Rossetti's record as a painter divides itself naturally into three periods, beginning with a fairly numerous series of small romantic water-colours, which to many people represent the most charming, if not the most mature, feature of his work. The subjects for these were selected largely from Browning, from the "Vita Nuova" of Dante, and from the Arthurian legends, themes which appealed irresistibly to his imaginative mind, and which formed a common link between the members of the Pre-Raphaelite Brotherhood and the later group of young Oxford men which included William Morris and Burne-Jones. Practically the only oil pictures painted by Rossetti during this period were the _Girlhood of Mary Virgin_, and the little _Ecce Ancilla Domini_, now in the Tate Gallery at Millbank. This period came to an end in 1862, with the death of Rossetti's wife, and the beautiful _Beata Beatrix_ (also in the Tate Gallery) which was really a memorial of her pure features, was followed by a number of magnificent canvases painted from models of a rich and sumptuous type, amongst which may be specially mentioned _The Beloved_, _Monna Vanna_, and _Sibylla Palmifera_, _Lady Lilith_, the _Venus Verticordia_, _The Loving Cup_, _Veronica Veronese_, _The Bower Meadow_, _La Ghirlandata_, _Sea Spell_, and _La Bella Mano_. Lastly comes a large group of single figure subjects painted from, or based on, the dark and almost exotic features of Mrs. William Morris. Of these may be named in particular _Mariana_, _Pandora_, _Proserpine_, _Astarte Syriaca_, _La Donna della Finestra_, _The Day Dream_, and Rossetti's last finished picture _La Pia_. Owing to an invincible dislike for exhibitions, and the secrecy which in consequence hung over Rossetti's work, the two earlier groups were hardly seen by the public at all until after his death, and his fame, when it spread, was based chiefly upon the large canvases of the latest group, which may account for the very general belief that Rossetti painted only from one type of sitter, with somewhat exaggerated characteristics, a further error which may be explained by the mannerisms which undoubtedly beset him towards the close of his life, when his health had failed permanently and his eyesight was no longer at its best. Of the earliest pictures, painted for the most part when Rossetti was little more than a boy, the following are selected for illustration: