William Morris - Wikipedia
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English textile artist, author, and socialist (1834–1896)
For other people named William Morris, see
William Morris (disambiguation)
William Morris
William Morris by
Frederick Hollyer
, 1887
Born
1834-03-24
24 March 1834
Walthamstow
Essex
, England
Died
3 October 1896
(1896-10-03)
(aged 62)
Hammersmith
, England
Education
Exeter College, Oxford
Occupations
Textile designer
poet
translator
socialist activist
Known for
Wallpaper
and
textile design
fantasy fiction
medievalism
socialism
Notable work
News from Nowhere
The Well at the World's End
Spouse
Jane Burden
m.
1859)
Children
Jenny Morris
May Morris
Signature
William Morris
(24 March 1834 – 3 October 1896) was an English
textile designer
, poet, artist,
writer, and socialist activist associated with the British
Arts and Crafts movement
. He was a major contributor to the revival of traditional British
textile arts
and methods of production. His literary contributions helped to establish the modern fantasy genre, while he campaigned for
socialism
in
fin de siècle
Great Britain.
Morris was born in
Walthamstow
Essex
, to a wealthy middle-class family. He came under the strong influence of
medievalism
while studying
classics
at
Oxford University
, where he joined the
Birmingham Set
. After university, he married
Jane Burden
, and developed close friendships with
Pre-Raphaelite
artists and poets such as
Dante Gabriel Rossetti
Algernon Charles Swinburne
, and
Edward Burne-Jones
, as well as with
Neo-Gothic
architect
Philip Webb
. Webb and Morris designed
Red House
in Kent where Morris lived from 1859 to 1865, before moving to
Bloomsbury
, central London. In 1861, Morris founded the
Morris, Marshall, Faulkner & Co.
decorative arts firm with Burne-Jones, Rossetti, Webb, and others, which became highly fashionable and much in demand. The firm profoundly influenced interior decoration throughout the
Victorian period
, with Morris designing tapestries, wallpaper, fabrics, furniture, and stained glass windows. In 1875, he assumed total control of the company, which was renamed Morris & Co.
From 1871, Morris rented the rural retreat of
Kelmscott Manor
Oxfordshire
, while also retaining a main home in London. He was greatly influenced by visits to Iceland with
Eiríkur Magnússon
, and he produced a series of English-language translations of Icelandic Sagas. He also achieved success with the publication of his epic poems and novels, namely
The Earthly Paradise
(1868–1870),
A Dream of John Ball
(1888), the utopian
News from Nowhere
(1890), and the fantasy romance
The Well at the World's End
(1896). In 1877, he founded the
Society for the Protection of Ancient Buildings
to campaign against the damage caused by architectural restoration. By the influence of medievalism and Christian socialism in the 1850s he became a sceptic of industrial capitalism. After reading works of
Henry George
Alfred Russel Wallace
, and
Karl Marx
in the 1880s Morris became a committed
revolutionary socialist
activist
clarification needed
until his final acceptance of parliamentary socialism at 1896. He founded the
Socialist League
in 1884 after an involvement in the
Social Democratic Federation
(SDF), but he broke with that organisation in 1890. In 1891, he founded the
Kelmscott Press
to publish limited-edition,
illuminated
-style print books, a cause to which he devoted his final years.
Morris is recognised as one of the most significant cultural figures of
Victorian Britain
. He was best known in his lifetime for his poetry, although he posthumously became better known for his designs. The
William Morris Society
founded in 1955 is devoted to his legacy, while multiple biographies and studies of his work have been published. Many of the buildings associated with his life are open to visitors, much of his work can be found in art galleries and museums, and his designs are still in production.
Early life
edit
Youth: 1834–1852
edit
Morris was born at Elm House in
Walthamstow
Essex
, on 24 March 1834.
Raised into a wealthy middle-class family, he was named after his father, a financier who worked as a partner in the Sanderson & Co. firm, bill brokers in the
City of London
His mother was Emma Morris (née Shelton), who descended from a wealthy bourgeois family from
Worcester
Morris was the third of his parents' surviving children; their first child, Charles, had been born in 1827 but died four days later. Charles had been followed by the birth of two girls, Emma in 1829 and Henrietta in 1833, before William's birth. These children were followed by the birth of siblings Stanley in 1837, Rendall in 1839, Arthur in 1840,
Isabella
in 1842, Edgar in 1844, and Alice in 1846.
The Morris family were followers of the
evangelical
Protestant
form of Christianity, and William was
baptised
four months after his birth at
St Mary's Church, Walthamstow
Water House, Morris's childhood home; renovated in 2012, it now houses The
William Morris Gallery
As a child, Morris was kept largely housebound at Elm House by his mother; there, he spent much time reading, favouring the novels of
Walter Scott
Aged six, Morris moved with his family to the
Georgian
Italianate
mansion at
Woodford Hall
Woodford, Essex
, which was surrounded by 50 acres of land adjacent to
Epping Forest
He took an interest in fishing with his brothers as well as gardening in the Hall's grounds,
and spent much time exploring the Forest, where he was fascinated both by the Iron Age earthworks at
Loughton Camp
and
Ambresbury Banks
and by the Early Modern
Hunting Lodge
at
Chingford
10
He also took rides through the Essex countryside on his pony,
11
and visited the various churches and cathedrals throughout the country, marveling at their architecture.
12
His father took him on visits outside of the county, for instance to
Canterbury Cathedral
, the Chiswick Horticultural Gardens, and to the
Isle of Wight
, where he adored
Blackgang Chine
13
Aged nine, he was then sent to Misses Arundale's Academy for Young Gentlemen, a nearby preparatory school; although initially riding there by pony each day, he later began boarding, intensely disliking the experience.
14
In 1847, Morris's father died unexpectedly. From this point, the family relied upon continued income from the copper mines at
Devon Great Consols
, and sold Woodford Hall to move into the smaller
Water House
15
In February 1848 Morris began his studies at
Marlborough College
in
Marlborough, Wiltshire
, where he gained a reputation as an eccentric nicknamed "Crab". He despised his time there, being bullied, bored, and homesick.
16
He did use the opportunity to visit many of the prehistoric sites of Wiltshire, such as
Avebury
and
Silbury Hill
, which fascinated him.
17
The school was
Anglican
in faith and in March 1849 Morris was confirmed by the
Bishop of Salisbury
in the college chapel, developing an enthusiastic attraction towards the
Anglo-Catholic movement
and its
Romanticist
aesthetic.
18
At Christmas 1851, Morris was removed from the school and returned to Water House, where he was privately tutored by the Reverend Frederick B. Guy, Assistant Master at the nearby
Forest School
19
Oxford and the Birmingham Set: 1852–1856
edit
William Morris at 23
In June 1852 Morris entered
Exeter College
at
Oxford University
, although, since the college was full, he went into residence only in January 1853.
20
He disliked the college and was bored by the manner in which they taught him
Classics
21
Instead he developed a keen interest in medieval history and medieval architecture, inspired by the many medieval buildings in Oxford.
22
This interest was tied to Britain's growing
Medievalist
movement, a form of
Romanticism
that rejected many of the values of Victorian
industrial capitalism
23
For Morris, the Middle Ages represented an era with strong
chivalric values
and an organic, pre-capitalist sense of community, both of which he deemed preferable to his own period.
24
This attitude was compounded by his reading of
Thomas Carlyle
's book
Past and Present
(1843), in which Carlyle championed medieval values as a corrective to the problems of Victorian society.
25
Under this influence, Morris's dislike of contemporary capitalism grew, and he came to be influenced by the work of
Christian socialists
Charles Kingsley
and
Frederick Denison Maurice
26
At the college, Morris met fellow first-year undergraduate
Edward Burne-Jones
, who became his lifelong friend and collaborator. Although from very different backgrounds, they found that they had a shared attitude to life, both being keenly interested in Anglo-Catholicism and
Arthurianism
27
Through Burne-Jones, Morris joined a group of undergraduates from
Birmingham
who were studying at
Pembroke College
: William Fulford (1831–1882),
Richard Watson Dixon
Charles Faulkner
, and
Cormell Price
. They were known among themselves as the "Brotherhood" and to historians as the
Birmingham Set
28
Morris was the most affluent member of the Set, and was generous with his wealth toward the others.
29
Like Morris, the Set were fans of the poet
Alfred, Lord Tennyson
, and would meet together to recite the plays of
William Shakespeare
30
William Morris self-portrait, 1856; he grew his beard that year, after leaving university.
31
Morris was heavily influenced by the writings of the art critic
John Ruskin
, being particularly inspired by his chapter "On the Nature of Gothic Architecture" in the second volume of
The Stones of Venice
; he later described it as "one of the very few necessary and inevitable utterances of the century".
32
Morris adopted Ruskin's philosophy of rejecting the tawdry industrial manufacture of decorative arts and architecture in favour of a return to hand-craftsmanship, raising
artisans
to the status of artists, creating art that should be affordable and hand-made, with no hierarchy of artistic mediums.
33
34
Ruskin had achieved attention in Victorian society for championing the art of a group of painters who had emerged in London in 1848 calling themselves the
Pre-Raphaelite Brotherhood
. The Pre-Raphaelite style was heavily Medievalist and Romanticist, emphasising abundant detail, intense colours and complex compositions; it greatly impressed Morris and the Set.
35
Influenced both by Ruskin and by
John Keats
, Morris began to spend more time writing poetry, in a style that was imitative of much of theirs.
36
Both he and Burne-Jones were influenced by the Romanticist milieu and the Anglo-Catholic movement, and decided to become clergymen in order to found a monastery where they could live a life of
chastity
and dedication to artistic pursuit, akin to that of the contemporary
Nazarene movement
. However, as time went on Morris became increasingly critical of Anglican doctrine and the idea faded.
37
In summer 1854, Morris travelled to Belgium to look at medieval paintings,
38
and in July 1855 went with Burne-Jones and Fulford across northern France, visiting medieval churches and cathedrals.
39
It was on this trip that he and Burne-Jones committed themselves to "a life of art".
40
For Morris, this decision resulted in a strained relationship with his family, who believed that he should have entered either commerce or the clergy.
41
On a subsequent visit to Birmingham, Morris discovered
Thomas Malory
's
Le Morte d'Arthur
, which became a core Arthurian text for him and Burne-Jones.
42
In January 1856, the Set began publication of
The Oxford and Cambridge Magazine
, designed to contain "mainly Tales, Poetry, friendly critiques and social articles". Funded mainly by Morris, who briefly served as editor and heavily contributed to it with his own stories, poems, reviews and articles, the magazine lasted for twelve issues, and garnered praise from Tennyson and Ruskin.
43
Apprenticeship, the Pre-Raphaelites, and marriage: 1856–1859
edit
Morris's 1858 painting
La belle Iseult
, also inaccurately called
Queen Guinevere
, is his only surviving easel painting, now in the
Tate Gallery
. The model is
Jane Burden
, who married Morris in 1859.
Having passed his finals and been awarded a
BA
, Morris began an apprenticeship with the Oxford-based
Neo-Gothic
architect
George Edmund Street
in January 1856. His apprenticeship focused on architectural drawing, and there he was placed under the supervision of the young architect
Philip Webb
, who became a close friend.
44
Morris soon relocated to Street's London office, in August 1856 moving into a flat in
Bloomsbury
in
Central London
with Burne-Jones, an area perhaps chosen for its avant-garde associations.
45
Morris was fascinated by London but dismayed at its pollution and rapid expansion into neighbouring countryside, describing it as "the spreading sore".
46
William Morris became increasingly fascinated with the idyllic Medievalist depictions of rural life which appeared in the paintings of the Pre-Raphaelites, and spent large sums of money purchasing such artworks. Burne-Jones shared this interest, but took it further by becoming an apprentice to one of the foremost Pre-Raphaelite painters,
Dante Gabriel Rossetti
; the three soon became close friends.
47
Through Rossetti, Morris came to associate with poet
Robert Browning
, and the artists
Arthur Hughes
Thomas Woolner
, and
Ford Madox Brown
48
Tired of architecture, Morris abandoned his apprenticeship, with Rossetti persuading him to take up painting instead, which he chose to do in the Pre-Raphaelite style.
49
Morris aided Rossetti and Burne-Jones in painting the
Arthurian murals
at the
Oxford Union
, although his contributions were widely deemed inferior and unskilled compared to those of the others.
50
At Rossetti's recommendation, Morris and Burne-Jones moved in together to the flat at Bloomsbury's
No. 17 Red Lion Square
by November 1856. Morris designed and commissioned furniture for the flat in a medieval style, much of which he painted with Arthurian scenes in a direct rejection of mainstream artistic tastes.
51
Morris also continued writing poetry and began designing illuminated manuscripts and embroidered hangings.
52
In March 1857 Bell and Dandy published a book of Morris's poems,
The Defence of Guenevere
, which was largely self-funded by the author. It did not sell well and garnered few reviews, most of which were unsympathetic. Disconcerted, Morris would not publish again for a further eight years.
53
In October 1857 Morris met
Jane Burden
, a woman from a poor working-class background, at a theatre performance. Rossetti initially asked her to model for him. Controversially both Rossetti and Morris were smitten with her; Morris, however, began a relationship with her and they were engaged in spring 1858; Burden would later admit that she had never loved Morris.
54
They were married in a low-key ceremony held at
St Michael at the North Gate
church in Oxford on 26 April 1859, before honeymooning in
Bruges
, Belgium, and settling temporarily at 41 Great Ormond Street, London.
55
Career and fame
edit
Red House and the Firm: 1859–1865
edit
Red House
in
Bexleyheath
; it is now owned by
The National Trust
and open to visitors.
Morris desired a new home for himself and his family resulting in the construction of the
Red House
in the Kentish hamlet of Upton near
Bexleyheath
, ten miles from central London. The building's design was a co-operative effort, with Morris focusing on the interiors and the exterior being designed by Webb, for whom the House represented his first commission as an independent architect.
56
Named after the red bricks and red tiles from which it was constructed, Red House rejected architectural norms by being L-shaped.
57
Influenced by various forms of contemporary Neo-Gothic architecture, the House was nevertheless unique,
58
with Morris describing it as "very mediaeval in spirit".
59
Situated within an orchard, the house and garden were intricately linked in their design.
