of his friends, and unable to bear the loneliness of Oxford now that all the rest were gone, had resigned the mathematical tutorship which he held together with his Fellowship at University, and had come to London to learn the business of a civil engineer. As a man with a head for figures, who could keep the accounts of the business, he was a valuable associate; and though he had no gift of design, he contributed a good deal of work as a craftsman. He helped in executing mural decorations; he painted pattern-tiles, and figure-tiles on which the design had been drawn by a more skilled hand; and he even, in March, 1862, successfully cut a wood-block, on which Rossetti had drawn the well-known illustration for his sister's poem of "Goblin Market."
Church decoration was at first the main employment of the new firm. It was just at that time rising into the rank of an important industry. Jowett, writing to a friend in 1865, remarks that "Muscular Christianity is gone out," and notices, as a prominent sign of the times, the æsthetico-Catholic revival going on in the London churches. But that movement had sprung up some years earlier, while the school of Kingsley and Maurice was still living and powerful. A large section of the neo-Catholic party, abandoning the exhausted battlefields of theology, had turned from theory to practice and from the fourth to the thirteenth century. Their earlier campaign had been among the clergy; and there they had won a decided, though in itself a barren, victory. Now with fresh ardour and with more practical sagacity, they flung themselves into the task of winning over the laity. Plain men and women, to whom primitive tradition and apostolical succession were tiresome or meaningless sounds, could appreciate the sensible beauty of Anglo-Catholic ritual. In the
