To resume the thread of Rossetti's work, the well-known picture of _Beata Beatrix_, now in the National Collection, bears date 1863, but was only partially painted in that year, the completion being long delayed. One reason for the difficulty may have been that Rossetti desired to make this picture a living memorial of his wife, and that no regular studies of the face had been done for it. What he felt about it we may gather from the fact that for some years he refused to send out a replica, even when replicas had become a regular and lucrative form of business. In the end, however, he was prevailed upon to paint more than one repetition of the subject, none however equal in quality to the original. To 1863 belongs a small oil picture called _Helen of Troy_, a full-faced study, head and shoulders only, of a rather pretty model, with masses of rippling yellow hair. The last of the _St. George_ subjects also belongs to this year, and represents St. George in the act of slaying the dragon; a water-colour version of one of the incidents in a series designed for windows, but treated a little differently. Next come three small subjects: _Belcolore_, a very finely painted head of a girl biting a rosebud; _Brimfull_, a water-colour sketch of a lady stooping to sip from a glass; and thirdly, a picture called _A Lady in Yellow_, belonging to Mr. Beresford Heaton. We are now entering upon the period when Rossetti ceased to paint small heads and began to devote himself to larger single figure subjects, lavishing upon them the wealth of his fine imagination, and surrounding them with quaint and beautiful accessories such as he alone knew how to select. The first picture of this type, and in point of execution one of the very finest, is _Fazio's Mistress_, a small oil painting dated 1863, but considerably altered ten years later, when Rossetti renamed it _Aurelia_. The year 1864 contains two or three more prominent examples of Rossetti's attraction towards a luxuriant and seductive type of feminine beauty. The most important is _Lady Lilith_, which embodies perhaps the fullest expression of Rossetti's power in this direction. Adam's mythical first wife is shown as a beautiful woman leaning back on a couch combing her long fair hair, while with cold dispassionateness she surveys her features in a hand mirror. "Body's Beauty" Rossetti called the picture afterwards, contrasting it with his conception of "Soul's Beauty," the _Sibylla Palmifera_ of 1866-70.