart.Longhandswith"tenderlyshadowedfingers,""longlips"that"cleave"tothefingerstheykiss,lips"dampwithtears,"that"shudderwithakiss,"lips"likeacurvedsword,"warmarms,long,fairarms,lithearms,twiningarms,broadfaireyelids,longnecks,andunlimitedhair,formanequipmentsomewhatdangerousforapoetwithanythingshortofgeniustosustainhim.ForthemesMorrishadgonechieflytotheArthurianstoriesandtothechroniclesofFroissart.Hisstyle,hehimselfthought,wasmorelikeBrowning'sthananyoneelse's,thoughthedifferencethatlaybetweenhimandBrowningevenatthebeginningforbadeanyessentiallikeness.Browning'seffortwasalwaystorenderanideawhichwasperfectlyclearinhisownmind.Hisvolubilityandobscurityandroughnessfrequentlyarosefromhisover-eagernesstoexpresshisideainavarietyofways,leadinghimtobreakoffwithhalf

statementsandbeginafresh,tothrowoutimperfectsuggestionsandfollowthemwithothersequallyimperfect.Butallhisstutteringsandbrokensentencesfailedtodisguisethefactthatanintellectualconceptionunderlaytheturbulentmethod,givingsubstanceandlifetothepoemhowevermuchitmightlackgraceandform.WithMorristheintellectualconceptionwasasweakaswithBrowningitwasstrong,andapparentlyexistedchieflytogiveanexcuseforthepicturesfollowingoneanotherinrapidsuccessionthrougheverypoem,shortorlong,dramaticorlyric,ofbothhisyouthandmaturity.Inthisearlyvolumetherewas,tobesure,anobviousefforttowardrenderingpsychologicaleffects.Mostofthelongerpoemsareminiaturedramaswithamarchtowardsomegreateventinthelivesoftheactors.Theauthorobservesthedramaticrequirementofsinkinghimselfintheidentityofhischaracters.Knightsareslain

andladiesdieofloveandwitch-boundmaidensarerescuedbytheirprinceswithoutthesoundingofapersonalnoteonthepartoftheircreator.Andintwoinstances,SirPeterHarpdon'sEndandTheHaystackintheFloods,thereisruddyhumanbloodinthetorturedbeingswhoseextremitymovesthereaderwithagenuineemotion.InthesetwopoemsthevoicemightindeedbethevoiceofBrowning,thoughthehandisstillunmistakablythehandofMorris.Inthemain,however,theappealthatismadeistotheimaginationconcernedwiththevisibleaspectofbrilliantlycolouredobjectsandwiththedeliriousexpressionofoverwroughtfeelings.

[Illustration:PortraitofJaneBurden(Mrs.Morris)

ByRossetti]

Onedefect,calculatedtointerferewithawarmreceptionofthevolumeonthepartofthegeneralpublic,MorrissharedwithBrowning,possessingevenmorethanBrowningthemeritattendingit.FamiliaritywiththeartandliteratureoftheMiddleAgesmadeitnaturalforhimtopreservethethinnewwineofhisyouthfulpoetryintheoldbottlesofthedefunctpast,usingmotivesandscenesandaccessoriesalientoourmodernlife,andonlydimlyunderstoodbythemodernreader.Thetruespiritofthatpastitishardlynecessarytosayhedidnotrevive,--nowriterhasever


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revivedthetruespiritofanyageantecedenttohisown,--andMorris,withhisremarkablefacultyforeliminatingfromhismentalconceptionswhateverdidnotpleasehistaste,waswhollyunfittedbytemperament,howeverwellfittedbyhisacquirements,tocarrythroughsuccessfullyatasksotremendous.

TheDefenceofGueneverewasreceivedbythepublicwithoutenthusiasm.Abouthalfaneditionoffivehundredcopieswassoldandgivenaway,andtheremainderlingeredforadozenyearsormoreuntilthepublicationofTheEarthlyParadisestimulatedtheinterestofreadersinthepreviousworkofitsauthor.

WhateverdisappointmentMorrismayhavefeltmustsoonhavegivenwaytotheexcitementoftheplungehenowmadeintoanewlifeandthemostintensepersonalinterests.Onthetwenty-sixthofApril,1859,hewasmarriedtoJaneBurden,andafterabriefintervaloftravelhebegantobuildthebeautifulhousewhichhethensupposedwouldbehishomefortherestofhisdays.

