The artistic and romantic force which had produced the Pre-Raphaelite movement had another important work to do five or six years later, when a fusion of two movements took place: the early Pre-Raphaelites represented by Rossetti, Holman Hunt, and Millais, joined the later movement inaugurated by Morris and Burne-Jones. The second of these groups originated at Exeter College, Oxford. It took shape like the first one in a revolt against the Art formulæ of the age. The Oxford group, like the P.R.B., had a magazine to express their views. At Christmas 1855 Burne-Jones came up to London and was introduced to Rossetti, whom he and Morris admired greatly. Rossetti contributed "The Burden of Nineveh," and a little altered version of "The Blessed Damozel" to the "Oxford and Cambridge Magazine," the organ of William Morris. One year later Burne-Jones and Morris settled in London in rooms at 17 Red Lion Square. Both young men were soon completely under Rossetti's influence, and their studio became a sort of centre for all members of his circle. There, in order to furnish and decorate these rooms, the first essays in designing furniture were made. Rossetti painted a pair of panels for a cabinet. He made use of the subject of his early pen-and-ink drawing, "The Salutation of Beatrice," representing, in two divisions, Dante meeting Beatrice in Florence and again in Paradise, with a figure of Love standing between them in the midst of symbols. Besides those panels Rossetti painted on the backs of two arm-chairs, "Gwendolen in the Witch-tower" and the "Arming of a Knight," both subjects from poems by William Morris. To 1857 belongs the charming series of water-colours acquired by William Morris: "The Damsel of the St. Grael," "The Death of Breuse sans pitié," "The Chapel before the Lists," "The Tune of Seven Towers," and "The Blue Closet." The two last were special favourites with Morris who used their romantic titles for two of his poems. This year also, he painted the "Wedding of St. George," "The Gate of Memory," "The Garden Bower," and a "Christmas Carol." During the vacation of 1857 Rossetti went to Oxford with Morris to visit the architect, Benjamin Woodward, who was constructing a debating-hall for the Union Society. Rossetti saw an opportunity for mural decoration, and arrangements were made with the building committee in charge that seven artists including Rossetti, Burne-Jones, and Morris, should undertake the decoration gratuitously, the Union only defraying their expenses at Oxford and providing all necessary material. Rossetti took for subjects, "Launcelot asleep before the Chapel of the Sanc Grael" and "Sir Galahad, Sir Bors, and Sir Percival, receiving the Sanc Grael." Before the pictures were finished they began to fade, the walls having been badly prepared and Rossetti's designs were never completed.