“Fading Elizabeth Siddall, beautiful in her dying, signifies the virility and immortality of Dante Gabriel Rossetti’s art” (Cherry & Pollock, 1984). This essay will think through the reasons to canonize Elisabeth Siddal in the paintings of Rossetti, drawing parallels between his life, central motives of Dante Alighieri’s “La Vita Nuova” and hidden symbolism of the drawing. Originally, to understand the relation between the poet and the painter, it is essential to make certain connection between the creation of first and the life of the second. Rossetti, who owed his name to Dante Alighieri, was particularly interested in his works since childhood, which, in turn, hugely influenced his worldview. By the age of twenty he was one of the co-creators of the alternative art movement called Pre-Raphaelite Brotherhood, which emerged as the opposition to the existed views of the Art Academy. The Brotherhood rejected academic principles of art and set the new order to correct the morality of their society. They were all directed by the literature of Italian Renaissance and precisely by the poet Dante Alighieri, which was at most embodied in the artworks of Rossetti. The Brotherhood essayed to transform the “image of women” in the Victorian age society. With no exaggeration we could state that it is an eternal theme, again and again driving artists to articulate their own feelings and vision regarding the vast and mysterious feminine essence. But what distinguished the