But our gravest reproach against M. Waagen is, that he did not notice at Dulwich numerous morceaux of Poussin, which well merited his attention; amongst others, the Adoration of the Magi, far superior, for its coloring, to that in the Museum at Paris; and, above all, a picture which seems to us a masterpiece in the difficult art of conveying a philosophic idea under the living form of a myth and an allegory.
In this art, Poussin excelled: he is pre-eminently a philosophical artist, a thinker assisted by all the resources of the science of design. He has ever an idea which guides his hand, and which is his main object. Let us not tire to reiterate this: it is moral beauty which he everywhere seeks, both in nature and humanity. As we have stated in relation to the sacrament of Ordination, the landscapes of Poussin are almost always designed to set off and heighten human life, whilst Claude is essentially a landscape painter, with whom both history and humanity are made subservient to nature. Subjects derived from Christianity were exactly suited to Poussin, inasmuch as they afforded the sublimest types of that moral grandeur in which he delighted, although we do not see in him the exquisite piety of Lesueur and Champagne; and if Christian greatness speaks to his soul, it appears to do so with no authority beyond that of Phocion, of Scipio, or of Germanicus. Sometimes neither sacred nor profane history suffices him: he invents, he imagines, he has recourse to moral and philosophic allegory. It is here, perhaps, that he is most original, and that his imagination displays itself in its greatest freedom and elevation. Arcadia is a lesson of high philosophy under the form of an idyll. The Testament of Eudamidas portrays the sublime confidence of friendship. Time Rescuing Truth from the assaults of Envy and Discord, the Ballet of Human Life, are celebrated models of this style. We have had the good fortune to meet at Dulwich with a work of Poussin's almost unknown, and of whose existence we had not even an idea, sparkling at the same time with the style we have been describing, and with the most eminent qualities of the chief of the French school.
This work, entirely new to us, is a picture of very small size, marked No. 295, and described in the catalogue as The Inspiration of the Poet, a delightful subject, and treated in the most delightful manner. Fancy the freshest landscape, in the foreground a harmonious group of three personages. The poet, on bended knee, carries to his lips the sacred cup which Apollo, the god of poesy, has presented to him. Whilst he quaffs, inspiration seizes him, his face is transfigured, and the sacred intoxication becomes apparent in the motion of his hands and his whole body. Beside Apollo, the Muse prepares to collect the songs of the poet. Above this group, a genius, frolicking in air, weaves a chaplet, whilst other genii scatter flowers. In the background, the clearest horizon. Grace, spirit, depth—this enchanting composition unites the whole. Added to this, the color is well-grounded and of great brilliancy.
It is very singular that neither Bellori nor Félibien, who both lived on terms of intimacy with Poussin, and are still his best historians, say not a word of this work. It is not referred to in the catalogues of Florent Lecomte, of Gault de St. Germain, or of Castellan; nor does M. Waagen himself, who, having been at Dulwich, must have seen it there, make the least mention of it. We are, therefore, ignorant in what year, on what occasion, and for whom this delicious little painting was executed: but the hand of Poussin is seen throughout, in the drawing, in the composition, in the expression. Nothing theatrical or vulgar: truth combined with beauty. The whole scene conveys unmixed delight, and its impression is at once serene and profound. In our idea, The Inspiration of the Poet may be ranked as almost equal with The Arcadia.
Notwithstanding this, The Inspiration has never been engraved, at least we have not met with it in any of the rich collections of engravings from Poussin we have been enabled to consult, those of M. de Baudicour, of M. Gatteaux, member of the Academy of Fine Arts, and lastly, the cabinet of prints in the Bibliothèque Nationale. We hope that these few words may suggest to some French engraver the idea of undertaking the very easy pilgrimage to Dulwich, and making known to the lovers of national art an ingenious and touching production of Poussin, strayed and lost, as it, were, in a foreign collection.
FINIS.
D. APPLETON & CO.'S PUBLICATIONS.
A History of Philosophy:
An Epitome. By Dr. Albert Schwegler. Translated from the original German, by Julius H. Seelye. 12mo, 365 pages.