60
It took a year to construct,
61
and cost Morris £4000 at a time when his fortune was greatly reduced by a dramatic fall in the price of his shares.
62
Burne-Jones described it as "the beautifullest place on Earth."
63
After construction, Morris invited friends to visit, most notably Burne-Jones and his wife
Georgiana
, as well as Rossetti and his wife
Lizzie Siddal
64
They aided him in painting decoration on the furniture, walls, and ceilings, much of it based on Arthurian tales, the
Trojan War
, and
Geoffrey Chaucer
's stories, while he also designed floral embroideries for the rooms.
65
They also spent much time playing tricks on each other, enjoying games like
hide and seek
, and singing while accompanied by the piano.
66
Siddall stayed at the House during summer and autumn 1861 as she recovered from a traumatic miscarriage and an addiction to
laudanum
; she would die of an overdose in February 1862.
67
In April 1861, Morris founded a
decorative arts
company,
Morris, Marshall, Faulkner & Co.
, with six other partners: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and
Peter Paul Marshall
. Operating from premises at No. 6
Red Lion Square
, they referred to themselves as "the Firm" and were intent on adopting Ruskin's ideas of reforming British attitudes to production. They hoped to reinstate decoration as one of the fine arts and adopted an ethos of affordability and anti-elitism.
68
For additional staff, they employed boys from the
Industrial Home for Destitute Boys
in
Euston
, central London, many of whom were trained as apprentices.
69
Although working within the Neo-Gothic school of design, they differed from Neo-Gothic architects like
George Gilbert Scott
who simply included certain Gothic features on modern styles of building; instead they sought to return completely to Medieval Gothic methods of craftmanship.
70
The products created by the Firm included furniture, architectural carving, metalwork, stained glass windows, and murals.
71
Their stained glass windows proved a particular success in the firm's early years as they were in high demand for the surge in the Neo-Gothic construction and refurbishment of churches, many of which were commissioned by the architect
George Frederick Bodley
72
Despite Morris's anti-elitist ethos, the Firm soon became increasingly popular and fashionable with the bourgeoisie, particularly following their exhibit at the
1862 International Exhibition
in
South Kensington
, where they received press attention and medals of commendation.
73
However, they faced much opposition from established design companies, particularly those belonging to the
Neo-Classical
school.
74
Design for
Trellis
wallpaper, 1862
Morris was slowly abandoning lithography and painting, recognising that his work lacked a sense of movement; none of his paintings are dated later than 1862.
75
76
Instead he focused his energies on designing wallpaper patterns, the first being "Trellis", designed in 1862. His designs were produced from 1864 by Jeffrey and Co. of
Islington
, who created them for the Firm under Morris's supervision.
77
Morris retained an active interest in various groups, joining the
Hogarth Club
, the Mediaeval Society, and the Corps of Artist Volunteers, the latter in contrast to his later pacifism.
78
Meanwhile, Morris's family continued to grow. In January 1861, Morris and Janey's first daughter was born: named
Jane Alice Morris
, she was commonly known as "Jenny".
79
Jenny was followed in March 1862 by the birth of their second daughter,
Mary "May" Morris
80
Morris was a caring father to his daughters, and years later they both recounted having idyllic childhoods.
81
However, there were problems in Morris's marriage as Janey became increasingly close to Rossetti, who often painted her. It is unknown if their affair was ever sexual, although by this point other members of the group were noticing Rossetti and Janey's closeness.
82
Imagining the creation of an artistic community at Upton, Morris helped develop plans for a second house to be constructed adjacent to Red House in which Burne-Jones could live with his family; the plans were abandoned when Burne-Jones's son Christopher died from
scarlet fever
83
By 1864, Morris had become increasingly tired of life at Red House, being particularly unhappy with the 3 to 4 hours spent commuting to his London workplace on a daily basis.
84
He sold Red House, and in autumn 1865 moved with his family to No. 26
Queen Square
in Bloomsbury, the same building to which the Firm had moved its base of operations earlier in the summer.
85
Queen Square and
The Earthly Paradise
: 1865–1870
edit
Portrait of William Morris by George Frederic Watts, 1870
At Queen Square, the Morris family lived in a flat directly above the Firm's shop.
86
They were joined by Janey's sister
Elizabeth Burden
and a number of household servants.
87
Meanwhile, changes were afoot at the Firm as Faulkner left, and to replace him they employed a business manager, Warrington Taylor, who would remain with them till 1866. Taylor pulled the Firm's finances into order and spent much time controlling Morris and ensuring that he worked to schedule.
88
During these years the Firm carried out a number of high-profile designs; from September 1866 to January 1867, they redecorated the Armoury and Tapestry Room in
St James's Palace
89
in the latter year also designing the Green Dining Room at the
South Kensington Museum
(it is now the Morris Room at the Victoria and Albert Museum).
90
The Firm's work received increasing interest from people in the United States, resulting in Morris's acquaintance with
Henry James
and
Charles Eliot Norton
91
However, despite its success, the Firm was not turning over a large net profit, and this, coupled with the decreasing value of Morris's stocks, meant that he had to decrease his spending.
92
Janey's relationship with Rossetti had continued, and by the late 1860s gossip regarding their affair had spread about London, where they were regularly seen spending time together.
93
Morris biographer
Fiona MacCarthy
argued that it was likely that Morris had learned of and accepted the existence of their affair by 1870.
94
In this year he developed an affectionate friendship with Aglaia Coronio, the daughter of wealthy Greek refugees, although there is no evidence that they had an affair.
95
Meanwhile, Morris's relationship with his mother had improved, and he would regularly take his wife and children to visit her at her house in
Leyton
96
He also went on various holidays; in the summer of 1866 he, Webb, and Taylor toured the churches of northern France.
97
A caricature sketch of Morris by Rossetti,
The Bard and Petty Tradesman
, reflecting his behaviour at the Firm
In August 1866 Morris joined the Burne-Jones family on their holiday in
Lymington
, while in August 1867 both families holidayed together in Oxford.
98
In August 1867 the Morrises holidayed in
Southwold
Suffolk
99
while in the summer of 1869 Morris took his wife to
Bad Ems
in
Rhineland-Palatinate
, central Germany, where it was hoped that the local health waters would aid her ailments. While there, he enjoyed walks in the countryside and focused on writing poetry.
100
Morris had continued to devote much time to writing poetry. In 1867 Bell and Dandy published Morris's epic poem,
The Life and Death of Jason
, at his own expense. The book was a retelling of the ancient Greek myth of the hero
Jason
and his quest to find the
Golden Fleece
. In contrast to Morris's former publication,
The Life and Death of Jason
was well received, resulting in the publishers paying Morris a fee for the second edition.
101
From 1865 to 1870, Morris worked on another epic poem,
The Earthly Paradise
. Designed as a homage to Chaucer, it consisted of 24 stories, adopted from an array of different cultures, and each by a different narrator; set in the late 14th century, the synopsis revolved around a group of Norsemen who flee the
Black Death
by sailing away from Europe, on the way discovering an island where the inhabitants continue to venerate the ancient Greek gods. Published in four parts by
F. S. Ellis
, it soon gained a cult following and established Morris's reputation as a major poet.
102
Kelmscott Manor and Iceland: 1870–1875
edit
Main entrance to
Kelmscott Manor
By 1870, Morris had become a
public figure
in Britain, resulting in repeated press requests for photographs, which he despised.
103
That year, he also reluctantly agreed to sit for a portrait by establishment painter
George Frederic Watts
104
Morris was keenly interested in Icelandic literature, having befriended the Icelandic theologian
Eiríkur Magnússon
. Together they produced prose translations of the
Eddas
and Sagas for publication in English.
105
Morris also developed a keen interest in creating handwritten illuminated manuscripts, producing 18 such books between 1870 and 1875, the first of which was
A Book of Verse
, completed as a birthday present for Georgina Burne-Jones. 12 of these 18 were handwritten copies of Nordic tales such as
Halfdan the Black
Frithiof the Bold
, and
The Dwellers of Eyr
. Morris deemed
calligraphy
to be an art form, and taught himself both Roman and italic script, as well as learning how to produce gilded letters.
106
In November 1872 he published
Love is Enough
, a poetic drama based on the story
The Dream of Macsen Wledig
in the Medieval
Welsh
text, the
Mabinogion
. Illustrated with Burne-Jones woodcuts, it was not a popular success.
107
By 1871, he had begun work on a novel set in the present,
The Novel on Blue Paper
, which was about a love triangle; it would remain unfinished and Morris later asserted that it was not well written.
108
By early summer 1871, Morris began to search for a house outside London where his children could spend time away from the city's pollution. He settled on
Kelmscott Manor
in the village of
Kelmscott
Oxfordshire
, obtaining a joint tenancy on the building with Rossetti in June.
109
Morris adored the building, which was constructed
circa
1570, and would spend much time in the local countryside.
110
In contrast, Rossetti was unhappy at Kelmscott, and eventually suffered a mental breakdown.
111
Morris divided his time between London and Kelmscott; however, when Rossetti was there he would not spend more than three days at a time at the latter.
112
He became fed up with his family home in Queen Square, deciding to obtain a new house in London. Although retaining a personal bedroom and study at Queen Square, he relocated his family to Horrington House in Turnham Green Road, West London, in January 1873.
113
This allowed him to be far closer to the home of Burne-Jones, with the duo meeting on almost every Sunday morning for the rest of Morris's life.
114
Morris's
Acanthus
wallpaper design, (1875, left) and a page from Morris's illuminated manuscript of the
Rubaiyat of Omar Khayyam
, illustrated by Edward Burne-Jones
Leaving Jane and his children with Rossetti at Kelmscott, in July 1871 Morris left for Iceland with Faulkner, W. H. Evans, and Eiríkur. Sailing from the Scottish port of
Granton
aboard a Danish
mail boat
, they proceeded to the island via
Tórshavn
in the
Faroe Islands
before arriving at
Reykjavík
, where they disembarked. There they met the President of the
Althing
Jón Sigurðsson
, with Morris being sympathetic to the
Icelandic independence movement
. From there, they proceeded by
Icelandic horse
along the south coast to
Bergþórshvoll
Þórsmörk
Geysir
Þingvellir
, and then back to Reykjavík, where they departed back to Britain in September.
115
In April 1873, Morris and Burne-Jones holidayed in Italy, visiting
Florence
and
Siena
. Although generally disliking the country, Morris was interested in the Florentine Gothic architecture.
116
Soon after, in July, Morris returned to Iceland, revisiting many of the sites he had previously seen, but then proceeding north to
Vatna glacier
and
Fljótsdalur
117
His two visits to the country profoundly influenced him, in particular in his growing leftist opinions; he would comment that these trips made him realise that "the most grinding poverty is a trifling evil compared with the inequality of classes."
118
Morris and Burne-Jones then spent time with one of the Firm's patrons, the wealthy
George Howard, 9th Earl of Carlisle
and his wife Rosalind, at their medieval home in
Naworth Castle
Cumberland
119
In July 1874, the Morris family then took Burne-Jones's two children with them on their holiday to
Bruges
, Belgium.
120
However, by this point Morris's friendship with Rossetti had seriously eroded, and in July 1874 their acrimonious falling out led Rossetti to leave Kelmscott, with Morris's publisher
F.S. Ellis
taking his place.
121
With the company's other partners drifting off to work on other projects, Morris decided to consolidate his own control of the Firm and become sole proprietor and manager. In March 1875, he paid £1000 each in compensation to Rossetti, Brown, and Marshall, although the other partners waived their claims to financial compensation. That month, the Firm was officially disbanded and replaced by
Morris & Co
, although Burne-Jones and Webb would continue to produce designs for it in future.
122
This accomplished, he resigned his directorship of the Devon Great Consols, selling his remaining shares in the company.
123
Textile experimentation and political embrace: 1875–1880
edit
Two of Morris's designs:
Snakeshead
printed textile (1876) and "Peacock and Dragon" woven wool furnishing fabric (1878)
Now in complete control of the Firm, Morris took an increased interest in the process of textile dyeing and entered into a co-operative agreement with
Thomas Wardle
, a silk dyer who operated the Hencroft Works in
Leek, Staffordshire
. As a result, Morris would spend time with Wardle at his home on various occasions between summer 1875 and spring 1878.
124
Deeming the colours to be of inferior quality, Morris rejected the chemical
aniline
dyes which were then predominant, instead emphasising the revival of organic dyes, such as
indigo
for blue, walnut shells and roots for brown, and
cochineal
kermes
, and
madder
for red.
125
Living and working in this industrial environment, he gained a personal understanding of production and the lives of the proletariat, and was disgusted by the poor living conditions of workers and the pollution caused by industry; these factors greatly influenced his political views.
126
After learning the skills of dyeing, in the late 1870s Morris turned his attention to weaving, experimenting with silk weaving at Queen's Square.
127
In the Spring of 1877, the Firm opened a store at No. 449 Oxford Street and obtained new staff who were able to improve its professionalism; as a result, sales increased and its popularity grew.
128
By 1880, Morris & Co. had become a household name, having become very popular with Britain's upper and middle classes.
129
The Firm was obtaining increasing numbers of commissions from aristocrats, wealthy industrialists, and provincial entrepreneurs, with Morris furnishing parts of
St James's Palace
and the chapel at
Eaton Hall
130
As a result of his growing sympathy for the working-classes and poor, Morris felt personally conflicted in serving the interests of these individuals, privately describing it as "ministering to the swinish luxury of the rich".
129
Continuing with his literary output, Morris translated his own version of
Virgil
's
Aeneid
, titling it
The Aeneids of Vergil
(1876). Although many translations were already available, often produced by trained Classicists, Morris claimed that his unique perspective was as "a poet not a pedant".
131
He also continued producing translations of Icelandic tales with Magnússon, including
Three Northern Love Stories
(1875) and
Völuspa Saga
(1876).
132
In 1877 Morris was approached by
Oxford University
and offered the largely honorary position of Professor of Poetry. He declined, asserting that he felt unqualified, knowing little about scholarship on the theory of poetry.
133
In summer 1876, Jenny Morris was diagnosed with
epilepsy
. Refusing to allow her to be societally marginalised or institutionalised, as was common in the period, Morris insisted that she be cared for by the family.
