(3) _Beata Beatrix_, which was bequeathed to the National Collection by Lady Mount Temple, to whom it formerly belonged. This is so well known from reproductions that it is unnecessary to describe it in detail, further than to say that it represents symbolically the death of Beatrice as set forth in the "Vita Nuova." Beatrice is not dead, but is seated on a balcony in a trance, whilst standing a little way in the background watching her are Dante and the figure of Love. A crimson bird, the messenger of Death, is letting fall a poppy into her lap. Beatrice is robed in pure green, such as Rossetti loved to paint, with faint purple sleeves. A dial marks the fateful hour which was to bear her, on that 9th of June, 1290, "to be glorious under the banner of the blessed Queen Mary." On the frame, designed by Rossetti himself, are the first words of the lamentation from Jeremiah, _Quomodo sedet sola civitas_: "How doth the city sit solitary that was full of people." There is a replica of this picture in the Corporation Art Gallery of Birmingham, but it was an unfinished one which was worked on after Rossetti's death by Madox Brown. Our next illustration is from a pen-and-ink drawing, and is typical of a branch of work in which Rossetti excelled almost as notably as Burne-Jones. It represents: (4) _Mary Magdalene at the house of Simon the Pharisee_. The date of this famous drawing is 1853, but it was not actually finished until some years later. The scene represents a procession of revellers, amongst whom is the Magdalene with her lover. In passing the door of Simon she sees within it the face of Christ, and striving to leave her companions she tears off the garland from her head and presses up the steps. Christ is watching her, and waits for her to reach him, whilst the others try to bar her passage. A young doe is cropping the bush which grows against the wall of the house.