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formal abandonment of architecture as a profession which took place under Rossetti's influence at the end of 1856 was not felt either by Morris himself or by his friends to be a light matter. Rossetti, now as always perfectly unscrupulous in his means towards an end which he believed to be of primary importance, probably did not look beyond the immediate interests of his own art. For him, at that time, English society was divided into two classes. The duty of the one class was to paint pictures, and it included all those who were competent to do so. The duty of the other class was to buy the pictures so painted. This amazingly simple scheme of life he enforced with all the power of his bewitching personality. To an immense power of humour and sarcasm, and a dazzling eloquence, he added gifts even more potent: an intelligence of sympathy towards the ideas or work of other artists, which Sir Edward Burne-Jones in recent years described as unequalled in his experience; a boundless generosity in helping on younger men who would be guided by him; and behind all these qualities, a