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 012737
The College of West Anglia GS)
Ramnoth Road * Wisbech *- PE13 2JE « Tel: (01945 582561)

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THE DRAWINGS OF
NICOLAS POUSSIN
V
STUDIES OF THE WARBURG INSTITUTE
EDITED BX [eo
VOT. ayes
 THE DRAWINGS OF
NICOLAS POUSSIN
CATALOGUE RAISONNE

EDITEDBY
WALTER FRIEDLAENDER
AND
ANTHONY BLUNT

LONDON
THE WARBURG INSTITUTE
UNIVERSITY OF LONDON
1974
OlAyeT

© THE WARBURG INSTITUTE, 1974

IsBN 0 85481 048 X
PRINTED IN THE NETHERLANDS
BYE. BR ey aD ESN)
 Pa Rer lye

DRAWINGS AFTER
THE ANTIQUE
MISCELLANEOUS DRAWINGS
ADDENDA
 Digitized by the Internet Archive
in 2023 with funding from
Kahle/Austin Foundation

https://archive.org/details/drawingsofnicola0Q000pous
 CONTENTS

PREACH. 4 coe 4

PRT IOGRAPHY 6 css. ee

DRAWINGS AFTER THE ANTIQUE AND AFTER OTHER MASTERS

MISCELLANEOUS DRAWINGS. .

ADDENDA

Ome Patani eles et iae eermaen

PNCave CSPAL COE et rs Me Gils oe aes ye
Ancient stony... Soe shale Asoal Outros? Ake, <3
Scenes from Ariosto and Tee: ee an ee
PLE OD «olan 2 100
Mythology . ; : 102
Drawings for the Tone Gallery of tae oe 121
Dee ae BOAO GS Be ees Wa yes) Seas 122
Illustration to Leonardo’s Treatise . .. . 123
Landscape Drawings 5. 4 3. 123

INDEX OF PRESENT LOCATIONS TO Vots. I-V . . 131

SUBIECT INDEX TOW OLS. I-V Sie es 153

 PREFACE

Since the publication of volume IV of the Catalogue the death has occurred of Professor Walter
Friedlaender, who was responsible for the idea of a work on Poussin’s drawings, who collected
much of the material contained in its five volumes and who prepated the basic text for the first
three volumes. As Friedlaender said in his introduction to the first volume, his original intention
was to write a general book on Poussin as a draughtsman, and it was Fritz Saxl who persuaded
him that it should be turned into a catalogue raisonné. There is no question that this decision has
made the book a more valuable weapon for scholarship, since it involved an attempt to track down
all the surviving drawings which could be connected with Poussin’s name and to distinguish, as
far as possible, between originals, copies and imitations. This work could not have been carried
out by one man alone, and in the preparation of the first volume the text was radically revised
by Professor Rudolf Wittkower, who is responsible for many of the decisions on which drawings
were original and which copies. I was associated with him to a small degree in this work and in
later volumes my name was added to Friedlaendet’s as co-editor. The second volume was largely
prepared during the war years, when communications across the Atlantic were slow and uncertain,
and it finally appeared in 1949. Work had in fact already been begun on the third volume, and
Professor E. K. Waterhouse had solved many of the problems connected with the iconography
of the mythological drawings. Friedlaender took an active part in the preparation of the final
text of this volume. When the fourth volume came to be prepared he was preoccupied with work
on Italian seventeenth-century painting and he generously allowed me a free hand as editor. In
the preparation of this volume I was helped by various scholars. Mr. Richard Hughes-Hallett
undertook the identification of the often obscure subjects in the Hercules drawings for the decora-
tion of the Long Gallery. Dr. John Shearman undertook the work on the landscape drawings; he
succeeded in establishing a firm canon of originals and turned the drawings which I had tended
simply to reject as not by Poussin into an important corpus of drawings by Gaspard Dughet. It
should, I think, be recorded that, although he made no objection to our text, Friedlaender felt,
I am almost sure, that we had been somewhat severe, and he regretted seeing some of the land-
scape drawings which he loved—as we did—taken away from Poussin himself and given to his
brother-in-law.
For the present volume I must take complete responsibility, though I have received invaluable
help from various scholars. Miss Helen Butterworth, now Mrs. Allan Braham, undertook the
laborious task of identifying the sources of Poussin’s drawings after the Antique, and in so doing
made the important discovery that he relied more often on engravings than on the originals.
Mr. Cornelius Vermeule gave me valuable help over several teasing problems in this field. Dr. John
Shearman has at all times given me help over questions of authenticity, dating and iconography.
Owing to the nature of its contents this volume differs from the others both in matter and in
atrangement. It opens with the drawings after the Antique and other masters, and these are follow-
ed by a section of miscellaneous drawings, that is to say, all those which do not belong to any
of the categories covered in previous volumes. The remainder of the volume is devoted to

9
addenda and corrigenda to the first four volumes. Since the publication of these many drawings
have been discovered and a good deal of new information has become available about those
already catalogued.
The corrigenda include not only matters of fact, but also questions of attribution. Since the first
volume was published in 1939 our knowledge of Poussin’s drawings has greatly advanced and
in some cases has led to a revision of previous decisions on what was an authentic work from
Poussin’s own hand and what was a copy or an imitation. There has also been a change in the
approach of scholars to the attribution of drawings in general. In 1939 we were still under the
influence of the previous generation, who were, reasonably, preoccupied with the need to sift
out the genuine from the vast quantity of optimistic or loose attributions which had obscured
the study of drawings in the eighteenth and nineteenth centuries. Many scholars now feel that
they went too far in this direction and often rejected drawings which should be accepted, because
they forgot that artists are not always either at their best or at their most typical. In particular
they rejected drawings which did not show the spontaneity which they regarded as the essential
quality of draughtsmanship, with the result that many finished drawings, which the artists them-
selves would have regarded as among their most important works, were attributed to the studio
(cf. for instance the rejection of Michelangelo’s presentation drawings by many scholars, in spite
of their provenance and the evidence of Vasari). In accordance with this change of attitude a
number of drawings which in earlier volumes wete classified as copies or imitations are here
‘reinstated’ as originals. We cannot know what Friedlaender would have said about these changes,
but I believe he would have approved of them. When the first volume was in preparation I had
the feeling that he thought that Wittkower and I were being a little pedantic in our decisions about
what was true and what was false. At the time I was sure we were right; now I believe that a
more lenient point of view will produce more correct judgments.
This volume necessarily contains a larger number than the previous volumes of drawings which
are either so slight or so peculiar that a decision on their authenticity is particularly difficult.
The reader will notice that in many cases the question has been left open, in the belief that, while
the drawing is near enough to Poussin to be worth publishing, its exact status cannot be satis-
factorily determined at the present time.
In previous volumes many unimportant drawings belonging to the categories covered were
left out as being not worth mentioning. In this volume an attempt has been made—doubtless
with only partial success—to mention, however briefly, every drawing attributed to Poussin in a
public collection. In the case of certain collections, such as Besancon and Chantilly, where the
proportion of wrong attributions is very high, some drawings have no doubt been missed. The task
of listing wrongly attributed drawings in private possession seemed too vast and too unrewarding
to be worth undertaking.
Owing to a purely practical reason—the fact that the printer who had undertaken to prepare the
plates was ceasing to use the process of reproduction agreed—it was necessary to print the plates
before the text of the catalogue was complete. For this reason a number of drawings, some quite
important, which have been discovered since the plates were printed, are not reproduced. Where
possible these have been mentioned in the text, but the process is bound to continue, and it is
hoped to publish new drawings as they appear in articles in Master Drawings, the editors of which
have kindly agreed to undertake this task.
In his introduction to the first volume Friedlaender promised to write a general essay on Poussin

10
as a draughtsman, but unfortunately this promise was never fulfilled. In order to fill the gap as
best I could I began to write something on this subject, but I soon discovered that it was bursting
the limits of an essay and was becoming a short book, and also that to be intelligible it required
to be illustrated with plates arranged to follow the development of the argument. I hope to publish
this book in the not too remote future. It will also contain a short account of the principal collectors
who were interested in Poussin’s drawings.
Since the fourth volume was published no general survey of Poussin’s drawings has appeared,
though Kurt Badt devotes to them a chapter in Die Kunst des Nicolas Poussin, Cologne 1969.
In the first three volumes the plates were arranged so that drawings which we believed to be by
Poussin himself were all together and the doubtful works occupied the last plates in the book. In
the fourth volume, which covered a number of different categories of drawings, this arrangement
had to be abandoned and the original and studio drawings belonging to a particular group were
all illustrated together. In the present volume the same method has inevitably been followed,
with the result that a casual survey of the plates will produce a mixed impression of good, bad and
indifferent. It is hoped, however, that the good among the drawings after the Antique and in
several sections of the addenda will make this volume a worthy successor to the first four as
regards the beauty of the drawings illustrated.
I must express my gratitude to Miss Elsa Scheerer for typing the whole manuscript, for checking
many details and for preparing the bibliography and the index of present locations.

Nos. 292, 301, 3028, 370, 373, 374, 375, 376 380, 383, 387, 400, 402, 403, 404, 410, 411 and B 57
ate reproduced by gracious permission of H. M. The Queen. Nos. 388, 395, 440 and A 184 are
reproduced by permission of the Syndics of the Fitzwilliam Museum, Cambridge; 452 by per-
mission of the Trustees of the Chatsworth Settlement, Devonshire Collection; 305, 309, 310, 315,
324, 341, 379, 397, 398 and 432 by courtesy of the Trustees of the British Museum; 320 and 4o1 by
couttesy of the Metropolitan Museum, New York; 300 and 443 by courtesy of the Pierpont
Morgan Library, New York; B52 by permission of the Governing Body of Christ Church,
Oxford; 378, 381, 382, 384, 415, 421 and 445 by courtesy of the Presidenza della Accademia Nazio-
nale dei Lincei, Rome; and 369, 437 and 437a by courtesy of Dr. Walter Gernsheim, Florence.
The editor wishes to express his sincere thanks to those who have allowed him to reproduce
drawings in their possession as follows: Mme. Umberto Agnelli, Neuilly-sur-Seine (348);
Amsterdam, Rijksmuseum (430); Bayonne, Musée Bonnat (297, 316, 325, 326, 339, 345, A 145,
B 56); Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Kupferstichkabinett (389);
Besancon, Musée des Beaux-Arts (A 147); Budapest, National Museum (335b, 446); Cambridge,
Mass., Foge Art Museum, Harvard University (433: Gift of Mr. and Mrs. D. S. Stralem; B 53);
Cardiff, National Museum of Wales (A 188); Chantilly, Musée Condé (293, 294, 295, 311, 312,
313, 314, 329, 335 337» 338) 342, 354. 355s 358s 359, 360, 372, 417, A 150, A 151, A 1624, B 43,
B 44, B 45, B 46, B 47); Chapel Hill, N. C., The William Hayes Ackland Memorial Art Center
at the University of North Carolina (A 189); Mr. T. Cottrell-Dormer, Rousham (A 177); Datm-
stadt, Hessisches Landesmuseum (B 48); Dijon, Musée des Beaux-Arts (390); M. Pierre Dubaut,
Paris (419); A. C. H. Dunlop Collection, London (A 168, B 54); Soprintendenza alle Gallerie
di Firenze (Fondazione Horne: 434; Uffizi: 369, 406, 437, 4378, 4434); Maurice Gobin Collection,
Paris (298); Mr. Kenneth Guichard, London (B 50); Kansas City, Mo., Nelson Gallery-Atkins
Museum (Nelson Fund) (436); The Earl of Leicester, Holkham Hall, Norfolk (455); Leipzig,

11
Museum der bildenden Kiinste (399); Leningrad, Hermitage (Pl. I; Nos. 363, 364, 365, 371,
3775 3984, 409, 418, 423, 424, 425, 426, 432b, 435, 442, 448, 451, A 157, A 174, A 180); The Earl
of Lichfield, Shugborough Hall, Stafford (Pl. IIa); Lille, Musée des Beaux-Arts (Musée Wicar)
(321, 322, 323, 394); London, Courtauld Institute (319, 343); Lisbon, Museu Nacional de Arte
Antiga, Ministério da Educacio Nacional (A 155); M. Marignane, Paris [formerly] (332); Mr.
Alister Mathews, Poole [1966] (A 148); Milan, Ambrosiana (409a); Miss Agnes Mongan Collec-
tion, Cambridge, Mass. (307, 308); Montpellier, Musée Fabre (349, B 42); Munich, Staatliche
Graphische Sammlung (447, B 58); New York, Cooper-Hewitt Museum of Decorative Arts and
Design, Smithsonian Institution (318); New York, Private Collections (335a, 396, 407, 413,
414, 416, A 164, B 49); Miss Armide Oppé, London (303); Orléans, Musée des Beaux-Arts (A 175);
Paris, Ecole des Beaux-Arts (330, 350, 351, 352, A 149, A 154, A 158, A 159, A 166, A 172);
Paris, Musée du Louvre, Cabinet des Dessins (317, 333, 336, 366, 367, 368, 389a, 391, 431, A I45a,
PALS eS ay NTS $a, 2 100; A161, Av 163, 7\-175a) 2. 1S, O25) ek 8 3,55) 5atic, Private
Collection (306, 427); Providence, R.I., Museum of Art, Rhode Island School of Design (385);
Rome, Gabinetto Nazionale (A 171); M. Pierre Rosenberg, Paris (361, 362); Rotterdam, Museum
Boymans-van Beuningen (429, 439, A 165); P. Ruelos Collection, Paris (A 169); Dr. E. Schilling,
London (408); H. Shickman Gallery, New York (412); Mr. Siegfried Schwarz, New York (420);
Stockholm, Nationalmuseum (296, 299); Tutin, Biblioteca Reale (302, 327, 334, A 167, B 51);
Uppsala, University Library (457); Valenciennes, Musée des Beaux-Arts (328); M. René Varin,
Versailles (A 162); Soprintendenza alle Gallerie di Venezia (Accademia: 353, 449, A 146, A 181);
Vienna, Albertina (356, 357, 456, A 170, A 187); Sit Marcus Worsley, Hovingham Hall, York
(405).
Sources of photographs are herewith gratefully acknowledged: Archives Photographiques,
Paris (297, 316, 326, 339, A145, A154, B56); Arts Council of Great Britain (455); Photo A.
Bernard, Chantilly (342, 358, 359, 360, B 43, B 44, B 45, B 46, B 47); Photo Désir, Orléans (A 175);
Messrs. Thomas Feist, New York (407, 416); Messrs. R. B. Fleming & Co., Ltd., London (455);
Messrs. J. R. Freeman & Co., Ltd., London (3024); Photographie Giraudon, Paris (293, 294, 295,
321, 322, 323, 329, 330, 3355337, 338, 351, 352, 354, 355, 390, A 150, Ars1, A 166, A 172,A 181);
Messrs. P. A. Juley & Son, New York (407, 413, 414, 416); Mr. Sydney W. Newberry, London
(303); Fotografie Mario Perotti, Milan (409a); and Foto Oscar Savio (381, 382, A 171).

12
 BIBLIOGRAPHY

For exhibition catalogues see entries under Exhibitions.

The following abbreviations have been used in the Bibliography:
Ae Archives de Part francais
LACES: Nicolas Poussin (Centte National de la Recherche Scientifique, Colloques inter-
nationaux, Sciences humaines), ed. André Chastel, Paris 1960.
Admiranda: see BARTOLI, Pietro Santo
DS LEAT: Bulletin de la Société de ?Histoire de ?Art Francais
BSP: Bulletin de la Société Poussin
Burl. Mag.: Burlington Magazine
GBA: Gazette des Beaux-Arts
JWI: Journal of the Warburg Institute
JWCT: Journal of the Warburg and Courtauld Institutes
INA Ts Nowelles Archives de ?Art Frangais.
AurassA, P., ‘Poussin et le paysage’, GBA, 1925, II, p. 265.
ALIMANN, W., Die rémischen Grabaltare der Kaiserzeit, Berlin 1905.
AmELUNG, W., Die Skulpturen des Vaticanischen Museums, Berlin 1903-8.
AMELUNG, W., “Zerstreute Fragmente romischer Reliefs’, A/ctteilungen des Kaiserlich Deutschen
Arrchaeologischen Instituts. Rémische Abteilung, XXIV, 1909, pp. 177 ff.
ANDRESEN, A., LNVicolaus Poussin, Verzeichniss der nach seinen Gemiilden gefertigten gleichzeitigen und
spateren Kupferstiche, Leipzig 1863.
Abridged and illustrated French translation by Georges Wildenstein, GBA, 1962, II,
pp. 139 ff.
Anti, C., l/ Regio Museo Archeologico nel Palazzo Reale di Venezia, Rome 1930.
ARCKENHOLZ, J., Mémoires et négotiations de Chanut, Paris 1676.
ARCKENHOLZ, J., Alémoires pour servir a Phistoire de Christine Keine de Suede, Amsterdam 1751.
AsHMOLE, B., A Catalogue of the Ancient Marbles at Ince Blundell Hall, Oxford 1929.
Aster, E. R. p’, La belle Tapisserye du Kot, Paris 1907.

Bacou, R., ‘Two Unpublished Drawings by Annibale Carracci for the Palazzo Farnese’, Master
Drawings, Tl, 1964, pp. 40 ff.
Bacou, R., Le Cabinet d’un grand amateur: P.-]. Mariette, Louvre, Paris 1967.
Bapt, K., Die Kunst des Nicolas Poussin, Cologne 1969.
Bain, F., Christina of Sweden, London 1890.
Baxpinuccl, F., Notizie de’ professori del disegno da Cimabue in qua..... , Florence 1681-1728.
BARBERINO, F., Documenti d’?Amore, Rome 1640.
Barpon, H., ‘Poussin et la littérature latine’, Actes, 1960, I, pp. 123 ff.
Barroul, Pietro Santi, Polydori Caravagiensis insignia monocromata, Rome 1660(?).
BarTott, Pietro Santi, Colonna Traiana... scolpita con Phistoria della Guerra Dacica .. . Nuovamente
disegnata et intagliata da Santi Bartoli, con Pespositione latina d’A. Ciaccone..... , Rome n.d.
(1673).
13
Bartout, Pietro Santi, Admiranda romanarum antiquitatum, ac veteris sculpturae vestigia... Pietro
Sancti Bartolo delineata incisa... Pietri Bellorii illustrata, Rome 1693.
Bartscu, A., Catalogue raisonné des dessins... du Cabinet de feu le Prince de Ligne, Vienna 1794.
Bartscu, A., Le Peintre-Graveur, Leipzig 1854-70.
BatiFFOL, L., Autour de Richelieu, Paris 1937.
Betxort, G., Le Vite de’ pittori, scultori et architetti moderm..... ; Rome 1672:
Betiort, G., Veteres arcus Augustorum triumphis insignes... nunc primum per J.-]. de Rubeis Aeneis
typis vulgati, Rome 1690.
BENARD, M., Cabinet de M. Paignon Dijonval, Patis 1810.
Brrtin-Movurot, T., ‘Moise frappant le rocher’, BSP, I, 1947, pp. 56 ff.
Bratosrocxl, J., ‘Une idée de Léonard réalisée par Poussin’, La Revue des Arts, IV, 1954, pp.
Toautt,
BraLosrockt, J., ‘Poussin et le “Traité de la peinture”’, Actes, 1960, I, pp. 133 ff.
22a?

Byurstr6m, P., ‘A Landscape Drawing by Poussin in the Uppsala University Library’, Master
Drawings, TU, 1965, pp. 264 f.
Bianco, A., Museo del Prado. Catalogo de la escultura, Madrid 1957.
Buunt, A., ‘Poussin’s Notes on Painting’, /WT/, I, 1937-38, pp. 344 ff.
Buunt, A., ‘Jean Lemaire: Painter of Architectural Fantasies’, Burl. Mag., LX XXIII, 1943,
pp. 241 ff.
Buunt, A., “The Heroic and the Ideal Landscape in the Work of Nicolas Poussin’, /WCY/, VU,
1944, pp. 154 fl.
Buunt, A., The French Drawings ...at.Windsor Castle, London 1945.
Buunt, A., ‘Poussin Studies I: Three Early Works’, Burl. Mag., LXX XIX, 1947, pp. 266 ff.
Buunt, A., ‘Poussin Studies III: The Poussins at Dulwich’, Bur/. Mag., XC, 1948, pp. 4 ff.
Buunt, A., ‘Poussin Studies V: The Silver Birch Master’, Bur/. Mag., XCII, 1950, pp. 69 ff.
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14
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RicHarpson, J., An Account of the Statues, Bas-Reliefs, Drawings and Pictures in Italy, France, ete.,
London 1722.
RicwHarpson, J., 7raité de la peinture, Amsterdam 1728.
Ricuter, G., Metropolitan Museum of Art. Catalogue of Engraved Gems. Rome, 1956.
RINEHART, S., ‘Poussin et la famille dal Pozzo’, Actes, 1960, I, pp. 19 ff.
Rizzo, G. E., ‘Sculture antiche del Palazzo Giustiniani’, Bullettino della Commissione Archeologica
Comunale, Rome 1905.
Rosert, C., Die antiken Sarkophag-Rehefs..., Berlin 1890-1919.
Rosinson, J. C., Catalogue of the Malcolm Collection, London 1869.
Rocers, C., A Collection of Prints in Imitation of Drawings. London 1778.
ROETHLISBERGER, M., Claude Lorrain. The Drawings, (University of California Press) 1968.
RosENBERG, P., Mostra di disegni francesi da Callot a Ingres, Uffizi, Florence 1967.
RosENBERG, P., ‘Un nouveau Poussin au Louvre, Olympos et Marsyas’, Revue du Louvre, X1X,
1969, pp. 87 ff.
Rossi, D. DE’, Gemme antiche, Rome 1707-9.
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Roux, A., Le Chateau d’ Anet, Paris 1931.

SaLomon, R., ‘An Unknown Letter of Nicolas Poussin’, /WJ, I, 1937-38, pp. 79 ff.
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SCHAAR, E., [talienische Flandzeichnungen des Barock, Kunstmuseum, Diisseldorf 1964.
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SCHREIBER, Th., Die antiken Bildwerke der Villa Ludovisi, Leipzig 1880.
SHEARMAN, J., “Les dessins de paysage de Poussin’, Actes, 1960, I, pp. 179 ff.
SHEARMAN, J., “Gaspard, not Nicolas’, Bar/. Mag., CII, 1960, pp. 326 ff.
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vol. VI, London 1732.
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STEINITZ, K., “Poussin, Illustrator of Leonardo da Vinci and the Problem of Replicas in Poussin’s
Studio’, Art Quarterly, XVI, 1953, pp. 40 ff.
STEINITZ, K., Leonardo da Vinei’s Trattato della Pittura..... , Copenhagen 1958.
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Zo
STERLING, C., A Catalogue of French Paintings XV-XVIII Centuries, Metropolitan Museum of
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pp. 89 f.
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Tatiock, R., “Poussin and Claude’, Burl. Mag., XX XVII, 1921, p. 3.

THUILLIER, J., “Poussin et ses premiers compagnons francais 4 Rome’, Actes, 1960, I, pp. 81 ff.
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ppo27 a
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Trerze, H., Titian, London 1950.

Vasari, G., Le vite de’ piu eccellenti pittori, scultori et architettori..... jastied? 1556; @ndedrasts,
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VENUTI, R., Vetera Monumenta Matthaeiana, Rome 1776-79.
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American Journal of Archaeology, LIX, 1955, pp. 129 ff.
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the American Philosophical Society, CU, 1958, pp. 193 ff.
VERMEULE, C., ‘Hellenistic and Roman Cuirassed Statues’, Berytus, XIII, 1959, pp. 1 ff.
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Transactions of the American Philosophical Society, N.S. L, 1960.
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at Windsor Castle’, Transactions of the American Philosophical Society, N.S. LVI, 1966, pp. 170 ff.
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1932, pp. 290 ff.
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2D
WerspacH, W., Die franzésische Malerei des XVII. Jahrhunderts, Berlin 1932.
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Malm6 1935.
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XVI, 1966, pp. 77 ff.
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published in 1958; also published in 1958 as a separate volume with different pagination).
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WILPERT, G., Le pitture delle catacombe romane, Rome 1903.
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Winp, E., ‘A Note on Bacchus and Ariadne’, Bur/. Mag., XCII, 1950, pp. 82 ff.
Wirrkower, R., ‘Eagle and. Serpent’, /WJ, II, 1938-39, p. 322.
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III, 1864-65, pp. 105 ff.
ZOEGA, G., Li bassirilievi antichi di Roma incisi da Tommaso Piroli colle illustrazioni di Giorgio Zoega
eee , Rome 1808.

24
DRAWINGS AFTER THE ANTIQUE AND AFTER OTHER MASTERS

In the eighteenth and nineteenth centuries collectors were even wilder in attaching the name of
Poussin to drawings after the Antique than with other categories, so that the process of sifting
the wheat from the chaff has been harder in this section than in others of this catalogue. It is
possible that the process of elimination has been carried out too drastically and that at a later
date some of the rejects may have to be reinstated as originals; but at this moment it seemed
best to try and establish a corpus of drawings which could be attributed to Poussin with reasonable
cettainty, as a standard on which the doubtful ones can be judged.t
A glance at the drawings illustrated will show that Poussin made copies after ancient works of
att for a number of different reasons, sometimes as a record of a work of art, sometimes as a note
of an archaeological detail. It is worth pointing out that in both cases he often worked from
engravings or drawings in the Pozzo collection and not from the originals.
Little is known of the history of Poussin’s drawings after the Antique, but they were no doubt
contained in a volume offered for sale in a letter written in 1679 by Jean Dughet as coming from
his studio and described as follows:

Disegni diversi di monsieur Poussin

Un libro di disegni fatti da monsieut Poussin, cioe dal antico, da Raffaelle, et da Giulio
Romano et d’altri, per suo studio, che contiene nel numero di fogli 160, alcuni disegnati
da tutti due le bande; 200 doppie.?

It is quite possible that this album was kept together till a much later date, because a number of
the finest drawings of this type can be traced to the collections formed by two friends, Lagoy and
Moritz von Fries, at the turn of the eighteenth century. Unfortunately no detailed catalogues
of their collections exist, and the sale catalogues ate too vague to be useful; but it is quite likely
that one or other of them owned the album and broke it up, selling some drawings to the other.
Many of these drawings ate surrounded by a ruled line in red chalk, which must have been added
by a collector, since it sometimes goes on to the mount. Further, several of the drawings have
on the verso the inscription a 65,3 which suggests that they come from a volume bearing this
number. A very cateful examination of the size, paper, watermarks, etc., of the drawings might
enable one to reconstruct some parts at least of the original volume. When Horace Walpole
visited Mariette in 1765, he saw “a volume of drawings by Poussin from antique bas-reliefs,
grotesques, and doors at Rome, done by order of the Queen Mother for the Louvre”. It is not

1 As I propose to write at some length about the drawings after the Antique and after other masters in my book
on Poussin as a draughtsman (see above, p. 11), I am limiting this note to the essential facts. For a general discussion
of the problem see my Nicolas Poussin (Mellon Lectures), 1967, I, particularly pp. 227 ff. In an article entitled “Poussin
et les sarcophages latins de Rome’ (Actes, 1960, I, pp. 117 ff.) Picard discusses one drawing related to an ancient
sarcophagus, but it is unfortunately not by Poussin.
2 Archives de Part francais, XI (Documents VI), 1858-60, pp. 251 f.
3 Nos. 339, 344, 355 below, and also Vol. II, p. 19, No. 134, which is probably not actually after the Antique.

Paes
 quite clear whether this could be the volume mentioned by Dughet, but the reference to the Queen
Mother, who from the next sentence appears to have been Marie de Médicis, suggests that it
was something different.

Plate 240 292. THE ARCUS ARGENTARIORUM, ROME. Windsor 8237 - 0.358 X 0.277 — Pen
and bistre wash — Coll.: Possibly Pozzo; Albani.
Verso: See p. 111, No. 441.
The drawing shows exactly that section of the arch which was visible in the seventeenth century,
the remaining part of the right pier being built into a wall of S. Giorgio in Velabro. Generally
speaking it follows the original carefully, but Poussin has introduced a few modifications. He
has completed the figure on the lefthand pier, which was already much eroded in his time; he
has omitted the carved panel below it, but has added a shallow panel on the base. He has made
the capitals project much too far beyond the entablature and has omitted the moulding joining
the lower edges of the capitals themselves. There is no means of deciding whether the drawing
was made from nature or whether Poussin has followed his usual practice of copying some other
attist’s drawing.
The technique of the drawing shows close similarities with a drawing for the Baptism (I, p. 42,
No. 83) and with the View of the Aventine (IV, p. 45, No. 277). It can therefore be dated to the
mid-forties.

Plate 241 293. “CASTOR AND POLLUX” (THE “S. ILDEFONSO GROUP”’) .Chantilly P. 212 -0.246 X
0.171 — Pen and bistre wash— Coll.: Dupan; Reiset— Cf. Malo 53.
The group, now in the Prado, was in the seventeenth century in the Ludovisi Gardens and was
acquired by Queen Christina of Sweden about 1664 (Perrier, pl. 37; Blanco, Museo del Prado.
Catalogo de la escultura, Madrid, 1957, p. 30, no. 28, pl. X).
The traditional title of this group, “Castor and Pollux’, is probably fanciful, and the group is
now thought to represent simply two athletes.
Although Poussin’s drawing shows several variations from the original, it seems fairly certain
that in this case he was working from the marble and not from an engraving or from a drawing
by another artist. Poussin has reduced the size of the statuette of the goddess beside the right-hand
figure, which in the original reaches to the hip of the youth. He has also changed the pose of the
left leg of the left-hand figure, so that it seems to be resting on the miniature altar between the
two figures, whereas in the marble — and also in the Perrier engraving — the leg, though relaxed
and not carrying any weight, is almost vertical. Poussin seems to have made this alteration some-
what carelessly and has not really adjusted the line of the knee so that it joins on to that of the
shin; but a close examination shows that the apparent confusion is exaggerated by the touch of
wash on the knee, which distracts the eye away from the direction actually indicated by the pen-
line, which would more or less lead to the outline of the shin.
The use of a strong bistre, laid on in broad unbroken washes, suggests a date in the 1630’s.

