could stay no longer, I went away, having carefully concealed from him the desire I had to be a painter."
After this vacation, Burne-Jones returned to Oxford, more confirmed than ever in his resolution of becoming a painter at once. During the Lent term he continued to read for the Final Schools; but at Easter he went up to London permanently, and left college without taking a degree. Meanwhile Morris had, on the 21 st of January, signed his articles with Street and begun work in Street's office in Beaumont Street, living himself in lodgings in St. Giles's, in a house opposite St. John's. Street's senior clerk was then Philip Webb, a man a few years older than Morris. Between them there arose a close and lifelong friendship. When Webb left Street's office in 1859 his place was taken by Norman Shaw. It is hardly too much to say that the work of these three men has, in the course of a generation, revolutionized domestic architecture throughout England.
Morris plunged with his usual ardour and thoroughness into his new profession. His single holiday for several months was on the day when he took his Bachelor's degree. The evenings during term were, as before, spent with the old set, who were still in residence, with the exception of Fulford, now installed in London as editor of the magazine and literary man. "Edward says," writes Miss Price in February, "that Fulford has become very serious." Browning's "Bishop Blougram," published in the previous year, was one of the poems which were eagerly discussed by the set about this time. Emigration to Australia or New Zealand was then greatly in the air as a sort of gospel. Madox Brown's picture, "The Last of England," painted between the years 1852 and 1855, marks the culmination of the movement. It already appears
