sional in young men destined for the Church, grew up more and more overpoweringly a wider interest in history, mythology, poetry, and art. Morris arrived at Oxford already familiar with Tennyson and with the two volumes then published of "Modern Painters."
One of Burne-Jones's earliest recollections of his first term was of Morris reading aloud "The Lady of Shalott" in the curious half-chanting voice, with immense stress laid on the rhymes, which always remained his method of reading poetry, whether his own or that of others. Ruskin became for both of them a hero and a prophet, and his position was more than ever secured by the appearance of "The Stones of Venice" in 1853. The famous chapter "Of the Nature of Gothic," long afterwards lovingly reprinted by Morris as one of the earliest productions of the Kelmscott Press, was a new gospel and a fixed creed. Curiously enough, in the case of passionate Anglo-Catholics, Kingsley was read much more than Newman, and Carlyle's "Past and Present" stood alongside of "Modern Painters" as inspired and absolute truth. Before Morris had been a year at Oxford the acquiescence of unquestioning faith was being exchanged for a turmoil of new enthusiasms. Burne-Jones had come to Oxford already saturated with Shakespeare and Keats, and full of the fascination of the Celtic and Scandinavian mythologies. The Pembroke group, together with the rest of their college, which throughout the Anglo-Catholic revival had remained steadfast to the older Evangelicalism, stood apart from the Tractarian movement, and were full of enthusiasm for modern and secular literature. Shelley, Keats, Tennyson, in poetry; Carlyle, De Quincey, Thackeray, Dickens, in prose. Thorpe's "Northern Mythology," to which he was introduced by Burne-Jones,
