Whereas in the Gladstone home illustrious and prominent statesmen, Anglican clergy, Oxbridge intellectuals, and artistic geniuses gathered,1 the Fitzroy Square set was decidedly more bohemian and unofficial: as Justin McCarthy describes in his Reminiscences, during the period contemporaneous with the Gladstones salons, an artistic London Bohemia developed around Fitzroy Square, the home of many painters and sculptors, authors and actors, journalists and politicians.2 As we shall see, Pre-Raphaelite associate and painter Ford Madox Brown was hosting regular gatherings at his Fitzroy Square home, brilliant parties3 that were held fortnightly from 1866 for about 8 years4 and were regularly attended by the core group of the PreRaphaelite circle including Dante Gabriel, William Michael, and Christina Rossetti; William Holman Hunt; Algernon Charles Swinburne; William Morris; and many more. ...these late Victorian innovations in music have had and continue to have enormous impact through musical settings that motivate translations and carry Pre-Raphaelite poetry around the globe.9 Today, melopoetics and the study of musical settings of Pre-Raphaelite poetry is an important and emergent stream of Pre-Raphaelite criticism. A Fitzrovian Bohemia In November 1865, Ford Madox Brown moved his family to a fashionable address at 37 Fitzroy Square, and there they became "serious party-givers" (Newman and Watkinson, p. 145) and as Madox Brown's own diary observes, this home became "distinguished as a centre for men of letters and from the world of art" (qtd. in Newman and Watkinson, p. 210, n. 25). The Madox Browns' "large and brilliant parties" hosted leading figures from "the worlds of art, literature, and politics"; indeed, Angela Thirlwell describes Madox Brown's home as "the nucleus and focus of the whole undefined organization" (pp. 218-219).