difficulty) with a pattern of flowers worked on it in bright-coloured wools. For the dining-room embroidered hangings of a much more elaborate and splendid nature were designed and partly executed, in a scheme of design like those of his later tapestries when he revived the art of tapestry-weaving, of twelve figures with trees between and above them, and a belt of flowers running below their feet. Yet another hanging, executed by Morris with his own hands, was of green trees with gaily-coloured birds among them, and a running scroll emblazoned with his motto in English, "If I can." The same motto in French reappeared in the painted glass with which a number of the windows of the house were gradually filled, and on the tiles (also executed at the works in Red Lion Square) which lined the deep porches. In the hall, a second great cupboard began to be painted with scenes from the Niebelungenlied. There were no paper-hangings in the house. The rooms that had not painted walls were hung with flower-embroidered cloth worked from his designs by Mrs. Morris and other needlewomen. Even the ceilings were decorated with bold simple patterns in distemper, the design being pricked into the plaster so as to admit of the ceiling being re-whitewashed and the decoration renewed. "Top thrives though bandy," writes Burne-Jones in February, 1862, "and is slowly making Red House the beautifullest place on earth."
Here, as soon as the Morrises moved into it at the close of the wet summer of 1860, open house was kept for all their friends. Burne-Jones and his wife—he had been married that June—spent their Sundays there almost regularly. Rossetti, Faulkner and his two sisters, Webb, Swinburne, Madox Brown, Arthur Hughes, were also frequent and welcome visi-
