STERLING AND FRANCINE CLARK ART INSTITUTE LIBRARY Digitized by the Internet Archive in 2012 with funding from Federally funded with LSTA funds through the Massachusetts Board of Library Commissioners http://archive.org/details/artofwilliammorrOOvall - THE ART OF WILLIAM MORRIS THIS EDITION IS LIMITED TO 220 COPIES, OF WHICH 210 ARE FOR SALE. THIS IS NO. !o-> lOm*m in window of hall corridor. wilfully shut their eyes." To abandon oneself, nevertheless, to unprofitable bewailings for a vanished past that could not be recalled were sheer cowardice, as Morris perceived. So, once convinced that the causes of the dearth of sound art amongst us lay deeper than he had at first suspected, viz., in the very conditions of our modern social and industrial system, he determined to think the matter out and to devise, if it might be, a remedy for existing evils. Hence he learned to look for the fulfilment of his aspirations in the ideal of a future, wherein a reconstructed society should even surpass anything hitherto achieved in the most glorious of days bygone. " The hope of our ignorance has passed away," he wrote, " but it has given place to the hope born of fresh knowledge." Experts indeed were slow to grasp the full significance of the teaching of Ruskin, as Morris did not fail to record. And he himself, young and ardent as he was at the time, would naturally be as loth as any among them to accept conclusions so tremendous. Had the consequent lesson come home to him, and had his reluctance given way earlier than it did, it is scarcely too much to assert 32 that the Red House might not have existed at all. At any rate, Morris built that once only, but never afterwards. The date of the Red House is 1859, as the vane on the top of the roof shows. " The only thing you saw from a distance," says Bell Scott in his " Reminis- cences," "■was an immense red- tiled, steep and high roof; and the only room I remember was the dining-room or hall, which seemed to occupy the whole area of the mansion. It had a fixed settle all round the walls, a curious music-gallery entered by a stair outside the room, break- ing out high upon the gable, and no furniture but a long table of oak reaching nearly from end to end. This vast, empty hall was painted coarsely in bands of wild foliage over both wall and ceil- :„„ ,„t,:„i, „..„,, «^«« *;™i,„« „„^ the red house, small panel of ing, which was open-timber and early morris glass (124 in. x 74 in.) lofty." (There are some obvious IN window of hall corridor. mistakes here. Bell Scott, though right enough in his impres- sion of the general effect of the furnishing and so on, is decidedly wrong in detail. In fact, he confounds the features of two separate rooms, and would lead one to suppose, from the way he speaks of them, that all were to be found together in one apart- ment.) "The adornment," he continues, "had a novel, not to say striking, character. . . . Morris did whatever seemed good to him unhesitatingly, and it has been very good." The following account is based on notes supplied by one who used to know the house in the old days. " The first sight of the Red House in 1863," says this writer, "gave me an astonished pleasure. The deep red colour, the great sloping, tiled roofs ; the small-paned windows ; the low, wide porch and massive door ; the surrounding garden divided into many squares, hedged by sweetbriar or wild rose, each enclosure with its own parti- cular show of flowers ; on this side a green alley with a bowling green, on that orchard walks amid gnarled old fruit-trees ; — all struck me as vividly picturesque and uniquely original." In the 33 k grass-plot at the back of the house is a covered well, with a quaint conical roof. " Upon entering the porch, the hall appeared to one accustomed to the narrow, straight ugliness of the usual middle-class dwell- ing of those days as being grand and severely simple. A solid oak table with trestle-like legs stood in the middle of the red-tiled floor, while a fireplace gave a hospitable look to the hall place." To the left, close to the foot of the stairs, is a wooden partition, panelled with leaded panes of plain glass of antique quality. This screen divides the main TH* RED HOUSE hal1 fr ° m S leSSel * h&11 OT buffet in the dining-room, corridor, which leads, at right angles, into the garden and is lighted by windows of glass quarries decorated with various kinds of birds and other devices. In the centre of two of these windows are single figure panels ; the one representing Love, in a rich red tunic, flames of fire at his back, and a stream of water traversing the flowery sward at his feet ; the other, Fate, robed to the feet in green, with a wheel of fortune in her hand. Immediately to the right as one enters the hall is a wooden structure, the lower part projecting to form a bench seat ; the upper part being a press or cupboard, with unfinished colour decorations. On the outside of the two doors of it are figure compositions, sketched in, and begun in oils, but left in- complete : while inside are some interesting experiments in diapering in black on a gold ground, by Mr. Morris's hand. Beyond this press is "the door of the dining room, the living room in fact. This is a long room and lies parallel to the hall. The fireplace stands out in the middle of the wall facing the entrance." It is of brick and, like the rest of the fireplaces in. the house, is not provided with a mantelshelf, the chimney-breast of brick going straight up to within a short distance of the ceiling, 34 where it finishes off with a coved top. Near the door, and occupying the greater part of the wall space to the left as one enters the room, a promi- nent feature " was a wide dresser which reached to the ceiling and was ornamented richly with painted decoration. By the fireplace stood a mov- able settle, with high back, the panels of it filled with leather, gilt and coloured. The chairs were plain black, with rush seats." Commonly accepted as is the use of this simple and picturesque form of chair at the present day, its revival is due to Mr. Morris's example. "The walls were tinted with pale distemper, and the ceiling ornamented by hand in yellow on white." The manner in which the ceiling decoration is carried out in this room and other parts of the house is most ingenious and effective. The pattern, a conventional repeat of the simplest form, was pricked upon the plaster, while yet moist and unhard- ened, the spaces between the pricked outlines being after- wards filled in with a flat tint _ of distemper colour, bright, but THE RED house. not so strongly pronounced as landing at the head of the stairs. to be staring, or in any degree disagreeable. Opposite to the front door, beneath an open pyramidal sort of lantern roof, rises the wide oaken staircase, with Gothic newel- posts at the angles; the underneath part of it not boxed in, as the ordinary custom is to conceal the construction, but left open and showing the form of the steps from below. " Upstairs — only one floor — above the dining room is the drawing room, with a decorated, open roof." The fireplace of brick with an open 35 hearth, was provided with a brick hood, which sloped narrowing to the roof. " To the left of the fireplace was a dais alcove with windows and window-seats. But the chief means of lighting was a large window at the end of the room furthest from the door. Facing the window was the most important feature of the room, viz., a great bookcase or cabinet — one scarcely knows how to describe it correctly. This painted cabinet, of which the effect was gorgeous, nearly filled the end of the room, while at one side was a wooden ladder stair-way by which one could mount to the upper part of it and find room to sit or move about on the top, as on a balcony. From this stage another short ladder led into a storage-loft in the roof beyond." " The walls of the principal bedroom were hung with em- broidered serge. Here also stood a splendid wardrobe," decorated all over with gilding and colour, a wedding present painted and given by Burne-Jones. Morris himself executed part of the decoration on the inner folds of the doors. The subject which covers the front of this wardrobe is " The Prioress's Tale " from Chaucer ; perhaps to the modern reader the most familiar of all the " Canterbury Tales," through Wordsworth's popularized version of it. The legend is not to be confounded with that of Little St. Hugh of Lincoln, though there are certain points in common. The various scenes of the story are represented, as was customary with mediaeval artists, all in the same picture, the principal subject being on a larger scale than the rest and occupying the foremost place in the composition. It depicts the Blessed Virgin stooping over the pit which contains the body of the murdered boy, and placing on his tongue a grain which should enable him in death to continue singing " Alma Redemp- toris Mater " to her praise. Towards the end of the year i860 Burne-Jones, while on a visit at the Red House, commenced a series of paintings in tempera upon the end wall of the large drawing-room there ; Morris also himself contributing somewhat to the decorative work, of which, however, the more important share was neces- sarily that undertaken by Burne-Jones. The subject was the mediaeval story of Sir Degravaunt, another of those romances which, like " Sidonia the Sorceress," had begun to exercise a powerful charm upon both the painter and his host. The charm, indeed, survived to the end, as was testified by the fact that a Kelmscott Press edition of " Sire Degravaunt," with a wood-cut frontispiece designed by Burne-Jones, had for some time past been in preparation, although unhappily Mr. Morris did not live to see it issued, dying as he did before it was ready. Only three 36 THE RED HOUSE, UPTON. WALL-PAINTINGS BY SIR E. EURNE- JONES, BT. THE ROMANCE OF SIR DEGRAVAUNT. panels, and these forming the last out of the set, were ever painted at the Red House. In one of them Burne-Jones introduced the portraits of Mr. and Mrs. Morris, seated side by side, in robes of state and crowned with coronets, in the characters of Sir Degra- vaunt and his bride in the scene of the wedding banquet. These paintings are not in a good position for light, but they are in good hands and well cared for, having been covered with glass to insure their preservation. Near about the same time, i.e., the latter part of i860, in a letter to Bell Scott, Rossetti writes to say that his wife has " gone for a few days to stay with the Morrises at their Red House at Upton, and I am to join her there to-morrow, but shall probably return before her, as I am full of things to do, and could not go there at all, but that I have a panel to paint there." The work was in oils, and it is said that one week sufficed for its execution. The subject of one of Rossetti's compositions for the Red House was the Garden of Eden. He also painted the first meeting and the last meeting of Dante and Beatrice ; in the middle, between the two scenes, being an allegorical figure of Love, holding a dial-plate in his hands. These panels were eventually removed when Morris parted with the Red House, and were framed in the form of a diptych. Morris did not occupy the Red House above six years. He gave it up at the end of that space and came back to live in London in 1865. i 37 CHAPTER FIVE. OF THE FIRM OF MORRIS AND CO., DECORATORS. 3 T was remarked by Mr. William Michael Rossetti in the work contain- ing his brother's life and letters that a " detailed history of the firm of Morris, Marshall and Faulkner, or Morris and Co., would by this time" (1895) "be an interesting thing," but that such a record had " not yet been written." Nor maybe among those that now survive, except to Sir Edward Burne- Jones and Mr. Philip Webb, who, if any, should be in possession of the necessary particulars, must it be looked to furnish a full account ; especially of facts and incidents relating to the earlier days, when the firm was more of the nature of an informal association of friends working together than a business partnership in the ordinary sense of the term. To whom belongs the credit of having been the first to conceive the idea of the artistic venture that has developed since into the business of Messrs. Morris and Co., may not now perhaps be determined with absolute certainty. The initiation of the project has been attributed at various times to various members of the original firm ; but the balance seems rather to incline in favour of Ford Madox Brown as one of the patriarchs of the revival. However, one thing at any rate is beyond doubt, that the whole undertaking owes its success to the patience and energy, to the enthusiasm, the originality, in a word, to the genius of William Morris, whose name it bears. It has been shown how the furnishing of his own house at Bexley Heath had been made by Morris the occasion for exercis- ing his ingenuity in embroidery design, in ceiling and mural decoration, and in several other ways, and generally of acquiring practical experience in different branches of domestic art. But what he began then by doing on a small scale, was destined to engage him from that time forward for the remainder of his life. There is but slight necessity to enumerate the horrors proper to the early Victorian period — the Berlin woolwork and the bead mats ; the crochet antimacassars upon horsehair sofas ; the wax flowers under glass shades ; the monstrosities in stamped brass and gilded stucco ; chairs, tables, and other furniture hideous with veneer and curly distortions ; the would-be naturalistic vegetable-patterned carpets with false shadows and misplaced 38 perspective ; and all the despicable legion of mean shams and vulgarities which have been exposed and held up to ridicule times without number. The memory of them, indissolubly associated with the geranium and the crinoline, is only too painfully vivid to the minds of many of us. It is sufficient to say that love nor money could procure beautiful objects of contemporary manu- facture for any purpose of household furnishing or adornment when William Morris undertook the Herculean and seemingly hopeless task of decorative reform, and wrought and brought deliverance from the thraldom of the ugly, which oppressed all the so-called arts of this country. Two years and more elapsed from the time the proposition was first mooted ; and during that interval not a few preliminary meetings were held, not a few times merely was the scheme dis- cussed, before anything like a definite working plan was deter- mined on. At one time two or three of those who originally constituted themselves members of the firm would assemble to discuss their plans at Madox Brown's house at 13, Fortess Terrace, (now Junction Road,) Kentish Town ; at another time at Burne-Jones's rooms in Charlotte Street, Fitzroy Square ; at another time again at Morris's own studio in Red Lion Square. Morris is described by one, who met him first on one such occasion, as keenly alert and full of energy and move- ment, — altogether a most striking personality. There were other meetings, or, as they used to be called, " gatherings of the clans," at Madox Brown's house, for instance when himself took the chair and a larger number were present. Several ladies also who were interested as taking part in the work were present on certain occasions. At one of the general meetings, which took place about the middle of the year 1861, it was announced that rooms, for business premises, had been taken at No. 8, on the north side of Red Lion Square, W.C. " With a view," writes Mr. Ford Madox Hueffer, in his record of the life and works of Ford Madox Brown, " of starting a sort of co-operative agency for supplying artistic furniture and surroundings primarily to them- selves, but also to the general public, each of those present," it was agreed, " should lay down a stipulated sum. . . . The rules of incorporation were briefly : that each member should con- tribute designs for the various articles of use and ornament for which demand arose, and should be paid for his work in the usual course of events, before the profits, if any, were shared." Moreover, at the same time it was mentioned that Mr. Bodley, the architect, had promised to commit the execution of certain orders for stained glass and other decorations to the firm, 39 provided they were organized so as to be able to undertake them. Proposals as to ways and means having thus already been formulated, the business, under the style of Messrs. Morris, Marshall, Faulkner and Co., was now definitely set on foot. A strangely assorted group were they who comprised the original members of the firm. Ford Madox Brown, Dante Gabriel Rossetti, Edward Burne-Jones and Arthur Hughes, painters, the last of whom shortly withdrew ; Philip Webb, architect ; Peter Paul Marshall, district surveyor at Tottenham and engineer ; and Charles Joseph Faulkner, an Oxford don— these were Morris's partners in the firm. He himself was to undertake the business management and general direction of the affair. His father, before him, had been a man of business, and William Morris had inherited presumably some measure of his father's capacity. " Mr. Morris," says Mr. W. M. Rossetti, " came much the fore- most, not only by being constantly on the spot, to work, direct and to transact, but also by his abnormal and varied aptitude at all kinds of practical processes." Beside the partners, of whom all, as it has been stated above, were to give active assistance according to their ability, the staff at the outset was of the smallest. There was Mr. George F. Campfield, subsequently appointed foreman, whom Madox Brown and Burne-Jones had met some two years previously among the students in Ruskin's class at the Working Men's College in Great Ormond Street ; and there was also a man engaged to do the rough work of packing and so on. He, by the way, is the same who figures as one of the labourers in Madox Brown's " Work " at the Corpora- tion Art Gallery at Manchester. As the business of the firm expanded, others were engaged, as required, through the means of advertisements in a Clerkenwell local paper, in " The Builder," &c. But the scheme indicated in the circular, as below, was so unusual from its utter disregard of established conven- tions, and had caused so much dismay among trade circles, that men on the look-out for employment were for a long time afraid to come forward in response, being wary of identifying them- selves with an undertaking on the face of it so hazardous, and such that obviously was foredoomed to failure. The firm, on their part, were anxious to exclude the merely commercial element, and required of all who joined in their work fair evidence, at least, of artistic appreciation beyond the ordinary standard. The first step the firm took to make their existence known to the public was to send forth a circular stating their aims. The purport of this document was that "a company of historical 40 artists had banded themselves together to execute work in a thoroughly artistic and inexpensive manner ; and that they had determined to devote their spare time to designing for all kinds of manufactures of an artistic nature." In our days — so far have conditions been modified and views progressed — a notice of this sort would excite but little comment. Yet in the period when the decorative arts, as then practised, were understood to be a mere polite accomplishment for young ladies who had no better occupation to keep them amused ; and when also the line of demarcation between the gentleman, the man, that is, who did nothing to earn his bread, and the business man was drawn with uncompromising sharpness, it was not to be wondered at if the announcement came with the provocation and force of a challenge, and dumbfounded those who read it at the audacity of the venture. The amount of prejudice it aroused would scarcely be believed at the present time. Professionals felt themselves aggrieved at the intrusion, as they regarded it, of a body of men whose training had not been strictly commercial into the close preserves of their own peculiar domain ; and, had it been possible to form a ring and exclude Messrs. Morris, Marshall, Faulkner and Co. from the market, the thing would infallibly have been done. But if from without there was much bad blood to encounter and live down, the enthusiasm that reigned among themselves and inspired the courageous little band of pioneers — for they were indeed no less than that — was such, that it is difficult to form any con- ception of it at this distance of time. Pioneers ! Nay, Morris and his fellow-workers must have felt themselves to be something far exceeding that ; — no mere Columbus was Morris, guiding the helm of his craft to the discovery and exploitation of some already existing land : — no, but since he and they that followed his leadership were actually constructing by their own efforts a new and unknown territory which before had had no being, theirs was rather the divine joy of creating, a joy that is given to none but to an artist, himself a creator, to appreciate. " Ah ! but those were grand times," remarked one who has worked with the firm from the very commencement. Furthermore, a thing rarer then than nowadays, there was an all but unlimited freedom of cri- ticism admitted on both sides, between employers and employed, a freedom that virtually amounted to equality of condition between them. The approaching International Exhibition in London, 1862, and the prospect of being represented worthily there, gave the newly-founded firm a definite motive for rallying together and, if it were possible, an extra incentive to strenuous exertion. To 41 M meet the pressure of work thereby entailed, the staff of Messrs. Morris, Marshall, Faulkner and Co. was increased towards the end of 1861 ; the new-comers being Messrs. Albert and Harry Goodwin and Weigand. The latter assisted Rossetti in the decoration of Mr. Seddon's cabinet, and was taken on ultimately as a regular worker in the firm. Finding themselves also in need of additional help in preparing the glass in hand for exhibition, the firm advertised in " The Builder " of gth November, 1861, for " a first-rate fret glazier wanted." This led to the engaging of Mr. Charles Holloway, who has since become a painter. Practically no particulars of the exhibits of Messrs. Morris, Marshall, Faulkner and Co. are to be gathered from the Official Illustrated Catalogue of the Exhibition of 1862, printed for her Majesty's Commissioners. It contains but two meagre entries of objects shown by the firm, viz., "Exhibit No. 5783: Decorated furniture, tapestries, &c," and " Exhibit No. 6734 : Stained glass windows." The report of the juries and list of awards witnesses that a medal (United Kingdom) was bestowed on the firm for their 'work in either class. In the case of the stained glass the award was given " for artistic qualities of colour and design," and in the case of their contributions to the class for furniture and upholstery, paper-hangings, &c, the record runs : " Messrs. Morris and Co. have exhibited several pieces of furniture, tapestries, &c, in the style of the Middle Ages. The general forms of the furniture, the arrangement of the tapestry, and the character of the details are satisfactory to the archaeologist from the exactness of the imitation, at the same time that the general effect is excellent." This recognition, scanty and inadequate as it was, from the authorities was not allowed to pass unchallenged. The hostility displayed in certain quarters was of the most determined character. Opponents of the firm even went the length of starting a petition to get the work disqualified, on the ground that it was other than it professed to be. In particular they maintained, and that with a dogged obstinacy which did little credit to their own acquaintance with technique, that Morris, Marshall, Faulkner and Co.'s stained glass was not new work or new material at all, but in reality old glass touched up for the occasion — that it was, in plain language, a fraud. But misunder- standings on the part of brother-artists and more bitter jealousy on the part of the trade were of little avail. The awards of the official judges were upheld. And perhaps, after all, the animosity of rivals afforded really testimony the strongest, just because it was involuntary, to the very remarkable qualities of the work 42 which the firm, during so brief a period of existence, had succeeded in producing. At least one expert, Mr. Clayton, of the firm of Clayton and Bell, and formerly a fellow-student with Rossetti at the Royal Academy Schools, when he came to adjudicate, pronounced the work of Messrs. Morris and Co. to be the finest of its kind in the Exhibition. Before the close of the Exhibition orders were received through Mr. Bodley, then a generous friend and supporter of the firm, for glass for St. Michael's, Brighton, and also for another new church, built in 1862, viz., All Saints', Selsley, a fresh district formed out of the parish of King Stanley in Gloucestershire. The design for the latter church comprised some square quarries with fine circular ornament and delicate yellow stain, in the execution of which quarries Morris personally bore a share. To help in this work an ordinary glazier was engaged to cut and glaze the glass. Another order that followed shortly after was for glass for Bradford, Yorkshire. During their first year Mr. J. P. Seddon, the architect, had commissioned Messrs. Morris, Marshall, Faulkner and Co. to decorate a cabinet made from his own design. This was one of the earliest works undertaken by the firm, and was included among the furniture shown at the Exhibition of 1862. It is still in Mr. Seddon's possession. "The subjects proposed for the decoration of this cabinet," says a note by the editor of "The Century Guild Hobby Horse," October, 1888, " being Architecture, Painting, Sculpture and Music, Mr. Ford Madox Brown suggested a series of imaginary incidents in the ' Honeymoon ' of King Rene by which to express them, that king having been skilled in all these arts ; Mr. Madox Brown himself designing the ' Archi- tecture,' while the other subjects were invented by Dante Gabriel Rossetti and Mr. Burne-Jones. . . . The cabinet ... is Gothic in character, and made of oak, polished and inlaid with woods of various colours ; the hinges being of metal, painted. The face of the lower portion, which rests immediately upon the ground and forms the greater bulk of the cabinet, contains four panelled doors, the central two of which project slightly beyond those which are at either end. On the panel of the door to the extreme left is painted in oils the design significant of Architec- ture. . . . Upon the gold background is a pattern of lines and dots, and above the figures is set the kind of canopy represented in mediaeval manuscripts," a trefoiled arch, the spandrils of which contain, within circles, shields with the arms of