134
When Janey took May and Jenny to
Oneglia
in Italy, the latter suffered a serious seizure, with Morris rushing to the country to see her. They then proceeded to visit a number of other cities, including
Venice
Padua
, and
Verona
, with Morris attaining a greater appreciation of the country than he had on his previous trip.
135
In April 1879 Morris moved the family home again, this time renting an 18th-century mansion on
Hammersmith
's Upper Mall in West London that was owned by the novelist
George MacDonald
. Morris named it Kelmscott House and re-decorated it according to his own taste.
136
In the House's grounds he set up a workshop, focusing on the production of hand-knotted carpets.
137
Excited that both of his homes were along the course of the
River Thames
, in August 1880 he and his family took a boat trip along the river from Kelmscott House to Kelmscott Manor.
138
Portrait of William Morris by
William Blake Richmond
Morris became politically active in this period, coming to be associated with the
radicalist
current within British
liberalism
. He joined the
Eastern Question Association
(EQA) and was appointed the group's treasurer in November 1876. EQA had been founded by campaigners associated with the centre-left
Liberal Party
who opposed Prime Minister
Benjamin Disraeli
's alliance with the
Ottoman Empire
; the Association highlighted
the Ottoman massacre of Bulgarians
and feared that the alliance would lead Disraeli to join the Ottomans in
going to war
with the
Russian Empire
139
Morris took an active role in the EQA campaign, authoring the lyrics for the song "Wake, London Lads!" to be sung at a rally against military intervention.
140
Morris eventually became disillusioned with the EQA, describing it as being "full of wretched little personalities".
141
He nevertheless joined a regrouping of predominantly working-class EQA activists, the
National Liberal League
, becoming their treasurer in summer 1879; the group remained small and politically ineffective, with Morris resigning as treasurer in late 1881, shortly before the group's collapse.
142
However, his discontent with the British liberal movement grew following the election of the Liberal Party's
William Ewart Gladstone
to the Premiership in 1880. Morris was particularly angered that
Gladstone's government
did not reverse the Disraeli regime's
occupation of the Transvaal
, introduced the
Coercion Bill
, and oversaw the
Bombardment of Alexandria
143
Morris later related that while he had once believed that "one might further real Socialistic progress by doing what one could on the lines of ordinary middle-class Radicalism", following Gladstone's election he came to realise "that Radicalism is on the wrong line, so to say, and will never develope [sic] into anything more than Radicalism: in fact that it is made for and by the middle classes and will always be under the control of rich capitalists".
144
In 1876, Morris visited the
Church of St John the Baptist, Burford
, where he was appalled at the
restoration
conducted by his old mentor, G. E. Street. He recognised that these programs of architectural restoration led to the destruction or major alteration of genuinely old features in order to replace them with "sham old" features, something which appalled him.
145
To combat the increasing trend for restoration, in March 1877 he founded the
Society for the Protection of Ancient Buildings
(SPAB), which he personally referred to as "Anti-Scrape". As he adopted the role of honorary secretary and treasurer, most of the other early members of SPAB were his friends, while the group's program was rooted in Ruskin's
The Seven Lamps of Architecture
(1849).
146
As part of SPAB's campaign, Morris tried to build connections with art and antiquarian societies and the custodians of old buildings, and also contacted the press to highlight his cause. He was particularly strong in denouncing the ongoing restoration of
Tewkesbury Abbey
and was vociferous in denouncing the architects responsible, something that deeply upset Street.
147
Turning SPAB's attention abroad, in Autumn 1879 Morris launched a campaign to protect
St Mark's Basilica
in
Venice
from restoration, garnering a petition with 2000 signatures, among whom were Disraeli, Gladstone, and Ruskin.
148
Later life
edit
Merton Abbey and the Social Democratic Federation: 1881–1884
edit
The Pond at Merton Abbey
by
Lexden Lewis Pocock
is an idyllic representation of the works in the time of Morris.
In summer 1881, Morris took out a lease on the seven-acre former silk weaving factory, the
Merton Abbey Works
, next to the River Wandle on the High Street at
Merton
, Southwest London (not to be confused with the adjacent
Merton Abbey Mills
, home of the Liberty Print Works.) After he moved his workshops to the site, the premises were used for weaving, dyeing, and creating stained glass; within three years, 100 craftsmen were employed there.
149
Working conditions at the Abbey were better than at most Victorian factories. However, despite Morris's ideals, there was little opportunity for the workers to display their own individual creativity.
150
Morris had initiated a system of
profit sharing
among the Firm's upper clerks, however this did not include the majority of workers, who were instead employed on a
piecework
basis. Morris was aware that, in retaining the division between employer and employed, the company failed to live up to his own egalitarian ideals, but he defended this, asserting that it was impossible to run a socialist company within a competitive capitalist economy.
151
The Firm itself was expanding, opening up a store in
Manchester
in 1883 and holding a stand at that year's Foreign Fair in
Boston
152
Janey's relationship with Rossetti had continued through a correspondence and occasional visits, although she found him extremely paranoid and was upset by his addiction to
chloral
. She last saw him in 1881, and he died in April the following year.
153
Morris described his mixed feelings toward his deceased friend by stating that he had "some of the very greatest qualities of genius, most of them indeed; what a great man he would have been but for the arrogant misanthropy which marred his work, and killed him before his time".
154
In August 1883, Janey was introduced to the poet
Wilfrid Scawen Blunt
, with whom she embarked on a second affair, which Morris might have been aware of.
155
In January 1881, Morris was involved in the establishment of the Radical Union, an amalgam of radical working-class groups which hoped to rival the Liberals, and became a member of its executive committee.
156
However, he soon rejected
liberal radicalism
completely and moved toward
socialism
157
In this period, British socialism was a small, fledgling and vaguely defined movement, with only a few hundred adherents. Britain's first socialist party, the
Democratic Federation
(DF), had been founded in 1881 by
Henry Hyndman
, an adherent of the socio-political ideology of
Marxism
, with Morris joining the DF in January 1883.
158
Morris began to read voraciously on the subject of socialism, including
Henry George
's
Progress and Poverty
Alfred Russel Wallace
's
Land Nationalisation
, and
Karl Marx
's
Das Kapital
, although admitted that Marx's economic analysis of capitalism gave him "agonies of confusion on the brain". Instead he preferred the writings of
William Cobbett
and
Sergius Stepniak
, although he also read the critique of socialism produced by
John Stuart Mill
159
David's Charge to Solomon
(1882), a stained-glass window by Edward Burne-Jones and William Morris in
Trinity Church, Boston
, Massachusetts
In May 1883, Morris was appointed to the DF's executive committee, and was soon elected to the position of treasurer.
160
Devoting himself to the socialist cause, he regularly lectured at meetings across Britain, hoping to gain more converts, although was regularly criticised for doing so by the mainstream press.
161
In November 1883 he was invited to speak at
University College, Oxford
, on the subject of "Democracy and Art" and there began espousing socialism; this shocked and embarrassed many members of staff, earning national press coverage.
162
With other DF members, he travelled to
Blackburn, Lancashire
in February 1884 amid the great cotton strike, where he lectured on socialism to the strikers.
163
The following month he marched in a central London demonstration commemorating the first anniversary of Marx's death and the thirteenth anniversary of the
Paris Commune
164
Morris aided the DF using his artistic and literary talents; he designed the group's membership card,
165
and helped author their manifesto,
Socialism Made Plain
, in which they demanded improved housing for workers, free
compulsory education
for all children, free school meals, an
eight-hour working day
, the abolition of national debt,
nationalisation
of land, banks, and railways, and the organisation of agriculture and industry under state control and co-operative principles.
160
Some of his DF comrades found it difficult to reconcile his socialist values with his position as proprietor of the Firm, although he was widely admired as a man of integrity.
166
The DF began publishing a weekly newspaper,
Justice
, which soon faced financial losses that Morris covered. Morris also regularly contributed articles to the newspaper, in doing so befriending another contributor,
George Bernard Shaw
167
His socialist activism monopolised his time, forcing him to abandon a translation of the Persian
Shahnameh
168
It also led to him seeing far less of Burne-Jones, with whom he had strong political differences; although once a
republican
, Burne-Jones had become increasingly conservative, and felt that the DF were exploiting Morris for his talents and influence.
169
While Morris devoted much time to trying to convert his friends to the cause, of Morris's circle of artistic comrades, only Webb and Faulkner fully embraced socialism, while Swinburne expressed his sympathy with it.
170
In 1884, the DF renamed itself the
Social Democratic Federation
(SDF) and underwent an internal reorganisation. However, the group was facing an internal schism between those (such as Hyndman), who argued for a parliamentary path toward socialism, and those (like Morris) who deemed the
Houses of Parliament
intrinsically corrupt and capitalist. Personal issues between Morris and Hyndman were exacerbated by their attitude to British foreign policy; Morris was staunchly
anti-imperialist
while Hyndman expressed patriotic sentiment encouraging some foreign intervention.
171
The division between the two groups developed into open conflict, with the majority of members sharing Morris's position. In December 1884 Morris and his supporters – most notably
Ernest Belfort Bax
and
Edward Aveling
– left the SDF; the first major schism of the British socialist movement.
172
Socialist League: 1884–1889
edit
Left: the cover of the Socialist League's manifesto of 1885 featured art by Morris. Right: detail of
Woodpecker
tapestry, 1885.
In December 1884, Morris founded the
Socialist League
(SL) with other SDF defectors.
173
He composed the SL's manifesto with Bax, describing their position as that of "Revolutionary International Socialism", advocating
proletarian internationalism
and
world revolution
while rejecting the concept of
socialism in one country
174
In this, he committed himself to "making Socialists" by educating, organising, and agitating to establish a strong socialist movement; calling on activists to boycott elections, he hoped that socialists would take part in a
proletariat revolution
and help to establish a
socialist society
175
Bax taught Morris more about
Marxism
, and introduced him to Marx's collaborator,
Friedrich Engels
; Engels thought Morris honest but lacking in practical skills to aid the proletarian revolution.
176
Morris remained in contact with other sectors of London's leftist community, being a regular at the socialist
International Club
in
Shoreditch
East London
177
however he avoided the recently created
Fabian Society
, deeming it too middle-class.
178
Although a Marxist, he befriended prominent anarchist activists Stepniak and
Peter Kropotkin
179
180
and came to be influenced by their anarchist views, to the extent that biographer Fiona MacCarthy described his approach as being "Marxism with visionary libertarianism".
181
William Morris,
News from Nowhere: Or, an Epoch of Rest
(London:
Kelmscott Press
, 1892);
Pequot Library
Special Collections
As the leading figure in the League, Morris embarked on a series of speeches and talks on street corners, in
working men's clubs
, and in lecture theatres across England and Scotland.
182
He also visited
Dublin
, there offering his support for
Irish nationalism
183
and formed a branch of the League at his Hammersmith house.
99
By the time of their first conference in July 1885, the League had eight branches across England and had affiliations with several socialist groups in Scotland.
184
However, as the British socialist movement grew it faced increased opposition from the establishment, with police frequently arresting and intimidating activists. To combat this, the League joined a Defence Club with other socialist groups, including the SDF, for which Morris was appointed treasurer.
185
Morris was passionate in denouncing the "bullying and hectoring" that he felt socialists faced from the police, and on one occasion was arrested himself after fighting back against a police officer; a magistrate dismissed the charges.
186
The
Black Monday riots of February 1886
led to increased political repression against left-wing agitators, and in July Morris was again arrested and fined for public obstruction while preaching socialism on the streets.
187
Morris oversaw production of the League's monthly—soon to become weekly—newspaper,
Commonweal
, serving as its editor for six years, during which time he kept it financially afloat. First published in February 1885, it would contain contributions from such prominent socialists as Engels, Shaw,
Paul Lafargue
Wilhelm Liebknecht
, and
Karl Kautsky
, with Morris also regularly writing articles and poems for it.
188
In
Commonweal
he
serialised
a 13-episode poem,
The Pilgrims of Hope
, which was set in the period of the Paris Commune.
189
From November 1886 to January 1887, Morris's novel
A Dream of John Ball
was serialised in
Commonweal
. Set in Kent during the
Peasants' Revolt
of 1381, it contained strong socialist themes, although it proved popular among those of different ideological viewpoints, resulting in its publication in book form by
Reeves and Turner
in 1888.
190
Shortly after, a collection of Morris's essays,
Signs of Change
, was published.
191
Our business [...] is the making of Socialists,
i.e.
convincing people that Socialism is good for them and is possible. When we have enough people of that way of thinking,
they
will find out what action is necessary for putting their principles in practice. Therefore, I say, make Socialists. We Socialists can do nothing else that is useful."
— William Morris
192
From January to October 1890, Morris serialised his novel
News from Nowhere
in
Commonweal
, resulting in improved circulation for the paper. In March 1891 it was published in book form, before being translated into Dutch, French, Swedish, German and Italian by 1900 and becoming a classic among Europe's socialist community.
193
Combining
utopian socialism
and
soft science fiction
, the book tells the tale of a contemporary socialist, William Guest, who falls asleep and awakens in the early 21st century, discovering a future society based on
common ownership
and democratic control of the
means of production
. In this society there is no
private property
, no big cities, no authority, no monetary system, no divorce, no courts, no prisons, and no class systems; it was a depiction of Morris's ideal socialist society.
194
Morris had also continued with his translation work; in April 1887, Reeves and Turner published the first volume of Morris's translation of
Homer
's
Odyssey
, with the second following in November.
195
Venturing into new territory, Morris also authored and starred in a play
The Tables Turned; Or Nupkins Awakened
, which was performed at a League meeting in November 1887. It told the story of socialists who are put on trial in front of a corrupt judge; the tale ends with the prisoners being freed by a proletariat revolution.
196
In June 1889, Morris travelled to
Paris
as the League's delegate to the
International Socialist Working Men's Congress
, where his international standing was recognised by his being chosen as English spokesman by the Congress committee. The
Second International
emerged from the Congress, although Morris was distraught at its chaotic and disorganised proceedings.
197
At the League's Fourth Conference in May 1888, factional divisions became increasingly apparent between Morris's anti-parliamentary socialists, the parliamentary socialists, and the
anti-statist
anarchists; the Bloomsbury Branch were expelled for supporting parliamentary action.
