olive-greens of that period were not by any means his ideals, but the best he could get done. As soon as he was able to set up his own dye-house he turned at once to the frank full hues of the permanent dye-stuffs—indigo blue, madder red, weld yellow, etc.—and with these he produced the beautiful Hammersmith carpets and the Merton tapestries and chintzes."
It may be added that, like most great masters of colour, and following in this matter the best traditions of Oriental art, he used but few colours, and gained his effects by skilfully varied juxtaposition and contrast. In November, 1875, he wrote to Mr. Thomas Wardle, at Leek, giving a complete list of the steam-colours which he required for his own designs. They consist of two blues, one blue-green, two greens, two yellows, and one brown. "To these," he goes on, "one might add a black (if such a thing is to be got fast in steam-colours), and a shade or two of rust-yellows or buffs, which would present no difficulty, as they would be such as are ordinarily used. With the above colours I can carry out any design I should care for that did not need the madder colours, and setting indigo apart. As to the indigo, when we once get it, Prussian blues and greens will be things of the past with us."
Curiously enough, those provisional colours with their dull neutral tints were what clung to the minds of buyers and imitators long after Morris had been able to discard them entirely. The so-called peacock-blue, which he gave up at once when he had revived the use of the indigo vat, and the more appropriately named sage-green, which was one of his particular aversions, became obstinately associated with his name through ignorant imitation as much as by careless or malicious detraction. An incident which occurred in
