Two minutely elaborate designs in one frame illustrating first the love-sick Princess's visit to an enchantress, and the melting of a waxen image, the emblem of the princess' rival, who is depicted in the second design, expiring in her lover's arms.
The scene is laid in the witch's belfry - full of medieval accessories - whence are seen, through openings, a city by the sea, and ships and castles. In the centre, the waxen image, of a girl is seen melting through the open door of a small domed furnace. to the L., the princess kneels on the floor, her hand envelopes her cloak and crossed over her breast, her gaze averted from the melting figure. On the R., the witch tolls the bell, her eyes fixed on the princess; her familiar - a black cat - crouches by; her reflexion is seen in the convex mirror behind the princess. An open trap door in front.
The second scene is in the girl's chamber, full of objects of her use and pleasure,She is seated on her bed, and leans against her lover, who kneels, clad in armour over which is an embroidered surcoat. Out of the convexity of his shield flash many objects and symbols in a play of light. Through the window, in the centre, is seen a city, with a procession entereing over a bridge through the great gate, and gardens beyond. To the right, through the open door, in the background, is the leaden roof of the castle, leading to the witch's turret, in which the bell is seen tolling; and figures seated in a gallery, watching the procession. Two jackdoors just outside her door. Signed "E.B.J., 1856."
Inscribed on oaken mount, "THE WAXEN IMAGE."
Each 11 1/4 by 9.
42 Somerset Place, Bath belonged to Alice Joanna Street and was bombed 25th and 26th April 1942 where much of the Street collection was destroyed including The Waxen Image by fire.
This work was partly drawn at the MacDonald House, Walpole Street in Chelsea and Agnes MacDonald sat for the witch, much to the amusement of her sisters.