198
Under the leadership of
Charles Mowbray
, the League's anarchist wing was growing and called on the League to embrace
violent action
in trying to overthrow the capitalist system.
199
By autumn 1889 the anarchists had taken over the League's executive committee and Morris was stripped of the editorship of
Commonweal
in favour of the anarchist
Frank Kitz
200
This alienated Morris from the League, which had also become a financial burden for him; he had been subsidising its activities with £500 a year, a very large sum of money at the time.
201
By the autumn of 1890, Morris left the Socialist League, with his Hammersmith branch seceding to become the independent Hammersmith Socialist Society in November 1890.
202
The Kelmscott Press and Morris's final years: 1889–1896
edit
Morris (right) with
Burne-Jones
, 1890
The work of Morris & Co. continued during Morris's final years, producing an array of stained glass windows designed by Burne-Jones and the six narrative tapestry panels depicting the quest for the
Holy Grail
for
Stanmore Hall
Shropshire
203
Morris's influence on Britain's artistic community became increasingly apparent as the
Art Workers' Guild
was founded in 1884, although at the time he was too preoccupied with his socialist activism to pay it any attention. Although the proposal faced some opposition, Morris was elected to the Guild in 1888, and to the position of master in 1892.
204
Morris similarly did not offer initial support for the
Arts and Crafts Exhibition Society
, but changed his opinion after the success of their first exhibit, held in
Regent Street
in October 1888. Giving lectures on tapestries for the group, in 1892 he was elected president.
205
At this time, Morris re-focused his attentions on preservation campaigning; those causes he championed including the structures of
St Mary's Church
in Oxford,
Blythburgh Church
in Suffolk,
Peterborough Cathedral
, and
Rouen Cathedral
206
Although his socialist activism had decreased, he remained involved with the Hammersmith Socialist Society, and in October 1891 oversaw the creation of a short-lived newsletter, the
Hammersmith Socialist Record
207
Coming to oppose factionalism within the socialist movement, he sought to rebuild his relationship with the SDF, appearing as a guest lecturer at some of their events and supporting SDF candidate
George Lansbury
when he stood in the
Wandsworth
by-election of February 1894.
208
In 1893 the Hammersmith Socialist Society co-founded the Joint Committee of Socialist Bodies with representatives of the SDF and Fabian Society; Morris helped draw up its "Manifesto of English Socialists".
209
He offered support for leftist activists on trial, including a number of
militant anarchists
whose violent tactics he nevertheless denounced.
210
He also began using the term "
communism
" for the first time, stating that "Communism is in fact the completion of Socialism: when that ceases to be militant and becomes triumphant, it will be communism."
211
In December 1895 he gave his final open-air talk at Stepniak's funeral, where he spoke alongside the socialist
Eleanor Marx
, trade unionist
Keir Hardie
, and anarchist
Errico Malatesta
212
Liberated from internal factional struggles, he retracted his anti-parliamentary position and worked for socialist unity, giving his last public lecture in January 1896 on the subject of "One Socialist Party."
34
In December 1888, the
Chiswick Press
published Morris's
The House of the Wolfings
, a fantasy story set in Iron Age Europe which provides a reconstructed portrait of the lives of Germanic-speaking
Gothic tribes
. It contained both prose and aspects of poetic verse.
213
A sequel,
The Roots of the Mountains
, followed in 1889.
214
215
Over the coming years he would publish a string of other poetic works:
The Story of the Glittering Plain
(1890),
The Wood Beyond the World
(1894),
The Well at the World's End
(1896),
The Water of the Wondrous Isles
(1897) and
The Sundering Flood
(1898).
216
He also embarked on a translation of the Anglo-Saxon tale
Beowulf
; because he could not fully understand
Old English
, his poetic translation was based largely on that already produced by
Alfred John Wyatt
. On publication, Morris's archaizing
Beowulf
was critically panned.
217
Following the death of the sitting
Poet Laureate of Great Britain and Ireland
, Alfred, Lord Tennyson, in October 1892, Morris was offered the position but turned it down, disliking its associations with the
monarchy
and political establishment; instead the position went to
Alfred Austin
218
Morris's design for the Kelmscott Press
trademark
Main article:
Kelmscott Press
In January 1891, Morris founded the
Kelmscott Press
, a
private press
which would go on to publish the celebrated
Kelmscott Chaucer
. By the early 1890s, Morris was increasingly ill and living largely as an invalid; aside from his
gout
, he also exhibited signs of
epilepsy
219
In August 1891, he took his daughter Jenny on a tour of Northern France to visit the medieval churches and cathedrals.
220
Back in England, he spent an increasing amount of time at Kelmscott Manor.
221
Seeking treatment from the prominent doctor
William Broadbent
, he was prescribed a holiday in the coastal town of
Folkestone
222
In December 1894 he was devastated upon learning of his 90-year-old mother's death.
223
In July 1896, Morris went on a cruise to Norway with construction engineer
John Carruthers
, during which he visited
Vadsø
and
Trondheim
; during the trip his physical condition deteriorated and he began experiencing hallucinations.
224
Returning to Kelmscott House, he became a complete invalid, being visited by friends and family, before dying of
tuberculosis
on the morning of 3 October 1896.
225
Obituaries appearing throughout the national press reflected that at the time, Morris was widely recognised primarily as a poet. Mainstream press obituaries trivialised or dismissed his involvement in socialism, although the socialist press focused largely on this aspect of his career.
226
His funeral was held on 6 October, during which his corpse was carried from Hammersmith to
Paddington rail station
, where it was transported to Oxford, and from there to Kelmscott, where it was buried in the churchyard of St George's Church.
227
Personal life
edit
The Salutation of Beatrice
Jane Morris
portrayed by
Dante Gabriel Rossetti
as
Dante Alighieri
's muse,
Beatrice
, 1869
Morris's biographer
E. P. Thompson
described him as having a "robust bearing, and a slight roll in his walk", alongside a "rough beard" and "disordered hair".
228
The author Henry James described Morris as "short, burly, corpulent, very careless and unfinished in his dress ... He has a loud voice and a nervous restless manner and a perfectly unaffected and businesslike address. His talk indeed is wonderfully to the point and remarkable for clear good sense."
228
Morris's first biographer Mackail described him as being both "a typical Englishman" and "a typical Londoner of the middle class" albeit one who was transformed into "something quite individual" through the "force of his genius".
229
MacCarthy described Morris's lifestyle as being "late Victorian, mildly bohemian, but bourgeois",
230
with Mackail commenting that he exhibited many of the traits of the bourgeois Victorian class: "industrious, honest, fair-minded up their lights, but unexpansive and unsympathetic".
231
Although he generally disliked children,
232
Morris also exhibited a strong sense of responsibility towards his family.
62
Mackail nevertheless thought he "was interested in things much more than in people" and that while he did have "lasting friendships" and "deep affections", he did not allow people to "penetrate to the central part of him."
233
Politically, Morris was a staunch revolutionary socialist and anti-imperialist,
234
and although raised a Christian he came to be an
atheist
235
He came to reject
state socialism
and large centralised control, instead emphasising localised administration within a socialist society.
236
Later political activist
Derek Wall
suggested that Morris could be classified as an
ecosocialist
237
Morris was greatly influenced by
Romanticism
, with Thompson asserting that Romanticism was "bred into his bones, and formed his early consciousness."
238
Thompson argued that this "Romantic Revolt" was part of a "passionate protest against an intolerable social reality", that of the
industrial capitalism
of Britain's
Victorian era
. He believed that it led to little more than a "yearning nostalgia or a sweet complaint" and that Morris became "a realist and a revolutionary" only when he adopted socialism in 1882.
239
Mackail was of the opinion that Morris had an "innate Socialism" which had "penetrated and dominated all he did" throughout his life.
240
Given the conflict between his personal and professional life and his socio-political views, MacCarthy described Morris as "a conservative radical".
241
Morris's behaviour was often erratic.
242
He was of a nervous disposition, and throughout his life relied on networks of male friends to aid him in dealing with this.
78
Morris's friends nicknamed him "Topsy" after a character in
Uncle Tom's Cabin
243
He had a wild temper and when sufficiently enraged could suffer seizures and blackouts.
244
Rossetti was known to taunt Morris to enrage him for the amusement of himself and their other friends.
245
Biographer
Fiona MacCarthy
suggests that Morris suffered from a form of
Tourette's syndrome
246
In later life he suffered from
gout
, a common complaint among middle-class men in the Victorian period.
247
Morris's ethos was that one should "have nothing in your houses that you do not know to be useful or believe to be beautiful."
248
He also held to the view that "No work which cannot be done with pleasure in the doing is worth doing"
249
and adopted as his motto "As I can" from the fifteenth-century Flemish painter
Jan van Eyck
250
Work
edit
Literature
edit
Left:
The Nature of Gothic
by
John Ruskin
, printed by Kelmscott Press. First page of text, with typical ornamented border. Right:
Troilus and Criseyde
, from the Kelmscott
Chaucer
. Illustration by Burne-Jones and decorations and typefaces by Morris.
Besides being an artist William Morris was a prolific writer of poetry, fiction, essays, and translations of ancient and medieval texts. His first poems were published when he was 24 years old, and he was polishing his final novel,
The Sundering Flood
, at the time of his death. His daughter May's edition of Morris's
Collected Works
(1910–1915) runs to 24 volumes, and two more were published in 1936.
251
Morris began publishing poetry and short stories in 1856 through
The Oxford and Cambridge Magazine
which he founded with his friends and financed while at university. His first volume,
The Defence of
Guenevere
and Other Poems
(1858), was the first book of Pre-Raphaelite poetry to be published.
251
The dark poems, set in a sombre world of violence, were coolly received by the critics, and he was discouraged from publishing more for a number of years. "
The Haystack in the Floods
", one of the poems in that collection, is probably now one of his better-known poems. It is a grimly realistic piece set during the
Hundred Years War
in which the doomed lovers Jehane and Robert have a last parting in a convincingly portrayed rain-swept countryside.
251
One early minor poem was "
Masters in this Hall
" (1860), a Christmas carol written to an old French tune.
252
Another Christmas-themed poem is "The Snow in the Street", adapted from "The Land East of the Sun and West of the Moon" in
The Earthly Paradise
253
Morris met
Eiríkur Magnússon
in 1868, and began to learn the
Icelandic language
from him. Morris published translations of
The Saga of Gunnlaug Worm-Tongue
and
Grettis Saga
in 1869, and the
Story of the Volsungs and Niblungs
in 1870. An additional volume was published under the title of
Three Northern Love Stories
in 1873.
251
254
Further information:
English translations of Homer § Morris
In the last nine years of his life, Morris wrote a series of imaginative fictions usually referred to as the "prose romances".
255
These novels – including
The Wood Beyond the World
and
The Well at the World's End
– have been credited as important milestones in the history of
fantasy
fiction, because, while other writers wrote of foreign lands, or of dream worlds, or the future (as Morris did in
News from Nowhere
), Morris's works were the first to be set in an entirely invented
fantasy world
256
These were attempts to revive the genre of
medieval romance
, and written in imitation of medieval prose. Morris's prose style in these novels has been praised by
Edward James
, who described them as "among the most lyrical and enchanting fantasies in the English language."
257
On the other hand,
L. Sprague de Camp
considered Morris's fantasies to be not wholly successful, partly because Morris eschewed many literary techniques from later eras.
258
In particular, De Camp argued the plots of the novels are heavily driven by coincidence; while many things just happened in the romances, the novels are still weakened by the dependence on it.
259
Nevertheless, large subgenres of the field of fantasy have sprung from the romance genre, but indirectly, through their writers' imitation of William Morris.
260
Early fantasy writers like
Lord Dunsany
E. R. Eddison
261
and
James Branch Cabell
262
were familiar with Morris's romances.
The Wood Beyond the World
is considered to have heavily influenced
C. S. Lewis
's
Narnia
series, while
J. R. R. Tolkien
was
inspired by Morris's reconstructions
of early Germanic life in
The House of the Wolfings
and
The Roots of the Mountains
. The young Tolkien attempted a retelling of the story of Kullervo from the
Kalevala
in the style of
The House of the Wolfings
263
Tolkien considered much of his literary work to have been inspired by an early reading of Morris, even suggesting that he was unable to better Morris's work; the names of characters such as "
Gandolf
" and the horse Silverfax appear in
The Well at the World's End
Sir
Henry Newbolt
's medieval
allegorical
novel
Aladore
was influenced by Morris's fantasies.
264
James Joyce
also drew inspiration from his work.
265
Textile design
edit
See also:
William Morris textile designs
and
William Morris wallpaper designs
Left: Cabbage and vine tapestry, 1879. Right: Design for "Tulip and Willow"
indigo
-discharge wood-block printed fabric, 1873.
A wooden pattern for textile printing from William Morris's company
During his lifetime, Morris produced items in a range of crafts, mainly those to do with furnishing,
266
including over 600 designs for wall-paper, textiles, and embroideries, over 150 for stained glass windows, three typefaces, and around 650 borders and ornamentations for the Kelmscott Press.
250
He emphasised the idea that the design and production of an item should not be divorced from one another, and that where possible those creating items should be designer-craftsmen, thereby both designing and manufacturing their goods.
267
In the field of textile design, Morris revived a number of dead techniques,
268
and insisted on the use of good quality raw materials, almost all natural dyes, and hand processing.
269
He also observed the natural world first hand to gain a basis for his designs,
270
and insisted on learning the techniques of production prior to producing a design.
270
Mackail asserted that Morris became "a manufacturer not because he wished to make money, but because he wished to make the things he manufactured."
271
Morris & Co.'s designs were fashionable among Britain's upper and middle-classes, with biographer
Fiona MacCarthy
asserting that they had become "the safe choice of the intellectual classes, an exercise in
political correctitude
."
272
The company's unique selling point was the range of different items that it produced, as well as the ethos of artistic control over production that it emphasised.
