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And as there were great men before Agamemnon there have been great painters since Raphael and Titian, even since Rembrandt and Velasquez. He had a strenuous personality, moreover. You know a Poussin at once when you see it. But to find the suggestion of the infinite, the Shakespearian touch in his work seems to demand the imaginativeness of M. Victor Cherbuliez. When Mr.
Of the pictures, what gave me most pleasure was the Magdalen of Guido, infinitely superior to that by Le Brun in the church of the Carmelites at Paris; the Virgin, by Titian; a Madonna, by Raphael, but not comparable to that which is in the Palazzo de Pitti, at Florence; and the death of Germanicus, by Poussin, which I take to be one of the best pieces in this great collection.
A musical interlude kept the assembly amused while preparation was going forward, to surprise them with a picture of a higher stamp; it was the well-known design of Poussin, Ahasuerus and Esther. This time Luciana had done better for herself.
Do not all these facts point to the realization of Christian democracy? If the king is now but the servant of the people, so the artist who is royal in the kingdom of the mind finds his true glory in serving humanity. What a change from the classic subjects or monkish legends which occupied the pencils of David and his greater predecessors, Le Sueur and Poussin!
He might often suggest Raphael and any painter who suggests Raphael inevitably suffers for it but always with an individual, a native, a French difference, and he is as far removed in spirit and essence from the Fontainebleau school as the French genius itself is from the Italian which presided there. In Poussin, indeed, the French genius first asserts itself in painting.
Assuredly he is in the great European tradition, but specifically he is of the French: Chardin, Watteau, and Poussin are his direct ancestors. Of Poussin no one who saw La Boutique Fantasque will have forgotten how it made one think. No one will have forgotten the grave beauty of those sober greys, greens, browns, and blues. They made one think of Poussin, and of Racine, too.
A person of rank who dabbled in painting for his amusement, having one day shown Poussin one of his performances, and asked his opinion of its merits, the latter replied, "You only want a little poverty, sir, to make a good painter." The admirers of Mengs, jealous of Poussin's title of "the Painter of Philosophers," conferred on him the antithetical one of "the Philosopher of Painters."
Marino gave Poussin an apartment in his house at Rome, and as his own health was at that time extremely deranged, he loved to have Poussin by the side of his couch, where he drew or painted, while Marino read aloud to him from some Latin or Italian author, or from his own poems, which Poussin illustrated by beautiful drawings, most of which it is to be feared are lost; although it is believed that there is still existing in the Massimi library, a copy of the Adonis in Marino's hand-writing, with Poussin's drawings interleaved.
According to Felibien, Domenichino, who then resided at Rome, in a very delicate state of health, having heard that a young Frenchman was making a careful study of his picture, caused himself to be conveyed in his chair to the church, where he conversed some time with Poussin, without making himself known; charmed with his talents and highly cultivated mind, he invited him to his house, and from that time Poussin enjoyed his friendship and profited by his advice, till that illustrious painter went to Naples, to paint the chapel of St.
Marino strongly urged him to accompany him to Rome, an invitation which Poussin would gladly have accepted, had he not then been engaged in some commissions of importance, which having completed, he set out for Rome in 1624, where he was warmly received by his friend Marino, who introduced him to the Cardinal Barberini.
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