s lucky star conducts him to it."

GASPAR POUSSIN, whose name was really Gaspard Dughet, was brother-in-law
of Nicholas, and acquired his name from being his pupil. He was nineteen
years his junior, and survived him by ten years. He was born in Rome of
French parents, and died there in 1675, and though he travelled a good
deal in Italy he never appears to have visited France. His Italian
landscapes are very beautiful, and we are fortunate in the possession of
one which is considered his best, No. 31 in the National Gallery,
_Landscape with Figures_, _Abraham and Isaac_. Scarcely less fine is the
_Calling of Abraham_, No. 1159, especially in the middle and far
distance. The sacred figures, it may as well be said, are of little
concern in the compositions, though useful for purposes of identifying
the pictures.

CLAUDE GELLEE, nowadays usually spoken of as Claude, was born at
Chamagne in Lorraine in 1600. Accordingly he has been styled Claude
Lorraine, le Lorraine, de Lorrain, Lorrain, or Claudio Lorrenese with
wonderful persistency through the ages, though there was no mystery
about his surname and it would have served just as well. He was brought
up in his father's profession of pastrycook, and in that capacity he
went to Rome seeking for employment. As it happened he found it in the
house of a landscape painter, Agostino Tassi, who had been a pupil of
Paul Bril, and he not only cooked for him but mixed his colours as well,
and soon became his pupil. Later he was studying under a German painter,
Gottfried Wals, at Naples. A more important influence on him, however,
was that of Joachim Sandrart, one of the best of the later German
painters, whom he met in Rome.

Claude's earliest pictures of any importance were two which were painted
for Pope Urban VII. in 1639, when he was just upon forty years old.
These are the _Village Dance_ and the _Seaport_, now in the Louvre. The
_Seaport at Sunset_ and _Narcissus and Echo_ in the National Gallery
(Nos. 5 and 19) are dated 1644--the former on the canvas and the latter
on the sketch for it in the _Liber Veritatis_, where it is stated that
it was painted for an English patron.

The _Liber Veritatis_, it should be observed, is the title given to a
portfolio of over two hundred drawings in pen and bistre, or Indian ink,
which is now in the possession of the Duke of Devonshire. Most of these
were made from pictures which had been painted, not as sketches or
designs preparatory to