tate Gabriel as much as I can." The new gospel was carried down to those of the set who still remained at Oxford, and they were all put to drawing or modelling as if their life depended on it.
When Morris ceased to be all day at Street's office, the lodgings in Upper Gordon Street became inadequate for both him and Burne-Jones to work in. They were also rather expensive. Burne-Jones was poor; and Morris, while he was under Rossetti's guidance, had to buy pictures as well as paint them. "Yesterday," runs an entry in Madox Brown's diary for the 24th of August, 1856, "Rossetti brought his ardent admirer Morris of Oxford, who bought my little Hayfield for ₤40." Just then the rooms at 17, Red Lion Square, which Rossetti and Deverell had occupied in the early days of the Pre-Raphaelite Brotherhood, happened to be vacant; and at Rossetti's suggestion, they removed there. It was a first floor set of three rooms: the large room in front looked north, and its window had been heightened up to the ceiling to adapt it for use as a studio; behind it was a bedroom, and behind that another small bedroom or powdering closet. Till the spring of 1859 this was their London residence and working place, and it is round Red Lion Square that much of the mythology of Morris's earlier life clusters. From the incidents which occurred or were invented there, a sort of Book of the Hundred Merry Tales gradually was formed, of which Morris was the central figure. A great many of these stories are connected with the maid of the house, who became famous under the name of Red Lion Mary. She was very plain, but a person of great character and unfailing good humour, with some literary taste and a considerable knowledge of poetry. She cooked and mended for the new
