Perhaps, in view of the results which have flowed from it, and at this distance of time, I may for a moment dwell particularly on the lecture on Letterpress Printing. It was at my urgent request that Mr. Walker overcame his reluctance to speak in public, and I therefore claim for myself the honour of being the real author of The Kelmscott Press! for it was in consequence of this lecture given by Mr. Emery Walker at my request, and the lantern slides of beautiful old founts of type and MS. by which it was illustrated, that William Morris was induced to turn again his attention to printing, and this time, as a printer, to produce, in friendly collaboration with Mr. Walker, that splendid series of printed books which has inspired printing with a new life, and enriched the libraries of the world with books as nobly conceived and executed as any that distinguish the great age of Printing itself. The 'Notes,' to which reference has already been made, occupied a little more than a third of the Catalogue, and treated of: Textiles, Decorative Painting and Design, Wall papers, Fictiles, Metal work, Stone and Wood carving, Furniture, Stained and Table glass, Printing, and Bookbinding: and as they contain the doctrines of the new movement so far as it was applicable to the crafts of which they treated, it may be worth while to turn over a few pages and to see what those doctrines are. Mr. Morris, who writes on Textiles, opens at once on his subject. 'There are,' he says, 'several ways of ornamenting a woven cloth.' He then enumerates the ways as follows: (1) Real Tapestry; (2) Carpet weaving; (3) Mechanical weaving; (4) Printing or Painting; and (5) Embroidery; and proceeds under each head to lay down principles, accordant with the particular method, for the production of the ornament required, and concludes his note with some general maxims applicable to all the methods alike, as thus, 'Never forget the material you are working with, and try always to use it for doing what it can do best: if you feel yourself hampered by the material in which you are working, instead of being helped by it, you have so far not learned your business, any more than a would-be poet has, who complains of the hardship of writing in measure and rhyme. The special limitations of the material should be a pleasure to you, not a hindrance: a designer, therefore, should always thoroughly understand the processes of the special manufacture he is dealing with, or the result will be a mere _tour-de-force_. On the other hand it is the pleasure in understanding the capabilities of a special material, and using them for suggesting (not imitating) natural beauty and incident, that gives the _raison d'être_ of decorative art.'