exquisite designs made by Burne-Jones for the story nearly thirty years before.
At the beginning of July he completed his collection of painted books by a Psalter which for style, colour, and execution was the finest of them all. He gave it the name of the Windmill Psalter from a windmill which was prominent in the design upon the page next following the "Beatus." This book, a folio of about the year 1270, had been acquired, with several leaves missing, about five and twenty years previously, by Mr. Henry Hucks-Gibbs, now Lord Aldenham. Four of the missing leaves were, however, extant, and had been sold many years before by Ellis to Mr. Fairfax Murray, who after much solicitation had consented to exchange them with Morris for five sheets of drawings on vellum by an Italian master of the fifteenth century. Lord Aldenham's book was exhibited among the English manuscripts collected and shown in the summer of 1896 by the Society of Antiquaries in their rooms at Burlington House. To that exhibition Morris also lent the four leaves in question, together with six of the best of his own English painted books. They were placed next the book to which they had originally belonged. When Morris went with Burne-Jones on the 5th of June to see the collection, the relationship of the two portions of the book was obvious.
"We looked," Morris writes exultantly the next day to Ellis, "and lo! there was no doubt—there was the book with the due hiatuses. And now, whatten a book was that, my man? Why, as soon as I saw its second leaf, I recognized it as the book which I saw in your shop hi Bond Street, and which I have talked so much to you about, and which you told me you sold, or some one else sold, to Hucks-Gibbs. Are you thunderstruck? But now the question is, How am I
