Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 7

While Poussin resided at Paris, his talents, and the endowments of his mind procured him the esteem of several men of letters and distinction, among whom was the Cav. Marino, the celebrated Italian poet, who happened then to be in Paris. Marino strongly urged him to accompany him to Rome, an invitation which Poussin would gladly have accepted, had he not then been engaged in some commissions of importance, which having completed, he set out for Rome in 1624, where he was warmly received by his friend Marino, who introduced him to the Cardinal Barberini. He however derived little advantage from this favorable notice at the time, as the Cardinal soon after left Rome on his legation to France and Spain, and the Cav. Marino died about the same time. Poussin now found himself a stranger, friendless and unknown in the Eternal City, in very embarra.s.sed circ.u.mstances; but he consoled himself with the thought that his wants were few, that he was in the very place where he had long sighed to be, surrounded by the glorious works of ancient and modern art, and that he should have abundant leisure to study. Therefore, though he could scarcely supply his necessities by the disposal of his works, and was often compelled to sell them for the most paltry prices, his courage did not fail him, but rather stimulated him to the greatest a.s.siduity to perfect himself in the art. He lodged in the same house with Francis du Quesnoy, called Il Fiammingo, the state of whose finances at that time were not more flouris.h.i.+ng than his own, and he lived in habits of intimacy and strict friends.h.i.+p with that eminent sculptor, with whom he explored, studied, and modeled the most celebrated antique statues and bas-reliefs, particularly the Meleager in the Vatican, from which he derived his rules of proportion. At first he copied several of the works of t.i.tian, and improved his style of coloring, but he afterwards contemplated the works of Raffaelle with an enthusiasm bordering on adoration. The admirable expression and purity of the works of Domenichino, rendered them particularly interesting to him, and he used to regard his Communion of St. Jerome as the second picture at Rome, the Transfiguration by Raffaelle being the first.

POUSSIN'S DISTRESS AT ROME.

While Poussin was thus pursuing his studies at Rome, he was left by the death of his friend Marino, in a state of extreme distress, and was obliged to dispose of his paintings at the most paltry prices, to procure the necessaries of life. Filibien says that he sold the two fine battle-pieces which were afterwards in the collection of the Duke de Noailles for seven crowns each, and a picture of a Prophet for eight livres. His celebrated picture of "the Ark of G.o.d among the Philistines"

brought him but sixty crowns; the original purchaser sold it not long afterwards to the Duc de Richelieu for one thousand crowns!

POUSSIN'S SUCCESS AT ROME.

A brighter day now dawned upon Poussin. What had happened to him, which would have been regarded by most young artists as the greatest misfortune and sunk them in despondency and ruin, proved of the greatest advantage to him. The Cardinal Barberini having returned to Rome, gave him some commissions, which he executed in such an admirable manner as at once established his reputation among those of the greatest artists of the age. The first work he executed for his patron was his celebrated picture of the Death of Germanicus, which Lanzi p.r.o.nounces one of his finest productions. He next painted the Taking of Jerusalem by t.i.tus.

These works gave the Cardinal so much satisfaction that he procured for him the commission to paint a large picture of the Martyrdom of St.

Erasmus, for St. Peter's, now in the pontifical palace at Monte Cavallo.

These works procured him the friends.h.i.+p and patronage of the Cav. del Pozzo, for whom he painted his first set of pictures, representing the Seven Sacraments, now in the collection of the Duke of Rutland. He afterwards painted another set of the same, with some variations, for M.

de Chantelou, formerly in the Orleans collection, now in that of the Marquis of Stafford.

POUSSIN'S INVITATION TO PARIS.

In 1639, Poussin was invited to Paris by Louis XIII., who honored him on this occasion with the following autograph letter, which was an extraordinary and unusual homage to art:

"DEAR AND WELL BELOVED,

"Some of our especial servants having made a report to us of the reputation which you have acquired, and the rank which you hold among the best and most famous painters of Italy; and we being desirous, in imitation of our predecessors, to contribute, as much as lies in us, to the ornament and decoration of our royal houses, by fixing around us those who excel in the arts, and whose attainments in them have attracted notice in the places where those arts are most cherished, do therefore write you this letter, to acquaint you that we have chosen and appointed you to be one of our painters in ordinary, and that, henceforward, we will employ you in that capacity. To this effect our intention is, that on the receipt of this present, you shall dispose yourself to come hither, where the services you perform shall meet with as much consideration as do your merits and your works, in the place where you now reside. By our order, given to M. de Noyers, you will learn more particularly the favor we have determined to shew you. We will add nothing to this present, but to pray G.o.d to have you in his holy keeping.

