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120 the theatre, seeing Robson at the Olympic, or Kean's Shakespearean pageants at the Princess's. Among all this series of spectacular plays, "Richard the Second" (March to July, 1857) was Morris's special favourite. For the beautiful fluency and copiousness of the language in this play he had an immense admiration; and in Kean's production there was a dance with mediæval music which gave him great delight. It was his first, or almost his first, introduction to early non-ecclesiastical music. When all the rest of the day's work or amusement was over, there were gatherings at Rossetti's rooms in Chatham Place, beginning about midnight and often lasting far into the morning.

How long Rossetti's daily influence might have kept him labouring at what he could not do, when there was work all round that he could do, on the whole, better than any man living, it is needless to inquire. But the first piece of work which took him away from life in a painter's studio, and began his career as a decorator, was of Rossetti's own initiation.

In the early part of the Long Vacation of 1857, Rossetti went down to Oxford to see his friend Benjamin Woodward, the architect. Morris, always delighted to take a day at Oxford, went with him. The long battle between the Palladian and Gothic styles for the new University Museum had been at last decided by the Oxford authorities in favour of the latter. Woodward's plans, in a style of mixed Rhenish and Venetian Gothic, had been accepted, and the museum was now in progress. Besides his principal work at the museum, he was engaged in building a debating hall for the Union Society. That hall, now the principal library, was just roofed in. In form, the hall was a long building with apsidal ends. A narrow