The "Vita Nuova" also furnished the subject of a small water-colour of 1849, representing _Beatrice at the Wedding Feast denying her salutation to Dante_. The poet, with a friend grasping his arm as if to restrain him, stands watching a procession of figures clad in blue and green, and adorned with roses in their hair. The central figure of the bridal procession is a portrait of Miss Elizabeth Eleanor Siddal, who first came into Rossetti's life at about this date. She was the daughter of a Sheffield cutler, and was employed in a milliner's shop off Leicester Square, where Walter Deverell discovered her one day when shopping with his mother. She was persuaded to sit to Deverell for his _Viola_, and later to Rossetti. Her portrait also occurs in a picture by Holman Hunt and in Millais's _Ophelia_. Both on account of her romantic history and her individual attractions, the personality of Miss Siddal has always exercised a delicate charm over those who love Rossetti. She was the model for most of Rossetti's earliest and finest water-colours containing women, and probably for all his Beatrices except the last. To resume the tale of early work, in 1851 Rossetti continued to be engaged on small subjects of a mediaeval or dramatic character. We have, for instance, the charming little group called _Borgia_, in which the famous Lucretia is seen seated with a lute in her hands, to the music of which two children are dancing. Over her shoulders lean on the one side the bloated Pope Alexander VI, on the other her brother Caesar, beating time with a knife against a wine-glass on the table, and blowing the rose-petals from her hair. Lucretia's white gown is of ample folds, with elaborate sleeves, looped up all over with coloured ribbons and bows, a device which so took Rossetti's fancy that he repeated it in _Bonifazio's Mistress_ (1860). In the same year (1851) was produced the first design for a subject of weird and ghostly conception, called _How they met Themselves_. This depicts a pair of lovers wandering at twilight in a wood, and suddenly confronted with their own doubles. The legend of the Doppelganger was one of a class of mysterious horrors which greatly appealed to Rossetti's imagination, and which fascinated him from boyhood. Few but he however would have dared to draw it, and fewer still could have succeeded with it. The first design just referred to, was drawn in pen-and-ink, and was destroyed or lost at an early date; but Rossetti redrew it in 1860 whilst at Paris on his honeymoon, and four years later painted two water-colour versions.