Plate 241 294. PAN TEACHING DAPHNIS TO PLAY THE PIPES. Chantilly P. 225 — 0.270 X 0.200-—
Pen and bistre wash— Coll.: Dupan; Reiset— Cf. Malo 52.
The group was in the Cesi collection and later in the Ludovisi Gardens, and is now in the Museo

26
Nazionale delle Terme, Rome (Schreiber, Die antiken Bildwerke der Villa Ludovisi, Leipzig, 1880,
Pp. 44, no. 4; R. Paribeni, Le Terme di Diocleziano, Rome, 1928, p. 111, no. 146 [8605]).
The drawing is not, apparently, based on any known engraving, but it shows the group in the
same condition as in Pertiet’s /cones of 1638 (pl. 44), with Daphnis turning his head towards Pan
and holding his right hand over Pan’s arm. Earlier engravings show these details quite differently,
and the statue is now restored in a different form. The drawing is similar in the pen-line to the
Prado ‘Athletes’ (see above, No. 293), but it lacks the rich and luminous wash of the latter. The
group may actually represent Marsyas and Olympus. If so, it is no doubt connected with Poussin’s
painting of the subject, recently acquired by the Louvre (cf. P. Rosenberg, ‘Un nouveau Poussin
au Louvre. Olympos et Marsyas’, Revue du Louvre, XIX, 1969, pp. 87ff.).

295. MARCUS AURELIUS. Chantilly P. 219 — 0.244 xX 0.190 — Pen and bistre wash — Coll.: Plate 242
Gault de Saint-Germain; Reiset — Cf. Malo 56.
After the statue of Marcus Aurelius on the Capitol. The drawing corresponds almost exactly
to the etching in Perrier (pl. 12), but the latter is reversed in relation to the original statue. Poussin
may have used either the original drawing from which Perrier made the etching, or possibly an
offset of the latter.

296. Stockholm, Nationalmuseum, 5 404 rec/o (Wengstrom XVI) — 0.133 X 0.137— Pen and bistre— Plate 242
Numbered: 2943- Coll.: Crozat.
ierso See: Noll, p19; No. i135.
The horse from the equestrian Marcus Aurelius on the Capitol, shown without rider or saddle.
The style is that of the mid-thirties, which agrees with that of the battle study on the verso.

297. A SACRIFICE. Bayonne, Musée Bonnat, N.I. 55(1013)— 0.142 & 0.211 — Black chalk and Plate 243
bistre wash — Coll.: Moritz von Fries; Lawrence; His de la Salle; Bonnat.
Lit.: A. Blunt, ‘Poussin et les cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 57.
The relief was formerly in the Villa Medici, Rome, and is now in the Uffizi (cf. Du Choul, 1556,
P- 2993 1559, P- 2393 1581, p. 324; Admiranda, pl. 10; Mansuelli, Galleria degh Upizi. Le sculture,
Rome, 1958, I, pp. 170 f., pl. 146). A drawing of it from the Pozzo collection is at Windsor (8273).
Poussin’s drawing appears to show the relief in the state in which he knew it. The plate in the
Admiranda shows it with the arms of the victimarius on the left complete, with the leg of the
kneeling victimarius on the right also restored, and with a second putto supporting the shield on
the right. In its present state there is a further standing figure above the right-hand putto.
The drawing probably dates from the 1640’s.

298. PHAEDRA. Maurice Gobin, Paris — 0.198 x 0.268 — Pen and brown wash — Inscribed: Plate 243
NN. Poussin.
Lit.: Exh. Paris, 1960, no. 227.

From a telief in the Giustiniani collection, of which only a fragment now survives (Galleria
Giustiniani, Ul, pl. 80; Robert, III, ii, pl. LL, no. 162; Reinach, Reliefs, III, p. 256, fig. 1).

4|
 The drawing dates from the late 1640’s or very early fifties (cf. for the drawing of the flowers, I,
No. 46).
Probably made after the engraving, though the hindlegs of the Pegasus are shown slightly differ-
ently.

Plate 244 299. THE TRIUMPH OF TITUS. Stockholm, Nationalmuseum 1511 (1875) (Wengstrom
IT)—0.151 X 0.277—Inscribed: Nzcold pussino — Coll.: Hone, Sergel.
The drawing represents one of the reliefs under the Arch of Titus and corresponds in all relevant
details with its present state. Another drawing of the same relief from the Pozzo collection is at
Windsor (8184).
The broadly washed handling suggests a date about the mid-thirties.

Plate 244 300. THE DEATH OF MELEAGER. New York, Pierpont Morgan Library III 73 - 0.146 x
0.418 — Pen and brown wash over black chalk— Inscribed: 73.
From a sarcophagus in the Villa Doria-Pamphili (cf. Winckelmann, Alon. Ined., pl. 88; Robert,
Si pieo4; nor 283);
Drawings of the relief from the Pozzo collection are at Windsor (8718; cf. Blunt and Cooke,
Roman Drawings .. . at Windsor Castle, no. 629, attributed to Pietro da Cortona), and in the British
Museum, (Franks, no. 90).
This drawing is very close in style and date to the 7riamph of Titus (No. 299) and must date from
the same period, that is to say, the mid-1630’s.

Plate 246 301. TWO DRAPED FEMALE FIGURES. Windsor 11916 - 0.168 X 0.119 — Pen and bistre
wash— Coll.: Massimi.
Lit.: Blunt, 1945, p. 40, no. 197.

From a circular marble base now in the Villa Albani, Rome, which in the sixteenth century was
in the Cesi collection and was drawn by Pierre Jacques (Reinach, L’album de Pierre Jacques, pl. sbis;
id., Rehefs, Ill, p. 135). Drawings of the same figures from the Pozzo collection are at Windsor
(8524, 8738, 8034, the first two reproduced by Vermeule, 1966, p. 121).
Two very similar figures occur on a panel or circular base, now lost, known from Franks 152 and
Windsor 8569 (cf. Amelung, Rémische Mitteilungen, XXIV, 1909, p. 189, fig. 8, and Vermeule,
1960, p. 62, fig. 60). Both reliefs probably go back to the same source, a statuaty group of As-
klepios and Hygieia from the circle of Scopas (cf. Amelung, /oc. cit.).
The style indicates a dating in the late 1630’s or early 1640’s.

Plate 245 302. A BATTLE. Turin, Biblioteca Reale 16302 — 0.227 X 0.143 — Pen and brown wash.
Mrs. Michael Rinehart identified this as a drawing after the left-hand, short side of a sarcophagus
formerly in the Ludovisi collection and now in the Terme Museum, Rome (8569).

Plate 3204 302a. RELIEF OF THE SEVEN AGAINST THEBES. Windsor 11880- 0.096 X 0.497—- Pen
and brown wash— Numbeted: 267 — Coll.: Pozzo and Albani.
After a Roman sarcophagus in the Villa Pamphili (cf. Robert, II, pl. LX, no. 184; Reinach,

28
Reliefs, no. 263). A drawing from the same relief, also from the Pozzo collection, is in the British
Museum (Franks 30). Like the Windsor drawing it shows the missing parts completed and one
drawing may be copied from the other.
This drawing was classified as studio work in the catalogue of the French drawings at Windsor
(p. 52, no. 263), but it is certainly from Poussin’s own hand. It is in fact the only drawing after the
Antique by him to bear the Pozzo number and to form patt of the Museo Cartaceo.

303. A GROUP OF SOLDIERS. Miss Armide Oppé, London - 0.265 x 0.399— Pen and bistre Plate 245
wash over black chalk— Coll.: A. P. Oppé- Exh.: Artists in Seventeenth-Century Rome, Wilden-
stein, London, 1955, no. 6o.
A group from Trajan’s Column (cf. Chacon, pl. 19; Bartoli, pls. 15, 16). The drawing belongs to
the small group executed in wash without any pen. It was probably made in the 1640’s. Wrongly
attributed to Mellin by D. Wild (1967, p. 36).
304. BAS-RELIEF WITH SACRIFICIAL SCENE. Present whereabouts unknown — 0.165 xX Plate 246
0.220 — Pen and bistre wash — Coll.: Warnecka (sold Paris, 1of. v. 1905); anonymous sale,
Paris, 27.xii.1925; bt. Lebel; bequeathed to his son-in-law, Jean Ehrmann, Paris.
Lit.: A. Sambon, Le Musée, 1905, p. 107, and 1908, p. 289.
After a relief now in the Louvre (978 and 1089), which in the sixteenth century was on the Capitol
and in the seventeenth in the Borghese collection (cf. S. Reinach, L’Album de Pierre Jacques, p. 118,
no. 17bis).
The drawing was formerly attributed to an Italian artist of the early sixteenth century, a suggestion
which at first sight seems plausible. On the other hand, a comparison with the drawing of the
same telief by Pierre Jacques, made between 1572 and 1577 (Reinach, /oc. cit.) shows that in the
present drawing the relief is much more damaged than it was in the 1570’s. This indicates that the
drawing must be later, and a close examination of it reveals enough features extremely close to
the style of Poussin— notably the drawing of the heads and hands-— to justify a tentative attribution
to him. It probably dates from the late 1630’s.
305. RELIEF OF A BACCHANTE. London, British Museum 1946-7-13-1144- 0.240 X 0.166- Plate 246
Pen and bistre wash— Inscribed: NV. Poussin — Coll.: de Fries; Fenwick.
After the right-hand figure in a relief representing a wedding ceremony, which in the seventeenth
century was in the Villa Borghese (Admiranda, pl. 64).
The three other figures in the reliefs do not seem to have any Bacchic connotations, and the
Bacchante copied by Poussin, which appears to be in a slab by itself, may not belong to the main
group.
306. A MAN WEARING A TOGA AND A LEG FROM A STATUETTE. Private Collection, Plate 246
Paris — Verso— 0.112 X 0.135 — Pen and bistre.
Recto: See p. 98, No. 427.

(a) Leg from a statuette. Inscribed: Calsamento frigio.

Other examples of Phrygian hose occur, e.g. on the Barberini ‘Seasons’ sarcophagus at Dumbarton
Oaks (cf. Admiranda, pl. 78) and in drawings from the Pozzo collection at Windsor (10198, 8306).
29
 Poussin’s drawing is perhaps closest to Windsor 8306, which represents the altar of Scipio Orfitus,
which in the sixteenth century was in the Cesi collection and is now in the Villa Albani (cf. Boissard,
Il, p:.47; Reinach, Achefs, I, p. 134,.n0s. 1-4),
(b) A man wearing a toga.
Perhaps a very free sketch of some statue like one which was in the Cesi collection in the sixteenth
century (cf. Boissard, II, pl. 51), or of a statue of Augustus.
Both subjects seem to have been drawn from the imagination or from memory, rather than from
specific objects, as is shown, for instance, by the inaccurate draping of the toga.
The drawing probably dates from the late 1630’s.
Copies of both the whole-length figure and the leg appear on the recto and verso of a sheet of drawings after
Poussin in a private collection at Béziers (see p. 51, No. A155).

306a. A YOUTH HOLDING A BOW. Private Collection - 0.095 X 0.049 — Pen and bistre
wash — Inscribed on mount: Nicolo Poussin, and on the back of the mount: N7colo Pussino
del Antico in Roma-— Coll.: Sold Christie, 30.xi.1970, lot 53.
The drawing is probably after an ancient relief, but the original has not been identified.

DRAWINGS AFTER THE HADRIANIC RELIEFS

ON THE ARCH OF GONSTAN TINE

Plate 247 307. A SACRIFICE TO HERCULES — Agnes Mongan, Cambridge, Mass. -— Verso — 0.190 X
0.152 — Pen and bistre over red chalk — Inscribed: N. Poussin — Coll.: J. Peoli.
Recto: See No. 308.
This drawing and the three following numbers (308-310) are after the Hadrianic reliefs re-used
on the Arch of Constantine (cf. Bellori, Veteres Arcus Augustorum, pl. 39; Giuliano, L’ Arco di
Costantino, pl. 15).
A drawing of the same subject from the Pozzo collection is at Windsor (8199).

Plate 247 308. DEPARTURE FOR THE HUNT. Agnes Mongan, Cambridge, Mass. — Recto — 0.190 X
0.152 — Pen and bistre over red chalk — Coll.: J. Peoli.
Verso: See No. 307.
From a relief on the Arch of Constantine (cf. Bellori, op. cit., pl. 32; Giuliano, op. ci¢., pl. O\oat
drawing of the same subject from the Pozzo collection is at Windsor (8204).

Plate 248 309. A SACRIFICE TO SILVANUS. British Museum 1950-5-12-4 recto— 0.178 X 0.156— Pen
and brown ink, grey-brown wash, over red chalk — Presented anonymously 1950.
Verso: See No. 310.
From a relief on the Arch of Constantine (cf. Bellori, op. cit., pl. 33; Giuliano, op. cit., pl. 10). A
drawing of the same subject from the Pozzo collection is at Windsor (8205).

30
310. THE LION HUNT. British Museum 1950-5-12-4 verso— 0.178 X 0.156— Red chalk, framed Plate 248
in red chalk — Inscribed: N. Poussin.
Recto: See No. 309.
From a relief on the Arch of Constantine, “The lion hunt’ (cf. Bellori, op. ciz., pl. 38; Giuliano,
op. cit., pl. 14). A drawing of the same subject from the Pozzo collection is at Windsor (8198).
Poussin does not seem to have based these four drawings on those of the same subjects from the
Pozzo collection now at Windsor, since he has left as fragmentary certain parts which Pozzo’s
draughtsman has completed. He may have worked directly from the monument itself, but, owing
to the physical problems involved, this is unlikely. He would, however, have known the casts
which were made on the orders of Fréart de Chantelou when he was in Rome in 1640, with the
idea that they should be used in the decoration of the Long Gallery of the Louvre (cf. Fréart de
Chambray, Paralléle de l’architecture antique avec la moderne, Paris 1650, Preface).
No. 310 is drawn in chalk only; in No. 307 Poussin has strengthened the outline with pen; but
in Nos. 308 and 309 the pen work is much weaker and may have been added later by a different
hand.
All four drawings appear to date from the 1640’s.

311. CUIRASSED TORSO. Chantilly P. 238b - 0.199 x 0.135 — Pen and bistre wash — Coll: Plate 249
Reiset — Cf. Malo go.
The cuirass is close to many on Roman statues (cf. Vermeule, “Hellenistic and Roman Cuirassed
Statues’, Berytus, XIII, 1959, pp. 1 ff.), but corresponds most closely to that on the statue of Caesar
in the Capitoline Museum, which, however, is more complete (cf. Perrier, pl. 9).
The drawing probably dates from the late 1630’s.

312. HEAD OF MEDUSA. Chantilly P. 238a— 0.088 0.072— Pen and bistre wash, framed in Plate 249
ted chalk lines — Coll.: Reiset— Cf. Malo go.
From a telief formerly in the Giustiniani collection (cf. Galleria Giustiniani, Il, pl. 50), though the
attist has greatly extended the wavy hair.
The drawing probably dates from the 1640’s.

313. HEAD OF APOLLO. Chantilly P. 238c— 0.085 x 0.070— Pen and bistre wash, framed in Plate 249
red chalk lines — Coll.: Reiset -Cf. Malo go.
After the so-called Pourtalés Head, formerly in the Giustiniani collection, now in the British
Museum (Sculpture 1547; cf. Galleria Giustiniani, Il, pl. 42). Probably made from the engraving.
A drawing of the same head from the Pozzo collection is at Windsor (8853).

314. FRAGMENTS OF ANCIENT MOULDINGS. Chantilly P. 167 verso. For recto and in- Plate 249

scription, see I, p. 30, No. 60.

The draft letter is dated 1656, and the drawings are presumably of the same date. The style would
confirm this.
31
Plate 250 315. AN ALTAR. British Museum 1918-6-15-G — 0.210 X 0.116— Pen and brown wash, framed
in red chalk— Coll.: de Lagoy; Lawrence; His de la Salle; Poynter; sold Sotheby, 25.iv.1918,
lot 227; bt. Agnew; given by Otto Beit 1918.
Side view of an altar formerly in the Giustiniani collection (cf. Galleria Giustiniani, Il, pl. 139),
now in the Museo Chiaramonti in the Vatican (IX, 198). An almost identical altar, formerly in the
Ludovisi collection, is now in the Museo delle Terme (cf. Schreiber, Die antiken Bildwerke der
Villa Ludovisi, Leipzig, 1880, p. 130, no. 108; R. Paribeni, Le Terme di Diocleziano, Rome, 1928,
no. 187). Poussin appears to have drawn the original rather than copied the engraving in the
Giustiniani catalogue.
The drawing probably dates from the thirties.

Plate 251 316. AN ALTAR TO HERCULES. Bayonne, Musée Bonnat N.I. 59(1685) — 0.208 X 0.165 —
Pen and bistre wash — Inscribed: NV. Poussin — Coll.: Gigoux; Desperet; Bonnat.
From an altar now in store at the Vatican (cf. Amelung, Vat. Caz., II, pls. 17, 28, p. 296 f., no. 1o2r;
Reinach, Reliefs, III, p. 377).
A drawing of the same subject from the Pozzo collection is at Windsor (8349).
Poussin has completed the top of the altar, which is much damaged, and has put the boar’s head
on the right instead of the left corner, which suggests that he was copying an engraving, though
none is known. The drawing probably dates from the 1640’s.

Plate 250 317. AN ALTAR. Louvre RF 1166 - 0.296 x 0.148 — Pen and bistre wash over black chalk —
Inscribed: D’apres antique. IN’ Poussin fecit Roma — Coll.: Gatteaux.
After the altar-tomb of Aemilius L. Epaphroditus in the Gabinetto delle Maschere in the Vatican
(429a, Inv. 814), formerly in the possession of the Savelli and Mattei families (cf. Venuti, Monu-
menta Matthaetana, 1779, Ul, pl. 55; Amelung, Vat. Caz., II, p. 687, no. 429a, pl. 77).
Poussin has altered the shape of the tablet and omitted the inscription and the chariot which in
the original fills the space below the fruit-swag.
The drawing probably dates from the 1640’s.

Plate 251 318. A CINERARY URN. New York, Cooper-Hewitt Museum of Design 1938-88-5-5322 —
0.185 X 0.158 — Black chalk and bistre wash — Coll.: Piancastelli; Brandegee.
Many urns of this type are known (e. g. in the Soane Museum, London, nos. 330, 331), but none
has so far been identified as the exact model of Poussin’s drawing. No. 320 below seems to be
after the same original.
The attribution of both drawings must remain somewhat uncertain. The mere existence of two
drawings after the same original makes it prima facie doubtful whether both can be by Poussin,
and the drawings are very different in style. No. 318 is unusual in having no pen—work at all,
but it is close in handling to Miss Oppé’s drawing from Trajan’s Column (No. 303). No. 320 is
drawn in vigorous pen-strokes — perhaps a little coarse for Poussin — but the use of wash is very
near to Poussin’s drawings of the late 1630’s. It is possible that the artist may have made one draw-
ing in the late thirties and, having given it away, made another in a different style at a later date,
probably the late forties.

32
319. AN ALTAR WITH A GREEK INSCRIPTION. London, Courtauld Institute 982-—0.200 X Plate 252
C. 0.120, irregularly cut on the right — Pen and bistre wash; traces of red chalk, probably
rubbed off another drawing — Inscribed in the artist’s hand: zQHC ANAMNHCIC — On the
front of the mount in the elder Richardson’s hand: Poussin, and on the back in the same
hand: Py2z— Coll.: Richardson senior; Bouverie; anonymous sale (A Nobleman = Earl
of Gainsborough), Christie, 20.vii.1859; Sir Robert Witt.
After an altar formerly in the Giustiniani collection (cf. Galleria Giustiniani, Il, pl. 147). The draw-
ing corresponds exactly to the engraving, except that the latter does not include the Greek in-
scription.
The drawing probably dates from the 1640’s.

320. A CINERARY URN. New York, Metropolitan Museum 80.3.583 — 0.285 X 0.225 — Pen Plate 252
and bistre wash over black chalk —Coll.: J. J. Jarves; C. Vanderbilt.
For a discussion of the drawing see No. 318 above.

321. ALTARS. Lille, Musée Wicar 1616 — 0.265 X 0.195 — Pen and brown wash, framed in red Plate 253
chalk lines which go on to the mount— Inscribed: N. Poussin.
Lit.: H. Pluchart, Ville de Lille, Musée Wicar. Notice des dessins ..., Lille 1889, no. 1616, described as ‘non
signé’; Exh. Paris 1960, no. 164.

The drawings on the left of the page are after parts of two altars, now lost, which were formerly
in the Giustiniani collection. Both are engraved on pl. 137 of the second volume of the Galleria
Giustiniana. The top and bottom details come from the left-hand altar, but the middle drawing is
after the base of the right-hand altar. This juxtaposition suggests that Poussin based his drawings
on the engraved plate.
The altar on the right is from another, now lost, formerly in the Giustiniani collection (cf. Galleria
Giustiniani, 11, pl. 133 centre).
The drawing probably dates from the late 1630’s.

322. DETAILS OF AN ALTAR. Lille, Musée Wicar 1615 verso— 0.261 X 0.196— Pen and brown Plate 253
ink, brown wash, some ink lines ruled; two sides have red chalk lines — Coll.: Pajou.
Lit.: H. Pluchart, op. cit., no. 1615; Exh. Royal Academy, London, 1958, no. 274; Exh. Paris 1960, no. 163.

Left: Corner of an altar formerly in the Giustiniani collection and now in the Vatican (Museo
Chiaramonti; cf. Galleria Giustiniani, Tl, pl. 125; Altmann, no. 94; Amelung, Vat. Cat.,
I, pl. 75, no. 46a). The drawing appears to combine the left and right corners of the altar,
which suggests that Poussin was probably working from the engraving rather than the
original.
Right: Sarcophagus formerly in the Giustiniani collection, now lost (cf. Galleria Giustimam, Il,
Pie rrs).
A drawing of the same sarcophagus from the Pozzo collection is at Windsor (8214).
The drawing probably dates from the late 1630’s.
33
Plate 254 323, DETAILS OF ALTARS AND A VASE. Lille, Musée Wicar 1615 recto— 0.261 X 0.196-
Pen and brown ink, brown wash, framed in red chalk lines — Inscribed: N. Poussin — Coll.:
Pajou.
Verso: See INO. 322.
Lit.: H. Pluchart, op. cit., no. 1615; Exh. Royal Academy, London, 1958, no. 274; Exh. Paris 1960, no. 163.
Top left: Altar formerly in the Giustiniani collection, now in the Vatican (cf. Galleria Giustiman,
Wplerzo ete; Boissard, Vi-25; Alimann@p, 168, 00. 215, 32.147)
Top right: A vase formerly in the Giustiniani collection (cf. Galleria Giustiniani, Il, pl. 131, right).
Bottom right: Part of an altar, formerly in the Giustiniani collection (cf. Galleria Giustiniam, II,
Pl. '29, centre),
The fact that two of these drawings represent details of altars on a single plate in the Galleria
Giustiniani and the third a detail from an adjacent plate suggests that these were the models from
which Poussin was working.
Like the drawing on the verso, this probably dates from the late 1630s.

Plate 255 324. AN ALTAR AND THE MEDICI VASE. British Museum 1946-7-13-1143 — 0.256 X 0.170—
Pen and light brown ink and wash; red chalk line along left edge — Coll.: Lagoy; de Fries;
Woodburn sale, lot 1333(5); Phillipps; Fenwick.
Lit.: A. E. Popham, Catalogue of the Phillipps Fenwick Collection of Drawings, 1935, P. 227, No. 3.
The altar is close but not identical to one which was in the collection of Cardinal della Valle,
where it was drawn by J. J. Boissard (cf. Boissard, HI, 143). The top line of the altar appears to
have been drawn with a ruler, which slipped while the artist was holding it.
The Medici Vase, now in the Uffizi, was in the seventeenth century in the Villa Medici, Rome
(cf. Sandrart, I, pt. i, book 2, pl. a; Admiranda, pls. 18, 19; Mansuelli, Galleria degh Uffizi. Le
sculture, Rome 1958, I, pl. 180a and b, no. 180).
Drawings of the vase from the Pozzo collection are at Windsor (8315, 8316).
The drawing probably dates from the early 1640’s.

Plate 255 325. TWO RELIEFS. Bayonne, Musée Bonnat N.I. 56(1682) — 0.244 X 0.178 — Pen and bistre
wash— Coll.: His de la Salle; Bonnat.
Left: Demeter and Eros. From an altar of which the present whereabouts are unknown, but which
is reproduced by Vermeule, 1966, p. 102.
Top right: Part of the base of a column.
Bottom right: Flercules carrying off the Delphic tripod. Inscribed: Apollo luy tire par derier[e].
The drawing is taken from a relief showing Apollo and Hercules struggling for the tripod, of
which at least six versions are known (cf. F. G. Welcker, Alte Denkmialer, Gottingen 1849-64,
IT, pp. 298 #f.). It is difficult to decide which of these was Poussin’s model, but the most likely seems
to be that in the Louvre (963; Reinach, S%atuaire, I, no. 119, pl. 19), which was previously in the
Villa Albani. Poussin has only copied the figure of Hercules, but the inscription refers to Apollo.
The drawing probably dates from the 1640’s.
A drawing of the same relief from the Pozzo collection is at Windsor (8310).

34
326. DETAILS OF ALTARS AND RELIEFS. Bayonne, Musée Bonnat NI. §7 (1683)—0.248 Plate 256
0.181 — Pen and bistre wash — Coll.: Dimsdale; His de la Salle; Bonnat.
Top left: Circular altar with relief of two putti holding a swag, formerly in the Giustiniani collection,
now in the Vatican (Galleria Giustiniani, I, pl. 152 (middle); Lippold, Vat. Cat., III, 2,
pl. 170).
Top right, bottom right: Circular altar with relief of Bacchus and a Bacchante accompanied by a panther,
formerly in the Giustiniani and Bessborough collections, now at Ince Blundell (Galleria
Guustiniani, Il, pl. 152 [right]; B. Ashmole, A Catalogue of the Ancient Marbles at Ince Blundell
Flall, Oxford, 1929, p. 305, pl. 45).
The engraving in Galleria Giustiniani is inaccurate — the brazier should be a statue — and Poussin
copied the error. Moreover, all the drawings correspond exactly to the viewpoint of the engravings,
which must therefore have been Poussin’s models.
Bottom centre: Putto wearing mask of bearded man.
Bottom far left: Basket of fruit.
From a relief formerly in the Giustiniani collection and now in the Villa Albani (Galleria Giusti-
nmiant, Il, pl. 128; Reinach, Reliefs, II, p. 138, fig. 1).
A drawing from the same relief from the Pozzo collection is at Windsor (8768).
Bottom left: Basin of a fountain and a basket offruit.
The basin is copied from an engraving in the Galleria Giustiniani (II, pl. 149) of a fountain which
was in the Giustiniani collection.
Por other drawings of the same fountain at Windsor and in the Uffizi see Blunt, M]zsce/laneous
Drawings, P. §§, no. 54.
The basket of fruit is probably not after an ancient model. It is, however, related in general
character to the basket in the foreground of the Holy Family on the Steps in the National Gallery,
Washington (cf. Blunt, Nicolas Poussin, 1967, Plate Vol. 172-73), a connection which would
confirm a dating of about 1648, which is suggested by the style of all the drawings on the sheet.

A 145. DETAILS OF ALTARS AND RELIEFS. Bayonne, Musée Bonnat N.I. 41 (710) — 0.248 Plate 256
x 0.181 — Pen and bistre wash — Inscribed: Copie d’un dessin du Poussin — Coll.: Bonnat.
An exact copy of No. 326, so skilful that, if the original was not known, it might well have passed
as being by the artist himself. A comparison of the two, however, confirms beyond any doubt
that the inscription is correct and that No. A145 is a copy of No. 326.

327. A SHEET OF STUDIES, Turin, Biblioteca Reale 16304- 0.316 0.226— Pen and brown Plate 254
ink over traces of black chalk.

All the antique objects on this page appear to be copied from the drawings made for Pozzo, now
at Windsor:
Left: Base, of the same type as the Cesi base (see p. 48, No. A 1454).
After Windsor 8662.
Top right: Hand-basin or malluvium, Inscribed: prof and maluvium.
After Windsor 8390 and 8389.

30
 Centre right: Two sistra.
After Windsor 8393, 8394, and 10243 (repr. Vermeule, 1966, p. 106).
Bottom right: A funerary urn.
After Windsor 8508. For a note on the Windsor drawing and the urn represented (now lost),
see Vermeule, 1958, p. 197 and fig. 5.

DRAWINGS AFTER RELIEFS ON TRAJAN’S COLUMN

All the following drawings from Trajan’s Column correspond exactly to Villamena’s engravings
in Alonso Chacon’s Historia utriusque belli Dacici a Traiano Caesare gesti, ex simulachris quae in columna
eiusdem Romae visuntur collecta (Rome 1576) and were no doubt taken from them rather than from
the original. Bartoli’s engravings, almost a hundred years later (Colonna Traiana ..., Rome 1673)
show considerable differences.
All the drawings appear to date from the late 1630’s or early 1640's.

Plate 257 328. STUDIES OF ARMOUR AND TRUMPETERS. Valenciennes, Musée des Beaux-Arts
$43 — 0.320 X 0.210— Pen and brown wash with a red chalk line down one side — Inscribed:
buci, aqua and sacrifici in the artist’s own hand, and NV. Poussin in a later hand—Coll.: Pajou(?);
Constant Moyaux, who bequeathed it to the Museum in 1911.
Lit.: Catalogue ... de Valenciennes, 1931, no. 543; Exh. Royal Academy, London, 1958, no. 279; Exh.
Paris 1960, no. 165.
Top row: Studies of armour. No ancient model has been traced for these helmets and corselets, and
the armour on the right is clearly drawn from a sixteenth-century model.
Middle row: Two men on left (cf. Chacon, pl. 26; Bartoli, pl. 21). Zorsos of two women on right (cf.
Chacon, pl. 81; Bartoli, pl. 69).
Bottom row: Figures from a sacrificial scene (cf. Chacon, pl. 91; Bartoli, pl. 78).

Platesos7 329. FIGURES AT A SACRIFICE AND DACIAN SOLDIERS. Chantilly P. 206 — 0.316 x
0.216— Pen and brown wash-— Coll.: Reiset— Cf. Malo 88.

Top row: Child and woman on left. Inscribed in the artist’s hand: vergine— matrona romana (cf. Chacon,
pl. 77; Bartoli, pls. 64, 65).
Boy at altar and a man to the right (cf. Chacon, pl. 87; Bartoli, pl. 74).
Figure on extreme right. Inscribed: daci (cf. Chacon, pl. 87; Bartoli, pl. 75).
Bottom row: Figures to left and top right. Inscribed: daci (cf. Chacon, pl. 87; Bartoli, pl. 75).
Figures at bottom right (cf. Chacon, pl. 126; Bartoli, pl. 111).

