are not to be learned, and which make an essential part of
painting._

First, the subject must be noble. It should have received no quality
from the mere workmen; and to allow scope to the painter to display his
powers, he should choose it capable of receiving the most excellent
form. He must begin by composition, then ornament, propriety, beauty,
grace, vivacity, probability, and judgment, in each and all. These last
belong solely to the painter, and cannot be taught. The nine are the
golden bough of Virgil, which no man can find or gather, if his fate do
not lead him to it."

POUSSIN AND THE NOBLEMAN.

A person of rank who dabbled in painting for his amusement, having one
day shown Poussin one of his performances, and asked his opinion of its
merits, the latter replied, "You only want a little poverty, sir, to
make a good painter."

POUSSIN AND MENGS.

The admirers of Mengs, jealous of Poussin's title of "the Painter of
Philosophers," conferred on him the antithetical one of "the Philosopher
of Painters." Though it cannot be denied that Mengs' writings and his
pictures are learned, yet few artists have encountered such a storm of
criticism.

POUSSIN AND DOMENICHINO.

Next to correctness of drawing and dignity of conception, Poussin valued
expression in painting. He ranked Domenichino next to Raffaelle for this
quality, and not long after his arrival at Rome, he set about copying
the Flagellation of St. Andrew, painted by that master in the church of
S. Gregorio, in competition with Guido, whose Martyrdom of that Saint is
on the opposite side of the same church. Poussin found all the students
in Rome busily copying the Guido, which, though a most beautiful work,
lacks the energy and expression which distinguish the Flagellation; but
he was too sure of his object to be led away by the crowd. According to
Felibien, Domenichino, who then resided at Rome, in a very delicate
state of health, having heard that a young Frenchman was making a
careful study of his picture, caused himself to be conveyed in his chair
to the church, where he conversed some time with Poussin, without making
himself known; charmed with his talents and highly cultivated mind, he
invited him to his house, and from that time Poussin enjoyed his
friendship and profited by his advice, till that illustrious painter
went to Naples, to paint the chapel of St. Januarius.

POUSSIN AND SALVATOR ROSA.

Among the strol