simple, the touch of the brush being essential towards giving that quality of pattern and surface that made them coherent with the larger decoration of which they formed a part. The manufacture of tiles on a larger scale and with properly constructed kilns had been taken up by De Morgan as a branch of pottery, and it was not necessary that Morris should continue to make his own. Since the premises in Queen Square were abandoned, the firing of both glass and tiles has been executed elsewhere, no kilns having been built at Merton. The premises which De Morgan took in order to establish potteries close to the Merton Abbey works did not prove suitable to their purpose, and the plan of joint, or even contiguous, factories never fully took effect: but he afterwards set up works in Chelsea from which tiles were supplied well suited to take their place among Morris decorations. It may be added that, while the firm never either designed or made pottery of any kind—the tiles used for painting on being got from outside, chiefly from Holland—they did something towards introducing in England the knowledge of some of the best varieties of foreign manufacture, especially the simple and beautiful Grès de Flandre ware, now so common in the shops of London furnishers, which made its first appearance in England, except as a curiosity, in Morris's show-room. Neither did the production of furniture play any important part in the firm's business. There were generally a few pieces, nearly all from Webb's designs, being made; but Morris never designed any himself: it was only when some piece, such as a chest or cupboard, was to be further adorned with gilding or painting, that it came into his hands. Of all the specific minor improvements in common household objects due to Morris, the rush-bottomed Sussex chair perhaps takes the first
