money will have to be dropped upon it: for I don't think (again on reflection) that you will find commercial exhibitors willing to pay rent for space, and the shillings at the door will not, I fear, come to much after the first week or two: the general public don't care one damn about the arts and crafts; and our customers can come to our shops to look at our kind of goods; and the other kind of exhibits would be some of Walter Crane's works and one or two of Burne-Jones: those would be the things worth looking at: the rest would tend to be of an amateurish nature, I fear. In short, at the risk of being considered a wet blanket, a Job, or Job's comforter, and all that sort of thing, I must say I rather dread the said exhibition: this is of course my private view of the matter, and also of course I wish it success if it comes off."
A month later he writes again: "I am convinced that the only time of the year available for the exhibition is from the middle of March to the middle of August. Any other time it would only be visited by the few who are really interested in the subject. Isn't it now too late to get the thing afoot during this period this year?"
But the scheme was already fairly afoot: and Morris seems to have under-estimated, not indeed the actual progress that had been made in the production of good work rightly done, but the amount of feeling towards such production which was stirring, and the amount of public interest which had been at last, though languidly and tardily, aroused in the difference between good and bad decorative art. When once the decision was taken, he gave the scheme his hearty support: and in this, as in the succeeding exhibitions held, his work attracted a wider and more intelligent interest than could have been counted upon. The
