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The theory of ut pictura poesis is somewhat outdated by the second half of the 19th century. How then should we apprehend Swinburne's ekphrastic poetry inspired by the abstract quality of Whistler's paintings in this period of transition and renewed relationships between the arts? The complex notion of \"correspondence,\" signifying both exchange and analogy, goes beyond the traditional division between painting and poetry, giving way to a third element: music. It is as if the comparison and opposition expressed by the ut enabled us to re-read Horace's formula as the key to understanding a poem such as \"Before the Mirror. \" We will thus discuss transition and ambiguity, focusing on translation, thresholds, and frames which haunt both Swinburne's poems and theoretical texts but also the works of Whistler. [PUBLICATION ABSTRACT]