their works. I understand by the term 'mode,' the principle, the proportion, or the means which I employ in all I do, and by which I feel compelled to keep within certain limits, avoiding in every way extremes, and constantly keeping in view a determined moderation, and an order, by which I establish the appearance of a real existence, to the work in which I am engaged."

"As mode with the ancients was composed of several things, it follows that the variety and difference observable in their compositions, gave birth to many sorts of modes, each of which being formed of divers parts combined with due proportion, there results from them a secret power to excite in the soul various passions or emotions. The ancients also attributed to each of the several kind of modes, a peculiar quality, accordingly as they disclosed the nature of the effect which they were capable of producing. For instance, the mode which they denominated Dorian, expressed feelings of a grave and serious nature; the Phrygian, passions of a violent or vehement kind. The Lydian, denoted those of a soft, pleasant, and agreeable character; and the Ionic accorded with bacchanals, feasts, and dances. By these rules, ancient painters, poets, and musicians were governed. The same principles ought to be observed in all works of art, in which, according to the different subjects represented, an attempt is made to give to the countenances of the several individuals, an expression of the passions

comformable to their actions, so that every beholder feels himself excited by similar feelings to the persons he sees in the piece."

At the commencement of the year 1648, Poussin sent off the last picture of the series of the Sacraments; and in the same year he finished for Monsieur du Frêne Anequin, the Virgin seated on a step, with the infant Saviour on her knees; for the Sieur Pointel, the beautiful picture of Rebecca at the Well; for Monsieur Lumague a Landscape, in which is introduced Diogenes casting away his cup; for the Sieur Cerisiers, a Landscape with the interment of Phocion, and a companion. A Landscape divided by a high road; also a small picture of the Baptism of St. John, which was done for Monsieur de Chantelou.

In 1649 were produced a grand Landscape with the story of Polyphemus; the Holy Family with Angels, a composition of ten figures; and the Judgment of Solomon. These were all executed for Monsieur Pointel.

During the succeeding year, he painted for Monsieur Scarron the Vision of St. Paul, differing somewhat from the former one; and for the Sieur Stella, a picture of Moses striking the Rock, varying in every way from the one he formerly did for Monsieur de Gillier. In reply to a criticism on this picture, to the effect that the channel in which the water ran was too deep, and had not the appearance of recent production, nor suitable to the arid nature of a desert, he observes, "One must not stop at this difficulty; it may readily be credited that I do not work by accident, and that

I am in some some sense sufficiently informed of the liberties permitted to a painter in the objects he is desirous of representing, that he may, as best suits his purpose, depict them as they have been, as they are, or as they may be. It appears to me that the place where the miracle was performed, must have been such as I have represented it; for otherwise, the water could not be collected in a body sufficient to supply the wants of so many people, but would have been dispersed on all sides. If, at the creation of the world, the earth had received one uniform figure, destitute of beds or channels to contain the waters, its surface would have been wholly covered with that element, and consequently rendered unfit for animals. God in the beginning so disposed everything with such order and suitableness to the end, for which his work was perfected. Thus, in events of a like importance to that of Moses striking the rock, one may easily suppose that other concurring wonders would accompany them; hence as it is not easy for every one to judge correctly, they ought to be cautious, and not decide too rashly."

In 1650 he produced the admirable picture of Christ healing the Blind Men of Jericho, which for beauty of composition, correctness of drawing, and force of expression, is perhaps unrivalled. Many friends of the artist at Paris had long wished to have his portrait, and he had signified his wish to oblige them, but there were few painters at Rome who attempted portraiture, aud the only one capable of doing it well was Monsieur Mignard in reference to this subject he wrote to

Monsieur de Chantelou, in May 1650, and informed him that he had been engaged on his own portrait, and that he would shortly send it to him; he confesses, at the same time, the difficulty he found in finishing it, more than twenty eight-years having elapsed since he last did it. About a month after the portrait arrived at Paris. A second portrait of himself, differing from the preceding, but done at the same time, was shortly after sent to the Sieur Pointel. The same year he painted for Monsieur Passart a large landscape, in which is introduced a young woman washing her feet.

The continued applications for pictures from France, in addition to the orders he received from his Italian friends, kept him closely engaged at his easel; and in the following year he painted for the Duke de Crequi, a reposo of the Holy Family, a composition of several figures; for the Sieur Raynon, the preservation of the infant Moses; and for the Sieur Pointel, two landscapes, one of which exhibits the effects of a storm, the other of serene weather. Soon after, he executed, for the same gentleman, two grand landscapes, one distinguished by the introduction of a man lying dead, entwined by a serpent; and the other by a man escaping in terror from some object.

The year 1653 appears to have been occupied in painting, for a M. de Mauroy, the Nativity and Adoration of the Shepherds, and for his patron the Sieur Pointel, Christ appearing in the Garden to the Magdalene, and the capital picture of the Woman taken in Adultery. The splendid landscape, in which

is represented the Exposition of the infant Moses, was done in 1654, for the Sieur Claude Stella; and in the succeeding year he executed, for M. Mercier, St. Peter and John healing the Lame Man at the Beautiful Gate of the Temple; and for M. de Chantelou, a picture of the Virgin, of the size of life. In reference to the last-mentioned picture, it appears, from the contents of a letter which accompanied it, that he fully anticipated the observations that it was likely to excite, and he therefore "begs his friend to bear in mind, that general excellence in art does not fall to the lot of any individual; he therefore cautions him not to expect to find in his work that which he has not received." He further says, "I am quite aware that a diversity of opinion will prevail among those who see it, because the taste of amateurs, like that of painters, varies considerably; and this difference of taste is the cause of the diversity which is found in the works of the one, and the opinions of the other." He goes on to support his opinion by a reference to the works of ancient painters, and shows that they severally excelled in parts only, and not one of them attained to perfection: the same may be said of ancient sculptors. "Similar examples," he adds, "might be adduced of painters of eminence, if we consider well all they have done, who have flourished during the last three centuries and a half; among whom I will not scruple to rank myself."

In 1656, he painted, for a gentleman whose name does not occur, a picture of the Holy Family, in which are introduced St. Elizabeth and St. John; his