Author Eiríkr Magnússon

56, he became an apprentice to Gothic revival architect G. E. Street. That same year he founded the Oxford and Cambridge Magazine, an outlet for his poetry and a forum for development of his theories of hand-craftsmanship in the decorative arts. In 1861, Morris founded a design firm in partnership with the artist Edward Burne-Jones, and the poet and artist Dante Gabriel Rossetti which had a profound impact on the decoration of churches and houses into the early 20th century. His chief contribution to the arts was as a designer of repeating patterns for wallpapers and textiles, many based on a close observation of nature. He was also a major contributor to the resurgence of traditional textile arts and methods of production. William Morris was born in milfod surrey, Walthamstow, on 24 March 1834, the third child and the eldest son of William Morris, a partner in the firm of Sanderson & Co., bill brokers in the City of London. His mother was Emma Morris née Shelton, daughter of Joseph Shelton, a teacher of music in Worcester.[1] As a child Morris was delicate but studious. He learned to read very early, and by the time he was four years old he was familiar with most of the Waverley novels. When he was six the family moved to Woodford Hall, where new opportunities for an out-of-door life brought the boy health and vigour. He rode about Epping Forest, sometimes in a toy suit of armour, where he became a close observer of animal nature and was able to recognize any bird upon the wing.[2][3] At the same time he continued to read whatever came in his way and was particularly attracted by the stories in the Arabian Nights and by the designs in Gerard's Herbal. He studied with his sisters' governess until he was nine, when he was sent to a school at Walthamstow. In 1842, his sister Isabella was born. She would grow up to be the churchwoman who oversaw the revival of the Deaconess Order in the Anglican Communion.[4] In his thirteenth year their father died, leaving the family well-to-do. The home at Woodford was broken up, as being unnecessarily large, and in 1848 the family relocated to Water House and William Morris entered Marlborough School, where his father had bought him a nomination. Morris was at the school for three years, but gained little from attending it beyond a taste for architecture, fostered by the school library, and an attraction towards the Anglo-Catholic movement.[5] He made but slow progress in school work and at Christmas 1851 was removed and sent to live as a private pupil with the Rev. F. B. Guy, Assistant Master at Forest School and later Canon of St. Alban's, for a year to prepare him for University.[2][6] Forest School still houses many correspondence from Morris in their archives, and the School boasts a Morris stained glass window in the Chapel. In June 1852 Morris entered Exeter College, Oxford, though since the college was full, he was unable to go into residence until January 1853. At Exeter, Morris met Edward Burne-Jones, also a first year undergraduate, who would become his life-long friend and collaborator. Morris also joined a Birmingham group at Pembroke College, known among themselves as the "Brotherhood" and to historians as the "Pembroke set".[2][7] Together, they read theology, ecclesiastical history, and medieval poetry; studied art, and fostered their study in the long vacations by visiting English churches and the Continental cathedrals. They became strongly influenced by the paintings of the Pre-Raphaelites, John Ruskin's essay "The Nature of Gothic" from the second volume of The Stones of Venice, Thomas Malory's Morte d'Arthur and the poetry of Alfred, Lord Tennyson. Morris began to develop his 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.[2] Moreover, Morris began at this time to write poetry and many of his first pieces, afterwards destroyed, were held by sound judges to be equal to anything else he ever worked on. Both Morris and Burne-Jones had come to Oxford with the intention of taking holy orders, but as they felt their way, they both came to the conclusion that there was more to be done in the direction of social reform than of ecclesiastical work and that their energies would be best employed outside the priesthood. Morris decided to become an architect and for the better propagation of the views of the new brotherhood a magazine was at the same time projected, which was to make a specialty of social articles, besides poems and short stories. At the beginning of 1856 the two schemes came to a head together. Morris, having passed his finals in the previous term, was entered as a pupil at the office of George Edmund Street, one of the leading English Gothic revival architects who had his headquarters in Oxford as architect to the diocese;[1] and on New Year's Day the first issue of the Oxford and Cambridge Magazine appeared. The expenses of publishing were borne entirely by Morris, but he resigned the formal editorship after the first issue. Many distinguished compositions appeared in its pages, but it gradually languished and was given up after a year's experiment. The chief immediate result was the friendship between Morris and Dante Gabriel Rossetti, which sprang up from a successful attempt to secure Rossetti as a contributor.