After the death of his wife, Rossetti leased a Tudor House at 16, Cheyne Walk, in Chelsea, where he lived for 20 years surrounded by extravagant furnishings and a parade of exotic birds and animals.
Rossetti was fascinated with wombats, asking friends to meet him at the "Wombat's Lair" at the London Zoo in Regent's Park, and spending hours there.
In September 1869, he acquired the first of two pet wombats, which he named "Top".
It was brought to the dinner table and allowed to sleep in the large centrepiece during meals.
Rossetti's fascination with exotic animals continued throughout his life, culminating in the purchase of a llama and a toucan, which he dressed in a cowboy hat and was trained to ride the llama round the dining-table for his amusement.

Rossetti maintained Fanny Cornforth (described delicately by William Allington as Rossetti's "housekeeper") in her own establishment nearby in Chelsea, and painted many voluptuous images of her between 1863 and 1865.

In 1865, he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for Veronica Veronese, The Blessed Damozel, A Sea–Spell, and other paintings.
She sat for more of his finished works than any other model, but comparatively little is known about her due to the lack of any romantic connection with Rossetti.
He spotted her one evening in the Strand in 1865 and was immediately struck by her beauty.
She agreed to sit for him the following day, but failed to arrive.
He spotted her again weeks later, jumped from the cab he was in and persuaded her to go straight to his studio.
He paid her a weekly fee to sit for him exclusively, afraid that other artists might employ her.
They shared a lasting bond; after Rossetti's death Wilding was said to have travelled regularly to place a wreath on his grave.

Jane Morris, whom Rossetti had used as a model for the Oxford Union murals he painted with William Morris and Edward Burne-Jones in 1857, also sat for him during these years, she "consumed and obsessed him in paint, poetry, and life".
Jane Morris was also photographed by John Robert Parsons, whose photographs were painted by Rossetti.
 In 1869, Morris and Rossetti rented a country house, Kelmscott Manor at Kelmscott, Oxfordshire, as a summer home, but it became a retreat for Rossetti and Morris to have a long-lasting and complicated liaison.
They spent summers there with the Morris's children, while Morris travelled to Iceland in 1871 and 1873.

During these years, Rossetti was prevailed upon by friends, in particular Charles Augustus Howell, to exhume his poems from his wife's grave which he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti.
They created controversy when they were attacked as the epitome of the "fleshly school of poetry".
Their eroticism and sensuality caused offence.
One poem, "Nuptial Sleep", described a couple falling asleep after sex.
It was part of Rossetti's sonnet sequence The House of Life, a complex series of poems tracing the physical and spiritual development of an intimate relationship.
Rossetti described the sonnet form as a "moment's monument", implying that it sought to contain the feelings of a fleeting moment, and reflect on their meaning.
The House of Life was a series of interacting monuments to these moments – an elaborate whole made from a mosaic of intensely described fragments.
It was Rossetti's most substantial literary achievement.
The collection included some translations, including his "Ballad Of Dead Ladies", an 1869 translation of François Villon's poem "Ballade des dames du temps jadis".
 (The word "yesteryear" is credited to Rossetti as a neologism used for the first time in this translation.)

In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence.
After the death of his wife, Rossetti leased a Tudor House at 16, Cheyne Walk, in Chelsea, where he lived for 20 years surrounded by extravagant furnishings and a parade of exotic birds and animals. Rossetti was fascinated with wombats, asking friends to meet him at the "Wombat's Lair" at the London Zoo in Regent's Park, and spending hours there. In September 1869, he acquired the first of two pet wombats, which he named "Top". It was brought to the dinner table and allowed to sleep in the large centrepiece during meals. Rossetti's fascination with exotic animals continued throughout his life, culminating in the purchase of a llama and a toucan, which he dressed in a cowboy hat and was trained to ride the llama round the dining-table for his amusement.
Rossetti maintained Fanny Cornforth (described delicately by William Allington as Rossetti's "housekeeper") in her own establishment nearby in Chelsea, and painted many voluptuous images of her between 1863 and 1865.
In 1865, he discovered auburn-haired Alexa Wilding, a dressmaker and would-be actress who was engaged to model for him on a full-time basis and sat for Veronica Veronese, The Blessed Damozel, A Sea–Spell, and other paintings. She sat for more of his finished works than any other model, but comparatively little is known about her due to the lack of any romantic connection with Rossetti. He spotted her one evening in the Strand in 1865 and was immediately struck by her beauty. She agreed to sit for him the following day, but failed to arrive. He spotted her again weeks later, jumped from the cab he was in and persuaded her to go straight to his studio. He paid her a weekly fee to sit for him exclusively, afraid that other artists might employ her. They shared a lasting bond; after Rossetti's death Wilding was said to have travelled regularly to place a wreath on his grave.
Jane Morris, whom Rossetti had used as a model for the Oxford Union murals he painted with William Morris and Edward Burne-Jones in 1857, also sat for him during these years, she "consumed and obsessed him in paint, poetry, and life". Jane Morris was also photographed by John Robert Parsons, whose photographs were painted by Rossetti.  In 1869, Morris and Rossetti rented a country house, Kelmscott Manor at Kelmscott, Oxfordshire, as a summer home, but it became a retreat for Rossetti and Morris to have a long-lasting and complicated liaison. They spent summers there with the Morris's children, while Morris travelled to Iceland in 1871 and 1873.
During these years, Rossetti was prevailed upon by friends, in particular Charles Augustus Howell, to exhume his poems from his wife's grave which he did, collating and publishing them in 1870 in the volume Poems by D. G. Rossetti. They created controversy when they were attacked as the epitome of the "fleshly school of poetry". Their eroticism and sensuality caused offence. One poem, "Nuptial Sleep", described a couple falling asleep after sex. It was part of Rossetti's sonnet sequence The House of Life, a complex series of poems tracing the physical and spiritual development of an intimate relationship. Rossetti described the sonnet form as a "moment's monument", implying that it sought to contain the feelings of a fleeting moment, and reflect on their meaning. The House of Life was a series of interacting monuments to these moments – an elaborate whole made from a mosaic of intensely described fragments. It was Rossetti's most substantial literary achievement. The collection included some translations, including his "Ballad Of Dead Ladies", an 1869 translation of François Villon's poem "Ballade des dames du temps jadis".  (The word "yesteryear" is credited to Rossetti as a neologism used for the first time in this translation.)
In 1881, Rossetti published a second volume of poems, Ballads and Sonnets, which included the remaining sonnets from The House of Life sequence.
Dante Gabriel Rossetti