Smith, John: A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 8) (London: Smith and Son, 1837)

NICHOLAS POUSSIN.

xxxix

sor his friend Monsieur de Chantelou, intended for a
companion to the Vision of Ezekiel, by Raffaelle.
Previous to commencing this picture, he wrote to
Monsieur de Chantelou on the subject, and in his letter
observes, “ I fear my trembling hand will barely serve
“ me to execute a picture destined to be a companion
“ to one by Rassaelle. I have some trouble to persuade
“ myself to undertake it, and I expect a promise that
“ it shall be appropriated as a cover to the one by
“ that great Master, or at least that it will never be
“ shown at the same time. I think that your friend-
“ ship for me is such, that you would readily protect
“ me from an insult, which a comparison might pro-
“ voke.”
Towards the end of the same year this picture was
sent, accompanied by a letter, dated 2nd December
1643, in which he reiterates his request. “ I entreat
“ you, in order to avoid calumny, and also the shame
“ that I should feel, not to place the picture in juxta-
“ position with that by Raffaelle, but, on the contrary,
“ to remove it as far as possible away, or you will
“ destroy the little beauty it may possess.” For this
picture one hundred crowns were sent to him, fifty of
which he returned, being so much above the sum he
demanded; and this practice he pursued in every
instance, preserring at all times fame to interest.
The re-establishment of Monsieur de Noyers in his
former situation, was soon after followed by a pressing
request that Poussin would return to France to finish
the grand Gallery, to which lie replied by a letter,
dated 26th June 1644, in the sollowing terms: “I