King Rene, &c. " This background and canopy is repeated in the three other panels. The dress of the king is of a purplish red, lined with 43 blue, his shoes of scarlet ; while the white dress of the queen is edged with dark fur, and embroidered with red and blue flowers done in outline. The two panels of the projecting central portion of the cabinet were painted by Mr. Burne-Jones. In the first of these, the king is shown drawing the figure of a woman, as his queen stands over him ; in the third panel he is at work carving a statue, while the attitude of the queen would seem to express astonishment at his art. The remaining panel on the right, representing 'Music,' was designed by Rossetti. Here the queen is seated, playing at a kind of regal, or chamber organ, the bellows of which are blown by King Rene. She is in a dress of green ; and, as she is playing, a cloak of fur, lined with orange, falls from her shoulders, as the king bends over the instrument to kiss her. In the upper portion of the cabinet are four little square panels, painted with the half-lengths of girls variously engaged : one of them is at a frame, embroidering ; another, wearing a wimple, weaves a chequered cloth." Part of the decoration also was done by Mr. Val Prinsep. Yet another cabinet, produced later, should be mentioned ; a high one, for the design and execution of which the firm was responsible; the subject of the panel decora- tion, " Green Summer," being the work of Burne-Jones. But of Messrs. Morris, Marshall, Faulkner and Co.'s exhibits at the Exhibition of 1862 neither the least interesting nor the least beautiful was a piece of furniture, now in private ownership, a cabinet, raised on a stand and furnished with doors, both the designing and the painting of the four panels being the work of William Morris's own hand. His original pen-and-ink studies belong to Mr. Fairfax Murray. The subject is the legend of St. George, the series beginning with the royal proclamation and surrender of the victim to the dragon, and ending with the triumphal return of St. George with the rescued maiden ; it does not, however, include the oft-repeated subject of the combat with the dragon. While Morris was engaged upon this work at Red Lion Square, he received a visit from the master of his old school at Walthamstow, Mr. Guy, who was not only delighted but astonished at the work offered for the inspection of himself and the friends who accompanied him ; a fact which goes to prove what has already been stated, viz., that there was no tradition of the extraordinary artistic powers Morris developed when he grew up having been manifested or even suspected in him in boyhood. If Morris's position at the head of affairs at Messrs. Morris, Marshall, Faulkner and Co.'s had hitherto not been appreciated, the mark that, owing to his guiding genius, the firm made at the Exhibition left no doubt as to his importance. At a social gather- 44 ing at the Red House, to which, after the close of the Exhibition, Morris invited all the members of the firm, partners and staff in a body, he seemed instinctively to be acknowledged with one accord as occupying the leading place. The entire direction thenceforward was virtually in his hands, and he applied himself unremittingly to the task. When, in 1865, the firm removed from their original quarters to No. 26, Queen Square, Bloomsbury, Mr. Morris left Upton and took up his residence under the same roof. The house being a large one, the accommodation was sufficient, and, by living thus on the spot, he was enabled to devote still more of his time to superintending the industries carried on by the firm. But although he was, for all intents and purposes, in command of the whole business, he did not become the formal and official head until 1874. In the summer of that year, the original partnership was dissolved, Mr. Theodore Watts taking an active part in the arrangement of the affair. Mr. Morris then bought out the other partners and himself remained as sole repre- sentative of the Company, styled thenceforward simply Morris and Co. A fresh notice was issued to announce the change in the firm and to explain that the character of its work would remain unchanged, Burne-Jones continuing as before to furnish cartoons for stained glass. But one must not anticipate. Towards the beginning of 1865 Mr. Warrington Taylor came into the business, in the capacity of acting manager under Mr. Morris, and was of great service to the firm, while he lived ; for, un- happily, in a few years' time he was carried off by consumption. He was succeeded by Mr. George Wardle, who had formerly acted as his assistant, and who remained in conduct of affairs from the death of Mr. Taylor for a considerable time — in fact, until within about six or seven years ago, when he resigned and went abroad. The names of some others who have, in the past, been workers in or on behalf of the firm may be mentioned : Messrs. Fairfax Murray, Charles Napier Hemy, James Egan, Fletcher, and the Misses Faulkner. With reference to the remarks in the official report of the Exhibition of 1862, it should be observed that in the early days of Messrs. Morris, Marshall, Faulkner and Co., their productions, though far from being merely imitative, presented a greater degree of resemblance to mediaeval work than they came to have in later times, when the distinctly characteristic style of Morris had matured. Thus, in the powderings and diaperings of draperies, backgrounds, &c, for stained glass, the firm, about the middle of the sixties, made some use of a collection of ancient examples of decorations copied from different churches in Norfolk 45 n and Suffolk. These patterns and details of ornaments from paint- ings on walls and roofs, mouldings and carved woodwork, &c., including a series of figures of the angelic hierarchy from the rood-screen of St. Michael's Church, Barton Turf, Norfolk (date c. 1430), and some figures of saints, also of the fifteenth century, from Cawston Church in the same county, were selected and drawn by Mr. G. Wardle. Executed in pencil, and in many instances coloured, with a rare mastery of draughtsmanship, upon tracing paper, mounted on cards and enclosed in three portfolios, this valuable set of designs was acquired in the years 1866 and 1867 for the National Art Library at the South Kensing- ton Museum. When first the firm started to execute stained glass, Mr. Morris himself had no practical experience of the technicalities of the art. Madox Brown had previously made but one design for the purpose, viz., the Transfiguration, for Messrs. Powell and Sons; while Burne-Jones, it is true, had already projected a course of instructions on the subject at the Working Men's College in Great Ormond Street, and had even designed a small quantity of glass, e.g., for Waltham Abbey Church, as well as the St. Frideswide window in the Latin Chapel at Christ Church. It fell, however, to the lot of neither of these, but to another member of the firm, Mr. Webb, to test the proficiency of their foreman, Mr. Campfield, who, having been employed for a short time by a firm of stained glass manufacturers, was entrusted with the getting together the necessary plant and with the arrangement of the working details at the commencement. A small kiln for firing the glass was constructed on the premises at Red Lion Square, and they set to work. Of course Mr. Morris was not content to stand by and watch other people engaged in a craft in which himself had no part. So he took up the work, and practised paint- ing glass quarries, with the rest. It came to be the custom for the choice of the particular diapers and borders for draperies, &c, to be left to the artist who actually executed the glass-painting, but it was reserved for Morris to determine the scheme of colour- ing in each case. And when also it is remembered that Burne- Jones was not in the habit of inserting the lead-lines in his cartoons, and that Madox Brown did so only occasionally, one can understand how much remained over and above for Morris and his assistants to do to adapt the designers' drawings in mono- chrome for practical working purposes. The stained glass shown by the firm at the Exhibition con- sisted of some few pieces for domestic purposes, ornamental quarries, and a set of seven panels, designed by Rossetti, to illus- 46 ADAM AND EVE IN PARADISE. Painted Glass in St. Martin's, Scarborough; designed by D. G. Rossetti. trate the parable of the Wicked Husbandmen in the Vineyard. This series was erected eventually in the east window of St. Martin's on the Hill, Scarborough, through the recommendation of Mr. G. F. Bodley, who built the church, and entrusted a con- siderable part of the internal decoration to Messrs. Morris, Marshall, Faulkner and Co. The pulpit was decorated by the firm, two panels in it being painted by Rossetti himself. The mural painting above the altar was also, in its original state, the work of the firm, but having fallen into a ruinous condition, it has since been completely repainted by local painters. " The first impression," says M. Olivier Georges Destree, a Belgian writer, in " The Savoy " of October, 1896, " given by the window of the Parable of the Vineyard, which lights the choir, is an impression of colour, dazzling and magnificent, velvety and harmonious, resembling the Flemish stained glass windows decorating the Gothic cathedrals. From the point of view of stained glass, this is the one I consider to be the most perfect. It has all the quali- ties which . . . were considered essential by Madox Brown, . . . and all these qualities are united in a high degree of perfection. In fact, when we approach this window and examine it in detail, we perceive that it is no less remarkable for its ingenious and original composition than for the sensation of opulent colour which it at first gave us. . . . Sumptuous in colour, ingenious in composition, the window of the Parable appears to be of a design more entirely and peculiarly Rossetti's than that of Adam and Eve, of which certain details seem to show the influence of Madox Brown." The subject of the " most beautiful and im- pressive " lancets, which are situated at the west end of the church, should be described more correctly as Adam and Eve in Paradise before the Fall. The date of them is 1862. " One is struck by the ingenious arrangement of the branches and leaves by which Rossetti veils the nudity of the bodies of Adam and Eve, for the rosy colours of the flesh look brighter in the violent con- trast with the uniform blue of the sky seen behind them ; and these ingenious contrasts give to these two nude bodies a vivid- ness of life which is rendered by no other stained glass window which I have ever seen. These resplendent bodies of Adam and Eve illuminate the church, and seem to give it some of their own life. The composition is no less original and new in its details than in the beauty of its colouring. Adam is depicted standing, picturesquely leaning on a branch of a tree with large sombre leaves, a fig-tree I think ; with the tip of his foot he amuses him- self by tickling a small bear curled up at his feet ; the blue sky is seen behind him, and sunflowers, flowering at the end of their 47 long stems, expand at his right hand ; in the branches of the tree above him a curious and familiar squirrel watches him. Standing also, Eve has stopped in the middle of a field richly studded with small flowers and red poppies ; of the same fairness as the hair and beard of Adam, her unbound hair falls in an opulent stream over her shoulders. In her arms she holds, tenderly pressed to her bosom, a white dove, and in the sombre tree above, his eyes fixed and shining, an owl surveys her. The predominant colours of this admirable window are flesh colour, dark green and light gold." Mr. William Sharp, describing the same windows, says, " A strict harmony of colour is maintained between the rich brown of the bear and squirrel, the varying green of the trees and foliage, the light golden hair and the flesh tints of Adam, the yellow sunflower, &c. ; the same being observed in the Eve picture, where also one or two red flowers give a deeper contrast." On the ground, close behind Eve, crouch two tawny- brown rabbits. " Above the windows of Adam and Eve," says M. Destree, " the Annunciation, by Burne-Jones, which decorates the large rose-window, and the ' Angels playing musical instru- ments ' of the nine smaller roses which surround it, form with the windows of Rossetti a remarkable and charming con- trast. . . . White, azure blue and ruby are the colours principally and almost exclusively used " in this group of ten openings which form the rose. There is altogether an abundance of Morris glass in St. Martin's, including, on the north side, figures of characters of the Old Testament, and, on the south, of saints of the Christian dispensation. Rossetti's designs for stained glass, however, were not very numerous. He produced a specially fine cartoon, which was executed by the firm, the subject being Christ in majesty, sur- rounded by angels ; but " his last composition of this class," writes Mr. William Sharp, was a memorial to his aunt, Miss M. M. Polidori, who died in 1867. It was erected in Christ Church, Albany Street, Regent's Park, and is the second window from the bottom of the nave on the right as one faces altarwards, " the colouring throughout being rich and harmonious." The subject is the Sermon on the Mount. It is divided into three compartments, each panel being surrounded by small square panes of white glass, ornamented uniformly with a many-petalled rose, painted with great delicacy in sepia, with yellow stain introduced here and there to heighten the effect of leaves and stalks. In the north transept of St. Giles's Church, Camberwell, is a two-light window, erected in December, 1864. An early example it is of unusual interest, not only because of the introduction of 48 SS. PAUL AND JOHN BAPTIST. Painted Glass in St. Giles's Church, Camberwell. The figure of St. Paul designed by William Morris. ■ ■ - canopies, a feature not too common in the glass of the firm, but also because, what is more important, the figure on the left was designed by Mr. Morris himself. It represents St. Paul, clothed in a blue robe, with white cloak, lined with green ; the diapered background being of rich red glass. The figure of St. John Baptist on the right, against a blue background, diapered in similar manner, has a red-lined white cloak over his camel-hair vest. The small groups below represent severally St. Paul preaching and St. John baptizing. Besides ornamental quarries, of which he produced a great variety, Mr. Morris's own designs for stained glass were but few. One of his larger cartoons for this purpose is in the collection of Mr. Fairfax Murray. The subject is St. Mary Magdalene, the pattern upon her robe being remarkably elaborate and beautiful. Far more prolific as a designer of glass than either Rossetti or Morris was Ford Madox Brown, who between 1862 and 1875 must have supplied, accord- ing to Mr. F. M. Hueffer's estimate, over 150 designs for the use of the firm. Among Madox Brown's cartoons for glass, beside two subjects from the Legend of St. Martin, for the church of that dedication at Scarborough, may be mentioned Christ blessing little Children (1862) ; Abraham and Isaac, Isaac blessing Esau, SS. Paul, Elizabeth, John, and Matthew (1863) ; a magnificent set of six scenes (designed in 1864 and 1865) from the life and death of St. Oswald, now occupying the west window of St. Oswald's Church, Durham ; a series representing the Legend of St. Edith, for Tamworth Church (1873) ; and two more subjects, the Incre- dulity of St. Thomas (1874), an d Christ appearing to St. Mary Magdalene in the Garden (1875). The church of St. Michael at Brighton, the very first which Mr. Bodley ever built, contains, in his opinion, some of the finest specimens of early Morris glass, designed, with the exception named below, by Burne-Jones. By the font, at the west end of the south transept of the original church — that is, of the church as Mr. Bodley built it ; for it has since been enlarged — is a two- light window, a memorial to Dr. Bodley, representing the Baptism of Christ. At the east end of the south transept is a small chapel containing two low windows of two lights each, the subject of the first being three Angels conducting Mary and Joseph and the Holy Child into Egypt ; the subject of the other the Angel with the three Maries at the Sepulchre. Above is a small circle with the emblematic pelican. But the most interesting and important glass is that in the west wall of the nave. The upper part is a rose window, which comprises a seven-foiled circle, containing the Madonna and Child, surrounded by seven smaller circles, 49 o each with an angel, robed in dark green, striking a bell, upon a background of white quarries with yellow stained ornament. The lower part consists of two double lancets, each pair sur- mounted by a six-foiled circle, containing respectively St. Michael and the Dragon on the left, and the Annunciation on the right. The lancets represent four Archangels in the following order, reckoned from left to right : St. Michael, with shield and lance, St. Raphael, St. Uriel, and St. Gabriel holding a lily. The figures of these four lights, which have, it has been observed, a " mysterious witch-like glamour " about them, were executed from designs by Ford Madox Brown in 1863. Other early Morris glass is at Coddington Church, Newark-on-Trent. The east window was erected in 1865, and one more at the same time ; while others have been inserted at various subsequent dates. The figures are upon a quarried ground, without canopies. Mr. Madox Brown, in the preface to a catalogue of his ■work entitled " Cartoons for Stained Glass " (1865), sets forth the general rules followed by the Pre-Raphaelite painters in the designing of stained glass and the customary method employed by Messrs. Morris, Marshall, Faulkner and Co. in the execution of the same. " With its heavy lead lines," he says, " surrounding every part, (and no stained glass can be rational and good without strong lead lines)," — a fundamental condition which, by the way, entails the condemnation of Sir Joshua Reynolds's glass pictures, howsoever admired by American visitors, in the west window of New College Chapel, Oxford, — " stained glass does not admit of refined drawing ; or else it is thrown away upon it. What it does admit of, and what above all things it imperatively requires, is fine colour," (Sir Joshua Reynolds's glass, mentioned above, is mostly brown and drab :) " and what it can admit of, and does very much require also, is invention, expression and good dramatic action. For this reason work by the greatest historical artists is not thrown away upon stained glass windows, because, though high finish of execution is superfluous, and against the spirit of this beautiful decorative art, yet, as expression and action can be conveyed in a few strokes equally as in the most elaborate art, on this side therefore stained glass rises to the epic height. . . . The cartoons of this firm are never coloured, that task devolving on Mr. Morris, the manager, who makes his colour (by selecting the glass) out of the very manufacture of the article. The revival of the mediaeval art of stained glass dates back now some twenty years in the earliest established firms ; nevertheless with the public it is still little understood ; a general impression prevails that bright colouring is the one thing desirable. . . . The 50 result of this is that the manufacturers, goaded on by their clients, and the fatal facility of the material, (for all coloured glass is bright,) produce too frequently kaleidoscopic effects of the most painful description." In some interesting notes on " Stained Glass, Ancient and Modern," in the " Century Guild Hobby Horse " of October, 1887, Mr. John Aldam Heaton writes, " In Keble College the other day, a friend remarked, ' We shall soon want a fresh set of Church restorations — to get rid of modern stained glass ; ' and certainly the specimens before us justified the remark— a remark which brought to one's mind all the gross vulgarity of colour, feebleness of execution, poverty of design, and general inanity of scheme, all overshadowed by a strong tendency towards greenish-jaundice, which characterizes ninety per cent, of all the glass now being made for cathedrals, churches, and alas ! also for houses." " I am far indeed from wishing to include Mr. Morris's work in this condemnation, and as he doesn't make anything like a tenth of what is produced, I leave room for some respectable work by other makers : but this does not even veil the fact that the production of this splendid item of the decorator's art has fallen into most incompetent hands, and has become a prominent source of ofe-decoration to our buildings, and of annoyance and vexation to all men of cultivated taste. . . . The mere fact of modern glass being drawn on paper only, even by such accomplished designers as Mr. Burne-Jones, and then transferred to glass by copyists, — copyists whom one feels inclined to class as ' clerks,' — points at once to an inevitable and fatal element of inferiority. What would a man think, having given an order for a picture to an eminent artist, when he discovered that the eminent artist had only drawn it in chalk on paper, and then handed it over to his ' young man ' to copy it in colours on canvas ! Yet this is done universally in stained glass ; whereby we at once lose ' touch,' sparkle, breadth and originality of handling, and get in exchange the mechanical monotony of the copyist ; with this further mis- chief, that whereas the canvas or the panel may bear, and often with great advantage, the most minute detailing and stippling, as witness the work of Memling or Van Eyck, such work is fatal on glass, where translucency should be a prominent characteristic. . . . The copyist delights in a hard, wire-like, mechanical line, and is proud of it : the artist avoids it as he would a plague. The copyist, if he has projection to express, knows no way but stippling the whole surface — now light maybe, now dark, but everywhere stippled, suffering always from that most inartistic fault of not knowing where to stop : the mediaeval artist, who 5i always appears to have known and felt the qualities and capabi- lities of the material he was working in, saw at once that sparkle, translucency — life — disappear under excess of stippling, and so stopped very far short indeed of the whole surface — often didn't stipple at all. Indeed, stained glass, theoretically, should be very much of the nature of a sketch by an able hand, vigorous in con- ception, strong in the handling of the principal forms, and slight as possible in mechanism of detail ; practically, the glass should be variable in thickness, ribby, and full of air bubbles, so as to produce gradation of colour and enhance the jewel-like effect of its translucence : at least half of its surface should be left clean glass for the sun to shine through : no lines should be used and no ' matting ' more than is absolutely necessary to express the intention ; and the lead, broad and plentiful, should supply the place of darks." Now, tested by these canons, the glass of the firm is pre- eminently satisfactory. It fulfils even that condition for which Mr. Heaton seems scarcely to recognize that credit is due to it. That Mr. Morris felt as keenly as anyone could feel the danger of glass executed by one man from the paper cartoon of another losing its spirit and finer qualities in the process of reproduction is a fact. And accordingly he made a special point of insisting on the literal preservation of every characteristic of the original design with the minutest fidelity possible. In every case for the faces and hands and the more important features, if not invariably for the remaining portions, he employed none but accomplished artists like Mr. Fairfax Murray, for example, or Mr. Campfield. It is not too much to assert that Mr. Murray's rendering of the Vyner memorial window at Christ Church, Oxford, from Sir Edward Burne-Jones's cartoons, could not have been surpassed had the execution of it been the actual work of the designer. If the system that prevailed at the time that Mr. Morris took the art in hand was that of mere dead copyism and obliteration of all character the originals might possess, he certainly was the leader to a more excellent way when he introduced the reform, now adopted, in theory at any rate, by all the best firms of stained glass manufacturers. The quality of the material employed was another important consideration with Morris, the pot metal being selected with the utmost care from the stock of Messrs. Powell and Sons, of Whitefriars. In the early days exception was taken frequently to the greenish hue of the white glass in the windows of the firm. Mr. Morris, however, was not to be persuaded to deviate from the course he had adopted. It was not his fault if the inartistic custom of modern glass-makers had used the public 52 to prefer a cold and harsh white to the subtler-toned and mellower effects of the tinted glass he employed of deliberate purpose. He trusted that they would, in course of time, understand and approve what he did ; as indeed it would seem that they have. Another point to note in Morris glass is that, at the beginning, flesh-tint glass was used for faces, hands, etc., a pale pot metal which would readily take yellow stain and could be modified with enamel colour when it was desired to depict hair, shading, and so on. The extreme delicacy of handling is indeed the reason why the finer details of some parts in early Morris glass have perished. A short period succeeded, in the early seventies, when white glass for flesh predominated ; after which was resumed flesh-coloured metal again ; stronger and darker, however, than formerly, and such that of late years, up to the present time, has continued deepening in intensity rather than the reverse. It is said that Morris was confirmed in his preference for this usage on seeing the effect: of the large windows, when completed, of the Nativity and Crucifixion, executed by the firm in 1888, from Sir Edward Burne-Jones's cartoons, for St. Philip's, Birmingham : so struck was Morris with admiration for these splendid specimens of stained glass, held both by himself and by the designer for favour- ites among the many windows they had produced together. At St. Philip's the flesh tints are for the most part somewhat pronounced ; those of the male figures in particular being of a dark brownish colour, strongly marked. It is not to be pretended that in the course of years there has been no change or development in the style of Morris glass. Nowhere perhaps is the contrast, both in scheme and colouring, illustrated more strikingly than in St. John's Church, Torquay, where the east and west windows are separated by an interval