"Given at Fontainebleau, Jan. 15, 1639."

Poussin accepted the invitation with great reluctance, at the earnest solicitation of his friends. On his arrival at Paris he was received with marked distinction, appointed princ.i.p.al painter to the king, with a pension, and accommodated with apartments in the Tuileries. He was commissioned to paint an altar-piece for the chapel of St. Germain en Laie, where he produced his admirable work of the Last Supper, and was engaged to decorate the Gallery of the Louvre with the Labors of Hercules. He had already prepared the designs and some of the cartoons for these works, when he was a.s.sailed by the machinations of Simon Vouet and his adherents; and even the landscape painter Fouquieres, jealous of his fame, presumed to criticise his works and detract from their merit.

POUSSIN'S RETURN TO ROME.

Poussin, naturally of a peaceful turn of mind, fond of retirement and the society of a few select literary friends, was disgusted with the ostentation of the court and the cabals by which he was surrounded; he secretly sighed for the quiet felicity he had left at Rome, and resolved to return thither without delay. For this purpose, he solicited and obtained leave of the king to visit Italy and settle his affairs, and fetch his wife; but when he had once crossed the Alps, no inducement could prevail on him to revisit his native country, or even to leave Rome. During a period of twenty-three years after his return to Rome from Paris, he lived a quiet, unostentatious life, and executed a great number of pictures, which decorate the princ.i.p.al cabinets of Europe, and will ever be regarded as among their most valuable ornaments. He confined himself mostly to works of the large easel size, which were eagerly sought after, and usually disposed of as soon as they were executed. He never made any words about the price of his pictures, but asked a modest and moderate price, which he always marked upon the back of his canvas, and which was invariably paid. Many of his works were sent to Paris, where they were valued next to the productions of Raffaelle. He was plain and una.s.suming in his manners, very frugal in his living, yet so liberal and generous that at his death he left an estate of only 60,000 livres--about $12,000. Felibien relates an anecdote which pleasingly ill.u.s.trates his simple and unostentatious mode of life. The Cardinal Mancini was accustomed to visit his studio frequently, and on one occasion, having staid later than usual, Poussin lighted him to the door, at which the prelate observed, "I pity you, Monsieur Poussin, that you have not one servant." "And I," replied the painter, "pity your Excellency much more, that you are obliged to keep so many."

SIR JOSHUA REYNOLDS' CRITIQUE ON POUSSIN.

"The favorite subjects of Poussin were ancient fables; and no painter was ever better qualified to paint such subjects, not only from his being eminently skilled in the knowledge of the ceremonies, customs, and habits of the ancients, but from his being so well acquainted with the different characters which those who invented them gave to their allegorical figures. Though Rubens has shown great fancy in his Satyrs, Silenuses, and Fauns, yet they are not that distinct, separate cla.s.s of beings which is carefully exhibited by the ancients, and by Poussin.

Certainly, when such subjects of antiquity are represented, nothing should remind us of modern times. The mind is thrown back into antiquity, and nothing ought to be introduced that may tend to awaken it from the illusion.

"Poussin seemed to think that the style and the language in which such stories are told is not the worse for preserving some relish of the old way of painting, which seemed to give a general uniformity to the whole, so that the mind was thrown back into antiquity, not only by the subject, but also by the execution.

"If Poussin, in imitation of the ancients, represents Apollo driving his Chariot out of the sea, by way of representing the sun rising, if he personifies lakes and rivers, it is noways offensive in him, but seems perfectly of a piece with the general air of the picture. On the contrary, if the figures which people his pictures had a modern air and countenance, if they appeared like our countrymen, if the draperies were like cloth or silk of our manufacture, if the landscape had the appearance of a modern one, how ridiculous would Apollo appear instead of the sun, and an old Man or a Nymph with an urn to represent a river or lake?" He also says, in another place, that "it may be doubted whether any alteration of what is considered defective in his works, would not destroy the effect of the whole."

