Burne-Jones visited Rosamund Clifford's grave in Godstowe with Algernon Swinburne in 1859, and inspired the latter to write a verse-play (published 1860) entitled 'Rosamond' which was most likely the inspiration for Burne-Jones's pictorial counterparts. Swinburne's play added new elements to the myth, including a lover for Queen Eleanor and much heavily charged sensual imagery. One recurrent metaphor is of dropped blossoms, a book, a net, an altar, and a bird. Swinburne also compares Rosamund with a kind of Magdalene heroine, a vessel of both purity and sensuality, while Eleanor is an infernal emissary in this perverted or dark annunciation and confrontational scene. The bedroom chamber also contains profane or a pseudo-altar of love, filled with such objects as an unmade bed, a mirror, a painting behind Rosamund of harmonious love. The mirror behind Eleanor was specially constructed by Burne-Jones's father Richard, and this may be a symbol of vanity as well as an allusion to lines in Swinburne's play. In contrast to Rosamond's spell-binding beauty is the ugliness of the queen, whom Swinburne depicts as 'black-haired and with grey lips/ and fingers like a hawk's cut claw that nips.' The delicate elongated grace of Rosamond is offset by the sharply angular almost 'Rossettian' aspects of the queen. The two finished versions of this painting are in the Tate, London and the Yale Center for British Art, New Haven, Connecticut.