been preserved by some accident. The tales of "The King's Treasure House" (the famous Herodotean story of Rhampsinitus) and of "The Dolphins and the Lovers," a strangely romantic story given in bare outline by Plutarch in the work entitled "The Banquet of the Seven Sages," have wholly disappeared; nor can any trace be discovered of the poem founded on the beautiful thirteenth-century French romance of "Amis and Amile." It is a rather curious fact that Morris was dissatisfied with "The Death of Paris," and meant to rewrite it. Tennyson's "Oenone" was a poem for which he had a boundless admiration; and in "The Death of Paris" he seems to have had an uneasy feeling that the subject was one on which the last word had been already said.
Meanwhile his unresting activity was striking into fresh channels. The "Grettis Saga" of 1869 was followed by the "Volsunga Saga" of 1870. This translation also was executed in collaboration with Mr. Magnússon, and was published in May. In the previous month he had been sitting to Watts for the well-known portrait which represents him in the full prime of his life and vigour. But even before then he had found that "The Earthly Paradise" was practically off his hands, and had turned to the relaxation of changed employment. He thought of taking up painting again, and drew from the model for a while in Mr. C.F. Murray's studio. From painting he soon diverged to illumination. In February the beautiful illuminated book of his own poems, given by him to Mrs. Burne-Jones, had been begun. It was the first of a series of illuminated manuscripts on which he was much occupied for several years.
"I have been hard at work," he writes to Mrs. Morris on the 14th of March, "but have not done much ex-