Hispersonalattractivenessatthistimewaskeenlyfeltbyhiscompanions.Hehadbeen"makinghimself,"asthephraseis,sincehischildhood,andifStevenson'sdictum--toknowwhatyoulikeisthebeginningofwisdomandofoldage--beappliedtohimhecanneverhavebeenwhollyignorantorachild.Knowledgeofwhatheliked,andevenmore

definitelyofwhathedidnotlike,washisearliestaswellashismostnotableacquirement.Buthewasaboy,too,inhisexcessiverestlessvitality,andhithertowithallhisenthusiasmshehadbeenasomewhatcoldboy.Justnowhewasbeginningto"takeafancyforthehuman,"asoneofhisfriendsputit.Hewasconnectinghisvagueschemesandambitionswithapersonalandpracticalenterprise.Hisidealsdroppedfromaregionalwaystoorareforthemtoanatmosphereofactivitiesandinterestsinwhichthevastgeneralpubliccouldbreatheaseasilyashe.Inbuildinghisnewhometohisfancyhewasunconsciouslylayingthecorner-stonesofthemanyhomesthroughoutEnglandintowhichhisinfluencewasafterwardtoenter.Hewasjusttwenty-five,filledwithenergy,generousimpulse,honesty,andkindness.Thebourgeoistouchwhichhisbiographerdeclareswasinherentinhisnaturewasfarfromobviousas

yet.Societyforitsownsakehelikedlittle,andwasnotabovegettingoutofunwelcomeinvitationsbysubterfuge,iffairmeanswouldnotavail.HeaffectedaBohemiancarelessnessindress,andhishairwasuniformlywild.Hislanguagewasgenerallyforcible,oftenviolent,alwaysexpressive.Helivedinthecompanyofhisintimatesandcaredfornothingbeyondtherangeofhisfixedinterests.Theremarkmadelongafter--"DoyousupposethatIshouldseeanythinginRomethatIcan'tseeinWhitechapel?"--wasperfectlyindicativeofhismoodtowardeverythingthatfailedtoarousehisintellectualcuriosity.Buttheplacesandthingsthatdidarouseitwerenevertawdryorvalueless,andhisreasonsforcaringforthem,ofwhichhewasalwaysremarkablyprolific,weresuchasappealstronglytothemindinwhichhomelyassociationsholdaconstantplace.Itmustbeanoutandoutclassicistwhofailstodetectinhimself

apulsationofsympathyinresponsetothewailwhichMorrisoncesenthomefromVerona:"Yes,andeveninthesemagnificentandwonderfultownsIlongratherfortheheapofgreystoneswithagreyroofthatwecallahousenorth-away."

[Illustration:"ACANTHUS"WALL-PAPER,"PIMPERNEL"WALL-PAPER,"AFRICANMARIGOLD"COTTON-PRINT

WALL-PAPERANDCOTTON-PRINTDESIGNS


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(ReproducedfromexamplesobtainedbycourtesyofMr.A.E.Bulkley)]

Hisfirsthouse,inwhichhetookunlimiteddelight,wasnot,however,aheapofgreystones,butastructureofbrick,itsname,theRedHouse,indicatingitsstrikingandthenunusualcolour.ItsarchitectwasPhilipWebb,whohadbeenanassociateofMorrisduringthebriefperiodpassedinMr.Street'soffice.SituatednotfarfromLondon,ontheoutskirtsofthevillageofUptonandinthemidstofapleasantorchard,whosetreesdroppedtheirfruitintoitswindows,theRedHouseworeanemphaticallyGothicaspect.ItwasL-shaped,withnumerousirregularitiesofplan,andentirelywithoutfripperyofappliedornament.Itsgreatslopingroof,thepointedarchesofitsdoorways,thedeepsimpleporches,thelargehall,withitslongtableinplaceofanentrancealleytheopen-timberedroofoverthestaircase,thepanelledscreendividingthegreathallfromalesserone,--allthesewerecharacteristicoftheoldEnglishhousebeforethedayofItalianinvasion,whilethemobileGothicstyle,adaptingitselfreadilytoindividualneeds,prevailed.Itstoodamongtheoldandgnarledtrees,onlytwostoriesinheight,butwithaneffectoframblingspaciousnessandhospitality,andthegardenthatlayclosetoitwasasindividualandold-fashionedasitself.Morrispridedhimself,Mr.Mackailtellsus,onhisknowledgeofgardening,andhisadvicetotheBirminghamSocietyofArtistsinoneofthelecturesofhislateryearsshowshowthoughtfullyheconsideredthesubject.Ashealwaysactedsofarashecoulduponhistheories,wemaybefairlysurethattheRedHousegarden

