these may be mentioned the five beautiful windows executed by him for the chancel of St. Margaret's, Rottingdean, at the special request of Burne-Jones. In that case the windows were plain lancets filled with modern glass, some of it unpainted, the rest admittedly and unrelievedly hideous. There was no tracery to injure, and no existing ancient glass to suffer from the juxtaposition of the new.
As regards the personal part which Morris took in this branch of the firm's work, it was the invariable practice in early years, and remained the rule after the Merton Abbey works were started, that the interpretation of the design and the choice of the glass came under his own eye. He seldom at any time, and never in more recent years, made complete designs for windows himself. From the first, the figure-subjects were mainly supplied by those of his colleagues who were professional painters. As time went on, they came almost exclusively from the studio of Burne-Jones, who supplied no cartoons for glass except to the firm. But backgrounds and foliage were, as a rule, of Morris's designing, the animals and certain kinds of ornament being often drawn by Webb.
Morris never made his own glass. He often regretted that he did not; but for organizing this manufacture, time and money alike were required beyond what he could spare. There is little doubt that in the colouring of glass, as in that of yarns, his personal touch would have produced greater splendours of tone than could be got by other workers. As it was, his faultless eye for colour had to content itself with doing its best out of the glass supplied by the ordinary manufacturers. If the colour of a Morris window is to the present day unmistakable among all rivals or imitations, this is not from any difference in material,
