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 incomplete. There is, perhaps, no better proof that a man is a mere meteor, merely barren and brilliant, than that his work is done perfectly. A man like Morris draws attention to needs he cannot supply. In after-years we may have perhaps a newer and more daring Arts and Crafts Exhibition. In it we shall not decorate the armour of the twelfth century, but the machinery of the twentieth. A lamp-post shall be wrought nobly in twisted iron, fit to hold the sanctity of fire. A pillar-box shall be carved with figures emblematical of the secrets of comradeship and the silence and honour of the State. Railway signals, of all earthly things the most poetical, the coloured stars of life and death, shall be lamps of green and crimson worthy of their terrible and faithful service. But if ever this gradual and genuine movement of our time towards beauty—not backwards, but forwards—does truly come about, Morris will be the first prophet of it. Poet of the childhood of nations, craftsman in the new honesties of art, prophet of a merrier and wiser life, his full-blooded enthusiasm will be