wasplannedinconformitywiththeidealplacesketchedinthislecture,andmayassumeinitaprofusionofsingleflowersmixedtoavoidgreatmassesofcolour,amongthemtheoldcolumbine,wheretheclusteringdovesareunmistakableanddistinct,theoldchinaaster,thesinglesnowdrop,andthesunflower,theseplantedinlittlesquares,dividedfromeachotherbygrassywalks,andhedgedinbywildroseorsweet-briartrellises.Wemaybesuretheplacecontainednocuriositiesfromthejungleortropicalwaste,thateverythingwasexcludedwhichwasnotnativetotheEnglishsoil,andthatfernsandbrakesfromthewoodlandwerenotenticedfromtheplaceoftheirorigintotakeawaythecharacteristicdomesticlookofaspotthatoughttoseem"likeapartofthehouse.""Itwillbeakeytorightthinkingaboutgardens,"saysMorris,"ifyouconsiderinwhatkindofplacesagardenismostdesired.

Inaverybeautifulcountry,especiallyifitbemountainous,wecandowithoutitwellenough,whereasinaflatanddullcountrywecraveafterit,andthereitisoftentheverymakingofthehomestead;whileingreattowns,gardensbothprivateandpublicarepositivenecessitiesifthecitizensaretolivereasonableandhealthylivesinbodyandmind."

Passingfromthisfirstnecessityofreasonableandhealthylivingthroughtherose-maskeddoorwayintotheRedHouseitself,wefinditequallysuggestiveofitsmaster'spersonaltastesandbeliefs.ForeverythingMorrishadhispersuasivereason.Hiswindowshadsmallleadedpanesofglass,becausethelargewindowsfound"inmostdecenthousesorwhataresocalled,"letinafloodoflight"inahaphazardandill-consideredway,"whichtheindwellersare"forcedtoobscureagainbyshutters,

blinds,curtains,screens,heavyupholsteries,andsuchothernuisances."Byallmeans,therefore,fillthewindowwithmoderate-sizedpanesofglasssetinsolidsashbars--"weshallthenatalleventsfeelasifwewereindoorsonacoldday"--asifwehadaroofoverourheads.Thefactthatsmallwindowswereusedinmedivaltimesandmustthereforeofnecessitybesuperiorisnotbroughtforwardinthisargument,andthecharmofthereasoningisnotmarredbyanyreminderoftheactualconditionsofwhichsmallheavilyleadedwindowsareasurvival--suchasthefortressstyleofbuildingbelongingtoawarliketime,andthegreatcostlinessofglass,andtheinabilitytosupportlargepanesbyleads.


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Morriscouldalwaysbetrustedtosupporthisfundamentallikingforathingbyahostofassurancesastoitssensiblemeritsandpracticaladvantages,butthemerefactthathelikeditwasquitesufficientforhisownsatisfactionofmind.Whenoneofhiscomradesoncesuggestedtohimthatpersonalfeelingoughtnottocountfortoomuch,andthatnotlikingathingdidnotmakeitbad,hereplied:"Oh,don'titthough!Whatwedon'tlikeisbad."Andhehadafashionwhichmusthaveproducedanirritatingeffectuponsomeofhishearers,ofdeclaringthatthepeoplewhodidnotholdhisideasmustbeunhealthyeitherinbodyormindorboth.CertainlytheaspectoftheRedHousesuggestedhealthwithinitswalls.Withaslightstretchofimaginationonecouldarguefromitsfurnishingsthatitsmasterwasanortherner,amiddle-classman,theadmirerofaroughage,asturdyart,aplainhabitoflife;thathewasaworkerwhosedreamstormentedhimtospeedyandvigorousaction,acreaturewhosevitalitywastoogreatevenforhisstrongframeandphysicalpower.Helikedamassivechair,andwellhemight,foroneofhisamusementswastotwisthislegsaboutitinsuchawaythatalightlybuiltaffairmustinstantlysuccumb.Helikedafloorthathecouldstamponwithimpunity;helikedatableonwhichhecouldpoundwithhisfistswithoutdangertoitsequilibrium.IntheRedHousetheserequirementswerefullymet.InthelecturecalledTheBeautyofLifeisanaccountofthefittings"necessarytothesitting-roomofahealthyperson."Besidethetablethatwill"keepsteadywhenyouworkuponit,"andthe

chairs"thatyoucanmoveabout,"thegoodfloor,andthesmallcarpet"whichcanbebundledoutoftheroomintwominutes,"theremustbe"abookcasewithagreatmanybooksinit,"abench"thatyoucansitorlieupon,"acupboardwithdrawers,and,"unlesseitherthebookcaseorthecupboardbeverybeautifulwithpaintingorcarving,"picturesorengravingsonthewall,"orelsethewallitselfmustbeornamentedwithsomebeautifulandrestfulpattern,"thenavaseortwo,andfireplacesasunlikeaspossibleto"themodernmean,miserable,andshowyaffairs,plasteredaboutwithwretchedshamornament,trumperyofcastiron,andbrassandpolishedsteel,andwhatnot--offensivetolookatandanuisancetoclean."Tothesenecessaries,"unlesswearemusicalandneedapiano,inwhichcaseasfarasbeautyisconcernedweareinabadway,"wecanaddverylittlewithout"troublingourselves,andhinderingour

work,ourthought,andourrest."