273
It is likely that much of Morris's preference for medieval textiles was formed – or crystallised – during his brief apprenticeship with G. E. Street. Street had co-written a book on
Ecclesiastical Embroidery
in 1848, and was a staunch advocate of abandoning faddish
woolen work on canvas
in favour of more expressive embroidery techniques based on
Opus Anglicanum
, a
surface embroidery
technique popular in
medieval England
274
He was also fond of hand-knotted
Persian carpet
275
and advised the
South Kensington Museum
in the acquisition of fine
Kerman carpets
276
Morris taught himself embroidery, working with wool on a
frame
custom-built from an old example. Once he had mastered the technique he trained his wife Jane, her sister Bessie Burden and others to execute designs to his specifications. When "embroideries of all kinds" were offered through Morris, Marshall, Faulkner & Co. catalogues, church embroidery became and remained an important line of business for its successor companies into the twentieth century.
277
By the 1870s, the firm was offering both embroidery patterns and finished works. Following in Street's footsteps, Morris became active in the growing movement to return originality and mastery of technique to embroidery, and was one of the first designers associated with the
Royal School of Art Needlework
with its aim to "restore Ornamental Needlework for secular purposes to the high place it once held among decorative arts."
278
Morris took up the practical art of dyeing as a necessary adjunct of his manufacturing business. He spent much of his time at
Staffordshire
dye works mastering the processes of that art and making experiments in the revival of old or discovery of new methods. One result of these experiments was to reinstate
indigo dyeing
as a practical industry and generally to renew the use of those vegetable dyes, such as the red derived from
madder
, which had been driven almost out of use by the
anilines
. Dyeing of wools, silks, and cottons was the necessary preliminary to what he had much at heart, the production of woven and printed fabrics of the highest excellence; and the period of incessant work at the dye-vat (1875–1876) was followed by a period during which he was absorbed in the production of textiles (1877–1878), and more especially in the revival of carpet-weaving as a fine art.
254
279
Morris's patterns for woven textiles, some of which were also machine made under ordinary commercial conditions, included intricate
double-woven
furnishing fabrics in which two sets of
warps
and
wefts
are interlinked to create complex gradations of colour and texture.
280
Morris long dreamed of weaving tapestries in the medieval manner, which he called "the noblest of the weaving arts." In September 1879 he finished his first solo effort, a small piece called "Cabbage and Vine".
281
282
While Morris is well known for his opposition to industrial production techniques he none the less designed and produced several textile pieces for the Jacquard loom.
283
Book illustration and design
edit
Nineteenth- and twentieth-century avant-garde artistic movements took an interest in the
typographical
arts, greatly enriching book design and illustration. Morris's designs, like the work of the Pre-Raphaelite painters with whom he was associated, referred frequently to medieval motifs. In 1891, he founded the Kelmscott Press, which by the time it closed in 1898 had produced more than fifty works using traditional printing methods, a hand-driven press and hand-made paper. They included his masterpiece, an edition of the
Works of Geoffrey Chaucer
with illustrations by Edward Burne-Jones. Morris invented three distinctive typefaces – Golden, Troy, and Chaucer, with the text being framed with intricate floral borders similar to illuminated medieval manuscripts. His work inspired many small private presses in the following century.
284
Morris's aesthetic and social values became a leading force in the Arts and Crafts Movement. The Kelmscott Press influenced much of the fine press movement in England and the United States during the late nineteenth and early twentieth centuries. It brought the need for books that were aesthetic objects as well as words to the attention of the reading and publishing worlds.
285
At Kelmscott Press, the book-making was under his constant supervision and practical assistance. It was his ambition to produce a perfect work to restore all the beauty of illuminated lettering, richness of gilding and grace of binding that used to make a volume the treasure of a king. His efforts were constantly directed towards giving the world at least one book that exceeded anything that had ever appeared. Morris designed his type after the best examples of early printers, what he called his "
golden type
" which he copied after Jenson, Parautz, Coburger and others. With this in mind, Morris chose the paper which he adapted to his subject with the same care with which he selected his material for binding. As a result, only the wealthy could purchase his lavish works; Morris realized that creating works in the manner of the Middle Ages was difficult in a profit-grinding society.
286
Legacy
edit
Morris family tombstone at
Kelmscott
, designed by Webb
President of the William Morris Society Hans Brill referred to Morris as "one of the outstanding figures of the nineteenth century",
287
while Linda Parry termed him the "single most important figure in British textile production".
268
At the time of Morris's death, his poetry was known internationally and his company's products were found all over the world.
288
In his lifetime, he was best known as a poet, although by the late twentieth century he was primarily known as a designer of wallpapers and fabrics.
287
He was a major contributor to the revival of traditional British
textile arts
and methods of production.
289
Morris's ethos of production was an influence on the
Bauhaus
movement.
290
Another aspect of Morris's preservationism was his desire to protect the natural world from the ravages of
pollution
and
industrialism
, causing some historians of the
green movement
to regard Morris as an important forerunner of modern
environmentalism
291
292
Aymer Vallance was commissioned to produce the first biography of Morris, published in 1897, after Morris's death, per the latter's wishes.
293
This presented the creation of the Society for the Protection of Ancient Buildings as Morris's greatest achievement.
294
Morris's next biographer was Burne-Jones's son-in-law
John William Mackail
, who authored the two-volume
Life of William Morris
(1899) in which he provided a sympathetic portrayal of Morris that largely omitted his political activities, treating them as a passing phase that Morris overcame.
295
MacCarthy's biography,
William Morris: A Life for Our Time
, was first published by
Faber and Faber
in 1994,
296
and a paperback edition was published in 2010.
297
For the 2013
Venice Biennale
, artist Jeremy Deller selected Morris as the subject of a large-scale mural titled "We Sit Starving Amidst our Gold", in which Morris returns from the dead to hurl the yacht of Russian billionaire
Roman Abramovich
into the waves of an ocean.
298
299
MacCarthy curated the "Anarchy & Beauty" exhibition—a commemoration of Morris's legacy—for the
National Portrait Gallery
in 2014, for which she recruited around 70 artists who were required to undertake a test on Morris's
News from Nowhere
to be accepted.
298
Writing for
The Guardian
prior to the opening of the exhibition on 16 October 2014, MacCarthy asserted:
Morris has exerted a powerful influence on thinking about art and design over the past century. He has been the constant niggle in the conscience. How can we combat all this luxury and waste? What drove him into revolutionary activism was his anger and shame at the injustices within society. He burned with guilt at the fact that his "good fortune only" allowed him to live in beautiful surroundings and to pursue the work he adored.
298
"Anarchy & Beauty"
s arts and crafts section featured Morris's own copy of the French edition of Karl Marx's
Das Kapital
handbound in a gold-tooled leather binding that MacCarthy describes as "the ultimate example of Morris's conviction that perfectionism of design and craftsmanship should be available to everyone."
298
In 2002, Morris was honoured by
Waltham Forest London Borough Council
with the naming of the
William Morris ward
300
In 2014, the
Metropolitan Museum of Art
exhibited
William Morris: Textiles and Wallpaper
, displaying early decorative arts the Morris, Marshall, Faulkner, and Company and later Morris & Company produced.
301
In 2016,
Arts Catalyst
commissioned British artist and academic David Mabb to produce a work responding to the use of Morris' designs in the living quarters aboard British
nuclear submarines
from the 1960s to the 1990s.
302
The resulting work,
A Provisional Monument to Nuclear Disarmament
, was exhibited first at
KARST
in Plymouth and later at the Bildmuseet in Umea, Sweden.
303
304
From 6 October 2017 - 21 January 2018, the
Fundación Juan March
Madrid exhibited
William Morris and Company. The Arts and Crafts Movement in Great Britain
. The exhibition was co-organized with the
Museu Nacional d'Art de Catalunya
, Barcelona where the exhibit was on display 22 February - 20 May 2018. The exhibit was accompanied with a catalog (available only in Spanish)
William Morris y compañía el movimiento Arts & Crafts en Gran Bretaña
. (
ISBN
978-8-470-75649-8
In 2025, the
William Morris Gallery
opened the exhibition
Morris Mania
, examining how Morris' designs became globally recognised.
305
Notable collections and house museums
edit
The
blue plaque
erected outside the Red House
A number of galleries and museums house important collections of Morris's work and decorative items commissioned from Morris & Co. The
William Morris Gallery
in
Walthamstow
, England, is a public museum devoted to Morris's life, work and influence.
306
307
308
The
William Morris Society
is based at Morris's final London home,
Kelmscott House
Hammersmith
, and is an international members society, museum and venue for lectures and other Morris-related events.
309
The
Art Gallery of South Australia
is "fortunate in holding the most comprehensive collection of Morris & Co. furnishings outside Britain".
310
The collection includes books, embroideries, tapestries, fabrics, wallpapers, drawings and sketches, furniture and stained glass, and forms the focus of two published works (produced to accompany special exhibitions).
310
311
The former "green dining room" at the
Victoria and Albert Museum
is now its "Morris Room". The V&A's British Galleries house other decorative works by Morris and his associates.
312
One of the meeting rooms in the
Oxford Union
, decorated with the wallpaper in his style, is named the Morris Room.
313
Wightwick Manor
in the
West Midlands
, England, is a notable example of the Morris & Co. style, with lots of original Morris wallpapers, fabrics, carpets, and furniture, May Morris art and embroidery, De Morgan tiles, and Pre-Raphaelite works of art, managed by the
National Trust
Standen
in
West Sussex
, England, was designed by Webb between 1892 and 1894 and decorated with Morris carpets, fabrics and wallpapers. The illustrator
Edward Linley Sambourne
chose to decorate his London family home
18 Stafford Terrace
with many Morris & Co wallpapers, which have been preserved and can still be seen today. Morris's homes
Red House
and
Kelmscott Manor
have been preserved. Red House was acquired by the National Trust in 2003 and is open to the public. Kelmscott Manor is owned by the
Society of Antiquaries of London
and is open to the public.
314
The Huntington Library
, Art Collections and Botanical Gardens in
San Marino, California
, acquired the collection of Morris materials amassed by Sanford and Helen Berger in 1999. The collection includes stained glass, wallpaper, textiles, embroidery, drawings, ceramics, more than 2000 books, original woodblocks, and the complete archives of both Morris, Marshall, Faulkner & Co. and Morris & Co.
315
These materials formed the foundation for the 2002 exhibition
William Morris: Creating the Useful and the Beautiful
and the 2003 exhibition
The Beauty of Life: William Morris and the Art of Design
and accompanying publication.
316
Greater London Council
blue plaque
at Red House commemorates Morris and architect
Philip Webb
317
7, Hammersmith Terrace
is the former home of
Sir Emery Walker
, a close friend and colleague of Morris. The house is decorated in the Arts & Crafts style, including with extensive collections of Morris wallpaper, furniture, and textiles. 7, Hammersmith Terrace is operated by the Emery Walker Trust, and is open to the public for tours.
318
In 2013, the
Cary Graphic Arts Collection
at
Rochester Institute of Technology
bought William Morris's London-built Hopkinson & Cope Improved
Albion press
(No. 6551) at auction for $233,000.
319
This printing press was specially reinforced to produce Morris's
Chaucer
in 1896. Other owners of Morris's
Albion press
include
Frederic Goudy
and J. Ben Lieberman.
320
In 2023,
Walthamstow F.C.
launched a new home football shirt with
Admiral Sports
featuring a William Morris print.
321
The shirt was widely regarded as one of the best kit launches of the year and eventually won the Wood Pencil
D&AD
award for Printed Graphic.
322
Literary works
edit
Morris's essay "Printing" as reprinted by the Village Press in Chicago run by
Will Ransom
and
Frederic Goudy
, c. 1903
Source:William
Morris Archive
Archived
14 October 2007 at the
Wayback Machine
. Morris's literary works, translations, life and images, the Book Arts
Novels
edit
A Dream of John Ball
(novella, 1888)
The House of the Wolfings
(1889)
The Roots of the Mountains
(1889)
News from Nowhere
(1890)
The Story of the Glittering Plain
(1891)
The Wood Beyond the World
(1894)
Child Christopher and Goldilind the Fair
(1895)
The Well at the World's End
(1896)
The Water of the Wondrous Isles
(1897)
The Sundering Flood
(1897)
Short fiction
edit
Tales from
The Oxford and Cambridge Magazine
(1856), collected in
Golden Wings and Other Stories
, including:
"The Story of the Unknown Church"
"The Hollow Land"
"A Dream"
"Frank's Sealed Letter"
"Gertha's Lovers"
"Lindenborg Pool"
"Svend and His Brethren"
"The Hollow Land"
"Golden Wings"
"A King's Lesson" (1888)
Poetry
edit
The Defence of Guenevere, and Other Poems
(1858)
The Life and Death of Jason
(1867)
The Earthly Paradise
(1868–1870)
The Story of Sigurd the Volsung and the Fall of the Niblungs
(1877)
The Pilgrims of Hope
(1885)
Chants for Socialists
(1885)
Poems By the Way
(1891)
Plays
edit
Scenes from the Fall of Troy
(late 1850s)
Sir Peter Harpdon's End
(1858)
Anthony
(late 1860s)
Love is Enough
(1872)
The Tables Turned
(1887)
Essays
edit
Hopes and Fears For Art
(1882)
A Summary of the Principles of Socialism
(1884)
Useful Work versus Useless Toil
(1885)
Chants for Socialists
(1885)
Signs of Change: Lectures on Socialism
(1888)
Arts and Crafts
(1889)
Gothic Architecture
(1889)
Socialism: Its Growth and Outcome
(1893) (with E. Belfort Bax)
Published lectures and papers
edit
Lectures on Art delivered in support of the Society for the Protection of Ancient Buildings
(Morris lecture on The Lesser Arts). London, Macmillan, 1882
Architecture and History & Westminster Abbey
. Papers read to the Society for the Protection of Ancient Buildings in 1884 and 1893. Printed at The Chiswick Press. London, Longmans, 1900
Communism: a lecture
London, Fabian Society, 1903
Related: William Morris's Socialist Diary, ed. Florence Boos. 1st ed. Journeyman Press; revised edition, Five Leaves Press, 2018.
Translations
edit
Grettis Saga: The Story of Grettir the Strong
with Eiríkur Magnússon (1869)
The Story of Gunnlaug the Worm-tongue and Raven the Skald
with Eiríkur Magnússon (1869)
The Völsunga Saga: The Story of the Volsungs and Niblungs, with Certain Songs from the Elder Edda
with Eiríkur Magnússon(1870) (from the
Volsunga saga
Three Northern Love Stories, and Other Tales
with Eiríkur Magnússon (1875)
The Aeneids of Virgil Done into English
(1876)
The Odyssey of Homer Done into English Verse
(1887)
The Saga Library
with Eiríkur Magnússon (1891–1905, 6 volumes)
323
Of King Florus and the Fair Jehane
(1893)
The Tale of Beowulf Done out of the Old English Tongue
(1895)
Old French Romances Done into English
(1896)
Morris's
Beowulf
was one of the first translations of the Old English poem into modern English.
