brevis", meaning "Life is short, but art endures." The settle from Red Lion Square was installed here, on top of which was fashioned a minstrels' gallery designed for Christmas concerts. Designs were pricked into the ceilings and then painted with simple, bold patterns. Commenting on the designs being introduced by his friend, in February 1862 Burne-Jones wrote that "Top [i.e. Morris] thrives through bandy, and is slowly making Red House the beautifullest place on Earth." It was while living at Red House, in April 1861, that Morris co-founded a decorative arts company, Morris, Marshall, Faulkner & Co., with six other partners: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and Peter Paul Marshall. Operating from a 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 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. Although the Firm was becoming more successful, it did not generate large profits in its early years. Mackail suggests that as a result, the Morris family were placed under increasing financial strain as they attempted to retain the lavish lifestyle to which they had become accustomed. Morris was also considering expanding operations at Upton by moving the Firm's workshops to the village. As part of this,