Rossetti在遇見Jane Burden 之前，他的繆斯女神一直是未婚妻Elizabeth (Lizzie) Siddal。1852 年，Millais 創作《奧菲利亞》時，花花公子Rossetti 被她的美貌征服了，為她畫了一系列帶有強烈羞怯、含蓄色彩的肖像畫 [The First Anniversary of the Death of Beatrice: Dante Drawing the Angel (1853), Dante's Vision of Rachel and Leah (1855)]，之後 Rossetti 把她隔開了社交圈變成他的專屬模特兒、繆司女神和監護人（ Due to his strong feelings, he soon forbade others from using Lizzie as a model.）。他們的愛情開花了，卻遲遲未果，浪子性格的Rossetti 仍流連於其他模特身邊，兩人的婚約斷了又續，續了再斷。
Bocca Baciata (Lips That Have Been Kissed), 1859 Dante Gabriel Rossetti, English, 1828–1882 鑲板背後題的是從十四世紀意大利作家Giovanni Boccaccio 的十四行詩摘錄來的詩句： "Bocca baciate non perda ventura, anzi rinova come fa la luna（The mouth that has been kissed loses not its freshness; still it renews itself even as does the moon.）"
Fazio's Mistress The original title refers to a poem by Dante's contemporary Fazio degli Uberti, which describes the poet's act of looking at his beloved, as if she is appearing before his very eyes (as she does in the painting). I look at the crisp golden-threaded hair Whereof, to thrall my heart, Love twists a net ... I look at the amorous beautiful mouth ... I look at her white easy neck, so well From shoulders and from bosom lifted out The painting dwells on the same physical features, even down to a ring mentioned in a later stanza. In 1869 Rossetti changed the title to 'Aurelia', replacing the literary reference with one to the figure's golden hair. This was at the height of discussion about 'art for art's sake. Rossetti may have wished to play down any hint that the picture was an illustration of a pre-existing literary source, rather than an independent work of art in its own right.
The Blue Bower Blue Bower要算是 Rossetti 的美人中最豪奢的形象，代表著一個十八世紀中期典型的"尤物"。 'bower'這個字意味著受寵愛的，濃密的赤褐色捲髮、煥發的情慾、性感的比例，她穿著毛皮內襯的綠色緞袍，擺著誘人的姿勢，手指撩著日本古琴的琴弦，頭側向一邊看著觀眾。髮際是西番蓮和牽牛花，象徵她充滿生氣的的個性，而一束矢車菊--是她名字的雙關語--正放在她桌前。
One of the most sumptuous of all Rossetti's images of women, The Blue Bower is an archetypal "stunner" from the middle of the 1860s. The painting commemorates her flowing auburn hair, radiant flesh, and voluptuous proportions; she is shown dressed in a lavish fur-lined robe and caught in an alluring pose, glancing sideways at the viewer while fingering the strings of a Japanese koto. There are also hints of the Far East, as the instrument has been identified as a Japanese 'koto' and the background tiles recall Chinese ceramics. The heart-shaped pendant later belonged to Jane Morris. In The Blue Bower , Rossetti explores the abstract qualities of color (the harmony of the blues and greens), complex pattern (the background tiles and flowers), and texture (Fanny's furlined robe and luxurious hair juxtaposed with smooth flesh and the hard tiles). The picture is a prototype for visionary female portraits and an early example of "art for art's sake."
他唯一一幅以現代生活為主題的畫作是未完成的《發現（Found）》 ，描繪一名趕集的鄉村青年認出了他昔日的情人，卻發現她已淪為娼妓而氣憤的抓住她。 Fanny來自於較低的社會階層，她粗俗的口音像缺乏教育似的讓 Rossetti 的朋友和家人無法接受。後來Fanny變胖，Rossetti暱稱她是my "Dear Elephant"，在他們分開時，還畫些卡通大象給她。在Rossetti的畫中，Fanny是一豐滿的金髮碧眼的女人，待遇遠不同於 Jane Morris 和 Elizabeth Siddal。
碧翠絲（Beatrice Portinari , 1266-1290），她就是中世紀義大利名詩人但丁（Dante Alighieri, 1265-1321）的繆思。于1274年近九歲的但丁初次與剛滿八歲的碧翠絲惊鸿一瞥後，自此深深愛上她，兩人再次（也是最後一次）見面已是九年後，雖然僅有的兩次相會極為短暫，碧翠絲後嫁德巴爾迪(Simone de' Bardi)並於二十五歲時香消玉殞，但她卻成為但丁深藏在心的永恆戀人，更是他創作的靈感泉源，因為碧翠絲，我們日後才得以展讀《新生 (La vita nuova, 1293)》與不朽的《神曲》。
就在翡冷翠最著名的『卡札由里大道』(Via dei Calzaiuoli)旁，有條直交的『但丁路』(Via Dante Alighieri)，一間小小的『聖瑪格莉塔』教堂，就是詩人邂逅他的謬斯女神之處。
Henry Holiday's "The Meeting of Dante with Beatrice". Holiday's depiction of the meeting between Dante Alighieri and Beatrice Portinari (in white) who strolls along the Arno River with friend Lady Vanna 《但丁與碧翠絲邂逅》從畫面上看，那是一個春光明媚的上午，陽光灑在阿爾諾河上，波光閃閃，把河上的一座古橋映襯得光彩奪目。高貴而美麗的碧翠絲在河畔漫步，就在她經過老橋時，與從另一頭走來的但丁不期而遇。
<但丁看見瑞秋和蕾 Dante s Vision of Rachel and Leah>by: Dante Gabriel Rossetti, 1855. 此畫描繪但丁看見Rachel 和她的妹妹 Leah的場面 .伊麗莎白是Rachel，正在水面照自己的影，雙辮的Leah在編花圈
但丁在《新生》(La vita nuova, 1293)中寫了他和她的關係的歷史，敘述如何與她見面，讚美她的美麗和善良，描寫自己由於她的親切與否而引起的強烈反應，也敘述了雙方生活中的事件，說明他對她的感情的性質，談到但丁得悉噩耗的日子，並包含幾首哀詩。
