sacred subjects. The latter are comparatively heavy, forced, full of violent contrasts of colour, of red, blue, and black, and without the true prophetic inspiration of the characters. But in his pagan allegories and fables he was quite at home. The native gravity and native levity of the Frenchman were combined with Italian scenery and an antique gusto, and gave even to his colouring an air of learned indifference. He wants, in one respect, grace, form, expression; but he has everywhere sense and meaning, perfect costume and propriety. His personages always belong to the class and time represented, and are strictly versed in the business in hand. His grotesque compositions in particular, his Nymphs and Fauns, are superior (at least, as far as style is concerned) even to those of Rubens. They are taken more immediately out of fabulous history. Rubens’s Satyrs and Bacchantes have a more jovial and voluptuous aspect, are more drunk with pleasure, more full of animal spirits and riotous impulses; they laugh and bound along—
but those of Poussin have more of the intellectual part of the character, and seem vicious on reflection, and of set purpose. Rubens’s are