of many years. Nor to an unprejudiced mind can there be any question as to which of the two accords the better with the traditional character of stained glass, or which is the more appropriate for its ecclesiastical purpose : the east window, of early date, with its stately figures in rich-toned robes against a light background, or the recent west window (repre- senting the nine choirs of Angels), crowded as it is with wings and draperies, of every gradation of colour from pink to lavender, a Burne-Jones picture every inch of it, albeit the material is glass. The same criticism applies, though perhaps in a lesser degree, to the glass at Morton Church, near Gainsborough, and particularly to a window on the north side of the church, the subject being the stoning of St. Stephen, and to the east window, in which the pictorial rendering of sky and landscape might almost suggest a parallel to Munich glass. Moreover these windows tend to 53 p darken the church instead of admitting light. But happily this type is not the most general among the hundreds of windows produced by the firm from the designs of Sir Edward Burne- Jones, the artist who has supplied them with by far the largest proportion of cartoons for their stained glass. Among the superb windows designed by Burne-Jones it seems invidious to single out any one as the best, in derogation as it were of the others. In 1866 he designed some splendid glass for the east window of All Saints' Church, built by Mr. Bodley at Cambridge. Afterwards there followed, in the seventies, a whole series of windows in the neighbouring Chapel of Jesus College. Of these the finest is undoubtedly the large window in the south wall of the south transept. The subject is the celestial hierarchy, of every grade, and, next after them, man made in the image of God, occupying the batement lights and two tiers of the five large lights, above the transom. Below are five virgin saints, viz. : SS. Ursula, Dorothea, Radegund, Cecilia and Catherine; and below these again, Bishop Alcock, founder of the College, between the four Latin Fathers, SS. Jerome and Gregory on the left, and SS. Ambrose and Augustin on the right. No reproduction can convey the glorious effect of colour, more especially of the yellows, which range from palest amber to fiery orange in wings and other details of the composi- tion. The south transept is lighted by two windows on either side, of three lights each ; the scheme of subjects being the four Evangelists, one in the middle of each window, between two Sibyls, and smaller groups beneath from the life of our Lord. There are other fine windows by the firm in the nave — some half-hidden by the organ — and in the north transept : in all eleven Morris windows. It may be mentioned here that the firm was also employed under Mr. Bodley, to whose hands was committed the restoration of the Chapel, to decorate the roof of the nave. For this purpose Morris himself designed a series of Angels holding scrolls inscribed with the Vexilla Regis. These were executed in tempera on either side of the coved roof. Covering about the same period as the windows at Jesus College are those, also from Burne-Jones's designs, at Christ Church, Oxford ; and it would be difficult to find more magnificent examples of Morris glass than three out of the four. The earliest in date, a four-light window, contains large figures of Samuel, David, St. John and Timothy. All in white, relieved in parts with yellow diapering, they show up strikingly against a back- ground of dark green foliage showing over the top of a blue tapestry curtain. The pavement on which they stand is pale 54 ST. MATTHEW. Painted Glass in Jesus College Chapel, Cam- bridge; designed by SirE. Burne-Jones, Bart. .W3HTTAM .T2 ■misO .bqerlO 939fio0 auso(. ni at herd tbise lettres & tbyse messagers doubted tbem mocbe of our peple,wberfor tbey acorded glad- ly to this counseyl. Cbey assembled tbem of Hallape, tbem of Cezayre, tbem of fiaman, and of other cytees about, tyl tbey were a grete nombre of peple, and this dyae tbey the moost secrctely tbey mygbt, as was to tbem commaunded, and began to departe and approucbe Hntbyocbe. Hnd cam to a castel named Daran t, wbicbe is fro tbens axiiij myle, there tbey lodgedjand thought on tbemorne,assoneas the scarmucbe sboldbe bytwene the pylgrymsand PART OF PAGE FROM PRESS MARK. 'GODEFREY OF BOLOYNE " AND THE KELMSCOTT and literary genius was the production of two books : ' The Amber Witch,' and ' Sidonia the Sorceress,' both of which, but, in my judgment, especially ' Sidonia,' are almost faultless reproduc- tions of the life of the past ; not mere antiquarian studies, but presentations of events, often tragic, the actors in which are really alive, though under conditions so different from those of the present day. In short, ' Sidonia ' is a masterpiece of its kind, and without a rival of its kind. . . . The present edition of the book will answer satisfactorily " the " many questions " which the two drawings of Burne-Jones, shown at the exhibition of his works in the early part of 1893, caused to be asked. " Lady Wilde's translation, which was the one," continues Morris, "through which we made acquaintance with Meinhold's genius, is a good, simple, and sympathetic one." The Kelmscott edition is in folio, with beautiful borders at the beginning of the several books, with initials and other ornaments in the margins, but it lacks the attraction of an ornamental title-page. The work was certainly less of a success than any publication that had preceded it from the Kelmscott Press. But a generation that delights in intro- spective fiction, spiced with theological debate ; whose popular authors are Mrs. Humphry Ward, Sarah Grand, and Marie Corelli, could scarcely be expected to find an old-world, objective romance of the type of " Sidonia the Sorceress " congenial to its taste. No wonder then that the sale was slow. A small work, the first in i6mo, " Gothic Architecture," a lecture by W. Morris, spoken at the New Gallery for the Arts and Crafts Exhibition Society in 1889, was printed at the New Gallery in one of the Kelmscott presses, to demonstrate the practical method of hand-printing, during the Exhibition of the Society in the autumn of 1893. " Ballads and Narrative Poems " by Dante Gabriel Rossetti, with a title in roman letters on an arabesque ground within a vine border, was finished in October, 1893 ; and on December 16th, the first of a series of translations of French tales of the thirteenth century, to wit, " Of King Florus and the Fair Jehane," in black letter with decorative title. It may be not uninteresting to record that this one was selected by Mr. and Mrs. Tregaskis, the well- known antiquarian booksellers, as a typical and appropriate volume for the exercise of the binder's craft. For the purpose one work only was taken, identity of subject and uniformity of size insuring obviously the readiest unit of comparison of different modes of binding. A century of copies, more or less, were bought up and sent to all parts of the globe, without conditions as to the kind of binding, save the general recommendation that each 15a binder should adopt whatever style was most characteristic of his own locality and of the mate- rials at his dis- posal. In due course the copies came back again, bound in the fashion peculiar to divers coun- tries and peoples, and were shown at the Interna- tional Bookbind- ing Exhibition held at the Cax- ton Head, Hol- born, in 1894. The seventy-five specimens thus gathered together attracted no little attention. They were taken by Royal command to be inspected by the Queen at Windsor ; and eventually Mrs. Rylands purchased this unique collection en bloc, thus saving it from the fate of dispersion. The companion volumes to " King Florus " appeared at intervals, one being entitled " Of the Friendship of Amis and Amile ; " the other " The Tale of the Emperor Constans and of Over Sea " — two stories in one volume, with each its own title- page. The four completed Mr. Morris's repertory of this par- ticular collection of stories. They were reprinted in 1896 by Mr. George Allen, in one volume, under the title " Old French Romances. Done into English by William Morris, with an intro- duction by Joseph Jacobs," who however has not put them in Mr. Morris's order, but has made the first and third tales change places. From the introduction it appeared that the source whence Morris derived the romances was " Nouvelles Francaises 153 RR TITLE-PAGE OF TALE OF OVER SEA." KELMSCOTT PRESS. en in war, and that the Com - pan ions who bad conquered ft were looking for chapmen to cheapen their booty, and that be was the first, or nearly the first, to come who bad will and money to buy, and the Com- panions, who were eager to depart, bad sold him thieves' penny/worths: wherefore bis share of the Upmeads treas- ure bad gone far; and thence he bad gone to another good town where be bad the best of markets for bis newly cheap- ened wares, and bad bought more there, such as be deemed handy to sell, and so bad gone from town to town, and bad evertbriven,and bad gotmucb wealth: and so at last having heard tellof Slbitwalt as bet- ter for chaffer than all be bad yet seen, be and other chap- men badarmed tbem,& waged men/at/arms to defend them, and so tried the adventure of the wildwoods, and come safe through. 7F)€T^ at last came the [question toRalpbcon/ /cerning bis adventur/ es, and be enforced himself to speak, and told all as truly as be might, without telling of the Lady and ber woeful end- ingjtfFCbus they gave & took in talk, and Ralph did what he might to seem like other folk, that be might nurse bis grief in bis own heart as far asunder from other men as might be JP So they rode on till it was even, and came toHIbitwall be/ fore the shutting of the gates and rode into the street, and found it a fair and great town, well defensible, with high and new walls, and men/at/arms good store to garnish them j£F Ralph rode with bis brother to the hostel of the chapmen, & there they were well lodged. Chapter XtU. Richard talk - ctb with Ralph concerning the Slellat the World's end.Con/ cemingS >cvcnbam / 4* / 4£ ~\fl the morrow Blaise went to his chaffer and to visit the men of the port at thcGuildhalu be bade Ralph come with him, but be would not, but abode in the ballof the hostel and sat pon/ dering sadly while men came and went; but be beard no word spoken of the Cdell at the World's 6nd. tn like wise passed the next day and the next, save that Richard was a- mong those who came into the ball, and be talked long with Ralph at whiles ; that is to say that be spake, & Ralph made semblance of listening. Od as is aforesaid Ri/ chard was old & wise, & be loved Ralph much KELMSCOTT PRESS. PAGE FROM "THE WELL AT THE WORLD'S END.' en prose du XIIP me Siecle," by MM. L. Moland, and C. D'Heri- cault, published in Paris in 1856, and that they could be traced back to a remote origin in old Byzantium. On February 20th, 1894, was finished a companion volume to the " Ballads and Narrative Poems " of Rossetti, viz., his " Sonnets and Lyrical Poems," with a similar title-page, only that in the latter case the border was darker and more solid than in the first. "The Poems of John Keats," with ornamental title, was finished in March, 1894; anc * m May a folio edition of "Atalanta in Calydon, a Tragedy made by Algernon Charles Swinburne," with an ornamental title. The Greek characters used in the opening verses are those designed for Messrs. Macmillan and Co. by Mr. Selwyn Image. They are uncials only. For Sigma the most antique form C is adopted. There are not any accents nor aspirates. Thus it is a little puzzling at first, when, for example, the word te or ae is elided, to see the Tau or Delta standing by itself without the usual mark of elision. But the general effect of the page is wonderfully beautiful. It would have been of course in the highest degree incongruous in this sumptuous volume to have employed the ugly modern type of Greek used in school books and in Hellenic newspapers of the present day. On May 30th, 1894, was finished the printing of a new romance of Morris's, called " The Wood beyond the World," in his Gothic type in black and red, with a woodcut frontispiece designed by Burne-Jones. This work having been pirated in America, Morris brought out a cheaper edition, published by Messrs. Lawrence and Bullen, in 1895. On Michaelmas Day was finished " The Book of Wisdom and Lies," a collection, made in the eighteenth century, of Georgian traditional stories, translated into English, with notes by Oliver Wardrop. In the decorated title of this work, in roman characters in white upon a black ground, with a vine border, is introduced an escutcheon with the arms of Georgia, in Asia. This is noteworthy as being the sole instance of a heraldic device among the published designs of William Morris. Indeed, it is a very remarkable fact that, with the strong predilection he had for mediaeval ornament, one of its most familiar elements should, nevertheless, be almost entirely absent from his decorative work. It is further to be observed that, having chosen to make use of a shield in his com- position, he should have taken, not the immature spade-form, like an early English arch inverted, technically called Roman or Heater shape, maintained by heralds to be the most correct, but the fifteenth century elaborate, decorative, engrailed shape, a douche, i.e. hollowed out in the dexter chief to make a lance-rest. 156 In November, 1894, was printed a rhymed version of the Penitential Psalms, found in a manuscript of the Hours of our Lady, written at Gloucester about the year 1440. This work, transcribed and edited by Mr. Ellis, with the title " Psalmi Peni- tentiales," had been advertised, in the previous April, as " A Fifteenth Century English Hymn Book, being a paraphrase in verse of the Seven Penitential Psalms, written in Gloucester about A.D. 1420." About the same time was finished a letter in Italian, by Savonarola, on the Contempt of the World, printed for Mr. Fairfax Murray, the owner of the autograph letter, and the designer of the frontispiece. Next followed, at intervals, in three volumes, " The Poems of Percy Bysshe Shelley," with a title to the first volume. On January 10th, 1895, was finished " The Tale of Beowulf, sometime King of the folk of the Weder Geats," done out of the old English tongue by William Morris and A. J. Wyatt, in folio size, with an ornamental title-page of Gothic lettering, on arabesques, within a beautiful border. It may be mentioned, by the way, that Morris thought very highly of this work. Indeed, he considered it the finest poem surviving in the English language. Its lyrical qualities, in his opinion, are admirable, although the epical qualities of the poem in the present fragmentary state in which it has come down to us are impaired ; and the whole would be less obscure if all the stories to which references are made in the course of the work were extant. On February 16th, 1895, was finished the reprint of " Syr Percyvelle of Gales," after the edition printed by J. O. Halliwell, from the MS. in the Library of Lincoln Cathedral. The Kelmscott edition of this poem is printed in black and red, in the Chaucer type, with a woodcut frontispiece, designed by Burne-Jones. Morris's " Life and Death of Jason " was reprinted on May 25th, 1895, with two woodcuts after Burne-Jones, and in July another work by Morris — in prose this, and published now for the first time — a romance, in two i6mo volumes, with decorative title, named, " Of Child Christopher and Fair Goldilind." On October 25th, 1895, was finished at the Kelmscott Press, for Messrs. Way and Williams, of Chicago, Rossetti's " Hand and Soul," a reprint, in small size, from " The Germ," with a roman- letter title on light arabesque ground with an ornamental border. On November 21st, was finished " Poems Chosen out of the Works of Robert Herrick," with ornamental title, and edited from the text of the edition put forth by the author in 1648. A uniform edition of " Christabel and other Poems of Samuel Taylor Cole- ridge," was issued also from the Kelmscott Press. 157 ss On March 2nd, 1896, was finished a new romance of Morris's, entitled "The Well at the World's End," with four woodcuts de- signed by Sir Ed- ward Burne-Jones. The work is printed inChaucertype,and is the first to exhibit a new feature in Kelmscott books, viz., double columns with ornament be- tween them. More- over, the opening words, instead of the initials only, at the heading of the several divisions of the work are treated in an ornamental design. This latter feature appears again in the Kelm- scott edition of Chaucer, which work, in folio size, in black begun in August, 1894, an d TITLE-PAGE OF "HAND AND SOUL." KELMSCOTT PRESS. and red, with double columns, was finished in May, 1896, one press at first, and subsequently two, being employed to produce it. This large volume is altogether the most elaborate and most im- portant that Morris issued from his Press. It contains eighty- six pictures (the number of which was estimated originally at about sixty), designed by Sir Edward Burne-Jones, and engraved on wood by Mr. W. H. Hooper. The title-page is from Mr. Morris's own design, the drawing of which occupied him a fortnight. It is worded : " the works of Geoffrey Chaucer now newly im- printed," in large Gothic lower-case letters, shown up strongly in white against a black background, broken by delicate white floral ornament. The initials G and C are, however, of a fantastic form, so out of harmony with the rest of the lettering that it is difficult to conceive how the designer himself was satisfied with the effect 158 of this page. The word " Kelmscott," in beautiful Gothic letters, is introduced in the ornament of the last page in a different manner from any previous work of the Press ; being enclosed within the border, whereas in the other books the printer's mark forms, as it were, a detached colophon at the end of everything. The work is further enriched with magnificent borders of Morris's design. He also made fourteen designs forming a sort of inner framework to the picture illustrations. It has been declared by some critics that Mr. Morris went to great trouble to make each of his ornamental borders in perfect harmony with the subject matter of the page. At any rate, in the Chaucer this is con- spicuously not the case. Thus, in the very first page of the Prologue to " The Canterbury Tales," which open with lines descriptive of April, we find a border of vines and ripe grapes. Another designer belike would have been solicitous to fashion a seasonable device out of catkins or primroses. But not so Morris ; whatever occurred most spontaneously to the artist's hand to design at the moment, that he did. For in him the decorative instinct was so paramount that he could not be hampered with the restriction of observing times and seasons and symbolic significations; nor had he a mind for anything else save alone the aesthetic effect of the page. So entirely, indeed, did this one countervail — nay, override — every other consideration, that some- times reasonable claims even were disregarded for the sake of it, e.g. in the opening page of " Poems by the Way," of "Jason," or of Tennyson's " Maud," in the Kelmscott editions. For it must be owned, as a critic in " The Edinburgh Review " has pointed out, that the practice " of printing poetry in continuous lines, as if it were prose, instead of in verses, in order to fill up the page in a more decorative manner ... is putting the make-up of the page before the matter," and is undeniably confusing to the reader. " Poetry is literary expression in verse," and one feels inclined to challenge the right of the printer to transform it into "the semblance of prose." This objection applies in a degree to Morris's master- piece, the Kelmscott Chaucer. But "when criticism has done its best," says "The Printing Times and Lithographer," "the work is an admitted marvel. To have produced this book were, of itself, enough for fame." It is, indeed, a monument. It has been described by different writers as "the noblest book ever printed;" "the finest book ever issued;" and " the greatest triumph of English typography." In short, William Morris may be regarded as "the Caxton of our day, who, with a fine confidence unshaken by the grave pecuniary risks, carried the manufacture of books back to its original condition of one of the fine arts. Price was 159 not to signify — the book was to be made ... as beautiful in print, in paper, in binding, as it could be made." As a supplement to the Chaucer was finished on August 21st, 1896, " The Flowre and the Leafe and the Boke of Cupide, God of Love, or the Cuckow and the Nightingale," it having been determined by competent scholars that these poems, generally attributed to Chaucer, are not really his work. Rev. Professor Skeat, indeed, has gone so far as to produce what looks like con- clusive evidence that their real author is Sir Thomas Clanvowe. On May 7th, 1896, was finished the first volume of a re-issue, to be completed in eight volumes, of " The Earthly Paradise," with a title-page, new borders (occurring at the beginning of each story), and special marginal ornaments to the poems of the months. This work, advertised to appear one volume at a time, at intervals of about three months, was still in progress at the time of Morris's death, the first volume having been published in July, 1896. On July 7th, 1896, was finished " Laudes Beatae Mariae Vir- ginis," Latin poems taken from a Psalter written in England about A. D. 1220. This is remarkable as the first Kelmscott Press book printed in three colours, black, red and blue — the latter colour being a new experiment of Morris's. Rev. E. S. Dewick has pointed out the interesting fact " that these poems were printed in 1579, in a i6mo volume, with the title Psalterium Divae Virginis Mariae, &c. . . . This Tergensee edition contains a Conclusio of four verses in the same metre as the Aves, but the text is otherwise inferior to that printed by William Morris. The ascription of the authorship to Stephen Langton is doubly interest- ing, as the manuscript transcribed for the Kelmscott Press was probably written before his death in 1228." On October 14th, 1896, was finished Spenser's "The Shep- heardes Calender : conteyning twelve ^glogues proportionable to the twelve monethes." In Golden type, with ornamental initials but no borders, this edition is embellished with twelve full-page designs by Mr. A. J. Gaskin of the Birmingham School. Some, if not all, of these illustrations are zinco-process reproduc- tions. The preliminary announcement of this work mentioned the names both of the author of the poem and also of the artist who drew the pictures, but — unaccountable omission — the book, as published, contains no intimation of either. Those who know will, without difficulty, recognize the initials A.J. G. in the corner of each illustration, but for posterity there is no record. Within less than a week of the death of its illustrious founder, that the Kelmscott Press was about to close was bruited abroad. 160 TWO PAGES FROM THE KELMSCOTT CHAUCER. l6l T T .4U Butatte laste of Tarquiny she hem tolcte, This rcwf ill cas, and al this thing horrible. The wo to tellen hit were impossible, That she and alle her frendes made atones. HI badde folkes hertes been of stones, f)Ct mighte have malted hem upon her rewe, FJer herte was so wyfly and so trewe. She seide, that, for her gilt ne for her blame, Ber husbond sbolde nat have the f oule name, That wolde she nat suffre, by no wey. Hnd they answerden alle, upon hir fey, That they foryeve bit her, for bit was right; fii t was no gilt, hit lay nat in her might ; Hnd seiden her ensamples many oon. But al f or noght; for thus she seide anoon: Be as be may, quod she, of forgiving, X wol nat have no f orgift for nothing. j^ But prively she caughte forth a knyf , Hnd tberwitbal she raf te herself her lyf ; Hnd as she f el adoun, she caste her look, Hnd of her clothes yit she hede took ; for in her falling yit she hadde care Lest that her feet or swiche thing lay bare ; So wel she loved clennesse and eek trou the. J&Qf her had al the toun of Rome routbe, Hnd Brutus by her chaste blode bath swore That Tarquin sbolde ybanisbt be tberfore, Hnd al his kin ; and let the pepte calle, Hnd openly the tale be tolde hem alle, Hnd openly let carie her on a here Through al the toun, that men may see & here | The horrible deed of her oppressioun. fte never was tber king in Rome toun Sin thilke day ; and she was bolden there H scint, and ever her day yhalwed dere Hs in hir lawe : and thus endeth Lucresse, The no ble wy f , as Titus bereth witnesse. SpgiTeLL bit, for she was of love so trewe, I |3Ka J^e in ber wille she cbaungedfornoneweJ k^sslHnd for the stable berte, sad and kinde, f That in these women men may alday finde ; Tber as they caste hir herte, tber hit dwelleth. for wel I wot, that Crist himselve telletb, That in Israel, as wyd as is the lond, That so gret f eitb in al the lond be ne fond Hs in a woman ; and this is no lye. Hnd as of men, loketb which tirannye They doon alday ; assay hem who so tiste. The trewest is f ul brotel for to triste. explicit Legenda Jvucrecie Rome martins. i^ci9izLeGe^DEHORm^eveEzr>e^es^8S£ff^s£ffS8SEf h uee iw €rt*hl, jvunos, OfCReTeKING, NO«I COJVieTB TRY JvOT, Nora cojMesToai of Tf>e ^HT f ORTBY SHK6 O^LY aiRYTC X TTOS STORie, BCIT f OR TO CL€pe H- eeij* ajrco mcmoric ofTBeseasTBBGReTe ajSTTROClTfie Of LOVC; f ORClBtCBTBe GODD6S of Tne neveiM hbovc Bei^r aiROTRe, hn*> eiRecne bhjm thks f or TBYSiwre. Be ReeD f or SRHjviei NO«u try vtf&e- exjsfNe. iXNOS, that was the mighty king of [Crete, 1 That badde an hundred citees stronge and grete, To scole hath sent his sone Hndrogeus, To Htbenes ; of the whiche hit happed thus. That be was slayn, leming philosophye, Right in that citee, nat but for envy e. Ka^Mfie grete M»nos,of the wbicbe X speke, ffl|^B«8 sones deetbis comen for towreke; sslsj Hlcathoe be bisegeth barde and longe. But natheles the walles be so stronge, Hnd fttsus, that was king of that citee, So chivalrous, that litel dredeth he; Of Minos or bis ost took he no cure, Til on a day befet an aventure, That JVisus doghter stood upon the wat, Hnd of the segesaw the man er at. So happed bit, that, at a scarmishing, She caste her herte upon Minos the king, for his beautee and for his chivalrye, So sore, that she wende for to dye. Hnd, shortly of this proces for to pace, She made M>nos winnen thilke place, So that the citee was al at his wille, To saven whom him list, or elles spille ; Butwikkedly hequitte her kindenesse, Hnd let her drencbe in sorowe and distresse J*Jere that the goddes badde of her pite ; But that tale were to longas now for me. ^Tfter* eS wan this king Minos also, , Hnd Hlcathoe and other toun es mo ; r Hnd this tbefFect,tbafM»nos hath so driven Bern of Htbenes, that they mote him yiven fro yere to yere her owne children dere for t o be slayn, as ye sbul after here. JippfHS Minos bath a monstre, a wikked |fp| beste, uMm That was so cruel that, without areste, HI ban that a man was brogbt in his presence, Be wolde him etc, ther belpeth no defence. Hnd every thridde yeer, witbouten dou te, They casten lot,and,as hit com aboute On ricbe, on pore, he moste his sone take, Hnd of his child he moste present make Unto M^nos, to save him or to spille, Or lete his beste devoure him at his wille. Hnd this bath Minos don, right in despyt; To wreke bis sone was set al bis delyt, SfcZ neeRe BiGYwecn cne jsrowes pReesces zelg of \zns cok and newcfiflajrcecLeeR hjntc> peRxreLotre^ Curteys she was, discreet, and debonaire, Hnd compaignable,and bar byrself so faire, Syn tbilke day that she was seven nygbt oold, "Chat trewely she bath the berte in hoold Of Cbauntecleer loken in every titb ; Re loved hire so, that wel was bym tberoitb. But swicbe a joye was it to here bem synge, CQhan that the brighte sonne gan to sprynge, In sweete accord, jviy lief is f aren in londc Jf for tbilke tyme, as I have understonde, Beestes and briddes koudc speke and synge. 