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Rossetti and Lizzie revel in their new-found status and wealth, acquired courtesy of Ruskin's generous patronage. Swept up in a whirlwind of late-night partying and debauchery, they forget about their art, including the commissions they've promised to complete.

Ruskin is less than impressed. He threatens to end his support unless they calm down and focus. He instructs Lizzie to report to his house every day, in order to paint in his studio. He also instructs her, to Rossetti's annoyance, to stay at her parents' house each night, in order to avoid further temptation to stray from her art. Lizzie responds swiftly and obediently to Ruskin's orders, leaving a disgruntled Rossetti to get back to the church mural he's been commissioned to paint.

Rossetti, as usual, struggles to knuckle down and instead goes out on the town again, commencing a raunchy affair with the street girl Fanny Cornforth. Fanny's beauty, unlike Lizzie's, is large, fleshy and voluptuous, and it inspires in Rossetti a new, richer and more sensual style of painting. Indeed, Fanny's unbridled hedonism, as opposed to Lizzie's tendency towards neurosis, inspires in Rossetti a new lease of life. He receives further creative succour from his new young students, William Morris and Ned Burne-Jones, who offer their unadulterated worship and also their much-needed assistance with the dreaded church mural.

While Rossetti enjoys himself, Lizzie, worried about losing him to another woman, struggles to obey Ruskin's orders to keep away. It's only a matter of time before she returns to find him in Fanny's arms.