Nicolas Poussin also adopted a style of his own, although it was of a different kind. He was greatly attracted by the antique and his heart was set on visiting Rome, whither, after long struggles in Paris, he at length found his way. There he received from the painter Domenichino the necessary training for the work which he desired to take up. The French sculptor Quesnoy befriended him, and the poet Marino introduced him to Cardinal Barberini, who commissioned from him two pictures: _The Death of Germanicus_ and _The Capture of Jerusalem_. When fame came to him France reclaimed him. He was greatly favoured by Richelieu and entrusted with the decoration of the Louvre. He found, however, a rival in this enterprise in the person of Simon Vouet; and difficulties arose, because Poussin claimed his right to carry out the whole work independently and on his own responsibility. Finding that he could not attain this object, he returned to Rome under the pretext of fetching his wife and never returned. He lived thenceforth in Italy; for, like the Brothers le Nain, he had no desire to become a Court Painter. His pictures were, nevertheless, greatly admired in France during his lifetime; and there are no less than nine large canvases by him in the Galerie des Peintures at the Musée Condé, besides numerous drawings. Amongst these may be noted: _The Infancy of Bacchus_; _Theseus finding his Father's Sword_ (with a striking architectural background); and _Numa Pompilius and the Nymph Egeria_, a composition wherein the artist displays to the full his skill in dealing with romantic landscape. A drawing of _Daphne[131] flying to her father's protection_ who transforms her into a laurel-bush, has special charm and shows those characteristics which he handed on to his brother-in-law and pupil Dughet, called after him "Gaspar Poussin." There are two landscapes by the latter at Chantilly (Galerie des Peintures): _An Alley in a Wood_, and _A View of the Roman Campagna_, a subject of which he never tired. His sunsets foreshadow those of Claude Lorraine, who in his power of rendering atmospheric effect and the rays of the sun was only equalled by Turner some centuries later. The National Gallery and the Louvre possess some of Claude's finest landscapes, while Chantilly has chiefly drawings, amongst which the most noteworthy are the _Castello di S. Angelo_ and the _Aqueducts of the Roman Campagna_.[132] [Illustration: PLATE LXXII. DAPHNE METAMORPHOSED INTO A LAUREL TREE. _Photo. Giraudon._ _Musée Condé._ Nicolas Poussin.]