odds the best painter of this time was Nicolas Poussin
(1593-1665). He lived almost all of his life in Italy, and might be
put down as an Italian of the Decadence. He was well versed in
classical archaeology, and had much of the classic taste and feeling
prevalent at that time in the Roman school of Giulio Romano. His work
showed great intelligence and had an elevated grandiloquent style
about it that was impressive. It reflected nothing French, and had
little more root in present human sympathy than any of the other
painting of the time, but it was better done. The drawing was correct
if severe, the composition agreeable if formal, the coloring
variegated if violent. Many of his pictures have now changed for the
worse in coloring owing to the dissipation of surface pigments. He was
the founder of the classic and academic in French art, and in
influence was the most important man of the century. He was especially
strong in the heroic landscape, and in this branch helped form the
style of his brother-in-law, Gaspard (Dughet) Poussin (1613-1675).

The landscape painter of the period, however, was Claude Lorrain
(1600-1682). He differed from Poussin in making his pictures depend
more strictly upon landscape than upon figures. With both painters,
the trees, mountains, valleys, buildings, figures, were of the grand
classic variety. Hills and plains, sylvan groves, flowing streams,
peopled harbors, Ionic and Corinthian temples, Roman aqueducts,
mythological groups, were the materials used, and the object of their
use was to show the ideal dwelling-place of man--the former Garden of
the Gods. Panoramic and slightly theatrical at times, Claude's work
was not without its poetic side, shrewd knowledge, and skilful
execution. He was a leader in landscape, the man who first painted
real golden sunlight and shed its light upon earth. There is a soft
summer's-day drowsiness, a golden haze of atmosphere, a feeling of
composure and restfulness about his pictures that are attractive. Like
Poussin he depended much upon long sweeping lines in composition, and
upon effects of linear perspective.

[Illustration: FIG. 58--WATTEAU. GILLES. LOUVRE.]

COURT PAINTING: When Louis XIV. came to the throne painting took on a
decided character, but it was hardly national or race character. The
popular idea, if the people had an idea, did not obtain. There was no
motive springing from the French except an inclination to follow
Italy; and in Italy a