8§|jglW so bif el, that in the dawenynge, sSpjIfc Hs Cbauntecleer among bis wy vea aUe WMR Sat on bis percbe, tbat was in the balle, Hnd next bym sat this faire pertelote, Cbis Cbauntecleer gan gronen in bis tbrote, Hs man tbat in bis dreem is drecched soore. Hnd wban tbat pertelote thus berde bym roore, She was agast, and seyde, O berte deer e f Glbat eyletb yow, to grone in this manere ? \t been a verray sleper ; fy, for shame I jPHnd be answerdeand seyde tbus : Madame, I pray yow tbat ye tahe it not agrief ; By God, me tbougbtelwas in swich mescbief Right now, tbat yet myn berte is sooreafright. J^ow God, quod be, my swevene reccbe aright, Hnd hepe my body out of foul prisoun. JVfe m ettc, how that I roomed up and doun dithinne our yeerd, wheeras I saugh abeest Slas lyk an hound, and wolde ban maad areest Clpon my body, and wolde ban bad me deed. Ris colour was bitwixe yelow and reed ; Hnd tipped was his tayl,and botbe his eeris, HIitb blah, unlyh the rem en an t of his beer is ; Ris snowte smal, with glowynge eyen tweyc. "Yet of bis looh for feerealmoostt deye,* ■Cbis caused me my gronyng, doutelees. ^Hvoy t quod she, fy on yow, bertcleesf Hllas f quod she, for by that God above f fow ban ye lost myn berte and al my love, kan nat love a coward, by my f eitb f for certes, whatso any womman seith, 3Qe alle desiren, if it myghte bee, ■Co han housbondes hardy, wise, and free, Hnd secree, and no nygard, ne no fool, T*e bym tbat is agast of every tool, fie noon avaun tour, by tbat God above 1 Row dorste ye seyn,for shame, unto your love Chat any tbyng myghte make yow af erd ? Rave ye no mannes berte, and ban a berd ? Hllas f and konne ye been agast of swevenys? ]Notbyng, God woot, but vanitee, in swevene is. Swevenes engendren of replecdouns, Hnd of te of f ume,and of complecciouns CQban humours been to habundant in a wight. ^^^CR^eS this dreem, which ye ban met H^HB tonygbt, POVRC wydwe,som- delstapeinage, Staswbilom dwellyng in a narwe cotage, Beside a greve, stond- yngeihadale. Cbis wydwe, of which X telle yow my tale, Syn tbilke day that she waslastawyf, In pacience (adde a f ul symple lyf , for litel was hir catel and bir rente. By bousbondrie, of swicb as God hire sente, She foond hirself , and eek hire doghtren two. Cbre large sowes hadde she, and namo; 'Chree keen, and eek a sheep that highteJMalle. f ul sooty was bir bour, and eek hire balle, In which she eet f ul many a sklendre meel; Of poynaunt sauce hir neded never a deeL T^o deyntee morsel passed tburgb bir tbrote ; Rir diete was accordant to bir cote. Repleccioun ne made hire nevere sik, Httempree diete was al hir phisik, Hnd exercise, and bertes suffisaunce. •Cbe goute lette hire notbyng for to daunce, ffapoplexie ne sbente nat hir heed ; ]*Jo wyn ne drank she, neither whit ne reed ; Rir bord was served moos t with whit and blah, Milk & broun breed, in which she foond no lah, Seynd bacoun, and somtyme an ey or tweyc, for she was, as it were, a man er deye. Y66RD she hadde, enclosed ataboute Cditb stikkes, and a dry e dycb withoute, In which she hadde a coh, beet Cbaun te- cleer. In al the land of crowyng nas his peer. Ris voys was murier than the murie orgon On messe'dayes tbat in the cbircbe gon ; del sikerer was his crowyng in bis togge, TTban is a clokke, or an abbey orlogge. By nature be knew eche ascencioun Of thequynoxial in tbilke toun ; for wban degrees fif ten e were ascended, TTbanne crewe be, tbat it myghte nat been amended. Ris coomb was redder than the fyn coral, Hnd ba tail led, as it were a castel wal ; Ris byle was blak, and as the jeet it shoon ; ky k asure were his legges, and his toon ; Ris nayles whiter than the lylye flour, Hnd lyk the burned gold was his colour. RppRIS gen til cok hadde in his govemaunce t&iH Seven e bennes, for to doon al his ksiSplesaunce, SIbicb were his sustres and his paramours, Hnd wonder lyk to bym, as of colours ; Of wbicbe the f aireste hewed on bir tbrote ' Cometh of the grete superfluytee The statement, once having found its way into print, was copied, with variations and added details more or less inaccurate, by one newspaper after another, and was for some weeks allowed to circulate unchallenged. Those of the public who were sympa- thetic awaited — some of them with almost breathless anxiety — an authoritative confirmation of the report, dreading, and yet unwill- ing to believe, that the days of the Kelmscott Press were inevit- ably numbered after all. But at last an official notification from headquarters, coupled with an order form for " The Shepheardes Calender," in which notice, dated November 12th, 1896, some few works already advertised were announced as shortly to be issued, others as abandoned, seemed to set aside all uncertainty as to the approaching end of the Press ; and an article to that effect appeared in " The Academy " of December 12th. Then, and not till then, was it elicited, in the shape of a letter addressed to " The Academy " by the late Mr. Morris's secretary, that the future of the Kelmscott Press was still under consideration on the part of the trustees. However, the greatest loss, and one which book- lovers must never cease to regret is the definite abandonment of the folio editions of Froissart and of " Sigurd the Volsung." On the latter, as the one of which its author was most proud among all his poetical works, he had intended to lavish the choicest de- coration. However, not much progress had been made with it. It was to have been embellished with forty woodcuts designed by Sir Edward Burne-Jones, in addition to new borders and other ornaments by Mr. Morris himself. The first announcement of this work had been made in November, 1895, when the number of woodcuts proposed was set down at about five-and-twenty. A later circular, dated February 16th, 1897, announced a small folio edition of this work, with two woodcuts only, designed by Burne- Jones. For " The Cronycles of Syr John Froissart " Mr. Morris had elected to reprint Lord Berners's translation from Pynson's edition of 1523 and 1525. This work had been advertised as in preparation in August, 1893, and as in the press in April, 1894 — although, in subsequent notices, it is true, it was referred to only as in preparation. The fact of its having reached, by the time of Mr. Morris's death, a fairly advanced stage, makes its withdrawal all the more to be deplored. It was to have appeared in two volumes, with double columns and ornaments, the latter designed by Morris in a manner that recalls fourteenth century illumina- tions. The borders included shields with the armorial bearings of the various personages named in the course of the chronicle. The tinctures were to be in plain black and white, according to the most ancient system of representation. For it would have 165 u u been an obvious ana- chronism to indicate them by dots and lines, hatchings, and so on, as our modern practice is to do, which cannot be traced back farther than the first quarter of the seventeenth century. The latest circu- kelmscott press mark. lar announces as nearly ready the Kelmscott edition of " Sire Degravaunt," an ancient English metrical romance from the Thornton MS. at Lincoln, with a woodcut designed by Burne-Jones. The prepara- tion of this work, which is uniform with the " Syr Percyvelle," from first to last has spread over a considerable time. " Sire Isumbras," uniform with the above and from the same source, will follow. A romance of Mr. Morris's, " The Water of the Wondrous Isles," uniform with " The Well at the World's End," is in the press ; and a still more recent one, in fact, the last he ever wrote, viz., " The Sundering Flood," is in preparation. This work, according to Mr. Theodore Watts-Dunton, " will be found to be finer than any hitherto published." It is of about the same length as " The Wood beyond the World," but unlike that work has lyrics interspersed. Among the other works which have at various times been announced as in contemplation or in preparation at the Kelmscott Press, although they have not made their appearance, may be named a collection of Poems by Mr. Theodore Watts-Dunton; " The Tragedies, Histories and Comedies of William Shake- speare," in three folio volumes, a reprint, edited by F.J. Furnival, from the first complete edition in folio ; and "Vitas Patrum," being St. Jerome's Lives of the Fathers of the Desert, translated into English by William Caxton during the last years of his life, and printed at Wynkyn de Worde's press in 1495. This work, which has never hitherto been reprinted, was to have formed two large 4to volumes, uniform with the " Golden Legend." It is impossible to say what other books Morris might have produced had not death interrupted his work ; but it isbelieved that he had some intention of reprintingacollection of old English Ballads, " Gesta Romanorum " and Malory's " Morte d'Arthur." There was also in preparation " A Catalogue of the Collection of Woodcut Books, Early Printed Books and Manuscripts at Kelmscott House, with Notes by William 166 Morris," and upwards of 50 illustrations, being reproductions selected from the typical works in Mr. Morris's library. This work should have been especially remarkable, for his expert know- ledge and discrimination had enabled him, during the few years he had been practically interested with printing, to gather together a library in artistic, if not in pecuniary value, second to no private collection in the land. He did not seek for rare speci- mens but for beautiful ; and, having obtained, he treated them with loving, and something near akin to reverential, care ; and, as they had been the constant companions amongst which the later years of his life were spent, so, on October 3rd, 1896, he passed away, surrounded by books to the last. 167 ANGEL WITH SCROLL. Cartoon for decorative Painting, from the orig.nal in the possession of Mr. C. Fairfax Murray. .1 .JJ0303 HTIW J3DWA Ic/iijjho aril ra "loosb iol nooMsO .^STIuM .1MI0 noisaaaeoq sdl ni .33JIT aaTWiAqc III. HAND PAINTED TILES. Daisy Pattern. IT CJ3TMIA' IV. WALLPAPER. The Daisy Design. ■ .. ■ V. WALL-PAPER. The Trellis Design (the Birds designed by Philip Webb). •AW VII. WALLPAPER. The Vine Design. .I1V JAW VI. WALLPAPER. The Marigold Design. ■ VIII. WALL-PAPER. The Acanthus Design. [] J JAW .ngiaaCt eudsnr.oA srfT IX. WALL-PAPER. The Apple Design. .HS-'-I ■■..■. .ngissQ MqqA sriT X. CEILING PAPER. Specially designed for St. James's Palace. XI. WALL-PAPER. Specially designed for St. James's Palace. .IX .aaqAq-jJAw f.'uaqZ XII. WALL-PAPER. The Wild Tulip Design. ] JAW .tr%iaaa qilol . XIII. WALL-PAPER. The Bruges Design. .nix .siaqAq-jjAW XIV. WALL-PAPER. The Pink and Rose Design. .VIX .aaqAi-jJAw XV. CHINTZES. The Bird and Anemone, and The Strawberry Thief Designs. .vx .'{ 91IT 2 atiT XVI. CHINTZ. The Honeysuckle Design. ■ WIHO I 9fiT XVII. CHINTZ. The Wandle Design. .II vx ■ ■ ■ XVIII. CHINTZ. The Wey Design. .IIIVX .STMIHO .XIX .wagTavjav aaTninq .. i ; ■ XX. PRINTED VELVETEEN. The Cherwell Design. .XX .j.av aarwifis: XXI. VELVET BROCHE WITH GOLD TISSUE. .auaaiT a ■ htiw aHoo«a Tavjsv XXII. SILK. The St. James' Design. JUXX .nixx ■ • ; XXIV. SILK. The Cross-twigs Design. .»Jie .ngiaaQ esiwJ-eaoiO srfT XXV. WOVEN WOOL TAPESTRY. The Tulip and Rose Design. .YHT2aiAT JOOW M3 XXVI. WOVEN SILK AND WOOL TAPESTRY. The Anemone Design. .I1VXX •saiAT joow wavow ... [390 JJ / ' ; XXVIII. WOVEN WOOL TAPESTRY. The Peacock and Dragon Design. .■■"■•'■ - " . a : •■:■..-.. XXIX. WOVEN SILK AND WOOL TAPESTRY. The Dove and Rose Design. .XIXX .YHTgaiAT JOOW dWA JJJI3 H3VOW XXX. KIDDERMINSTER CARPET. The Lily Design. .XXX .T3qflA0 HaTawiMHaacnx XXXI. SKETCH DESIGN FOR HAMMERSMITH CARPET. Small Barr Pattern. HTIMSH3MMAH SJO^ MOiaaO HOT3XK THAO XXXII. SKETCH DESIGN FOR HAMMERSMITH CARPET. The Little Flowers Pattern. .nxxx HTIM8H3MMAH StCr! W0I83CI HO XXXIII. SKETCH DESIGN FOR HAMMERSMITH CARPET. Buller's Wood Pattern. .11 HTlMg •13A0 ■■ i .oWs'-isIioa XXXIV. HAMMERSMITH CARPET. The Black Tree Pattern. .VIXXX MM AH r.l3 atiT mgim immMM^MiM&i XXXV. HAMMERSMITH CARPET. The Little Tree Pattern. .vxxx .TaiHAO HTIM8H3MMAK mm >-j>mm&m:,- XXXVI. HAMMERSMITH CARPET. The Redcar Pattern. .IVXXX .T31JJA0 HTIM833MMAH XXXVII. ARRAS TAPESTRY. The Orchard. .IIVXXX .YHTaaiAT 3AJ .b-iEtfaiO eiriT W. Griggt, Collatypsr, Peekb XXXVIII. ARRAS TAPESTRY. The Woodpecker. s - XXXIX. EMBROIDERED HANGING. Executed in coloured silks upon yellow linen. .XIXXX .nanil vtollz- ■ bsiuolos m XL. BOOKBINDING IN GOLD STAMPED LEATHER. Mr. C. Fairfax Murray's Sketch Book. aaqMATs a.ioo m owiawii .H3H .iooS. dotn-AZ 8''{fiTi; : ; BIBLIOGRAPHICAL APPENDIX. NOTE. IN the bibliography which follows, I have included not only all the writings of William Morris which were published separately in book and pamphlet forms, but broadsides, articles in magazines, and letters to the newspapers. In addition to these there will be found complete descriptions and collations of the books issued from the Kelmscott Press, as well as essays and articles about William Morris by other writers. Where I could, I have included the best reviews and obituary notices, giving in all cases the names and dates of the journals and magazines in which these appeared. The task has not been an easy one, and would have been but imperfectly performed without the assistance of others. For such help I have especially to thank Mr. Alfred Forman, who in read- ing the proof-sheets has had the inestimable advantage of referring to Mr. H. Buxton Forman's unsurpassed collection of Morris- books and pamphlets. Mr. F. S. Ellis has supplied me with a few bibliographical details. To Mr. Frederick H. Evans I am also indebted for suggestions and help. Finally, my thanks are due to Mr. Aymer Vallance and to Mr. Gleeson White. TEMPLE SCOTT. A BIBLIOGRAPHY OF THE ORIGINAL WRITINGS TRANSLATIONS AND PUB- LICATIONS OF WILLIAM MORRIS. I. ORIGINAL POEMS. Sir Galahad a Christmas Mystery. By William Morris. London: Bell and Daldy, 186, Fleet Street. 1858. Sm. 8vo. sewed. Half-title, one leaf; title, one leaf; 7 leaves of text and one blank leaf. The half-title and the blank leaf at the end form a wrapper to this booklet. The last two leaves are pasted on, forming what might be called an " out-set." The pagination is through, to p. 18. The only copy I have ever seen is that from which the above description and collation were obtained. There is also an unauthorized fac- simile reprint, which differs from the genuine work in several very small printers' errors. The Defence of Guenevere and other Poems. By William Morris. London : Bell and Daldy, 186, Fleet Street. 1858. Sm. 8vo. Half-title, title, dedication, and con- tents, 4 leaves (small slip of "Errata" pasted after contents on verso of its leaf;; B — R 4 in eights. In 1875 Ellis and White issued 25 copies on large paper. The volume was reprinted by Mr. Morris at the Kelmscott Press in 1892. See Kelmscott Press Pubs. Bibl. In 1875 Roberts of Boston, U.S.A., issued an edition in cr. 8vo. at 2 dollars. The Life and Death of Jason a Poem by William Morris London ; Bell and Daldy, York Street, Covent Garden. 1867. Sm. 8vo. Half-title, title, 2 leaves. B — AA in eights (last two leaves consist of advts. and blanks). On back of title should be pasted a small list of " errata." Of the i86g edition (printed by Ellis and White from the stereotyped plates) there was a small issue on large or thick Whatman paper; and of the eighth (revised) edition (1882) there were 25 copies printed on large paper also. Roberts of Boston, U.S.A., published an edition in 1867 in i6mo. ; but in 1885 Clarke and Maynard of New York issued one in wrappers for 12 cts. Reprinted by Mr. Morris at the Kelmscott Press in 1895. See Bibliography of Kelmscott Press Publications. Life and Death of Jason. By William Morris. Prepared, and Printed, solely for the Use of Pupils of Irvine Academy. Irvine : Times Office, John S. Begg, Printer. MDCCCLXXIX. Sm. 8vo. pp. 58 (incl. title) and one blank leaf. The Earthly Paradise A Poem [Wood- cut.] By William Morris, Author of The Life and Death of Jason. Ellis, 33 King Street, MDCCCLXVIII. \AU London: F. S. Covent Garden. rights reserved.] [This is the general title to the book. There is a second title, printed on toned paper, which has below the author's name the words "Parts I. and II." and the date is "MDCCCLXX." Vol. II. has "Part III.," and the date is also " MDCCCLXX." Vol. III. has " Part IV.," and the date is also " MDCCCLXX."] Sm. 8vo. Vol. I. : one blank leaf; half-title, general title, and title to Parts I. and II., 3 leaves; dedication and contents, 2 leaves; B — XX 2 in eights, and one leaf containing a re- production of the woodcut on the title-page, on recto. This block, designed by E. Burne-Jones, was engraved by W. Morris for the first edition. It was re-engraved by G. Campfield for the later editions. Vol. II. : half-title, title, and contents, 3 leaves ; B — LL in eights, last leaf containing a repro- duction of woodcut on the title-page, on recto. Vol. III. : half-title, title, and contents, 3 leaves ; B — FF 6 in eights, last leaf containing on recto a reproduction of the woodcut on the title-page. Vol. I. is printed on a thin white paper; Vols. II. and III. on a thickish toned antique laid paper. There was also an edition on large paper of 25 copies. Some copies (probably 500) of the first edition of the first part contain cancel leaves — notably PP- 75" 6 - On p. 75, 1. 20, was a ludicrous mis- print of " my " for " thy." The poem is now being issued in eight vols, from the Kelmscott Press. See Kelmscott Press Pubs. Bibl. Roberts of Boston, U.S.A., issued in 1868-71 an edition in i6mo., 3 vols., another in cr. 8vo., 3 vols., and a Popular Ed. (later) in i6mo. In 1877 he reissued the first two editions. In 1870 Roberts of Boston published separately as a i6mo. volume the " Lovers of Gudrun." Messrs. Reeves and Turner, when they took over the publication of Mr. Morris's books, issued a "library edition" in 4 vols. 8vo., and later a " popular edition " in 10 parts sm. cr. 8vo. The Earthly Paradise A Poem, by William Morris. London Reeves and Turner 196 Strand 1890. 8vo. One leaf advt. ; half-title, title, dedication, contents, 4 leaves; A — 2 E in eights (last leaf blank). Bound in cloth, with a design by W. Morris. Love is Enough or The Freeing of Pharamond a Morality. By William Morris. London : Ellis & White, 29 New Bond Street. 1873. Sq. sm. 8vo. (floral design by W. Morris in gold on cloth, cover.) One blank leaf; half-title and 111 title, 2 leaves; "Dramatis Personae," one leaf; B — K 4 in eights (last leaf consists of advts.). Twenty-five copies were also published on large paper. Roberts of Boston, U.S.A., issued in 1872 two editions, one in i6mo., the other in cr. 8vo. The Two Sides of the River Hapless Love and The First Foray of Aristo- menes. By William Morris. London 1876 [Not for Sale.'] Sm. 8vo. 24 pp. (including half-title, title, and one blank leaf at end); bound in green paper wrapper with half-title in printer's rules frame. Without printer's name. Of these three poems the first was reprinted in the volume, " Poems by the Way " in 1891. The Story of Sigurd the Volsung and the Fall of the Niblungs. By William Morris, Author of * The Earthly Para- dise.' London : Ellis and White, New Bond Street. MDCCCLXXVII. Sq. cr. 8vo. Half-title, title, and contents, 4 leaves ; B — CC 4 in eights. Of the original edition there was a large paper issue of 25 copies. Mr. Morris had arranged for an edition of this poem to be printed at the Kelmscott Press. See Kelmscott Press Pubs. Bibl. Of the fourth edition published by Reeves and Turner there was also a large paper issue of 50 copies. In 1876 Roberts of Boston, U.S.A., issued an edition uniform with the English edition — re- printed in 1879. " Wake London Lads " Air " The Hardy Norseman's Home of Yore " Five stanzas of eight lines each, signed William Morris, printed on a broadside for distribution at an Exeter Hall meeting, January 16th, 1878. Socialists at Play. By William Morris. Prologue spoken at the Entertainment of the Socialist League : South Place Institute, June 11, 18S5. Sm. 8vo. 8 pp. (half-title, title, and text), in red paper cover. Originally appeared in the " Com- monweal." Democratic Federation. Chants for Socialists : No. 1. The Day is Coming. By William Morris, Author of "The Earthly Paradise," etc. Price One Penny. London : Reeves, 185, Fleet Street, E.G. Sm. 8vo. 8 pp. and 4 pp. buff wrapper. The Voice of Toil : All for the Cause. Two Chants for Socialists. By William Morris. London : Reprinted from " Justice," The Organ of the Social Democratic Federation. (Price One Penny, n.d.) Sm. 8vo. 8 pp. in primrose wrapper (no proper title-page except that on wrapper). The Socialist League. [With headpiece designed by Walter Crane.] Chants for Socialists by William Morris. Contents : 5. The March of the Workers. 6. The Message of the March Wind. 1. The Day is Coming. 2. The Voice of Toil. 3. All for the Cause. 4. No Master. Price One Penny. Published at The Socialist League Office, 27 Farringdon Street, London, E.C. 1885. 8vo. 16 pp. in pamphlet form, without wrappers. " The Voice of Toil " first appeared in "Justice," April s, 1884; "All for the Cause" in "Jus- tice," April ig, 1884 ; " No Master" in "Justice," June 7, 1884; " The March of the Workers " in "Commonweal," February, 1885. "The Mes- sage of the March Wind" also appeared in " Commonweal." All the poems in this edition of " Chants for Socialists," except Nos. 4 and 5, were reprinted in " Poems by the Way." The Socialist League, by Walter Crane.] Chants for Socialists Morris. Contents [With headpiece designed By William The Day is Coming. The Voice of Toil. The Message of the March Wind. No Master. All for the Cause. The March of the Workers. Down Among the Dead Men. London : Socialist League Office, 13 Farringdon Road, Holborn Viaduct, E.C. 1835. Price One Penny. Sm. 8vo. 16 pp. in pamphlet form, without wrappers. This is a later edition, with an addi- tional poem. "Down among the Dead Men" was not re- printed in " Poems by the Way." A Selection from the Poems of William Morris. Edited with a Memoir by Francis Hueffer. Leipzig Bernhard Tauchnitz 1886 [Collection of British Authors, Tauchnitz Edi- tion. Vol. 2378.] i6mo. pp. 320 and 16 pp. advts. Includes selections from " The Defence of Guenevere," "Life and Death of Jason," "The Earthly Paradise," " Love is Enough," and " The Story of Sigurd the Volsung." The God of the Poor. By William Morris, author of " The Earthly Para- dise." Originally published in the " Fortnightly Review," August 1, 1868. [On wrapper is the following imprint : — ] London : Printed at the Office of "Justice," The Organ of the Social Democratic Federation. (Price One Penny.) Sm. 8vo. 8 pp. in red paper wrapper. IV The Pilgrims of Hope A Poem In Thirteen Books By William Morris London : Brought together from " The Commonweal" For March, April, May, June, August, September, & November, 1885, And January, March, April, May 8, June 5, & July 3, MDCCCLXXXVI. [Privately Printed.] Sq. cr. 8vo. Blank leaf, half-title, title, contents, prefatory note, and second half-title, 6 leaves ; text, pp. 9 — 6g ; and I blank leaf. In grey paper wrapper. Sold for the Benefit of Linnell's Orphans. Alfred Linnell Killed in Trafalgar Square, November 20, 1887. A Death Song, By Mr. W. Morris. Memorial Design by Mr. Walter Crane. Price One Penny. Impl. 8vo. (7 in. by To in.) pp. 8. Title; Alfred Linnell, pp. 2 — 4 ; first verse of song with music, followed by complete text of the song (4 verses), pp. 5-8. This is the first edition of Morris's Death Song for Alfred Linnell. Christmas Song. By William Morris. (Stream of Life Series.) Lothrop, Boston, U.S.A. 1887. l6mo. bds. 25 cts. Atalanta's Race and other Tales from the Earthly Paradise. By William Morris. Edited with Notes by Oscar Fay Adams with the co-operation of William J. Rolfe, A.M., Litt. D. With Illustrations. Boston [U.S.A.] Ticknor and Com- pany i883 Sm. Svo. pp. x and 11 — 242 and 2 blank pp. (the frontispiece and page illustrations are included in the pagination). The illustrations are from " process " blocks. All for the Cause. A Song for Socialists. Words by William Morris. Music by E. Belfort Bax. London. 1887. 4to. pp. 4. The words appeared originally in "Justice." The Legend of "The Briar Rose." A Series of Pictures Painted by E. Burne- Jones, A.R.A. Exhibited at Thos. Agnew & Sons' Galleries, 39 Old Bond Street W. 1890. i2mo. pp.12, (pp. 10 — 11 contain Morris's four quatrains on the four pictures). This is the first edition, but in the same year another edition was issued in sm. 8vo. (pp. 24) with the Morris quat- rains on pp. 5 — 17, and bound in grey wrapper. Poems by the Way Written by Wil- liam Morris London: Reeves and Turner MDCCCXCI. Sm. 4to. Two blank leaves ; half-title, title, and contents, 3 leaves ; B — CC in fours (last two leaves blank). The above is the collation of the large paper issue, of which 100 copies were printed on hand- made paper. The ordinary edition was a small square octavo with the collation : one leaf with advt. on verso ; half-title, title, and contents, 3 leaves, B — CC 2 in fours. Mr. Morris printed the first edition at the Kelm- scott Press in 1891. See Kelmscott Press Pubs. Bibl. Poetical Works of William Morris. Cheaper Issue. Library Edition. Longmans & Co. London 1896. Cr. 8vo. 10 vols. Vols. I.— IV. The Earthly Paradise. Vol. V. The Life and Death of Jason. 8th edit. Vol. VI. Defence of Guenevere, and other poems. Reprinted without alteration from the edition of 1858. Vol. VII. The Story of Sigurd the Volsung and the Fall of the Niblungs. 5th edit. Vol. VIII. Poems by the Way. Love is Enough. Vol. IX. The Odyssey of Homer done into English verse. Vol. X. The jEneids of Virgil done Into Eng- lish verse. 