Closed eyes, raised face
Look at her tilted face, closed eyes and parted lips. She seems caught in a trance, a moment often read as a spiritual transfiguration rather than a plain death scene.

“This ethereal painting captures a moment of spiritual transition, inspired by Dante's "La Vita Nuova." It's a deeply personal work for Rossetti, who depicted his late wife, Elizabeth Siddal, as the central figure.”
A woman with flowing red hair sits in a trance-like state, bathed in an otherworldly glow. This painting, titled "Beata Beatrix" or "Blessed Beatrice," depicts Beatrice Portinari from Dante Alighieri's 13th-century poem, "La Vita Nuova," at the moment of her death. Dante Gabriel Rossetti, who had translated the poem, modeled Beatrice after his late wife, Elizabeth Siddal. Rather than a literal depiction of death, Rossetti intended the painting to be "an ideal of the subject, symbolized by a trance or sudden spiritual transfiguration." This version, left unfinished at Rossetti's death in 1882 and completed by Ford Madox Brown, shows a white dove approaching Beatrice, holding red poppies in its beak.
Five details hide in plain sight. Pick one and we’ll show you exactly where to look.
Look at her tilted face, closed eyes and parted lips. She seems caught in a trance, a moment often read as a spiritual transfiguration rather than a plain death scene.
A red bird lowers a white poppy toward her hands. The poppy is often read as a reference to laudanum, the drug that killed Rossetti's wife, Elizabeth Siddal, who is linked to the figure of Beatrice.
On the ledge behind her, a sundial casts its shadow across a gold disc. The inscriptions in the frame point to the date of Beatrice's death, so the dial can be read as marking that moment.
Far back on the left, a haloed figure in red stands in the garden. On the right, a dark figure stands near a well. They are usually identified as Love and Dante, small but central to the story.
In the small panel below, Dante kneels with open hands before Beatrice in a flowering garden, as angels look on. It shows the reunion that follows her death.
The full narration walks you through Beata Beatrix — the story behind it, the details most visitors miss, and why it matters. Free in the Art Whisper app.
Dante Gabriel Rossetti, a founding member of the Pre-Raphaelite Brotherhood, blended poetry and painting to create evocative, symbolic works like "Beata Beatrix."
Faust: Part 1. Last Scene
1846 · The Metropolitan Museum of Art
Mariana in the South (Illustration for "The Palace of Art" in Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
Sir Galahad (from Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
St. Cecily / Cecilia (Illustration for The Palace of Art in Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
The Lady of Shalott (from Tennyson's Poems, New York, 1903)
1857 · The Metropolitan Museum of Art
Buy from Us with a Golden Curl (frontispiece to "Goblin Market and other Poems" by Christina Rossetti)
1862 · The Metropolitan Museum of Art
Design for Old Testament Window
1865 · The Metropolitan Museum of Art
Lady Lilith
1866 · Metropolitan Museum of Art
Beyond Rossetti and Symbolism: works from the same years, and from the other movements Beata Beatrix belongs to.
Same movement · Arts and Crafts movement
The Backgammon Players
Philip Webb · 1861 · The Metropolitan Museum of Art
Same era · 1860s–1890s
Cart with Black Ox
Vincent van Gogh · 1884 · Portland Art Museum
Same movement · Aestheticism
Fear
Odilon Redon · 1866 · Cleveland Museum of Art
Same era · 1860s–1890s
Paris Street; Rainy Day
Kawabata Gyokushō · 1877 · Art Institute of Chicago
Same movement · Arts and Crafts movement
Trellis
William Morris · 1864 · The Metropolitan Museum of Art
Same era · 1860s–1890s
Chariot Race
Léon-Victor Dupré · 1876 · Art Institute of Chicago
Same movement · Aestheticism
Hagar and Ishmael, from "Dalziels' Bible Gallery"
Simeon Solomon · 1863 · The Metropolitan Museum of Art
Same era · 1860s–1890s
A Sunday on La Grande Jatte — 1884
Okada Saburosuke · 1884 · Art Institute of Chicago
Same era · 1860s–1890s
Arrival of the Normandy Train, Gare Saint-Lazare
Claude Monet · 1877 · Art Institute of Chicago
Same era · 1860s–1890s
Portrait after a Costume Ball (Portrait of Madame Dietz-Monnin)
Edgar Degas · 1877 · Art Institute of Chicago
Same era · 1860s–1890s
The Laundress
Pierre-Auguste Renoir · 1877 · Art Institute of Chicago
Same era · 1860s–1890s
The Man with the Dog
Édouard Manet · 1877 · Art Institute of Chicago
Same era · 1860s–1890s
Woman at Her Toilette
Berthe Morisot · 1877 · Art Institute of Chicago
Same era · 1860s–1890s
Fan Mount: The Cabbage Gatherers
Camille Pissarro · 1878 · Metropolitan Museum of Art
Same era · 1860s–1890s
View of Marly-le-Roi from Coeur-Volant
Alfred Sisley · 1876 · The Metropolitan Museum of Art
Same era · 1860s–1890s
On a Balcony
Mary Cassatt · 1879 · Art Institute of Chicago