them in design, but show themselves obviously to be the outcome of modern and Western ideas, guided by those principles that underlie all architectural art in common."
Besides this labour of the loom, the year had been crowded with other more public work. Sweeping restorations were proposed and already in progress at St. Mark's, Venice: and Morris was the soul of the movement of protest, which, though conducted in some quarters with more zeal than discretion in its attitude towards Italy and the Italian Government, at least had a powerful influence in preventing the proposed demolition and rebuilding of the western façade. In support of the movement, which was headed by the Society for Protection of Ancient Buildings, he spoke and wrote untiringly, not only in London, but in Birmingham and Oxford. The Oxford meeting in the Sheldonian Theatre was the first occasion on which he appeared at his own University in any public capacity. In his ardour he even succeeded in prevailing on Burne-Jones to make there, for the first and last time on record, a speech in public.
When he had been at Venice the year before, he had been too ill to take much apparent pleasure in St. Mark's. But his eye had taken it all in, and the impression it made on him rather grew than weakened as time went on. "Always beautiful," he now wrote of it, "but from the first meant to grow more beautiful by the lapse of time, it has now become a work of art, a monument of history, and a piece of nature. Surely I need not enlarge on the pre-eminence of St. Mark's in all these characters; for no one who even pretends to care about art, history, or nature, would call it in question; but I will assert that, strongly as I may have seemed to express myself, my words but feebly repre-
