were more than anticipated in this project; but it was a generation too soon. The art of producing books had sunk to a deplorable condition, and it became evident that the proposed work was impossible without the organized labour of years. The poet and the designer were prepared with their part; but the type-founder, the compositor, the printer, the wood-engraver, had all to be educated. Upwards of a hundred designs for pictures, including a complete set for the story of Cupid and Psyche, were made by Burne-Jones; and many of them were cut by Morris himself and the professional or amateur workers for the firm, who were still employed, with the old simple audacity, to do their best without any regular training. Morris himself worked hard at wood-cutting, and, according to the opinion of experts, improved rapidly, and at last did it very well. One of these woodcuts, representing the scene of Psyche borne off by Zephyrus, has recently been published as a frontispiece to Mr. S.C. Cockerell's history of the Kelmscott Press. As to the wood-cutting, Mr. George Wardle writes to me:
"Mr. Morris asked me soon after this to put on wood some drawings Burne-Jones was then making for illustration of the Cupid and Psyche. I was very glad to do so; and here began an experience often repeated when I came to know more of the ways of the firm. It was practically impossible to get the drawings properly cut. Perhaps if Mr. Morris could have given the price which a first-rate cutter would have charged for doing the work with his own hand, they might have come out as they were drawn, but in the ordinary course of the trade it was impossible: I think also that same 'course' would have prevented the arrangement, had there been no other difficulty.
"Mr. Morris asked me then if I would try to cut
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