I should have done so though if I wasn't living in hope of getting a photograph of it; the photographs represent the engravings much better than I thought they did, looking very much like impressions whose paper is yellow by age, only somewhat darker: what a splendid engraving that S. Hubert is! O my word! so very, very gorgeous.
"I bought some engravings from Fra Angelico's picture in the Louvre, I am afraid only pretty good; will you have them? they represent the picture fairly I think on the whole, only the loss of colour makes of course a most enormous difference, where the colour is so utterly lovely as in the original—well, I hope you will like them. I have just been doing them up into a parcel whose clumsiness is something absolutely glorious, it is so clumsy. O this steel pen!—tell me if they reach you safely. Well, good-bye. I have forgotten what else I had to say to you, though I know I had plenty.
"Topsy."
The names, and some of the work, of the Pre-Raphaelite school were by this time becoming known to Morris and his companions, though the artists themselves were still unknown to them. In the summer term at Oxford he and Burne-Jones had seen Mr. Coombe's collection at the Clarendon Press, which included two pictures by Holman Hunt and Rossetti's water-colour of Dante drawing the head of Beatrice. During the Easter vacation, in the "very pretty old-fashioned house on Tottenham Green" belonging to Mr. Windus, they had seen for the first time pictures by Millais and Madox Brown. A copy of "The Germ" had also about the same time fallen into their