POUSSIN'S VIEWS OF HIS ART.

Poussin, in his directions to artists who came to study at Rome, used to say that "the remains of antiquity afforded him instruction that he could not expect from masters;" and in one of his letters to M. de Chantelou, he observes that "he had applied to painting the theory which the Greeks had introduced into their music--the Dorian for the grave and the serious; the Phrygian for the vehement and the pa.s.sionate; the Lydian for the soft and the tender; and the Ionian for the riotous festivity of his baccha.n.a.lians." He was accustomed to say "that a particular attention to coloring was an obstacle to the student in his progress to the great end and design of the art; and that he who attaches himself to this princ.i.p.al end, will acquire by practice a reasonably good method of coloring." He well knew that splendor of coloring and brilliancy of tints would ill accord with the solidity and simplicity of effect so essential to heroic subjects, and that the sublime and majestic would be degraded by a union with the florid and the gay. The elevation of his mind is conspicuous in all his works. He was attentive to vary his style and the tone of his color, distinguis.h.i.+ng them by a finer and more delicate touch, a tint more cheerful or austere, a site more cultivated or wild, according to the character of his subject and the impression he designed to make; so that we are not less impressed with the beauty and grandeur of his scenery, than with the varied, appropriate, and dignified characteristics which distinguish his works.

POUSSIN'S WORKS.

In Smith's Catalogue raisonne may be found a descriptive account of upwards of three hundred and fifty of the works of this great artist, in many instances tracing the history from the time they were painted, the names of the present possessors, and the princ.i.p.al artists by whom they have been engraved, together with many interesting particulars of the life of the painter. There are eight of his pictures in the English National Gallery, fourteen in the Dulwich Gallery, and many in the possession of the n.o.bility of England. The prices paid for those in the National Gallery vary from 150 to 1000 guineas.

MARINO AND POUSSIN.

Marino was born at Naples. Some political disturbances, in which he and his family had taken part, obliged him to quit that kingdom, and he took refuge successively in several of the petty courts of Italy. His talent for satire involved him in various literary disputes, as well as some political quarrels, and he never resided long in one place, until Mary of Medicis invited him to the court of France, where he pa.s.sed much of his life, and where he wrote most of his poems, which, though licentious both in matter and style, contain numerous beauties, and are full of cla.s.sical imagery. Marino gave Poussin an apartment in his house at Rome, and as his own health was at that time extremely deranged, he loved to have Poussin by the side of his couch, where he drew or painted, while Marino read aloud to him from some Latin or Italian author, or from his own poems, which Poussin ill.u.s.trated by beautiful drawings, most of which it is to be feared are lost; although it is believed that there is still existing in the Ma.s.simi library, a copy of the Adonis in Marino's hand-writing, with Poussin's drawings interleaved. To this kind of study which he pursued with Marino, may perhaps be attributed Poussin's predilection for compositions wherein nymphs, and fairies, and baccha.n.a.ls are the subjects--compositions in which he greatly excelled.

POUSSIN ROMANIZED.

While the court of France was at variance with the Holy See, considerable acrimony existed among his Holiness's troops against all Frenchmen; consequently, wherever they met them in Rome, they instantly attacked them with sticks and stones, and sometimes with even more formidable weapons. It happened one day that Poussin and three or four of his countrymen, returning from a drawing excursion, met at the Quattro Fontane near Monte Cavallo, a company of soldiers, who seeing them dressed in the French costume, instantly attacked them. They all fled but Poussin, who was surrounded, and received a cut from a sabre between the first and second finger. Pa.s.seri, who relates the anecdote, says that the sword turned, otherwise "a great misfortune must have happened both to him and to painting." Not daunted, however, he fought under the shelter of his portfolio, throwing stones as he retreated, till being recognized by some Romans who took his part, he effected his escape to his lodgings. From that day he put on the Roman dress, adopted the Roman way of living, and became so much a Roman, that he considered the city as his true home.

POUSSIN'S HABITS OF STUDY.