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Updated: June 24, 2025
Angerstein, Lord Grosvenor, the Marquis of Stafford, and others, to keep up this treat to the lovers of art for many years; and it is the more desirable to reserve a privileged sanctuary of this sort, where the eye may dote, and the heart take its fill of such pictures as Poussin's Orion, since the Louvre is stripped of its triumphant spoils, and since he who collected it, and wore it as a rich jewel in his Iron Crown, the hunter of greatness and of glory, is himself a shade!
He had had Ruth present in his thoughts all the time he had been preparing for his Sunday duty; and he had tried carefully to eschew everything which she might feel as an allusion to her own case. He remembered how the Good Shepherd, in Poussin's beautiful picture, tenderly carried the lambs which had wearied themselves by going astray, and felt how like tenderness was required towards poor Ruth.
'The great master of elevated ideal landscape, Mr Ruskin calls Nicolas Poussin, and illustrates his excellence in one respect, after contrasting it with the slovenliness of Sir Joshua Reynolds, by describing the vine in Poussin's 'Nursing of Jupiter, in the Dulwich Gallery, thus:
Raffaelle's figures interest so much in themselves, that they make us forget that they are only part of a history. We follow them eagerly, as we do the personages of a drama; we grieve, we hope, we despair, we rejoice with them. Poussin's figures, on the contrary, tell their story; we feel not the intimate acquaintance with themselves, that we do with the creations of Raffaelle.
Leaping like wanton kids in pleasant spring: but those of Poussin have more of the intellectual part of the character, and seem vicious on reflection, and of set purpose. Rubens' are noble specimens of a class; Poussin's are allegorical abstractions of the same class, with bodies less pampered, but with minds more secretly depraved.
As a landscape painter, Mr Ruskin, while waging war with Nicolas Poussin's brother-in-law and assumed namesake, Gaspar, notably excepts Nicolas from his severest strictures, and treats his efforts in landscape painting with marked respect.
Autumn was aptly pictured, in the two Israelites bearing the bunch of grapes from the Promised Land. But the masterpiece was Winter, represented in the Deluge. This picture has been, perhaps, the most praised of all Poussin's works. A narrow space, and a very few persons have sufficed him for this powerful representation of that great catastrophe.
This is one of the most characteristic of the master's work out of Spain, and profoundly influenced Manet and the Modern Impressionist School. The great French master Poussin's typical classical subject, 741, together with Jouvenet's masterpiece, 437, Descent from the Cross, have also their place of honour in this Hall. In the
Whitewashed walls scribbled over with landscapes school-books defaced with sketches, which then drew down anger and reproof on the idle student, but which now would form precious gems in many a rich museum these were the early evidences of Poussin's genius.
The poet has relied on the strength of the idea, on the vividness of his imagery, and the realism of the declamatory passages. This scene of despair, this darkness that may be felt, these cries of anguish, the whole musical picture is as fine as your great Poussin's Deluge." Moses waved his staff, and it was light.
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