_The Shepherds in Arcadia_ (No. 734, Plate XXXVII.) may be quoted to illustrate the calculated rhythm of his design and his indebtedness to classic art from which he derived his nobility of form. Real dramatic action was beyond Poussin’s range. His famous _Rape of the Sabine Women_ (No. 724) is a striking instance of his failure to grasp the significant difference between dramatic movement and mere heroic posturing. Far more inspired, and therefore more natural and dramatically effective, is the superb circular painting for a ceiling commissioned by Cardinal Richelieu and representing _Time rescuing Truth from the Attacks of Envy and Discord_ (No. 735). The allegory is said to have been intended as an allusion to the circumstances which induced Poussin to leave Paris for good. The design has more real vitality than is generally to be found in Poussin’s work; the action of the figures is more natural; and the colour music is not drowned by the prevalence of dingy browns. The decorative effect heralds in a strange way the art of the next century, and particularly that of Boucher. To see Poussin in the right perspective as regards the world’s great masters, one need only compare his two _Bacchanals_ (Nos. 729 and 730) with Titian’s rendering of a similar theme. The comparison is disastrous for the eclectic Frenchman. A _Portrait of the Painter_ (No. 743) from Poussin’s own brush is to be found in Room XIV., where no fewer than thirty-seven of his pictures are on view. [Illustration: PLATE XXXVII.—NICOLAS POUSSIN (1594-1665) FRENCH SCHOOL No. 734.—THE SHEPHERDS IN ARCADIA (Les Bergers d’Arcadie) In the centre of a landscape with receding ranges of hills, three shepherds, leaning on their long staves, and a maiden in classic garb, are gathered around an ancient tomb surrounded by trees. An inscription on the tomb, “_Et in Arcadia Ego_,” engages their attention. One of the shepherds is kneeling and reading the inscription to his companion on the left, whilst the third man of the group leans forward to point out to the maiden the significance of the inscription. Painted in oil on canvas. 2 ft. 9½ in. × 3 ft. 11½ in. (0·85 × 1·21.)] CLAUDE LORRAIN