On November 11, 1878, Rossetti wrote to Watts-Dunton: "Friday night exactly made a year since my return to London in 1877 & you know how well I have been the whole of that time." Indeed, in 1878-79, Rossetti lived what might appear to be a more tranquil version of his first years at Cheyne Walk.The long breach with Ford Madox Brown finally ended, and he began to see his brother regularly again.
Rossetti also managed to complete commissions for William Graham and Frederick Leyland. He finished Fiammetta for William A. Turner, and painted a few more portraits. He was much occupied with the replica of the large Dante's Dream, purchased by Leonard Rowe Valpy in 1875.In 1878 Valpy decided that he would have no room for it in a new house, and agreed to take further works in its place. By early September, Rossetti said he was "bedevilled with Valpy," and the negotiations over which pictures and what size they should be were not settled until after Rossetti's death. Artistic matters outside his studio concerned him as well. The appearance of forgeries of his works forced him to advertise in The Times and the Athenæum in July 1878.
In truth, his depression was seldom far away; he was often unable to work. His repeated letters to Watts-Dunton and Shields, asking them to come over, reveal his need for companionship, preferably in his own home, that was a constant of his character. Jane Morris was rarely in London, where they met occasionally, though they kept up their correspondence. "Your sweet faithfulness in the value you set on what I do is most touching to me. Those who made apes of themselves and kissed my hands with insane obeisance in early days now ignore me or make me a figure of fun; but you are always faithful, and always will be, I know."