weather, to attend a sale, and when there offered to advance a considerable sum of money for the benefit of the Department, as in the hurry of our departure from London it had been impossible for me to get sanction for such expenditure."
The embroideries, no less than the woven stuffs, produced at Queen Square, took a fresh start from the introduction of home-dyed silks. This is a point on which all the embroiderers who worked for him lay special emphasis. "There was a peculiar beauty in his dyeing," says Mrs. Holiday, one of the most highly qualified of his later pupils in the art of embroidery, "that no one else in modern times has ever attained to. He actually did create new colours; then in his amethysts and golds and greens, they were different to anything I have ever seen; he used to get a marvellous play of colour into them. The amethyst had flushings of red; and his gold (one special sort), when spread out in the large rich hanks, looked like a sunset sky. When he got an unusually fine piece of colour he would send it off to me or keep it for me; when he ceased to dye with his own hands I soon felt the difference. The colours themselves became perfectly level, and had a monotonous prosy look; the very lustre of the silk was less beautiful. When I complained, he said, 'Yes, they have grown too clever at it—of course it means they don't love colour, or they would do it.'"
"I am writing in a whirlwind of dyeing and weaving," says a letter of March, 1879, "and even as to the latter rather excited by a new piece just out of the loom, which looks beautiful, like a flower garden." Even at Kelmscott he missed the daily fascination of his work. "Somehow I feel," he wrote from there a few months later," as if there must soon be an end
