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. For additional staff, they employed boys from the Industrial Home for Destitute Boys in Euston, central London, many of whom were trained as apprentices. 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. The products created by the Firm included furniture, architectural carving, metalwork, stained glass windows, and murals. 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. 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. However, they faced much opposition from established design companies, particularly those belonging to the Neo-Classical school. Morris was slowly abandoning painting, recognising that his work lacked a sense of movement; none of his paintings are dated later than 1862. 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. 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. 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". Jenny was followed in March 1862 by the birth of their second daughter, Mary "May" Morris. Morris was a caring father to his daughters, and years later they both recounted having idyllic childhoods. However, there were problems in Morris's marriage as Janey became increasingly close to Rossetti, who often painted her. It is unknown if