The third member of this Oxford Circle, the poet _William Morris_, has exercised great influence over English taste by the institution of an industrial establishment for embroidery, painting upon glass, and household decoration. Keeping in mind that close union which existed in the fifteenth century between art and the manual crafts, he and certain of his disciples did not hesitate to provide designs for decorative stuffs, wall-papers, furniture, and household embellishments of every description. They were largely indebted to the Japanese, to say nothing of the old Italians, though they succeeded in creating a thoroughly modern and independent style, in spite of all they borrowed. The whole range of industrial art in England received a new lease of life, and household decoration became blither and more cheerful in its appearance. Only light, delicate, and finely graduated colours were allowed to predominate, and they were combined with slender, graceful, and vivacious form. The heavy panelling which was popular in the sixties gave way to bright papers ornamented with flowers; narrow panes made way for large plate-glass windows with light curtains, in which long-stemmed flowers were entwined in the pattern. Slim pillars supported cabinets painted in exquisite hues or gleaming with lacquer-work and enamel. Seats were ornamented with soft cushions shining in all the delicate splendour of Indian silks. And the pre-Raphaelite style of ornamentation was even extended to the embellishment of books, so that England created the modern book, at a time when other nations adhered altogether to the imitation of old models. [Illustration: WALTER CRANE. FROM _THE TEMPEST_.] In his early years _Arthur Hughes_ attracted much attention by an Ophelia, a delicate, thoroughly English figure of soft pre-Raphaelite grace; but in later years he rarely got beyond sentimental Renaissance maidens suggestive of Julius Wolff, and humorous work in the style of _genre_.