Editing William Morris (section)

== Career and fame ==

=== Red House and the Firm: 1859–1865 ===
[[File:Philip Webb's Red House in Upton.jpg|thumb|upright=1.35|[[Red House, Bexleyheath|Red House]] in [[Bexleyheath]]; it is now owned by [[The National Trust]] and open to visitors.]]

Morris desired a new home for himself and his daughters resulting in the construction of the [[Red House, Bexleyheath|Red House]] in the Kentish hamlet of Upton near [[Bexleyheath]], ten miles from central London. The building's design was a co-operative effort, with Morris focusing on the interiors and the exterior being designed by Webb, for whom the House represented his first commission as an independent architect.{{sfnm|1a1=Mackail|1y=1901|1pp=129–130, 141|2a1=MacCarthy|2y=1994|2pp=154–156}} Named after the red bricks and red tiles from which it was constructed, Red House rejected architectural norms by being L-shaped.{{sfnm|1a1=Mackail|1y=1901|1pp=141–142}} Influenced by various forms of contemporary Neo-Gothic architecture, the House was nevertheless unique,{{sfn|MacCarthy|1994|pp=161–162}} with Morris describing it as "very mediaeval in spirit".{{sfn|MacCarthy|1994|pp=154–156}} Situated within an orchard, the house and garden were intricately linked in their design.{{sfnm|1a1=Mackail|1y=1901|1pp=140–144|2a1=MacCarthy|2y=1994|2pp=164–165}} It took a year to construct,{{sfn|MacCarthy|1994|p=157}} and cost Morris £4000 at a time when his fortune was greatly reduced by a dramatic fall in the price of his shares.{{sfn|MacCarthy|1994|p=171}} Burne-Jones described it as "the beautifullest place on Earth."{{sfn|Thompson|1955|p=92}}

After construction, Morris invited friends to visit, most notably Burne-Jones and his wife [[Georgiana Burne-Jones|Georgiana]], as well as Rossetti and his wife [[Elizabeth Siddal|Lizzie Siddal]].{{sfnm|1a1=Mackail|1y=1901|1pp=159–160|2a1=MacCarthy|2y=1994|2pp=157–158}} They aided him in painting murals on the furniture, walls, and ceilings, much of it based on Arthurian tales, the [[Trojan War]], and [[Geoffrey Chaucer]]'s stories, while he also designed floral embroideries for the rooms.{{sfnm|1a1=Mackail|1y=1901|1pp=158–159|2a1=Thompson|2y=1955|2p=92|3a1=MacCarthy|3y=1994|3pp=158–160}} They also spent much time playing tricks on each other, enjoying games like [[hide and seek]], and singing while accompanied by the piano.{{sfn|MacCarthy|1994|pp=162–163}} Siddall stayed at the House during summer and autumn 1861 as she recovered from a traumatic miscarriage and an addiction to [[laudanum]]; she would die of an overdose in February 1862.{{sfn|MacCarthy|1994|pp=186–187}}

In April 1861, Morris founded a [[decorative arts]] company, [[Morris & Co.|Morris, Marshall, Faulkner & Co.]], with six other partners: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and [[Peter Paul Marshall]]. Operating from premises at No. 6 [[Red Lion Square]], they referred to themselves as "the Firm" and were intent on adopting Ruskin's ideas of reforming British attitudes to production. They hoped to reinstate decoration as one of the fine arts and adopted an ethos of affordability and anti-elitism.{{sfnm|1a1=Mackail|1y=1901|1pp=144–148|2a1=Thompson|2y=1955|2pp=92–93|3a1=MacCarthy|3y=1994|3pp=166–169}} For additional staff, they employed boys from the [[Industrial Home for Destitute Boys]] in [[Euston Road|Euston]], central London, many of whom were trained as apprentices.{{sfn|MacCarthy|1994|p=175}}

