ition and a peroration suitable
to the season, he concluded his interesting and intellectual lecture.

Light refreshments were then served to the audience, and the five-o'clock-
tea school of criticism came very much to the front. Mr. Image's entire
freedom from dogmatism and self-assertion was in some quarters rather
severely commented on, and one young gentleman declared that such
virtuous modesty as the lecturer's might easily become a most vicious
mannerism. Everybody, however, was extremely pleased to learn that it is
no longer the duty of art to hold the mirror up to nature, and the few
Philistines who dissented from this view received that most terrible of
all punishments--the contempt of the highly cultured.

Mr. Image's third lecture will be delivered on January 21 and will, no
doubt, be largely attended, as the subjects advertised are full of
interest, and though 'sweet reasonableness' may not convert, it always
charms.

MR. MORRIS ON TAPESTRY

(Pall Mall Gazette, November 2, 1888.)

Yesterday evening Mr. William Morris delivered a most interesting and
fascinating lecture on Carpet and Tapestry Weaving at the Arts and Crafts
Exhibition now held at the New Gallery. Mr. Morris had small practical
models of the two looms used, the carpet loom where the weaver sits in
front of his work; the more elaborate tapestry loom where the weaver sits
behind, at the back of the stuff, has his design outlined on the upright
threads and sees in a mirror the shadow of the pattern and picture as it
grows gradually to perfection. He spoke at much length on the question
of dyes--praising madder and kermes for reds, precipitate of iron or
ochre for yellows, and for blue either indigo or woad. At the back of
the platform hung a lovely Flemish tapestry of the fourteenth century,
and a superb Persian carpet about two hundred and fifty years old. Mr.
Morris pointed out the loveliness of the carpet--its delicate suggestion
of hawthorn blossom, iris and rose, its rejection of imitation and
shading; and showed how it combined the great quality of decorative
design--being at once clear and well defined in form: each outline
exquisitely traced, each line deliberate in its intention and its beauty,
and the whole effect being one of unity, of harmony, almost of mystery,
the colours being so perfectly harmonised together and the little bright
notes of colour being so cunningly placed either for tone or brilliancy.

Tapestri