paintings, and also of the extraordinary brilliance of the colouring, nearly all in radiant greens and reds and blues. But the execution of these two pictures was never even begun; and after March, 1858, no more work was done either by Rossetti or by any other of the artists engaged. A committee then appointed, after certain communications with Rossetti, of which no record is preserved, took the matter into their own hands, and in June, 1859, Mr. William Riviere, the father of the well-known Academician, who had just left Cheltenham to become a teacher of painting in Oxford, was engaged to fill the three vacant bays, and a sum of £150 voted for his payment.
The impossible conditions under which the work was performed have already been mentioned. The brickwork on which the painting was executed was not damp-proof; the edges of the bricks caught all the floating dust; the colour partly sank in and partly flaked off; and to crown the whole, the hall was lit by naked gas-flames in large chandeliers, the smoke and heat of which went straight up on to the painting. William Bell Scott, who went to see them in June, 1858, when they had not been six months completed, speaks of them as being even then much defaced, in Morris's own picture little else appearing plainly but Tristram's head over a row of sunflowers. This state of things went on from bad to worse. In 1869, a committee of the Union was appointed "to enquire into, and report upon, the history, condition, and treatment of the paintings," which are still obstinately described as frescoes. Inconclusive negotiations went on with Rossetti for about two years on the question of completing his unfinished picture; as regards the rest of the work, though a suggestion to whitewash it all over was dropped, and another, to re-
