And to these years of intimacy with Ruskin belong nearly all the finest drawings of his “Morte D’Arthur” series, such as “King Arthur’s Tomb” (called sometimes “The Last Meeting of Launcelot and Guinevere,” though the design by no means gives the impression of a meeting in the flesh), “The Damozel of the Sanct Grael,” “The Chapel before the Lists,” “The Meeting of Sir Tristram and Iseult,” “Sir Galahad in the Ruined Chapel,” “Sir Galahad and Sir Bors,” “Launcelot Escaping from Guinevere’s Chamber,” and “The Death of Breuse sans Pitié;” together with a fresh and important group of Biblical subjects treated in a more daringly romantic manner than before, including “The Passover in the Holy Family,” “Bethlehem Gate,” “Ruth and Boaz,” “The Crucifixion,” “Mary in the House of John,” and the first sketch for “Mary Magdalene at the Door of Simon the Pharisee;” also the “Triptych” for the altar-piece of Llandaff Cathedral, “The Infant Christ Adored by a Shepherd and a King.” The Dante subjects again appear in 1854–55, with “Francesca di Rimini,” “Paolo and Francesca,” “Matilda Gathering Flowers” (from the “Purgatorio”), “Dante’s Vision of Rachel and Leah,” “Dante at Verona,” and the first version of the picture afterwards among Rossetti’s masterpieces, “Dante’s Dream.” The little drawings of “The Tune of the Seven Towers” in 1850, “Carlisle Tower,” “Fra Angelico Painting,” and “Giorgione Painting” in 1853, “The Queen’s Page” (from Heine) in 1854, “Fra Pace” and “Monna Rosa” in 1856, “The Blue Closet,” “The Blue Bower,” “The Bower Garden,” and the first design for a favourite subject variously known as “Aurelia” and “Bonifazio’s” or “Fazio’s Mistress” in 1857; these, together with some further sketches for “La Belle Dame sans Merci,” a number of portraits of Miss Siddal, Browning, Tennyson, and Swinburne, whom he knew in 1857, are but a selection from the almost countless studies, in pencil, pen and ink, neutral tint, water-colour, and occasional oil, scattered over Rossetti’s transition period. “MARY MAGDALENE AT THE DOOR OF SIMON THE PHARISEE.” From a drawing. _By permission of Lord Battersea and Overstrand._ [Illustration: Mary Magdalene] “St. Luke the Painter,” in 1857, is notable as being Rossetti’s first success in coloured chalk; a medium which he affected more freely in after years, and with extraordinary power and felicity; the medium, in fact, in which some of the noblest of his later half-length symbolic figures were executed.