Plate 258 330. ROMAN INFANTRY AND CAVALRY. Paris, Ecole des Beaux-Arts 1433 (2872) -
0.310 X 0.213 — Pen and bistre wash — Coll.: Lagoy; Banks; His de la Salle.
All from Chacon, pl. 31 (Bartoli, pl. 25), except for the shields in the centre and the head of a
soldier with a horse immediately below them, which ate from Chacon, pl. 92 (Bartoli, pl. 79).
Thete is a drawing of the upper group from the Pozzo collection in the British Museum (Franks 39).

36
331. SOLDIERS AND THE PROWS OF TWO GALLEYS. Present whereabouts unknown Plate 258
— 0.306 X 0.223 — Pen and bistre wash — Coll.: Lord Overstone (before 1878); C. L. Loyd,
Lockinge, Berkshire; bt. Agnew 1967.
Lit.: Catalogue of Works of Art at Overstone Park, Lockinge House and Carlton Gardens, London, 1875-77,
p33; NOs I40:
Lop row left: Prows of two galleys (cf. Chacon, pl. 31; Bartoli, pl. 25).
A drawing of these ships from the Pozzo collection is in the British Museum (Franks 39).
Top row right: Two mounted soldiers (cf. Chacon, pl. 78; Bartoli, pl. 66).
Bottom row: Soldiers and prisoners (cf. Chacon, pl. 16; Bartoli, pl. 13).

332. SHIELDS AND TENTS. Formerly Matignane Collection, Paris — Inscribed: poussin. Plate 259

Top row: Shields with helmet and standard; tents (cf. Chacon, pl. 112; Bartoli, pl. 98).
Middle row: Loaded carts, club and dragon (cf. Chacon, pl. 34; Bartoli, pls. 27, 28).
Bottom half: Shields, helmets, etc. Apparently collected from various scenes on Trajan’s column,
e.g., Chacon, pl. 34; Bartoli, pls. 26, 28.

333. SOLDIERS AND STANDARDS. Louvre R. F. 1167 — 0.290 X 0.217 — Pen and brown Plate 259
wash — Inscribed: poussin.
Top row right: Soldier holding a shield (cf. Chacon, pl. 92; Bartoli, pl. 80).
Centre row left: Soldier holding helmet and shield (cf. Chacon, pl. 76; Bartoli, pl. 64).
extreme right: Soldier (cf. Chacon, pl. 110; Bartoli, pl. 97).
Bottom row left: Soldier with lion skin; basket of vessels (cf. Chacon, pl. 117; Bartoli, pl. 103).
centre: Soldier (cf. Chacon, pl. 110; Bartoli, pl. 96).
right: Soldier with shield (cf. Chacon, pl. 110; Bartoli, pl. 97).
The standards are collected from a number of Chacon’s engravings.

334. GALLEYS. Turin, Biblioteca Reale 16307b — 0.327 X 0.232 — Pen and bistre— Inscribed: Plate 260

N. Poussin.
Lit.: S. Rinehart, ‘Poussin et la famille dal Pozzo’, Actes, 1960, I, fig. 7.
Top row: Two boats, one inscribed Sedia in the artist’s hand (cf. Chacon, pls. 30, 71, 72; Bartoli,
pisa2a,25.. 59).
Centre row: Cf. Chacon, pl. 74; Bartoli, pls. 61, 62.
Bottom row: Cf. Chacon, pl. 74; Bartoli, pl. 61.

335. GALLEYS. Chantilly P. 205 — 0.320 X 0.224— Pen and brown wash-— Coll.: Lagoy; Grivis; Plate 260

Reiset — Cf. Malo 83.

The galley at the bottom of the page is from Chacon, pl. 76 (Bartoli, pl. 64); the rest are from
Chacon, pl. 72 (Bartoli, pls. 59, 60).

335a. A WOUNDED SOLDIER TENDED BY TWO OTHERS. Dr. George M. Baer, New
York— 0.250 X 0.210- Pen and bistre wash— Inscribed: Le Poussin— Coll.: Reynolds; sold
Christie, 2.xii.1969, lot 208.

37
 335b. A SOLDIER ON HORSEBACK. Budapest, National Museum 2886 — 0.228 x 0.271 — Pen
and bistre wash over faint black chalk — Inscribed: Le Poussine.

Close to many groups in Trajan’s Column, but not identical with any. In exactly the same style
and technique as No. 3352.

Plate 261 336. PROWS OF SHIPS. Louvre R.F. 1165 — 0.289 X 0.217 — Pen and bistre wash — On the
verso is an inscription visible, but not legible, through the paper— Coll.: Lawrence; Gatteaux.
These drawings of ships are all copied from an engraving by G. B. Ghisi after Giulio Romano,
representing a sea-fight between Greeks and Trojans (cf. Bartsch, XV, p. 383, no. 20; see Pl. Ili).
The prow in the top right-hand corner is based on a sarcophagus in Venice (cf. Robert, HI, ii,
Suppl. B; Reinach, Re/efs, III, p. 433, no. 4), which Giulio no doubt knew. Poussin copied other
details from this engraving (cf. below, Nos. 337, 338, 350).
The drawing probably dates from the late 1630’s or early 1640’s.

Plate 261 337. PROWS OF SHIPS. Chantilly P. 203 — 0.322 x 0.224— Pen and brown wash- Coll.: Lagoy;
Grivis — Cf. Malo 85.
The two right-hand ships in the top row are taken from the same engraving by Ghisi after Giulio
Romano as No. 336 (see Pl. III). The left-hand prow in the top row and the two ships in the
bottom row ate copied from engravings by Michele Crecchi, il Lucchesino, after Polidoro da
Caravaggio’s frescoes on the facade of the Palazzo Gaddi (now Camuccini) in the Via della Ma-
schera d’Oro, Rome.
The drawing probably dates from the same years as No. 336.

Plate 262 338. PROWS OF SHIPS. Chantilly P. 204 - 0.312 X 0.216— Pen and brown wash — Inscribed:
rostro (twice) — Coll.: de Vries; Lawrence; Coningham; Reiset —- Cf. Malo 84.
All the drawings on this sheet are after details from the Ghisi engraving after Giulio Romano
mentioned under No. 336 (see Pl. III). The two shields are taken from two soldiers in the fore-
ground, their arms and hands being left out and the shields being superimposed.
Probably about the same date as No. 336.

Plate 262 339. DETAILS OF SCULPTURE. Bayonne, Musée Bonnat N.I. 42(711) recto— 0.256 X 0.148 -
Pen and bistre wash — Inscribed on verso: a6y — Coll.: de Vries, His de la Salle, Bonnat.
Lit.: A. Blunt, “Les cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 60.

Lop row: Three putti from a sarcophagus, still in the Giustiniani collection (cf. Galleria Giustiniani, I,
plier; Reinach, Aevefs, Ul, p.253, tie. 2).
Middle row left: Inverted vase and basket offruit, rom a sarcophagus still in the Giustiniani collection
(cf. Galleria Giustiniani, II, pl. 100; Reinach, Reliefs, IU, p. 253, figs 1),
Middle row centre: Bust framed by shell from a sarcophagus still in the Giustiniani collection (cf.
Galleria Giustiniani, II, pl. 98; Reinach, Reliefs, II, p. 258, fig. 2).
Middle row right: Double portrait framed by wreath, from a sarcophagus formerly in the Giustiniani
collection, now lost (cf. Galleria Giustiniani, Il, pl. 95).

38
Bottom row left: Table from a sarcophagus, still in the Giustiniani collection (cf. Galleria Giustiniani,
H, pl. 93; Rizzo, Sculture antiche del Palazzo Giustiniani, Rome, 1905, pp. 36 ff., no. 3, fig. 6).
Bottom row right: Parts of draped couches, from a satcophagus formerly in the Giustiniani collection
(cf. Galleria Giustiniani, I, pl. 92).
This is a typical example of Poussin’s habit of taking details from a series of adjacent plates in the
Galleria Giustiniani and juxtaposing them on a single sheet. In this case some of the details, such
as the inverted vase, hardly make sense when taken out of their context.
These drawings probably date from the late 1630’s.

340. STUDIES FROM RELIEFS. Present whereabouts unknown — 0.313 X 0.230 — Pen and Plate 263
bistre wash — Inscribed: N. Poussin — Coll.: P. Barres (sale, Sotheby 6.vii.1967, lot 7).
Top row left: Niobids. Two sections from a relief of the Niobids in the Hermitage, Leningrad,
which is recorded in Rome from the early sixteenth century (cf. Reinach, Re/iefs, IU, p. 492;
Langlotz, “Die Niobidenreliefs des fiinften Jahrhunderts’, Die Antike, IV, 1928, p. 31).
It was used by Andrea del Sarto in one of the Annunziata frescoes (cf. J. Shearman, Azdrea
del Sarto, Oxford, 1965, I, p. 26), and was drawn by Van Dyck (cf. H. Vey, Die Zeichnungen
Anton van Dycks, Brussels, 1962, no. 159).
Top row right: Flead of a Roman matron. From a hitherto unidentified original.
Middle row left: Scylla. From a marble roundel, now lost, of which a drawing exists at Windsor
(8609; repr. Vermeule, 1966, p. 133, fig. 154).
Middle row right: Iphigenia in Tauris. Inscribed: temple, and below: sacrifice P@hommes. Les hommes
seront menes nuds et enchynes par des hommes armes et vetus a lantique.
The whole group, including the tree with the human head, the altar, and the standing figure;
is taken from a relief of Orestes and Pylades before Iphigeneia in Tauris, now in Munich,
which in the seventeenth century was in the Palazzo Accoramboni, Rome (cf. Reinach,
Reliefs, Il, p. 79; Robert, II, 167). The only significant differences are that Poussin has left
out the columned temple, to which, however, he refers in the note, and has added a garland
and another decorative element between the statue and the standing figure. The latter should
be looking to the right, towards the figures of Orestes and Pylades, who are being led up to
her. Although they are not shown in the drawing, the fact that they are bound and naked
is referred to in the inscription below. It is not certain whether Poussin realized the precise
significance of the subject, but the fact that in his notes he makes no reference to any of the
protagonists suggests that he did not and merely took it to be a scene of human sacrifice.
He used the theme of the tree with the human head impaled on it in a drawing representing
Hercules and Cycnus for the Long Gallery decoration (see Vol. IV, p. 23, Ars). I am
greatly indebted to Mr. Andrew Drummond for identifying the subject of this drawing and
the sarcophagus on which it is based.

A drawing of the same sarcophagus from the Pozzo collection is at Windsor (8093).

Bottom right: A girl fleeing in terror. The figure probably represents Persephone or Eurydice, but
no original for it has been identified.
The drawing probably dates from the late 1630’s.
59
Riatee262 341. MINERVA AND OTHER STUDIES. British Museum 1946-7-13-1145 recto — 0.267 X
0.192 — Pen and light brown ink and wash with a red chalk line across the top—Coll.: Lagoy;
von Fries; Woodburn sale, lot 1333(5); Phillipps; Fenwick.
Verso: See VolOLV, p. 25, No. 248.
Lit.: A. E. Popham, Catalogue of the Phillipps Fenwick Collection of Drawings, 1935, P. 228, no. 5.
Top: Three sandalled feet.
Bottom left: A Charioteer or gladiator. No precise model for this drawing can be found, but it is
reminiscent of the relief of a Thracian gladiator (now lost; cf. Reinach, Re/efs, III, pl. 227,
no. 6), and of a charioteer relief in the Villa Albani, which was formerly in the Cesi Gardens
and of which a drawing exists at Windsor (8183; cf. Vermeule, 1966, p. 78).
This drawing was used by Poussin in the background of Scipio and the Pirates (cf. Vol. UH,
Boek ye 52)
Bottom right: Minerva Medica. From the candelabra in the Vatican, found in Hadrian’s Villa in
1630 and at one time in the Barberini collection (cf. Amelung, Vaz. Cat., Il, pl. 60, p. 627,
no. 412; Reinach, Re/zefs, Il, p. 396).
A drawing of the same figute from the Pozzo collection is at Windsor (8787).
Probably dates from the late 1630's.

Plate 264 342. SHEET OF STUDIES. Chantilly 240 recto -— 0.258 X 0.189 — Pen and bistre wash, framed
in red chalk lines — Coll.: Reiset— Cf. Malo 89.
VGrs0: sDCC2 NOL. LV 38,0. 252s NO. 1249.

Top left: Sacrificial basin. From a telief representing a sacrifice to Bacchus, now lost, known from
an engraving by Marco da Ravenna (cf. Bartsch, XIV, p. 181, no. 220).
Bottom left: Cuirassed torso. Probably from the torso of a statue of Constantine II in the Capitol
(cf. Reinach, Statuaire, 1, pl. 980; Vermeule, ‘Hellenistic and Roman Cuirassed Statues’,
Berytus, XIII, 1959, p. 73, no. 324).
Top right: Figure of Religion. Almost identical with an engraving by Battista Franco (cf. Bartsch,
XVI, p. 138, no. 58), except that the latter is circular. Both drawing and engraving may
derive from a common ancient original.
Probably dates from the late 1630's.

Plate 264 343. DETAILS OF RELIEFS. London, Courtauld Institute 15 46- 0.311 X 0.200- Pen and brown
wash — Coll.: Von Fries; Lagoy; Rosenheim; sold Sotheby 2.v.1923, lot 108; Sir Robert
Witt.
Lit.: Exh. Paris 1960, no. 191.
Top left: Charioteer. From a relief now in store at the Vatican, which was in the Barberini collection
in the seventeenth century (cf. Admiranda, pl. 23; Kaschnitz-Weinberg, Scalture del
Magazzino del Museo Vaticano, Vatican, 1936-37, no. 416, pl. LX XVI).
A drawing of the same relief from the Pozzo collection is at Windsor (8750).
Centre left: Figure of a man, inscribed “pugillator’. From a relief representing a scene of sactifice in
the Museo Nazionale Romano, from the Museum Kircherianum (cf. R. Paribeni, Le Terme

40
 di Dioclexiano e il Museo Naxionale Romano, Rome, 1932, no. 761 (489); repr. in Wilpert,
L’ Arte, 1899, I, p. 13, fig. 11).
A drawing of the same relief, showing two figures, from the Pozzo collection is at Windsor (8946).
Top right: Part of rectangular ‘cinerarium. At one time in the Barberini collection. Poussin has
correctly copied the inscription, which is given in C./.L., VI, 2 (pt. vii), p. 1230, no. 9344.
A drawing of the same cinerarium from the Pozzo collection is at Windsor (8545).
Bottom left: Lid of a sarcophagus in the Museo Torlonia, Rome. In 1577 the sarcophagus was in the
Theatre of Marcellus, and in the eighteenth century in the Orsini collection (cf. Robert,
IH, i, no. 126, pls. 34-37; Reinach, Reliefs, HI, pp. 340 f.; Reinach, L’ Album de Pierre Jacques,
PDGtrO.cepl 2):
Drawings from the same sarcophagus from the Pozzo collection are at Windsor (8544, 8062) and in the
British Museum (Franks 8, 9).
Poussin has omitted the recumbent figures on the top of the sarcophagus, except that he has
included the hand of the man, holding a floral garland.
The drawing probably dates from the late 1630’s.

344. SHEET OF STUDIES. Sir Anthony Blunt, London — Recto - 0.267 x 0.195 — Pen and Plate 265
bistre wash, framed in red chalk lines— Inscribed on the verso: a6y — Coll.: Von Fries; Lagoy;
Lawrence (according to the Poynter sale catalogue); His de la Salle; Poynter; sold Sotheby
25.iv.1918, lot 225; bt. Agnew; Clarke; Agnew; bt. from Agnew about 1933.
Verso seen Volaly , p.25, No. 247.
Lit.: A. Blunt, ‘Cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 61; Exh. Paris 1960, no. 186.

Top left: Brazier. Inscribed by the artist: hypocrateridium and ... pasa(?). Found at Fréjus and later
in the Peiresc collection (cf. Montfaucon, H, 1, p. 86, pl. 18, no. 8).
Top right: Etruscan mirror. A very common pattern, close to Gerhard, III, pl. CCLXIII, no. 6.
Middle row left: Tripod-base dedicated to Apollo and inscribed: Jn villa Julia. In the mid-sixteenth
century this tripod, now lost, was drawn by Pighius (cf. Codex Pighianus, £. 23 v, Jahn no. 101;
Vermeule, 1960, p. 20).
A drawing of the same tripod from the Pozzo collection is in the British Museum (Franks 162).

Middle row right: Draped torso. Inscribed: torques. Probably from a statue of a priest, of which the
otiginal has not been identified.
Bottom left: Bust of a Roman boy. Inscribed: putto teste de bouc, and bulla con la trabea. The bust is
now at Petworth (cf. A. Michaelis, Amcient Marbles in Great Britain, Cambridge, 1882,
p. 612, no. 41).
Bottom right: A sandalled foot.
Probably dates from the 1640’s.

345. A SHEET OF STUDIES. Bayonne, Musée Bonnat N.I. 40(709) — 0.257 X 0.189— Pen and Plate 265

bistre wash— Coll.: Von Fries; His de la Salle; Bonnat.

Top left: Cerberus and the Furies.
41
 Top right: A chariot, a battering-ram, and palm leaves.
Bottom: A snake curled into a figure of eight.
Miss Jennifer Montagu has pointed out that the group of Cerberus and the Furies is copied from
an engraving of Pluto abducting Proserpine by Bonasone after Giulio Romano (cf. Bartsch, XV,
p. 137, No. 95), and the battering-ram and palm leaves are taken from the Victory engraved by
Adam Ghisi after Giulio Romano (cf. Bartsch, XV, p. 428, no. 105). The sources of the snake
and the chariot have not so far been identified.

Plate 2564 346. TWO STUDIES OF AN ANCIENT STATUE. Sir Anthony Blunt, London— Kecto— 0.161
< 0.127— Pen and brown ink; both reco and verso have been framed in red chalk lines — bt.
at Sotheby, anonymous sale, 9.vii.1968, lot 49.
Verso: See next number.

The statue, which shows a man in a short tunic, has not so far been identified.

Plate 2564 346a. SCYLLA AND A CENTAUR. Sir Anthony Blunt, London—- Verso— Pen and brown ink.
Recto: See No. 346.
From a ¢rapezophor in the Museo Nazionale, Naples, which was in the Villa Madama in the sixteenth
and seventeenth centuries (cf. Reinach, Ke/iefs, III, p. 6).

Plate 266 347. SHEET OF STUDIES. Present whereabouts unknown — 0.267 x 0.204- Bistre, pen and,
wash — Coll.: Von Fries; Lagoy; Lawrence; W. Russell; Poynter; sold Sotheby 25.iv.1918,
lot 224; bt. Douglas.
Top left: A throne. No ancient model has been traced for this drawing.
Top right: An altar. Close to, but not identical with, one in the Vatican (cf. Lippold, Vat. Caz.,
Lee) ats. 0. 18).
Bottom: Two elephants. Based on Mantegna’s /'riumph of Caesar at Hampton Court, probably through
an engraving such as Bernardo Malpizzi’s (cf. Bartsch, XII, p. 1o1, n. 11).

347a. TWO ELEPHANTS. Abbeville, Musée des Beaux-Arts — 0.155 X 0.208 — Pen and bistre
wash — Inscribed on the back of the mount: N. Poussin 2558 — Given to the Museum by
Thibaudeau in 1884.
Another copy, apparently by Poussin himself, of the elephants in the engraving after Mantegna.
Louvre 32473 — Inscribed on recto: Ang, and on verso: 4 la Nation and Montarsy.
A very good early copy, belonging to the series from the Montarsy collection, which was bought by
Louis XIV in 1714.

Plate 267 348. STUDIES OF ANIMALS. Mme. Umberto Agnelli, Neuilly-sur-Seine- 0.310 X 0.205 — Pen
and bistre wash — Coll.: Von Fries; Lawrence; with Aymonnier, Paris (1966).
The elephant at the bottom and the lioness on the back of an elephant at the top ate both taken
from the composition called the Victimarii from the set of tapestries illustrating the life of Scipio
Africanus after the designs of Giulio Romano and other followers of Raphael. Poussin’s version

42
is close to the drawing in the Louvre (3524), which is reproduced by Astier, La Belle Tapisserye
du Roy, Paris 1907, p. 97, but he may have known an engraving after the composition (ébid.,
p- 98) or the tapestry in the Quirinal set, which would have been the only series available to him.
The sources of the other animals have not so far been traced, but they are likely to come from
other compositions by Giulio Romano or other pupils of Raphael.

349. STUDIES OF CAPARISONED ANIMALS AND SANDALLED FEET. Montpellier, Plate 267
Musée Fabre 864-2-99 — 0.330 X 0.200— Pen and bistre wash — Coll.: Bonnet-Mel.
After details in the Scuola Nuova tapestries in the Vatican by pupils of Raphael. The animals and
the upper of the two sandalled feet on the right are from the Adoration of the Kings; the foot in
the bottom right-hand corner is from the Presentation in the Temple, and the two feet in the lower
left-hand corner are from the right-hand panel of the Massacre of the Innocents. All are in the same
sense as the tapestries (cf. also No. 351).

350. STUDIES OF MEN IN ARMOUR AND SEA-HORSES. Paris, Ecole des Beaux-Arts Plate 268
1453 (34799)
—0.315 X 0.212 —Pen and bistre wash — Coll.: Desperat; Armand Valton.
All these drawings are from the engraving by G. B. Ghisi after Giulio Romano, from which
Nos. 336-338 are copied (PI. III).

351. THE ADORATION OF THE MAGI. Paris, Ecole des Beaux-Arts 1448(34818) — 0.195 X Plate 269
0.144
—- Pen and bistre wash —Coll.: Banks; Armand Valton.
The drawing is connected with the tapestry of the subject in the Scuola Nuova series in the Vatican,
designed by pupils of Raphael. Unlike the drawings of details on No. 349, this sheet is in the
Opposite sense to the tapestries and the surviving drawings (at Sigmaringen, [repr. in E. Mintz,
Les Tapisseries de Raphael, Paris, 1897, p. 36; a copy is at Chatsworth] and in the Ashmolean Museum,
Oxford, Parker 665D). It is therefore presumably based on a lost cartoon or modello. In detail it
corresponds closely to the drawings. It shows the left-hand group with one of the Kings, a group
of kneeling attendants, a camel, and an elephant. The roof of the shed is left out, as is the second
camel, although Poussin has included the leg of its rider. The drawing includes, however, above
the kneeling figures a standing youth, who does not appear in either the drawings or the tapestry.
I am indebted to Dr. John Shearman for pointing out the connection with the tapestry, and to
Mr. Charles Hope for information about the surviving drawings.

APOLLO AND THE MUSES ON PARNASSUS. Present whereabouts unknown. A drawing

of this subject after Raphael was sold in the Marignane sale, Rauch, Geneva, 7ff-vi.1960, lot 311,
with an attribution to Poussin. As far as can be judged from the reproduction in the catalogue,
the drawing might possibly be by Poussin. It follows the fresco fairly accurately, except that the
trees ate omitted and one muse is transferred from the extreme right to the extreme left, presumably
because the artist miscalculated and came to the edge of the paper.

352. SACRIFICIAL INSTRUMENTS. Paris, Ecole des Beaux-Arts 1435(2874)— 0.348 X 0.228 - Plate 268

Pen and bistre wash — Inscribed top row: Saceldotis pileum, lituus, aspelgilum (twice), secespita,
pusio quo ingula (batur) hostia; Second tow: arcula laureata ubi... securim; Third tow: simpulum
43
 quo ¢ cratere aqua(m) sacrificulis hauriebat, candelabrum, patera, velum quo pont. max. caput inter
sacrificandum contegebat; and in a later hand: Nic. Poussin — Coll.: His de la Salle.
Lit.: A. Blunt, ‘Les cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 62; G. Kauffmann,
‘Poussins letztes Werk’, Zeitschrift fiir Kunstgeschichte, XXIV, 1961, pp. 112 f.).

Sacrificial instruments and vessels from the so-called frieze of the Temple of Neptune in the Capito-
line Museum, where it has been since at least the mid-sixteenth century, when it was engraved
by Beatrizet in Lafréry’s Speculum Romanae magnificentiae (cf. Reinach, L’ Album de Pierre Jacques,
Paris 1902, pl. 9; Sandrart, I, pt. 2, book 1, p. 46, pl. G; Stuart Jones, A Catalogue of the Ancient
Sculptures Preserved in the Municipal Collections in Rome, Oxford 1912-26, pls. 61, 62, Nos. 99, 100,
104). The inscriptions ate copied, somewhat inaccurately, from the engraving.
Probably dates from the 1640’s.

Plate 269 353. DECORATIVE DESIGN WITH ANCIENT ARMOUR. Venice, Accademia 496- 0.435 X
0.290 — Black chalk, pen, and dark brown wash.
This magnificent drawing, attributed to Polidoro da Caravaggio, was identified as a work of
Poussin by Dr. John Shearman. The elements of the design are derived from the reliefs on the
base of Trajan’s Column, but they are even closer to compositions by Polidoro da Caravaggio
known from drawings and engravings.

Plate 270 354. DRAWINGS FROM THE ANTIQUE AND AFTER DU CHOUL’S DE LA RELI-
GION DES ANCIENS ROMAINS. Chantilly 230 recto - 0.412 X 0.273 — Pen and
brown ink, framed in red chalk lines - Coll.: De Vries; Lagoy; Lawrence; Coningham —
Cr Malo 58:
Verso: See No. 355.
Lit.: A. Blunt, “Poussin et les cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 58.
The drawings of the top third of this sheet are after the following drawings of hunting sarcophagi
from the Pozzo collection now at Windsor:
Windsor 8457, of a sarcophagus in the Palazzo Mattei, Rome (cf. Venuti, Vetera monumenta
Mattheiana, Rome 1776-79, Ill, pl. 40, fig. 1; Reinach, Reliefs, III, p. 306, no. 1).
Windsor 8462, 8464, after a sarcophagus now lost.
Windsor 8465, from a sarcophagus of Hippolytus and Phaedra, formerly in the Villa Borghese
and now in the Louvre (1029; cf. Robert, IN, ii, pl. LV, no. 170; Reinach, Statuaire, I,
Paroompleets 106228):
Windsor 8521, from a fragment of a sarcophagus now lost.
Some of the details are difficult to associate exactly with a particular drawing, but the following
connections are clear:
Top row left: Horse’s head and head of Virtus from 8521.
Second row left: Tbree spears (beside which have been written the words pie 7 and venobulum), of
which the middle one comes from the same relief.
Second row right: Two trappers carrying a net ftom 8464. The inscription cane refers to the dog, which
in the Windsor drawing is shown being led by the front trapper, but which Poussin has
left out.

44
Third row right: Two horses’ heads from 8457.
The sandalled foot in the top row has beside it a word in Poussin’s hand, which is difficult to
decipher.
All the rest of the drawings are from engravings after coins and gems in Du Choul’s De Ja religion
des anciens Romains, Lyons 1556. The references below are to the Italian translation of 1559, the
text of which corresponds to Poussin’s inscriptions:
Standards: p. 28.
Woman with armour: p. 11.
Temple of Jupiter Ultor: p. 37.
Part of a thunderbolt, inscribed: folg: p. 82.
Thunderbolt: p. 82.
Scylla: p. 89. (Should be female; the mistake is Du Choul’s).
Man driving sea-horses: p. go.
Neptune on horseback: p. 91.
Taras, son of Neptune, astride a dolphin: p. 91.
Lamp, inscribed: publicae felicitati romanorum and laribus sacrum p. f. roman.: p. 132.
Priest’s headdress, ancile, and inscription: p. 197.
Helmet and inscription: p. 196.
Headdress of chief pontiff and inscription: p. 200.
The text at the bottom, referring to the Salii, the priests who guarded the ancilia, is taken from
Du Choul, pp. 196 f.

355. Chantilly 230 verso— 0.412 X 0.273 — Pen and brown ink— Inscribed: aés — Cf. Malo t1o2. Plate 270
INECHO eOCCU NON 354:
Lit.: A. Blunt, ‘Poussin et les cérémonies religieuses antiques’, Revue des Arts, X. 1960, p. 59
The drawings and text are from Du Choul, 1559, pp. 215-223.

356. Vienna, Albertina 13435 recto— 0.403 X 0.249— Pen and bistre. Plate 271
Vaciso-woee: INO; 357;
The drawings and text are from Du Choul, 1559, pp. 228-233.

357. Vienna, Albertina 13435 verso — pen and bistre. Plate 271
Recto: See No. 356.
The drawings and inscriptions are from Du Choul, 1559, pp. 233-239.

358. A FANTASTIC ANIMAL. Chantilly 245a- 0.149 0.108 — Pen and bistre wash — Coll.: Plate 272

Reiset — Cf. Malo 98a.

There are many gems recorded similar to this drawing, e.g. those engraved in J. L'Heureux,
Abraxas, Antwerp 1657, p. 37, figs a-y, and A. Gorlaeus, Dactylotheca, Leyden 1695, Il, 316-7,
322-3, but none of these appeats to have been the actual model copied by Poussin.
45
Plate 359, A SEA-HORSE WITH A CADUCEUS. Chantilly 247a — 0.107 X 0.147 - Pen and bistre
wash— Coll.: Reiset — Cf. Malo roma.

This drawing is very close, in reverse, to a gem engraved in Du Choul (1559, p. 92), but the latter
shows a trident instead of a caduceus.

Plate 360. A FANTASTIC SEA-MONSTER AND A DOLPHIN BITING A CADUCEUS. Chantilly

237C— 0.107 X 0.145 — Pen and bistre wash — Coll.: Reiset - Cf. Malo rote.
No ancient model for this drawing has been identified.

PUNERAL FEASTS

Plate 361. Pierre Rosenberg, Paris — Recto — 0.122 X 0.295 — Pen and bistre; pressed through with a
stylus; partly framed in red chalk line — Inscribed: Agape idell dilecto, altramente Natalitie,
funerali e Connubiali (repeated twice), and Agape 0 Convito che si faceva nelle Natalitij o funeral,
et Anniversarij di diffunti — Coll.: Wyzewa; Chenneviéres; Eggimann.

Plate 362. Pierre Rosenberg, Paris — Verso — Pen and bistre — Inscribed: sriclinio lunare detto Sigma,
and Poussin.
Recto: See No. 361.