Inaccordancewiththeseopinions,butwithafulnessandrichnessofornamentnotsuggestedbythesimplicityoftheirexpression,thepleasantbuildingatUptongraduallytookongreatbeautyandindividuality.ThewallswerehungwithembroideredfabricsworkedbyMrs.Morrisandherfriends,orpaintedbyBurne-Jones,who,undeterredbytheOxfordepisode,startedanelaborateseriesofmuraldecorationsinillustrationofthewonderfuladventuresofSireDegravant,theheroofanancientromance.AnotherseriesofscenesfromtheWarofTroywasstartedforthewallsofthestaircase,andalthoughbothschemeswereabandoned,enoughwasdonetogiveaneffectofsplendourtotherooms.Uptothelargedrawing-roomcametheponderousandmightysettlewhichhadcostsomanyexpletivesin

thecourseofitsadjustmenttotheoldroominRedLionSquare,andwhichwasnowembellishedbyabalconyatthetoptowhichastairwayledup.AllminoraccessorieswerethoughtfullyconsideredandforthemostpartdesignedbyMorrisorbyfriendspressedintoserviceathiseagerdemand.Hefoundlittletocontenthiminthearticlesofcommerceonsaleattheorthodoxshopsintheearlysixties."Inlookingatanoldhouse,"hesaysinoneofhisbooks,"wepleaseourselvesbythinkingofallthegenerationsofmenthathavepassedthroughit,rememberinghowithasreceivedtheirjoyandbornetheirsorrowandnoteventheirfollyhasleftsournessonit;andinlookingatanewhouseifbuiltasit


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shouldbe,wefeelapleasureinthinkinghowhewhobuiltithasleftapieceofhissoulbehindhimtogreetthenewcomersoneafteranother,longafterheisgone."SuchanimpressheleftupontheRedHouse,sothatnoonepassingitorevenhearingofitcanfailtothinkofitasbelongingtoWilliamMorris,whoevermayhavethefortunetoliveinithereafter,andfallheirtotheassociationswithwhichheinvestedit.

[Illustration:"THESTRAWBERRYTHIEF"DESIGNFORCOTTONPRINT]

Duringthetimeofbuildingandfurnishinghewasexuberantlyhappyandwhollyinhiselement.Turningconstantlyfromonethingtoanother,yetkeepingalongthelineofhisunitedinterests,givinghismagnificentenergyfreescopeindoingandaccomplishing,seeinggrowintovisibleformthetheoriesandtastessodeartohisheart,lettingouthisenthusiasmsandcarryingothersalongontheircurrent,settingapracticalexampleinwhathebelievedtobeofthedeepestimportancebyrequiringforhimselfartistichandicraft,actingoutavigorousprotestagainstthemechanicalartsandtheshamsofthecommercialworld,--allthiswasmeatanddrinktohim,andoutofitgrewanenterpriserepresentingwhattothepublichasbeenprobablythemostvaluablesideofhismany-sidedcareer,theestablishmentofafirmengagedinvariousformsofdecorativeart.Ataboutthistimeheadopted,afterthefashionofthemaster-workmanoftheMiddleAges,adeviceorlegendexpressiveinonewayoranotherofhisaim.HechosetheoneusedbyVanEyck,"Als

ichkanne,"--ifIcan,--anddistributeditinFrenchtranslationandinEnglishoverhishouse,onwindowsandtilesandintapestryhangings.ThemodestyofthewordswasnodoubtassincereinhiscaseasinthecaseoftheoldFlemishpainterwhoexcelledallhiscontemporaries,buttheextenttowhichhecouldanddidinthenewbusinessonwhichhewasabouttoenterhasbeenthewonderofhisfollowers.

CHAPTERIV.

MORRISANDCOMPANY.

Theformationofthefirmof"Morris,Marshall,Faulkner,&Company,"asitwasfirstcalled,appearstohavebeenhighlyincidentalincharacter,despitetheassertionofMorrishimselfinalettertohisoldtutor,thathehadlongmeanttobeadecorator,

WILLIAM MORRIS POET CRAFTSMAN SOCIALIST BY ELISABETH LUTHER CARY

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