course of the first three or four years Morris had, bit by bit, advanced all he could to the concern, and was not yet beginning to receive any appreciable returns. This was an anxious time for him, and perhaps the only time in his life when he was really in trouble about money. Once or twice in these early years the accounts showed an actual loss on the year's working. Fortunately his resources did prove sufficient to tide over this period, and thereafter a capital began to form itself out of accumulated profits. But these were in strict law divisible among the partners equally; and the initial fault of the enterprise very nearly led to disastrous results upon the dissolution of the partnership. Morris had yet to learn by unpleasant experiences of more kinds than one the principles on which sound business can be conducted. That he did so, and that while he was doing so he carried the business almost unaided through so crucial a period, was due to a persistency, a sagacity, an unweariable industry, for which he has seldom received adequate credit.
The designing of the work carried out by the firm was of course mainly done by the firm themselves. But other artists, including Albert Moore, William De Morgan, and Simeon Solomon, made occasional designs for glass and tiles; and, as in the days of the Union paintings, every one who could be got hold of was expected to bear a hand. Faulkner's two sisters joined him in painting tiles and pottery. Mrs. Morris and her sister, Miss Burden, with several women working under them, executed embroidery on cloth and silk. Mrs. Burne-Jones, besides embroidering, painted figured tiles. Mrs. Campfield, the foreman's wife, helped to execute altar-cloths. The works became a small whirlpool of industry that sucked in every one
