from this injury, he was again rendered unable to pursue his art by a lingering illness; in the course of which a fellow-countryman, named Jean Dughet, took him to his own home, and treated him with care, which soon restored him to health. Six months afterwards he married the daughter of his host, and subsequently adopted his wife’s brother, Gaspar, who assumed his name, and has shared its honours by his splendid landscapes. With part of his wife’s portion Poussin purchased a house on the Pincian Hill, which is still pointed out as an object of interest to travellers and students. From this period the fortune of Poussin began to improve. Relieved from his embarrassments, and tranquillized by domestic comfort, he proceeded in the calm exercise of his powers; and the fine works on which his reputation is founded were painted in rapid succession. Cardinal Barberini, who had returned to Rome, engaged him to execute one of the large paintings ordered to be copied in mosaic for St. Peter’s Church. The subject was the Martyrdom of St. Erasmus; but the picture, which is now in the Vatican, furnishes no reason for regret that Poussin did not more frequently employ himself on works of large dimensions. A circumstance occurred at this time which it is gratifying to relate, as it exhibits two distinguished men engaged in the honourable task of promoting the success and vindicating the reputation of each other. When Poussin arrived at Rome, he found the lovers of art divided into two parties, composed respectively of the admirers of Guido and Domenichino. Two pictures had been painted by those artists, which, as if to decide their rival claims, were hung opposite to each other in the church of San Gregorio. The subjects were similar; the one the Flagellation, the other the Martyrdom of the Saint from whom the church is named. The performance of Guido was the one most generally preferred: but Poussin formed a different judgment, and sat down to copy the picture of the less popular artist. Domenichino, on being informed of this, although he was then suffering from illness, ordered himself to be carried to the church, where he entered into conversation with Poussin, to whom he was personally unknown, and who indeed imagined him to be dead. A friendly intimacy was the consequence of this interview, which was exceedingly advantageous to Poussin, as Domenichino took pleasure in communicating all that knowledge of art, which long experience had enabled him to acquire. Shortly after this Domenichino quitted Rome for Naples, and the storm of envy and detraction seemed to gather force in his absence. So much was his reputation injured, that the monks of the convent of San Girolamo della Carità, who had in their possession his superb picture of the Communion of St. Jerome, ordered it to be removed from the walls and consigned to a cellar as a thing utterly contemptible. This anecdote, were it not attested by unquestionable evidence, would be difficult to