question which Mr. Manson had put to him in connexion with the exhibition of Rossetti's pictures and drawings which was then being held at the Burlington Fine Arts Club. Rossetti himself had died in the previous April.
"I can't say," he writes, "how it was that Rossetti took no interest in politics; but so it was: of course he was quite Italian in his general turn of thought; though I think he took less interest in Italian politics than in English, in spite of his knowing several of the leading patriots personally, Saffi for instance. The truth is he cared for nothing but individual and personal matters; chiefly of course in relation to art and literature, but he would take abundant trouble to help any one person who was in distress of mind or body; but the evils of any mass of people he couldn't bring his mind to bear upon. I suppose in short it needs a person of hopeful mind to take disinterested notice of politics, and Rossetti was certainly not hopeful."
The difference here touched, whether or not the explanation offered of it be right, was real and deep. Morris had himself always been one of the people to whom personal matters bear far less than their normal share in life. He was interested in things much more than in people. He had the capacity for loyal friendships and for deep affections; but even of these one might almost say that they did not penetrate to the central part of him. The thing done, the story, or the building, or the picture, or whatever it might be, was what he cared about in the work of his contemporaries and friends no less than in that of other ages or countries: and in his mind these things seem to have been quite independent of the story-teller, or the architect, or the painter, and not merely substantive
