and Viola/Cesario on Siddal. This was the first time Siddal sat as a model. According to William Michael Rossetti, Dante Gabriel's brother, "Deverell drew another Viola from her, in an etching for The Germ." Elaine Shefer asserts that Deverell portrayed Siddal in A Pet and The Grey Parrot. William Holman Hunt painted her in A Converted British Family Sheltering a Christian Missionary from the Persecution of the Druids (1849–1850) and Two Gentlemen of Verona, Valentine Rescuing Sylvia From Proteus (1850 or 1851). For Millais's Ophelia, Siddal floated in a bathtub full of water to portray the drowning Ophelia. Millais painted daily through the winter, putting oil lamps under the tub to warm the water. On one occasion, the lamps went out and the water became icy cold. Millais, absorbed by his painting, did not notice and Siddal did not complain. After this, she became ill with a severe cold or pneumonia. Her father held Millais responsible and, under the threat of legal action, Millais paid her doctor's bills. Relationship with Rossetti Dante Gabriel Rossetti met Siddal in 1849, probably while they both modelled for Deverell. Rossetti gave Siddal the nickname "Lizzie" when she entered the Pre-Raphaelite Brotherhood circle, and "the diminutive enhanced her youthful, dependent role." By 1851, she had become Rossetti's muse, and he began to paint her to the exclusion of nearly all others. He also stopped Siddal from modelling for others. In 1852, she began to study with Rossetti. That same year, Siddal became lovers with Rossetti and moved into his Chatham Place residence. They subsequently became anti-social and absorbed in each other's affections. They coined affectionate nicknames for one another, such as "Guggums" or "Gug" and "Dove", the latter one of Rossetti's names for Siddal. He also shortened the spelling of her name to Siddal, dropping the second 'l'. Perhaps Rossetti's most abundant and personal works were his idealized pencil sketches of Siddal at home, most of which he entitled simply "Elizabeth Siddal". In these sketches, he portrayed Siddal as a woman of leisure, class, and beauty, often situated in comfortable settings. She also became the subject of much of Rossetti's poetry. One poem, A Last Confession, extolls his love for Siddal, whom he personifies as the heroine with eyes "as of the sea and sky on a grey day." Beginning in 1853, Rossetti used Siddal as a model for a series of Dante-themed paintings, including