Grendel
reaches
Heorot
Beowulf
710–714
Old English
verse
Morris's translation
Ðá cóm of móre under misthleoþum
Came then from the moor-land, all under the mist-bents,
Grendel gongan· godes yrre bær·
Grendel a-going there, bearing God's anger.
mynte se mánscaða manna cynnes
The scather the ill one was minded of mankind
sumne besyrwan in sele þám héan·
To have one in his toils from the high hall aloft.
List of stained-glass works
edit
England
edit
St Peter's Church,
Brooke, Norfolk
324
All Saints' Church
Middleton Cheney
Northamptonshire
325
Channel Islands
edit
St Stephen’s Church, Guernsey
United States
edit
Second Presbyterian Church
Chicago, Illinois
Gallery
edit
Morris & Co. stained glass
edit
All Saints, Middleton Cheney, Northamptonshire
All Saints, Middleton Cheney – Solomon
William Morris King Arthur and Sir Lancelot, (1862)
William Morris Queen Guenevere and Isoude, (1862)
Detail, William Morris window, Cattistock Church, (1882).
Detail from
The Worship of the Shepherds
window (1882).
Burne-Jones-designed and Morris & Co.-executed
Saint Cecilia
window at
Second Presbyterian Church (Chicago, Illinois)
Burne-Jones-designed and Morris & Co.-executed
Luce Memorial Window
in
Malmesbury Abbey
Malmesbury
Wiltshire
, England (1901).
Morris & Co. patterns
edit
Design for
Windrush
printed textile, 1881–1883
Acanthus
embroidered panel, designed Morris, 1890
Strawberry Thief
, furnishing fabric, designed Morris, 1883
Morris Strawberry Thief 1883 detail
Wallpaper – Hyacinth, pattern #480 – 1915–1917
Wallpaper – Blackberry, pattern #388 – 1915–1917
Detail of a watercolour design for the Little Flower
carpet
showing a portion of the central medallion, by William Morris
Panel of ceramic tiles designed by Morris and produced by
William De Morgan
, 1876
The Vision of the Holy Grail
tapestry, 1890
See also
edit
Poetry portal
Fantasy portal
Socialism portal
Biography portal
Merry England
Robert Steele
– medievalist who was a disciple of Morris
Simple living
Sydney Cockerell
– friend of Morris and secretary of Kelmscott Press
Victorian decorative arts
William Morris wallpaper designs
List of works by the Kelmscott Press
Anarchism and the arts
References
edit
Footnotes
edit
Tate.
"William Morris 1834–1896"
Tate
. Retrieved
24 June
2021
Vallance 1897
, p. 2;
Mackail 1901
, pp. 1–2;
Thompson 1955
, pp. 1–2;
MacCarthy 1994
, pp. 1–2;
Rodgers 1996
, p. 20.
Mackail 1901
, pp. 2–3;
MacCarthy 1994
, pp. 1–2, 7.
Mackail 1901
, p. 3;
MacCarthy 1994
, pp. 1–2, 10.
Mackail 1901
, p. 4;
MacCarthy 1994
, p. 2;
Rodgers 1996
, p. 20.
Mackail 1901
, p. 10;
Thompson 1955
, p. 2;
MacCarthy 1994
, p. 11.
MacCarthy 1994
, pp. 5–6.
Mackail 1901
, p. 5;
MacCarthy 1994
, pp. 6–7;
Rodgers 1996
, p. 20.
MacCarthy 1994
, pp. 8–9.
Vallance 1897
, pp. 2–3;
Mackail 1901
, p. 11;
MacCarthy 1994
, pp. 14–17;
Rodgers 1996
, pp. 21–22.
Mackail 1901
, pp. 6–7;
MacCarthy 1994
, p. 13;
Rodgers 1996
, p. 20.
Mackail 1901
, p. 10;
Thompson 1955
, pp. 4–5;
MacCarthy 1994
, pp. 17–18.
MacCarthy 1994
, p. 9, 18.
Mackail 1901
, p. 11;
MacCarthy 1994
, pp. 20–21.
Mackail 1901
, pp. 11, 14, 18;
Thompson 1955
, p. 22;
MacCarthy 1994
, pp. 26–27;
Rodgers 1996
, p. 22.
Mackail 1901
, pp. 15–16;
Thompson 1955
, pp. 3–5;
MacCarthy 1994
, pp. 29–34;
Rodgers 1996
, p. 22.
Mackail 1901
, p. 16;
Thompson 1955
, p. 5;
MacCarthy 1994
, pp. 37–40;
Rodgers 1996
, p. 22.
Mackail 1901
, p. 17;
Thompson 1955
, pp. 23–24;
MacCarthy 1994
, pp. 43–44.
MacCarthy 1994
, pp. 48–50;
Rodgers 1996
, p. 23.
Mackail 1901
, pp. 25–26;
MacCarthy 1994
, pp. 52–53.
MacCarthy 1994
, pp. 53–55.
Thompson 1955
, p. 6;
MacCarthy 1994
, pp. 53–55, 60–61.
Thompson 1955
, pp. 9–10.
Thompson 1955
, p. 28.
Thompson 1955
, pp. 29–32;
MacCarthy 1994
, p. 71.
Thompson 1955
, pp. 3, 40;
MacCarthy 1994
, pp. 64–65.
Vallance 1897
, pp. 10–11;
Mackail 1901
, pp. 34–35;
MacCarthy 1994
, pp. 52, 56–58.
Mackail 1901
, pp. 35–36, 41–42;
MacCarthy 1994
, pp. 59–60.
MacCarthy 1994
, p. 65.
Mackail 1901
, pp. 45, 47;
MacCarthy 1994
, pp. 61–62.
MacCarthy 1994
, p. 112.
Mackail 1901
, p. 38;
Thompson 1955
, pp. 32–35;
MacCarthy 1994
, pp. 69–71.
Thompson 1955
, pp. 35–38.
"William Morris" in
Encyclopædia Britannica
1911
Vallance 1897
, p. 11;
MacCarthy 1994
, pp. 73–74.
Mackail 1901
, pp. 51–53;
MacCarthy 1994
, pp. 74–77.
Mackail 1901
, pp. 62–64;
Thompson 1955
, pp. 25–26;
MacCarthy 1994
, pp. 65–68.
Mackail 1901
, p. 48;
MacCarthy 1994
, p. 82.
Mackail 1901
, pp. 71–78;
Thompson 1955
, pp. 26–27;
MacCarthy 1994
, pp. 82–94.
MacCarthy 1994
, p. 95.
Mackail 1901
, p. 83;
MacCarthy 1994
, p. 96.
Mackail 1901
, p. 81;
MacCarthy 1994
, pp. 96–97.
Vallance 1897
, pp. 20–23;
Mackail 1901
, pp. 88, 92;
MacCarthy 1994
, pp. 98–102.
Vallance 1897
, pp. 16–20;
Mackail 1901
, pp. 82, 87, 102;
Thompson 1955
, p. 43;
MacCarthy 1994
, pp. 102–108.
Mackail 1901
, pp. 102;
MacCarthy 1994
, pp. 108–110.
MacCarthy 1994
, pp. 111–112.
Vallance 1897
, pp. 12–15;
Mackail 1901
, pp. 100–102, 105;
Thompson 1955
, pp. 42–44;
MacCarthy 1994
, pp. 113–115.
Mackail 1901
, pp. 106;
MacCarthy 1994
, p. 116.
Mackail 1901
, pp. 105, 109;
Thompson 1955
, pp. 44–45;
MacCarthy 1994
, pp. 115, 122–123.
Mackail 1901
, pp. 117–126;
Thompson 1955
, pp. 46–47;
MacCarthy 1994
, pp. 129–134.
Vallance 1897
, p. 20;
Mackail 1901
, pp. 112–114;
Thompson 1955
, p. 45;
MacCarthy 1994
, pp. 117–122.
MacCarthy 1994
, pp. 123–125.
Mackail 1901
, pp. 129–135;
Thompson 1955
, pp. 76, 85;
MacCarthy 1994
, pp. 142–147.
Thompson 1955
, pp. 48, 74–76;
MacCarthy 1994
, pp. 135–141.
Mackail 1901
, pp. 138–139;
Thompson 1955
, p. 76;
MacCarthy 1994
, pp. 151–152.
Mackail 1901
, pp. 129–130, 141;
MacCarthy 1994
, pp. 154–156.
Mackail 1901
, pp. 141–142.
MacCarthy 1994
, pp. 161–162.
MacCarthy 1994
, pp. 154–156.
Mackail 1901
, pp. 140–144;
MacCarthy 1994
, pp. 164–165.
MacCarthy 1994
, p. 157.
MacCarthy 1994
, p. 171.
Thompson 1955
, p. 92.
Mackail 1901
, pp. 159–160;
MacCarthy 1994
, pp. 157–158.
Mackail 1901
, pp. 158–159;
Thompson 1955
, p. 92;
MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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Mackail 1901
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MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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Mackail 1901
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MacCarthy 1994
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Mackail 1901
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MacCarthy 1994
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MacCarthy 1994
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Mackail 1899
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MacCarthy 1994
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MacCarthy 1994
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Thompson 1955
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MacCarthy 1994
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Mackail 1899
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Mackail 1899
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MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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Mackail 1899
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MacCarthy 1994
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MacCarthy 1994
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MacCarthy 1994
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Holland 2015
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MacCarthy 1994
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Mackail 1899
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Mackail 1899
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MacCarthy 1994
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MacCarthy 1994
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LeMire, Eugene (2006).
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Rodgers 1996
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Faulkner 1983
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The Oxford Book of Carols
. 1928. p. 277.
The words were written for the old French carol tune shortly before 1860 by Morris, who was in Street's office with Edmund Sedding (architect and compiler of carols, brother of the more famous J. D. Sedding; he died early, in 1868). Sedding had obtained the tune from the organist at Chartres Cathedral, and he published the words and tune in his
Antient Christmas Carols
, 1860.
The Oxford Book of Carols
. 1928. p. 406.
Set to music by composers including
Ralph Vaughan Williams
Dictionary of National Biography
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Lin Carter, ed.
Kingdoms of Sorcery
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Edward James (1996). "Morris, William". In David Pringle (ed.).
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Sprague de Camp 1976
, p. 40.
Sprague de Camp 1976
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David Pringle
The Ultimate Encyclopedia of Fantasy
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John R. Pfeiffer (1985). "William Morris". In
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306.
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Christina Scull & Wayne G Hammond (2006).
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ISBN
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Aladore
".
Xenograffiti: Essays on Fantastic Literature
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99.
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The Journal of William Morris Studies
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ISBN
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Parry 1983
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Parry 1983
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Parry 1983
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Victoria and Alberts William and Morris textile collection
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2025
Lyons 2011
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Art Documentation: Journal of the Art Libraries Society of North America
25
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S2CID
163588697
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11. November 1896.
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Bennett, Phillippa; Miles, Rosie (2010).
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ISBN
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Wall, Derek
(2004).
Green history: a reader in environmental literature, philosophy and politics
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12, 240,
242–
243.
ISBN
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Guha, Ramachandra
(2000).
Environmentalism: A Global History
. London: Longman. pp.
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16.
ISBN
978-0-19-565117-1
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Vallance 1897
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MacCarthy 1994
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MacCarthy 1994
MacCarthy 2010
Fiona MacCarthy (3 October 2014).
"William Morris: Beauty and anarchy in the UK"
The Guardian
. Retrieved
5 October
2014
Adrian Searle (28 May 2013).
"Venice Biennale: Jeremy Deller's British pavilion declares war on wealth"
The Guardian
. Retrieved
5 October
2014
"WALTHAM FOREST: Tributes paid to nine retiring councillors"
East London and West Essex Guardian Series
. 25 March 2010
. Retrieved
15 January
2026
"William Morris"
The Metropolitan Museum of Art
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21 August
2025
"A Provisional Memorial to Nuclear Disarmament"
Arts Catalyst
. Archived from
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. Retrieved
7 April
2025
Mabb, David (20 September 2016).
"Protest and survive: Reclaiming William Morris from Britain's nuclear fleet"
Bulletin of the Atomic Scientists
. Retrieved
7 April
2025
"Perpetual Uncertainty"
Bildmuseet.umu.se
. 2016. Archived from
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on 12 July 2017
. Retrieved
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2025
Wainwright, Oliver (7 April 2025).
"Curtains, wellies, nuclear subs and a tsar's palace: how William Morris mania swept the world"
The Guardian
. Retrieved
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2025
"News from Waltham Forest"
The Guardian
. 21 April 2007.
"The William Morris Gallery needs your help to achieve its aims!"
Walthamforest.gov.uk
. Archived from
the original
on 12 September 2011.
"Support the William Morris Gallery Development Project"
Walthamforest.gov.uk
. Archived from
the original
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"Welcome"
The William Morris Society
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2018
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Morris & Co
. South Australia State Government Publications.
ISBN
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Menz, Christopher (1994).
Morris & Company: Pre-Raphaelites and the Arts & Crafts Movement
. Adelaide: Art Gallery Board of South Australia.
ISBN
978-0-7308-3024-5
"William Morris at the Victoria and Albert Museum"
. Archived from
the original
on 21 July 2011
. Retrieved
22 August
2008
"The Oxford Union"
Conference Oxford
. Retrieved
10 August
2018
"Kelmscott Manor"
Society of Antiquaries
. August 2024.
"Crafts Cornered",
Los Angeles Times
, 15 December 1999, p. F1.
"William Morris: Creating the Useful and the Beautiful"
. Huntington Library. 22 September 2002. Archived from
the original
on 16 April 2008
. Retrieved
22 August
2008
"MORRIS, WILLIAM (1834–1896) & WEBB, PHILIP (1831–1915)"
. English Heritage
. Retrieved
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2012
"Emery Walker's House"
Emery Walker's House
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2018
"RIT Wins Auction of the Kelmscott-Goudy Press"
American Printing History Association
. 10 December 2013
. Retrieved
10 August
2018
"Christie's to Auction Famed Kelmscott-Goudy Hand Press"
American Printing History Association
. 16 October 2013
. Retrieved
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2018
Davies, Caroline (31 July 2023).