Although working within the Neo-Gothic school of design, they differed from Neo-Gothic architects like [[George Gilbert Scott]] who simply included certain Gothic features on modern styles of building; instead they sought to return completely to Medieval Gothic methods of craftmanship.{{sfn|Thompson|1955|pp=99–100}} The products created by the Firm included furniture, architectural carving, metalwork, stained glass windows, and murals.{{sfnm|1a1=Mackail|1y=1901|1pp=151–152|2a1=Thompson|2y=1955|2p=94|3a1=MacCarthy|3y=1994|3p=172}} Their stained glass windows proved a particular success in the firm's early years as they were in high demand for the surge in the Neo-Gothic construction and refurbishment of churches, many of which were commissioned by the architect [[George Frederick Bodley]].{{sfn|MacCarthy|1994|pp=176–177}} Despite Morris's anti-elitist ethos, the Firm soon became increasingly popular and fashionable with the bourgeoisie, particularly following their exhibit at the [[1862 International Exhibition]] in [[South Kensington]], where they received press attention and medals of commendation.{{sfnm|1a1=Mackail|1y=1901|1pp=154–155|2a1=Thompson|2y=1955|2pp=96–97|3a1=MacCarthy|3y=1994|3pp=179–181}} However, they faced much opposition from established design companies, particularly those belonging to the [[Neoclassical architecture|Neo-Classical]] school.{{sfn|Thompson|1955|p=96}}

[[File:William Morris design for Trellis wallpaper 1862.jpg|left|thumb|upright=0.8|Design for ''Trellis'' wallpaper, 1862]]

Morris was slowly abandoning lithography and painting, recognising that his work lacked a sense of movement; none of his paintings are dated later than 1862.{{sfn|MacCarthy|1994|p=181}}<ref>{{cite web |title=Lithograph Archives - William Morris Gallery |work=William Morris Gallery |url=https://wmgallery.org.uk/technique/lithograph/ |access-date=6 September 2024 |date=2024}}</ref> Instead he focused his energies on designing wallpaper patterns, the first being "Trellis", designed in 1862. His designs were produced from 1864 by Jeffrey and Co. of [[Islington]], who created them for the Firm under Morris's supervision.{{sfnm|1a1=Mackail|1y=1901|1p=156|2a1=MacCarthy|2y=1994|2pp=182–183}} Morris retained an active interest in various groups, joining the [[Hogarth Club]], the Mediaeval Society, and the Corps of Artist Volunteers, the latter in contrast to his later pacifism.{{sfn|MacCarthy|1994|p=170}}

Meanwhile, Morris's family continued to grow. In January 1861, Morris and Janey's first daughter was born: named [[Jane Alice Morris]], she was commonly known as "Jenny".{{sfnm|1a1=Mackail|1y=1901|1pp=160–161|2a1=MacCarthy|2y=1994|2pp=185–186}} Jenny was followed in March 1862 by the birth of their second daughter, [[May Morris|Mary "May" Morris]].{{sfnm|1a1=Mackail|1y=1901|1p=161|2a1=MacCarthy|2y=1994|2p=187}} Morris was a caring father to his daughters, and years later they both recounted having idyllic childhoods.{{sfn|MacCarthy|1994|pp=192–193}} However, there were problems in Morris's marriage as Janey became increasingly close to Rossetti, who often painted her. It is unknown if their affair was ever sexual, although by this point other members of the group were noticing Rossetti and Janey's closeness.{{sfn|MacCarthy|1994|pp=221–223}}

Imagining the creation of an artistic community at Upton, Morris helped develop plans for a second house to be constructed adjacent to Red House in which Burne-Jones could live with his family; the plans were abandoned when Burne-Jones's son Christopher died from [[scarlet fever]].{{sfnm|1a1=Mackail|1y=1901|1p=163|2a1=Thompson|2y=1955|2p=94|3a1=MacCarthy|3y=1994|3pp=193–195|4a1=Allen|4y=2001|4pp=22–23}} By 1864, Morris had become increasingly tired of life at Red House, being particularly unhappy with the 3 to 4 hours spent commuting to his London workplace on a daily basis.{{sfnm|1a1=Mackail|1y=1901|1p=162|2a1=MacCarthy|2y=1994|2p=193|3a1=Allen|3y=2001|3p=22}} He sold Red House, and in autumn 1865 moved with his family to No. 26 [[Queen Square, London|Queen Square]] in Bloomsbury, the same building to which the Firm had moved its base of operations earlier in the summer.{{sfnm|1a1=Mackail|1y=1901|1pp=164–165|2a1=Thompson|2y=1955|2p=94|3a1=MacCarthy|3y=1994|3pp=196–197}}

