Such appears to be the subject. As for the manner in which it is treated, it is interesting to know that the figures are portraits of the painter himself and his family. Rubens "is religious, too, after his manner; hears mass every morning, and perpetually uses the phrase 'by the grace of God,' or some other such, in writing of any business he takes in hand; but the tone of his religion may be determined by one fact. We saw how Veronese painted himself and his family as worshipping the Madonna. Rubens has also painted himself in an equally elaborate piece.[88] But they are not _worshipping_ the Madonna. They are _performing_ the Madonna, and her saintly entourage" (_Modern Painters_, vol. v. pt. ix. ch. vi. § 9). 68. A WOODY LANDSCAPE. _Gaspard Poussin_ (French: 1613-1675). _See_ 31. The scene is the beautiful avenue of oaks, called the "Galleria di Sopra," which skirts the upper margin of the Lake of Albano. Ruskin refers to this picture in illustration of his thesis that Turner's "truth of vegetation," in his representation of the exceeding intricacy of nature, is not to be paralleled among the old painters, and least of all in Gaspard Poussin with his regular "tree-patterns." The picture before us is "a woody landscape," which in nature would be a mass of intricate foliage-- "a mere confusion of points and lines between you and the sky.... This, as it comes down into the body of the tree, gets closer, but never opaque; it is always transparent, with crumbling lights in it letting you through to the sky; then, out of this, come, heavier and heavier, the masses of illumined foliage, all dazzling and inextricable, save here and there a single leaf on the extremities: then, under these, you get deep passages of broken irregular gloom, passing into transparent, green-lighted, misty hollows ... all penetrable and transparent, and, in proportion, inextricable and incomprehensible, except where across the labyrinth and mystery of the dazzling light and dream-like shadow, falls, close to us, some solitary spray, some wreath of two or three motionless large leaves, the type and embodying of all that in the rest we feel and imagine, but can never see.