"East London football club releases William Morris-inspired kit"
The Guardian
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2024
"William Morris Gallery x Walthamstow FC - William Morris Inspired Football Kit by Admiral | D&AD Awards 2024 Pencil Winner | Applied Print Graphics | D&AD"
www.dandad.org
. Retrieved
9 August
2024
The Saga Library
. Translated by William Morris;
Eiríkr [
i.e.
, Eiríkur] Magnússon
. London:
Bernard Quaritch
, 15 Piccadilly. 1891–1905.
OCLC
12600358
Volume I
volume II
volume III
volume IV
volume V
, and
volume VI
"Norfolk Churches"
www.norfolkchurches.co.uk
. Retrieved
21 November
2024
"Home"
All Saints Church - Middleton Cheney
. Retrieved
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2024
Bibliography
edit
Allen, Rob (2001).
"Why William Morris left his Joyous Gard"
(PDF)
The Journal of William Morris Studies
14
(3):
21–
30. Archived from
the original
(PDF)
on 30 April 2015.
Brill, Hans. Foreword. In
Rodgers (1996)
Faulkner, Peter. "The Writer". In
Parry (1983)
Holland, Owen (Summer 2015).
"Revisiting Morris's internationalism: reflections on translations and colonialism (with an annotated bibliography of translations of 'News from Nowhere', 1890–1915)"
(PDF)
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26–
52. Archived from
the original
(PDF)
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. Retrieved
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2019
Lyons, Martyn (2011).
Books: A Living History
. Getty Publications.
ISBN
978-1-60606-083-4
MacCarthy, Fiona (1994).
William Morris: A Life for Our Time
. London: Faber & Faber.
ISBN
978-0-571-14250-7
MacCarthy, Fiona (2010).
William Morris: A Life for Our Time
(pbk. ed.). London: Faber & Faber.
ISBN
978-0-571 25559-7
Mackail, J. W. (1901).
The Life of William Morris: Volume One
. London, New York, and Bombay: Longmans, Green & Co.
Mackail, J. W. (1899).
The Life of William Morris: Volume Two
. London, New York, and Bombay: Longmans, Green & Co.
Parry, Linda (1983).
William Morris Textiles
. London: Weidenfeld & Nicolson.
ISBN
978-0-297-78196-7
Rodgers, David (1996).
William Morris at Home
. London: Ebury Press.
ISBN
978-0-09-181393-2
Sprague de Camp, L.
(1976).
Literary Swordsmen and Sorcerers: The Makers of Heroic Fantasy
. Sauk City, WI: Arkham House.
ISBN
0-87054-076-9
Thompson, E. P. (1955).
William Morris: Romantic to Revolutionary
. London: Lawrence & Wishart.
Vallance, Aymer (1897).
William Morris: His Art, His Writings and His Public Life
. London: George Bell and Sons.
Waggoner, Diane; Kirkham, Pat (2003).
The Beauty of Life: William Morris and the Art of Design
. Thames and Hudson.
ISBN
978-0-500-28434-6
Wall, Derek (2010).
No-Nonsense Guide to Green Politics
. Oxford: New Internationalist.
ISBN
978-1-906523-39-8
Further reading
edit
Arscott, Caroline (2008).
William Morris and Edward Burne-Jones: Interlacings
. Yale University Press.
ISBN
978-0-300-14093-4
Bennett, Phillippa; Miles, Rosie (2010).
William Morris in the Twenty-First Century
. Peter Lang.
ISBN
978-3-0343-0106-0
Coote, Stephen (1995).
William Morris: His Life and Work
. Smithmark.
ISBN
978-1-85833-479-0
Cotton, Albert Louis (1898).
"The Kelmscott Press and the New Printing"
The Contemporary Review
74
Daly, Gay (1989).
The Pre-Raphaelites in Love
. Ticknor and Fields.
ISBN
978-0-89919-450-9
Donovon, Andrea Elizabeth (2007).
William Morris and the Society for the Protection of Ancient Buildings
. Routledge.
ISBN
978-0-415-95595-9
Fairclough, Oliver; Leary, Emmeline (1981).
Textiles by William Morris and Morris & Co. 1861–1940
. Thames and Hudson.
ISBN
978-0-500-27225-1
Fiell, Charlotte; Fiell, Peter M. (1999).
William Morris
. Taschen.
ISBN
978-3-8228-6617-7
Freudenheim, Leslie M. (2005).
Building with Nature: Inspiration for the Arts and Crafts Home
. Gibbs M. Smith.
ISBN
978-1-58685-463-8
Goodway, David (2012).
Anarchist Seeds Beneath the Snow: Left-Libertarian Thought and British Writers from William Morris to Colin Ward
. University of Chicago Press.
ISBN
978-1-84631-025-6
Harvey, Charles; Press, Jon (1991).
William Morris: Design and Enterprise in Victorian Britain
. Manchester University Press.
ISBN
978-0-7190-2419-1
Harvey, Charles; Press, Jon (1996).
Art, Enterprise and Ethics: The Life and Works of William Morris
. Routledge.
ISBN
978-0-7146-4258-1
Hemingway, Andrew (2006).
Marxism and the History of Art: From William Morris to the New Left
. Pluto Press.
ISBN
978-0-7453-2329-9
Henderson, Philip (1967).
William Morris: His Life, Work and Friends
. Thames and Hudson.
Le Bourgeois, John (2006).
Art and Forbidden Fruit: Hidden Passion in the Life of William Morris
. Cambridge: Lutterworth Press.
ISBN
978-0-7188-3059-5
LeMire, Eugene (2006).
A Bibliography of William Morris
. British Library.
ISBN
978-0-7123-4926-0
Marsh, Jan (2005).
William Morris and Red House: A Collaboration Between Architect and Owner
. Not published: National Trust Books.
ISBN
978-1-905400-01-0
Marsh, Jan; Sharp, Frank C. (2013).
The Collected Letters of Jane Morris
. Boydell Press.
ISBN
978-1-84383-676-6
Meier, Paul (1977).
William Morris: The Marxist Dreamer
. Vol. I. Harvester.
ISBN
978-0-85527-474-0
Meier, Paul (1978).
William Morris: The Marxist Dreamer
. Vol. II. Harvester.
Miele, Chris (2005).
From William Morris: Building Conservation and the Arts and Crafts Cult of Authenticity, 1877–1939
. Yale University Press.
ISBN
978-0-300-10730-2
Morris, Brian (31 May 2012).
"The Revolutionary Socialism of William Morris"
Social Anarchism
(45):
5–
21.
Morris, William; Kelvin, Norman (2014).
The Collected Letters of William Morris, Volume I: 1848–1880
. Princeton University Press.
ISBN
978-0-691-61279-9
Morris, William; Kelvin, Norman (2014).
The Collected Letters of William Morris, Volume II, Part A: 1881–1884
. Princeton University Press.
ISBN
978-0-691-60369-8
Morris, William; Kelvin, Norman (2014).
The Collected Letters of William Morris, Volume II, Part B: 1881–1884
. Princeton University Press.
ISBN
978-0-691-60764-1
Morris, William; Kelvin, Norman (2014).
The Collected Letters of William Morris, Volume III: 1889–1892
. Princeton University Press.
ISBN
978-0-691-60272-1
Morris, William; Kelvin, Norman (2014).
The Collected Letters of William Morris, Volume IV: 1893–1896
. Princeton University Press.
ISBN
978-0-691-60818-1
Parry, Linda (1989).
William Morris and the Arts and Crafts Movement: A Design Source Book
. Studio Editions.
ISBN
978-1-85170-275-6
Parry, Linda (1996).
William Morris
. Philip Wilson Publishers.
ISBN
978-0-85667-441-9
Peterson, William S. (1984).
A Bibliography of the Kelmscott Press
. Oxford University Press.
ISBN
978-0-19-818199-6
Peterson, William S. (1992).
Kelmscott Press: A History of William Morris's Typographical Adventure
. University of California Press.
ISBN
978-0-520-06138-5
Pinkney, Tony
(2007).
William Morris in Oxford: The Campaigning Years 1879–1895
. Illuminati Books.
ISBN
978-0-9555918-0-8
Reason, Robert (2003).
Morris & Co.: Designs & Patterns from the Art Gallery of South Australia
. Art Gallery of South Australia.
ISBN
978-0-7308-3037-5
Robinson, Duncan (1982).
William Morris, Edward Burne-Jones and the Kelmscott Chaucer
. Gordon Fraser.
ISBN
978-0-86092-038-0
Salmon, Nick; Baker, Derek W. (1996).
The William Morris Chronology
. Thoemmes Continuum.
ISBN
978-1-85506-504-8
Stacey, Robert (1994).
The Earthly Paradise: Arts and Crafts by William Morris and His Circle from Canadian Collections
. Key Porter.
ISBN
978-1-55013-450-6
Stanksy, Peter (1983).
William Morris
. Oxford: Oxford University Press.
ISBN
978-0-19-287571-6
Thompson, Susan Otis (1996).
American Book Design and William Morris
(second ed.). Oak Knoll.
ISBN
978-1-884718-26-7
Todd, Pamela (2001).
The Pre-Raphaelites at Home
. Pavilion Books.
ISBN
978-1-86205-444-8
Vaninskaya, Anna
(2010).
William Morris and the Idea of Community: Romance, History and Propaganda, 1880–1914
. Edinburgh University Press.
ISBN
978-0-7486-4149-9
Waithe, Marcus (2006).
William Morris's Utopia of Strangers: Victorian Medievalism and the Ideal of Hospitality
. Boydell & Brewer.
ISBN
978-1-84384-088-6
Watkinson, Ray (1990).
William Morris as Designer
. London: Trefoil Books.
ISBN
978-0-86294-040-9
Wilding, Michael (1980).
Political Fictions
. London: Routledge and Kegan Paul.
ISBN
0-7100-0457-5
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at
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at
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at
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at
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at
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Morris Online Edition
Archived
14 October 2007 at the
Wayback Machine
at William Morris Archive. Morris's literary works, translations, life and images, the Book Arts
Works by William Morris
at sacred-texts.com, including full text of
The Earthly Paradise
Works by William Morris
at The Anarchist Library
Selections from William Morris
, a compilation published in the Soviet Union containing poetry, prose works, and essays by Morris in
PDF
format
William Morris Index Entry at Poets' Corner
The William Morris Internet Archive
at
Marxists Internet Archive
The tale of Beowulf (Sel.3.231)
; a digital edition of the proof-sheets with manuscript notes and corrections by William Morris in
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at the
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at the
University of Maryland Libraries
William Morris Editions
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. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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edit
The William Morris Gallery official website
The William Morris Gallery
Archived
7 August 2012 at the
Wayback Machine
(London Borough of Waltham Forest)
The William Morris Society
The William Morris Society in the United States
A Morris and De Morgan tile panel at the Victoria and Albert Museum, London
William Morris online exhibition
Archived
3 February 2012 at the
Wayback Machine
at the
Harry Ransom Center
at
the University of Texas at Austin
Examples of pages from the Kelmscott Chaucer
Morris Online Edition
Archived
30 November 2018 at the
Wayback Machine
Morris's translations
Morris's literary writings
Archived
14 October 2007 at the
Wayback Machine
The Morris Online Edition includes images of first editions and Kelmscott editions, as well as online texts and supplementary materials.
William Morris
at the
Internet Speculative Fiction Database
"Archival material relating to William Morris"
UK National Archives
Portraits of William Morris
at the
National Portrait Gallery, London
Mingam, Laura. "Victorian printing and William Morris's Kelmscott Press". La Clé des Langues, Lyon, ENS de LYON/DGESCO (ISSN 2107-7029). May 2013. Accessed 27/09/2021.
William Morris
Stories
Golden Wings and Other Stories
(1856)
Poetry
The Haystack in the Floods
" (1858)
Masters in This Hall
" (1860)
The Earthly Paradise
(1870)
The Story of Sigurd the Volsung and the Fall of the Niblungs
(1876)
Novels
A Dream of John Ball
(1888)
The House of the Wolfings
(1889)
The Roots of the Mountains
(1889)
News from Nowhere
(1890)
The Story of the Glittering Plain
(1891)
The Wood Beyond the World
(1894)
Child Christopher and Goldilind the Fair
(1895)
The Well at the World's End
(1896)
The Water of the Wondrous Isles
(1897)
The Sundering Flood
(1897)
Paintings
Oxford Union murals
(1857-1859) (co-creator)
Morris & Co.
