In contrast to the warm and atmospheric style of his early paintings, Poussin by the 1630s developed a cooler palette, a drier touch, and a more stage-like presentation of figures dispersed within a well defined space. In "The Triumph of David" (c. 1633–34; Dulwich College Picture Gallery), the figures enacting the scene are arranged in rows that, like the architectural facade that serves as the background, are parallel to the picture plane. The violence of "The Rape of the Sabine Women" (c. 1638; Louvre) has the same abstract, choreographed quality seen in "A Dance to the Music of Time" (1639–40).