Burne-Jones, first as principal and afterwards as sole figure-designer, had in Morris windows—"let people say what they will about the suitability of Mr. Morris's glass to mediæval buildings, do the old and the new rightly harmonize. This last opinion very few were able to adopt, for so few recognized the real originality and modernness of his art. It was supposed to be mediæval. In popular estimation design necessarily takes one of several recognized forms which are called styles, and as his design had many of the characters of mediæval work, he was supposed to be intentionally imitating that style. On the contrary, Mr. Morris was too unaffected, and in the broadest sense natural, in his art to allow himself to imitate, and as he did not intentionally make his work mediæval, he did not pretend that it could be suitable for a mediæval building."
This, then, was Morris's theory, expressed in its rigour. In accordance with it he laid down a self-denying ordinance with regard to supplying painted windows for ancient buildings—self-denying doubly, because not only did this resolution, as has been noted above, injure, and for a time partly cripple, this branch of the business, but because the result in three cases out of four was simply that the owners, or guardians, of the mediæval building went somewhere else; and the window was filled with glass as much inferior to his in colour and design as it was more alien from the spirit of the Middle Ages, not least so when it was inspired by an insincere and pretentious mediævalism.
By abstaining himself, however, he hoped to set an example that others might gradually follow; and perhaps his action has not been wholly without effect. In a few instances he allowed exceptions: among
