A joint establishment set up by the two young couples in High Street, Marylebone, endured for about three months; a quarrel ended in separation, and the Morlands found new quarters in Great Portland Street. It was during his early married life that the artist painted, among others, the six famous pictures known as the "Lætitia Series," for which his wife sat as model. The move to Great Portland Street was the first of the numerous changes of residence made by Morland during his married life. During the first two years these changes were dictated by the success which enabled him to house himself more comfortably; but the period of steadiness and hard work was so brief that it may be dismissed in a few lines. The advent of a still-born child, and the knowledge that he might not hope to be a father, appear to have been the means of unsettling him in his domestic capacity; and the indifference of his wife to the music he loved may have contributed to the same end; but the fact remains that within a year of marriage Morland began to neglect her. He acquired the habit of making trips into the country during the day and resorting to musical gatherings at night, leaving Mrs. Morland much to her own devices. He was not idle in the ordinary sense of the word. Gifted with extraordinary facility, he painted numerous pictures which, if sold in business-like fashion, would have produced enough to raise him to affluence; but he had inherited from his father, in intensified form, a singular lack of common sense. He sold his pictures for any sum that might be offered, regardless of the fact that the purchasers took them direct to dealers in the certainty of disposing of them for double the money. Even while working on these lines his prolific brush and steadily increasing reputation enabled him to make a good income; but success, if the expression may be used, "went to his head." He launched out into the wildest extravagance, regulating his expenditure by the ease with which he could borrow rather than by the ease with which he could earn, and while he had cash in his pocket he would not work. As his reputation grew, largely through the medium of the engravings made from his pictures, the anxiety of dealers and others to secure works from his easel grew in ratio with it; his natural readiness to borrow was encouraged on every side by those who intended, or hoped, to obtain in pictures more than the equivalent of the money they advanced, and Morland gave promissory notes with joyful recklessness, absolutely indifferent to the load of debt he was rolling up.