2nd edit. II. ROMANCES. A Dream of John Ball and A King's Lesson. (Reprinted from the ' Common- weal.') By William Morris, Author of "The Earthly Paradise," etc. With an Illustration by Edward Burne- Jones. London : Reeves & Turner, 196 Strand. MDCCCLXXXVIII. Imp. 24mo. 1 blank leaf, half-title, I leaf; title- page and contents, 2 leaves; frontispiece by Burne-Jones on special plate paper. B — K in eights (pp. viii and 144, last page unpaged), I leaf advt. inserted at end. Published at 4*. bd. The half-title to " A King's Lesson " is on sig. K2 (pp. 130— 131). Mr. Morris reprinted this volume at the Kelm- scott Press in 1892. See Kelmscott Press Pubs. Bibl. The work ran as a serial through eleven num- bers of " The Commonweal." Reprinted in this form by the kind permission of Messrs. Reeves & Turner, Publishers of Mr. Morris's Works. A King's Lesson By William Morris Author of " The Earthly Paradise," etc. Aberdeen : Printed and Published by James Leatham 15 St. Nicholas Street 1891. i6mo. 16 pp. (last leaf consists of advts.), bound in grey wrapper. A Tale of the House of the Wolfings and all the Kindreds of the Mark written in Prose and in Verse by William Morris. Whiles in the early winter eve We pass amid the gathering night Some homestead that we had to leave Years past ; and see its candles bright Shine in the room beside the door "Where we were merry years agone, But now must never enter more, As still the dark road drives us on. E'en so the world of men may turn At even of some hurried day And see the ancient glimmer burn Across the waste that hath no way ; Then with that faint light in its eyes Awhile I bid it linger near And nurse in wavering memories The bitter sweet of days that were. London 1889 ; Reeves and Turner 196 Strand Sm. 4to. One blank leaf; half-title, title, and contents, 3 leaves ; B — O4 in eights. Of the large paper edition there were one hundred copies printed, of which eighty-nine were for sale. Roberts of Boston, U.S.A., issued an edition in 1890. The Roots of the Mountains wherein is told somewhat of the Lives of the Men of Burgdale their Friends their Neighbours their Foemen and their Fellows in Arms By William Morris Whiles carried o'er the iron road, We hurry by some fair abode ; The garden bright amidst the hay, The yellow wain upon the way, The dining men, the wind that sweeps Light locks from off the sun-sweet heaps — The gable grey, the hoary roof, Here now — and now so far aloof. How sorely then we long to stay And midst its sweetness wear the day, And 'neath its changing shadows sit, And feel ourselves a part of it. Such rest, such stay, I strive to win With these same leaves that lie herein. London MDCCCXC : Reeves and Turner CXCVI Strand. Sm. 4to. 1 prel. leaf with advt. on verso; half- title, 1 leaf; title and contents, 2 leaves ; B — 3 H in fours (pp. 424, prel. leaves unpaged). A 32 pp. catalogue of the publishers inserted at the end. Published at Bs. and bound in red-brown cloth. Of the large paper edition there were 250 copies printed, and bound in flowered cretonne. The Story of the Glittering Plain which has been also called the Land of Living Men or the Acre of the Undying Writ- ten by William Morris. London Reeves and Turner. M DCCC XCI. Sm. 4to. One leaf of advts. ; half-title, title, and contents, 3 leaves; B — Z 2 in fours. The first edition of this work was issued by Mr. Morris from the Kelmscott press. See Kelm- scott Press Publications Bibl. Originally it appeared as a serial in the " English Illustrated Magazine," vol. vii., pp. 687,754, 824, 884. News from Nowhere or An Epoch of Rest, being some chapters from a Utopian Romance by William Morris Author of The Earthly Paradise. London : Reeves & Turner. 1891. Sm. 8vo. One blank leaf; half-title and title, 2 leaves ; B — Q in eights (last leaf blank). A special edition on hand-made paper was also issued, limited to 250 copies. Mr. Morris reprinted this story at the Kelmscott Press in 1892. See Kelmscott Press Pubs. Bibl. The story ran as a serial through thirty-nine numbers of " The Commonweal." Messrs. Roberts Bros, of Boston, U.S.A., issued in 1890 a reprint of this romance from " The Commonweal," uncorrected. Mr. Morris's own 1891 edition was largely revised. The collation of the American edition is : half-title, title, and contents, pp. i — vi; text, pp. 7—278; advts. pp. 279 - 280 ; reprint of a criticism from the " Athe- naeum," pp. 1 — 8. On verso of half-title is a reduced copy of Mr. Crane's cartoon, " Labour's May Day." Of Child Christopher and Fair Goldilind. 1895. See Kelmscott Press Pubs. Bibl. The Wood Beyond the World. By William Morris. London : Lawrence and Bullen, 16, Henrietta Street, Covent Garden. MDCCCXCV. Sm. sq. 8vo. One blank leaf; half-title, title, and contents, 3 leaves; B— Q in eights; R, 4 leaves ; S, 2 leaves (last leaf contains printers' name only). In addition to the ordinary edition there were 50 copies printed on Whatman paper, and bound in olive-green art linen with paper label. The first edition of this romance was issued from the Kelmscott Press in 1394. See Kelm- scott Press Pubs. Bibl. The Well at the World's End a Tale by William Morris Volume I [Volume II] Longmans, Green, and Co. London, New York, and Bombay MDCCCXCVI 8vo. 2 vols, antique boards, linen back. Collation: Vol. I. Two blank leaves ; half-title and title, 2 leaves; contents, 2 leaves; B — BB in eights (last three leaves blank except sig. BB6, which has the imprint of the Chiswick Press). Vol. II. Three blank leaves ; half-title and title, 2 leaves; contents, one leaf; B — T6 in eights (last two leaves blank), sig. B 1 is the half-title to Book III., and to each of the four books of the story there is a separate half-title. III. ART. The Decorative Arts their relation to Modern Life and Progress An Address VI Delivered before the Trades' Guild of Learning by William Morris. London : Ellis and White 29 New Bond Street. [1878.] Sm. 8vo. pp. 32 (incl. title), issued in grey wrapper. Reprinted with the title " The Lesser Arts" in the volume " Hopes and Fears for Art." Issued in America (Boston) by Roberts in the same year. Birmingham Society of Arts and School of Design. Address delivered in the Town Hall, Birmingham, 19th February, 1879. Bir- mingham, n.d. [1879]. 8vo. sd. pp. 24. Reprinted with the title " The Art of the People," in the volume " Hopes and Fears for Art," Birmingham Society of Arts and School of Design. Labour and Pleasure versus Labour and Sorrow. An Address by William Morris, President, in the Town Hall, Birmingham, 19th February, 1880. Bir- mingham, n.d. [1880]. 8vo. sd. Reprinted with the title " The Beauty of Life " in the volume " Hopes and Fears for Art." Lectures on Art Delivered in support of the Society for the Protection of Ancient Buildings By Reginald Stuart Poole Prof. W. B. Richmond E. J. Poynter, R.A. J. T. Micklethwaite William Morris London Macmillan and Co. 1882. Sm. 8vo. One blank leaf; half-title, title, pre- face, and contents, 5 leaves ; B — Q 4 in eights. Mr. Morris's contributions to this volume con- sist of two lectures "The History of Pattern Designing," and " The Lesser Arts of Life." These occupy pp. 127 — 232 of the volume. Hopes and Fears for Art. Five Lectures delivered in Birmingham, London, and Nottingham, 1878-1S81. By William Morris, Author of ' The Life and Death of Jason,' ' The Earthly Paradise,' &c. London: Ellis & White, 29 New Bend Street. 1882. Sm. 8vo. Half-title and title, 2 leaves ; B— P 6 in eights (last leaf consists of advts.). Of this work there was a large paper edition of 25 copies. Roberts of Boston, U.S.A., issued an edition in l6mo. Contents : The Lesser Arts (delivered before the Trades' Guild of Learning); The Art of the People (delivered before the Birmingham Society of Arts and School of Design) ; The Beauty of Life (delivered before the Birmingham Society of Arts and School of Design) ; Making the Best of It (delivered before the Trades' Guild of Learning and the Birmingham Society of Artists); The Prospects of Architecture in Civilization (delivered at the London Institution). The lecture " The Lesser Arts" was first pub- lished in 1878 with the title " The Decorative Arts, their relation to Modern Life and Progress." " The Art of the People " was first published in 1879 as a Birmingham address. " The Beauty of Life " was issued separately in 1880 under the title " Labour and Pleasure verszts Labour and Sorrow." International Health Exhibition. London, 1884. Textile Fabrics. A Lecture delivered in the Lecture Room of the Exhibition, July nth, 1884. By William Morris. Printed and Published for the Executive of the International Health Exhibition, and for the Council of the Society of Arts, by William Clowes and Sons, Limited, International Health Exhibi- tion, and 13, Charing Cross, S.W. 1884. 8vo. pp. 32 (last leaf contains imprint of printers only) bound in pale green wrapper, and pub- lished at 6d. Art and Socialism : a Lecture delivered [January 23rd, 1884] before the Secular Society of Leicester, by William Morris, Author of " The Earthly Paradise," etc. And Watchman : 'What of the Night ? Cum Privilegio Auctoris. Imprinted for E. E. M. and W. L. S. Anno 1884. Sold by W. Reeves, 185, Fleet Street, London, E.C. ; and by Heywoods, London and Manchester. [Leek Bijou Reprints. No. VII. Large Paper. Price is.] Sq. i6mo. pp. 72 and 16 pp. advts. Issued in yellow wrapper. The ordinary edition is in red wrapper. The Aims of Art By William Morris Author of" The Earthly.Paradise," etc. London Office of " The Commonweal " 13 Farringdon Road 1887. i6mo. pp. 40 (including title). Issued with wrapper. There was a special edition on hand- made paper with grey wrapper, from which the above description and collation have been taken. The article was republished in the volume entitled " Signs of Change." On the External Coverings of Roofs. A four-page leaflet issued by The Society for the Protection of Ancient Buildings. London, n.d. 8vo. Without Mr. Morris's name as author. The Socialist Ideal of Art. By William Morris, Author of "The Earthly Para- dise," " A Dream of John Ball," " News from Nowhere," &c. &c. London : Reprinted from " The New Review," January 1891. Sm. 8vo. 12 pp. (without wrapper). City of Birmingham Museum and Art Gallery. Address on the Collection of Paintings, of the English Pre-Raphaelite School, delivered by Mr. William Morris, in the Museum and Art Gallery, on Friday, October 2nd, 1891. Vll Birmingham: E. C. Osborne and Son, 84, New Street. Price One Penny. 8vo. 16 pp. pamphlet, including title. Without wrapper. The Principles of the Society for the Protection of Ancient Buildings as set forth upon its Foundation in 1877, and ■which are here reprinted in 1891 with- out alteration. Unsigned. A folio broadside of 2 pp., forming a prospectus and list of members of the Society. Arts and Crafts Essays By Members of the Arts and Crafts Exhibition Society With a Preface by William Morris London Rivington, Percival, & Co. 1893. Sm. 8vo. One blank leaf; half-title and title, 2 leaves ; preface, 5 leaves ; contents, 2 leaves : B — 2 E 2 in eights, and 24 pp. catalogue of the publishers, (pp. xvii and 420. ) In addition to the preface the volume also contains the articles on " Textiles " and " Dyeing as an Art," which originally appeared in the First and Second Catalogues of the Arts and Crafts Exhibition Society (1888— 1889). The essay on " Printing," which in the 1888 Arts and Crafts Exhibition Catalogue was written by Mr. Emery Walker alone, is here recast and issued in the joint names of William Morris and Emery Walker. Gothic Architecture. A Lecture for the Arts and Crafts Exhibition Society. See Kelmscott Press Pubs. Bibl. Concerning 'Westminster Abbey. The Society for the Protection of Ancient Buildings. London : g Buckingham Street, Adelphi, W.C. [1894.] Unsigned. Cr. 8vo. 18 pp. including wrapper. IV. SOCIALIST WRITINGS. A Summary of the Principles of Socialism Written for the Democratic Federation, By H. M. Hyndman and William Morris. London : The Modern Press, 13 and 14, Paternoster Row, E.C. 1884. Sm. 8vo. with pink wrapper. B — E in eights (pp. 64, last leaf contains advts. ). Front wrap- per has a floriated design within which is printed the title. The wrapper was designed by Mr. W. Morris. Price One Halfpenny. For whom shall we vote ? Addressed to the Working-Men Electors of Great Britain. Sm.8vo. 8 pp. (without title or wrapper. Written by Morris, although without his name). No. 11.] What Socialists Want. A single demy 8vo. leaf, printed on both sides. The Socialist Platform. No. 2. The Socialist League. [With headpiece designed by Walter Crane.] Useful Work v. Useless Toil. By Wil- liam Morris. London : Socialist League Office, 13 Farringdon Road, Holborn Viaduct, E.C. 1885. Price One Penny. Sm. 8vo. 24 pp. (incl. title) without wrappers, paged continuously with No. I of" The Socialist Platform," p. 17 — p. 40. The first five issues of " The Socialist Platform " are paginated con- tinuously ; the others separately. Mr. Morris and Mr. Ernest Belfort Bax signed an Introductory Editorial Note which appears in each of the pamphlets issued under this title. The pamphlet is reprinted as part of the book entitled " Signs of Change." Price One Penny.] The Manifesto of the Socialist'League. Sm.8vo. 8 pp. (without title or wrapper). Written by W. Morris, but unsigned. The Manifesto of The Socialist League. Signed by the Provisional Council at the Foundation of the League on 30th Dec. 1884, and adopted at The General Conference Held at Farringdon Hall, London, on July 5th, 1885. A new edi- tion, Annotated by William Morris and E. Belfort Bax. London : Socialist League Office, 13 Farringdon Road, Holborn Viaduct, E.C. 1885. Price One Penny. Sm. 8vo. 16 pp. in pamphlet form, 'last leaf unpaged. The " Prefatory Note" is signed and dated "October, 1885." The Socialist Platform. No. 4. The Socialist League. [With headpiece designed by Walter Crane.] A Short Account of the Commune of Paris. By E. Belfort Bax, Victor Dave, and William Morris. Price Twopence. London : Socialist League Office, 13, Farringdon Road, Holborn Viaduct, E.C. 1886. Sm. 8vo. 24 pp. without wrapper ; paged 57 to 80. Socialism. A Lecture delivered under the auspices of the Norwich Branch of the Socialist League, at the Victoria Hall, Norwich, on Monday evening, March 8th, 1886, by Mr. William Morris. Reprinted from " Daylight." A broadsheet (17 x iof in.) with four columns of small print on each side. Claims of Labour Lectures — No. 5. The Labour Question from the Socialist Standpoint. By William Morris. Edinburgh Co-operative Printing Com- Vlll pany Limited, Bristo Place. 1886. Price One Penny. 8vo. 32 pp. (pp. 30-31 blank; p. 32, advt.). Without wrapper. The Claims of Labour. A Course of Lectures delivered in Scotland in the Summer of 1886, on Various Aspects of the Labour Problem. By John Burnet, . . . Benjamin Jones, . . . Patrick Geddes, F.R.S.E. ; Alfred Russell Wallace, LL.D., F.L.S., &c. ; William Morris; and Herbert Somerton Foxwell . . . Edinburgh Co-Operative Printing Com- pany Limited, 1886. Sm. 8vo. A — S 2 in eights (including title), and a folding plan called " Curve of General Whole- sale Prices," pasted on back cover. Mr. Morris's contribution to this volume is the lecture entitled " The Labour Question from the Socialist Standpoint " (pp. 155 — 185), which was issued separately as a pamphlet in 1886. The volume was bound originally in pink linen limp, and published at one shilling. The Tables Turned ; or, Nupkins Awakened A Socialist Interlude by William Morris Author of ' The Earthly Paradise.' As for the first time played at the Hall of the Socialist League on Saturday October 15th, 1887. London: Office of "The Commonweal " 13 Farringdon Road, E.C. 1887. All Rights Reserved. Sm. 8vo. 32 pp. without title-page, but with a blue wrapper, the four pages of which are not in- cluded in the pagination. " The Socialist Platform." No. 6. The Socialist League [with headpiece designed by Walter Crane.] True and False Society. By William Morris London : Socialist League Office 13 Farringdon Road, E.C. 1888. Price One Penny. Sm. 8vo. 24 pp., last leaf blank on recto, and contains advts. on verso. Without wrapper. Signs of Change. Seven Lectures de- livered on Various Occasions By William Morris Author of " The Earthly Paradise." London Reeves and Turner 196 Strand 1888. Contents : How we Live and How we might Live — Whigs, Democrats, and Socialists — Feu- dal England — The Hopes of Civilization — The Aims of Art — Useful Work versus Useless Toil — Dawn of a New Epoch. The first four lectures originally appeared in the " Commonweal ; " " Aims of Art " was published as a pamphlet in 1887, and " Useful Work" as a pamphlet in 1885. Sm. 8vo. One leaf of advt. ; half-title, title, pre- face, and contents, 5 leaves; B — O 6 in eights; last leaf consists of advts. There was also a Large Paper edition issut bound in buff- coloured linen, and printed on hand-made paper. ssued, " The Socialist Platform." No. 7. The Socialist League [with headpiece designed by Walter Crane.] Monopoly: or, How Labour is Robbed. By William Morris, Author of " The Earthly Paradise." Price One Penny. London; Office of " The Commonweal " 24 Great Queen Street, Lincoln's Inn Fields, W.C. 1890. Sm. 8vo. 16 pp. without wrapper. On the verso of title-page is a cartoon signed H. R. Price One Penny. Under an Elm-Tree ; or, Thoughts in the Country Side. By Wm. Morris, Author of " The Earthly Paradise," &c, &c. Aberdeen : Printed and Published by James Leatham, 15 St. Nicholas Street. 1891. i6mo. 16 pp. (in pamphlet form, without wrap- pers). Originally appeared in "The Common- weal." William Morris Poet, Artist, Socialist. A Selection from his Writings together with a Sketch of the Man. Edited by Francis Watts Lee. New York The Humboldt Publishing Co. Clinton Hall, Astor Place (1891). Cr. 8vo. One blank leaf; half-title, title, con- tents, 3 leaves ; introduction, 7 leaves ; and pp. 300 and 1 blank leaf. (No sigs.) Bound in buff paper wrapper. Contents: Introduction — "William Morris. By William Clarke — A Dream of John Ball— A King's Lesson — Signs of Change — How the Change Came — Chants for Socialists (6). Appeared as No. 5 of " The Social Science Library," edited by W. D. P. Bliss. Socialism its Growth & Outcome by William Morris Author of ' The Earthly Paradise,' ' News from Nowhere,' etc. and E. Belfort Bax Author of ' History of Philosophy,' 'The Religion of Social- ism,' etc. London Swan Sonnenschein & Co. New York : Charles Scribner's Sons 1893. Sm. 8vo. Four prel. leaves, consisting of half- title, title, preface, and contents ; B — Y in eights. Last four leaves consist of '* Index." A special edition was also issued on large paper and bound in red buckram. The substance of the volume appeared serially in " The Common- weal," with the title " Socialism from the Root Up." In 1896 it was included as one of the publishers' " Social Science Series." The Reward of Labour : A Dialogue by William Morris, author of " The IX Earthly Paradise." Being No. I of the Hammersmith Socialist Library. One Penny. n. d. 8vo. 12 pp., no regular title-page ; in grey wrapper. Reprinted from " The Commonweal." Printed by Hayman, Christy & Lilly, Ltd. 20 & 22 St. Bride St. E.C. Letters on Socialism by William Morris London : Privately Printed. 1894. 8vo. Two blank leaves ; half-title ; 4 pp. fac- simile of a letter from Mr. Morris, on Japanese vellum; title, certificate as to impression of edition, note, 3 leaves; B — I in twos (last leaf has on recto copy of book-plate of the Ashley Library) and 2 blank leaves. The letters were addressed to the Rev. George Bainton, of Coventry, and, as the " note " states, " are printed with Mr. Morris's permis- sion, though not upon his initiative." How I became a Socialist [Portrait.] William Morris. [Price One Penny. 8vo. 16 pp. Mr. Hyndman's Introduction oc- cupies pp. 3-8. V. TRANSLATIONS. Grettis Saga. The Story of Grettir the Strong Translated from the Icelandic by Eirikr Magnusson, Translator of 'Legends of Iceland;' and William Morris, Author of ' The Earthly Para- dise.' London : F. S. Ellis, King Street, Covent Garden. MDCCCLXIX. [Pub. at 8i.] Sm. 8vo. Half-title and title, 2 leaves ; preface, 6 leaves ; sig. /', 4 leaves ; a double-page " map of the West parts of Iceland, with the chief steads named in the story;" B — X 2 in eights (last leaf consists of advts.). The verso of the half-title contains a sonnet by William Morris beginning : " A life scarce worth the living, a poor fame Scarce worth the winning, in a wretched land." Volsunga Saga. The Story of the Volsungs & Niblungs with Certain Songs from the Elder Edda. Trans- lated from the Icelandic by Eirikr Magnusson, Translator of ' Legends of Iceland;' and William Morris, Author of ' The Earthly Paradise.' London : F. S. Ellis, King Street, Covent Garden. MDCCCLXX. Sm. 8vo. Half-title and title, 2 leaves ; preface, 4 leaves ; contents, 2 leaves ; sig. l>, 2 leaves ; B — T 2 in eights and one blank leaf. The " Songs from the Elder Edda " has a special half-title (p. 165). The ornamental cloth binding was designed by Philip Webb. There was a large paper issue of 12 copies, the title-page in most of the copies being decorated by W. Morris himself. Volsunga Saga : The Story of the Vol- sungs and Niblungs, with certain Songs from the Elder Edda. Edited, with Introduction and Notes, by H. Halliday Sparling. Translated from the Icelandic by Eirikr Magnusson (Translator of "Legends of Iceland"); and 'William Morris (Author of " The Earthly Para- dise.") Walter Scott London : 24 Warwick Lane Paternoster Row 1888. [" The Camelot Series. Edited by Ernest Rhys" on half-title.] Sigs. a, b, c, 8 leaves each (including half-title and title) ; sig. rf, 2 leaves ; sigs. 001 — 0018 6 in eights (last four leaves unpaged and consist of advts.). (pp. hi and 276.) There are two special half-titles in the body of the book — " The Story of the Volsungs and Niblungs " (p. xlvii), and " Songs from the Elder Edda " (p. 161). This is a reprint of the first edition issued in 1870. Three Northern Love Stories, and other Tales. Translated from the Icelandic by Eirikr Magnusson and William Morris. London : Ellis & White, 29 New Bond Street. 1875. Sm. 8vo. Half-title and title, 2 leaves; sig. a, 4 leaves ; B — R in eights. To each of the six stories there is a special half-title. A large paper edition of 25 copies was also issued. The .rEneids of Virgil Done into Eng- lish Verse by William Morris, Author of ' The Earthly Paradise.' London : Ellis and White, New Bond Street. MDCCCLXXVI. [Pub. at 14J.] Sq. 8vo. Half-title and title, 2 leaves; B — BB in eights (last leaf blank). A large paper edition of 25 copies was also issued. In 1875 an edition was issued by Roberts of Bos- ton, U.S.A., in 8vo. The Odyssey of Homer Done into English Verse by William Morris Author of The Earthly Paradise. In Two Volumes. Vol. I. [Vol. II.] London : Reeves & Turner, 196 Strand. MDCCCLXXXVII. 4to. Vol. I. : half-title, title, and contents, 4 leaves ; B — Q 4 in eights (last leaf blank). Vol. II. : half-title, title, and contents, 4 leaves ; R — GG 6 in eights. The pagination is also con- tinuous through the two volumes. Printed on hand-made paper, and bound in marble boards with half-vellum backs. This was the large paper issue of 50 copies. The small paper edition was also on hand-made paper, but was bound in antique boards, half parchment. The Saga Library. Vol. I. TVol. II.] [Vol. III.] [Vol. IV.] [Vol. V.] The Story of Howard the Halt. The Story of the Branded Men. The Story of Hen Thorir. Done into English out of the Icelandic. By William Morris and Eirikr Magnus- son. London : Bernard Quaritch, 15 Picca- dilly. 1891. Sm. 8vo. Vol. I. : half-title, and title, 2 leaves ; preface, 22 leaves; half-title to "The Story of Howard the Halt," one leaf; " Corrigenda," one leaf; "Map of the Country of the Howard's Saga," one leaf; B — Q2 in eights, with half-titles to each of the stories. The maps are not included in the signatures ; there is a map to each story. Vol. II. Eyrbyggja Saga— [Title :— ] The Story of the Ere-Dwellers (Eyr- byggja Saga) with The Story of the Heath-Slayings (Hei'Sarviga Saga) as Appendix. Done into English out of the Icelandic by William Morris and Eirfkr Magnusson. London Bernard Quaritch, 15 Picca- dilly 1892. Half-title and title, 2 leaves ; contents, 3 leaves ; preface, ig leaves ; chronological list, 2 leaves ; addenda and corrigenda, 1 leaf; B — DD 6 in eights (last leaf contains printer's name only). The map of "The Story of the Heath-Slayings" is not included in the signatures. The map for " The Story of the Ere-Dwellers" is on the verso of the half-title to that story. Vol. III. Heimskringla. Vol. I. [Title :— ] The Stories of the Kings of Norway called the Round World (Heimskringla) By Snorri Sturluson Done into English out of the Icelandic by William Morris and Eirikr Magnus- son. Vol. I. With a Large Map of Norway. London Bernard Quaritch, 15 Picca- dilly 1893. Half-title, title, contents, translator's note, 4 leaves; B — CC in eights; DD, 4 leaves ; EE, one leaf. The map is in a pocket made in the inside of the back cover. Vol. IV. Heimskringla. Vol. II. [Title as for Vol. I., with the exception that there is no mention made of the map of Norway, that Vol. II. is printed instead of Vol. I., and that the date is 1894.] One blank leaf; half-title, title, and contents, 3 leaves; B — II 2 in eights. Vol. V. Heimskringla. Vol. III. [Title as for Vol. I. and Vol. II. Date, 1895.] Half-title, title, note, and contents, 4 leaves ; B — II in eights, KK, 4 leaves, LL, two leaves (last leaf blank). In addition to the ordinary edition there was a large paper issue (roy. 8vo.) of 125 copies, all numbered. Both issues were bound in rox- burghe binding, with gilt top. The Ordination of Knighthood. Translation in Verse by W. Morris of " L'Orderre de Chevalerie." In "The Order of Chivalry," pp. 128 — 147. Kelmscott Press. 1893. See Bibliog. Kelmscott Press Pubs. Of King Florus and the Fair Jehane. Translated by William Morris. 1893. See Kelmscott Press Pubs. Bibl. Of the Friendship of Amis and Amite. Translated by William Morris. 1894. See Kelmscott Press Pubs. Bibl. The Tale of the Emperor Constans and of Over Sea. Translated by William Morris. 1894. See Kelmscott Press Pubs. Bibl. Old French Romances done into Eng- lish by William Morris with an Intro- duction by Joseph Jacobs. London George Allen, Ruskin House 1896 All rights reserved. Sm. 8vo. Half-title, title, 2 leaves; introduction, n leaves ; contents, 3 leaves ; A — M 2 in eights (last leaf blank). This work is a reprint of the three items fore- going. The Tale of Beowulf. Done out of the Old English tongue by 'William Morris and A. J. Wyatt. (1895). See Kelmscott Press Pubs. Bibl. VI. CONTRIBUTIONS TO PERIODICALS, MAGA- ZINES, &c. The Oxford and Cambridge Magazine For 1856. Conducted by the Members of the Two Universities. London : Bell and Daldy, Fleet Street. 1856. 8vo. title and contents, 2 leaves; B — 3 F 6 in eights. Issued originally in monthly parts, with green paper wrappers. It was edited by Mr. Fulford. Contents : I. Essays:— Sir Philip Sidney. Part I. Prelude — Part II. The Learner — Alfred Tennyson. Parts I., II., III.