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. liii
and in his latter period tended to portly : his features
were strong and justly proportioned, and his general
expression was dignified and grave, sometimes bor-
dering on the severe, the effect of abstraction and in-
tense thought: his complexion was of an olive hue,
and his hair black, falling in clusters round his head,
and shewing to advantage his high and ample sorehead.
Noth withstanding the air of sternness which generally
governed his countenance, he was of a mild and
placid disposition, and at all times affable and en-
gaging, communicating readily and frankly his opinions
on the subject of Art; and being profoundly learned in
his profession and in the knowledge of history, both
sacred and profane, his conversation was, at all times,
highly interesting and instructive. His love for his
profession predominated over every other principle,
and hence his noble mind could not stoop to accept
more for his pictures than he demanded, for his object
was Fame, not Wealth. Master of his mind and
passions, he was wholly indifferent to the parade of
ceremony, or the vain display of ostentation; plain
and simple in his manner of living, and equally so
in his domestic arrangements, of which the following
trait, mentioned by Passeri, is a striking illustration.
“ The Cardinal Massini, having spent the evening
“ with him in conversation, was attended at its con-
“ elusion by the artist, who, with a lamp, lighted his
“ Excellency to his carrriage.” “ I am sorry,” said
the Cardinal, while descending the stairs, “ that you
“ have not a servant to do this office.” “ And I,” said
the Painter, “ pity you still more in having so many.”
The distribution of his time accorded with his