=== Queen Square and ''The Earthly Paradise'': 1865–1870 ===
[[File:George Frederic Watts portrait of William Morris 1870.jpg|thumbnail|upright| Portrait of William Morris by George Frederic Watts, 1870]]

At Queen Square, the Morris family lived in a flat directly above the Firm's shop.{{sfn|MacCarthy|1994|p=198}} They were joined by Janey's sister [[Elizabeth Burden]] and a number of household servants.{{Sfn|MacCarthy|1994|pp=198–199}} Meanwhile, changes were afoot at the Firm as Faulkner left, and to replace him they employed a business manager, Warrington Taylor, who would remain with them till 1866. Taylor pulled the Firm's finances into order and spent much time controlling Morris and ensuring that he worked to schedule.{{sfnm|1a1=Mackail|1y=1901|1pp=175–176|2a1=MacCarthy|2y=1994|2pp=207–210}} During these years the Firm carried out a number of high-profile designs; from September 1866 to January 1867, they redecorated the Armoury and Tapestry Room in [[St James's Palace]],{{sfn|MacCarthy|1994|p=211}} in the latter year also designing the Green Dining Room at the [[South Kensington Museum]] (it is now the Morris Room at the Victoria and Albert Museum).{{sfnm|1a1=Mackail|1y=1901|1pp=176–177|2a1=Thompson|2y=1955|2p=96|3a1=MacCarthy|3y=1994|3pp=212–213}} The Firm's work received increasing interest from people in the United States, resulting in Morris's acquaintance with [[Henry James]] and [[Charles Eliot Norton]].{{sfn|MacCarthy|1994|p=229–230}} However, despite its success, the Firm was not turning over a large net profit, and this, coupled with the decreasing value of Morris's stocks, meant that he had to decrease his spending.{{sfn|MacCarthy|1994|p=241}}

Janey's relationship with Rossetti had continued, and by the late 1860s gossip regarding their affair had spread about London, where they were regularly seen spending time together.{{sfn|MacCarthy|1994|pp=224, 253–254}} Morris biographer [[Fiona MacCarthy]] argued that it was likely that Morris had learned of and accepted the existence of their affair by 1870.{{sfn|MacCarthy|1994|p=259}} In this year he developed an affectionate friendship with Aglaia Coronio, the daughter of wealthy Greek refugees, although there is no evidence that they had an affair.{{sfnm|1a1=Mackail|1y=1901|1p=290|2a1=MacCarthy|2y=1994|2pp=270–273}} Meanwhile, Morris's relationship with his mother had improved, and he would regularly take his wife and children to visit her at her house in [[Leyton]].{{sfn|MacCarthy|1994|pp=214–215}} He also went on various holidays; in the summer of 1866 he, Webb, and Taylor toured the churches of northern France.{{sfn|MacCarthy|1994|p=215}}

[[File:Morris by Rossetti.jpg|left|thumb|A caricature sketch of Morris by Rossetti, ''The Bard and Petty Tradesman'', reflecting his behaviour at the Firm]]

In August 1866 Morris joined the Burne-Jones family on their holiday in [[Lymington]], while in August 1867 both families holidayed together in Oxford.{{sfn|MacCarthy|1994|p=216}} In August 1867 the Morrises holidayed in [[Southwold]], [[Suffolk]],{{sfn|MacCarthy|1994|p=217}} while in the summer of 1869 Morris took his wife to [[Bad Ems]] in [[Rhineland-Palatinate]], central Germany, where it was hoped that the local health waters would aid her ailments. While there, he enjoyed walks in the countryside and focused on writing poetry.{{sfnm|1a1=Mackail|1y=1901|1pp=401–204|2a1=MacCarthy|2y=1994|2pp=231–246}}

