believe; for the merits of the picture require no deep knowledge of art to be duly appreciated: it is not less admirable in colour and effect than in sentiment and character. The intelligent monks, however, wishing for a picture to supply its place, engaged Poussin to paint one, acquainting him at the same time that they could save him the expense of canvass, by sending him a worthless daub, over which he might paint. The astonishment of Poussin on receiving the picture may be easily conceived. He immediately directed it to be carried to the church from whence it had been taken, and announced his intention to deliver a public disquisition on its merits. This he accordingly did to a large auditory, and with such force of reasoning and illustration, that malice was silenced and prejudice convinced; and the name of Domenichino assumed from that time its just rank in public estimation. The pictures of Poussin, as he advanced in his career, were eagerly purchased by connoisseurs from all countries, and his fame was at length established throughout Europe. In 1638 a project was suggested to Louis XIII., by Cardinal Richelieu, for finishing the Louvre, and adorning the royal palaces, according to the magnificent plans of Francis I. The high reputation of Poussin marked him out as the person best qualified for the partial execution and entire superintendence of these splendid works; and accordingly a letter was transmitted to him by order of the French monarch, appointing him his principal painter, and requesting his immediate attendance at Paris. But so absorbed was the artist in his studies, and so unambitious was his temper, that he allowed two years to elapse before he attended to this flattering requisition; nor is it probable that he would have quitted Rome at all, had not a gentleman been despatched from the court of France to bring him. On his arrival, he was presented to the King, who received him with courtesy, and assigned him a liberal income. Placed in the full enjoyment of fame and wealth, Poussin’s situation might well appear enviable to his less favoured brethren in art. But his station, brilliant as it was, proved ill-suited to his disposition: and his letters to his friends in Rome were soon filled with the language of disappointment and complaint. He felt that he was no longer exercising his genius as an artist, but labouring as an artisan. Commissions were poured in upon him from the court with merciless rapidity, without the slightest calculation of the time requisite to the production of works of art. On one occasion he was required to execute a picture containing sixteen figures, larger than life, within six weeks. Nor was this the worst: the triflers of the court obtruded on him, with irritating politeness, the most insignificant employments; designs for chimney-pieces, ornamental cabinets, bindings for books, repairing pictures, &c. To complete the catalogue of annoyances, his coadjutors in the public works, Le Mercier