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Updated: June 24, 2025
Poussin's own conduct in his representations of Bacchanalian triumphs and sacrifices, makes us more easily give credit to this report, since in such subjects, as well indeed as in many others, it was too much his own practice. The best apology we can make for this conduct is what proceeds from the association of our ideas, the prejudice we have in favour of antiquity.
The remainder of Poussin's life was singularly prosperous. He continued to reside at Rome until summoned to return to France by Louis XIII., who, finding that several invitations to that effect, conveyed through ambassadors, failed to bring back Poussin, did him the honour to write him an autograph letter, entreating his presence. The painter obeyed the flattering summons, but unwillingly.
Beside the world of mystery and the wealth of emotion forming an imaginative penumbra around such a design as Raphael's Vision of Ezekiel, for instance, Poussin's treatment of essentially the same subject is a diagram.
To this kind of study which he pursued with Marino, may perhaps be attributed Poussin's predilection for compositions wherein nymphs, and fairies, and bacchanals are the subjects compositions in which he greatly excelled.
The coloring of this epicurean work of art was enhanced by the splendors of porcelain, by sparkling outlines of gold, by the chasing of the vases. Poussin's landscapes, copied on Sevres ware, were crowned with graceful fringes of moss, green, translucent, and fragile as ocean weeds. The revenue of a German prince would not have defrayed the cost of this arrogant display.
In 1629, when Nicolas Poussin was in his thirty-fifth year, he married the sister of his pupil, Gaspar Dughet, who took Poussin's name, and is known as a painter, inferior to his master, by the name of Gaspar Poussin.
Yet, in fact, there are fifty other kinds of poetries, beside the poetry of words: as the poetry of life affection, honour, and hope, and generosity; the poetry of beauty never mind what features decorate the Dulcinea, for this species of poetry is felt and seen almost only in first love; the poetry of motion, as first-rates majestically sailing, furiously scudding waves, bending corn-fields, and, briefly, all things moveable but railway-trains; the poetry of rest, as pyramids, a tropical calm, an arctic winter, and generally all things quiescent but a slumbering alderman; the poetry of music, heard oftener in a country milkmaid's evening song, than in many a concert-room; the poetry of elegance, more natural to weeping willows, unbroken colts, flames, swans, ivy-clad arches, greyhounds, yea, to young donkeys, than to those pirouette-ing and very active danseuses of the opera; the poetry of nature, as mountains, waterfalls, storms, summer evenings, and all manner of landscapes, except Holland and Siberia; the poetry of art, acqueducts, minarets, Raphael's colouring, and Poussin's intricate designs; the poetry of ugliness, well seen in monkeys and Skye terriers; and the poetry of awkwardness, whereof the brightest example is Mr. trans-Atlantic Rice.
She had brought a little girl with her, who might have been seven or eight years old, and who resembled her strikingly. One group they made together reminded me of Poussin's "Rape of the Sabines." She changed from grief to joy and from joy to terror so rapidly and effectively that we were all enchanted.
In the same way Newton was soon to discover the great laws of the physical world, by always thinking thereon." During Le Poussin's stay at Paris he had taken as a pupil Eustache Lesueur, who had been trained in the studio of Simon Vouet, but had been struck from the first with the incomparable genius and proud independence of the master sent to him by fate.
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.
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