Morris had continued to devote much time to writing poetry. In 1867 Bell and Dandy published Morris's epic poem, ''The Life and Death of Jason'', at his own expense. The book was a retelling of the ancient Greek myth of the hero [[Jason]] and his quest to find the [[Golden Fleece]]. In contrast to Morris's former publication, ''The Life and Death of Jason'' was well received, resulting in the publishers paying Morris a fee for the second edition.{{sfnm|1a1=Mackail|1y=1901|1pp=183–186|2a1=MacCarthy|2y=1994|2p=204}}
From 1865 to 1870, Morris worked on another epic poem, ''[[The Earthly Paradise]]''. Designed as a homage to Chaucer, it consisted of 24 stories, adopted from an array of different cultures, and each by a different narrator; set in the late 14th century, the synopsis revolved around a group of Norsemen who flee the [[Black Death]] by sailing away from Europe, on the way discovering an island where the inhabitants continue to venerate the ancient Greek gods. Published in four parts by [[Frederick Startridge Ellis|F. S. Ellis]], it soon gained a cult following and established Morris's reputation as a major poet.{{sfnm|1a1=Mackail|1y=1901|1pp=179–183, 192–197, 204–208|2a1=Thompson|2y=1955|2pp=110–150|3a1=MacCarthy|3y=1994|3pp=199–203, 259–264}}

=== Kelmscott Manor and Iceland: 1870–1875 ===
[[File:KelmscottManor1.JPG|thumbnail|right|Main entrance to [[Kelmscott Manor]]]]

By 1870, Morris had become a [[public figure]] in Britain, resulting in repeated press requests for photographs, which he despised.{{sfn|MacCarthy|1994|pp=269–270}} That year, he also reluctantly agreed to sit for a portrait by establishment painter [[George Frederic Watts]].{{sfnm|1a1=Mackail|1y=1901|1p=213|2a1=MacCarthy|2y=1994|2p=270}} Morris was keenly interested in Icelandic literature, having befriended the Icelandic theologian [[Eiríkur Magnússon]]. Together they produced prose translations of the [[Eddas]] and Sagas for publication in English.{{sfnm|1a1=Mackail|1y=1901|1pp=200–201|2a1=Thompson|2y=1955|2pp=176–179|3a1=MacCarthy|3y=1994|3pp=290–291, 325}} Morris also developed a keen interest in creating handwritten illuminated manuscripts, producing 18 such books between 1870 and 1875, the first of which was ''A Book of Verse'', completed as a birthday present for Georgina Burne-Jones. 12 of these 18 were handwritten copies of Nordic tales such as ''[[Halfdan the Black]]'', ''[[Frithiof the Bold]]'', and ''The Dwellers of Eyr''. Morris deemed [[calligraphy]] to be an art form, and taught himself both Roman and italic script, as well as learning how to produce gilded letters.{{sfnm|1a1=Mackail|1y=1901|1pp=276–280|2a1=MacCarthy|2y=1994|2pp=264–269}} In November 1872 he published ''Love is Enough'', a poetic drama based on a story in the Medieval Welsh text, the ''[[Mabinogion]]''. Illustrated with Burne-Jones woodcuts, it was not a popular success.{{sfnm|1a1=Mackail|1y=1901|1pp=280–288|2a1=Thompson|2y=1955|2pp=151–153|3a1=MacCarthy|3y=1994|3pp=323–324}} By 1871, he had begun work on a novel set in the present, ''The Novel on Blue Paper'', which was about a love triangle; it would remain unfinished and Morris later asserted that it was not well written.{{sfn|MacCarthy|1994|pp=273–275}}

