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160 at the Exhibition, though from the jury it received only a colourless and vague approbation, attracted much attention, both favourable and adverse. That it really made some impression on the public is shown by the fact that nearly a hundred and fifty pounds' worth of goods were sold from the stalls.

"I perfectly remember," writes Mrs. Richmond Ritchie of a visit to Red Lion Square early in 1862, "going with Val Prinsep one foggy morning to some square, miles away; we came into an empty ground floor room, and Val Prinsep called 'Topsy' very loud, and some one came from above with hair on end and in a nonchalant way began to show one or two of his curious, and to my uninitiated soul, bewildering treasures. I think Morris said the glasses would stand firm when he put them on the table. I bought two tumblers of which Val Prinsep praised the shape. He and Val wrapped them up in paper, and I came away very much amused and interested, with a general impression of sympathetic shyness and shadows and dim green glass."

Chintzes, paper-hangings, and carpets, afterwards the staple products of the firm, were the successive developments of later years. Paper-hangings came first; and it was with them, owing to mere exigencies of space, that the firm was forced to deviate from its first intention of turning out the manufactured article complete from their own doors. The well-known trellis wall-paper was the first designed, the rose trellis by Morris, and the birds in it by Webb. This design was made in November, 1862, and it was at first attempted to print it in oil colours from etched zinc plates. But the process proved very tedious and not satisfactory. It was soon given up, and the design recut on wooden pear-tree blocks, from which the