vented by him for "Sir Peter Harpdon's End," with its odd and fascinating use of blank verse, had in it all kinds of possibilities. He had already planned, and begun to write, a cycle of poems in this form on subjects from the War of Troy. There are a few surviving fragments of "The Maying of Guenevere," the opening piece of an Arthurian cycle which would have ended with "King Arthur's Tomb," and in which, it has been thought, he would have found his most real inspiration. Tennyson's "Morte d'Arthur" still stood alone, an inimitable fragment; it was not till 1859 that the first of "The Idyls of the King" were published. After that, the treatment of the story in a different, even if a simpler and sincerer manner, was almost precluded by the imposing brilliance of the Tennysonian version, and its remarkable conquest of both critical approval and popular fame. But now this, and all other poetry, was laid aside; and when Morris laid a thing aside, he did so with the same energy with which he had taken it up. "It is to be regretted," says Canon Dixon, speaking as one who has remained faithful to the earlier aims and ideals of Morris's art, "that he did so. He could have produced more of the same sort then. When he afterwards took up poetry again, he could not do it. His 'Jason' was better than his 'Earthly Paradise,' but the first flavour was gone from them both."
"The Defence of Guenevere" was published in March. About the same time Burne-Jones, left much alone in Red Lion Square since the beginning of the year, had fallen rather dangerously ill, and was carried off by Mrs. Prinsep, the kind friend of all artists, to Little Holland House, to be taken care of and nursed back to health. He stayed there during a great part of the year. There was, therefore, no permanent
