In his Roundtable: Dante Gabriel Rossetti and Music: Introduction, Allis lists more than a dozen settings of Rossettis poems by composers from 1893 to 1928, including Claude Debussys La damoiselle clue, Wilberfoss Owsts The White Ship, and Vaughan Williamss song sequence The House of Life. Both paintings thus belong to a later phase of Pre-Raphaelite art, placing more emphasis on imagined ideas than on naturalism-an aesthetic that shades into symbolism (p. 191); moreover, the poems use of concrete detail in a context of unstructured space and temporal ambiguity is a poetic equivalent of the clear physical detail of the painting . . . combined with its relative lack of perspective" (P. 192). ...Stinis finds parallels between the inward creative/receptive gaze of these paintings and what critics have elsewhere defined as the "inner standing point" in Rossetti's poetry, as well as anticipations of Henri Bergson's conception of multiple temporalities emanating outward from an inner consciousness. Helsinger then explores analogues in Rossetti's watercolors of the period, such as The Tune of Seven Towers, as well as effects in contemporary paintings by Edward Burne-Jones (Green Summer, 1864) and J. M. Whistler (Little White Girl, exh. 1865), observing that in the 1850s and 1860s music becomes in poetry and art "an