By early summer 1871, Morris began to search for a house outside London where his children could spend time away from the city's pollution. He settled on [[Kelmscott Manor]] in the village of [[Kelmscott]], [[Oxfordshire]], obtaining a joint tenancy on the building with Rossetti in June.{{sfnm|1a1=Mackail|1y=1901|1p=225|2a1=Thompson|2y=1955|2pp=161, 173|3a1=MacCarthy|3y=1994|3pp=275–276}} Morris adored the building, which was constructed ''circa'' 1570, and would spend much time in the local countryside.{{sfnm|1a1=Mackail|1y=1901|1p=225|2a1=Thompson|2y=1955|2pp=174–175|3a1=MacCarthy|3y=1994|3pp=311–314}} In contrast, Rossetti was unhappy at Kelmscott, and eventually suffered a mental breakdown.{{sfn|MacCarthy|1994|pp=319–321}} Morris divided his time between London and Kelmscott, however when Rossetti was there he would not spend more than three days at a time at the latter.{{sfn|MacCarthy|1994|p=335}} He became fed up with his family home in Queen Square, deciding to obtain a new house in London. Although retaining a personal bedroom and study at Queen Square, he relocated his family to Horrington House in Turnham Green Road, West London, in January 1873.{{sfnm|1a1=Thompson|1y=1955|1p=165|2a1=MacCarthy|2y=1994|2pp=325–326}} This allowed him to be far closer to the home of Burne-Jones, with the duo meeting on almost every Sunday morning for the rest of Morris's life.{{sfnm|1a1=Thompson|1y=1955|1p=165|2a1=MacCarthy|2y=1994|2p=361}}

{{multiple image
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| image1 = Morris Acanthus Wallpaper 1875.jpg
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| image2 = Rubaiyat Morris Burne-Jones Manuscript.jpg
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| footer = Morris's ''[[Acanthus (ornament)|Acanthus]]'' wallpaper design, (1875, left) and a page from Morris's illuminated manuscript of the ''[[Rubaiyat of Omar Khayyam]]'', illustrated by Edward Burne-Jones
}}
Leaving Jane and his children with Rossetti at Kelmscott, in July 1871 Morris left for Iceland with Faulkner, W. H. Evans, and Eiríkur. Sailing from the Scottish port of [[Granton, Edinburgh|Granton]] aboard a Danish [[mail boat]], they proceeded to the island via [[Tórshavn]] in the [[Faroe Islands]] before arriving at [[Reykjavík]], where they disembarked. There they met the President of the [[Althing]], [[Jón Sigurðsson]], with Morris being sympathetic to the [[Icelandic nationalism|Icelandic independence movement]]. From there, they proceeded by [[Icelandic horse]] along the south coast to [[Bergþórshvoll]], [[Þórsmörk]], [[Geysir]], [[Þingvellir]], and then back to Reykjavík, where they departed back to Britain in September.{{sfnm|1a1=Mackail|1y=1901|1pp=240–274|2a1=Thompson|2y=1955|2pp=179–182|3a1=MacCarthy|3y=1994|3pp=279–309}} In April 1873, Morris and Burne-Jones holidayed in Italy, visiting [[Florence]] and [[Siena]]. Although generally disliking the country, Morris was interested in the Florentine Gothic architecture.{{sfnm|1a1=Mackail|1y=1901|1pp=293–294|2a1=MacCarthy|2y=1994|2pp=307–308}} Soon after, in July, Morris returned to Iceland, revisiting many of the sites he had previously seen, but then proceeding north to [[Vatnajökull|Vatna glacier]] and [[Fljótsdalur]].{{sfnm|1a1=Mackail|1y=1901|1pp=294–298|2a1=MacCarthy|2y=1994|2pp=330–334}} His two visits to the country profoundly influenced him, in particular in his growing leftist opinions; he would comment that these trips made him realise that "the most grinding poverty is a trifling evil compared with the inequality of classes."{{sfnm|1a1=Thompson|1y=1955|1p=184|2a1=MacCarthy|2y=1994|2p=278}}

