These poems had a certain advantage in being presented to a public already acquainted with the work of Mr. Morris and Mr. Swinburne; but Rossetti was not merely older than his two friends, he was also to some extent their master. At the same time the influences which acted on him were naturally diverse from those which, independently of his own influence, acted on them. For the French and English mediaeval inspirations of Mr. Morris, for the classical and general study of Mr. Swinburne, he had his ancestral Italians almost for sole teachers; and for their varied interests he had his own art of painting for a continual companion, reminder, and model. Yet the mediaeval impulse is almost equally strong on all three, and its intensity shows that it was the real dominant of the moment in English poetry. The opening poem of Rossetti's first book, "The Blessed Damozel," which is understood to have been written very early, though afterwards wrought up by touches both of his love for his wife while living and of his regret for her when dead, is almost a typical example of the whole style and school, though it is individualised by the strong pictorial element rarely absent from his work. The "Blessed Damozel" herself, who "leaned out From the gold Bar of Heaven," is a figure from the _Paradiso_, divested of the excessive abstraction of that part of Dante, and clothed partly in the gayer colours and more fleshly personality of English and French mediaevalism, partly in a mystical halo which is peculiar to these nineteenth century re-creations of mediaeval thought and feeling. The poem is of extreme beauty, and ornate as is its language in parts there are touches, such as the poet's reflection To one it is ten years of years, which utter the simplest truth and tenderness; while others, such as the enumeration of the Virgin's handmaidens (over which at the time the hoofs of earless critics danced)-- With her five handmaidens, whose names Are five sweet symphonies-- Cecily, Gertrude, Magdalen, Margaret and Rosalys-- are consummate triumphs of the word-music brought by Tennyson into English poetry. Indeed this couplet of names might be made a sort of text to expound the great appeal to the ear of this kind of poetry, which any one who is deaf to the exceptional and golden harmony of the arrangement need never hope to appreciate. It is perfectly easy to change the order in many ways without affecting the verse; there is absolutely none of these combinations which approaches the actual one in beauty of sound and suggestion.