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“... whose attitudes were formed by Irish nationalism (of the John O’Leary school) and modified by William Morris socialism, democracy, Toryism and Fascism. These last four, it appears, were flirtations: nationalism was the abiding passion. When Yeats sought to develop it into a political philosophy, he came up with something more akin to the Burke of the ...”

“... or Centre Point of novels that will stand as something of a literary landmark. First the title. Morris wrote the original News from Nowhere (1890) at a poignant moment in his career. His most utopian vision of future socialism, the work coincided with the old man’s forced departure from his paper (in which it was serialised), the Commonweal, and with his ...”

“... fabrics and simple garments tend to align Laura Ashley with the reforming spirit of Ruskin and William Morris, to place her on the side of idealistic social reform rather than in league with the forces of reaction. Despite her manipulative and unenlightened personal style, her products followed her puritanical ideals and now seem to fit in with ...”

“... trends. For Taeuber, this meant the paintings of Gauguin and the Nabis, the work and thought of William Morris, and the radically reductive patterning seen in tribal art. In 1910 she moved to Munich to attend the Teaching and Research Studio for Applied and Fine Arts, known as the Debschitz School after its founder, Wilhelm von Debschitz. He too took ...”

“... apart the urban and rural radical traditions – an attempt which contrived, for instance, to make William Morris look bosky. Indeed, in ‘The Road’, a crucial 86-line poem which is not in Kavanagh, he celebrates their essential congruity – and a politics we do not meet again until the recollected ‘war’ poems of the asylum years: Anyhow folk ...”

“... he was impressed by Flemish painting. Later he studied at Ghent and in the Antwerp Academy. Unlike William Morris, Dante Gabriel Rossetti, or Edward Burne-Jones, Brown profited from a broad and thorough education in the business of painting. Later, his art became a passion and a vocation. But it never ceased to be a job from which a living had somehow to ...”

“... only invented a programme: he launched the modern fashion for political novels set in the future. William Morris hated Bellamy’s machine-like vision, with art relegated to the fringe of life. He wrote News from Nowhere in reply. Morris’s neo-Medieval, craftsmanly future contrasted with Bellamy’s ...”

“... he is quick to catch what he calls its ‘ache, or regret, or conjecture’. He greatly admires William Morris. He is snappish when young (Dickens ‘has added nothing to our understanding of human character’), stealthy when old (‘What Mr Conrad’s left hand gives back ... is simply Mr Conrad himself’), but he is always severe, and demanding. He ...”

“... Pioneers of Modern Design), the volume in which he traced the roots of the Modern Movement back to William Morris. With his well salaried job for Gordon Russell, he could afford to bring the family over to join him in London. The pressures which drove him to such extremes of industriousness, then and later, were unimaginable to Betjeman. Pevsner quickly ...”

“... that the question doesn’t call for an answer at all. It is as true now as it was in the days of William Morris that you only have to walk from one part of London to another with your eyes and ears – and nose – open to be aware that some people have a great deal more money than they need and other people a great deal less. Maybe Harrison’s ...”

“... of politics. The now semi-legendary Thompson announced in 1955 that Carpenter (unlike, of course, William Morris) represented the cosy intellectualism of those ‘whose aspirations are satisfied today by comfortably converted old cottages on the rural fringes of great towns, a goat in the paddock, and an occasional bout of classless bonhomie and darts in ...”

“... had turned into an exotic northern Arcadia for intrepid British travellers. Richard Burton, William Morris, Anthony Trollope, Mrs Alec Tweedie and Sabine Baring-Gould all trooped to the land of pumice and geysers. Most were ravished by the spectacle but all eventually had to come to terms with Iceland as a real country, struggling and ...”

“... to the 1880s, when Communards in exile met other revolutionaries, among them Marx, Kropotkin and William Morris. The book’s title is taken from the Artists’ Manifesto proclaimed by the Commune’s Artists’ Federation, which promised a world in which ‘everyone would … have his or her share of the best.’ Ross sets out to define ‘Communard ...”

“... ponderous than its subject deserves’ unnecessary. Ashbee’s ideas were a legacy of Ruskin and Morris: the Ruskin who could write of a little girl he saw in ill-fitting hand-me-downs when he was lecturing in Oxford that ‘nothing spoken about art’ could be ‘of the least use’ to anyone in his audience. ‘For their primary business, and mine, was ...”

“... in operatic performances in England’. Here and there are flashes of the later Shaw. He describes William Carter’s cantata, Placida, as ‘eminently inoffensive. It constantly refreshes the listener with reminiscences of familiar masters.’ A little later, Wagner’s overture to Tannhäuser holds the audience seated ‘despite the loss of the express at ...”