Plate 363. Hermitage 8133 — 0.150 X 0.130 — Pen and bistre — Inscribed: volumi, agape, and Convito
funerale. Col triclinio lunare detto Sigma.
Verso: A scene of sacrifice.
Lit.: Kamenskaya, ‘Further Remarks on Poussin Drawings in the Hermitage’, Master Drawings, VII, 1969,
p. 425, figs. 28a-b.

All three drawings are copied from Antonio Bosio’s Roma Sotterranea, published posthumously
in Rome by Carlo Aldobrandini, Ambassador of the Order of Malta, in 1632, and dedicated to
Urban VIII.
The feast on No. 361 is from an engraving on p. 447 after a fresco formerly in the Catacomb of
S. Agnese. Poussin has, however, added the figure of a servant on the right, with a basket full
of loaves, which he has taken from a sarcophagus lid, now in the Lateran (cf. Wilpert, J sarcofagi
cristiani antichi, Rome, 1929, pl. LIII, 1), engraved by Bosio on p. 513. The cross is copied from a
sarcophagus illustrated by Bosio on p. 79.
The scene on No. 362 is from an engraving on p. 355 of Dosio, which represents a fresco formerly
in the Catacomb of SS. Marcellino e Pietro. The drawing is damaged on the left and may originally
have included the arm of a servant holding out a cup to the guest on the left, which appears in
the engraving.
The feast on No. 363 is taken from an engraving on p. 391 of Bosio, after a fresco in the Catacomb
of SS. Marcellino e Pietro (cf. Wilpert, Le pitture delle catacombe romane, Rome 1903, pl. 157).
The box with scrolls comes from the engraving on p. 221, after a fresco of Christ and the Apostles
in the Catacomb of S. Callisto, where it appears in the foreground (cf. Wilpert, ibid., pl. 193).

46
The inscriptions on the drawings are all taken, almost verbatim, from the Italian edition of Bosio,
published in 1632 (the enlarged edition of 1651 is in Latin).
All these drawings appear to be late works, the Hermitage sheet perhaps even dating from the
1650’s.
The drawing on the verso of No. 363 is based on a pagan relief. The figure carrying the axe comes
from the Ara Pacis (cf. Reinach, Re/iefs, I, p. 235).

364. DETAILS FROM EARLY CHRISTIAN SARCOPHAGI. Hermitage 8134- 0.170 X 0.110 Plate 274
- Pen and bistre— Inscribed: S. P.
Verso: Scene of pagan sacrifice.
Lit.: Kamenskaya, ‘Further Remarks on Poussin Drawings in the Hermitage’, Master Drawings, VII, 1969,
Pp. 425, fig. 29.
The principal group, showing Christ giving the scroll to St. Peter, is taken from a sarcophagus
now in the Lateran and engraved in Bosio (p. 85; cf. Wilpert 7 sarcofagi cristiani antichi, Rome
1929, I, pl. CXXI, 4). Similar groups are to be found in other sarcophagi, but this is the only
one to show Christ seated on a kind of veil supported by a figure underneath it. In the sarcophagus
the figures are separated by Corinthian columns, but Poussin has left these out, as well as the two
figures flanking Christ and the one holding up the veil under his feet. The letters §.P. may refer
to the principal figure, who has been variously identified as St. Peter and St. Paul. Poussin no
doubt took him to be the former, since he used this model and other sarcophagi of the same family
in preparing his painting of Ordination in the second series of Sacraments, which shows Christ
giving the keys to St. Peter (cf. A. Blunt, Nicolas Poussin, 1967, pp. 196 ff.).
The column and bust on the right come from the lid of another sarcophagus of the same type,
engraved in Bosio (p. 63; now apparently lost), where it represents the idol which the three
children of Israel refuse to worship. The head to the left, with its Phrygian cap, is of a type used
on these sarcophagi to represent either the Three Magi, or the Children of Israel refusing to
worship the image. In this case it must have the latter significance, since it appears next to the
image. The three sketches on this sheet are all drawn on different scales.
The drawing on the verso is taken from a relief like those in the Palazzo Spada.

365. TWO HEADS AND AN ARM. Hermitage-

Pen and bistre
-Inscribed: R. D. Vrbino Plate 275
and 23.
As Dr. John Shearman has pointed out to me, the two heads occur on the right of the tapestry
after Raphael representing the Healing of the Lame Man, and the arm is that of St. John.
The fact that this drawing is connected with Poussin is confirmed by No. A 155, where the two
heads also appear, and, although No. 365 is in some ways a rather weak drawing, it may well be
by the artist himself.

HEADS OF ARTISTS
366. Louvre 32527— 0.264 X 0.276 — Pen and bistre — Inscribed on verso: Montarcy. Plate 275

367. Louvre 32528 — 0.264 X 0.276- Pen and bistre. Plate 275

Lit.: G. Kauffmann, ‘Vasari-Poussin’, Mitteilungen des kunsthistorischen Instituts in Florenz, VU, 1959, p. 2523
W. Prinz, ‘Vasaris Sammlung von Kiinstlerbildnissen’, ibid., XII, Beiheft, 1966, p. 44.

47
 Kauffmann (Joc. cit.) shows that these drawings are copied from the plates illustrating Vasari’s
Vite, being apparently taken from the rare edition of the plates only, published in 1629. He
believes that they ate originals by Poussin, but the manner of drawing seems to be that of a con-
scious imitator of Poussin’s shaky manner and suggests the hand of a copyist. This hypothesis is
confirmed by the fact that 32527 comes from the Montarcy collection, which seems to have in-
cluded a series of very skilful early copies after Poussin.
Louvre 32424. This drawing is made up of three small sheets stuck together. The one on the left contains
a head inscribed: fra /uca dal borzo and corresponds to the head similarly inscribed in No. 367, and the two
heads on the middle and right-hand pieces correspond to the heads on the same sheet. These heads seem
also to be copies.

Plate 275 368. STUDIES OF HEADS. Louvre R.F. 36 — 0.127 X 0.141 — Pen and bistre — Inscribed:
n poussini vechio — Coll.: Gatteaux.
ieee sce VOlnlV. 0.44, 4.144.
A type of study similar to those on A 153-155 below, but none of the same heads occurs. The style
and the inscription both indicate a late date.
As with Nos. 366-367 the ‘deliberately hesitant’ draughtsmanship suggests that the whole
group may be by a skilful copyist. This hypothesis is confirmed by the drawings on the verso,
which are certainly copies.

Plate 266 A 145a. SHEET OF STUDIES. Louvre 32511 verso— 0.315 X 0.218 — Pen and bistre.
eto) SECU 15 5,
Top row, reading from left to right:
Tree hung with bow and arrows, pipes, ete.
Probably a copy of a study by Poussin for the painting of the Exposition of Moses in Oxford (cf.
A. Blunt, Nicolas Poussin, Catalogue raisonné, 1966, p. 12, no. 11).
Man sacrificing a pig before a statue of a woman holding a mirror(?). From an antique gem, engraved by
Enea Vico (cf. Ex gemmis et cameis antiquorum, Rome, n.d., c. 1550, pl. 21; Bartsch XV, p. 322,
no. 120). The statue and the tree bear some resemblance to the group from the Iphigenia relief
shown in No. 340.
Tragic mask.
Bottom row, reading from left to right:
Draped female statue and Minerva (two views).
The two statues were in the Cesi collection in the late sixteenth century and were engraved by
G. B. Cavalieri for his Antiquarum statuarum urbis Romae et primus et secundus liber, Rome 1585-93,
pls. 25, 37. The female statue is the same type as the fifth-century Greek ‘Kora Grimani’, acquired
by Grimani in the 1580’s and now in the Museo Archeologico, Venice (cf. Carlo Anti, I/ Regio
Museo Archeologico nel Palazzo Reale di Venezia, Rome, 1930, pp. 38 ff., repr. pp. 37, 39).
The Cavalieri engraving of Minerva is reproduced in reverse in Reinach (cf. Statuaire, Il, p. 293,
no. 3; Sandrart, II, pt. 2, book 1, p. 11, and pl. ee). This is one of the versions of the Lemnian
Athena of Phidias.
The Cesi base. Inscribed: putto, and below: 4 fase.
Now at Newby Hall (cf. Vermeule, American Journal of Archaeology, LIX, 1955, no. 2, p. 143,
pl. 45, fig. 24).
48
Drawings of this base from the Pozzo collection are at Windsor (11357, 11361, 11362, 10215).
Presumably all three objects on the lower half of the page were in the Cesi collection when drawn
by Poussin.
In the mid-sixteenth century the Cesi base was in the Pio de Carpi collection, when it was drawn
by Pighius (cf. Codex Pighianus, £. 366v, Jahn 113; Hiilsen, Rémische Antikengarten des XVI. Jabr-
hunderts, Heidelberg 1917, p. 71, nos. 145, 146, fig. 57).
The drawing is a copy after a lost original by Poussin. The fact that the artist chose to draw the
Cesi Minerva and the female statue, both of which go back to types of the fifth century B. C.,
supports the statement made by Passeri that both he and Duquesnoy preferred Greek to Roman art.

BATTLES BETWEEN GREEKS AND AMAZONS

A 146. Venice, Accademia 153 — 0.320 X 0.221— Pen and brown wash- Inscribed: Niccolo Possino Plate
da bassi rilievi.
The drawings are after the two ends of a sarcophagus in the Vatican (cf. Amelung, Vat. Cat.,
Il, pl. 18; Robert, II, pl. XXXIV, nos. 86a and b; Reinach, Re/iefs, III, p. 351, nos. 1-3).
A drawing of the same sarcophagus from the Pozzo collection is at Windsor (8242).
Probably a copy after a lost original by Poussin.

A 147. Besancon 1162 — 0.101 X 0.167 — Pen and bistre wash — Coll.: Gigoux. Plate

After a sarcophagus in the Palazzo dei Conservatori, Rome (cf. Robert, H, no. 111; Reinach,
Reliefs, Ill, p. 179, nos. 1-3).
A drawing after the same relief from the Pozzo collection is at Windsor (8070).
Probably a copy after a lost original by the same hand as A 146.

A 148. A SACRIFICE. Formerly with Alister Mathews, Poole (1966) — Pen and bistre wash. Plate

After a relief formerly in the Palazzo Vitellaschi, now in the Villa Albani (cf. Admiranda, pl. 17).
Probably a copy after a lost drawing by Poussin.

A 149. STATUE OF PHOCION. Paris, Ecole des Beaux-Arts 1432(2873) — 0.260 X 0.120— Pen Plate
and bistre — Inscribed: ®WKEIWN CYN MYR and TTAOKAMOC ENOIHCe — Coll.: His de la Salle.
Copy after an engraving in Boissard (IV, pl. 120) of a statue then in the Thermae of Diocletian,
but now apparently lost. Montfaucon, who reproduced Boissard’s engraving (IU, p. 11, pl. 2,
fig. 2), identifies the figure as that of a priest of Bacchus and interprets the word MYR as the
beginning of the name of the boy accompanying Phocion. According to modern critics the in-
sctiptions are forgeries, perhaps by Boissard (cf. H. Brunn, Geschichte der griechischen Kunstler,
Stuttgart 1889, I, p. 615).
The drawing is certainly not by Poussin, but may be a copy of a lost original. If the artist identified
the subject of the statue with Plutarch’s hero, he would have been very likely to make a copy of
the engraving and, in so far as one can judge the style of the original drawing from the copy, it
suggests the late 1640’s, when Poussin painted his two landscapes illustrating the story of Phocion.
49
Plate 278 A sso. AN ALTAR. Chantilly 241 recto- 0.266 X 0.187— Pen and bistre— Inscribed: N. Poussin—
Coll. Reiset.
Vefsomsee A152.
From an altar now lost, but formerly in the garden of Cardinal Pio de Carpi (cf. Boissard, IV,
pl. 78; Montfaucon, V, p. 58, pl. 18, fig. 1; Altmann, p. 85).
The drawing is based on Boissard’s engraving. Like the drawing on the verso, it is singularly bad
in quality, but certain parts, particularly the left half of A 150, look like a caricature of Poussin’s
later style, and both drawings may possibly be copies of lost originals dating from the late forties
ot early fifties. The inscription on the altar has been copied with slight mistakes.

Plate 278 A 151. TWO ALTARS. Chantilly 241 verso.

Recto: See A 150.
The left-hand altar was in the sixteenth century in the garden of Cardinal Pio de Carpi and is now
in the Palazzo Barberini (cf. Boissard, IV, pl. 75; Altmann, p. 57, fig. 75; Montfaucon, V, p. 63,
pli22, 1a; 3).
The inscription has been copied with several mistakes.
The right-hand altar, now apparently lost, was in the Villa Giulia in the sixteenth century.
For the status of the drawing see A 150.

Plate 278 A 152. A SHEET OF STUDIES. Louvre R.F. 1168 verso. — Pen and bistre wash.
For the upper part of the sheet see Voli IV, piez6, A124, Recto: see-p.115, No. 2183.
At the top a design for a ceiling; below a series of small drawings of heads, vases, a table, a quiver,
instruments, etc.
The mask on the left of the top row of the lower part is a copy of one which appears on an original
by Poussin at Chatsworth (cf. below, No. 452). The Chatsworth drawing also contains a study
for a herm at the corner of a ceiling decoration, which resembles the drawing at the top of A 152
in many respects. The latter must be a copy of a lost original, closely related to No. 452. Most of
the other studies seem to be connected with drawings by Poussin after details from ancient reliefs.
The head of a woman in the middle, however, cannot be antique and may be after a detail of a
composition by Giulio Romano or some other follower of Raphael.

STUDIES OF HEADS AND FIGURES

Plate 276 A 153. Louvre 32511 recto— 0.315 X 0.218— Pen and bistre- Inscribed in top right-hand corner:
49 la Nation, and in the middle: Montarcy— Coll.: Montatsis; presumably bought by Louis
XIV, who acquired his collection in 1714 (cf. letter from Mariette in Caylus, Recueil de
testes, Patis 1730, p. 19 note).
Verso: See Now A rasa.

Plate 276 A 154. Paris, Ecole des Beaux-Arts 1452(12101) recto — 0.295 X 0.205 — Pen and bistre — Coll.:
Gatteaux.
Verso: See Vol. IV, p. 52, and below, p..90, No. A172.

50
A 155. Lisbon, Museu Nacional de Arte Antiga 1190- 0.269 X 0.206— Pen and bistre— Inscribed: Plate 276
Poussin and 31 do R.
Private collection, Béziers, recfo and verso. Repr. in the catalogue of an exhibition at the
Musée des Beaux-Arts, Béziers, in 1969.

The Lisbon sheet appears to date from the seventeenth century, and the Louvre drawing must date
from well before 1714, when it passed from the Montarsis to the Royal Collection. The Beaux-
Arts version appears to be considerably later.
The Louvre and Lisbon sheets have at the bottom details taken from Raphael’s tapestries. The
two heads in the bottom right-hand corner of the former are copied from the beggar and the lame
man in the FYealing of the Lame Man. In the bottom right-hand corner of the Lisbon sheet are two
other heads from the same composition, perhaps copied from No. 365. The head in the middle
of the same row is from the Conversion of St. Paul, and the head on the left is from Feeding the Sheep.
The two standing figures in cloaks in the Lisbon drawing are evidently copies, but they have not
as yet been traced to any original.
The remaining parts of the Louvre and Lisbon sheets are covered with a series of heads of a quite
different character, many of which also occur on the Ecole des Beaux-Arts drawing. Those at the
bottom of the latter must be connected with an Exposition or Finding of Moses, but they do not
correspond to any known version of the subject by Poussin, although the sphinx is close to the
Oxford Exposition. The head of Minerva, which occurs on all three sheets, may be after an antique.
Apart from one study, which shows a bearded man, the remaining heads appear to be studies of
female hair-styles. None can be exactly connected with any heads in paintings by Poussin, though
the left head in the second row of the Louvre and Lisbon sheets is very close to one in the left
foreground of the Dulwich David. All three sheets must derive from a single model of a type
with which No. 368 is also connected.
The recto of the sheet at Béziers contains four heads which occur on No. 368, but the others do
not seem to appear elsewhere. At the top it shows three whole-length figures, a woman seated on
a throne, and two men wearing togas. The right-hand male figure is a copy after No. 306 (cf.
above, p. 29). The verso contains heads of women, one of a man in what looks like Flemish
fifteenth-century dress, a trophy of arms, vases, legs, and sandalled feet. The cross-gartered leg
in the top row is, like the full-length figure on the recto, copied from No. 306.

A 155a. Louvre 1163 — Cf. pp. 113 f., Nos. A 181, A 182—- Pen and brown ink. Plate 276

At the top of the sheet are three heads similar in type to those on A 153-155.

A 155b. TWO FEMALE FIGURES. Chantilly 235 - 0.253 X 0.199 — Pen and bistre wash;
framed in red chalk lines — Inscribed: N. poussin and Dessiné par Mr Poussin — Coll.:
Reiset —Cf. Malo 73.

The drawing represents two statues which in the sixteenth century were in the collection of Tito
Celsi, when they were engraved for Boissard (Part IV, pls. 60, 62). Though coarse, it has fairly
close similarity to Poussin’s style of drawing and may be an early copy after a lost original.
51
 A 156. CERES SEEKING PROSERPINE. Chantilly 243 - 0.185 x 0.295 — Pen and bistre
wash, framed in ted chalk lines — Coll.: Reiset -Cf. Malo 77.
Apparently after a sarcophagus formerly in the Giustiniani collection (cf. Galleria Giustimiant,
II, pl. 79), but, if so, with several variations. The drawing is somewhat feeble, but certain parts
of it, notably the figure on the extreme left, are reminiscent of Poussin’s style in the late 1640’s.
It is probably a copy after a lost original of this period.

Plate 279 B 42. SHEET OF STUDIES. Montpellier, Musée Fabre 864-2-100 - 0.326 X 0.216 — Pen and
sepia wash (or faded indian ink) on yellow tinted paper — Coll.: Bonnet-Mel.
Lit.: A. Blunt, ‘Poussin et les cérémonies religieuses antiques’, Revue des Arts, X, 1960, p. 63.

Top row, left to right: Three utensils. All in Bellori’s collection (cf. La Chausse, Le Grand Cabinet Ko-
main, Amsterdam 1706, p. 73, fig. 2 and p. 75, fig. 7).
Another drawing of the same objects is in the British Museum (Franks 476).
Two views of a patera. In Bellori’s collection (cf. La Chausse, op. cit., p. 82, pl. 20 [in reverse];
Gerhard, H, pl. CLX XX).
A drawing of the same patera from the Pozzo collection is at Windsor (102187).
Middle row: A tripod. Inscribed: tripo. In Bellori’s collection (cf. La Chausse, op. cit., p. 78, fig. 11).
A drawing of the same tripod from the Pozzo collection is in the British Museum (Franks 475).
An Egyptian amulet; head of the river-god Achelous, and a frog. The originals are not traceable.
Bottom row: A Roman bowl. Inscribed: SEPTUNO LENA . PETA. AMISIO . DONO.
A drawing of the same bow] from the Pozzo collection is in the British Museum (Franks 494).
It also shows the mirror below and therefore presumably also was in Bellori’s collection.
Roman mirror. In Bellori’s collection (cf. La Chausse, op. cit., p. 82, pl. 18; Montfaucon, II >

pAooepin2ie tees aetnara 1 pl XXII no. 3).

A drawing of this mirror from the Pozzo collection is in the British Museum (Franks 499).
A. spatula.

The objects on this page were probably all in Bellori’s collection.

The only ones which have not been traced are the three on the right in the centre row, and the
spatula in the bottom right-hand corner. All the rest are recorded in Bellori’s collection by La
Chausse and Montfaucon, and they all appear in other Pozzo drawings. The Pozzo draughtsmen
and the author of the present drawing apparently used the same engraved source. The three
instruments in the top left-hand corner are arranged in an identical way in this drawing and in the
corresponding sheet at Windsor. In the same way the shadows cast by the objects are often repeated
in the same form. La Chausse may also have used the same source, as the objects seem all to be
seen from the same angle. It should be noted that the lettering round the edge of the bowl does
not occur in the Pozzo drawing. Neither can La Chausse be the original, as not all the objects
in the Montpellier drawing occur in his engravings.

52
Bellori’s collection was seen in 1665(?) by Philip Skippon, who describes it in ‘An Account of a
Journey made thro’ Part of the Low Countries, Germany, Italy and France’, from A Collection
of Voyages and Travels, edited by Awnsham and John Churchill, London 1732, VI, e. g. pp. 681-683:
“A Patera dedicata wrought towards the bottom. A Patera, wherein were engraven figures of men,
and in Greek characters was written Mercurius & Alexentrom’. (Top tow: this can be read more
clearly in La Chausse’s engraved version). “Several sacrificing instruments preserved very en-
tire...”. “A little brass 7ripus ... A brass head of Deus Ebbo, having bulls horns in his forehead;
this was worshipped by the Neapolitans’. (Achelous, middle row).
This drawing cannot be an original by Poussin and is unlikely even to be a copy. The handwriting
is entirely unlike him; and the mise-en-page, always so carefully planned in Poussin’s own drawings
of this type, is loose and untidy. It is probably by an Italian artist who knew Bellori’s collection.

B 43. JUPITER ENTHRONED WITH THE EAGLE. Chantilly 248a- 0.151 X 0.109 — Pen Plate
and bistre wash— Coll.: Reiset — Cf. Malo 1ooa.
This drawing appears to be a copy of a gem engraved in D. de’ Rossi, Gemme antiche, Rome
1707-9, II, no. 36. A similar group, but with Jupiter holding the thunderbolt, is shown on an
altar engraved by Boissard (IH, 129). The drawing, although very close to Poussin in style, is
weak in line and is probably by an imitator.

B 44. MEDEA. Chantilly 247b- 0.121 x 0.155 — Pen and bistre wash — Coll.: Reiset — Cf. Malo Plate
10Ib.

Like, but not identical with, a gem engraved in Du Choul (1559, p. 134). A somewhat similar
gem, but with a Victory instead of Medea, is in the Metropolitan Museum, New York (cf.
G. Richter, Metropolitan Museum of Art. Catalogue of Engraved Gems, Rome 1956, no. 363). Perhaps
by the same hand as B 43.

B45. AN ELEPHANT DRIVING TWO MICE. Chantilly 245b - 0.107 X 0.147 — Pen and Plate
bistre wash — Coll.: Reiset - Cf. Malo 98b.
No ancient model is known for this drawing. Perhaps by the same hand as B 43, 44.

B 46. AN EAGLE, A LION, AND A DOLPHIN. Chantilly 248b - 0.124 x 0.176 -— Pen and Plate
bistre wash — Coll.: Reiset —Cf. Malo 1oob.
After Gemmae antiquitus sculptae a Petro Stephanonio Vicentino ... collectae, Vicenza 1646, pl. 26.
Probably by the same hand as B 43-45.

B 47. PUTTO CARRYING A GOAT. Chantilly 251 - 0.112 X 0.086 — Pen and bistre wash — Plate

Coll.: Reiset — Cf. Malo 93.

This is identical, in reverse, with Stefanonius, pl. 23. A similar, but not identical, gem is engraved
in A. Gorlaeus, Dactylotheca, Leyden 1695, Il, no. 495.

Nine further drawings after ancient gems at Chantilly are attributed to Poussin but have no connection with
him. They have the following numbers: 244a (Malo 97); 244b (Malo 96); 246a (Malo 99, upper); 246b
(Malo 99, lower); 249a (Malo 92, upper); 249b (Malo 92, lower); 250a (Malo 95); 250b (Malo 94); 252

SO
(Malo 91). Of these 244a, 244b, 246a, 246b are engraved in the catalogue of the Stefanonius collection
(see above, No. B 46). An inscription on no. 249b says that the gem belonged to the same collection, but
it does not appear to be engraved in the catalogue.
Further drawings after other masters, wrongly attributed to Poussin, include the following:
THE BATTLE OF OSTIA. Besancon 1234. After Raphael, probably by an Italian artist of the sixteenth
century.
FIGURE OF A WOMAN. Bayonne, Musée Bonnat N.I. 49. After a figure in Parmigianino’s frescoes in
in the Steccata, Parma.
A MOTHER CARRYING A CHILD, AND VENUS WITH CUPID. Bayonne, Musée Bonnat — Inscribed:
da Polidoro and de Rafaelle.
THE MASSACRE OF THE INNOCENTS. Louvre 32422. After the Scuola Nuova tapestry designed
by pupils of Raphael, the two right-hand sections in the same sense as the tapestry, the left one reversed.
Probably Italian, sixteenth century.
FIGURE STUDIES. Munich, Graphische Sammlung 3167, 3168. Copies after studies by Annibale Carracci
for the Farnese Gallery.
Other drawings of the same type, attributed to Frangois Perrier, are in the Louvre (cf. R. Bacou, “Two
Unpublished Drawings by Annibale Carracci for the Palazzo Farnese’, Master Drawings, Il, 1964, pp. 40 ff.):
THE RITES OF MUTINUS. Louvre 32571.
In Vol. I, p. 42, this drawing was described as showing the rites of Priapus, and it was suggested that it
was after the Antique. In fact it is a copy after an engraving by Marcantonio (cf. Bartsch, XIV, p. 201,
no. 248) called A Bacchanal, but actually representing the Rites of Mutinus. Bartsch suggests that the
design is based on an ancient relief, but this is not certain.
PART OF THE ARA PACIS FRIEZE. Turin 16292.
Published as an original by A. Griseri ((Annotazioni ad alcuni disegni inediti di Nicolas Poussin’, Com-
mentart, II, 1951, p. 106), but certainly by an imitator.
The following drawings after the Antique are wrongly attributed to Poussin:
Amsterdam, Rijksmuseum: 5§:136.
Bayonne, Musée Bonnat: 1015.
Pewor Ti7¥. 1185s. 1198, 1180, 1194, 1195, 1190. 1197, 1202, 1205, 1217,.1230, 1237.
Chantilly: 187 (Malo 38), 207 (Malo 87), 208 (Malo 74), 209 (Malo 7), 210 (Malo 75, 76), 211 (Malo 6r),
213 (Malo 60), 214 (Malo 65), 215 (Malo 63), 216 (not in Malo), 217 (Malo 62), 218 (Malo 55),
220 (Malo 66), 221 (Malo 67), 223 (Malo 51), 228 (Malo 70), 229 (Malo 71), 231 (Malo 69), 232
(Malo 74), 233 (Malo 80), 234 (Malo 79), 236 (Malo 54), 237 recto and verso (Malo 49, 50), 239
(Malo 82), 242 (Malo 78).
Chicago, Art Institute: 22.297. Three ancient statues, female figure and architectural details.
Dessau, Ducal Collection: No number.
Frankfort, Staedel: Ancient vase.
Ithaca (New York), Andrew Dickson White Museum of Art: Ancient relief with votary dancing before a temple.
Leipzig, Stadtbibliothek: Ancient vase.
London, Formerly Oppenheimer Collection.
Montpellier, Musée Fabre, 837.1.1150; Three heads.
Munich, Graphische Sammlung: 12357, 12358, 12359, 12360, 12366, 12367.
Paris, Ecole des Beaux-Arts: 1434, 1439 (34930), 1440 (34797), 1442 (2871), 1443 (34627), 1444 (346).
Paris, Louvre: 32423, 32423bis, 32471, 32509, 32510, 325130, R.F. 5933.
Rome, Gabinetto Nazionale: F.C. 127440.
Venice, Accademia: 154.

54
 MISCELLANEOUS DRAWINGS

369. AN ARTIST’S STUDIO. Uffizi 6121 F. - 0.119 X 0.190 — Red chalk and pen and Plate 280
bistre.
The drawing, which is not altogether easy to decipher, shows four youths at work. On the left
one sits measuring with dividers on a drawing-board in front of a platform on which are a sphere,
a cone, and a cylinder which is apparently suspended from an arm projecting from the wall.
Beside him is an unshielded light. A set-square is leant against the block on which he sits. On the
right another youth sits at a table, drawing a statuette of a man walking with one arm raised. On
the table are books, a ruler, and a T-square. In the background another figure stands painting on a
large canvas supported on an easel. In front of him is a fourth youth, who bends down to look at
two lights through a circular shield, in which a round hole is pierced. Much play is made with
the shadows cast by the three solids from the various sources of light.
The composition seems to sum up the essential parts of a student’s training in the art of painting:
drawing from life, study of geometry, study of light, and painting itself. The drawing probably
dates from the 1640’s.

A 157. Hermitage 5078 — Pen and bistre. Plate 280

An early copy of the Uffizi drawing, in which some details are easier to read than in the original.

370. PEASANT WOMEN SEWING. Windsor 036 —- 0.182 x 0.247-— Pen and dark brown ink Plate 281
on dark blue paper — Coll.: Massimi (Catalogue, no. 68: “Le Fanciulle Rusticane’).
Lit.: Woodward, Fine Art Quarterly Review, 1, 1864, p. 180; Blunt, 1945, no. 179; Exh. Paris 1960, no. 130.

This drawing appears to be unique in Poussin’s work as being of a pure genre subject, though the
attist may have intended to convert it into a composition of the Virgin and her companions. Its
authenticity is, however, supported by its provenance from the Massimi collection (for the proof
of this, cf. Blunt, /c. c7¢.) and by the similarity of the thick reed pen-stroke to certain undoubtedly
genuine early drawings, notably the Diana Hunting (Vol. IU, p. 28, No. 200), which is also on
blue paper.
The drawing must date from the second half of the 1620’s.

371. A HUNT. Hermitage 5133 — 0.113 X 0.145 — Pen and bistre wash — Inscribed: Poussin. Plate 281

The right-hand horseman cortesponds very closely to a drawing in the Louvre, described in
Vol. I, p. 11, No. 120, as Metius Curtius. The discovery of the present drawing proves that this
identification was wrong, but no precise subject has been proposed. The drawing probably dates
from the 1650’s. The Louvre drawing, which is apparently also from Poussin’s own hand, shows
certain differences in the background. In particular the bridge is a flat, wooden structure, as oppo-
sed to the broad, arched bridge visible in the Hermitage drawing.

55
Plate 232 372. A WOMAN WITH A VEIL OVER HER HEAD. Chantilly 191¢ recto — 0.075 X 0.040 —-
Pen and bistre — Cf. Malo 41a.
Versace see, VOLT Wp. 30.5 NO. 221,
A fragment of a larger sheet. The woman appears to be carrying a bowl of burning incense. Not
connected with any known composition. Probably dates from the 1650’s.
Above the principal figure are fragments of two other figures, cut off by the edge of the paper:
on the left a man leaning on a shield, and on the right another figure, apparently resting his right
hand on the shoulder of the left-hand figure.