Tristram and Isoude stained glass panels
Strawberry Thief
Adoration of the Magi
tapestry
Holy Grail tapestries
William Morris textile designs
William Morris wallpaper designs
Printing
Kelmscott Press
List of works by the Kelmscott Press
Golden Type
Museums
William Morris Gallery
William Morris Society
Related
Jane Morris
(wife)
Jane Alice Morris
(daughter)
May Morris
(daughter)
Pre-Raphaelite Brotherhood
Arts and Crafts movement
Influence on Tolkien
Red House
Kelmscott Manor
Kelmscott House
Fight for Right
" (1916 song)
The Love School
(1975 series)
Desperate Romantics
(2009 series)
Beowulf
Old English
Alliterative verse
Kenning
Clans
characters
Geats
Beowulf
Heardred
Hygd
Hygelac
Hundings
Scyldings
Æschere
Healfdene
Heorogar
Hrothgar
Unferth
Scylfings
Eadgils
Eanmund
Ohthere
Onela
Ongentheow
Waegmundings
Ecgþeow
Weohstan
Wiglaf
Wulfings
Wealhtheow
Monsters
Grendel
Grendel's mother
The Dragon
Translating
Beowulf
List of translations
Seamus Heaney
Beowulf: A New Verse Translation
J. R. R. Tolkien
Beowulf: A Translation and Commentary
Beowulf
: The Monsters and the Critics
Beowulf and the Critics
On Translating
Beowulf
Sellic Spell
Finn and Hengest
Scholars
Nora K. Chadwick
Michael D. C. Drout
Robert D. Fulk
Kevin Kiernan
Leonard Neidorf
John D. Niles
Geoffrey Russom
Tom Shippey
Related
Adaptations
Anglo-Saxon paganism
Battle of Finnsburg
Beowulf
and Middle-Earth
Heorot
Hrunting
Nægling
Nowell Codex
Pre-Raphaelite Brotherhood
(paintings)
William Holman Hunt
John Everett Millais
Dante Gabriel Rossetti
James Collinson
William Michael Rossetti
Frederic George Stephens
Thomas Woolner
Associated
artists and
figures
Lawrence Alma-Tadema
George Price Boyce
John Brett
Ford Madox Brown
Lucy Madox Brown
Richard Burchett
Edward Burne-Jones
Georgiana Burne-Jones
James Campbell
John Collier
Charles Allston Collins
Frank Cadogan Cowper
Evelyn De Morgan
Walter Deverell
Henry Treffry Dunn
William Dyce
Henry Holiday
Arthur Hughes
Edward Robert Hughes
Frederic Leighton
Robert Braithwaite Martineau
Louisa Beresford, Marchioness of Waterford
William Morris
Alexander Munro
Joseph Noel Paton
Valentine Cameron Prinsep
Christina Rossetti
John Ruskin
Emma Sandys
Frederick Sandys
Thomas Seddon
Elizabeth Siddal
James Smetham
Rebecca Solomon
Simeon Solomon
John Roddam Spencer Stanhope
Marie Spartali Stillman
John Melhuish Strudwick
Algernon Charles Swinburne
Henry Wallis
John William Waterhouse
William James Webbe
William Lindsay Windus
Some
well-known
works
(period and
post-period)
Ophelia
Christ in the House of His Parents
A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids
Ecce Ancilla Domini!
Mariana
The Light of the World
Our English Coasts ('Strayed Sheep')
The Scapegoat
Paolo and Francesca da Rimini
The Last of England
Work
The Awakening Conscience
The Hireling Shepherd
April Love
Found
Autumn Leaves
Bocca Baciata
Oxford Union murals
Lady Lilith
Roman Widow
Mary Magdalene
The Finding of the Saviour in the Temple
Morgan le Fay
Beata Beatrix
The Shadow of Death
Proserpine
A Vision of Fiammetta
Pygmalion and the Image series
The Beloved
Cymon and Iphigenia
King Cophetua and the Beggar Maid
The Day Dream
The Golden Stairs
Dante and Beatrice
Love's Messenger
The Magic Circle
The Legend of Briar Rose
The Lady of Shalott
(Waterhouse)
The Roses of Heliogabalus
Lilith
Eos
Flaming June
Hope
Hylas and the Nymphs
Lady Godiva
The Love Potion
The Lady of Shalott
(Hunt)
Midsummer Eve
I Am Half-Sick of Shadows, Said the Lady of Shalott
Models
Elizabeth Siddal
Fanny Cornforth
Effie Gray
Sophie Gray
Annie Miller
Jane Morris
Marie Spartali Stillman
Alexa Wilding
Maria Zambaco
Dorothy Dene
Fanny Eaton
Ruth Herbert
Related
The Germ
Hogarth Club
Morris & Co.
Rossetti and His Circle
(1922 book)
Dante's Inferno
(1967 film)
The Love School
(1975 series)
Desperate Romantics
(2009 series)
Effie Gray
(2014 film)
Category
Tapestry
Tapestries
Adoration of the Magi
Apocalypse Tapestry
Amnesty-Sís-Pinton Tapestries
Armada Tapestries
Battle of Pavia tapestries
Bayeux Tapestry
Bayeux Tapestry tituli
Hunts of Maximilian
Christ in Glory in the Tetramorph
Devonshire Hunting Tapestries
Game of Thrones Tapestry
The Great History of Troy
tapestries
Great Tapestry of Scotland
Great Tapestry of Scotland: People's Panel
Grödinge tapestry
Gunthertuch
Hestia Tapestry
The History of Constantine
Holy Grail tapestries
The Unicorn Tapestries
Hunting of Birds with a Hawk and a Bow
Jagiellonian tapestries
The Justice of Trajan and Herkinbald
Lady and the Unicorn
New World Tapestry
Oseberg tapestry fragments
Överhogdal tapestries
Pastoral Amusements
Pastrana Tapestries
Raphael Cartoons
Ros Tapestry Project
Ryijy
Sampul tapestry
Scottish Diaspora Tapestry
Scottish royal tapestry collection
Sheldon tapestries
Skog tapestry
Story of Abraham
The Story of Troy
The Death of Polydorus
The Triumph of Fame
Valois Tapestries
Walsall Silver Thread Tapestries
The World Trade Center Tapestry
Styles
Kalaga
Kesi
Millefleur
Studios
Aubusson
Beauvais
Brussels
Gobelins
Moravská Gobelínová Manufaktura
Morris & Co.
Mortlake
Pannemaeker family
Royal Tapestry Factory
William Baumgarten & Co
Weavers
and designers
Pieter van Aelst III
Anni Albers
Francis Crane
John Henry Dearle
Dermoyen family
Givi Kandareli
Ida Kerkovius
Lefèvre family
William Morris
Margaretha Reichardt
Gunta Stölzl
Judocus de Vos
Tapestry artists
Pieter Coecke van Aelst
François Boucher
Marc Chagall
Francis Cleyn
John Coburn
Michiel Coxie
Éva Farkas
Petronėlė Gerlikienė
Francisco Goya
Blind Man's Bluff
The Parasol
list of tapestry cartoons
Muriel Nezhnie Helfman
Else Marie Jakobsen
Jacob Jordaens
Hans Knieper
Nancy Kozikowski
Jean Lurçat
Jean-Baptiste Monnoyer
Bernard van Orley
François Quesnel
Raffaello Sanzio (Raphael)
Related
Byzantine silk
Embroidery
Franses Tapestry Archive
International Gothic
Kilim
Navajo weaving
Needlepoint
Weaving
Textile designers
18th century
Anna Maria Garthwaite
William Kilburn
19th century
John Henry Dearle
William Morris
C. F. A. Voysey
Early 20th century
Bernard Adeney
Ethel Mairet
Silver Studio
Mid 20th century
Laura Ashley
Helen Berman
Lucienne Day
Ada Dietz
Elenhank
Alexander Girard
Joan Glass
Viola Gråsten
Maija Isola
Bernat Klein
Jack Lenor Larsen
Dorothy Liebes
Marimekko
Mario Prassinos
Ernest Race
Ruth Reeves
Astrid Sampe
Franco Scalamandré
May Smith
Marianne Straub
Thelma Johnson Streat
Mary White
Suzie Zuzek
Late 20th century
Angela Adams
Hiroshi Awatsuji
Bronwyn Bancroft
Celia Birtwell
Valerie Campbell-Harding
Georgina von Etzdorf
Lily Goddard
Hans Krondahl
Meera Mehta
Vuokko Nurmesniemi
Graziela Preiser
Siona Shimshi
Sue Timney
Up Tied
Early 21st century
Kvadrat
British and Irish stained glass
English Gothic stained glass windows
British and Irish stained glass (1811–1918)
History
Architecture of cathedrals and great churches
History of stained glass
Medieval stained glass
Poor Man's Bible
Regional characteristics of European cathedral architecture
Influences
Artistic movements
Norwich School
Aesthetic Movement
Arts and Crafts Movement
Biblia pauperum
Cambridge Camden Society
Classicism
Early Renaissance
Exoticism
Gothic Revival
Oxford Movement
Romanticism
Pre-Raphaelite Brotherhood
Organisations
The Glass House
Hogarth Club
People
Architects
William Burges
John Loughborough Pearson
Frederick Preedy
George Fellowes Prynne
Augustus Pugin
Anthony Salvin
George Gilbert Scott
George Edmund Street
Alexander Thomson
Artists
Stephen Adam
Carl Almquist
works
Edward Liddall Armitage
Hugh Arnold
John Baker
Robert Anning Bell
Ervin Bossányi
Ray Bradley
John William Brown
Edward Burne-Jones
Florence Camm
Thomas William Camm
Alfred E. Child
Margaret Chilton
Brian Clarke
Harriet Ludlow Clarke
Harry Clarke
Geoffrey Clarke
Walter Francis Clokey
Charles Edmund Clutterbuck
Frederick W. Cole
Gerald Coles
Daniel Cottier
Trena Cox
Archibald John Davies
Louis Davis
works
Thomas Denny
Alfred Drury
Hugh Easton
Frederick Charles Eden
Carl Edwards
Francis Eginton
Beatrice Elvery
Mabel Esplin
Leonard Evetts
Michael Farrar-Bell
Barnard Flower
Moira Forsyth
Pierre Fourmaintraux
Thomas Freeth
David Gauld
Wilhelmina Geddes
Thomas Glazier
Isobel Lilian Gloag
Sylvia Goaman
Jane Gray
Rosalind Grimshaw
Henry Gyles
Henry Haig
Reginald Hallward
works
Harry Harvey
John Hayward
Michael Healy
George Hedgeland
Herbert Hendrie
Olive Henry
James Humphries Hogan
Henry Holiday
William Holland
Evie Hone
Galyon Hone
Joan Howson
works
Edward Holmes Jewitt
works
John Hutton
Selwyn Image
Marjorie Incledon
Marjorie Kemp
Charles Eamer Kempe
John Ward Knowles
Lawrence Lee
Tim Lewis
Abraham and Bernard van Linge
Mary Lowndes
Pinkie Maclure
Sadie McLellan
Henry Gustave Miller
Rachel de Montmorency
Arthur Louis Moore
William Morris
Nicholas Mynheer
Keith New
Mary J. Newill
Archibald Keightley Nicholson
Dom Charles Norris
Joseph Edward Nuttgens
Catherine O’Brien
Michael O'Connor
Francis Wilson Oliphant
Karl Parsons
works
Henry Payne
works
James Pearson
William Peckitt
Thomas Peebles
John Petts
John Piper
works
Lilian Josephine Pocock
Patrick Pollen
John Prudde
Sarah Purser
Mary Eily de Putron
Patrick Pye
Kathleen Quigly
Patrick Reyntiens
Ethel Rhind
William Blake Richmond
Arnold Wathen Robinson
works
Margaret Agnes Rope
M. E. Aldrich Rope
Frank Roper
Arild Rosenkrantz
Rosemary Rutherford
Theodora Salusbury
W. T. Carter Shapland
Francis Skeat
works
Francis Spear
Harry Stammers
Douglas Strachan
Brian Thomas
John Thornton
Caroline Townshend
works
Margaret Traherne
Martin Travers
Edward Stanley Watkins
Christopher Webb
Geoffrey Webb
works
Alf Webster
Nathaniel Westlake
Christopher Whall
works
Veronica Whall
works
Thomas Willement
William Wilson
Paul Woodroffe
works
Edward Woore
works
Alan Younger
British stained-glass artists
Irish stained-glass artists
Critics
Nicola Gordon Bowe
Martin Harrison
Sydney Pitcher
John Ruskin
Hilary Wayment
Charles Winston
Manufacturers
Alexander Gibbs & Co.
An Túr Gloine
Ballantine & Gardiner
Barton, Kinder and Alderson
Bromsgrove Guild of Applied Arts
Burlison & Grylls
Caldermac Studios
Clayton & Bell
Clokey Studios
Cottier & Co.
Cox & Barnard
Earley & Co.
Glantawe Studios
Goddard & Gibbs
Heaton, Butler & Bayne
Hincks & Burnell
Holland of Warwick
James Powell & Sons
John Hardman & Co.
Kempe Studios
Lavers, Barraud & Westlake
Morris & Co.
Percy Bacon Brothers
Shrigley & Hunt
Ward & Company of London
Ward & Hughes
Ward & Partners of Belfast
Watts & Co.
Saunders & Co.
William Wailes
William Warrington
Examples
In situ
All Saints Church, Tudeley
Canterbury Cathedral
Coventry Cathedral
Holy Trinity Sloane Street, London
King's College Chapel, Cambridge
St Mary's Church, Fairford
York Minster
Collections
Stained Glass Museum, Ely
Victoria and Albert Museum
Institutions
British Society of Master Glass Painters
Worshipful Company of Glaziers and Painters of Glass
Images
Admiral
Apostles
Biblical
Bishop
Fleur-de-lis
Heraldry
Prophet
Saint
Virtues
Terminology
Architectural glass
Art glass
Beveled glass
Came glasswork
Cathedral glass
Curvilinear coordinates
Float glass
Glass art
Glass beadmaking
Glassblowing
Grisaille
Lancet window
Leadlight
Mandorla
Mullion
Pontil
Quatrefoil
Rose window
Roundel
Stained glass
Stained glass conservation
Studio glass
Tracery
Commons:
United Kingdom
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Authority control databases
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ISNI
VIAF
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National
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BnF data
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KulturNav
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Deutsche Biographie
DDB
Other
IdRef
Open Library
SNAC
Te Papa (New Zealand)
Retrieved from "
Categories
William Morris
1834 births
1896 deaths
19th-century British textile artists
19th-century English architects
19th-century English businesspeople
19th-century English poets
19th-century English short story writers
Alumni of Exeter College, Oxford
Architects from London
Artist authors
Artists from the London Borough of Waltham Forest
Artists' Rifles soldiers
Arts and Crafts movement artists
British graphic designers
British Marxists
British political party founders
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British textile designers
English atheists
English botanical illustrators
English communists
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English fantasy writers
English libertarians
English male novelists
English male poets
English male short story writers
English Marxist writers
English Marxists
English medievalists
English printers
English republicans
English socialists
English stained glass artists and manufacturers
English typographers and type designers
Epic poets
Icelandic–English translators
Libertarian socialists
Libertarian theorists
Masters of the Art Worker's Guild
Morris & Co.
Mythopoeic writers
People educated at Marlborough College
People from Walthamstow
Philosophers of technology
Pre-Raphaelite stained glass artists
Private press movement people
Social Democratic Federation members
Socialist League (UK, 1885) members
Translators of Homer
Translators of Virgil
Utopian socialists
Victorian novelists
Victorian poets
Victorian short story writers
Writers from the London Borough of Waltham Forest
Writers of mythic fiction
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