To the year following, 1852, belongs a remarkable water-colour, representing Giotto painting a famous portrait of Dante which was discovered on removing the plaster from the wall of the Bargello in 1839. Giotto is in dull red, with brocaded sleeves turned back. To his left is seated Dante, cutting a pomegranate in his hand, and gazing down with a rapt expression to where Beatrice is passing in a church procession. Behind Giotto stands his master, Cimabue, watching the work which is to eclipse his; and behind Dante leans his rival, Cavalcanti, holding in his hand a book of Guinicelli, symbolizing thereby the three generations of poets. Nothing else of importance is catalogued under the year 1852, but in 1853 we come to one or two well-known designs and pictures. First may be mentioned the pen-and-ink drawing entitled _Hesterna Rosa_, founded upon the plaintive song of Elena in Sir Henry Taylor's "Philip van Artevelde": "Quoth tongue of neither maid nor wife To heart of neither wife nor maid, 'Lead we not here a jolly life Betwixt the shine and shade?' Quoth heart of neither maid nor wife To tongue of neither wife nor maid, 'Thou wag'st, but I am sore with strife, And feel like flowers that fade.'" The scene represents two gamblers throwing dice, and their mistresses, one of whom in a fit of shame is covering her face. She is the "yesterday's rose." The other clasps her arms round the neck of her lover, and is singing a merry song. An innocent little child near by is touching a lute, and Rossetti has completed the other aspect of the scene by putting in an ape scratching itself, a Düreresque touch which he added also in the little _Borgia_ group. A water-colour version of the same subject was painted in 1865, and a larger version, bearing the title _Elena's Song_, was painted in 1871. The starting of _Found_ is one of the most memorable events in connection with the year 1853. The subject is a countryman or drover recognizing in a fallen woman of the streets his own lost sweetheart. _Found_ was commissioned by a Mr. MacCracken, who was also the purchaser of _Ecce Ancilla_, in 1853, and several studies were made for it. The picture however was never finished. "It was," writes Mr. W. M. Rossetti, "a source of lifelong vexation to my brother and to the gentlemen, some three or four in succession, who commissioned him to finish it." After his death, Sir Edward Burne-Jones consented to give a sort of finish to the picture by washing in blue sky. In its half-completed state it passed into the possession of Mr. William Graham, and after his death it went to America. * * * * *