Plate 282 373. FIGURE STUDIES. Windsor 11919 verso— Approximate size covered by sketches on verso:
0.100 <X 0.088 — Black chalk, Pen and bistre.
Keer: wee Vol. I po13, Noe 3124:
Lit.: Blunt, 1945, no. 206.

On the left a figure, standing and holding a spear, cut off by the edge of the sheet. In the middle
a girl in the short skirt of a huntress. Perhaps studies for attendants on a hunting Diana. The
black chalk sketches are not decipherable.
Probably dates, like the drawing on the recto, from the late 1630’s.

Plate 282 374. ASEATED WOMAN. Windsor 11924-0.114 X 0.077— Pen and bistre.
Lie Dlant, 11945, no. 202:

Not connected with any known composition. Probably dates from the late 1630’s.

Plate 282 375. FIGURE OF A MAN. Windsor 11945 verso— Size of Study c. 0.140 X 0.055 — Black chalk.
kerio; see V ol. IU, p..13; No» 164.
Lit.: Actes, 1960, I, p. 169 and fig. 128.
Figures almost in the same pose are to be found in the Axgastus and Cleopatra in the National
Gallery of Canada (cf. Blunt, Cretzcal Catalogue, no. 146) and in the Death of Germanicus (cf. Grautoff,
no. 10; Blunt, op. c., no. 156). The drawing therefore probably dates from the mid-twenties,
which would be confirmed by the drawing on the recto, which belongs to the Marino series.

Plate 283 376. HEAD OF A WOMAN. Windsor 11897 verso — Size of sketch on verso c. 0.063 X 0.065 —
Pen and bistre.
Recto; See Vol. 1, p. 43, No. 86.
7: Blunt. 194 55°0.)215
Presumably about the same date as the drawing on the recto for Confirmation in the second series
of Sacraments, i.e. 1644-45.

Plate 283 377. HEAD OF A GIRL. Hermitage 7034- 0.100 < 0.075 — Pen and bistre wash —Numbered:
ro7—Coll.: Paul I.
A drawing for which no exact parallel exists, but of which certain features can be found in other
works by the artist. In its use of wash it is very close to the two drawings of camels in the Hermi-

56
tage (cf. below, Nos. 425, 426), and the thick reed pen-strokes recall many drawings of the late
1620's (e.g. Vol. II], p. 27, No. 196; p. 32, No. 209; Vol. V, p- 55, No. 370). The way in
which the light falls glancingly across the face finds a parallel in early paintings, such as the frag-
ment of the Golden Calf (cf. Blunt, Critical Catalogue, no. 27). The drawing appears to be an original
of the late twenties, and may be a detailed study for a group like the Fanciulle Rusticane (cf. above,
No. 370).

378. HEAD OF A WOMAN. Rome, Gabinetto Nazionale F.C. 125570 verso. Plate 283
Rerosmocee VOL. Ll. pat7,. Noir 73.
On the upper part of the sheet is the draft of a passage in Poussin’s hand, which, as far as it can be
deciphered, reads:
il suo ... divino e tanta piena la prezenta baciendo
Madre / il frigio(?) ampelo Jouine legiadro (de?) la sua (vi... ?)
. agi duna piena una cista tessuta in bella fogia opera
. tia la Nudrice di si bella pianta / che li mortali
... lascendo a i mortali speranza il rimedio al...
... cute ati i bel ati il rustico pastore
... Insolente chi (che?) d amaro olivastro (hebbe?) la scorza cipariso di cipresso
... libroa ... (dea?) el bel ati di puro
... di... qualque bello 0 odoroso fruti con lombra
€ uve opaca (nei?) folta fanno riparo ej tagi estiui
...orno albergano le nottole e pipistrelli
Che d amaro olivastro hebbe la scorza coy a ti € ciparisso.
A drawing of Hercules carrying off Deianira in the Uffizi (cf. Vol. II, p. 38, No. A 63) has on the
verso one line of writing, evidently in Poussin’s hand, which reads: /e nottole e ¢pipistre/li, which may
be the end of a fair copy of the passage on the verso of the Rome drawing. In Vol. I the Uffizi
drawing was classified as a copy, but that was probably wrong (the inscription on the verso had
been overlooked) and, though rather weak, it is probably an original. The common inscription
leads to the conclusion that the two drawings ate of about the same date, the second half of the
1030's:

379. SELF-PORTRAIT. British Museum 1901-4-17-2 — 0.375 X 0.250 - Red chalk — Inscribed Plate 284
on mount: 1594-1665. Ritratto Originale simigliantissimo di Mons Niccolo POSSINO
fatto nello specchio di propria mano circa anno 1630. nella convalescenza della sua grave
malattia, e lo dono al Cardinale de Massimi allora che andava da lui ad imparare il Disegno.
Notisi che va in stampa nella sua vita il Ritratto ch’ei dipinse per il Sig. Chatelou anno 1650.
quando non aveva che 56. Fu buon geomettra, e prospettivo, e studioso d’Istorie. A Niccolo
Possino e obligata l’Italia, e massimamente la Scuola Romana d’aversi fatto vedere praticato lo
stile di Raffaello, e nell’antico da lui compreso nel suo fondo sostanziale imbevuto ne i suoi
primi anni, poiché nacque nobile nel Contado di Soison de Piccardia in Andelo Panno 1594.
Ando a Parigi, dove dal Mattematico Regio gl’erano imprestate le stampe di Raffaello, e di
Giulio Romano, sulle quali indefessamente, e di tutto suo genio s’affaticd st quello stile
di disegnare ad imitazione, e di colorite a proprio talento. Fa trattenuto a Parigi per alcuni
quadri ordinatisi ’anno 1623. per la Canonizazione di S. Ignazio, e S. Francesco Xaverio.

a7
 Nell’Ospedale studio d’Anatomia in Roma venuto qua nel 1624. per il Naturale all’ Accademia
del Disegno — Coll.: Cardinal Massimi; Gaburti (see below); bt. from Colnaghi in 1901.
Lit.: Blunt, Burl. Mag., LXX XIX, 1947, p. 200; Blunt, ‘La premiére période romaine de Nicolas Poussin’,
sdcies 1900.1, Pig. 1;
The inscription must have been written after 1672, since it refers to the life of Poussin by Bellori
which was published in that year. On the other hand from the script it would not seem to be much
later, and certainly dates from the seventeenth century.
According to the inscription the drawing was made “circa l’anno 1630”, when Poussin was te-
covering from his illness. This illness, which is referred to by Passeri in his life of Poussin, seems
to have occurred just before Poussin’s marriage, which took place on 9th August, 1630. The
drawing seems, however, to show a man much older than thirty-six, which would have been
Poussin’s age in 1630, even if allowance is made for his appearance after an illness.
Moteover, the inscription states that the drawing was given to Cardinal Massimi when he went to
Poussin for lessons in drawing. The first recorded connection between the artist and Massimi is
over the illustrations for Francesco Barberino’s Documenti d’ Amore, which was published in
1640 (cf. Vol. II, p. 25, No. 153). The contact is unlikely to have been established much before
that date, since Massimi was only born in 1620. We may suppose, therefore, that the drawing was
given to him c. 1638-40, and this date would fit well with the apparent age of the artist. It may
well be, therefore, that the author of the inscription has confused two different illnesses of the
attist, and perhaps confused the dates 1640 and 1630, since we know from Poussin’s letters that
he was ill on various occasions in 1639 (cf. Correspondance, pp. 9, 24, 25, 28, 29 f.), and these ill-
nesses may have continued into 1640 and appear to have contributed to the delay in Poussin’s
departure for Paris.
There are no comparable drawings to confirm the attribution of this self-portrait to Poussin, but
he is clearly the person represented, and the inscription records a provenance which can hardly
leave room for doubt. If any were to remain, the superb quality of the drawing would quickly
remove it.
Dr. John Shearman has called my attention to the Nota de? Quadri ... esposti per la festa di S. Luca
daght Accademici del Disegno, Florence 1724, p. 19, xxii, which records “Un disegno del Ritratto
del Possino fatto da se medesimo dell’Ill. sig. Cav. Francesco Maria Gabburri’’. Cardinal Massimi’s
works of art were sold at his death in 1677 to pay his debts, and it is quite possible that this drawing
should have been acquired by Gaburri, who was actively collecting drawings at that date.

Plate 282 380. FIGURE STUDY. Windsor 0750 verso — approximate size of drawing 0.172 X 0.096- Red
chalk.
Recto: See below, p. 63, No. 383.
The drawing is almost impossible to decipher, but seems to represent a male figure with both
arms raised, perhaps supporting a heavy load.

HEADS OF EAGLES
Plate 283 381. Rome, Gabinetto Nazionale F.C. 126978 — 0.121 0.082 — Black chalk.

58
382. Rome, Gabinetto Nazionale F.C. 126979 — 0.121 X 0.082 — Black chalk. Plate 283

The only basis for connecting these drawings with Poussin is their traditional attribution to him.
It is, however, known that he made paintings of birds for Pozzo (cf. Haskell and Rinehart, Bur/.
Mag., CII, 1960, pp. 318 ff.), and it is hard to see how any collector could have thought of attribut-
ing these drawings to Poussin, unless he was working on an old tradition. The drawings are,
however, published here with the full awareness that the attribution is open to doubt, but with
the hope that possibly other similar drawings may be discovered, which will help to clarify the
problem. The drawings, which come from the Corsini collection, are on loan from the Accademia
Nazionale dei Lincei.

SHEE TS“OB STUDIES.

A 158. Paris, Ecole des Beaux-Arts 1451(12103) recto — 0.252 X 0.203 — Pen and bistre — Coll.: Plate 285
Gatteaux.
Verso: See next number.
The sheet contains the following studies:
1. A kneeling woman. Copy of drawing at Chantilly for the Pyrrhus (cf. below, p. 92, No. 417).
2. A woman running.
3. A woman standing.
4. Two studies of a seated woman holding a child, with a water-pot beside her.
No. 1 is an accurate copy of a known original drawing, and it is therefore likely that the others
ate after lost originals. No. 3 is probably after a lost study for the figure of Rebecca in the Louvre
painting, and No. 4 might be connected with a similar subject.

A 159. Paris, Ecole des Beaux-Arts 1451 (12103) verso. Plate 285
Recto: See preceding number.
The verso contains four drawings, the first three in pen and bistre, the fourth in black chalk:
1. A river-god. Part of a circular composition. Above the figure are the forelegs of a donkey.
2. Head of a donkey.
3. A woman standing with a water-pot beside her.
4. A woman(?) seizing the shoulders of a seated girl and apparently about to strike her.
Nos. 1 and 2 may be part of the same composition. The fact that No. 1 is enclosed in part of a
circle suggests a connection with the round panels for the Long Gallery, but there does not seem
to be any story which links Hercules with a donkey and a river-god. No. 3 is probably connected
with a composition of Rebecca and Eliezer or Moses and the daughters of Jethro.

A 160. Louvre R.F. 1164 recto — 0.295 X 0.208 — Pen and bistre — Coll.: Gatteaux. Plate 285
Verso: See the following number.
The recto contains five studies of heads, three of arms, and one of a head, shoulders and arm of a
man. Two of the heads and two of the arms are related to the man running away in the Landscape
with a Snake in the National Gallery. On the other hand they do not correspond exactly and are
probably copies of lost drawings.

59
Plate 285 A 161. Louvre R.F. 1164 verso:
Recto: See ptevious number.
The sheet contains at the top three studies of dress, which have been identified by Miss Margaret
Louttit as follows: the figures on the left and in the middle are in Livonian costume, and the one
on the tight in the dress of a Moor of Granada. All three figures correspond fairly closely to
details of engravings in A. de Bruyn, Omnium pene Europae, Asiae, Aphricae atque Americae gentinm
habitus, Antwerp 1581, nos. 14 and 58. Similar dresses appear in Hans Weigel, Habitus praecipuorum
populorum, Nuremberg 1577, and in Cesare Vecellio, Degli abiti antichi et modern, Venice 1589. The
drawings do not correspond precisely to any of these models, but come closer to de Bruyn’s
engravings than to the others.
Below the costume studies are three figures: the man on the right is copied from the painting of
the Healing of the Blind in the Louvre; the two girls on the left are probably connected with the
group of nymphs frightened by satyrs which occurs in the Polyphemus and drawings for Apollo
and Daphne.

Plate 286 A 162. PORTRAIT OF POUSSIN. René Varin, Versailles — 0.417 X 0.280 -— Red chalk — In-
sctibed: NICOLAUS . POUSSIN . PICTOR . NATUS . IN . GALLIA . BELGICA . ANNO . DOMINI .
MDLXXXXIIII . OBIIT . ROME . ANNO . MDCLXV.
A variant of the Berlin Se/f-Portrait (cf. Blunt, Critical Catalogue, no. 1), made between 1716 and
1724 by Filippo Germisoni to illustrate Nicola Pio’s manuscript Vite di Pittori (cf. A. M. Clarke,
Master Drawings, V, 1967, p. 20, no. 193). The drawing differs from the painting in that the figure
is placed against a curtain, with a view to the left on a garden with a sphinx and an obelisk.

Plate 286 A 162a. NUDE. Chantilly 185b verso — Pencil — Inscribed in a nineteenth-century hand: N4ucolas
Poussin and figure dessinée a la plume au verso de ce dessin.
Reclovesce above, Vol. I, pxi35-No: 125:

The copy was presumably made when the drawing was laid down. It is impossible to judge on
stylistic grounds whether the original was by Poussin, but the fact that it was on the verso of such
an important original as the Continence of Scipio is a strong argument in its favour.

Plate 286 B 48. UNIDENTIFIED SUBJECT. Darmstadt AE 2551 —- 0.097 X 0.129 — Red chalk with
sepia wash — Coll.: Lagoy; Dalberg.
Lit.: Stift und Feder, Oct. 1930, Heft 3, p. 19, pl. 246 (no. 54).

The scene shows a woman greeting a man who climbs out of a boat, in which he has just crossed
the river. Probably by a French imitator of Poussin’s wash style.

Plate 286 B 49. PORTRAIT OF POUSSIN. Private Collection, New York — 0.330 x 0.268 — Red, black,
and white chalk — Inscribed: No. 46. pussin Seipsum pinxit aetat 46 —- Engraved by N. Dupuis
(1698-1771) with the inscription: Seépsum Pinx aetatis suae an. go. The engraving was pub-
lished by Michel Odieuvre (1687-1756).
Lit.: Blunt, Burl. Mag., LX X XIX, 1947, p. 220.

The engraving presumably dates from about 1730-50, and the inscription on the drawing does

60
not appear to be much earlier. They do not, therefore, provide good evidence of the authenticity
of the drawing. It is certainly too feeble to be an original, and the lack of character of the head
makes it doubtful whether it is even a copy of a lost drawing by Poussin. On the whole it is more
likely to be a copy of a portrait of Poussin by a contemporary, who has idealised the head more
than Poussin allowed himself to do in any of the known self-portraits. If the British Museum
Self-Portrait is really to be dated 1639-40, the original of the present drawing is likely to be earlier,
as the sitter looks considerably younger. In that case the age of forty, given on the engraving,
is more likely to be correct than that of forty-six inscribed on the drawing.

B 50. A STORM. Kenneth Guichard, London- 0.178 x 0.254- Pen and bistre wash— Inscribed: Plate 286
LN. poussin.
This strikingly dramatic drawing is in many respects close to Poussin in style, but the drawing of
the child is quite unlike his manner. Perhaps by an Italian artist influenced by Poussin and P. F.
Mola.

The following drawings are attributed to Poussin, probably wrongly.

A BEARDED MAN, NAKED TO THE WAIST. Amsterdam, Rijksmuseum 7452 recto — 0.152 X 0.103 —
Red chalk — Inscribed: Poussino.
Verso: See next item.

STUDY OF A MAN’S LEGS. Amsterdam, Rijksmuseum 7452 verso — Black chalk — Inscribed: 8 and
Poussin?
Recto: See previous item.
Probably two studies of the same figure, the legs seen from behind. The drawings cannot be connected
with any known composition by Poussin, and no similar studies are known from his hand. Perhaps by a
Roman artist near Sacchi.
TWO CHILDREN PLAYING WITH A RABBIT. Bayonne, Musée Bonnat 1690 (65).
CHILDREN CUTTING WOOD. Besancon 1208. Probably French, seventeenth century.
SHEET OF FIGURE STUDIES. Besancon 1161 verso.
Recto: See p. 98.
With inscription in French, and probably by a French seventeenth-century imitator.
FOUR FIGURE STUDIES: Brunswick, Maine, Bowdoin College.
On the recto and verso of two sheets. Probably by a French seventeenth-century imitator.
UNIDENTIFIED SUBJECT. Budapest 2902.
Nearer to the manner of P. F. Mola.

TWO REARING HORSES. Chantilly 226 (Malo 57).

By the same hand as several drawings after the Antique, mainly at Chantilly (Nos. 209, 210, 218; Malo 7,
75, 55)» which may all be by Filippo Napoletano (cf. R. Longhi in Paragone, Nov. 1957, no. 95, fig. 34).
FIGURE OF A WOMAN SEEN FROM BEHIND. Darmstadt Hz 5426.
Probably by an Italian artist of the first half of the sixteenth-century.
TWO SEATED FIGURES. Diisseldorf 4447.
A weak example of the wash style which is connected with Blanchard.

61
FIGURE STUDY. Milan, Ambrosiana, Codice Resta No. 243, Fol. 219.
Said to be a study by Poussin after Bernini, but quite unlike his style.
A SEATED WOMAN AND A HEAD. Munich, Graphische Sammlung 3153.
PROPORTION DRAWINGS. Paris, Ecole des Beaux-Arts.
G. Kauffmann has discussed in detail a volume of drawings showing the proportions of Antinous (cf.
Poussin-Studien, Berlin 1960, pp. 19 ff.). The drawings are mainly by Errard, but Kauffmann tentatively
ascribes to Poussin certain sheets which have been inserted in the volume. The attribution is, however, not
entirely convincing.
FIGURE OF A WOMAN. Paris, Ecole des Beaux-Arts 1450 (34819).
WOMAN MAKING AN OFFERING. Paris, Ecole des Beaux-Arts 1454 (12188).
SHEETS OF STUDIES. Paris, Ecole des Beaux-Arts 1455 (24290).
SHEET OF FIGURE STUDIES. Paris, Louvre 32430.
Probably Italian.
STUDIES OF HEADS. Rome, Gabinetto Nazionale F.C. 126973-126977, 127041-127043, 127050, 127051.
Probably Roman, seventeenth century.
GROUP OF WOMEN AND CHILDREN. Rotterdam, Museum Boymans-van Beuningen FI 74.
STUDY OF A SEATED MAN. Stockholm, Nationalmuseum, Wengstrom V verso.
izetos See Vol, IIL, ps 40,,B 25.
Presumably by the same hand as the drawing on the rec/o, i. e. probably Pier Francesco Mola.
RECUMBENT NUDE. Venice, Accademia 424.
Perhaps Bolognese.
NUDE. Venice, Accademia 1686.
Probably seventeenth-century Italian.
FIGURE STUDY. Venice, Accademia 783.
Probably seventeenth—century Italian.
SHEET OF STUDIES. Venice. Accademia 423.
STUDIES OF HEADS, Windsor 11931.
Lit.: Blunt, 1945, no. 284.
Several of the heads seem to be free copies after those in paintings by Poussin. Possibly by an amateur.
HEADS OF CHILDREN. Windsor 11928.
Lis DBiaat, 1945.00. 277.
According to the Massimi catalogue, these are portraits by Poussin of the children of Carlo Antonio dal
Pozzo, a quite unconvincing suggestion. Is it possible that this entry is based on a misunderstanding, and
is the drawing in fact by one of Carlo Antonio’s children? Like the last, it could well be by an amateur.
STUDIES OF TWO HEADS AND A FOOT. Windsor 11929.
Lit.: Blunt, 1945, no, 276.
By a Roman artist near Sacchi.
SHEET OF FIGURE STUDIES
Known from an engraving by B. Picart after a drawing in his possession. The style suggests that the original
may have been by Lafage.

62
 ADDENDA

OLD TESTAMENT
GOD THE FATHER
seenVol).L-piuse.No. 1,
The Chantilly drawing is in pen and bistre wash over black chalk.
383. Windsor 0750 recto— 0.184 X 0.110, oval—Pen and bistre-Coll.: Massimi (no. 2: “Il Plate 287
Padre Eterno sostenuto dalli Angeli”).
Verso: See above, p. 58, No. 380.
Lit.: Woodward, Fine Arts Quarterly Review, 1, 1863, p. 268; Blunt, 1945, no. 184.

When Vol. I was published, this drawing was not traceable at Windsor.
A similar group occurs in the Aznunciation at Chantilly (cf. Grautoff 102; Blunt, Critical Catalogue,
no. 38), but the pointing finger of God the Father indicates that it is more likely to be for a subject
connected with the Creation. Probably c. 1630. Wrongly attributed to Mellin by D. Wild (1967,
P- 30).
—-— Ecole des Beaux-Arts, Masson 1121 verso —0.140 X 0.203.
Recto: See A 166, p. 67.
Copy of a similar group.
—— Besancon 1160.
Not by Poussin.
—-— Wellington, New Zealand, National Gallery — 0.134 x 0.153 — Pen and grey wash — Inscribed: Pousin.
Lit.: Art in Italy, 1300-1800. Paintings, Drawings and Engravings from New Zealand Collections, Auckland 1962,
no. 85, pl. 19.
Not by Poussin.

SACRIFICE OF NOAH
peer Voli Top.3:
The painting engraved by Frey was rediscovered in the collection of Lord Egerton at Tatton,
Cheshire, and has now passed to the National Trust (cf. Blunt, Critical Catalogue, R 7). It is,
however, certainly not by Poussin.
The painting in the Town Hall at Les Andelys (cf. Blunt, Critical Catalogue, R 9) was destroyed
during the war. That in the collection of Lord Kinnaird was sold at Christie’s, 21.vi.1946, lot 62.
It is not by Poussin.
Uffizi 6125 F — Red chalk — Connected with the Tatton composition, but probably by an eighteenth-century
French draughtsman.
The two Louvre drawings (B 1, B 2) have recently been convincingly attributed by Richard Cocke to Pier
Francesco Mola (cf. Cocke, ‘A Note on Mola and Poussin’, Bur/. Mag., CXI, 1969, pp. 712 ff.).

ABRAHAM DRIVING OUT HAGAR

pee Vole lp. 3.

The Windsor drawing was classified in Vol. I as not by Poussin, though with reservations. The

63
likenesses to his early style are, however, very close, and the drawing is almost certainly an original,
though of not very high quality, and dates from c. 1630.
Tentatively, but wrongly, attributed to Mellin by D. Wild (1967, p. 35).
B 3 is by Pier Francesco Mola (cf. Cocke, ‘Mola’, Joc. cit., p. 712).

383a. Chantilly 160—0.170 X 0.250— Black chalk and bistre wash- Coll.: Grivis; Reiset — Cf.
Malo 24.
In Vol. I this drawing was dismissed as not by Poussin, but it seems to be a fine example of the
attist’s work in a technique which he rarely used, wash over black chalk without the use of pen.
The closest parallel is drawing No. 303 (above, p. 29) after one of the reliefs on Trajan’s Column.
The conception of the composition as a sort of triptych in bas-relief against a pattern of light and
shade formed by the wall and the door is highly original and, in spite of certain weaknesses in
drawing (e.g. in Abraham’s right arm), it is hard to think that anyone other than Poussin could
have invented it. Drawings in this technique are difficult to date, but the extreme classicism of
the design suggests the forties, and the broad washes of the cast shadows in the foreground recall
drawings such as the landscape at Villeneuve-lés-Avignon (cf. Vol. IV, p. 44, No. 272).
REBECCA AND ELIEZER AT THE WELL
Sec. Vol. ly p.-4.
The drawings on the lower part of the recto of A 1 are catalogued in this volume, pp. 113 f.,
Nos. A 181, A 182. For those on the verso (wrongly said in Vol. I not to be connected with Poussin)
seen ola lly p: 15.INo. 33, and:-below, p. 65, No. A 163.
The two drawings from the Richardson collection have reappeared since the publication of the first volume.
One, of the whole composition, was sold in the Randall Davies sale, Sotheby, 10.ii.1947, lot 149; the other,
of a single figure, is in the museum at Alengon. The latter comes from the R. Houlditch and His de la Salle
collections, and also bears a hitherto unidentified collector’s mark. It has colour notes in French, in a hand
that is certainly not Poussin’s. Both drawings are copies after the Louvre painting (cf. Blunt,Critical Catalogue,
no. 8). On the verso of the Alengon drawing are sketches which seem to be originals by the artist who made
the copy on the recto. One of them represents the sacrifice of a bull, another shows two putti playing, and the
third consists of two studies of a man, apparently about to throw something. They seem to be by the same
hand as two drawings at the Staedel Institut, Frankfort, which represent the Death of Socrates and are
connected with a painting in the Uffizi attributed to Dufresnoy but probably by Antoine Bouzonnet Stella
(see p. 92).
THE FINDING OF MOSES
See Vol. 1, pp. 4 ff.
The painting for Raynon has been rediscovered and now belongs to Mrs. Derek Schreiber (cf.
Blunt, Critical Catalogue, no. 14). It is probably in fact the version which belonged to Loménie
de Brienne, referred to on p. 6.
Drawing No. 6 is probably a preliminary study for the Raynon painting, in spite of the differences
to which attention is called in Vol. I, p. 6. On the other hand No. 8 is unlikely to be for this
subject, since it shows a woman with her hands joined in prayer. It might date from an even later
period, perhaps even c. 1660.
Albertina — Copy in reverse of the Louvre painting of 1638 (cf. Blunt, Critical Catalogue, no. 12).
Besangon 1530. Follower of Elsheimer.
Manchester University. Variant of Loyd drawing (B 5), apparently by the same hand.
B 4 is by Pier Francesco Mola (cf. Cocke, ‘Mola’, /oc. cit., p. 712).

64
A 163. Louvre R.F. 1163 verso. Plate 291
Recto: See Vol. I, p. 4, No. A 1, and for other drawings on the verso see Vol. Il, p. 15,
No. A 33, and Vol. V, pp. 113f., Nos. A 181, A 182.
The bottom drawing must be a copy after a lost drawing for the Finding of Moses. It is difficult
to be certain whether the original would have been for the Louvre version of 1647, or for the
Raynon picture, but the composition seems to be closer to the latter.
A drawing of the Finding of Moses, not now traceable, was in the Mariette sale (lot 1323). A sketch
of it by Gabriel de Saint-Aubin is to be found in his copy of the catalogue in the Fogg Museum.
It has a large pyramid in the right foreground.

THE CHILD MOSES TRAMPLING ON PHARAOH’S CROWN

Bee sy O11 ppg ti:
—-— Diisseldorf 4423 verso.
Recto: See below, p. 72.
Lit.: G. Kauffmann, Wallraf- Richartz Jahrbuch, XVM, 1955, p. 231.
Variant of the painting belonging to the Duke of Bedford (cf. Blunt, Critical Catalogue, no. 16). Since the
colour notes are in French, the artist was presumably a Frenchman.

STUDIES FOR MOSES TRAMPLING ON PHARAOH’S CROWN AND AARON’S ROD

CHANGED INTO A SERPENT
384. Rome, Gabinetto Nazionale F.C. 129744 recto—0.140 X 0.100- Pen and bistre. Plate 287
Verso: See below, p. 90, No. 415.
The left-hand figure is a study for the figure on the extreme left of the Louvre version of Moses
Trampling on Pharaoh's Crown (cf. Blunt, Critical Catalogue, no. 15; and see Vol. I, p. 7), and the
other is for the Egyptian priest who occupies the centre of Aaron’s Rod Changed into a Serpent,
also in the Louvre (cf. Blunt, Critical Catalogue, no. 19; and see Vol. I, p. 10).
The fact that these two studies are on a single sheet confirms the traditional view (tentatively
contradicted in Vol. I, pp. 7, 10) that the two Louvre pictures were in fact painted as a pair.
The presence of studies for Extreme Unction on the verso confirms the dating between 1642 and
1646 based on Lebrun’s statement that he saw Poussin at work on the Moses Trampling Pharaoh's
Crown and suggests a more precise date of c. 1644, the year in which Extreme Unction was executed.
~— Sir Anthony Blunt, London - Coll.: Gigoux.
A copy of a drawing formerly in the Denon collection (A 2).

MOSES DRIVING THE SHEPHERDS FROM THE WELL

sce VoL. p. 8.
385. Providence, R. I., Museum of Art, Rhode Island School of Design — 0.165 x 0.165 — Pen Plate 287

and bistre wash — Coll.: Hudson; Lawrence; Chenneviéres; unidentified mark, Lugt, Supple-
ment 1160; Calman; Mrs. Murray S. Danforth.
Lit.: C. Goldstein, ‘A Drawing by Poussin for his Moses Defending the Daughters of Jethro’, Bulletin of the
Rhode Island School of Design, LV, 1969, pp. 3 ff.

65
 Almost identical with the right-hand group of A 3, but without the man behind the main group
running away.
Tt seems necessary to tevise the comments on A 3, p. 8 in Vol. I, and to consider it as an original.
The verso, with a fine original and text in Poussin’s handwriting, supplies evidence which is hard
to reject, and the drawing itself is of high quality.
The Providence drawing is discussed in detail by Goldstein, who examines carefully the evolution
of the composition and the chronology of the drawings. He concludes that the order was as
follows: Nos. 10, 11, 12, 13, 15, the Trouvain engraving. He rejects A 3, but this does not seem
to be necessaty, as it could be regarded as an attempt to combine elements from Nos. to and 11
on the one hand and the Providence drawing on the other, before Poussin had invented the new
form for the group on the left, shown in No. 12. Goldstein further convincingly suggests that
all the drawings date from the second half of the forties and that they are not two stages, one dating
from the late thirties (Nos. 10, 11, 12) and one from the late forties (No. 13, 15).

— — Louvre R.F. 624. Traditionally attributed to Mola, but published as a Poussin by Rouchés in Néco/as
Poussin. Quatorze dessins, Paris 1939, pl. 1, no doubt wrongly.