Morris and Burne-Jones then spent time with one of the Firm's patrons, the wealthy [[George Howard, 9th Earl of Carlisle]] and his wife Rosalind, at their medieval home in [[Naworth Castle]], [[Cumberland]].{{sfnm|1a1=Mackail|1y=1901|1p=304|2a1=MacCarthy|2y=1994|2pp=336–340}} In July 1874, the Morris family then took Burne-Jones's two children with them on their holiday to [[Bruges]], Belgium.{{sfnm|1a1=Mackail|1y=1901|1p=304|2a1=MacCarthy|2y=1994|2p=336}} However, by this point Morris's friendship with Rossetti had seriously eroded, and in July 1874 their acrimonious falling out led Rossetti to leave Kelmscott, with Morris's publisher [[Frederick Startridge Ellis|F.S. Ellis]] taking his place.{{sfnm|1a1=Mackail|1y=1901|1p=308|2a1=Thompson|2y=1955|2pp=162–163|3a1=MacCarthy|3y=1994|3pp=335–336}} With the company's other partners drifting off to work on other projects, Morris decided to consolidate his own control of the Firm and become sole proprietor and manager. In March 1875, he paid £1000 each in compensation to Rossetti, Brown, and Marshall, although the other partners waived their claims to financial compensation. That month, the Firm was officially disbanded and replaced by [[Morris & Co]], although Burne-Jones and Webb would continue to produce designs for it in future.{{sfnm|1a1=Mackail|1y=1901|1pp=305–308|2a1=Thompson|2y=1955|2p=97|3a1=MacCarthy|3y=1994|3pp=341–344}} This accomplished, he resigned his directorship of the Devon Great Consols, selling his remaining shares in the company.{{sfnm|1a1=Mackail|1y=1901|1p=324|2a1=Thompson|2y=1955|2p=192|3a1=MacCarthy|3y=1994|3p=347}}

=== Textile experimentation and political embrace: 1875–1880 ===
{{multiple image
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| image2 = Morris Peacock and Dragon Fabric 1878 v2.jpg
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| footer = Two of Morris's designs: ''Snakeshead'' printed textile (1876) and "Peacock and Dragon" woven wool furnishing fabric (1878)
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Now in complete control of the Firm, Morris took an increased interest in the process of textile dyeing and entered into a co-operative agreement with [[Thomas Wardle (industrialist)|Thomas Wardle]], a silk dyer who operated the Hencroft Works in [[Leek, Staffordshire]]. As a result, Morris would spend time with Wardle at his home on various occasions between summer 1875 and spring 1878.{{sfnm|1a1=Mackail|1y=1901|1pp=311–317|2a1=MacCarthy|2y=1994|2pp=348–350}} Deeming the colours to be of inferior quality, Morris rejected the chemical [[aniline]] dyes which were then predominant, instead emphasising the revival of organic dyes, such as [[indigo]] for blue, walnut shells and roots for brown, and [[cochineal]], [[kermes (dye)|kermes]], and [[Rose madder|madder]] for red.{{sfn|MacCarthy|1994|pp=351–352}} Living and working in this industrial environment, he gained a personal understanding of production and the lives of the proletariat, and was disgusted by the poor living conditions of workers and the pollution caused by industry; these factors greatly influenced his political views.{{sfn|MacCarthy|1994|pp=350, 356–357}} After learning the skills of dyeing, in the late 1870s Morris turned his attention to weaving, experimenting with silk weaving at Queen's Square.{{sfnm|1a1=Mackail|1y=1901|1p=351|2a1=MacCarthy|2y=1994|2pp=400–402}}

In the Spring of 1877, the Firm opened a store at No. 449 Oxford Street and obtained new staff who were able to improve its professionalism; as a result, sales increased and its popularity grew.{{sfnm|1a1=Mackail|1y=1901|1p=353|2a1=MacCarthy|2y=1994|2p=409}} By 1880, Morris & Co. had become a household name, having become very popular with Britain's upper and middle classes.{{sfn|MacCarthy|1994|p=412}} The Firm was obtaining increasing numbers of commissions from aristocrats, wealthy industrialists, and provincial entrepreneurs, with Morris furnishing parts of [[St James's Palace]] and the chapel at [[Eaton Hall, Cheshire|Eaton Hall]].{{sfn|MacCarthy|1994|pp=411–412}} As a result of his growing sympathy for the working-classes and poor, Morris felt personally conflicted in serving the interests of these individuals, privately describing it as "ministering to the swinish luxury of the rich".{{sfn|MacCarthy|1994|p=412}}

