Hughes's beautiful "April Love," which was exhibited at the Royal Academy that year, together with Hunt's "Scapegoat," Millais's "Autumn Leaves," and Wallis's "Death of Chatterton."
At the end of this summer, Street removed his headquarters from Oxford to London, and Morris came up with him. In August he and Burne-Jones took rooms together in Upper Gordon Street, Bloomsbury, a neighbourhood convenient to both as being close both to Street's office in Montague Place and to the various drawing schools known under the generic name of Gandish's in the neighbourhood of Fitzroy Square. Some extracts from a letter written from Oxford in July may show the ferment working in his brain.
"I have seen Rossetti twice since I saw the last of you; spent almost a whole day with him the last time, last Monday, that was. Hunt came in while we were there, a tallish, slim man with a beautiful red beard, somewhat of a turn-up nose, and deep-set dark eyes: a beautiful man.... Rossetti says I ought to paint, he says I shall be able; now as he is a very great man, and speaks with authority and not as the scribes, I must try. I don't hope much, I must say, yet will try my best—he gave me practical advice on the subject.... So I am going to try, not giving up the architecture, but trying if it is possible to get six hours a day for drawing besides office work. One won't get much enjoyment out of life at this rate, I know well, but that don't matter: I have no right to ask for it at all events—love and work, these two things only.... I can't enter into politico-social subjects with any interest, for on the whole I see that things are in a muddle, and I have no power or vocation to set them right in ever so little a degree. My work is the embodiment of dreams in one form or another....
