There has been a sad degeneracy among William Morris chairs; still, good
ones can be obtained, nearly as excellent as the one in which I rested at
Kelmscott House--broad, deep, massive, upholstered with curled hair, and
covered with leather that would delight a bookbinder. Such a chair can be
used a generation and then passed on to the heirs.

Furnishing of churches and chapels led naturally to the making of
stained-glass windows, and hardly a large city of Christendom but has an
example of the Morris work.

Morris managed to hold that erratic genius, Dante Gabriel Rossetti, in
line and direct his efforts, which of itself was a feat worthy of record.
He made a fortune for Rossetti, who was a child in this world's affairs,
and he also made a fortune for himself and every man connected with the
concern.

Burne-Jones stood by the ship manfully, and proved his good sense by never
interfering with the master's plans, or asking foolish, quibbling
questions--showing faith on all occasions.

The Morris designs for wall-paper, tapestry, cretonnes and carpets are now
the property of the world, but to say just which is a William Morris
design and which a Burne-Jones is an impossibility, for these two strong
men worked together as one being with two heads and four hands. At one
time, I find the firm of Morris and Company had three thousand hands at
work in its various manufactories, the work in most instances being done
by hand after the manner of the olden time. William Morris was an avowed
socialist long before so many men began to grow fond of calling themselves
Christian Socialists. Morris was too practical not to know that the time
is not ripe for life on a communal basis, but in his heart was a high and