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, distinguishing 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 principal 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 nobility 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 passed 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 classical 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 illustrated by beautiful drawings, most of which it is to be feared are lost; although it is believed that there is still existing in the Massimi 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 bacchanals are the subjects—­compositions in which he greatly excelled.

POUSSIN ROMANIZED.