checked: but the traditions of the great age of adulteration had become a fixed habit. On every side Morris was confronted by the double barrier of material that would not take good colour, and colour which in its own substance was uniformly bad. The coarse serges used in the early days of the firm as the ground for embroideries could only be had dyed in one of two ways, in bright anilines, or in colours which were quiet but muddy and without character. When it came to a question of carpets and woven hangings the difficulties were even greater. The dyes in use for carpet-work were both crude and fugitive. Those used in modern French silks he found almost as untrustworthy. "To-day we have bad accounts," is a doleful note of his about this time, "of another set of silk curtains of our selling: green this time, dyed at Lyons: as far as dyers are concerned I wish the days of Colbert back again: it was red last time, and Tours." "I am most deeply impressed," he writes at the end of 1875, "with the importance of our having all our dyes the soundest and best that can be, and am prepared to give up all that part of my business which depends on textiles if I fail in getting them so."
All that could be done was to select the best and make the most of such combinations of them as were possible. "Mr Morris showed his usual sagacity," Mr. George Wardle notes, "in adopting this system of colour so long as the production of the colours themselves was beyond his control. His skill as a colourist was shown in combining colours which, separately, were of but very mediocre character. This system of colour, which may be called provisional, marks very distinctly what may be called the first period of the history of the firm, when Mr. Morris had not yet a dye-house. The peacock-blues, rusty reds, and