THE CROSSING OF THE RED SEA

SeeeV Ol puto.
The Longford Castle painting is now in the National Gallery of Victoria, Melbourne, Australia
(cf. Blunt, Critical Catalogue, no. 20).

Plate 288 386. Sir Anthony Blunt, London - 0.152 X 0.225 — probably cut at the top and on the left - Red
chalk— Coll.: J. Isaacs; sold Sotheby, 27.11.1964, lot 69, as Italian School.

The fact that the drawing is entirely executed in red chalk makes it a rarity in the work of Poussin,
but examples are known, e.g. the David at Chantilly (cf. Vol. I, p. 14, No. 29), the Ascension at
Windsor (cf. below, p. 80; No. 403), and the Se/f-Portrait in the British Museum (cf. above,
p- 57, No. 379). :
It is not easy to establish the exact position of this drawing in the series which survive for the
composition. In its general character it is far removed from the painting, but in certain details,
such as the group on the extreme right, with Moses and figures emerging from the sea carrying
bundles, it is actually closer to it than any of the pen and wash drawings.
—— Besangon 1531 — 0.193 X 0.367 — Pen and bistre wash — Coll.: Gigoux.
Possibly a copy after a lost drawing.

THE WORSHIP OF THE GOLDEN CALF

See. Vol. IY p. 712.

The drawing on the verso of No. 22 represents the Victory over the Midianites, not the Rape of the
Sabines (see below, p. 68, No. 387). The painting published by Johnstone is now in the M. H. de
Young Museum, San Francisco (cf. Blunt, Critical Catalogue, no. 25). Its date is probably to be
read as 1626, not 1629. The authenticity is, however, open to question. The painting now in the

66
National Gallery, London (cf. Grautoff 89; Blunt, Critical Catalogue, no. 26), was executed for
Amadeo dal Pozzo as a pait to the Crossing of the Red Sea, now in the National Gallery, Melbourne
(cf. Blunt, Critical Catalogue, no. 20). Both were probably executed about the middle of the 1630’s.
No original drawings survive, but several old copies are known.

A 164. Private Collection, New York — Pen and bistre. Plate 291

Lit.: Blunt, Poussin: The Golden Calf, 1951, p. 5.

A 165. Rotterdam, Museum Boymans-van Beuningen F I 109 recto — 0.152 X 0.365 — Pen and Plate 291
bistre — Coll.: Chenneviéres; Teodor de Wyzewa; Koenigs.
Verso: See below, p. 72:

A 166. Ecole des Beaux-Arts, Masson 1121 —0.140 X 0.203 — Pen and bistre. Plate 291
Verso: See above, p. 63.
—— Hermitage 5073 —0.125 x 0.205 — Black chalk on yellow paper.
—— Besangon 1164 — 0.125 0.201 — Pen and bistre wash — Coll.: Reynolds; Gigoux.

The first two drawings reflect an early stage of the composition, different in many ways from the
painting. In A 164 the Calf stands on a high pedestal supported on four square piers. In front of it
is the dancing group; to the right is a table with men feasting and trumpeters behind them. A 165
shows the lower part of the same composition with the dance and the feast. The two drawings
must both derive from a single lost original.
A 166 and the Hermitage drawing are identical in all relevant details and must be copies of a
single original. They show the dancing group only, with the figures undraped, with slight varia-
tions from the previous pair of drawings, and with greater differences in relation to the painting.
The Besancon drawing appeats to be a variant by a later imitator, based on a painting or possibly
on a lost drawing.
A drawing in the Staedel Institut, Frankfort (4009), attributed to Cambiaso, shows a somewhat
similar group, but its relation to Poussin’s version is not clear.

MOSES STRIKING WATER FROM THE ROCK

Decay Ol ppt 2 ff.

The painting at Nuneham referred to on pp. 12 f. is now in the Baltimore Museum. It is certainly
an early original, but it represents Moses Sweetening the Waters of Marah and not Moses Striking
the Rock, as is stated by Grautoff (cf. Blunt, Critical Catalogue, no. 28).
The drawing in the Koenigs collection, referred to on p. 14, is now in the Museum Boymans-
van Beuningen, Rotterdam. It represents figures from the Adoration of the Shepherds, not from
Moses Striking the Rock (cf. below, p. 72).
—— Ecole des Beaux-Arts, Masson 1119 — Coll.: Chenneviéres; Masson.
Lit.: T. Bertin-Mourot, Société Poussin, Premier Cahier, 1947, pp- 57, 63.
Mlle. Bertin-Mourot published this drawing in connection with a painting of the same subject presented to
the Louvre by Mme. Pearson (repr. op. cit., p. 58; cf. Blunt, Critical Catalogue, R 13), which is in fact by
Lebrun. The drawing is not directly related either to this painting or to any of the versions by Poussin.
It seems to be by the same hand as some of the Crozat group in Stockholm and elsewhere.

67
 THE VICTORY OF THE ISRAELITES OVER THE MIDIANITES
Plate 289 387. Windsor 11884 recto — 0.164 X 0.281 — Pen and bistre wash over black chalk. Badly stained.
Verso: see Vol. I, p212, INO..22.
Lit.: Woodward, Fine Arts Quarterly Review, WU, 1864-65, p. 110; Friedlaender, Burl. Mag., LIV, 1929,
p. 256; Blunt, 1945, no. 180.

Woodward identifies this drawing as the battle between the Romans and Sabines, but certain
details, such as the camel on the extreme right, make this identification untenable.
The drawing fits exactly the description given in Numbers (XXXI, 1-12) of the victory of the
Israelites over the Midianites. This account specifically mentions the trumpets (v. 6; cf. also X, 9),
and adds that the victors took captive all the women and children of the enemy, who appear in
the left foreground of the drawing. Moreover, this story would explain the presence in the chariot
in the left background of a figure who is clearly not in military dress, but in long robes. This would
be Phinehas, the son of Eleazar the priest, who accompanied the Israelites into battle on this
occasion.
In style the drawing is closely related to others dating from the second half of the 1620’s, particular-
ly the sketch for the 7riumph of David (cf. Vol. 1, p. 14, No. 30). This would confirm the dating
suggested by the sketch for the Adoration of the Golden Calf of 1626 on the verso. Four of the figures
in the right foreground occur also in the left half of the Victory of Godfrey de Bouillon (cf. Vol. I,
p22359.NO; 147).
Though different in format, the drawing is connected in theme with the two paintings in the
Hermitage and Moscow, representing the victories of the Israelites over the Amalekites and the
Amorites (cf. Blunt, Critical Catalogue, nos. 29, 30), painted in Poussin’s first years in Rome. In
this case, too, the subject was not always recognized, and Bellori (Vol. II, p. 149) only refers to
them as “due battaglie copiose di figure”’.

THE VICTORY OF JOSHUA OVER THE AMORITES

Plate 288 388. Cambridge, Fitzwilliam Museum 2606 — 0.246 x 0.391 — Pen and bistre with grey wash—
Torn and mended — Inscribed: G. Romano - Coll.: Brangwyn.
Verso: The drawing has been laid down on a sheet of paper which contains measurements of
a statue in Poussin’s hand. According to Dr. Georg Kauffmann they are almost certainly
those of the Apollo Belvedere.
Lit.: A. Sutherland Harris, Burl. Mag., CX, 1968, p. 90, note 16.

The drawing is a finished study for the painting in Moscow (cf. Blunt, Critical Catalogue, no. 30).
It lacks the vitality usual in Poussin’s early studies, but this is perhaps to be accounted for by
the fact that it may be a sort of odello prepared for a patron. The differences between the drawing
and the painting are substantial, but all the essential features of the composition ate already fixed.
The fact that at one time (? in the nineteenth century) it was ascribed to Giulio Romano confirms
what the early biographers tell us of Poussin’s debt to this artist. The figure on the left, with left
arm outstretched, is taken from a celebrated composition of Polidoro da Caravaggio of Perseus
and Phineus.

68
THE VICTORY OF JOSHUA
389. Berlin (West), Kupferstichkabinett KdZ 20887 - 0.246 X 0.410 — Pen and brown wash over Plate 289
black chalk — Coll.: ?Claudine Bouzonnet Stella.
Lit.: A. Sutherland Harris, “A new drawing by Nicolas Poussin in Berlin’, Burl. Mag., CX, 1968, p. 89.

This drawing, traditionally ascribed to Pietro da Cortona, was identified by Ann Sutherland
Harris as a work of Poussin (cf. Joc. cit.).
The identification of the subject presents some difficulties. Mrs. Harris is inclined to believe that
the drawing shows the victory over the Amalekites (Exodus, XVII), also depicted in Poussin’s
painting in Leningrad (cf. Grautoff 4; Blunt, Critical Catalogue, no. 29), but it does not include
the essential group, shown in the top of the painting, of Moses with his arms outstretched, support-
ed by two youths, whereas, as Mrs. Harris points out, it does show on the extreme right a figure
on horseback with arms outstretched, exactly comparable to that of Joshua in Raphael’s Loggie
fresco of the Victory over the Amorites (Joshua, X), shown at the moment when he commands the
sun and moon to stand still. The drawing is not directly connected with Poussin’s painting of
the same subject in Moscow (cf. Grautoff 5; Blunt, Critical Catalogue, no. 30). The drawing may
in fact be that mentioned in the inventory of the possessions of Claudine Bouzonnet Stella: “Une
bataille de Josué qui arrette le soleil’ (cf. NAAF, 1871, p. 49).
Mts. Harris suggests a date in the late 1620’s, probably somewhat after the Leningrad and Moscow
paintings of 1625-26, but the looseness of the drawing suggests a slightly later period, c. 1630.

BLL AND THE CHILD: SAMUEL

see Vol. I, p._r7.
The Windsor drawing (B 6) is probably an early original, in spite of the doubts hitherto expressed.
On the other hand it cannot possibly represent Eli and Samuel, but must, as tentatively suggested
in Vol. I, show a Christian bishop accompanied by an acolyte.

THE eerAGUESAT ASHDOD

Seon Olle plz.
389a. Louvre R.F. 751-0.190 X 0.252-—Pen and bistre wash with some red chalk
— Coll.: Plate 290
Ottley; Lawrence; His de la Salle.
In Vol. I this drawing was rejected as not being directly connected with Poussin, and a tentative
attribution to Bourdon was proposed. Mote careful study of Poussin’s early drawings suggests
that it is likely to be an early original, probably a first project for the painting in the Louvre (cf.
Grautoff 19; Blunt, Critical Catalogue, no. 32), with which it has many elements in common: the
atk and the statue of Dagon under a portico on the left, the group with the man taking the baby
from the dead mother, the panic-stricken figures before the ark, the burial group in the distance.
In the painting Poussin has changed the background by using the design for the tragic stage as
shown by Serlio.
—— Municipal Gallery, Glasgow.
—— Earl of Leicester, Holkham.
—— Besangon 1219.
Copies after the Louvre painting.

69
 THE TRIUMPH OF DAVID
pee’ Vol p14.
The Chantilly drawing (No. 29), which is from the Reiset collection and is in red chalk over some
black chalk, is wrongly attributed to Mellin by Thuillier (Actes, 1960, I, p. 85). A copy of this
drawing by Paul Delaroche (signed: P. de/ R.) is in the writer’s possession.
The Windsor drawing (no. 30) comes from the Massimi collection and is there described under
No. 50 as “Le donne Israelite’.
—— Museum, Chalons-sur-Marne. Probably French, eighteenth century.

THE JUDGEMENT OF SOLOMON

See" Vole Depa ts.
Plate 290 B51. Turin, Biblioteca Reale 16282 —0.264 X 0.357— Pen and bistre wash - Numbered: 76.
The drawing is feeble in execution, but the composition and certain tricks, such as the manner of
drawing the heads of the two mothers, are typical of Poussin’s early drawings. The design, with the
portico filled with figures and the two repoussoir figures in the right foreground, is reminiscent of
the Augustus and Cleopatra in the National Gallery of Canada (cf. Blunt, Critical Catalogue, No. 146).
The Turin drawing is probably after a lost sketch made in the first few years after the artist’s
atrival in Rome in 1624, but the possibility cannot be altogether excluded that it may be a weak
original. In general character it recalls the drawing of the Plague at Ashdod (cf. above, No. 3892).
It has no connection with the painting of 1649 in the Louvre.

The following drawings, wrongly attributed to Poussin, should be mentioned:

JOSEPH AND HIS BRETHREN. Amsterdam, Rijksmuseum 46:09 recto — Coll.: Deloye.
Verso: See below, p. 77.
THE BUILDING OF THE TOWER OF BABEL. Besangon 1199.
THE DRUNKENNESS OF NOAH. Besangon 1207. Probably Roman, near Gaulli.
LABAN SEARCHING FOR HIS IDOLS. Besangon 1212. Perhaps Bourdon.
THE MANNA. Besangon 1200. French, late seventeenth century.
SAMSON AND DELILAH. Besancon 2684. Probably seventeenth-century Italian.
ABIGAIL BRINGING FOOD TO DAVID. Besangon 1232. Apparently a preparatory sketch for a
finished drawing which appeared in the Hollstein and Puppel sale, Berlin, 7 ff-xi.1927, lot 1178,
which is by a late seventeenth-century French artist, perhaps Verdier.
THE EXPOSITION OF MOSES. Frankfort, Staedel 1062. Variant of the Ashmolean composition.
Attributed to J. F. Millet, but probably by Nicolas Colombel (cf. Blunt, ‘Nicolas Colombel’,
Revue de ?Art, 1X, 1970, p. 34).
JACOB AND LABAN PARTING. Vienna, Albertina 11354. Probably Roman, mid-seventeenth century.
TOBIAS BURYING THE DEAD. Vienna, Albertina 11394. French, eighteenth century.
SOLOMON AND THE QUEEN OF SHEBA. Paris, Ecole des Beaux-Arts 1449 (37163).
After Marcantonio.

70
A GROUP OF WORSHIPPING FIGURES. Cambridge, Fitzwilliam Museum PD 95-1961 — 0.221 X
0.210 — Red chalk, brown wash, heightened with body-colour, on brown washed paper — Squared
in red chalk — Coll.: Sandby; Poynter; sold Sotheby, 25.iv.1918, lot 230; bt. Agnew; Charles
Clarke; Louis Clarke.
The drawing closely resembles groups in Poussin’s paintings of Old Testament scenes, such as the Crossing
of the Bed Sea (Blunt, Critical Catalogue, no. 20), the Worship of the Golden Calf (ibid., no. 26), or the Gathering
of the Manna (ibid., no. 21), but it cannot be exactly connected with any of them.
The technique, with the use of heavy body-colour on tinted paper, is unusual in the circle of Poussin, but it
is to be found in the following drawings, which are probably by the same hand: Chatsworth 950. A naked
man in a turban kneeling in adoration. Perhaps a study for the same composition as the Cambridge drawing;
Uffizi 2467 F.; Death of Sapphira(?); Bayonne N.I. 66 recto, Pan witha Nymph leaning on a Herm (verso: see
p- 120); formerly Sachs Collection, Cambridge, Mass., Landscape with a Lake (from the Peltzer sale,
Stuttgart, 13 f.v.1914, lot 293); D. Hertaghe Collection, Antwerp, The Gathering of the Manna; formerly
Oppenheimer Collection, London, The Choice of Hercules (repr. E. Panofsky, Herkules am Scheidewege,
Hamburg, 1930, Pl. 79, as by Hilaire Pader); and formerly d’Hendecourt Collection (sold Sotheby, 8 ff-v.
1929, lot 245), A Plague Scene (from the Spencer and Lansdowne Collections).

NEW TESTAMENT

THE ANNUNCIATION
pee Ol. Eb ppat7 ff.
The Chantilly painting should be dated to the late twenties, not the late thirties (cf. Blunt, Critical
Catalogue, no. 38). It is wrongly attributed to Mellin by D. Wild (1966, p. 189).
The painting referred to under B is now in the National Gallery, London (cf. Blunt, op. cit.,
no. 39).
The Albertina drawing (No. 34) has been attributed to Charles Mellin by Thuillier (cf. Actes,
1960, I, pp. 81, 114) and D. Wild (1967, p. 33), but this attribution must remain doubtful. Wild
also attributes the Uffizi and Louvre drawings (B 7 and B 8) to Mellin, more convincingly.

Providence, Museum of Art, Rhode Island School of Design 54.185. Possibly by Mellin.

ADORATION OF THE SHEPHERDS

Bee. Vol. 1 pp.-18 ff.

The original of the composition known from the engraving by Picart (Wildenstein 37) is now in
the National Gallery, London (cf. Blunt, Critical Catalogue, no. 40).
The original of the engraving by Roger (Wildenstein 32) is now in a Swiss private collection
(cf. Blunt, op. cit., no. 43). A version of the composition engraved by Pesne (Wildenstein 33) is
in an American private collection (cf. Blunt, op. cif., no. 42).

390. Dijon 872 verso

— Black chalk. Plate 292
Kecta: See Vol. 1V, p. 47, No..282.

Study for the composition in an American private collection (cf. Blunt, Critical Catalogue, no. 42).
71
390a. Chantilly 191b recto — 0.070 X 0.125 — Pen and bistre - Coll.: Reiset - Cf. Malo 4ic.
Verso: See Vol. Il, p. 19, No. 134, where the old number 1325 is given.
A tough sketch, not connected with any known painting but certainly by Poussin’s own hand,
as are the sketch and letter on the verso. Like these, the drawing probably dates from the 1640's.
—— Rotterdam, Museum Boymans-van Beuningen FI 109 verso
Recto: See above, p. 67, No. A 165.
A copy of the Dijon drawing.
——Louvre 25385 (attributed to Michel Corneille).
A copy after No. 35 (Vol. I, p. 19).

THE ADORATION OF THE KINGS

see Voli leip: 20:
The Dresden painting (Grautoff 58; Blunt, Critical Catalogue, no. 44) is not Poussin’s diploma
piece, as suggested in Vol. I.
—— Besancon 2679 — 0.165 0.279 — Pen and wash over red chalk — Coll.: Gigoux.
Related to the Dresden painting (cf. Blunt, Critical Catalogue, no. 44) in the arrangement of the group with
the three Kings and their attendants, but differing in the disposition of the Holy Family. The Virgin stands
as in the lost version known from the engraving by Picault (Andresen 113), and Joseph stands behind her,
with one hand on the manger. Possibly a copy of a lost original, but more likely the work of an imitator.
—-— Munich 3150.
—— Rennes C 34-5 — 0.140 X 0.190 — Pen and bistre wash (there called Mola).
Two versions of the same composition, possibly by Pier Francesco Mola.
—-— Disseldorf 4423 recto.
Verso: See above, p. 65.
Lit.: G. Kauffmann, Wallraf-Richartz Jahrbuch, XVII, 1955, p. 230. Presumably like the verso by a French
imitator.

THESHOLY FAMILY
see Voll, pp: 20 ff.
The painting at Chantilly referred to on p. 21 under B 2 is an original by Poussin, of which
the National Gallery and Pavlovsk versions are copies. Le Sueur does not seem to come into the
story at all (cf. Blunt, Critical Catalogue, no. 52).
The tondo referred to on the same page is now in the museum at Bourges (cf. Blunt, op. cit.,
R 26).
The Holy Family ftom the Yarborough collection is now in the Ringling Museum, Sarasota (cf.
Dlune.op, 77.) 10.751).
The landscape drawing on the verso of No. 55 is an original by Poussin (cf. Vol. IV, p. 47, No. 284).
Doris Wild has put forward sound reasons for rejecting the dating of the Windsor drawing (No. 43)
to the Paris journey (cf. Wild, 1958, pp. 17 f.), but her arguments for placing it precisely in the
yeat 1647 are not convincing. Both drawing and painting were probably executed in the years
immediately after Poussin’s return to Rome, perhaps in 1643.
The drawing in the Uffizi (no. 50) is discussed by Pierre Rosenberg (Afostra, no. 15).
Drawings B 11-14 are by Pier Francesco Mola (cf. R. Cocke, ‘Mola’, Joc. cit., p. 72);

Ties
391. Louvre R.F. 758 verso — Pen and bistre. Plate 292
Recto: See Vol. II, p. 23, No. 145.
Lit.: G. Kauffmann, Actes, 1960, I, pp. 141 ff.; id., Poussin-Studies, 1960, pp. 36 ff.
Fragment of a preliminary drawing for the Holy Family on the Steps, now in the National Gallery,
Washington (cf. Blunt, Critical Catalogue, no. 53). The sheet also contains a cut-off sketch of a
figure, almost certainly that of Christ in the Penitence from the second series of Sacraments (1647).
—- American Art Market — Coll.: Gigoux (sold Paris, 20.v.1882, lot 702).
Copy of the Louvre drawing (cf. Vol. I, p. 26, No. 49).
— — Private Collection — Pen and bistre wash — Coll.: Marignane.
Possibly a copy of a lost preparatory drawing for the painting in the Louvre (714; cf. Blunt, Critical Catalogue,
no. 55), the principal difference being that the figures are seated on two steps, as in the Holy Family on the
Steps and in Nos. 392, 393 below.
—— Dijon, Magnin Collection — 0.150 X 0.120 — Pen and bistre wash.
Possibly a copy of a lost original, but not directly connected with any of the known compositions. The fig-
ure of the Virgin and the pose of the Christ Child are close to the Hermitage Rest on the Flight of 1655-57 (cf.
Blunt, Critical Catalogue, no. 65), and the original drawing may well have been made at about the same period

392. Private Collection, recto—0.200 X 0.208 — Black chalk—Coll.: Richardson the Elder; Plate 292
Reynolds; Knowles; Marignane; sold Rauch, Geneva, 7-11.vi.1960, lot 308.
Verso: See No. 393 below.

393. Private Collection, verso. Plate 292

Recto: See No. 392 above.
The drawing on the recto shows the Virgin with the Christ Child standing beside her and St. John
kneeling before him. On the right St. Elizabeth and behind St. Joseph leaning on a parapet. To
the left is a wall with a door, apparently supporting a beamed roof; the whole group is placed
on a step. This combines motives from several of Poussin’s Holy Families of the late 1640’s and
‘50’s: the St. Anne is like the Holy Family in a Landscape in the Louvre (714); the St. John recalls
the Hermitage and Sarasota pictures; the step, the wall with a door and the beamed roof are like
the studies for the Holy Family on the Steps.
The verso shows St. Elizabeth taking the Christ Child from the lap of the Virgin, as in No. 54
(I, p. 33), while behind, on the right, is St. Joseph seated, and in front of him St. John kneeling
before Christ. Behind Joseph one, and perhaps two, further figures are indicated in rough outline.
On the left are indications of buildings like those on the recto, but more roughly indicated.
The style of both drawings suggests a date in the first half of the fifties.

— approximate size 0.092

393a. Private Collection 0.080 (attached to No. 435a) — Pen and Plate 3204
brown wash on much darkened paper; a fragment, cut all round, irregularly on the left —
Coll.: Anonymous sale, Sotheby, 9.vii.1968, lot 7 (with No. 435a, p. 106 below).
Study for the painting at Chantilly (cf. Blunt, Critical Catalogue, no. 52), showing the uppet parts
of the figures of the Virgin carrying the Child and St. Joseph leaning over his ruler, the head and
shoulders of St. Elizabeth and the top of St. John the Baptist’s head. The poses agree more or
less precisely with the painting, but the background shows an arch opening on a landscape.
73
Plate 303 A 167. Turin, Biblioteca Reale 16291-0.215 X 0.179.
Copy of a study for the painting in the Louvre, probably dating from 1656 (cf. Blunt, Critical
Catalogue, no. 57), with the figures in the nude. The poses of the figures differ in many respects
from the painting.

Plate 303 A 168. A. C. H. Dunlop Collection, London, verso.

Recto: See below, p. 91, No. B 54.
A fragmentary drawing showing St. Elizabeth, St. John, the Christ Child and the leg of the Virgin.
Related to the Louvre and Chatsworth paintings (cf. Blunt, Critical Catalogue, nos. 57, 58). Pre-
sumably a copy after a lost original.
— — Louvre 32553.
Copy after the Holy Family with the Bath Tub (cf. Blunt, Critical Catalogue, no. 54).
—— Louvre 32557.
Copy after the Holy Family on the Steps (cf. Blunt, Critical Catalogue, no. 53).
—~— Angers, Museum — Flo/y Family attended by Putti.
A variant of the Holy Family with six Putti at Chatsworth (cf. Blunt, Critical Catalogue, no. 58).
Probably by Bourdon (cf. Besangon 2676).
~ — Ecole des Beaux-Arts 1447.
Study for a painting of which several versions are known, one engraved in the catalogue of the Dufourny
collection, and another in the Halifax collection (sold Christie, 17.vii.1970, lot 148).
It is possible that, on the analogy of a painting of the Virgin and St. Anne at Rouen, apparently signed by
Jacques Stella, the painting may be by him (cf. Poussin et son temps, Rouen, 1961, no. 125).
—— Turin, Biblioteca Reale 16325.
Copy after the painting at Chatsworth (cf. Blunt, Critical Catalogue, no. 58); reproduced by Griseri (Commen-
are, MN, 4951, pl. XX XI, fig. 118).
—-— Rome, Gabinetto Nazionale F.C. 127421 verso.
Italian, seventeenth century.
—— Rotterdam, Museum Boymans-van Beuningen FI 76.
Probably Italian, late sixteenth century.
—-— Venice, Accademia 782.
Possibly seventeenth-century Venetian.
—— Besancon 2676.
By Bourdon.
—-— Porto, Escola Superior de Belas Artes.
By a French imitator of the seventeenth century.
—-— Munich, Graphische Sammlung 2791.
Apparently a sixteenth-century drawing.

Gripe LiGh Ey INTO .EGYPT

peer Vol. I) p. 30.
Plate 304 A 169. P. Ruelos Collection, Paris—o.145 X 0.170- Pen and bistre on yellow-washed paper.
Lit.: Exh. Paris 1960, no. 128.
Copy of a study for the painting in the Lawrence Gowing Collection (cf. Blunt, Critical Catalogue,
no. 60). The drawing differs from the painting in not showing the wall on the left or the two
flying angels who lead the way on the right. Both painting and drawing are unconvincingly
attributed to Mellin by D. Wild (1966, p. 191).
The drawing at Christ Church, of which the recfo is reproduced in Vol. I (p. 31, B 16), is similar to

74
the same painting in certain details, particularly in the figure of Joseph and in the flying angel.
It is also unconvincingly attributed to Mellin by D. Wild (1966, p. 191).

B 52. Oxford, Christ Church Ff. 7a verso. Plate 304

Recto: See Vol. I, p. 31, No. B 16.
The verso drawing, here reproduced, is also connected with the composition.
—— Haarlem, Teyler Museum.
Probably North Italian, sixteenth century.
—-— Besangon 1201.
Not by Poussin.
The Chantilly drawing (B 15), catalogued in Vol. I (p. 30) as by an imitator, seems to be certainly
by Poussin himself and probably dates from the late 1630’s.

Hie RESTON THE FLIGHT

See VOL 1, pp. 301.
The inscription on the verso of the Chantilly drawing (No. 60) tefets to the Discovery of Achilles,
now in the Museum of Virginia, Richmond, Virginia (cf. Blunt, Critical Catalogue, no. 127), not
to the version formerly with Wildenstein and now in the Museum of Fine Arts, Boston (cf. Blunt,
op. cit., NO. 126).
— - Brunswick, Maine, Bowdoin College.
French; late seventeenth century.

THE MASSACRE OF THE INNOCENTS

pee VG. 1, p. 31.
394. Lille 1613 verso— Red chalk,- Numbered: 668. Plate 293
uvecwas oce VOl Lp. 31.) No. Gr,

395. Cambridge, Fitzwilliam Museum 3097 verso — Red chalk. Plate 293
era Bocce VO bir p22, O.-1 84;

395a. Sir Anthony Blunt, London — 0.071 xX 0.083 — Red chalk.

The verso of the Lille drawing shows a study for the mother holding back the soldier and one for
a dead baby. The Fitzwilliam verso shows two sketches, the upper one certainly, the lower one
probably cut by the edge of the paper. The lower one shows another study for the mother, with
a second figure beside her. The upper sketch is a study for the figure of Ajax in the Kingdom of
Flora (see below, p.111, No. 440). From the way in which the sheet is cut, it is clear that the draw-
ing on the recto was made after the sketches on the verso. This would indicate that the first version
of the Bacchus and Erigone was planned after the early sketches for the Massacre and the Kingdom
of Flora.
The drawing in the writer’s possession, which shows only the baby lying on its back, is in fact
a fragment cut from the same sheet as the Fitzwilliam drawing. The red chalk line drawn across the
latter divides into two towards the right, and these two correspond exactly to two lines on the

i
 smaller drawing. The writer’s drawing is slightly faded compared with the Fitzwilliam drawing,
because the latter was till recently laid down.
A drawing of the Massacre was in the collections of Padre Resta and Lord Somers (cf. British
Museum, Lansdowne MS. 803, which was kindly brought to my attention by Mr. Michael Mahony).
—— Besangon 2685.
Italian, seventeenth century.

THE RETURN OF THE HOLY FAMILY FROM-EGYPT

—— Louvre 32487.
Copy after the figures of Christ and St. Joseph from the picture at Cleveland (cf. Blunt, Critical Catalogue,
under no. 68).

THE PRESENTATION IN THE TEMPLE

Plate 304 B 53. Cambridge, Mass., Foge Museum 1941.13 — 0.159 X 0.121 — Pen and bistre wash.
Lit.: A. Mongan, One Hundred Master Drawings, Cambridge, Mass. 1949, p. 78; Exhibition catalogue
Van Clouet tot Matisse, Boymans Museum, Rotterdam 1958, no. 28; Thuillier, Actes, 1960, I, p. 81.

Plate 293 396. Private collection, New York -— 0.143 < 0.108- Pen and bistre wash — Inscribed: Poussin
and numbered: 2776-Coll.: ?Crozat.
These two drawings are not connected with any composition known in painting or engraving.
They are in many ways similar in style, but B 53 lacks the vigour of 396 and may be by an imitator.
D. Wild (1967, p. 37) follows Thuillier’s suggestion that B 53 is connected with an etching which
he ascribes to Mellin, together with the drawing. This attribution is possibly but not certainly
correct.

THE DALTISM OF CHRIST

Sco, Ol. Lp: 42.
Two drawings, at Chantilly and in the Albertina, were described in Vol. I as copies after the
Johnson Baptism (cf. Blunt, Critical Catalogue, no. 72), but both differ from the painting in having
on the right an extra figure and a bundle of drapery and a different background. Instead of the
dove in a circular glory they show rays descending towards Christ. Both are probably copies
after a lost original drawing, the Albertina version being superior in quality to the Chantilly
drawing.

