who came near them. Morris's own manual labour at every kind of work which the firm undertook was unremitting. Among the various forms of mural decoration started were serge hangings, with figures and floral designs wrought on them in coloured wools. A coarse serge, in quiet but rather dull colours, was supplied by the Yorkshire manufacturers, and served well enough as a ground for the brightly-coloured embroideries. Even this Morris started with his own hands: "Top has taken to worsted work," was Rossetti's sarcastic comment. The payments for work credited to him in 1862 are more than those to all the other six partners put together: and in later years the disproportion increased still further.
At the Exhibition of 1862 the firm had two stalls, one of stained glass, the other, entered in the catalogue as "decorated furniture, tapestries, etc.," representing the beginnings of decorative work in many directions. The so-called tapestries were, of course, embroideries; it was not till many years later that Morris took up the art of weaving. Among the furniture designed by Webb during this and the following year were specimens of most articles of common domestic use, some large and highly decorated, but the greater number quite plain, and depending for their quality on their simplicity and elegant proportion. The list includes a chest, a bookcase, a wardrobe, a sideboard, a washstand, a dressing-table, a towel-horse, a looking-glass, long and round tables, an iron bedstead, table glass, and metal candlesticks. There were also painted tiles designed by Rossetti, Burne-Jones, Webb, and Morris himself, and a small amount of jewellery. Some of the tiles which were painted with subjects had also upon them verses by the firm's poet, as it amused Morris to describe himself. The work shown
