Potter, Paul, Landscape, in Grosvenor Gallery, ii. 226; Landscape, No. 176, Dulwich Gallery, i. 340; foliage of, compared with Hobbima's and Ruysdael's, v. 35; best Dutch painter of cattle, v. 254. Poussin, Gaspar, foliage of, i. 386-395; distance of, i. 202; narrowness of, contrasted with vastness of nature, i. 179; mannerism of, i. 90, ii. 45, iv. 38; perception of moral truth, i. 76; skies of, i. 227, 231; want of imagination, ii. 158; false sublimity, iv. 245. Pictures referred to-- Chimborazo, i. 208; Destruction of Niobe's Children, in Dulwich Gallery, i. 294; Dido and Æneas, i. 257, 391, ii. 159; La Riccia, i. 386, 155, ii. 159; Mont Blanc, i. 208; Sacrifice of Isaac, i. 195, 208, 230, ii. 159. Poussin, Nicolas, and Claude, v. 241-248; principal master of classical landscape, v. 194, 247; peculiarities of, v. 247; compared with Claude and Titian, v. 247; characteristics of works by, v. 247; want of sensibility in, v. 247; landscape of, v. 247; trees of, i. 401; landscape of, composed on right principles, i. 90, iii. 323, ii. 159. Pictures referred to-- The Plague, v. 248; Death of Polydectes, v. 248; Triumph of David, v. 248; The Deluge, v. 248; Apollo, ii. 207; Deluge (Louvre), i. 345, iv. 244; Landscape, No. 260, Dulwich Gallery, i. 144; Landscape, No. 212, Dulwich Gallery, i. 231; Phocion, i. 144, 159, 178, 258; Triumph of Flora, iii. 323. Procaccini, Camillo. Picture referred to-- Martyrdom (Milan), ii. 129. Prout, Samuel, master of noble picturesque, iv. 13; influence on modern art by works of, i. 103; excellent composition and color of, i. 112, 114; expression of the crumbling character of stone, i. 96, 112, 114. Pictures referred to-- Brussels, i. 113; Cologne, i. 113; Flemish Hotel de Ville, i. 115; Gothic Well at Ratisbon, i. 114; Italy and Switzerland, i. 113; Louvain, i. 113; Nuremberg, i. 113; Sion, i. 113; Sketches in Flanders and Germany, i. 113; Spire of Calais, iv. 13; Tours, i. 113. Punch, instance of modern grotesque from, iv. 388. Pyne, J. B. drawing of, i. 314.