Plate 304 A 170. Albertina 11417 (not 11416, as given in Vol. I) —0.176 x 0.260 — Pen and bistre wash.
—-— Venice, Accademia 784.
Probably Italian, seventeenth century.
—— Besancon 1231.
Near Gaspard.
—— Besangon 2695.
Italian, late seventeenth or eighteenth century.

76
THE RAISING OF LAZARUS
397. British Museum 1948-8-5-2 recto — 0.178 X 0.261 — Pen and bistte over black chalk — Coll.: Plate 294
Horace Walpole. Presented anonymously in 1948.
Verso: See below, No. 398.

398. British Museum 1948-8-5-2 verso. Plate 294

Recto: See No. 397.
The recto contains an elaborate drawing, showing Christ, the Apostles and others round the tomb
of Lazarus in an underground chamber, approached by a staircase visible in the background.
The handling is coarse, but the types are so Poussinesque that the drawing may be an original
or a skilful copy. The sharp re-entrants formed by the lid of the tomb and the staircase are unusual
for him, though they have some analogy in the pergola behind the figure group in the late Chi/-
dren’s Bacchanal (cf. Vol. III, p. 46, No. 237) and with the entrance to the cave in the Three Marys
(No. 402).
The verso contains a further study for the left-hand group in the Lazarus, and detailed studies of
two figures in the same composition, all freer in handling than the recto, and nearer to Poussin’s
style. At the bottom is a rough sketch of two recumbent figures, apparently nymphs leaning on
an urn, over which is drawn a group showing a female figure wearing a curious headdress, placing
a satyt’s mask over the face of a man who stretches out his arms towards her. This group is based
on Poussin’s frontispiece to Horace (cf. Vol. I, p. 26, A 43 and p. ror below), with the variation
that the penis of the male figure is visibly erect under his cloak.
The attribution of this drawing presents great difficulties. The verso is certainly not a copy, and
parts of it— particularly the study for the Lazarus—can hardly be by anyone except Poussin.
The recto is unexpectedly coarse, but has great vigour in handling and inventiveness, in concep-
tion and design. On balance the evidence seems to point to its being an unusual late original.
The pattern of the composition may owe something to a drawing of the Entombment by Perino
del Vaga in the Fogg Museum (reprd. A. Mongan and P. Sachs, Drawings in the Fogg Museum,
Cambridge, Mass. 1940, I, pl. 104).

CHRIST HEALING THE BLIND

Seem ola isp: .32:
Amsterdam, Rijksmuseum 46:09 verso.
Recto: see above, p. 70.
Italian, seventeenth century. Perhaps by the same hand as the Shepherds Dancing in the British Museum
(1946-7-13-1148; see below, p. 120).

CHRIST HEALING THE SICK

—-— Turin, Biblioteca Reale 16296.
Probably by a late seventeenth-century French imitator.

CHRIST TEACHING IN THE TEMPLE

—— Frankfort, Staedel Institut 1844.
Probably eighteenth century.

Wo.
THE WOMAN TAKEN IN ADULTERY
—— Louvre 32545.
Copy after the Louvre painting.
—— Windsor 11930, 11932.
Lit.: Blunt, 1945, nos. 282, 283.
Copies after four heads in the Louvre painting (cf. Blunt, Critical Catalogue, no. 76).

THE AGONY IN THE GARDEN

See? Vol. Th p33 3:
398a. Hermitage 8373 recto and verso —0.122 X 0.140 — Pen and bistre.
Lit.: Kamenskaya, ‘Further Remarks about Poussin Drawings in the Hermitage’, Master Drawings, VII,
1969, p. 426.
The drawing on the recto is connected with the Windsor study (cf. Vol. I, p. 33, No. 64), but
Christ is now shown kneeling, with his whole body bowed down, his elbows on the ground.
The Apostles in the foreground form a more compact group, the one on the right being sharply
foreshortened. The rocky ledge has the same formation as in the Windsor drawing. On the verso the
main group at the bottom of the sheet shows Christ kneeling, facing the spectator and looking up-
wards, with both hands outstretched downwards. In front of him are two kneeling figures, almost
exactly as in the Windsor drawing, but over them hovers an angel, who is balanced on the right
by another angel with very large wings. The drawing does not show the rest of the composition.
Above this group to the right is another, drawn sideways, which may represent a variant of the
same group, but, if so, it is very unusual in that it shows Christ walking forward, gazing upwards,
and his hands raised in prayer, while two angels hover above him. Below this group are two
studies of a man running and looking round in fear. This figure cannot belong to the same sub-
ject, but, if Poussin was planning to paint other scenes from the Passion, it could be a study for
the Betrayal.
The lower group links the drawing to a painting in the writer’s possession, which probably
represents the composition of a lost painting by Poussin, of which two versions are recorded in
the Pozzo and Barberini collections (cf. Blunt, ‘Poussin and his Roman Patrons’, Walter Fried-
laender zum 90. Geburtstag, Berlin 1965, p. 73, and pl. 15, fig. 8; and Frances Vivian, ‘Poussin and
Claude seen from the Archivio Barberini’, Burl. Mag., CXI, 1969, pp. 722 ff.). It is worth noticing
that the Barberini version is described as having a “gloria in aria’’. It is not clear whether Poussin
painted two different versions, or whether one was a copy; both, curiously enough, are recorded
as being on copper, but there is no doabt that they were two distinct pictures. In my painting the
poses of Christ and the two angels are very close indeed to the Hermitage sketch, but the nearer
angel points to Heaven with his right hand and supports the Cross with his left. The other angels
are replaced by flying putti carrying the symbols of the Passion.
When I first published the painting, I argued that it must be a free variant of the lost original,
because Poussin would never have created such a baroque composition, but the new drawings
make it plain that at one stage he was contemplating an even more baroque scheme, and the refer-
ence to a gloria in the Barberini picture confirms this. If the painting really records Poussin’s final
version, he chose in the end a composition richer than the magnificently austere Windsor drawing,
but less excited than the verso of the Hermitage drawings. The drawings and the original of the
painting probably all date from the very last years of the thirties.

78
For reasons which she does not explain, Mrs. Wild (1967, pp. 17 f.) asctibes the Windsor drawing
and my painting to Charles Mellin, to whose style they bear no resemblance.

CHRIST BEARING THE CROSS

see Volol p.34, No. 65.
A passage in the manuscript of Loménie de Brienne’s Discours, published by J. Thuillier (cf.
Actes, 1960, I, p. 219) proves that this drawing must have been made in 1646, at about the time
that the Crucifixion was finished.

THE CRUCIFIXION
399, Leipzig, Museum der bildenden Kiinste N.I. 371 — 0.178 & 0.252 — Pen and bistre wash— Plate 295
Squared — Inscribed: N. Poussin — Coll.: Probably Hofrat Gehler (1762-1822); his daughter,
Frau Regierungsrat Dorrien, who presented the drawing to the Museum in 1858.
Lit.: Blant, ‘Poussin’s Crucifixion’, Burl. Mag., CVI, 1964, p. 450.

A magnificent drawing, discovered by Dr. Kurt Badt, in which all the essential features of the
painting are already established.
In Vol. I it was pointed out that No. 66 was made up of two fragmentary drawings which did
not belong together. In fact No. 68 and the right half of No. 66 are fragments of a single drawing,
which can be roughly reconstructed as on Plate 295, though the greater part of the central Cross
and the figure of Christ are missing.
—— Uffizi 6124 F.
A copy of the Leipzig drawing.
—— Formerly Thomé Collection, Paris.
A drawing which corresponds to the upright composition, attributed to Jacques Stella in the Dufourny
Collection and engraved in the catalogue, was in the Thomé Collection, and was published by the owner in
an article entitled ‘Les dessins de Nicolas Poussin’ in the Courrier graphique for May 1960 (p. 19).

THE ENTOMBMENT
400. Windsor 0748 — 0.140 X 0.255 — Pen and bistre, with grey and bistre wash over some black Plate 296
and red chalk —torn and mended.
Lit.: Blunt, 1945, p. 81, no. 183a.

Connected in its general disposition and grouping with the painting in Munich, probably executed
about 1628-29 (cf. Grautoff 20; Blunt, Critical Catalogue, no. 82), but with many differences. In
the drawing the body of Christ is stiff, and the whole arrangement of the figure dramatic and
angular. The softening elements in the painting, such as the romantic landscape and the weeping
putti, are absent, and the drama is intensified by the hard block of the tomb and the two Crosses
standing out against the sky. Grief is depicted on the faces, particularly of St. John, in a manner
unusual for Poussin, but occurring in the Hermitage Descent from the Cross (cf. Grautoff 21; Blunt,
op. cit., nO. 80). In spite of the connection with this painting and the Munich Extombment, the actual
forms of the heads and the subtle use of the wash suggest a later date, about 1637-38.

19
Plate 296 401. New York, Metropolitan Museum 61.123.1 — 0.077 X 0.056 — Pen and bistre— Inscribed:
Nicolas Poussin.
The composition is related to the Windsor drawing in the form and placing of the tomb and the
view of the Crosses against the sky on the extreme left. The drawing is, however, much looser in
handling, but probably also dates from the later 1630’s.
—— Ecole des Beaux-Arts, Masson 1128.
Late seventeenth century.
—— Dresden
Copy after the Munich painting (cf. Blunt, Critical Catalogue, no. 82).

THAEALHAREB MARYS ATJLHE SEPULCHRE

Plate 297 402. Windsor 4877A — 0.108 X 0.140 — Black chalk.
Lit.: Blunt, 1945, p. 46, no. 221.

The drawing was originally in the volume of drawings ascribed to Sacchi, but it is evidently a
late work by Poussin, the closest parallels being three drawings for the Pinding of Moses (cf. Vol. I,
p. 6, Nos. 6-8). The drawing was apparently used by a follower of Poussin — perhaps Antoine
Bouzonnet Stella — for a painting of the same subject which was recently discovered in a private
collection in France.

CHRIST APPEARING TO THE MAGDALEN

—— Besangon 2681.
Italian, seventeenth century.

THE ASCENSION
Plate 297 403. Windsor 0749 — 0.145 * 0.265 — Red chalk — Coll.: Massimi (Cat. no. 61: “Li Apostoli nel’
Monte Oliveto’’).
Lit.: Woodward, Fine Arts Quarterly Review, Il, 1864, p. 180; Blunt, 1945, no. 183.

The drawing, which was not traceable when Vol. I appeared, only shows the group of the Apostles,
and is presumably cut at the top. The use of red chalk only is unusual for Poussin, but occurs in
some drawings of the mid-1630’s (cf. above, p. 66, No. 386), to which period this drawings
appears also to belong.

THE VIRGIN AND HER COMPANIONS

Plate 298 404. Windsor 11883 -— 0.172 X 0.259— Pen and bistre wash.
Lit.: Friedlaender, Burl. Mag., LIV, 1929, pp. 127, 257; Exh. Royal Academy, London, 1938, no. 520; Blunt,
EAs D535 000272:
This drawing was wrongly identified by Friedlaender as the Fanciulle Rusticane mentioned in the
Massimi catalogue, which is in fact No. 370 above (cf. p. 55). In the 1945 Windsor catalogue I
listed it as probably by an Italian imitator, but it seems to be from Poussin’s own hand and to date
from the middle or second half of the 1630’s. It is a free variant of Guido Reni’s version of the
subject in the Hermitage, a painting which Poussin was asked by Pointel to emulate in his Rebecca

80
of 1648. Like Reni, Poussin has shown the Virgin discoursing to her companions, and has empha-
sized this detail by the gesture of silence made by the attendant on the door in the right of the
composition.

THE DEATH OF THE VIRGIN

405. Sit. Marcus Worsley, Hovingham Hall, Yorkshire
—0.395 x 0.310- Pen and bistre and Plate 299
water-colour.
Lit.: Thuillier, Actes, 1960, II, pp. 29 ff.; Blunt, Critical Catalogue, no. 91.

In 1623 Poussin was commissioned by Francois de Gondi, first archbishop of Paris, to paint this
subject for a chapel in Notre-Dame. The present drawing is at first sight unlike any work by
Poussin, but it corresponds so closely to what is known of the Notre-Dame painting that its claim
to be connected with it must be seriously considered. A sketch after the painting by Gabriel de
Saint-Aubin shows that the archbishop was represented wearing a mitre on the right of the canvas,
a feature rare, if not unique, in a representation of the death of the Virgin. A description of 1809
(cf. Thuillier, op. cit., p. 30) refers to the background as follows: “Deux anges paraissent dans le
haut. Le fond représente un vaste espace qui, s’élevant en vodte, recoit son jour par une arcade
a l’entrée’’. These details also fit strikingly with the Hovingham drawing.
Saint-Aubin’s sketch is from its scale necessarily very schematic and does not, for instance, show
either the architectural background or the flying putti. It only shows two or possibly three Apost-
les, whereas the 1809 description says that they surround the bed. One to the left, at the foot of
the bed, is shown almost as in the water-colour. Further, the sketch shows the archbishop in the
foreground visible to the feet, a difference which may be due to carelessness, or to an alteration
between the preliminary design recorded in the water-colour and the painting.
In its type of figures and in its technique the Hovingham sketch is unlike the only certain works
which survive from Poussin’s pre-Roman period, the Marino drawings, executed at about the
same date as the Death of the Virgin, but certain details, such as the flying putti, have their parallels
in the Marino series, for instance the Dryope (cf. Vol. HJ, p. 11, No.157). The hanging in the
background plays much the same part as in the Orpheus in Flades (cf. Vol. Ill, p.12, No.161),
and the treatment of drapery and even heads is close to the grey-wash Pallas and the Muses (cf.
Vol. III, p. 13, No. 163). The interest in expression foreshadows Poussin’s later art, and the actual
pen-line, though finer than that in the Marino drawings, is not unlike Poussin’s.
In the use of water-colour and in the types of the figures there is a marked Flemish character; but
it must be remembered that Flemish influence was widespread in Paris in Poussin’s youth, and
that he is known to have had a particular admiration for Frans Pourbus the Younget’s Last Supper,
painted in 1619 for the church of St. Leu-St. Gilles in Paris (cf. Blunt, 1967, pp. 26 ff.). This
painting may even be the source, not only for the general types in the Death of the Virgin, but also
for the cloth hung behind the group, which was to recur in the Death of Germanicus (cf. Blunt,
Critical Catalogue, no. 156) and even in the Eucharist from the second series of Sacraments (cf.
Blunt, op. cif. no. 114). Thuillier (oc. cit.) has further pointed out that the Hovingham water-
colour is reminiscent of Saraceni’s painting of the same subject, which was engraved by Leclerc
in 1619.
In short, it seems a reasonable hypothesis that the Hovingham sketch is a preliminary version of
the Death of the Virgin by Poussin himself, perhaps indeed, in view of the careful execution and

81
 the use of watercolour, the *odel/o prepared for the archbishop. The latter may have insisted on
being given a more prominent position, and so finally to have appeared in the foreground as he
is to be seen in the Saint-Aubin sketch.

THE ASSUMPTION OP THE VIRGIN

see Volnl, p35.
When Vol. I was published, the painting now in the National Gallery, Washington, was not known
(cf. Blunt, Critical Catalogue, no. 93). The tradition that the picture came from the Palazzo Soderini
in Rome, often rejected, is confirmed by a document published by Halina Waga, ‘Vita nota e
ignota dei Virtuosi al Pantheon’, L’Urbe, XX XI, Sept.-Oct. 1968, pp. 6 f., which includes among
the notices of pictures exhibited in the portico of the Pantheon in 1750 the following reference:
“Appartenente all’Illustrissimo Sig. Conte Niccolo Soderini quadto grande rappr. Assunta di
Niccold Pusino”. I am indebted to Miss Ann Percy for bringing this document to my notice.
The Louvre drawing (A 14) is numbered 2564 in the hand which inscribed numbers on the drawings in the
Crozat collection, from which it may therefore come.
Plate 299 406. Uffizi 886E- 0.234 X 0.193 — Pen and bistre wash — Inscribed on the verso: Monsu Pussino.
In Vol. I this drawing was dismissed as “only related to Poussin”. This judgement seems to
require revision in view of fuller knowledge of the artist’s early drawings, to many of which the
drawing is similar in style and handling. The types of putti occur in many of the mythological
drawings of about 1630; the particular manner of drawing the rays recalls the Acs and Galatea
(cf. Vol. III, p. 37, No. 215); and the type of the Virgin with the sweeping veil is like many to be
found in paintings of the same period, such as the Madonna del Pilar of c. 1629 (cf. Blunt, Critical
Catalogue, no. 102). In spite of certain weaknesses, e. g. in the putti and clouds at the bottom and
the rays at the top left, the drawing is probably an original of about 1630. It has been wrongly
attributed to Mellin by D. Wild (cf. 1967, p. 206).
—— Uffizi, Santarelli 6119 F.
—— Turin, Biblioteca Reale, 16300.
These two drawings are certainly not by Poussin. They are attributed to Mellin by D. Wild (cf. 1967, p. 206),
together with a number of others, apparently by several different hands.

ANANIAS AND SAPPHIRA

—— Uffizi 2467 F.
By the same hand as the Group of Worshipping Figures (cf. above, p. 71).

THE, DEATH OF SAPPHIRA

Plate 300 407. Private Collection, New York, recto
—0.195 0.302 — Pen and bistre —Coll.: Richardson
the Elder; Jacob Isaacs.
Verso: See below, p. 91, No. 416.
Lit.: Exh. Paris 1960, no. 230.
Preliminary study for the painting in the Louvre (cf. Grautoff 149; Blunt, Critical Catalogue, no.
85), in which the two main figure groups are established as they appear in the painting, with

82
small variations. There is as yet no indication of the architectural setting. Like the painting, to be
dated c. 1654-55.

THE CONVERSION OF ST. PAUL

DCE VOL ppeeas tins NO sis
408. Dr. E. Schilling, London - 0.106 x 0.157- Pen and bistre—'The sheet has been cut in two Plate 300
parts and joined — Coll.: Desperet.
Lit.: Exh. Paris 1960, no. 234.

When Vol. I appeared, this drawing was only known from a lithograph published in the Magasin
Pittoresque for 1856, which was reproduced as No. A 15. The original appeared after the war and
is here published.
Desperet published the letter on the verso, but with several mistakes in text and commentary, in
which he was followed by Jouanny (p. 183), who did not know the original. In fact the letter is
not by Poussin but addressed to him, and was written from Lyons on 22.xi.1657 by Antoine Bou-
zonnet Stella, who was on his way from Paris to Rome, where he was kindly received by Poussin,
the intimate friend of his uncle Jacques. The writing is the same as that of the signed letter on the
verso of the drawing of Venus at the Fountain dated the same year (see below, p. 110, comment
on No. 212).
The text of the letter, which varies in small details from that given by Desperet (correct text given
in Exh. Paris 1960), is not important, but it allows an approximate dating to be made for the
drawing and some correction to be made about the history of the Conversion of St. Paul as set forth
in Vol. L.
In his letters Poussin speaks of treating this subject at two periods: in 1649-50 and between 1655
and 1658 (cf. Correspondance, pp. 401, 402, 407, 409, 438, 442-447). The references in 1649-50
are not all perfectly clear, but the letter to Chantelou on the verso of drawing No. 55 (cf. I, p. 28;
probably of May 1650) seems to prove that the painting was actually executed and dispatched,
since, in spite of what was said in Vol. I, p. 28, the phrase “‘vostre tableau de St. paul” in the first
sentence of the letter cannot refer to Scarron’s St. Paul, which in any case is mentioned later on,
not to Chantelou’s Eestasy of St. Paul, which was completed in 1643. On March 15th, 1658,
Poussin wrote to Chantelou that he had fixed the design for a painting of the same subject, and on
November 25th he says he has found a new and different composition for it. Since there is no
further reference to the subject, it is to be supposed that the painting was not executed..
Five drawings are known illustrating the Conversion, but it is not at all easy to know which belong
to which phase of Poussin’s work, and there is some reason to modify what was said in Vol. I,
and also what was said in the catalogue of the Poussin Exhibition of 1960. The one certain point
is that No. 408 must belong to the 1657-58 stage, since it is on the back of a letter dated 22.xi.1657.
No. A 16, described in Vol. I as the work of a pupil, but almost certainly an original, probably
belongs to the same phase as No. 408, since it is similar in format and contains many of the same
elements, though in reverse: St. Paul lying dazed on the ground, with a man supporting his head,
and the rearing horse with a rider on its back occur in both halves of No. 408; God the Father in
the clouds appears in the left half, and the bucking horse at the top of the right half.
No. 69 is similar in format to Nos. 408 and A 16, but quite different in theme, since it shows St. Paul
actually falling from his horse. Nos. 70 and 71 are of a different, oblong format. No. 70, although

83
 exceedingly difficult to decipher, contains most of the principal motives of No. 71. Thereissome
reason to think that Nos. 7o and 71 represent the earliest stage, i.e. 1649-50. The format is that
common for Poussin in the late 1640’s and early ‘50’s; the figure of St. Paul is very close to the
Adam in the Crucifixion of the second half of the 1640’s, and the rearing horse on the right has a
parallel in the same composition. At first sight No. 70, with its extraordinarily shaky line, would
suggest a later date, but the closest analogy to it is the sheet of rough sketches (cf. Vol. I, p. 15,
No. 31) for the So/omon of 1649, and another parallel is one of the drawings at Bayonne for the
Flealing of the Blind of 1650 (cf. Vol. I, p. 33, No. 63).
If these two drawings represent the stage of 1649-50, then Nos. 408 and A 16 were probably made
between December 1657 and March 1658, when Poussin took up the subject again. Though
different in format from Nos. 70 and 71, they have many themes in common—St. Paul lying dazed,
God the Father in the clouds, the soldier beating the captives, etc. On this hypothesis No. 69
would be the new idea of which Poussin speaks in November 1658. Its originality is startling and
one would tend to think of it as Poussin’s last word on the subject; possibly it was so startling that
it was unacceptable to Chantelou, who consequently lost interest in the design.
The Chantilly drawing (Vol. I, p. 35, No. 71) is from the Coningham collection.

THE SEGolASsyY OF SIPAUL

Decay Obsl, p37:
The Chantelou version is now in the Ringling Museum, Sarasota (cf. Blunt, Critical Catalogue,
no. 88).

Plate 302 409. Hermitage 8017 — 0.345 X 0.265 — Pen and bistre wash.
Lit.: Kamenskaya, ‘Some Unpublished Drawings of Poussin and his Studio in the Hermitage’, Master
Drawings, V, 1967, p. 390.

When Vol. I was published, it was impossible to obtain a photograph of this drawing or to check
its existence. It is, however, an exact study for the Chantelou painting, with the figures in the
nude. It is somewhat mechanical in line, but is probably from Poussin’s own hand.
—— British Museum 195 5-10-8-6.
Certainly not by Poussin, probably by La Fage.

ST. PAUL AND ST. BARNABAS

SeesVole lap. 33:
The British Museum drawing (B 19) is wrongly attributed to Mellin by D. Wild (cf. 1967, pe37):

ST. MATTHEW AND THE ANGEL

See Vols-lp,38:
The small sketch (B 18) on the verso of the Windsor Moses (No. 28) must in fact be an original,
though of a somewhat unusual type.

84
THE MARTYRDOM OF ST. BARTHOLOMEW
ev a7I. Rome, Gabinetto Nazionale F.N. 9920 - 0.546 X 0.353 — Pen and bistre wash, heightened Plate 303
with body-colour — Engraved by J. Couvay (cf. Andresen 236; Wildenstein 85).
A large and highly finished variant in reverse of Poussin’s Martyrdom of St. Erasmus (cf. Grautoff
15; Blunt, Critical Catalogue, no. 97). Wildenstein states that the engraving was made before 1655,
but there does not seem to be any evidence for this view. In any case neither the composition
nor the drawing can be by Poussin. The technique of the latter suggests a member of Pietro da
Cortona’s studio.

THE MARTYRDOM OF ST. ERASMUS

see Vol. I) p..39.
409a. Milan, Ambrosiana Cartella, 8. No. F253 inf. 1075 —0.200 X 0.123 — Reed-pen and Plate 3004
bistre over slight black chalk underdrawing — Inscribed: Ciro Ferri.
This magnificent drawing was discovered by Dr. Karl Oberhuber and Mr. Michael Hirst, with an
attribution to Cito Ferri, whose name it bears in a very old hand. There can, however, be no doubt
that it is a sketch by Poussin for the St. Peter’s altarpiece, with which it corresponds even in the
very unusual feature of having two small rectangular areas cut off in the lower corners, which is
in accordance with the shape of the architectural surround of the altar. In my monograph on
Poussin (pp. 85 ff.) I published a drawing at Windsor, which I believed to be Pietro da Cortona’s
final project for the St. Erasmus altarpiece, for which the commission was originally given to
him, but this identification has not met with approval. Dr. Vitzthum had expressed his doubts
in a letter to me and believes that the drawing is by Giacinto Gimignani. He is supported by
Ostrov (cf. Bulletin of the Rhode Island School of Design, LIV, 1967, pp. 12 ff.) and Rosenberg (Mostra,
no. 10). Ostrov publishes an Italian drawing partly based on Poussin’s composition. Professor
Waterhouse (Burl. Mag., CXI, 1969, p. 224) suggests that the drawing is connected with a painting
in S. Maria di Monticelli, Rome, which, according to him, may be the missing painting by Giacinto
Gimignani from S. Maria in Campo Santo. Whether or not the S. Maria di Monticelli painting is
the picture from the other Roman church, the drawing is not connected with it, since, as far as
one can see it in the dark chapel in which it hangs, the painting is based closely on Poussin’s altar-
piece and shows the Saint with his head to the right, unlike the Windsor drawing.
The new drawing is further removed from the painting than the Uffizi sheet and represents the
earliest phase known to us in the evolution of Poussin’s composition. The Saint lies across the
foreground, with his head to the right, almost parallel to the picture plane. He is bound to a low
stool, on the back of which his head rests. The executioner stands between his knees, apparently
about to slit open his abdomen. To the left a man carries off the Saint’s vestments, while his mitre
lies at his feet in the left foreground. Behind him stands a man, apparently wearing a turban and
pointing into the distance. Behind him again is a group of figures, including two women carrying
children, and yet further back on the left is a soldier on horseback. The architectural setting is
composed of a fluted column on the extreme right, behind which is visible part of the portico of a
temple. In the sky hover putti carrying wreaths and a palm.
In the Uffizi drawing the position of the Saint is reversed: his head is on the left and hangs down
over the end of the stool, which is placed on a line leading into the picture space. The executioner
85
has completed his incision, and the intestines are being wound on to a windlass by a youth on the
extreme tight. The pointing man now stands on the left and his gesture leads the eye towards the
statue of a pagan god standing between two columns in the right background. The group of on-
lookers has been reduced to two men. Only the soldier on the horse remains in his original place,
though his pose has been altered and greater emphasis is given to his spear which cuts across the
sky. A mitre and crozier lie in the foreground. The portico of the temple on the right is omitted,
but the corner of a classical building has been added on the extreme left.
These alterations involve a fundamental change in the whole conception of the composition. By
a process which is familiar in Poussin’s manner of working both the dramatic significance of the
scene and the harmony of the design are heightened. The gesture of the man pointing into the
background has in the first sketch no real meaning, but although in the second drawing the pose is
almost the same — in reverse — the action now has significance in that the man points to the pagan
image, which he urges the martyr to worship. In the painting the point is emphasized yet further
by the long white robes in which this figure is clad, which clearly indicate that he is a priest,
dedicated to the service of the god represented in the image, who is now clearly Hercules. At the
same time the group of onlookers is reduced, and the women and children, who played no real
part in the scene, are replaced by a youth and a man in a turban, a common symbol in the seven-
teenth century for oriental paganism (St. Erasmus was bishop of Antioch). At the same time the
composition is made both richer and more lucid. In the first drawing the figure group is made up
of two layers, both parallel to the picture plane, the nearer consisting of the Saint and the execu-
tioner, the further of the rather confused group of onlookers. In the Uffizi drawing a strong diago-
nal is established by the group of the martyr and his tormenter, which is repeated in the pointing
gesture of the figure to the left. In the painting these diagonals are further emphasized: the line
of the foreground group is continued across the composition by the thread of the intestine leading
up to the windlass on the extreme right, and the gesture of the priest is picked up by the line of
the club which Hercules carries on his shoulder. In the first drawing the horseman does not seem
to play any part in the scene; in the Uffizi drawing he stretches out his hand towards the Saint,
and in the painting this gesture is explained by the fact that at the same time he looks towards the
man handling the windlass, as if to urge him to even greater activity.
The Ambrosiana drawing must have been made very soon after 4.1i.1628, when Poussin received
the commission for the altarpiece.
—— Louvre 32542.
The figures of the priest, executioner, etc. Probably a copy after the painting by a French eighteenth-century
artist.
~— Bayonne NI. 68.
After the painting. Probably by a follower of Pietro da Cortona.
—— Budapest, National Museum 3039.
After the painting.

THE MIRACLE OF ST. FRANCIS XAVIER

—— Louvre 32550.
Copy after the Louvre painting (cf. Grautoff 101; Blunt, Critical Catalogue, no. 101).

86
TWO BEARDED MEN
410. Windsor 039 recto - 0.136 X 0.146 — Red chalk, pen and bistre wash — Coll.: Massimi. Plate 298
Verso: See next item.
ar Woodward, Fine Arts Quarterly Review, U1, 1864, p. 179 (who describes it as Massimi no. 57, which is
teally Windsor 038; 039, however, may have been on the same page); Blunt, 1945, no. 229.
Both figures show astonishment, one looking down, the other up. Perhaps for two Apostles in an
Assumption, ot possibly in a composition of the Woman Taken in Adultery. In the Windsor catalogue
the drawing was classed as studio work, but it is almost certainly an original of the mid or late
163.0:S:

STUDY OF A MAN WITH BOTH HANDS RAISED

411. Windsor 039 verso — Red chalk, pen and bistre. Plate 298
Recto: See previous item.
Possibly a study for one of the Pharisees in a composition of the Woman Taken in Adultery (cf.
recto). Fragments of other figures in red chalk are just visible. Probably of the mid or late thirties.