— The Newcomes — The Barrier Kingdoms — Tne Churches of North France — Shakespeare's Minor Poems — Mr. Macaulay — The Prospects of Peace — A Few Words concerning Plato and Bacon — Car- lyle. Parti. His "I believe"— Part II. His Lamp for the Old Years — Part III. Another Look at his Lamp for the Old Years — Part IV. As a Writer— Part V. His Lamp for the New Years — Oxford — Prometheus — Unhealthy Employments — Shakespeare's Troilus and Cressida — On Popular Lectures — Thackeray and Currer Bell — Ruskin and the Quarterly — On the Life and Character XI of Marshal St. Arnaud— A Study in Shake- speare — Lancashire and Mary Barton — Woman, her Duties, Education, and Posi- tion — Death the Avenger, and Death the Friend — Two Pictures — Robert Herrick— Alexander Smith -— The Work of Young Men in the Present Age — Twelfth Night, or What You Will, a Study in Shakespeare — Rogers' Table-Talk— The Sceptic and the Infidel. Parts I. and II. II. Tales:— The Cousin— The Story of the Un- known Church — The Rivals — A Story of the North — The Two Partings — A Dream — Found Yet Lost— Frank's Sealed Letter — The Sacrifice — A Night in a Cathedral — Gertha's Lovers — Svend and his Brethren — Cavalay, a Chapter of a Life — The Hollow Land — Lindenborg Pool — The Druid and the Maiden — Golden Wings. III. Poetry:— Winter Weather— In Youth I Died — Fear — Remembrance — Riding Together — The Suitor of Low Degree — The Singing of the Poet — To the English Army before Sebastopol — Hands — The Burden of Nine- veh — The Chapel in Lyoness— A Year Ago —Pray but One Prayer for Us— The Blessed Damozel — Childhood — The Staff and the Scrip— The Porch of Life. IV. Notices of Books : — Kingsley's Sermons for the Times — Men and Women, by Robert Browning — Mr. Ruskin's New Volume — Froude's History of England — The Song of Hiawatha, by H. W. Longfellow — Recent Poems and Plays — England in Time of War, by Sydney Dobell— Within and With- out. A Dramatic Poem. By George Mac- Donald. I have obtained the best information I could with regard to the contributions by Mr. Morris to this magazine, and the result is given below: — The Churches of North France (pp. gg-no) — Ruskin and the Quarterly (pp. 353-361) — Death the Avenger, and Death the Friend (pp. 477-479) — The Story of the Unknown Church (pp. 28-33) — A Dream (pp. 146-155) — Frank's Sealed Letter (pp. 225-234) — A Night in a Cathedral (pp. 310- 316) — Gertha's Lovers. Part I. (pp. 403-417) ; Part II. (pp. 499-512) — Svend and his Brethren (pp. 488-499)— The Hollow Land. Part I. (pp. 565-577); Part II. (pp. 632-641) — Lindenborg Pool (pp. 530-534)— Golden Wings (pp. 733-742)— Winter Weather (pp. 62-64) — Riding Together (pp. 320-321) — Hands (p. 452) — The Cbapel in Lyoness (pp. 577-579) — Pray but One Prayer for Us (p. 644) — Men and Women, by Robert Brown- ing (pp. 162-172): With the exception of " Winter Weather," the poems were reprinted in " The Defence of Guenevere." The poem here entitled " Hands," when reprinted, formed the concluding stanzas of the poem "Rapunzel." Among the other contributors were D. G. Rossetti, Sir E. Burne-Jones, Vernon Lush- ington, Godfrey Lushington, B. Cracroft, W. Heeley,the editor, and the present Mrs. Kipling, Mrs. Poynter, and Lady Burne-Jones. (1) POEMS. The God of the Poor: a Poem. "Fort- nightly Review," August, 1868. Afterwards republished in " Poems by the Way." The Two Sides of the River: a Poem. " Fortnightly Review," October, 1868. Afterwards republished in " Poems by the Way." On the Edge of the Wilderness — a poem. " Fortnightly Review," April, 1869. (Pp. 39 I -394-) Afterwards republished in " Poems by the Way." The Seasons — Four stanzas published in "The Academy," February 1, 1871. This poem was republished with a variant in the shape of a new stanza in place of the original on Winter, in " Poems by the Way." The Dark Wood — poem. " Fortnightly Review," February 1, 1871. Reprinted in "Poems by the Way" with the title " Error and Loss." Grosvenor Notes. Edited by Henry Blackburn. London: Chatto & Windus, 1879. Contains on p. 46 the following quatrain [by Mr. William Morris] for four paintings by E. Burne- Jones : No. 167. The heart desires No. 168. The hand refrains No. r6g. The Godhead fires No. r70. The soul attains. The Three Seekers. By William Morris. " To-Day, " Vol. I., No. 1 (pp. 25-29), London, January, 1884. A poem in fifty-two rhymed couplets. Reprinted in " Poems by the Way." Meeting in Winter — a poem. " English Illustrated Magazine," March, 1884. Republished in " Poems by the Way." The Hall and the Wood — a poem. " English Illustrated Magazine," Vol. VII. (p. 351), February, 1890. Republished in " Poems by the Way." The Day of Days: a Poem. "Time." New Series. November, i8go. Republished in " Poems by the Way." The Briar Rose — Four Stanzas for Pic- tures. First published in a pamphlet entitled " The Legend of the Briar Rose, a series of pictures painted by E. Burne-Jones, A.R.A. Exhibited at Thos. Agnew and Sons' Galleries, 3g Old Bond Street. l8go." Afterwards republished in " Poems by the Way." " The Wind's on the Wold," &c. Verses for embroidery on bed-hanging for Kelm- scott Manor, Lechlade. Three stanzas. First of 8 lines, second and third of 10 lines each. Arts & Crafts Exhibition Society. Catalogue of the Fourth Exhibition. 1893. (Pp. 36, 37.) The New Gallery, Regent Street. Xll (2) PROSE. Poems by Dante Gabriel Rossetti. [A Review.] " The Academy," May 14th, 1870. On Canterbury Cathedral. Two letters to the "Times," June 4th and July 7th, 1877. Destruction of City Churches. Letter to the " Times," April 17th, 187S. On St. Alban's Abbey. Letter to the " Times," August 2nd, 1878. Speech by Mr. William Morris at the Annual Meeting of the Society for the Protection of Ancient Buildings, 28th June, 1879. Report (pp. 30-36). In this Report is also contained the Report of the Committee, which Mr. Morris read. On the Restoration of St. Mark's at Venice. Two letters to the "Times," November 28th and 29th, 1879. Vandalism in Italy. Letter to the " Times," April 12th, 1882. Lectures at Oxford on Art and De- mocracy. Two contributions to the " Times," November 15th and 16th, 1883. A Review of European Society, with an Exposition and Vindication of the Prin- ciples of Social Democracy. By J. Sketchley. 'With an Introduction by William Morris. London: W. Reeves [1884]. Art Under Plutocracy. By William Morris. "To-Day," Vol. I., No. 2 (pp. 79-90) ; Vol. I., No. 3 (pp. 159-176). London, February and March, 1884. The Exhibition of the Royal Academy by a Rare Visitor. "To-Day" (pp. 75-91). July. 1884. Mural Decoration. Illustrated article signed W. M. and J. H. M., i.e., William Morris and Dr. J. H. Middleton. " En- cyclopaedia Britannica." Ninth edition. Edinburgh, 1884. Vol. XVII. (pp. 34-48). Report of Royal Commission on Tech- nical Education. Evidence by Mr. Wil- liam Morris. Vol. III. (c. 3981-11.) XXXI. I. 1884. Speech by Mr. William Morris (The Chairman) at the Annual Meeting of the Society for the Protection of Ancient Buildings, June, 1885. Report (pp. 45-55). The Best Hundred Books. Letter to the Editor of the " Pall Mall Gazette." " Pall Mall Gazette " Extra, No. 24. London. [1886.] The Revival of Architecture. " Fort- nightly Review," May, 1888 (pp. 665-674). Textiles — forming part of the Introduc- tory Notes to the Catalogue of the First Exhibition of the Arts and Crafts Exhi- bition Society. New Gallery, Regent Street, 1888. (Pp. 17-29.) Republished in "Arts and Crafts Essays" (Rivington, i8g3.) The Principles of Socialism made Plain. By Frank Fairman. With Preface by William Morris. London : William Reeves. 1888. The Revival of Handicraft. " Fort- nightly Review," November, 1888. On Tapestry and Carpet - Weaving. Letter to the " Times," November 2nd, 1888. Westminster Abbey and its Monuments. By William Morris, Hon. Sec. of the Society for the Protection of Ancient Buildings. " Nineteenth Century," March, 1889. (Pp. 409-414.) Address by Mr. William Morris at the Annual Meeting of the Society for the Protection of Ancient Buildings, July, 1889. Report (pp. 62-76). On Peterborough Cathedral. A Letter to the " Pall Mall Gazette," September 20th, 1889. Of Dyeing as an Art — Catalogue of the Second Exhibition of the Arts and Crafts Exhibition Society, 1889. (Pp. 56-67.) Republished in "Arts and Crafts Essays" (Rivington, 1893.) Art and Industry in the Fourteenth Century. "Time," New Series, Janu- ary, i8go. (Pp. 23-26.) On Stratford-on-Avon Church. Letter to the " Times," August 15th, 1890. On the Hanseatic Museum at Bergen. Letter to the " Times," September 10th, 1890. The Story of the Glittering Plain which has been also called the Land of Living Men or the Acre of the Undying. By Xlll William Morris. Illustrated by Walter Crane. "English Illustrated Magazine," Vol. VII. (pp. 687, 754, 824, 884), 1890. The Socialist Ideal. I.— Art. By William Morris. " New Review," Vol. IV., No. 20 (pp. 1-8), January, 1891. The reply to this by Mr. W. H. Mallock ap- peared in the " New Review," Vol. IV., p. 100, February, 1891. On Westminster Abbey. Letter to the "Times," February nth, 1891. On the Woodcuts of Gothic Books. Two contributions to the " Times," January 25th and 28th, 1892. The Woodcuts of Gothic Books. A paper read before the Society of Arts, January 26th, 1892. "Journal of the Society of Arts," February 12th, 1892. (Pp. 247-260. Illustrated.) Ruskin's The Nature of Gothic (1892). Preface to, by W. Morris. See Kelm- scott Press Pubs. Bibl. The Influence of Building Materials upon Architecture : By kind permission of the Art Workers' Guild. By William Morris. " The Century Guild Hobby Horse," Vol. VII. (pp. 1-14). 1892. Bell Scott (W.). Two Letters to, one dated May 6th, 1875, on the publication of Scott's Poems, the other dated April 27th, 1882, on the poet's " Harvest Home," printed in " Autobiographical Notes of the Life of W. Bell Scott." London : Osgood & Co. 1892. 2 vols. The first letter is to be found on pp. 212-213, an d the second on page 30g. Art Craft and Life. A Chat with Mr. William Morris. " Daily Chronicle," October 9th, 1893. London. On the Printing of Books. Contribu- tion to the " Times," November 6th, 1893. Help for the Miners : the deeper mean- ing of the struggle. A letter addressed to the Editor of the " Daily Chronicle," November 10th, 1893. Appeared afterwards as a leaflet. Medieval Lore : Edited by Robert Steele. With a Preface by William Morris. London : Elliot Stock. 1893. 8vo. More's "Utopia" (1893), Foreword to. By W. Morris. See Kelmscott Press Pubs. Bibl. Prospectus for Kelmscott Press Edition of " Sidonia the Sorceress." 1893. Early England. A Report of an Address by William Morris at the South London Art Gallery. " Daily Chronicle," Janu- ary 15th, 1894. The Proposed Addition to Westminster Abbey. A Letter to the Editor of the " Daily Chronicle," dated " Hammer- smith Feb. 26.", appeared February 27th, 1894. The letter refers to Mr. Yates Thompson's pro- posals for a new mortuary chapel. Mr. Morris's " Chaucer." A Letter to the Editor of the "Daily Chronicle," dated " Hammersmith July 20," ap- peared July 24th, 1894. Some Notes on the Illuminated Books of the Middle Ages. By W. Morris. Illustrated. " Magazine of Art," Vol. XVII. (pp. 83-88), January, 1894. Peterborough Cathedral. A Letter to the Daily Papers. April 2nd, 1895. The letter appeared in "The Times," "Stan- dard," " Daily Chronicle," and " Morning Post." Tree-Felling in Epping Forest. A Letter to the Editor of the " Daily Chronicle," April 23rd, 1895. The letter is dated April 22nd, 1895. Epping Forest. Mr. Morris's Report. " Daily Chronicle," May gth, 1895. Signed " William Morris May 8th, 1895." On the Royal Tombs in Westminster Abbey. Letter to the " Times," June 1st, 1895. " Wood beyond the World." A Let- ter to the Editor of the " Spectator," July 20th, 1895. Trinity Almshouses. A Letter to the " Daily Chronicle," dated " Hammer- smith Nov. 25, 1895." Reprinted in "The Trinity Hospital in Mile End," edited by C. R. Ashbee, and published by the Guild and School of'Handicraft. Gossip about an Old House on the Upper Thames. Illustrated. "The Quest," No. 4 (pp. 5-14). Birmingham, Novem- ber, 1895. The article is dated " Kelmscott October 25." Rouen Cathedral. A Letter to the " Daily Chronicle," October 12th, 1895. Peterborough Cathedral. A Letter to the " Daily Chronicle," December 5th, 1895. xiv Chichester Cathedral. A Letter to the "Times," December 14th, 1895. Good King Wenceslas, a Carol. Written by Dr. Neale and pictured by Arthur J. Gaskin. With an Introductory Note by William Morris. Birmingham, Cornish Bros. 1895. On the Artistic Qualities of the Woodcut Books of Ulm and Augsburg in the Fif- teenth Century. ". Bibliographica," Vol. I. (pp. 437-455)- London, 1895-6. Contains nine reproductions of old wood-blocks. (3) TRANSLATIONS. The Saga of Gunnlaug the Worm -tongue and Rafn the Skald. Translated by Eirikr Magnusson and William Morris. " Fortnightly Review," January, i86g (pp. 27-56). This story was included in the volume entitled "Three Northern Love Stories," 1875. The Story of Frithiof the Bold. Trans- lated from the Icelandic. "The Dark Blue." Vol.1. March to August, 1871. Chapters I.-X. (pp. 42-58). Chapters XI. -XV. (pp. 176-182). London : Sampson Low & Co. 1871. This story was included in the volume entitled "Three Northern Love Stories," 1875. (4) CONTRIBUTIONS TO "JUS- TICE." Mr. Morris's Contributions began in No. 1 (January 19th, 1884), and con- tinued until No. 49 (December 20th, 1884). An Old Fable Retold. Vol. I., No. 1 (p. 2). January 19th, 1884. The Principles of Justice. A leader signed by H. M. Hyndman, William Morris, J. Taylor. Vol. I., No. 1 (p. 4). January 19th, 1884. Report of a Lecture on " Useful Work versus Use- less Toil," delivered at Hampstead. Vol. I., No. 1 (p. 6). January igth, 1884. Report of a Lecture on " Useful Work versus Use- less Toil," delivered at Manchester. Vol. I., No. 2 (p. 7). January 26th, 1884. Report of a Lecture on "Art and Socialism," de- livered at Leicester. Vol. I., No. 3 (p. 7). February 2nd, 1884. Order and Anarchy. An article. Vol. I., No. 4 (p. 2). February 9th, 1884. The Bondholder's Battue. A leader signed by H. M. Hyndman and William Morris. Vol. I., No. 4 {p. 4). February gtb, 1884. The Way Out. An Appeal to genuine Radicals. A signed leader. Vol. I., No. 7 (p. 4). March 1st, 1884. Art or No Art? Who Shall Settle it? A signed article. Vol. I , No. 9 (p. 2). March 15th, 1884. The Voice of Toil. Chants for Socialists. No. 2. Vol. I., No. 12 (p. 5). April 5th, 1884. Why Not ? A signed article on the Preservation of Commons. Vol. I., No. 13 (p. 2). April 12th, 1884. All for the Cause. Chants for Socialists. No. III. Vol. I., No. 14 (p. 5), April 19th, 1884. The Dull Level of Life. A signed leader. Vol. I., No. 15 (p. 4). April 26th, 1884. A Factory as it Might be. A signed article. Vol. I., No. 18 (p. 2). May 17th, 1884. Individualism at the Royal Academy. A signed leader. Vol. I., No. 19 (p. 4). May 24th, 1884. Work in a Factory as it Might be. II. A signed article. Vol. L, No. 20 (p. 2). May 31st, 1884. No Master. Chants for Socialists. No. IV. Vol.1., No. 21 (p. 5). June 7th, 1884. Work in a Factory as it Might be. III. A signed article. Vol. I., No. 24 (p. 2). June 28th, 1884. To Genuine Radicals. A signed leader. Vol. I., No. 26 (pp. 4, 5). July 12th, 1884. The Housing of the Poor. A signed leader. Vol.1., No. 27 (pp. 4, 5). July 19th, 1884. Socialism in England in 1884. A signed leader. Vol. I., No. 30 (p. 4). August 19th, 1884. Uncrowned Kings. A signed leader. Vol. I., No. 34 (p. 4). September 6th, 1884. The Hammersmith Costermongers. Vol. I., No. 36 (p. 3). September 20th, 1884. An Appeal to the Just. A signed leader. Vol. I., No. 39 (p. 4). October nth, 1884. Literary Courtesy. A letter to the Editor. Vol. I., No. 39 (p. 6). October nth, 1884. The Lord Mayor's Show. A signed article. Vol.1., No. 44 {p. 2). November 15th, 1884. The Hackney Election. A signed leader. Vol. I., No. 46 (p. 4). November 29th, 1884. Philanthropists. A signed article. Vol. I., No. 49 (p. 2). December 20th, 1884. (5) CONTRIBUTIONS TO THE "COMMONWEAL." (The Official Journal of the Socialist League,) From the first number, which is dated February, 1885, to the last with which he had anything to do (December, 1890, Nos. 1-253), Mr. Morris acted either as editor or co-editor in the management of this periodical. In almost every issue he contri- buted editorial notes, with the headings, " Notes," " Notes on News," " Political Notes," " Notes on Passing Events," &c. These were sometimes S'gned with his full name, but oftener with the initials"W. M." Scattered here and there through- out the issues are minor notes, all initialled " W. M." Occasionally, during or after a lecturing tour, he would send on notes or impressions. These appear under the following headings in the issues as given: "Socialism in the Provinces" (No. 15, p. 30) ; " Socialism in Dublin and Yorkshire " (No. I 7i P- 43) > " A Letter from Scotland " (No. 25, pp. 105, ic6) ; " The Sequel of the Scotch Letter " (No. 26, p. 114) ; " Socialism Militant in Scotland " (No. 117, pp. 106, 107)5 "In and about Cottonopolis" (No. 153, p. 396); "Impressions of the Paris Con- gress" (Nos. 185, 186, pp. 234, 242). XV With No. 16 " The Commonweal " commenced its weekly issue. With the issue for November 29th, iSgo, the journal ceased to be a weekly, and the next issue was for the month of December. The last contribution of Mr. Morris's which I can trace is in the issue for November 15th, r8go (No. 251). In this he has a leading article, entitled, " Where are we Now?" (pp. 361, 362), which contains the statement of his political and social opinions, and the reasons for the step he takes in separating him- self from the more "advanced" members of the Socialist body. "The Commonweal," after Mr. Morris left it, became the organ of the "Anarch- ists." It lived by fits and starts as a monthly, and finally became extinct in 1894. Mr. Morris's more important contributions to "The Commonweal" consist of political and social leaders, poems, stories, and articles on art. In conjunction with Dr. Aveling, E.Belfort Bax, and H. Halliday Sparling, he signed several editorials and special pronouncements of the Socialist League. Of them all I give herewith a complete list, arranged in chronological order : The March of the Workers. [A poem.] No. i,p. 4. [A poem.] The Message of the March Wind. No. 2, p. 13. This poem was made the first of a series, with the general title, " The-Pilgrims of Hope." In the following issues appeared the poems with a separate title to each: The Pilgrims of Hope. II. The Bridge and the Street. No. 3, p. 20. III. Sending to the War. No. 4, p. 32. IV. Mother and Son. No. 5, pp. 44, 45. V. The New Birth. No. 7, pp. 68, 6g. VI. The New Proletarian. No. 8, pp. 80, 81. VII. In Prison — and at Home. No. 10, pp. 96, §7. VIII. The Half of Life Gone. No. 12, p. 4. IX. A New Friend. No. 14, pp. 21, 22. X. Ready to Depart. No. 15, pp. 28, 29. XI. A Glimpse of the Coming Day. No. 17, p. 45. XII. Meeting the War Machine. No. 21, p. 75. XIII. The Story's Ending. No. 25, p. 107. The Worker's Share of Art. No. 3, pp. 18, 19. Unattractive Labour — Attractive Labour. Sup- plements to Nos. 4 and 5, pp. 37, 49, 50. Socialists at Play [a Poem]. No. 6, p. 56. Prologue spoken at the Entertainment of the Socialist League at South Place Institute, June 11, 1885. Socialism and Politics (An Answer to "Another View"). [Article.] Supplement to No. 6, p. 61. A New Party. [Article.] Supplement to No. 8, p. 85. Ireland and Italy. A Warning. [Article.] No. 9, pp. 86, 87. A Letter from the Pacific Coast. [Article.] No. 13, P- 13- Our Policy. [Editorial.] No. 14, pp. 17, 18. Independent Ireland. [Leader.] No. 16, p. 36. Socialism from the Root Up. By E. Belfort Bax and William Morris. Appeared serially in Nos. 18, ig, 20, 21, 22, 25, 28, 29, 31, 33, 35, 38, 42, 56, 5g, 61, 63, 68, 80, 82, 113, 114, 121, 123. Our Representatives. [Leader.] No. ig, p. 68. Free Speech at Stratford. [Article.] No. 22, p. 87. Misanthropy to the Rescue. [Leader.] No. 23, p. 172. A Review of Mr. Wordsworth Donisthorpe's paper read by him at the Fabian Conference. No. 23, p. 172. The paper was printed in the " Anarchist." Whigs, Democrats, and Socialists. No. 24, pp. 97, 98. No. 25, pp. 106, 107. Read at the Conference convened by the Fabian Society at South Place Institute, June n, 1886. [Leader.] No. 24, pp. Home Rule or Humbug. 100, 101. ' by Annie Besant. No. 27, [Editorial.] [Editorial.] [Editorial.] No. 28, No. 29, No. 31, Review of" Modern Socialism' No. 26, p. 117. The Whig-Jingo Victory. [Editorial.] p. 121. " Cashel Byron's Profession,"byG. Bernard Shaw. A Review. No. 27, p. 126. What is to Happen Next? p. 129. Free Speech in the Streets. p. 137- Mr. Chamberlain's Leader. P- 153. The Abolition of Freedom of Speech in the Streets. [Editorial.] No. 32, p. 160. An Old Story Retold [A Tale]. No. 36, pp. 197, ig8. The Reward of "Genius." [Article.] No. 37, pp. 205, 206. A Dream of John Ball. Appeared serially in Nos. 44. 45. 46, 47. 48, 49. 5°, 5 1 , 52, 53, 55- The Moral of Last Lord Mayor's Day. No. 45, p. 265. Mr. Jawkins at the Mansion House. No. 45, pp. 268, 269. Remarks on a speech by Lord Salisbury. The Ten Commandments. No. 46, p. 276. A review of an article in the " Pall Mall Gazette." Is Trade Recovering? [Leader.] No. 50, p. 305. The Law in Ireland. [Editorial.] No. 50, p. 307. Words of Forecast for 1887. No. 52, p. g. (Signed " E. Belfort Bax, William Morris."} The Political Crisis. [Leader.] No. 53, p. 20. Facing the Worst of It. [Editorial.] No. 58, p. 60. Fighting for Peace. [Editorial.] No. 59, p. 68. Why we Celebrate the Commune of Paris. [Ar- ticle.] No. 62, pp. 88, 89. Law and Order in Ireland. [Leader.] No. 65, p. 113. Coercion for London. [Article.] No. 70, pp. 153, 154. The Reward of Labour. A Dialogue. No. 71, p. 165. No. 72, pp. 170, 171. How We Live and How we Might Live. Appeared in Nos. 73, 74, 75, 7$> 77- In a note Mr. Morris says, "This paper has been delivered as a lecture on several occasions, and I have been often asked to reprint it : hence its appearance in ' Commonweal.' " Common-Sense Socialism. By H. Kempner. A Review. No. 75, p. 197. An Old Superstition— A New Disgrace. [Leader.] No. 76, p. 204. The Boy-Farms at Fault. No. 81, p. 241. Bourgeois versus Socialist. [Leader.] No. 82, p. 252, XVI Feudal England. Nos. 84, 85, 86, 87, pp. 266, 267, 274, 282, 2go, 291. Is Lipski's Confession Genuine? No. 85, p. 276. (Signed " E. Belfort Bax, William Morris.") Artist and Artisan. As an Artist sees it. No. 87, p. 291. Free Speech in America. [Leader.] No. 91, p. 324, Practical Politics at Nottingham. [Article.] No. 94, p- 349- Honestyis the Best Policy; or, the Inconveniences of Stealing. [A Dialogue.] Nos. 95, g6, pp.356, 357. 364, 365- London in a State of Siege. [Article.] No. 97, PP- 369, 370. Insurance against Magistrates. No. 98, p. 377. The Liberal Party Digging its own Grave. [Leader.] No. 98, p. 380. The Conscience of the Upper Classes. [Leader.] No. 101, p. 404. What 1887 has done. [Leader.] No. 104, pp. 4, 5. Radicals Look Round You! [Leader,] No. 105, pp. 12, 13. On Some "Practical" Socialists. [Leader.] No. no, pp. 52, 53- A Triple Alliance. [Leader.] No. 112, p. 68. The Reaction and the Radicals. [Article.] No. 121, pp. 137, 138. The Skeleton at the Feast. [Leader.] No. 127, p. 188. Counting Noses. [Leader.] No. 128, p. ig6. Thoughts on Education and Capitalism. [Leader.] No. i2g, pp. 204, 205. The Revolt of Ghent. Nos. 130, 131, 132, 133, 134, 135. 136. Sweaters and Sweaters. No. 1. Matches by the Factory Drill. No. 132, pp. 225, 226. Socialistic Work at Norwich. [Leader.] No. 137, p. 268. A Modern Midas, [Leader.] No. 141, p. 300. Talk and Art. [Leader.] No. 154, p. 404. Whigs Astray. [A Dialogue.] Nos. 158, 159, pp. 18, ig, 26, 27. Mine and Thine. [Translation of a poem written in Flanders in the 14th century. Two verses of ten lines each.] No. 164, p. 67. Songs for the Celebration. "All for the Cause." No. 166, p. 85. Thirty-two rhymed couplets written as a revo- lutionary song, " to be sung to the air composed for it by E. Belfort Bax," by the choir of the Socialist League, at South Place, on March 16th, 1889. The occasion was the celebration of the anniversary of the Paris Commune. A Letter from William Morris, dated " Hammer- smith March 16th, i88g. 3 p.m.", addressed to the Chairman of the Meeting, Commune Celebration. No. 167, p. 91. The Society of the Future. Nos. 168, 169, 170, pp. g8, 99, 108, 109, 114, 115. Ducks and Fools. [A Fable, signed " W. M."] No. 169, p. 107. Correspondence. No. 175, p. 157. "A few thoughts suggested by reading the clauses of the Anarchist Congress at Valentia." In No. 177 appeared a reply to this, signed "J. Armsden," entitled, " Looking Forward." "Looking Backward." No. 180, pp. 194, 195. Under an Elm-Tree; or, Thoughts in the Country Side. No. 182, pp. 212, 213. Communism and Anarchism. [A Letter.] No. 188, p. 261. A Death Song. No. 202, p. 371. " Written to be sung at the funeral of Linnell, first victim of Bloody Sunday; reprinted by request." Four verses of eight lines each, with a refrain of a rhymed couplet. Monopoly. [Articles.] Nos. 204, 205, 206, pp. 388, 389, 3g4, 401, 402. News from Nowhere: or, an Epoch of Rest. Being some chapters from a Utopian Romance. Appeared serially in Nos. 209, 210, 211,212, 213, 214, 215, 216, 217, 218, 2ig, 220, 221, 222, 223, 224, 225, 226, 227, 228, 22g, 230, 231, 232, 233, 234, 235, 236, 237, 238, 23g, 240, 241, 242, 243, 244, 245, 246, and 247. Fabian Essays in Socialism. [A Review by way of Editorial.] No. 211, pp. 28, 29. Coal in Kent. [Article.] No. 217, pp. 77. Christianity and Socialism. [A Letter.] No. 217, P- 77- Labour Day. [Article.] No. 225, p. 137. The " Eight Hours " and the Demonstration. [Leader.] No. 227, p. 153. Anti-Parliamentary. [Leader.] No. 230, pp. 180, 181. The Development of Modern Society. Nos. 236, 237, 238; 239, and 240. Workhouse Socialism. [Leader.] No. 251, pp. 345, 346. Where are we Now ? [Leader.] No. 253, pp. 361, 362. Note. — " Hapless Love," a poem, appeared origin- ally in " Good Words" (pp. 264-265), April, 1869. Since going to press I learn that two poems, "The Voice of Toil" and "The Day of Days," both in "Poems by the Way," were reprinted as a leaflet and distributed to those attending a meeting of the South Place Ethical Society on February 21st, i8g7 ; on that occasion Dr. Stanton Coit lectured on William Morris. In 1871 Mr. Morris had set up the first page of his then forthcoming poem, "Love is Enough," with ornament engraved by himself from his own design. The work, however, was never com- pleted, and only those copies struck off as speci- mens now remain in the possession of a few friends and collectors. In November, i8go, that is, just before the Kelms- cott Press was established, Mr. Morris had printed for himself, at the Chiswick Press, " The Story of Gunnlaug Worm-tongue." The book was printed in the Press's special Caxton type, and consisted of eight sheets, pott 4to. in size. There were seventy-five copies printed on hand-made paper, and three on vellum. Blank spaces were left for rubricated initials; but the edition was never published. XV11 VII. MR. WILLIAM MORRIS. ARTICLES ON THE MAN AND HIS WORK. Criticisms on Contemporaries. No. III. Mr. William Morris. " Tinsley's Maga- zine," Vol. III. (pp. 262-277). October, 1868. William Morris. Portrait. " Once a Week," Vol. XXVII. (p. 148). 