(2) The Blue Closet. This was painted in 1857, and formed one of a notable series of small water-colours which once belonged to William Morris. Although neither Dantesque nor Arthurian in subject, it is strongly akin to the latter class in its feeling for mediaeval chivalry and dress, and has been chosen because both in colouring and composition it is one of the most perfect examples of Rossetti's early work. It represents two queens, the one on the left in red with green sleeves, and the one on the right in crimson and gray, playing upon opposite sides of an inlaid clavichord or dulcimer. Two other ladies stand behind them singing. Blue tiles on the wall and on the floor suggest the title, which in its turn gave rise to one of William Morris's poems.
The next illustration given, as typical of Rossetti's intermediate period is—
(3) Beata Beatrix, which was bequeathed to the National Collection by Lady Mount Temple, to whom it formerly belonged. This is so well known from reproductions that it is unnecessary to describe it in detail, further than to say that it represents symbolically the death of Beatrice as set forth in the "Vita Nuova." Beatrice is not dead, but is seated on a balcony in a trance, whilst standing a little way in the background watching her are Dante and the figure of Love. A crimson bird, the messenger of Death, is letting fall a poppy into her lap. Beatrice is robed in pure green, such as Rossetti loved to paint, with faint purple sleeves. A dial marks the fateful hour which was to bear her, on that 9th of June, 1290, "to be glorious under the banner of the blessed Queen Mary." On the frame, designed by Rossetti himself, are the first words of the lamentation from Jeremiah, Quomodo sedet sola civitas: "How doth the city sit solitary that was full of people." There is a replica of this picture in the Corporation Art Gallery of Birmingham, but it was an unfinished one which was worked on after Rossetti's death by Madox Brown.
Our next illustration is from a pen-and-ink drawing, and is typical of a branch of work in which Rossetti excelled almost as notably as Burne-Jones. It represents:
(4) Mary Magdalene at the house of Simon the Pharisee. The date of this famous drawing is 1853, but it was not actually finished until some years later. The scene represents a procession of revellers, amongst whom is the Magdalene with her lover. In passing the door of Simon she sees within it the face of Christ, and striving to leave her companions she tears off the garland from her head and presses up the steps. Christ is watching her, and waits for her to reach him, whilst the others try to bar her passage. A young doe is cropping the bush which grows against the wall of the house.
(5) The Beloved, painted in 1866, is probably the most perfect of all Rossetti's pictures. The subject is the Bride of the Psalms advancing to her lover. "She shall be brought unto the king in raiment of needlework; the virgins that be her fellows shall bear her company." In the centre of the group is the bride, arrayed in such gorgeous stuffs as only Rossetti could imagine, of an indescribable green with flowing sleeves gorgeously embroidered in gold and red. On her head is an ornament of scarlet oriental featherwork which flashes like a jewel. Four dark-haired maidens accompany her, whose heads form a frame to her own beauty, and in front a little negro boy, with jewelled collar and headband, bears a golden vase of roses. The figures, though life-size, are only painted half-length. The faces are not of the type usually associated with Rossetti, and form a sufficient answer in themselves to those who think that he never painted from more than one model. The bride's, in particular, is a face of extraordinary beauty. The Beloved is one of a fine trio of pictures commissioned by the late Mr. George Rae of Birkenhead, the other two being Monna Vanna and Sibylla Palmifera. As stated already, they represent Rossetti's prime, when his work was technically at its best, and before his health had broken down and driven him into forced or morbid mannerisms.
(6) Mariana. This picture belongs to 1870, and was at one time in the great Graham collection. The title is taken from "Measure for Measure," and has no connection with Tennyson's poem. It was begun originally in 1868, as a portrait of Mrs. Morris, and in most essentials resembles the beautiful picture lent by her to the Tate Gallery. Rossetti discarded the canvas at the time in favour of the latter version, but took it up again afterwards, painted in the figure of the boy singing, and gave it the Shakespeare name with the legend from the page's song, "Take, O take those lips away." In the Tate picture Mrs. Morris is seated at a table before a jar of roses; here the lady is holding an embroidery frame, but in each case she wears a gown of marvellous blue with contrasting chains and jewels.
DANTE'S DREAM.