[2] In Street’s office Morris formed an intimate and lifelong friendship with the senior clerk, Philip Webb, which had an important influence over the development taken by English domestic architecture during the next generation. He worked in Street’s office for the rest of that year, first at Oxford and afterwards in London when Street removed there in the autumn.[1] Morris worked very hard both in and out of office hours at architecture and painting, and he studied architectural drawing under Webb.[8] Rossetti, however, persuaded him that he was better suited for a painter, and after a while he devoted himself exclusively to that branch of art. That summer the two friends visited Oxford and finding the new Oxford Union debating-hall under construction, pursued a commission to paint the upper walls with scenes from Le Morte d'Arthur and to decorate the roof between the open timbers. Seven artists were recruited, among them Valentine Prinsep and Arthur Hughes,[9] and the work was hastily begun. Morris worked with feverish energy and on finishing the portion assigned to him, proceeded to decorate the roof. The frescoes, done too soon and too fast, began to fade at once and are now barely decipherable; but the broken designs, so long as any vestige remains, will always be interesting as a relic of an important aesthetic movement and as the first attempt on Morris's part towards the decorative arts. Rossetti had recruited two sisters, Bessie and Jane Burden, as models for the Oxford Union murals, and Morris was smitten with Jane from the start.[10] They became engaged in 1858 and married at St Michael at the Northgate, Oxford, on 26 April 1859, settling temporarily at 41 Great Ormond Street, London. Morris's only surviving painting in oils is of Jane Burden as La Belle Iseult. William and Jane had two daughters, Jane Alice (Jenny), born January 1861, who developed epilepsy in her teens, and Mary (May) (March 1862–1938), who became the editor of her father's works, a prominent socialist, and an accomplished designer and craftswoman.[11] Although of very humble origins and unschooled in her youth,[10] Jane Morris underwent a remarkable self-education after her marriage. A striking beauty, she mixed freely with the Pre-Raphaelites and posed many times for Rossetti, who became passionately attached to her. The Morrises' initial happiness together did not survive the first ten years of their marriage, but divorce was unthinkable, and they remained together until Morris's death.[11] For several years after his marriage Morris was absorbed in two intimately connected occupations: the building and decoration of a house for himself and Jane, and the foundation of a firm of decorators who were also artists, with the view of reinstating decoration, down to its smallest details, as one of the fine arts. Meanwhile he was slowly abandoning painting; none of his paintings are dated later than 1862.[1] Red House at Bexleyheath in Kent, so named when the use of red brick without stucco was a startling novelty in domestic architecture, was built by Phillip Webb to designs by Webb and Morris. It was Webb's first building as an independent architect[12] and the first serious attempt made in Victorian England to apply art throughout to the practical objects of common life.[2] Red House featured ceiling paintings by Morris, wall-hangings designed by Morris and worked by himself and Jane; furniture painted by Morris and Rossetti, and wall-paintings and stained- and painted glass designed by Burne-Jones.[12] In 1861, Morris founded the decorative arts firm of Morris, Marshall, Faulkner & Co.(later described by Nicholas Pevsner as the 'beginning of a new era in Western art ')[13] with Rossetti, Burne-Jones, Ford Madox Brown and Philip Webb as partners, together with Charles Faulkner and P. P. Marshall, the former of whom was a member of the Oxford Brotherhood, and the latter a friend of Brown and Rossetti.[1] The prospectus set forth that the firm would undertake carving, stained glass, metal-work, paper-hangings, chintzes (printed fabrics), and carpets.[2] The decoration of churches was from the first an important part of the business. On its non-ecclesiastical side it gradually was extended to include, besides painted windows and mural decoration, furniture, metal and glass wares, cloth and paper wall-hangings, embroideries, jewelery, woven and knotted carpets, silk damasks, and tapestries. The first headquarters of the firm were at 8 Red Lion Square.