Continuing with his literary output, Morris translated his own version of [[Virgil]]'s ''[[Aeneid]]'', titling it ''The Aeneids of Vergil'' (1876). Although many translations were already available, often produced by trained Classicists, Morris claimed that his unique perspective was as "a poet not a pedant".{{sfnm|1a1=Mackail|1y=1901|1pp=320–323|2a1=MacCarthy|2y=1994|2pp=361–362}} He also continued producing translations of Icelandic tales with Magnússon, including ''Three Northern Love Stories'' (1875) and ''Völuspa Saga'' (1876).{{sfnm|1a1=Mackail|1y=1901|1pp=310–311, 330–335|2a1=MacCarthy|2y=1994|2pp=371–372}} In 1877 Morris was approached by [[Oxford University]] and offered the largely honorary position of Professor of Poetry. He declined, asserting that he felt unqualified, knowing little about scholarship on the theory of poetry.{{sfnm|1a1=Mackail|1y=1901|1pp=336–337|2a1=MacCarthy|2y=1994|2pp=pp=374–375}}

In summer 1876, Jenny Morris was diagnosed with [[epilepsy]]. Refusing to allow her to be societally marginalised or institutionalised, as was common in the period, Morris insisted that she be cared for by the family.{{sfnm|1a1=Mackail|1y=1901|1pp=328–330|2a1=MacCarthy|2y=1994|2pp=368–371}} When Janey took May and Jenny to [[Oneglia]] in Italy, the latter suffered a serious seizure, with Morris rushing to the country to see her. They then proceeded to visit a number of other cities, including [[Venice]], [[Padua]], and [[Verona]], with Morris attaining a greater appreciation of the country than he had on his previous trip.{{sfnm|1a1=Mackail|1y=1901|1pp=359, 366–370|2a1=MacCarthy|2y=1994|2pp=387–390}} In April 1879 Morris moved the family home again, this time renting an 18th-century mansion on [[Hammersmith]]'s Upper Mall in West London that was owned by the novelist [[George MacDonald]]. Morris named it Kelmscott House and re-decorated it according to his own taste.{{sfnm|1a1=Mackail|1y=1901|1pp=371–373|2a1=MacCarthy|2y=1994|2pp=391–398}} In the House's grounds he set up a workshop, focusing on the production of hand-knotted carpets.{{sfnm|1a1=Mackail|1y=1901|1p=373|2a1=MacCarthy|2y=1994|2pp=403–406}} Excited that both of his homes were along the course of the [[River Thames]], in August 1880 he and his family took a boat trip along the river from Kelmscott House to Kelmscott Manor.{{sfnm|1a1=Mackail|1y=1899|1pp=8–16|2a1=MacCarthy|2y=1994|2pp=424–428}}

[[File:William Morris by Sir William Blake Richmond retouched.jpg|thumb|upright|left|Portrait of William Morris by [[William Blake Richmond]]]]

