but from the skill in selection and variation which was an instinct in Morris himself, and which to some considerable degree he transmitted to his workmen.
When the cartoons for a window had been drawn, Mr. Wardle notes in speaking of the practice of this period, Morris personally "coloured" the window; that is to say, he dictated in detail to Campfield, the foreman of the painters, what glass was to be used for each part. The various parts were then distributed to the painters, whose work he watched as it went on, though he usually reserved any comments till the painter had done all that he could. Retouches were then made by his direction, and the glass was burned and leaded up. When this was done, there came the final review of the window, a work of great difficulty in any case, and to any ordinary eye impossible in the cramped premises in Queen Square, where some of his largest windows were made. But here his amazing eye and memory for colour enabled him to achieve the impossible: he could pass all the parts of a large window one by one before the light, and never lose sight of the general tone of the colour or of the relation of one part to another. If any part did not satisfy him, new glass was cut and that piece of the window done again.
The painting of tiles, which had been one of the first occupations of the firm in Red Lion Square, had by this time almost ceased. It had ceased wholly as regards figure-painted tiles, of which a few sets of great beauty, some of them with verses by Morris also painted on them, had been made for a few years and not in great numbers. Pattern tiles, chiefly meant for use in fireplaces, went on being produced—as they still are—to a limited extent from the early designs. They were all hand-painted, even when the designs were very
