work on the design for the Pomegranate paper. In 1867 the firm obtained what was their first really important commission in non- ecclesiastical decorative work, the decoration of the Green Dining Room at the South Kensington Museum. This piece of work, seen as it is yearly by many thousands of persons, was of great value at the time in making known the name of the firm and the specific character of their work. It remains intact now. The original cost was heavy, and the heads of the Department had some scruples about passing the estimate. But their decision was, even on grounds of economy, fully justified. The excellence of the work, apart from its singular decorative merit, has more than repaid its cost. In the long run it has proved (so I am allowed to state on the authority of the Directors of the Museum) the cheapest piece of work in the buildings; for, except that the ceiling had to be repainted where it was blackened by the smoke from the gaslights, the work has never required any repair in any portion.
While the business thus went on increasing, his leisure also grew on his hands. The saving of time caused by his return to London was, of course, immense. From three to four hours were added to his working day; in spite of all depressions caused by his loss of the country, and by the crowded squalor of the district immediately adjoining this end of Bloomsbury, he felt "as if he could kiss the London pavement" when he got quit of the daily journey. It was in this increased leisure that he resumed, in new forms, the writing of poetry.
The instinct for story-telling, in its simpler forms an almost universal faculty, in its full meaning one of the rarest and most valuable of literary qualities, was strong in Morris from the first. It appears in the
