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)

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NICHOLAS POUSSIN.

New Testament Subjects.
plication towards the Saviour, who is approaching from the
opposite side; one of his hands is extended, and his counte-
nance, beaming with benificence, is directed to the suppliant.
St. John, and five other persons, are behind the Saviour, one is
a woman sitting on the ground with a sickly infant by her
side. Above is seen an angel descending on a cloud to trouble
the waters. Engraved by J. Bonnart.

98. Christ and the Woman of Samaria. This interesting
subject is here represented with the most unaffected simplicity
and truth. The Saviour, clothed in a vesture and ample
mantle, is seated by the side of a well, on which he leans one
arm, both his hands being extended; his countenance,
seen in nearly profile view, is directed to the Samaritan
woman, who stands opposite to him, resting one hand on her
vase, while the other is raised in an attitude denoting the
surprise she feels at the disclosure of the events of her life by
a stranger. At some distance are seen several disciples of
Jesus approaching. The country presents a hilly scene, with
buildings. This picture was painted in 1661, for M. de
Chantelou, and, according to Felebien, was the last of
Poussin’s historical productions. Engraved by Pesne,
Haezelman, and Drevet.

99. Christ healing the two Blind Men of Jericho. The
composition of this admirable picture exhibits the Saviour
standing amidst a group of eight persons, in the act of exer-
cising his usual benignity and divine power. The two blind
men are kneeling before him ; on one he has placed his hand,
and already the visual sense has returned; this is strikingly
expressed by the position of his hands, and also by the surprise
of a spectator, who is stooping to convince himself of the reality