1873. William Morris. [An Appreciation.] By R. H. Stoddard. With portrait. "Appleton's Journal," Vol. VII. (p. 673). 1876. Our Modern Poets. No. XII. William Morris. By Thomas Bayne. " St. James's Magazine," Vol. XLII. [Vol. XXXIII.] (pp. 94-107). January, 1878. William Morris, M.A. [Contemporary Portraits.] With photograph. " Dublin University Magazine," New Series. Vol. II. (pp. 552-568). November, 1878. Hopes and Fears for Art. [A Review.] "Century Magazine," Vol. XXIV. (pp. 464, 465). July, 1882. On the Wandle. [An Article on Mr. Morris's Factory.] " Spectator," Vol. LVI. (pp. 1507-1509). London. Novem- ber 24th, 1883. A Prophet among the Painters. [By W. J. Stillman.] " Nation," Vol. XXXIX. (pp. 240, 241) (September 18th, 1884), (pp. 261, 262) (September 25th, 1884). William Morris at Work. "American Architect," Vol. XVII. (p. 296). 1884. William Morris and Socialism. " The Critic " (U.S.A.), Vol. VII. (pp. 176, 213). 1885. A Day in Surrey with William Morris. By Emma Lazarus. With portrait by Lisa Stillman, and illustrations by Joseph Pennell and W. J. Stillman. " Century Magazine," Vol. XXXII. (pp. 388-397). July, 1886. As a footnote in one of the pages of this article is a letter from Mr. Morris to Miss Lazarus, dated April 21st, 1884, on profit-sharing. In the same issue is an editorial, headed, " Negation not a Remedy," by way of a criticism on Mr. Morris's views on the Labour Question. William Morris as a Political Revolu- tionist. "Saturday Review," Vol. LXV. (p. 607). 1888. The Art Socialists Mary Bacon Ford, portrait of Morris, (pp. 185-190). 1889. of London. By Illustrated with " Cosmopolitan " Free Studies from Life. III. William Morris. By J. Morrison Davidson. " The Star," August 16th, 1890. With a portrait of W. Morris. One column. William Morris. By R. M. Lovett. " Harvard Monthly," Vol. XII. (p. 149). 1891. On William Morris : a Poem. By A. E. Cross. " New England Magazine," Vol. III. (p. 731). February, 1891. William Morris. By W. Clarke. " New England Magazine " (Mass.) N. S., Vol. III. (p. 740). February, 1891. William Morris. By M. Hewlett. " National Review," Vol. XVII. (p. 818). August, 1891. Poet as Printer : Interview with Wil- liam Morris. " Pall Mall Gazette," November 12th, 1891. Three English Poets. By Louise C. Moulton. "Arena" (U.S.A.), Vol. VI. (p. 46). June, 1892. William Morris. By F. Richardson. " Primitive Methodist Quarterly Re- view " (U.S.A.), Vol. XXXIV. (p. 414). July, 1892. Some Thoughts upon Beauty in Typo- graphy suggested by the Work of Mr. William Morris at the Kelmscott Press. With initial, tailpiece, and illustrations in facsimile of the work of the Kelm- scott Press. By G. Francis Watt Lee. " The Knight Errant " (Boston, U.S.A.), Vol. I., No. 2 (pp. 53-63). 1892. Master Printer Morris. Interview with Mr. William Morris. " Daily Chro- nicle," February 22nd, 1893. The Socialist Thread in the Life and Work of William Morris. By Professor O. L. Triggs. "Poet Lore " (U.S.A.), Vol. V. (p. 113). March, 1893— Vol. V. (p. 210). April, 1893. Art, Craft, and Life. Interview with Mr. William Morris. " Daily Chro- nicle," October 9th, 1893. An English Socialist [William Morris]. " London Quarterly," Vol. XXII. (p. 83). April, 1894. On the Revival of Tapestry-Weaving. An Interview with William Morris. By Aymer Vallance. Illustrated. " Studio," Vol. III. (p. 99). July, 1894. xviii M. William Morris et l'Art decoratif en Angleterre — par Jean Lahor (Dr. Henri Cazalis). Illustrated. " Revue Ency- clopedique," 15 Aout, 1894. Vol. IV., No. 89 (pp. 349-359)- The Esthetes. By Thomas F. Plow- man. " Pall Mall Magazine," January, 1895 (pp. 27-44), with portrait of Morris, after a drawing by Miss C. M. Watts. William Morris at the Kelmscott Press. Illustrated. " English Illustrated Maga- zine," Vol. XIII. (p. 47). April, 1895. Gossip about an Old House on the Upper Thames. "The Quest," No. 4. November, 1895. Birmingham. An illustrated article by William Morris, occu- pying the first fourteen pages of the issue. Re- printed with an illustration of a reduction of the first page of the Kelmscott " Chaucer" in " Bradley His Book." Vol. I., No. II. (pp. 27-32), Spring- field, Mass., U.S.A. June, r8g6. William Morris in Unpublished Letters on Socialism ; a Poet's Politics, by W. G. Kingsland. " Poet Lore," Vol. VII. (pp. 473, 543). October and Novem- ber, 1895. The Kelmscott Press of William Morris. With a Bibliography by Ernest Dressel North. "The Book Buyer" (New York, U.S.A.) November, 1895. The Kelmscott Press. An Illustrated Interview with Mr. William Morris. Portrait and reproductions. By I. H. I. [Temple Scott.] " Bookselling," Christ- mas, 1895 (pp. 2-14). Contains a Bibliography of the Kelmscott Press publications. The Kelmscott Press. Being part of a paper read at the Philobiblon Club at Philadelphia, and including an unpub- lished account of the press written specially for the occasion by Mr. Morris himself. " Modern Art " (Boston, U.S.A.) (pp. 36-39). April 1st, 1896. William Morris. [Obituary Notice.] " The Times," October 5th, 1896. William Morris : an Appreciation. By Joseph Pennell, "The Daily Chronicle," October 5th, 1896. Death of William Morris. " The Stand- ard," October 5th, 1896. William Morris. [Leader.] " Pall Mall Gazette," October 5th, i8g6. William Morris. By Edmund Gosse. " St. James's Gazette," October 5th, 1896. William Morris. Personal Character- istics. " St. James's Gazette," October 5th, 1896. William Morris — a Few Reminiscences. By " A Comrade." " Westminster Ga- zette," October 5th, 1896. Recollections of William Morris. By One who Knew Him. " The Daily Chronicle," October 6th, 1896. William Morris as a Socialist. By G. Bernard Shaw. " The Daily Chronicle," October 6th, 1896. William Morris. By Richard Le Gal- lienne. " The Star," October 7th, i8g6. Mr. 'William Morris. By Theodore Watts - Dunton. "The Athenaeum," No. 3598 (pp. 486-488). October 10th, 1896. William Morris. I. Morris as Actor and Dramatist. By G. B. S. [George Bernard Shaw.] II. Morris as Poet. By Arthur Symons. III. With the North-West Wind. By R. B. Cunning- hame-Graham. " Saturday Review," No. 2137 (pp. 385-390). October 10th, 1896. William Morris. " The Spectator," No. 3563 (pp. 478, 479). October 10th, 1896. ■William Morris. By H. Buxton-For- man. " Illustrated London News," October 10th, i8g6. A Literary Causerie. Mr. William Morris. By A. T. Q. C. [A. T. Quiller- Couch.] "The Speaker," No. 354 (pp. 3gi, 392). October 10th, i8g6. In Memoriam : William Morris. [A Poem.] ByS. E.W. "The Speaker," No. 354 (p. 3gi). October 10th, 1896. The Late William Morris, Art Crafts- man and Poet. By Aymer Vallance. " The Artist." (Arts and Crafts Special Number.) (Pp. 1-8.) October 12th, 1896. Illustrated with two portraits and views of Kelmscott. Mr. William Morris on the Platform. Some Reminiscences by One who Knew Him. " Daily News," October 14th, i8g6. XIX English Interiors — William Morris and his Influence. A Chat with Mr. Walter Crane. " Daily News," October 20th, 1896. William Morris as Printer. By Herbert P. Home. " Saturday Review," Vol. LXXXII. (pp. 438, 439). October 24th, i8g6. In Memoriam. William Morris. "The Marlburian," Vol. XXXI., No. 490 (pp. 153, 154), Marlborough. October 28th, 1896. William Morris : a Eulogy. By J. Mac- kenzie Bell. " Fortnightly Review " (pp. 693-702). November, 1896. ■William Morris. By Walter Crane. " The Progressive Review," No. 2. November, 1896. The End of the Kelmscott Press. "The Academy," No. 1284 (p. 530). December 12th, 1896. William Morris. By Edward Carpenter. " The Labour Leader," with portrait supplement. December 19th, 1896. Appeared in the Christmas number of " The Labour Leader." William Morris : an Appreciation. By Rev. A. L. Lilley. " The Common- wealth," December, i8g6. William Morris. By Herbert P. Home. "Saturday Review" (pp. 1-4. First Illustrated Supplement). Christmas, 1896. The article is illustrated with a portrait of Wil- liam Morris, reproduced in half-tone, from the painting by G. F. Watts, R.A. William Morris. By Aymer Vallance. "The Artist," Special Arts and Crafts Number, 1896. Illustrated with a portrait and picture of Kelm- scott Manor, from photographs by Mr. Frederick Evans. William Morris : The Man and his Work. By William Sharp. " Atlantic Monthly" (Boston, U.S.A.) (pp. 768- 781). December, 1896. William Morris— The Poet. By J. J. C. — The Printing of William Morris. By Theo. L. De Vinne. — Addendum of Bibliography of the Kelmscott Press Publications. By Ernest Dressel North. — Some Memories of William Morris. By Katherine Tynan. " The Book Buyer " (New York, U.S.A.), Vol. XIII., No. 12 (pp. 917-926). January, 1897. Illustrated with portrait, view of Kelmscott Manor, and specimens of Kelmscott printing. Originality in Printing. "The Inland Printer" (Chicago, U.S. A.), Vol. XVIII., No. 4 (pp. 413, 414). January, 1897. A "leader" on Kelmscott Press work. Recollections of William Morris. " The Artist," No. 206 (pp. 61-64). February, 1897. With illustrations. William Morris : a Memory, Personal and Otherwise. By J. C. Kenworth. " The New Century Review," No. 1, (pp. 77-82), January, 1897 — No. 2 (pp. 124-132), February, 1897. William Morris, Poet and Revolutionist. By D. F. Hannigan. " Westminster Review," Vol. CXLVIL, No. 2 (pp. 117- 119). February, 1897. The Recent Revival in Printing and its Development in 1896. By L. B. " The Literary Year Book, 1897 " (PP- 140-146). Edited by F. G. Aflalo. George Allen, 1897. Wm. Morris : Master Printer. Frank Colebrook. [Colophon :] Tunbridge 'Wells : Lewis Hepworth and Company, Limited, Prin- ters and Publishers. Cr. 8vo, n.d. Green boards, portrait of William Morris (reproduced by permission of "The Daily Chronicle") as frontispiece, one leaf; title, one leaf; dedication, one leaf, -f pp. 1-40 (last leaf containing imprint only) + 1 blank leaf. With three portraits in the text of Caxton, Wynkyn de Worde, and Caslon I. VIII. MR. MORRIS'S WRIT- INGS. REVIEWS AND CRITICISMS UPON. The Defence of Guenevere, and other Poems. By William Morris. [A Re- view.] " Athenaeum" (pp. 427, 428). April 3rd, 1858. The Life and Death of Jason: a Poem. By 'William Morris. [A Review.] " Athenaeum " (pp. 779, 780). June 15th, 1867. Life and Death of Jason. [A Review.] By A. C. Swinburne. " Fortnightly Review," Vol. VIII. (pp. 19-28). July 1st, 1867. The same article was reprinted in the American "Every Saturday," Vol. IV. (p. 115.) Life and Death of Jason. [A Review by Prof. C. E. Norton.] " Nation," Vol. V. (pp. 146, 147). August 22nd, 1867. XX Life and Death of Jason. [A Review.] By Henry James. North American Review. Vol. CV. (p. 688). The Earthly Paradise : a Poem. By William Morris. [A Review.] " Athe- naeum " (pp. 753, 754). May 30th, 1868. A letter concerning the announcement of the " Athenaeum's " on this book, by William Morris, is in the issue for April 25th, 1868 (p. 593). The above review was reprinted in " Littell's Living Age," Vol. XCVIII. (pp. 74-78). Boston. July 4th, 1868. The Earthly Paradise. [A Review.] ".Saturday Review," Vol. XXV. (pp. 73°> 73 1 )- May 30th, 1868. This review was reprinted in the " Eclectic Magazine," Vol. LXXIV. (pp. 437-440). New York, April, 1870. The Earthly Paradise. [A Review.] By W. H. Browne. " Southern Review," N. S., Vol. IV. (p. 383). Charleston, U.S.A. An article by the same writer on the same subject appeared in the " New Eclectic, " Vol. VI. (p. 578). Baltimore. The Earthly Paradise. " Edinburgh Review," Vol. CXXXIII. (pp. 243-266). Edinburgh, January, 1871. The Earthly Paradise. A Review of. " Quarterly Review," Vol. CXXXII. (PP- 59-84). London, January, 1872. The same article appeared in the " Eclectic Magazine " (N.Y.), Vol. LXXVIII. (p. 386). Also in "Every Saturday" (U.S.A.), Vol. XIII. (p. 429). Love is Enough : or, the Freeing of Pharamond : a Morality. By William Morris. [A Review.] " Athenaeum " (pp. 657, 658). November 23rd, 1872. Love is Enough. [A Review.] " Dark Blue," Vol. IV. (p. 627). London. An article in review of this poem appeared in the " Southern Magazine," Vol. XII. (p. 491). It was written by W. H. Browne. The Aeneids of Virgil, done into English Verse. By 'William Morris. [A Re- view by H. Nettleship.] "Academy," Vol. VIII. (pp. 493, 494). November 13th, 1875. The Story of Sigurd the Volsung. [A Review by Professor Henry Morley, in an article entitled " Recent Literature."] " Nineteenth Century," Vol. II. (pp. 704-712). London, November, 1877. " Sigurd " and the " Nibelungenlied." By Henry G. Hewlett. " Fraser's Magazine," Vol. CVI. (pp. 96-112). July, 1877. Hopes and Fears for Art. [A Review by E. Simcox.] " Fortnightly Review," Vol. XXXVII. (p. 771). Hopes and Fears for Art : Five Lec- tures. - By W. Morris. [A Review.] "Athenaeum" (pp.374, 375). September 16th, 1882. Poems of William Morris. Selections from, in " Living English Poets." London : Kegan Paul and Co. 1883. (pp. 214-233). The selections are from " Guenevere," " Jason," "The Earthly Paradise," and "Love is Enough." The Odyssey of Homer. Done into English Verse by William Morris. [A Review by E. D. A. Morshead.] " Aca- demy," Vol. XXXI. (p. 299). April 30th, 1887. "Esthetic Poetry," by W. H. Pater, in the volume " Appreciations " (pp. 213-227). London : Macmillan and Co. 1889. Sm. 8vo. The article itself is dated 1868. It forms a review of Mr. Morris's "Defence of Guenevere," "Jason," and " The Earthly Paradise." The House of the Wolfings. [A Re- view.] By Charles Elton. "Academy," Vol. XXXV. (pp. 85, 86). London, February 9th, 1889. A Tale of the House of the Wolfings. A Review by Henry G. Hewlett. "Nineteenth Century," Vol. XXVI. (pp. 337-341). London, August, 1889. The House of the Wolfings. [A Re- view.] " Athenaeum," Vol. II. (1889) (pp. 347-350). London, September 14th, 1889. The House of the Wolfings. [A Re- view.] " Atlantic Monthly," Vol. LXV. (p. 851). The House of the Wolfings. [A Re- view.] "Saturday Review," Vol. LXVII. (p. 101). London. William Morris and the Meaning of Life. By F. W. Myers. " Nineteenth Century," Vol.XXXIII. (p.93). January, 1893. A Priest of Gothic. A Review of Gothic Architecture, a Lecture by W. Morris. " Daily Chronicle," January 2nd, 1894. Poetry of William Morris. By G. Saintsbury. "The Critic" (U.S.A.), Vol. XXV. (p. 101). August 18th, 1894. XXI William Morris's Last Work. A Re- view of " The Well at the World's End." "Daily Chronicle," October igth, 1896. Mr. William Morris's Story. [A Re- view of" The Roots of the Mountains."] " Spectator," Vol. LXIV. (pp. 208, 209). London, February 8th, 1890. News from Nowhere. By William Morris. [A Review by Lionel Johnson of Mr. Morris's Socialistic Views.] "Academy," Vol. XXXIX. (pp. 483,484). May 23rd, i8gi. News from Nowhere. A Review. " Review of Reviews," Vol. III. (p. 509). May, 1891. News from Nowhere. [A Review.] By M. Hewlett. " National Review," Vol. XVII. (p. 818). Poems by the Way. [A Review.] "Athenaeum" (pp. 336-338). March 12th, 1892. Socialism, its Growth and Outcome by W. Morris and E. Belfort Bax. [A Re- view.] " Athenaeum " (p. 695). Novem- ber 18th, 1893. The Wood beyond the World. By William Morris. [A Review.] " Athe- naeum " (pp. 273, 274). March 2nd, 1895. The Tale of Beowulf, some time King of the Folk of the Weden Geats. Done out of the Old English tongue by William Morris and A. J. Wyatt. [A Review (by Theodore Watts-Dunton.)] " Athenaeum " (pp. 181, 182). August 10th, 1895. Poems by William Morris. [A Review of " Guenevere," "Jason," and "The Earthly Paradise."] " Westminster Review," Vol. XC. (pp. 300-312). Octo- ber, 1868. ■William Morris and Matthew Arnold. A Letter from a Hermitage. By Shirley [J. Skelton]. " Fraser's Magazine," Vol. LXXIX. (pp. 230-244). February, 1869. Morris's Poems. [A Review.] " Black- wood's Magazine," Vol. CVI. (pp. 56- 73). Edinburgh, July, 1869. A Review of " The Life and Death of Jason," and " The Earthly Paradise." The same article appeared in Little's " Living Age," Vol. CI I. (p. 399). The Poetry of the Period. Mr. Matthew Arnold. Mr. Morris. " Temple Bar," Vol. XXVII. (pp. 35-50). August, 1869. Morris's Poetry. [A Review of " The Defence of Guenevere," "The Life and Death of Jason," and " The Earthly Paradise." " London Quarterly Re- view," Vol. XXXIII. (pp. 330-360). January, 1870. Morris's Poems. [A Review of "Jason" and " The Earthly Paradise."] " The Christian Observer," Vol. LXX. (pp. 196-208). London, March, 1870. The Poetry of William Morris. [A Review by D. Casserly.] " The Catholic World," Vol. XII. (pp. 89-98). New York, October, 1870. The Later Labours of William Morris. " Tinsley's Magazine," Vol. VII. (pp. 457-465). November, 1870. A Review of " Grettis Saga," "The Saga of Gunnlaug," "The Earthly Paradise " (Pt. III.), and " Volsunga Saga." Geoffrey Chaucer and William Morris. " New Monthly Magazine," Vol. CXLIX. (pp. 280-286). September, 1871. The Poems of Mr. Morris. By Henry G. Hewlett. " Contemporary Review," Vol. XXV. (pp. 100-124). London, December, 1874. A Review of "The Defence of Guenevere and other Poems," "The Life and Death of Jason," "The Earthly Paradise," and "Love is Enough." The Poems of William Morris. By R. K. Weekes. " New England Maga- zine," Vol. XXX. (p. 557). Boston (U.S.A.). The Poetry of William Morris. By Andrew Lang. " Contemporary Re- view," Vol. XLII. (pp. 200-217). Lon- don, August, 1882. Erlanger Beitrage zur Englischen Philo- logie. Herausgegeben von Hermann Varnhagen. IX. Heft. Die Quellen von William Morris' Dichtung The Earthly Paradise von Julius Riegel. Erlangen & Leipzig . . . 1890. 8vo. 4 prel. leaves of titles and contents, + 76 pp. bound in yellow wrapper. William Morris's Last Work. " Daily Chronicle," October 19th, 1896. A Review of " The Well at the World's End." Mr. Morris's Poems. By Andrew Lang. " Longman's Magazine," October, 1896. XXII / William Morris, Poet and Craftsman. " Edinburgh Review " (pp. 63-83). Janu- ary, 1897. AReviewof the " Poetical Works of W. Morris," "Gothic Architecture," and "Hopes and Fears for Art." The Well at the World's End : a Tale [a Review]. "The Athenaeum," No. 3617 (pp. 237-239). February 20th, 1897. Two Papers on Mr. Morris's Poetry in "Corrected Impressions," by George Saintsbury. Our Living Poets, By H. Buxton For- man. XIV. William Morris. (Pp. 375- 426.) London : Tinsley Brothers. 1871. Sm. 8vo. " Victorian Literature" in the volume, " Transcripts and Studies," by Profes- sor E. Dowden (pp. 153-256). London : Kegan Paul and Co. 1880. Sm. 8vo. A criticism on Mr. Morris's poetry. William Morris. By H. Buxton For- man. An article of 14 pages, with a selection from the Works of Mr. Morris (pp. 15-80) in " The Poets and the Poetry of the Century." Edited by Alfred H. Miles. Vol. [William Morris to Robert Buchanan.] London, n.d. [1891.] IX. PUBLICATIONS OF THE KELMSCOTT PRESS. The Story of the Glittering | Plain. Which has been also | called the Land of Living | men or the Acre of the un- ] dying, written by William | Morris. [Colophon] Here endeth the Glittering Plain, printed by William Morris at the Kelmscott Press, Upper Mall, Hammer- smith, in the County of Middlesex : and finished on the 4th day of April of the year 1891. Sold by Reeves & Turner, 196 Strand, London. Small 4to., vellum. Four blank leaves; title and table of chapters, one leaf; b — b b in fours {last two leaves blank, and one blank leaf as end- paper). zoo printed on paper at £2 2s. each, and 6 on vellum. Poems by the Way. Written | by William Morris. [Colophon] Here endeth Poems by the Way, written by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex ; and finished on the 24th day of September of the year 1891. Sold by Reeves & Turner, 196, Strand, London. Small 4to., vellum. 3 blank leaves; title, one leaf; contents, one leaf ; b — o in eights (last four leaves blank). In all the publications of this Press it must be noted that the paste-downs on the covers form part of the signatures. I have not always in- cluded these leaves in my collations, in order to avoid repetition, but I give the fact to account for the odd number of blank leaves. 300 printed on paper at £2 2s. each, in black and red, and 13 on vellum. The Love Lyrics & Songs of Proteus by Wilfrid Scawen | Blunt with the Love Son- I nets of Proteus by the same | Author now reprinted in | their full text with many | sonnets omitted from the | earliereditions. | London MDCCCXCII. [Colophon] Here end the Love-Lyrics and Songs of Proteus, written by Wil- frid Scawen Blunt : with the Love- Sonnets of Proteus by the same author. Printed by William Morris at the Kelm- scott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 26th day of January of the year 1892. Sold by Reeves and Turner, 196, Strand, London. Small 4to., vellum. Three blank leaves; title, one leaf; contents, 4 leaves ; b — r in eights (last two leaves blank). There is a separate title to each of the four parts into which the poems are divided. 300 printed in black and red on paper at £2 2s. each. The Nature of Gothic a chap- | ter of the Stones of Venice | by John Rus- kin. I [Colophon] Here ends the Nature of Gothic, by John Ruskin, printed by William Morris at the Kelmscott Press, Hammersmith, and published by George Allen, 8, Bell Yard, Temple Bar, Lon- don, and Sunnyside, Orpington. Small 4to., vellum. Four blank leaves ; title, one leaf (with preface beginning on verso); pt. of preface, 2 leaves; b — i in eights + 3 blank leaves. 500 printed at 30s. each. Issued February t5tb, lS02. The Defence of Guenevere, | and other Poems. By William Morris. [Colophon] Here ends the Defence of Guenevere, and other Poems, written by William Morris ; and printed by him at the Kelmscott Press, 14 Upper Mall, Hammersmith, in the County of Middle- sex : & finished on the 2nd day of April, U^ xxm V V V of the year 1892. Sold by Reeves and Turner, 196, Strand, London. Small 4to., vellum. Four blank leaves ; title and contents, 1 leaf; b — m 6 in eights (last leaf blank) + 3 blank leaves. 300 printed in black and red on paper at £2 2s, each, and 10 on vellum. A Dream of [ John Ball | and a King's | Lesson. By William Morris. | [Colophon] This book, A Dream of John Ball and a King's Lesson, was written by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middle- sex ; and finished on the 13th day of May, 1892. Sold by Reeves & Turner, 196, Strand, London. Small 4to., vellum. Five blank leaves ; title, one leaf; frontispiece by E. Burne-Jones, one leaf; b — i 6 in eights + 3 blank leaves. 300 printed in black and red on paper at 30^. each, and 11 on vellum. The Golden | Legend | of Master | Wil- liam I Caxton I done anew. | [Colophon] Here ends this new edition of William Caxton's Golden Legend : in which there is no change from the origi- nal, except for correction of errors of the press, & some few other amend- ments thought necessary for the under- standing of the text. It is edited by Frederick S. Ellis, & printed by me William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 12th day of September of the year 1892. Sold by Bernard Quaritch, 15, Piccadilly, London. 3 vols. Large 4to. Vol. I. — 2 blank leaves; title on sig. ai; sig a, 7 leaves, incl. title (the eighth leaf is cut off by binders); b — g g in eights + 2 blank leaves. Vol. II.— One blank leaf; title, one leaf; hh— i i i, in eights + 2 blank leaves. Vol. III.— One blank leaf; title, one leaf; kkk — n n n n in eights (last leaf cut off to go under the paste-down) + 1 blank leaf. 500 printed on paper at ^5 5s. each, with two woodcuts designed by E. Burne-Jones. The I Recuyell | of the ] Historyes | of Troye. | [Colophon] Here ends this new edition of William Caxton's Recuyell of the Historyes of Troy', done after the first Edition : corrected for the press by H. Halliday Sparling, and printed by me William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, & finished on the fourteenth day of October, 1892. Sold by Bernard Quaritch, 15, Piccadilly. 2 vols. Large 410., vellum. Vol. I.— Three blank leaves ; title on sig. a i (unsigned) ; a ii — u in eights (last three leaves blank). Vols. II. and III. (in 1 book).— Three blank leaves ; x — b b b in eights (one leaf cut off in the binding and 5 blank). 300 printed on paper at £g gs, each, and 5 on vellum. Biblia Innocentium : | being the story of God's cho I sen people before the com I ing of our Lord Jesus Christ | upon earth, written anew | for children by J. W. Mackail, | sometime fellow of Balliol I College, Oxford. [ [Colophon] Here ends this book called Biblia Innocentium, written by J. W. Mackail, and printed by William Morris at the Kelmscott Press, 14, Upper Mall, Hammersmith, in the County of Mid- dlesex ; finished on the 22nd day of October, of the year 1892. 8vo., vellum. Two preliminary blank leaves ; title, one leaf; List of Chapters, 4 leaves; b — r in eights (last three leaves blank, including end- paper and paste-down). 200 printed at 21s. each. News from Nowhere : or, | An Epoch of Rest, being some | Chapters from a Utopian Ro [ mance, by William Morris. [Colophon] This book, News from No- where or an Epoch of Rest, was written by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Mid- dlesex, and finished on the 22nd day of November, 1892. Sold by Reeves and Turner, 196, Strand, London. Small 4to., vellum. Four blank leaves ; title, one leaf; contents, one leaf; frontispiece, by C. M. Gere, one leaf; b — x in eights (last six leaves blank, and the eighth used as paste- down). 300 printed in black and red on paper at £2 2s, each, and 10 on vellum. The I History | of | Reynard I theFoxe I [Colophon] Here ends the History of Reynard the Foxe, done into English out of Dutch by William Morris, at the Kelmscott Press, Upper Mall, Hammer- smith, in the County of Middlesex. This book was corrected for the press by Henry Halliday Sparling, and fin- ished on the 15th day of December, 1892. Sold by Bernard Quaritch, 15, Picca- dilly, London. Folio, vellum. Three blank leaves ; printed title, one leaf; table and ornamental title, 2 leaves; b — m in eights (one leaf has been cut off short before the " table of some strange words," five leaves are blank, and two of these are used as end-paper and paste-down). 300 printed on paper at £3 3*. each, and 10 on vellum, / \/ XXIV / The Poems of William Shakespeare, Printed after the original | copies of Venus and Adonis, 1593. | The Rape o Lucrece, 1594. | Sonnets 1609. | The Lovers Complaint. | [Colophon] Here ends the edition of Shakespeare's Poems, edited by Frede- rick S. Ellis and printed by me William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 17th day of January, 1893. Sold by Reeves and Turner, 196 Strand. 