Born 1600; died 1663. . . . Rich in verdure, the trees glory in beauty, and sport in sunny vapour. The eye roams to a distance, to where the sun sheds its mellow splendour on the horizon, covering the mountaintops with its evening gold, the mountain rivulet bounds from rock to rock, till lost in beds of foliage--displaying only its partial silver gleams. The scene is one of many winding, gentle slopes, . . . A beautiful realization of the artist, of whom it is said, He selected the most enchanting scenes and the most beautiful aspects of nature: the graceful poplar, the spreading plaintree, limpid fountains, verdant meads, gently undulating hills, and villas delightfully situated, . . . All the enchanting scenery of the Tusculan or Tibertine territory, and of Rome, where . . . nature has combined the many beauties which she has scattered singly in other places, was copied by this artist. He composed ideal landscapes in the same way that Torquato Tasso, in describing the Gardens of Armida, concentrated in his verses all the recollections of the beautiful . . . in nature. . . . This picture is nearly allied to the "Abraham and Isaac" in the National Gallery, London. . . . (On canvass--5 ft. 2 in by 3 ft. 6 inches.) [P. 16-17; excerpted from a detailed discussion of Poussin's style.]
Catalogue of Paintings, by the Great Masters, including Specimens of the First Class, of the Italian, Venetian, Spanish, Flemish, Dutch, French, and English Schools. It penetrates the inward recesses of the soul--even surpassing the power and force of eloquence.--Quintillian on the Art of Painting. Boston: Press of John H. Eastburn.