It was at this point that the problem of decoration began. The bricklaying and carpentering could be executed directly from the architect's designs. But when the shell of the house was completed, and stood clean and bare among its apple trees, everything, or nearly everything, that was to furnish or decorate it had to be likewise designed and made. Only in a few isolated cases—such as Persian carpets, and blue china or delft for vessels of household use—was there anything then to be bought ready-made that Morris could be content with in his own house. Not a chair, or table, or bed; not a cloth or paper hanging for the walls; nor tiles to line fireplaces or passages; nor a curtain or a candlestick; nor a jug to hold wine or a glass to drink it out of, but had to be reinvented, one might almost say, to escape the flat ugliness of the current article. The great painted settle from Red Lion Square was taken and set up in the drawing-room, the top of it being railed in so as to form a small music gallery. Much of the furniture was specially designed by Webb and executed under his eye: the great oak dining-table, other tables, chairs, cupboards, massive copper candlesticks, fire-dogs, and table glass of extreme beauty. The plastered walls and ceilings were treated with simple designs in tempera, and for the hall and main living rooms a richer and more elaborate scheme of decoration was designed and gradually began to be executed. The garden was planned with the same care and originality as the house; in both alike the study of older models never sank into mere antiquarianism or imitation of obsolete forms. Morris's knowledge of architecture was so entirely a part of himself that he never seemed to think about it as anything peculiar. But in his knowledge of gardening he did, and did with reason, pride himself. It is very