8vo., vellum. Three blank leaves; Foreword, one leaf; title, one leaf; title to "Venus and Adonis," one leaf; b — p in eights (sig. p5 has printer's mark, sigs. p 6, p 7, p 8, are blank) + 2 blank leaves. This is an exact reprint of the first editions. 500 printed in black and red on paper at 25*. each, and 10 on vellum. The I Order of | Chivalry [ —[and]— The Ordination of Knighthood. [Colophon] The Order of Chivalry, translated from the French by William Caxton, edited by F. S. Ellis, & printed by me William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, & finished on the 10th day of November, 1892. Sold by Reeves & Turner, ig6, Strand, Lon- don. [Colophon] This Ordination of Knight- hood was printed by William Morris at the Kelmscott Press, Uppex Mall, Hammersmith, in the County of Mid- dlesex ; finished on the 24th day of Feb- ruary, 1893. Small 4to., vellum. Two blank leaves ; title and part of table, one leaf; frontispiece by Burne- Jones, with remainder of table on recto, one leaf; b — 1 in eights + 2 blank leaves. 225 printed on paper at £2 2s. each, and 10 on vellum. The Life of Thomas Wolsey, | Cardinal Archbishop of York | written by George Cavendish | [Colophon] Transcribed after the auto- graph manuscript of the author, now in the British Museum, by F. S. Ellis, and finished the 25th day of December, in the year 1892, in the Parish of Cocking- ton in the County of Devon, and printed by me William Morris, at the Kelm- scott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 30th day of March, 1893. Sol d by Reeves and Turner, ig6, Strand. Small 4to., vellum. Four blank leaves ; Fore- word, one leaf; title, one leaf; part of Prologue, one leaf; b — t in eights + 3 blank leaves. 250 printed on paper at £2 2j, each, and 6 on vellum. The History of Godfrey of Bo- j loyne and of the Conquest of | Iherusalem. | [Colophon] This new edition of 'Wil- liam Caxton's Godeffroy of Boloyne, done after the first edition, was cor- rected for the press by H. Halliday Sparling, and printed by me, William Morris, at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 27th day of April, 1893. Sold by William Morris at the Kelmscott Press. Folio, vellum. Two blank leaves ; printed title, one leaf; Foreword and Contents, 10 leaves; ornamental title, one leaf; b — gg in eights (one leaf has been cut off short in binding, 5 leaves are blank, and two of these are used as end-paper and paste-down). 300 printed in black and red on paper at £6 6s. each, and 6 on vellum. Utopia written by Sir | Thomas More | [Colophon] Now revised by F. S. Ellis and printed again by William Morris at the Kelmscott Press, Hammersmith, in the County of Middlesex, finished the 4th day of August, 1893. Sold by Reeves and Turner, 196, Strand. 8vo., vellum. Two blank leaves ; title, "one leaf ; " Foreword by William Morris," 3 leaves; advt. of the printer of the second edition, one leaf; " The Translator to the Gentle Reader," 2 leaves; b — t in eights (last two leaves blank); printer's imprint on sig. t 6. 300 printed in red and black on paper at 30^. each, and 10 on vellum. Maud I A Mono- [ Drama by | Alfred | Lord Tennyson | [Colophon] Printed by William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Mid- dlesex, and finished on the nth day of August, 1893. Published by Macmillan & Co., Bedford Street, Strand. 8vo., vellum. Five blank leaves; printed title, one leaf; ornamental title, one leaf; b — f in eights (last sheet unsigned, and last five leaves blank, including end-paper and paste-down). 500 printed in black and red on paper at £2 2s. each, and 5 on vellum, which were not for sale. Sidonia the Sorceress by William | Meinhold translated by Francesca Sper- anza Lady Wilde. | [Colophon] Here ends the Story of Sidonia the Sorceress translated from the German of William Meinhold, by Francesca Speranza, Lady Wilde, and now reprinted by me, William Morris, at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Mid- dlesex. Finished on the 15th day of September, 1893. X y/ XXV V V V < Folio, vellum. Three blank leaves; printed title, one leaf; Preface, &c, 3 leaves; List of Chapters, 3 leaves ; b — g g in eights (last four leaves blank, two of which being used as end- paper and paste-down). 300 printed in black and red on paper at £4 4r. each, and 10 on vellum. Gothic Architecture : | A lecture for the Arts I and Crafts Exhibition | Society by William | Morris. | [Colophon] This paper, first spoken as a lecture at the New Gallery, for the Arts and Crafts Exhibition Society, in the year 1889, was printed by the Kelm- scott Press during the Arts and Crafts Exhibition at the New Gallery, Regent Street, London, 1893. Sold by William Morris, Kelmscott Press, Upper Mall, Hammersmith. i6mo. One blank leaf ; title, one leaf ; a — e4 in eights (2 blank leaves) + 2 blank leaves. Pub- lished at 2s. 6d. Ballads I and | Narrative | Poems by | Dante Gabriel | Rossetti j [Colophon] Here ends the book of Ballads and Narrative Poems, written by Dante Gabriel Rossetti, and printed by William Morris at the Kelmscott Press, 14, Upper Mall, Hammersmith, in the County of Middlesex, finished on the 14th day of October, of the year 1893. Published by Ellis & Elvey, 29, New Bond Street. 8vo., vellum. Four blank leaves ; printed title, one leaf (table of contents on verso) ; orna- mental title, one leaf; b — q in eights (sig. q 2 has printer's mark, the other leaves of the sig. are blank, the last two being used as end-paper and paste-down). 310 printed in black and red on paper at £2 2s. each, and 6 on vellum. Of I King Florus | and the j fair Jehane ] [Colophon] Printed by William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Mid- dlesex & finished on the 16th day of December, 1893. Sold by William Morris at the Kelmscott Press. i6mo. One blank leaf; printed title, one leaf; ornamental title, one leaf; b — g in eights; one leaf containing colophon on recto, and two final blank leaves. 350 printed in black and red on paper at js. 6d. each, and 12 on vellum. The Story | of the | Glittering | Plain | or the I Land of | Living | Men | . [Colophon] Here ends the tale of the Glittering Plain, written by William Morris & ornamented with 23 pictures by Walter Crane. Printed at the Kelm- scott Press, Upper Mall, Hammersmith, in the County of Middlesex, & finished on the 13th day of January, 1894. Folio, vellum. Five blank leaves ; printed title, one leaf (with "List of Chapters" on verso); ornamental title, one leaf; b — n in eights (in- cluding 6 blank leaves, the last of which is used as the paste-down). 250 printed in black and red on paper at ,£5 ss. each, and 7 on vellum. Sonnets | and | Lyrical | Poems by | Dante | Gabriel | Rossetti | [Colophon] Here ends the book of Sonnets and Lyrical Poems, written by Dante Gabriel Rossetti, and printed by William Morris at the Kelmscott Press, 14 Upper Mall, Hammersmith, in the County of Middlesex ; finished on the 20th day of February of the year 1894. Sold by Ellis & Elvey, 29, New Bond Street, W. Small 4to., vellum. Four blank leaves ; printed title, one leaf; Table of Contents, 4 leaves; ornamental title, one leaf; b — o in eights (sig. o 3 has printer's mark, sigs. o 4 — o 8 are blank, and the last two are used as end-paper and paste-down). 310 printed in black and red on paper at £2 2s. each, and 6 on vellum. The I Poems | of | John | Keats | [Colophon] Overseen after the text of foregoing editions by F. S. Ellis, and printed by me William Morris at the Kelmscott Press, Upper Mall, Hammer- smith, in the County of Middlesex, and finished on the 7th day of March, 1894. Sold by William Morris at the Kelm- scott Press. 8vo. Three blank leaves; printed title, one leaf; Table of Contents, one leaf; ornamental title, one leaf; b — b b in eights + one leaf with printer's mark 4- 5 blank leaves. 300 printed in black and red on paper at 30*. each, and 7 on vellum. Of the I Friendship | of | Amis | and Amile I . [Colophon] Here ends the story of Amis & Amile, done out of the ancient French into English by William Morris and printed by the said William Morris, at the Kelmscott Press, 14, Upper Mall, Hammersmith, in the County of Mid- dlesex ; finished on the 13th day of March, of the year 1894. Sold by Wil- liam Morris, at the Kelmscott Press. l6mo. Three blank leaves; title, one leaf ; b — f4 in eights (last two leaves blank). 500 copies printed at ys. 6d. each. Atalanta | in Calydon | a Tragedy | made by | Algernon | Charles | Swin- burne I . [Colophon] Here ends Atalanta in Calydon, a Tragedy made by Algernon v^ V V XXVI V V \y Charles Swinburne, and printed by William Morris, at the Kelmscott Press, Upper Mall, Hammersmith in the County of Middlesex : finished on the 4th day of May, 1894. Note that the Greek letters in this book were designed by Selwyn Image for Messrs. Macmillan & Co., -who have kindly allowed them to be used here. Sold by William Morris, at the Kelmscott Press. Folio, vellum. Two blank leaves ; printed title, and Dedication to Landor, 2 leaves; "The Persons " and " The Argument," one leaf; orna- mental title, one leaf; b — g in eights (seven leaves of sig. g are blank, and the last two are used as end-paper and paste-down). 250 printed in black and red on paper at £2 2s. each. The Wood beyond the World. | By William Morris. | [Colophon] Here ends the tale of the 'Wood beyond the World, made by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Ham- mersmith, finished the 30th day of May, 1894. Sold by William Morris, at the Kelmscott Press. Small 4to., vellum. Five blank leaves ; title, one leaf; frontispiece by Burne-Jones, one leaf; b — s in eights (last five leaves blank, including paste-down). 350 printed in black and red on paper at £2 2s. each, and 8 on vellum. With a woodcut de- signed by Sir E. Burne-Jones. The Tale of the | Emperor Coustans ] and of Over Sea. [Colophon] This book, the Stories of the Emperor Coustans, and of Over Sea, was printed by William Morris at the Kelmscott Press, Upper Mall, Ham- mersmith, in the County of Middlesex, and finished on the 30th day of August, 1894. Sold by William Morris at the Kelmscott Press. i6mo. Five blank leaves (including end-paper and paste-down); printed title, one leaf; orna- mental title, one leaf; b — k in eights (including end-paper, paste-down, and a leaf cut off short to go below paste-down ; last seven leaves blank. Published at ys. 6d. The Book | of [ Wisdom | and Lies | Arma Georgia; | [Colophon] Here endeth the Book of Wisdom and Lies, a Georgian storybook of the eighteenth century, by Sulkhan- Saba Orbeliani : translated, with notes, by Oliver Wardrop. Printed by Wil- liam Morris at the Kelmscott Press, 14, Upper Mall, Hammersmith, in the County of Middlesex : & finished on the 29th day of September, 1894. Sold by Bernard Quaritch, 15 Piccadilly, W. xxvii 8vo., vellum. Five blank leaves (including end- paper and paste-down); printed title, with first page of Contents on verso, one leaf; rest of Contents and Introduction, 7 leaves; ornamental title, one leaf; b — r in eights + 4 blank leaves (two of which form end-paper and paste-down). 250 printed in black and red on paper at £2 2s. each. Psalmi Penitentiales | [Colophon] Thus ends the rhymed ver- sion of the Penitential Psalms found in a Manuscript of Horae Beatae Mariae- Virginis, written at Gloucester about the year 1440, and now transcribed and edited by F. S. Ellis. Printed by Wil- liam Morris, at the Kelmscott Press, 14, Upper Mall, Hammersmith, finished on the 15th day of November, 1894. 8vo. 4 blank leaves (title on verso). Pp. 63. 300 printed in black and red, 12 on vellum. Epistola de contemptu Mundi di Frate | Hieronymo da Ferrara dellordine de frati [ predicatori la quale manda ad Elena Buon- j accorsi sua madre, per consolarla della j morte del fratello, suo Zio I [Colophon] Impresse in Londra per Guglielmo Morris alia Stamperia Kelmscott, Adi ultimo di Novembre MDCCCLXXXXIV. -16 (including title) -pp. reproduction of an early 8vo. One blank leaf -) -1- 1 blank leaf. The title-page has a woodcut. The Kelmscott "mark" is here printed in red ink. The Poetical Works of Percy Bysshe Shelley. Volume I. [Volume II.] [Volume III.] [Colophon to Vol. III. : — ] Overseen by F. S. Ellis after the text of foregoing Editions, & printed by me, William Morris, at the Kelmscott Press, Upper Mall, Hammersmith, and finished on the 21st day of August, 1895. Sold by William Morris, at the Kelmscott Press. 8vo., vellum. Vol. I., published in 1894. Four blank leaves; title, one leaf; contents (with Dedicatory Poem to Harriet .... on verso), one leaf; ornamental title, one leaf; b — cc in eights-i- 4 blank leaves (last used as a paste-down) [pp. 14 including blanks, contents, and 2 titles + 309 numbered pages + 7 unnumbered blank pages, exclusive of paste-down]. Vol. II., published early in l8g5 (February). Three blank leaves; sig. a, 4 leaves (2 blank); b — d d in eights 4- 4 blank leaves (one of which is used as a paste-down) [10 unnumbered blank pages + pp. iv + 412 pp. + 10 unnumbered pages (g of which are blank, exclusive of paste-down]. Vol. III., published September, 1895. Three blank leaves ; sig. a, 4 leaves ; b — e e in eights (last five leaves blank, and last leaf used as a paste-down) [6 unnumbered blank pages-;- pp. viii \S 1/ V si V V + pp. 421 + 9 unnumbered blank pages, exclusive of paste-down]. 250 printed on paper at 25*. per volume, and 6 sets on vellum. The Tale of | Beowulf | Sometime I King of the | Folk of the | Weder | Geats I [Colophon] Here endeth the Story of Beowulf, done out of the Old English tongue by William Morris & A. J. Wyatt, and printed by the said William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 10th day of January, 1895. Sold by William Morris at the Kelmscott Press. Folio, vellum. Three blank leaves ; title, one leaf (on verso of which begins "Argument"); last of Argument, one leaf; ornamental title, one leaf; b — i in eights (last four leaves blank, and the last two of which are used as end-paper and paste-down). 300 printed in red and black at £2 zs. each, and 8 on vellum at £10 each, 4 of which were for sale. Syr Percyvelle of Gales | [Colophon] Overseen by F. S. Ellis, after the edition printed by J. O. Halliwell from the MS. in the Library of Lincoln Cathedral. Printed by William Morris, at the Kelmscott Press, Upper Mall, Hammersmith, finished on the 16th day of February, 1895. 8vo. Five blank leaves (including end-paper and paste-down); title, one leaf; frontispiece by Sir E. Bume-Jones, one leaf; b — h in eights. (Sig. h 6 has been cut off in the binding to go below paste-down, and six other leaves are blank.) 350 printed in black and red on paper at 155. each, and 8 on vellum at £4 4s. each. The Life and Death of Jason, | A Poem by William Morris. | [Colophon] Here endeth the Life and Death of Jason, Written by 'William Morris, and printed by the said William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 25th day of May, 1895. Sold by William Morris at the Kelmscott Press. Folio, vellum. Five blank leaves ; title and Argument, one leaf; woodcut by Sir E. Burne- Jones, one leaf; b — a a in eights (last five blank, including end-paper and paste-down). 200 printed in black and red on paper at ^5 5^. each, and 6 on vellum at j£2l each, 4 of which were for sale, with two woodcuts by Sir E. Burne- Jones. Of Child I Christo- I pher and I fair Gold- I ilind. | [Colophon] Here ends the Story of Child Christopher, & Goldilind the fair : made by William Morris, and printed by him at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Mid- dlesex. Finished the 25th day of July, 1895. Sold by William Morris at the Kelmscott Press. 2 vols., i6mo. Vol. I. — Four blank leaves ; printed title, one leaf; ornamental title, one leaf; b— r in eights + 2 blank leaves. Vol. II. — Five blank leaves; title, one leaf ; B— Q in eights + 2 blank leaves. 600 printed in black and red on paper at 151. each, and 12 on vellum at £4 4s. each. Hand and Soul. By Dante Gabriel Rossetti. [Colophon] If Here ends Hand and Soul, written by Dante Gabriel Rossetti, and reprinted from The Germ for Messrs. Way and Williams of Chicago, by William Morris, at the Kelmscott Press, Upper Mall, Hammersmith. Finished the 24th day of October, 1895. Sold by William Morris at the Kelm- scott Press. Very small 8vo. Five blank leaves; printed title, one leaf (with a five-line stanza in Italian by Bonaggiunta Urbiciani, 1250, on verso); orna- mental title, one leaf; b — e in eights (last four leaves blank, and last leaf used as a paste-down) [14 unnumbered pages, including blanks + 56 numbered pages + 12 blank pages, excluding the paste-down]. 525 copies printed on paper (225 for England at lor. each), and 21 copies on vellum (10 for Eng- land at 30J. each). Poems chosen out of the Works of Robert Herrick. [Colophon] Edited by F. S. Ellis from the text of the edition put forth by the author in 1648. Printed by William Morris, at the Kelmscott Press, Upper Mall, Hammersmith, London, W., and finished on the 21st day of November, 1895. Sold by William Morris at the Kelmscott Press. 8vo., vellum. Three blank leaves ; title, one leaf; Index of First Lines, 6 leaves (in addition to verso of title-leaf, on which the Index begins); ornamental title, one leaf; b — u in eights (last four leaves blank, and last leaf used as a paste- down) [6 unnumbered blank pages -t- pp. xiv-t- ornamental title + 296 pages + 6 unnumbered blank pages]. 250 copies printed on paper at 30J. each, and 8 on vellum at £8 Ss. each. Poems I chosen | out of | The | Works of I Samuel | Taylor | Coleridge [Colophon] Edited by F. S. Ellis, and printed by me, William Morris, at the Kelmscott Press, Upper Mall, Hammer- smith, and finished on the 5th day of February, 1896. Sold by William Morris at the Kelmscott Press. 1/- V V xxvm K ^ 8vo., vellum. Five blank leaves (including end- paper); printed title (Contents on verso), one leaf; ornamental title, one leaf; b — h 2 in eights + three blank leaves (including end-paper). 300 copies printed in black and red on paper at £1 is. each, and 8 copies on vellum at £5 5*. each. The Well at the World's End By William Morris. [Colophon] Here ends The Well at the World's End, written by William Morris, with four pictures designed by Sir Edward Burne-Jones. Printed by William Morris at the Kelmscott Press, 14, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 2nd day of March, 1896. Sold by William Morris at the Kelmscott Press. Large 4to., vellum. Five preliminary blank leaves (including end-paper) ; title, one leaf; fron- tispiece by Sir E. Burne-Jones, one leaf; b — ii in eights +4 blank leaves (including end-paper and paste-down). Printed in double columns in Chaucer type. 350 copies printed in black and red on paper at £5 5*. each, and 8 copies on vellum at ^21 each. The Works of Geoffrey Chaucer. [Colophon] Here Ends the Book of the Works of Geoffrey Chaucer, edited by F. S. Ellis ; ornamented with pictures designed by Sir Edward Burne-Jones, and engraved on wood by W. H. Hooper. Printed by me William Morris at the Kelmscott Press, Upper Mall, Hammer- smith, in the County of Middlesex. Finished on the 8th day of May, 1896. The hearty thanks of the Editor and Printer are due to the Reverend Pro- fessor Skeat for kindly allowing the use of his emendations to the Ellesmere MS. of the Canterbury Tales, and also of his emended texts of Chaucer's other writings. The like thanks also the Editor and Printer give to the Delegates of the Oxford University Press for al- lowing them to avail themselves of Professor Skeat's permission. Folio, grey boards with linen back. Collation : — Three blank leaves unsigned (one of which is used as the paste-down); sigs. a 1, a 2, blank ; printed title and contents, one leaf; ornamental title, one leaf (blank on retto) ; b — n n in eights (2 leaves of sig. n n are blank, and one is cut off and turned in on the back; the end-paper and paste-down are not in the signature). The illustrations by Sir E. Bume-Jones are 86 in number, and are to be found on pages i, g, 15, 21, 22, 24, 30, 43, 58, 60, 112, 114, 115, 127, 129, 132, 134, 136, 139, 153. 156, 161, 163, 165, 167, 169, 170, 222, 223, 240, 241, 243, 244, 245, 248, 250, 252, 253, 256, 257, 259, 261, 264, 272, 273, 275, 312, 313, 315, 316, 317, 318, 322. 323. 325. 385> 397. 416, 422, 424, 426, 431, 434. 437. 438, 44°, 441. 443, 446, 448, 452, 454, 459, 464, 466, 467, 470, 471, 482, 483, 500, 501, 518, 519, 536, 537, 553- Although signatured in eights the book is a folio, each signature being made up of 4 sheets of two leaves each. 425 copies printed on paper at ^20 each, and 13 on vellum (of which 8 were for sale) at £126 each. Laudes Beatae Mariae Virginis [Colophon] These Poems are taken from a Psalter written by an English scribe, most likely in one of the Midland coun- ties, early in the 13th century. Printed by William Morris at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 7th day of July, 1896. Sold by William Morris at the Kelmscott Press. Folio, grey boards and linen back. Five prel. blank leaves ; title, one leaf; b — d in eights (last seven leaves blank, including end-paper and paste-down, but one of the leaves has been cut off short in the binding to go below paste-down). The first book printed at the Kelmscott Press in three colours (black, red, and blue). 250 copies printed on paper at 10 -. each, and 10 on vellum at £2 2s. each. The Floure and the Leafe, & | The Boke of Cupide, God of [ Love, or the Cuckow and the | Nightingale [Colophon] Edited by F. S. Ellis, and printed by William Morris at the Kelm- scott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 21st day of August, 1896. Sold by William Morris at the Kelmscott Press. 8vo., boards, holland back. Four blank leaves (including end-paper); title, one leaf; b — d in eights + 2 blank leaves (including end-paper). Chaucer type. 300 copies printed in black and red on paper at ioj. each, and 10 on vellum at £2 2s. each. The Shepheardes Calendar : conteyning Twelve ./Eglogues, proportionable to the Twelve Monethes. [Colophon] Printed at the Kelmscott Press, Upper Mall, Hammersmith, in the County of Middlesex, and finished on the 14th day of October, 1896. Sold by the Trustees of the late William Morris at the Kelmscott Press. 8vo., boards, holland back. Four blank leaves (including end-paper); title, one leaf; frontis- piece, one leaf; b — h in eights (last seven leaves blank, including end-paper and paste-down ; one leaf has been cut off short to go below paste- down). With 12 full-page illustrations by A. J. Gaskin. 225 copies printed in black and red on paper at £1 is. each, and 6 on vellum at £3 3.1. each. The Earthly Paradise. By 'William Morris. Volume I. Prologue : The Wanderers. March : Atalanta's Race. The Man born to be King. r V XXIX [Colophon] Printed by William Morris at the Kelmscott Press, and finished on the 7th day of May, 1896. 8vo., vellum, with silk ties. Three prel. blank leaves ; sig. a, 4 leaves (including one blank leaf, title, dedication, introductory poem, and ornamental title-page). [Vol. II.] The Earthly Paradise. By William | Morris. Volume II. April : The I Doom of King Acrisius. The Proud I King. [Colophon] Printed by William Morris at the Kelmscott Press, and finished on the 24th day of June, i8g6. 8vo., vellum. Seven blank leaves (including end- paper and paste-down); title, one leaf; b — i 5 in eights + 5 blank leaves (two of which form end- paper and paste-down). [Vol. III.] The Earthly Paradise. By William | Morris. Volume III. May : The Story | of Cupid and Psyche. The Writing I on the Image. June : The Love of I Alcestis. The Lady of the Land. [Colophon] Printed by William Morris at the Kelmscott Press, and finished on the 24th day of August, 1896. 8vo. , vellum. Seven blank leaves (including end- paper and paste-down); title, one leaf; b — m 5 in eights + 5 blank leaves (two of which form end-paper and paste-down). [Vol. IV.] The Earthly Paradise. By William ) Morris. Volume IV. July : The Son | of Croesus. The Watching of the I Falcon. August : Pygmalion and I the Image. Ogier the Dane. [Colophon] Printed by the Trustees of the late William Morris at the Kelm- scott Press, and finished on the 25th day of November, 1896. Seven blank leaves (including end-paper and paste-down) ; b — k5 in eights + 5 blank leaves (two of which form end-paper and paste-down). To be completed in eight volumes. 350 sets printed on paper at 30s. per volume, and 6 sets on vellum at £7 7s. a volume. BOOKS IN THE PRESS. Sire Degravaunt. An ancient English metrical romance, reprinted from the Thornton MS. in the library of Lincoln Cathedral. 8vo. Chaucer type, in black and red. With a woodcut designed by Sir Edward Burne-Jones. 350 copies on paper at 15J. each, and 8 on vellum at £4 4j. each. Sire Isumbras. Uniform with Sire Degravaunt, and from the same source. With a woodcut designed by Sir Edward Burne-Jones. 350 copies on paper at I2j. each, and 8 on vellum at £4 4j. each. Sigurd the Volsung and the Fall of the Niblungs. By William Morris. Small folio. Chaucer type, in black and red. With two woodcuts designed by Sir E. Burne-Jones, and new borders by Wil- liam Morris. 160 copies on paper at £6 6s. each, and 6 on vellum at £21 each. The Water of the Wondrous Isles. A new romance by William Morris. 4to. In black and red. Chaucer type, in double columns, uniform with The Well at the World's End. 250 copies on paper at £3 3s. each, and 6 on vellum at ^12 12s. each. The Sundering Flood. The last romance written by William Morris. Note. — (1.) Vitas Patrum. St. Jerome's Lives of the Fathers of the Desert. Special circulars were issued announcing that this work would be reprinted from the 1495 edition of W. de Worde. It was to have been published at ^5 5^., in two quarto volumes, but the work was abandoned. (2.) The original announcement of " Sigurd " stated that the new edition would have 40 wood- cuts designed by Sir E. Burne-Jones. Mr. Morris had intended to make a sumptuous book of this poem, and was engaged in designing new borders for it. Its price was advertised at ;£i2 12*. each for the 325 copies on paper, and ^52 10s. each for the 6 on vellum. (3.) The death of Mr. Morris caused the reprint of Berners' translation of The Cronycles of Syr John Froissart to be abandoned. It was an- nounced to appear in two folio volumes, with armorial borders and ornaments specially de- signed by Mr. Morris. ; Good Words," April, 18 ADDENDA. (1) Hapless Love [a Poem.] By William Morris, pp. 264, 265. (2) England and the Turks. A Letter to the Editor of the " Daily News," October 25th, 1876. The letter is signed " William Morris, Author of * The Earthly Paradise.' 26 Queen-square, Blooms- bury, Oft. 24." It occupies nearly the whole of a column. (3) " The Earthly Paradise " has been issued by Mr. Stead in his series of Penny Poets. It is a prose rendering, interspersed with large quotations from the original. xxx ,o y< IMO; LIBRARY : > in JUN 1980 STfcflLIKC - NKS42.M67 Via Vallance, Aymei 1962 00072 94: