While at Oxford, in the summer of 1857, at the theatre, Rossetti was very much impressed one night by the striking beauty of Miss Burden, the daughter of an Oxford resident. He obtained an introduction in order to ask for sittings. A pen-and-ink head called "Queen Guinevere," probably meant to replace the earlier studies done for "Launcelot at the Shrine," was the first result of the new acquaintance. Several years later, after the death of his wife, Miss Burden, then Mrs. William Morris, again sat to Rossetti for several of his important pictures. [Illustration: PLATE V.--THE BOWER MEADOW From the oil painting (32 in. by 25 in.) in the collection of the late Sir John Milburn, Bart., Acklington, Northumberland Of this charming composition the landscape background was painted at Sevenoaks in 1850, and the figures were added and the whole finished in 1872.] IV On the 23rd of May 1860, the long delayed marriage of Rossetti to Miss Siddal took place in St. Clement's Church, Hastings, and the married couple went to Paris for their honeymoon. While staying there Rossetti did two pen-and-ink drawings one of which called "How they meet themselves," was done to replace the one made in 1851 and lost; the other representing a scene from the "Life of Johnson" by Boswell, quite an unusual subject for the artist. To the same year belongs the picture representing Lucrezia Borgia washing her hands after preparing poison for her husband the Duke Alphonso of Bisceglia. In 1861 Rossetti's translation from the Italian poets was at last published with the "Vita Nuova" in a volume entitled "The Italian Poets from Cuillo d'Alcamo to Dante Alighieri (1100, 1200, 1300)." The painter poet was enabled to publish this book through Messrs. Smith, Elder & Co. by the generous assistance of Ruskin who advanced £100 to the publisher, but the sale of the first edition was only just sufficient to pay that sum back, leaving a balance of about £10 to the author. He proposed to etch for the frontispiece a charming design of which various pen-and-ink versions exist, but being displeased with the plate he destroyed it. In the same year he painted a small portrait of his wife called "Regina Cordium." The head with ruddy hair hanging loose on the shoulders against a gold background, fills nearly all the canvas and a hand is seen on the left side of the picture holding a pansy. More than one replica of that portrait exists, and several heads from different sitters are called "Regina Cordium." Another important production of the year is "Cassandra." The subject is a scene on the walls of Troy before Hector's last battle. He has been warned in vain by the prophetess, who is seen leaning against a pillar, tearing her clothes in despair. Hector is rushing down the steps, and the whole composition is full of soldiers, every space being filled with some incident related to the central subject, giving that aspect of concentrated composition so special to Rossetti.