deeply lamented Dr. Hatch, the theologian, whose noble spirit was not fully known among us."
Morris's first Long Vacation, that of 1853, was spent in England, largely in going about visiting churches. It included a short visit from Burne-Jones at Walthamstow: it is characteristic of Morris himself and of the terms on which undergraduates live, in a world almost wholly of their own, that Burne-Jones up till then had no idea whether Morris was rich or poor, and whether he lived in a little house or a big one. In the Long Vacation of 1854 he made his first journey abroad, to Belgium and Northern France. This journey was one of profound interest: it introduced him to the painting of Van Eyck and Memling, who remained to him ever after absolute and unapproached masters of painting, and to what he considered the noblest works of human invention, the churches of Amiens, Beauvais, and Chartres. From this Long Vacation also he brought back to Oxford photographs of Albert Dürer's engravings, and an increased hatred of the classicists and (for their sake) of the classics. In Paris the Musée Cluny and the galleries of the Louvre enriched his knowledge of mediæval art in its noblest forms. At Rouen his desires were satisfied to the full.
"Less than forty years ago," he writes in one of the frankly and beautifully autobiographic passages of "The Aims of Art," "I first saw the city of Rouen, then still in its outward aspect a piece of the Middle Ages: no words can tell you how its mingled beauty, history, and romance took hold on me; I can only say that, looking back on my past life, I find it was the greatest pleasure I have ever had: and now it is a pleasure which no one can ever have again: it is lost to the world for ever. At that time I was an undergraduate of Oxford, Though not so astounding, so
