About the year 1630, Diego Velasquez, the chief ornament of Spanish art, studied in Rome and remained there for a year. He afterwards returned thither under the pontificate of Innocent X., whose portrait he painted, in a style which was said to be derived from Domenico Greco, instructed by Titian, at the court of Spain. Velasquez renewed in this portrait the wonders which are recounted of those of Leo X. by Raffaello, and of Paul III. by Titian; for this picture so entirely deceived the eye as to be taken for the Pope himself. At this time too a number of excellent German artists were employed in Rome, as Daniel Saiter, whom I shall notice in the school of Piedmont, and the two Scor, Gio. Paolo, called by Taja, Gian. Paolo Tedesco, whose Noah's Ark, painted in the Quirinal palace, has excited the most enthusiastic encomiums; and Egidio, his brother, who worked there for a considerable time in the gallery of Alexander VII. There were also in Rome Vovet, as we have observed, and the two Mignards, Nicolas, an excellent artist, and Pierre, who had the surname of Romano, and who left some beautiful works at S. Carlino and other places; and a master who claims more than a brief notice, Nicolas Poussin, the Raffaello of France. Bellori, who has written the Life of Poussin, introduces him to Rome in 1624, and informs us that he was already a painter, and had formed his style more after the prints of Raffaello than the instruction of his masters. At Rome he improved, or rather changed his style, and acquired another totally different, of which he may be considered the chief. Poussin has left directions for those who come to study the art in Rome: the remains of antiquity afforded him instruction which he could not expect from masters. He studied the beautiful in the Greek statues, and from the Meleager of the Vatican (now ascertained to be a Mercury) he derived his rule of proportions. Arches, columns, antique vases, and urns, were rendered tributary to the decoration of his pictures. As a model of composition, he attached himself to the Aldobrandine Marriage; and from that, and from basso-relievos, he acquired that elegant contrast, that propriety of attitude, and that fear of crowding his picture, for which he was so remarkable, being accustomed to say, that a half figure more than requisite was sufficient to destroy the harmony of a whole composition.