Morris became politically active in this period, coming to be associated with the [[Radicalism (historical)|radicalist]] current within British [[liberalism]]. He joined the [[Eastern Question Association]] (EQA) and was appointed the group's treasurer in November 1876. EQA had been founded by campaigners associated with the centre-left [[Liberal Party (UK)|Liberal Party]] who opposed Prime Minister [[Benjamin Disraeli]]'s alliance with the [[Ottoman Empire]]; the Association highlighted [[Batak massacre|the Ottoman massacre of Bulgarians]] and feared that the alliance would lead Disraeli to join the Ottomans in [[Russo-Turkish War (1877–1878)|going to war]] with the [[Russian Empire]].{{sfnm|1a1=Mackail|1y=1901|1pp=347–351|2a1=Thompson|2y=1955|2pp=192–193, 202–225|3a1=MacCarthy|3y=1994|3pp=378–382}} Morris took an active role in the EQA campaign, authoring the lyrics for the song "Wake, London Lads!" to be sung at a rally against military intervention.{{sfnm|1a1=Mackail|1y=1901|1p=351|2a1=MacCarthy|2y=1994|2p=384}} Morris eventually became disillusioned with the EQA, describing it as being "full of wretched little personalities".{{sfnm|1a1=Mackail|1y=1901|1pp=362|2a1=MacCarthy|2y=1994|2pp=385–386}} He nevertheless joined a regrouping of predominantly working-class EQA activists, the [[National Liberal League (United Kingdom)|National Liberal League]], becoming their treasurer in summer 1879; the group remained small and politically ineffective, with Morris resigning as treasurer in late 1881, shortly before the group's collapse.{{sfnm|1a1=Mackail|1y=1899|1p=7|2a1=Thompson|2y=1955|2pp=261–265|3a1=MacCarthy|3y=1994|3pp=421–422}}

However, his discontent with the British liberal movement grew following the election of the Liberal Party's [[William Ewart Gladstone]] to the Premiership in 1880. Morris was particularly angered that [[Second Gladstone ministry|Gladstone's government]] did not reverse the Disraeli regime's [[First Boer War|occupation of the Transvaal]], introduced the [[Protection of Person and Property Act 1881|Coercion Bill]], and oversaw the [[Bombardment of Alexandria]].{{sfnm|1a1=Mackail|1y=1899|1pp=7–8|2a1=Thompson|2y=1955|2pp=264–266|3a1=MacCarthy|3y=1994|3p=423}} Morris later related that while he had once believed that "one might further real Socialistic progress by doing what one could on the lines of ordinary middle-class Radicalism", following Gladstone's election he came to realise "that Radicalism is on the wrong line, so to say, and will never develope [sic] into anything more than Radicalism: in fact that it is made for and by the middle classes and will always be under the control of rich capitalists".{{sfnm|1a1=Mackail|1y=1899|1p=103|2a1=Thompson|2y=1955|2pp=266–267|3a1=MacCarthy|3y=1994|3pp=422–423}}

In 1876, Morris visited the [[Church of St John the Baptist, Burford]], where he was appalled at the [[Building restoration|restoration]] conducted by his old mentor, G. E. Street. He recognised that these programs of architectural restoration led to the destruction or major alteration of genuinely old features in order to replace them with "sham old" features, something which appalled him.{{sfnm|1a1=Mackail|1y=1901|1p=340|2a1=Thompson|2y=1955|2pp=226–228|3a1=MacCarthy|3y=1994|3pp=375–377}} To combat the increasing trend for restoration, in March 1877 he founded the [[Society for the Protection of Ancient Buildings]] (SPAB), which he personally referred to as "Anti-Scrape". As he adopted the role of honorary secretary and treasurer, most of the other early members of SPAB were his friends, while the group's program was rooted in Ruskin's ''[[The Seven Lamps of Architecture]]'' (1849).{{sfnm|1a1=Mackail|1y=1901|1pp=339–346|2a1=Thompson|2y=1955|2p=228|3a1=MacCarthy|3y=1994|3pp=375–377}} As part of SPAB's campaign, Morris tried to build connections with art and antiquarian societies and the custodians of old buildings, and also contacted the press to highlight his cause. He was particularly strong in denouncing the ongoing restoration of [[Tewkesbury Abbey]] and was vociferous in denouncing the architects responsible, something that deeply upset Street.{{sfnm|1a1=Thompson|1y=1955|1p=229|2a1=MacCarthy|2y=1994|2pp=377–378}} Turning SPAB's attention abroad, in Autumn 1879 Morris launched a campaign to protect [[St Mark's Basilica]] in [[Venice]] from restoration, garnering a petition with 2000 signatures, among whom were Disraeli, Gladstone, and Ruskin.{{sfnm|1a1=Mackail|1y=1899|1pp=5–6|2a1=Thompson|2y=1955|2p=229|3a1=MacCarthy|3y=1994|3pp=415–416}}