If he had been a shoemaker, we should
have found, with no little consternation, our shoes gradually
approximating to the antique sandal. As a hairdresser, he would have
invented some massing of the hair worthy to be the crown of Venus; as an
ironmonger, his nails would have had some noble pattern, fit to be the
nails of the Cross.
The limitations of William Morris, whatever they were, were not the
limitations of common decoration. It is true that all his work, even his
literary work, was in some sense decorative, had in some degree the
qualities of a splendid wall-paper. His characters, his stories, his
religious and political views, had, in the most emphatic sense, length
and breadth without thickness. He seemed really to believe that men
could enjoy a perfectly flat felicity. He made no account of the
unexplored and explosive possibilities of human nature, of the
unnameable terrors, and the yet more unnameable hopes. So long as a man
was graceful in every circumstance, so long as he had the inspiring
consciousness that the chestnut colour of his hair was relieved against
the blue forest a mile behind, he would be serenely happy. So he would
be, no doubt, if he were really fitted for a decorative existence; if he
were a piece of exquisitely coloured card-board.
But although Morris took little account of the terrible solidity of
human nature--took little account, so to speak, of human figures in the
round, it is altogether unfair to represent him as a mere aesthete.
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