The following drawings are wrongly attributed to Poussin:

THE VIRGIN AND CHILD APPEARING TO A SAINT. Avignon.
Probably Italian, seventeenth century.
THE PILGRIMS TO EMMAUS. Besancon 1222.
Near Gaspard.
ST. MARY OF EGYPT IN THE DESERT(?). Besancon 1176.
Italian, seventeenth century.
ST. MARY MAGDALEN. Besancon 1173.
Italian, seventeenth century.
THE VIRGIN AND CHILD ADORED BY ST. CHARLES BORROMEO AND TWO OTHER
SAINTS. Besancon 1182.
Roman, seventeenth century.
A PRIEST CARRYING THE HOST. Besangon 1158.
ST. ANTHONY OF PADUA PREACHING TO THE FISHES. Darmstadt AE 2561.
Connected with a painting in the writer’s collection (cf. D. Sutton, Gazette des Beaux-Arts, 1962, Il, p. 280).
A SAINT HEALING. Diisseldorf 7or.
Italian, seventeenth century.
THE INFANT CHRIST ASLEEP ON THE CROSS ADORED BY ST. JOHN. Frankfort, Staedel,
13997 verso and 13998 verso.
Recto: THE DEATH OF SOCRATES, see below, p. 92.
CHRIST IN LIMBO. Haarlem, Teyler Museum.
North Italian, probably late sixteenth century.
THE MARRIAGE OF THE VIRGIN. Paris, Ecole des Beaux-Arts, Masson 1122.
Near Charles Mellin.

87
 ST. DENIS TERRIFYING HIS EXECUTIONERS. Paris, Louvre 32501. ‘0
Study for a painting wrongly attributed to Poussin at the time of the French Revolution (cf. Thuillier, Actes,
1960, I], pp. 33 f.; Blunt, Critical Catalogue, R 52).
THE POOL OF BETHESDA. Princeton University, New Jersey. Probably French, seventeenth century.
THE VIRGIN ADORED BY SAINTS. Rome, Gabinetto Nazionale F.C. 127444.
Italian, late seventeenth century.
A SAINT REFUSING TO ADORE THE IMAGE OF AN EMPEROR. Rome, Gabinetto Nazionale
FG 11060, 12910.
Roman, late seventeenth century.
A SAINT PREACHING. Turin, Biblioteca Reale 16286.
Probably Italian, seventeenth or early eighteenth century.
THE VIRGIN AND CHILD APPEARING TO MONKS. Venice, Accademia 781.
Formerly in the Denon collection and engraved in his catalogue.
A MONK IN ECSTASY.
Lithograph — Inscribed: N. Poussin del: and F. Piloti del.
Apparently after an Italian drawing of the seventeenth century.

THE SACRAMENTS
See *VOle l.0p.39 it.
—— Louvre 32529-32535.
Copies of the first series of Sacraments, inscribed: Montarsy, from whose collection they presumably come.

BAPTISM
The painting from the first series is now in the National Gallery, Washington (cf. Blunt, Critical
Catalogue, NO. 105).
No. 84, which was identified in Vol. I as a study for the Baptism in the second series of Sacraments,
is in fact of much later date, like the drawing on the recto (cf. below, p. 104, No. 432A).
The Uffizi drawing (No. 79) is discussed by P. Rosenberg (Mostra, no. 14).

Plate 302 412. H. Shickman Gallery, New York — 0.076 x 0.108 — Pen and bistre wash - Numbered: 96 —
Coll.: From an album of drawings made up for Philip V of Spain, and perhaps later in the
Orléans collection; sold, anonymous sale, Christie, 22.xi.1966.

Study for the second version, showing the group of figures dressing in the left foreground. This
drawing is probably earlier than any of those previously known, because, although the main
group corresponds fairly closely to Nos. 78 and 79, there is a group of smaller figures behind them,
which does not appear in any of the other studies. The rock formation behind the figure group
seems also to have run further to the right than in the other drawings, since it is just visible behind
the small figures in the background.
—— Beurdeley Sale, Paris, 8.x.1920.
Reversed copy of the Baptism from the second series of Sacraments.

88
CONFIRMATION
For the Louvre drawing, No. 89, see Kauffmann, Poussin-Studien, Berlin, 1960, p. 81.
The Windsor drawing, No. A 20, is certainly an original and seems to show no ttace of assistance
from studio hands.
—— Rijksmuseum, Amsterdam 52.104.
-—- Not by Poussin.

MARRIAGE
For the Louvre drawing, No. 91, see Kauffmann, Poussin-Studien, Berlin, 1960, p. 81.
—— Darmstadt AE 2558.
Red chalk copy of the drawing in the Louvre (No. 94), in the same sense as the original.
—— Besangon 1163.
Copy of the same drawing in the opposite sense; apparently an offset of the last drawing.

ORDINATION
The Windsor drawing, No. A 21, and the Pierpont Morgan drawing, No. 98, are probably origi-
nals, in spite of the doubts expressed in Vol. I. The Blumenreich drawing (No. 97) is now in the
Rijksmuseum, Amsterdam.

413. Private Collection, New York — Recto — Pen and bistre — Inscribed: Giulio Campi da Cremona - Plate 301
Coll.: N. Lanier; Richardson the Younger; R. Cosway; G. Clausen.
Verso: See next item.

414, Private Collection, New York— Verso. Plate 301

Recto: See No. 413.
These are studies for the Ordination from the first series of Sacraments (cf. Grautoff 94; Blunt,
Critical Catalogue, no. 110). They show a series of sketches, two for the whole figure group, one
for Christ above, and one of various Apostles.

PENANCE
See above, p. 73, No. 391.

EUCHARIST
For the Louvre drawing, No. 100, see Kauffmann, Poussin-Studien, Berlin, 1960, p. 80.
A band c. 8 mm. wide has been added to the bottom of this drawing, but the wider band, c. 16 mm.,
at the right seems to be part of the original drawing which has been cut off and re-attached, but
not quite correctly. It should be about one millimeter higher than it actually is.
—— Louvre 32457 (as French School, sixteenth century).
An Apostle, probably for a Last Supper. Perhaps a copy after a lost drawing by Poussin.

89
 EXTREME UNCTION
For the Louvre drawing, No. 103, see Kauffmann, Poussin-Studien, Berlin, 1960, p. 80.
Drawing No. 188 (Vol. III, p.24), which mainly consists of studies for the Richelieu Feast of
Pan, contains also a sketch for the mourning woman in the first version of Extreme Unction (cf.
Grautoff 93; Blunt, Critical Catalogue, no. 109). Since it is now known that the Richelieu painting
and its pair, the Triumph of Bacchus (cf. Grautoff, 85, 86; Blunt, op. cit., nos. 136, 137), were sent
off from Rome in May 1636, Poussin must have been at work on them at the end of 1635 and the
beginning of 1636. Presumably he was making drawings for the Extreme Unction at about the same
time.
—— Georg Oprescu, Bucharest — 0.140 x 0. 240- Inscribed: N. Poussin — Coll.: Horace Walpole (according
to a note on the back of the mount, which says it was bought at the Strawberry Hill sale in 1842).
Lit.: Optescu, ‘Note sur un dessin de Nicolas Poussin’, Gazette des Beaux-Arts, 1966, II, p. 303.
The inscription on the mount in Horace Walpole’s hand wrongly identifies the subject as the Death of
Germanicus. A copy of either No. A 22 or a very similar drawing.

Plate 302 415. Rome, Gabinetto Nazionale F.C. 129744 verso.

Recto: See above, p. 65, No. 384.
Studies for the weeping woman on the right and the youth kneeling with the candle in the left
foreground of the Extreme Unction of the second series (cf. Blunt, Critical Catalogue, no. 116).
Plate 303 A 172. Paris, Ecole des Beaux-Arts 1452 (12101) verso.
Recto: See above, p. 50, No. A 154.

The lower half contains copies of all but one of the sketches on the recto of the Rome drawing.
The upper half shows the men carrying out the body of Phocion (see below, p. 126, No. 458).

ANCIENT HISTORY

THESEUS FINDING THE ARMS OF HIS FATHER

—- Amsterdam, Rijksmuseum 60:236 recto — Coll.: Reynolds.
Verso: See Vol. IV, p. 54.
Copy of the group of Aethra and her attendant from the composition of which the original is at Chantilly
(cf. Blunt, Critical Catalogue, no. 182).
—— London, Victoria and Albert Museum, Dyce 562.
Very close in style to Claude Audran the Younger (cf. P. Reutersward, ‘Drawings by Claude Audran II’,
Master Drawings, Il, 1964, pp. 142 ff.).

ACHILLES ON SGYROS
Sec Vol Ip: 3:
The Créqui version is now in the Museum of Virginia, Richmond, Virginia (cf. Blunt, Critical
Catalogue, NO. 127).
Drawing No. 105 was wrongly identified in Vol. I as being a study for the earlier version of
Achilles on Scyros, whereas it is actually connected with the studies for the Apollo and Daphne, dating
from the artist’s last years, particularly with No.176. The two figures at the top, said in Vol. II
to be for the Rebecca, could equally well be for the two nymphs who appear in No. 177, and the

90
head is no doubt that of Apollo. The style of the drawing suggests this very late date rather than
that of c. 1650, which would result from a connection with the earlier version of the Achilles.
The Louvre drawing (R. F. 755), mentioned on page 5, represents Achilles on Scytos, and should
therefore appear before No. 107.

B 54. A.C. H. Dunlop, London

- 0.096 x 0.144- Pen and bistre with grey wash. Plate 310
Verso: See above, p. 74, No. A 168.
The drawing does not correspond exactly to either of the painted versions, but seems to be more
closely related to the Boston than to the Richmond picture. It differs from both in that it shows
Ulysses alone, whereas in both paintings he has a male companion.
It is not clear whether the drawing is a copy of a lost original or the work of an imitator.

THE DEATH OF PRIAM

B 54a. Hamburg, Kunsthalle 14036- Pen and bistre over black chalk.
The artist has followed Virgil’s account (Aeneid, I, 506 ff.) very precisely. He has depicted the
scene as taking place in an open court, with the altar and the laurel-tree mentioned by the poet.
To the left lies Polites, killed by Pyrrhus, who seizes Priam by the hair with his left hand and is
about to stab him with his sword. Hecuba and her daughters crouch in terror on the right.
The drawing is in many ways close to Poussin’s late style, but does not seem to be actually from
his hand. The fact that it is squared is an argument against its being a copy, and it seems more
likely that it is by a close follower, perhaps a member of the Stella family.

THE INFANT PYRRHUS RECEIVED BY GLAUTIAS, KING OF EPIRUS

416. Private Collection, New York — Verso— Black chalk with ruled perspective lines—Coll.: Plate 305
Richardson the Elder; Jacob Isaacs.
Recto: See above, p. 82, No. 407.
There ate at least three episodes in ancient literature which could be the theme of this drawing:
Andromache and Molossus before Menelaus (Euripides, Andromache, 11.530 ff.); Orestes received
by Strophius, King of Phocis (Pausanias, ii, 29, 4); and the infant Pyrrhus received by Glautias,
King of Illyria (Plutarch, Pyrrbus, 2 £.). The last, however, is much the most probable, since
Plutarch was a favourite author with Poussin, who had illustrated the earlier episode in the story
— the Saving of Pyrrhus — in the painting now in the Louvre. Moreover, the subject was frequently
represented in the late eighteenth century as an example of humanity. It was painted by Collin
de Vermont for the competition of 1747 (painting now at Besangon); it was recommended by
Pierre as one of the overdoors for Choisy in 1771 (cf. Locquin, La Peinture @histoire en France,
Paris 1912, p. 26); and two paintings representing the subject were shown at the Salon of 1791 by
Vignialis (lost) and F. A. Vincent (Castle of Zidlochovice; Pl. I1b; cf. Lossky, GBA, 1938, I,
p. 52). To these instances must be added a drawing signed by Ingres (sold at Christie’s, 2.xii.1969,
lot 302, and again 1.xii.1970, lot 155, repr.), described as Orestes before Strophius, but almost
certainly representing the story of Pyrrhus.
The drawing fits the story as told by Plutarch in detail: the three standing male figures would be
Androcleion, Hippias, and Neander, the three youths who actually saved Pyrrhus, and the two

91
 women would be the nurses mentioned by Plutarch, though not by name. The drawing, which
may have been retouched in the left-hand group, appears to date from the same period as the rec/o,
that is to say, about 1654-55.
A peculiar problem is raised by the similarity of the drawing to all three of the eighteenth-century
representations of the scene, since it is too great to be accounted for simply by the common theme.
Poussin is not known to have painted the subject, and there is the further complication that all
the later versions ate in reverse compared with the drawing. This suggests that an engraving
existed, but none is known. The drawing itself was certainly in England till Richardson’s death
(1745), and there is no reason to think that it was ever taken back to France. The two drawings
discussed below do not provide a solution to the problem, since neither shows the whole composi-
tion.
I am very grateful to Professor R. Rosenblum for calling my attention to Lossky’s article and so
providing me with the correct attribution of Vincent’s painting.

Plate 305 417. Chantilly, Musée Condé 192a-0.100 X 0.115 — Pen and bistre —- Coll.: Mariette; Denon-—
Cf. Malo 4oa.
Study for the kneeling woman in the right foreground.
A copy of this drawing occurs on a sheet of studies at the Ecole des Beaux-Arts, Paris (see above, p. 59,
No. A 158).

417a. A magnificent drawing for the group of attendants on the right was identified by M. Pierre
Rosenberg in the museum at Bergues when this volume was already in proof.

THE DEATH OF SOCRATES. Frankfort, Staedel 13997 recto, 13998 recto.

Verso: See p. 87.
These two drawings represent a subject rarely treated in the seventeenth century and are studies for a
painting of the same theme in the Uffizi. The painting is there ascribed to Dufresnoy, but appears to be by
Antoine Bouzonnet Stella.

THE TESTAMENT OF EUDAMIDAS

417b. Hamburg, Kunsthalle 24035 — 0.128 x 0.193 — Pen and bistre.
A study for the picture in Copenhagen (cf. Blunt, Critical Catalogue, no. 152).
This drawing was unfortunately brought to my attention too late to be reproduced in this volume.
It is however reproduced in the catalogue of the exhibition of the Death of Germanicus held in
the Louvre in 1973 (p. 25, fig. 43).
It differs from the painting in that Eudamidas’ daughter is shown as a child clinging to her grand-
mother. In the painting the background is simplified by the omission of the drapery hanging over
the dying man’s head, but is more elaborately worked out spatially on the right.

92
A MAN DICTATING HIS WILL
—— Besangon 1206.
The subject of this drawing is traditionally identified as the Testament of Exudamidas, but, since neither mother
nor daughter is shown, this is not certain.
Probably a pastiche by an eighteenth-century French artist.

ALEXANDER AT THE TOMB OF ACHILLES

See Vol. II, pp. 6f.
The three drawings of this subject, Nos. A 26-28, are all by or after Pier Francesco Mola (cf.
R. Cocke, ‘Mola’, loc. cit., p. 712).

ALEXANDER AND DIOGENES

—-— Turin, Biblioteca Reale 16293.
Study for the figure group in a painting attributed to Jean Lemaire (cf. Blunt, ‘Jean Lemaire’, Burl. Maz.,
LXXXIII, 1943, repr. p. 244).

BATTLE SCENES FROM ROMAN HISTORY

Bee Well psy
Jane Costello (Journal of the Warburg and Courtauld Institutes, 1955, X V1, pp. 300 ff.) has convin-
cingly shown that, although the subjects of drawings Nos. 110-113 are not taken from Ovid,
there were many precedents in sixteenth-century editions of the poet for including them among
illustrations to the ALetamorphoses. They may, therefore, without qualification be included in the
Martino series.

THE FINDING OF ROMULUS AND REMUS

—— Worcester Art Museum, Mass. 1951.23. - Engraved in reverse by Peyron (Andresen 314).
Lit.: Worcester Art Museum Annual, V1, 1958, pp- 25 ff.
Probably by the same hand as a pastoral scene at Marseilles (cf. Blunt, Revues des Arts, VIII, 1958, pp. 11
[repr.], 12), of which another version is in a private collection in Spain.
A copy of the drawing is in a private collection in Munich.

THE RAPE OF THE SABINES

See Vol. II, pp. 8 ff.
The Uffizi drawing, No. 115, has on the verso two studies of single figures, which are just visible
through the paper on which the drawing is laid down. The drawing is discussed by Rosenberg,
Mostra, no. 12.
The dimensions of the Besancon drawing, No. 118, should be 0.250 x 0.245. It comes from the
collection of Mariette and from the Archevéché of Besancon.
—— Frankfort 1036.
Copy of the group in the left foreground of the Louvre painting.
—— Besancon 1168 — 0.107 X 0.165 — Pen and bistre — Coll. Gigoux.
This drawing has many features in common with the Louvre painting and may perhaps be a copy after a lost
original.
The Chantilly drawing, No. 119, was in the Randon de Boisset sale (1777).
2
 CLELIA CROSSING THE TIBER
See eV oll dliep.27.
—— Turin, Biblioteca Reale 16284.
A variant of the drawing at Chantilly.

METIUS CURTIUS RIDING OUT OF THE MARSH

Dee V Olo lp. 11.
The ingenious interpretation of the subject of the drawing given in Vol. II is unfortunately
wrong, since the drawing is a fragment of a larger composition representing a hunting scene in the
Hermitage (see above, p. 55, No. 371).

MUTIUS SCAEVOLA HOLDING HIS HAND IN THE FLAME

Plate 305 418. Hermitage 5146 —0.132 X 0.140 - Pen and bistre — Inscribed: Poussin.
Poussin is not known to have painted this story, which would, however, have appealed to him
as one of the most celebrated examples of Roman fortitude, held up to admiration by many
ancient authors, particularly the Stoics (Livy, 2, c. 12; Plutarch, Publicola, 17). The drawing proba-
bly dates from the fifties.

THE SCHOOLMASTER OF FALERIT

pce Voll per:

Plate 306 419. Pierre Dubaut, Paris —0.175 x 0.175 — Pen and bistre over chalk.
Lit.: Société Poussin. Troisieme Cahier, 1950, pp. 88, 95; Blunt, Critical Catalogue, no. 142.

The painting, formerly in the collection of Prince Paul of Yugoslavia and now in the Norbert Simon
Collection (cf. Blunt, op. ci#., no. 143), is in fact later than the La Vrilliére version (no. 142). The
version painted earlier for Passart is lost, but was probably based on the British Museum drawing
(No. A 30), which is almost certainly a highly finished original, made as a modello for the
patron. The Dubaut sketch was probably made between the British Museum and Windsor
drawings as a preparation for the La Vrilliére painting.

THEsDEAITHOP CATO THE YOUNGER

see Vol. IL, p..13;
A painting corresponding with No. B 21 is said to have existed in the collection of Mme. Didisheim,
at an unidentified house in the Pas de Calais, but disappeared during the second world war.

THE CONTINENCE OF SCIPIO

See. Volatiop, 13.
For the drawing on the verso of the Chantilly drawing, No. 125, see above, p. 60, No. A 162a.

94
420. Siegfried Schwarz, New York — 0.181 x 0.271 — Pen and bistre — Inscribed on the mount: Plate 306
Parmigiano — Coll.: Richardson the Elder; Paul Sandby.
The drawing contains, with minor variations, all the main features present in the Hermitage
painting (cf. Blunt, Critical Catalogue, no. 181), except that the Victory crowning Scipio, present
in the Chantilly version, does not appear. Probably dates from the late thirties.

A 174. Hermitage 5148 — Inscribed: poussin and N:2:—Coll.: Briihl. Plate 310

Lit.: Kamenskaya, Master Drawings, V, 1967, p. 392.

Corresponds closely to the painting, except that the gesture of the left hand is slightly different.
Presumably a copy after a lost original.

SCIPIO AFRICANUS AND THE PIRATES

see Voll, pp. 14 f.
421. Rome, Gabinetto Nazionale F.C. 127429 — 0.177 X 0.133—- Black chalk. Plate 306
Two studies, the upper for Scipio and two attendants, the lower for the groups of soldiers guarding
the hero on the left in No. A 32. Presumably dates, like the other drawings of the subject, from
the Paris journey, but is in a rough style unusual at such an early period.

A 175. Orléans, Musée des Beaux-Arts 1og4o N.-— 0.300 X 0.450 — Pen and bistre wash— Coll.: Plate 310
Resta; Lawrence.
Lit.: Bousquet, Actes, 1960, I, p. 12, note 62.

Almost identical with No. A 32 at Windsor.

Certain features in A 32 and A 175 are derived from drawings made by Poussin after ancient
models. For instance, the shield beside the kneeling pirate is very close to one in No. 332 (see
above, p. 37) after Trajan’s Column, and the armour of the soldier with his back turned in the
left foreground is based on a study on No. 341. In this case Poussin is archaeologically incorrect,
as the figure shown in the drawing is probably a charioteer or a gladiator and not, as he is shown
in the Scipio drawing, an ordinary soldier.

THE DEATH OF GERMANICUS

bee Vol. Il, -p. us.
The Barberini painting is now in the Minneapolis Institute of Arts, Minneapolis (cf. Blunt,
Critical Catalogue, no. 156).
D. Wild (cf. 1967, p. 35) reproduces the Diisseldorf and Frankfort drawings, which she attributes,
apparently without good reason, to Mellin.
The Chantilly drawing is No. 186 and not 535.

oS
THE FINDING OF QUEEN ZENOBIA
seer Vola pe 16;
422. Diisseldorf 4699 verso — See Vol. IV, p. 48, No. 287.
Two paintings and six drawings are known connected with this subject, and the attribution of
them raises a number of difficult problems. One of the paintings, which appeared in the Dufourny
salein 1819, was reproduced as Fig. 15 in Volume II, but was wrongly stated to be in the Hermitage.
The Hermitage version is here reproduced as Pl. I. The Rospigliosi inventory of 1713 contains
the description of a painting which corresponds in composition to the surviving pictures, and
which is said to be “un’opera dell’ultima maniera del Pusino” (cf. Blunt, Critical Catalogue, p. 164,
L 82). The Rospigliosi picture may be one of the two existing paintings or a lost third version.
The Dufourny canvas is much too soft to be by Poussin. The Hermitage picture, which is apparent-
ly unfinished, is superior in quality and is generally assumed to be an original, but, when I saw
it many years ago, I did not believe that it could be from Poussin’s hand, and my doubts remain.
As regards the drawings, these fall clearly into several different groups. Nos. 131 and 132 are
indisputably originals from Poussin’s own hand and they have certain features in common,
particularly the poses of the dying queen and the shepherd who lifts her up, and the figure to
the left with arms stretched out in horror. The main group is reversed in No. 132, and the river-
god is moved from the right to the left-hand side. The only feature in either of these drawings
which is precisely connected with the paintings is the hill-town in the background of No. 132.
The second group is formed by No. A 35 and the newly discovered Diisseldorf drawing, No. 422.
The authenticity of the latter cannot be questioned, if only because it is on the same sheet as the
magnificent landscape drawing No. 286 — and actually drawn over it — and, although A 35 was
classified in Vol. I as a studio work, this was certainly wrong and the drawing must be from
Poussin’s own hand. In these two drawings the queen has already been taken out of the water
and lies on the bank, supported at her head and her feet by two shepherds. The principal group is
surrounded by men on horseback; in A 35 they number five, in No. 422 only two. The river-god
is prominent in both drawings, though in one his head is to the left and in the other to the right.
No. A 34, which is of poor quality, is probably a copy after a lost original and is nearer to the
painted versions in that the horsemen are omitted and the queen is attended by figures standing
or kneeling. The drawing differs, however, considerably from the paintings: the queen lies with
her head to the left and none of the attendants correspond exactly in pose to those in the painting.
The only drawing to have a really direct relation to the paintings is No. 133. Here all the essential
features of the paintings are to be found, with only small differences in the poses. In Vol. II
this drawing was catalogued as an original, but I now believe that it is too loose for Poussin and
the repetition of pen-strokes too uneconomical. I should be inclined to regard it as from the hand
of the artist responsible for the painted design, and this, I believe, is unlikely to be Poussin. The
mere fact that the Dufourny picture was attributed to Dufresnoy is in itself an argument, though
it could be interpreted as meaning that the picture was a copy after Poussin by the younger artist.
In view, however, of the fact that on another occasion Duftesnoy seems to be using drawings
by Poussin for a painting of his own (cf. Vol. III, p. 29, No. 205), it is not at all impossible that
the same thing should have happened in this case.
The drawings which I believe to be originals seem to have been executed over a period of some
years. No. 131, with its liquid luminosity, cannot be later than the second half of the thirties; the
pale, transparent wash of No. 132 suggests a similar date, and the handwriting is that of the 1630’s.

96
| paynqiyy
O1 ‘UISsnogYIwaq
JO usen?) “eIqousz ‘aBvyUUIFO}]
as?
ra
=r
as

4
my
of
Fue
=
Ss
 ER
el

Ila. Attributed to Frangois Verdier. Rinaldo leaving Armida. Earl of Lichfield.

IIb. F. A. Vincent. The Infant Pyrrhus received by Glautias.

Castle of Zidlochovice.
of
Sea-battle
III.
Greeks
and
Trojans.
by
Engraving
after
Ghisi
B.
G.
Giulio
Romano.
The Diisseldorf drawing must be of roughly the same date as the landscape studies on the sheet,
that is to say, about 1650, and No. A 35 is similar to it in style.
The Hermitage painting is certainly not related to Poussin’s latest style, and not even to his works
of about 1650. Its links are with the manner of the late thirties — though even here they ate not
vety close. Since the original drawings which come nearest to the paintings were apparently
made about 1650, it is hard to see how Poussin could have made a painting from them in a much
eatlier manner; and further, the problem would arise of why a painting, begun some fifteen years
before his death, should have remained unfinished.
It seems therefore more likely that the two paintings are by another artist — perhaps Dufresnoy —
who was able to use Poussin’s drawings, but was still working in a style derived from Poussin’s
mannet of the late thirties. We might further suppose that he made the Dufourny painting first
and then began the Hermitage picture, which is clearly of higher quality. If the artist is actually
Dufresnoy, his departure from Rome in 1653 might explain the fact that the canvas remained
unfinished. The evidence of the Rospigliosi inventory is an argument in favour of Poussin as the
author of at least one of the paintings, but it is not conclusive, because the inventory contains a
number of demonstrably wrong attributions, and it is not certain that either of the surviving
paintings is actually the Rospigliosi picture.
For another example of the use of Poussin’s drawings by a younger artist, see below, p. 100.

TWO MEN ON AN ELEPHANT

423. Hermitage 8174 — Pen and bistre wash. Plate 307

A MAN RIDING A RHINOCEROS

424. Hermitage 8175 — Pen and bistre wash. Plate 307

A CAMEL
425. Hermitage 8176 — Pen and bistre wash. Plate 308

426. Hermitage 8177 — Pen and bistre wash. Plate 308

i7.: Blunt, 1967; pp. 103 f.

These four drawings seem to form a single series and were probably made in connection with
some oriental scene, probably a battle, because the man on the rhinoceros has his armour slung
below his saddle, and the two men on the elephant have a banner and a spear and one is handing
to the other what may be a helmet. They may possibly be connected with the rough sketch at
Bayonne (cf. Vol. II, p. 19, No. 137), and both may be related to a painting of a battle with Porus
on an elephant, mentioned by Richardson and in the papers of de Cotte (cf. above, Vol. II,
p. 19, No. 137). Poussin is not normally thought of as drawing or painting animals, but the in-
ventory of Cassiano dal Pozzo’s collection shows that he made for him a number of paintings of
birds, which have disappeared (cf. F. Haskell and S. Somers-Rinehart, Burl. Mag., Cll, 1960,
pp. 320 f.). In spite of their exceptional character these drawings seem to be originals by Poussin.
In my monograph on Poussin I suggested that they dated from about 1630, but the drawing of the
oF
 figures and the use of the wash in small touches suggest a later date, at the end of the thirties or
the beginning of the forties.

THE SATYR AND THE PEASANT

Plate 309 427. Private Collection, Paris — Recfo— 0.112 X 0.135 — Pen and bistre.
Verso: See above, p. 29, No. 306.
Lit.: Exh. Paris 1960, no. 180; Blunt, /WCT/, X XIX, 1966, p. 436.

The subject is taken from Aesop’s fable with the same title, and the drawing is based on an en-
eraving in the 1563 (Rome) edition of Faernus’ Labulae (fol. 57”).

TWO PHILOSOPHERS
wee VOL ID p. 20.
The Windsor drawing (B 22) is almost certainly an original, similar in style to No. 410 (cf. above,
p. 87).

A QUEEN OFFERING HER CROWN TO A VICTORIOUS KING

—- Munich, Graphische Sammlung 3159-0.194 xX 0.136—Pen and bistre with grey wash —
Numbered: 503 — Engraved by F. Piloty in Strixman and Piloty, Choix de dessins d’aprés les
grands maitres... tiré des Musées de Sa Majesté le Roi de Baviére, 1808-1815.
Lit.: 'T. Bertin-Mourot, BSP, I, 1947, p. 72.

Strixman and Piloty give the subject as the Queen of Sheba before Solomon, but this would not fit
with the Victory crowning the seated king, nor with the fact that the queen is offering him her
crown. It is more likely to be submission of a queen to a conquerer.

The following drawings, apparently of classical subjects, are not by Poussin:

A YOUTH OFFERING A CUP TO A GIRL SEATED ON A THRONE
—— Amsterdam, Rijksmuseum A 3538.
Formerly described as a copy by Jacob de Wit after Poussin; perhaps a copy after a sixteenth-century
Italian drawing.
THE TRIUMPH OF A ROMAN GENERAL
—— Besancon 2673, 2674.
—— Lyons Museum.
Both probably French, late seventeenth century.
MINERVA AND THE MUSES(?) CROWNING THE BUST OF A HERO
—— Besangon 1161 recto. Verso: See p. 61.
Perhaps by Dufresnoy.
A SICK MAN BEFORE A RULER
—— Besangon 1167.
By a French imitator.

98
FIGURES BY A TOMB
—— Besangon 2680.
By an Italian artist influenced by Castiglione and Poussin.
A CROWNED FIGURE GIVING ALMS
—— Besancon 1177.
Probably by a French imitator of the later seventeenth century.
THE SACK OF A CITY
—— Hamburg, Kunsthalle, 1963/318.
Probably by a late seventeenth-century imitator.
BATTLE SCENES
—— Paris, Ecole des Beaux-Arts 1436 (2861).
—-— Paris, Louvre 32482.
Probably French, mid-seventeenth century.
A SACRIFICE
- - Rome, Gabinetto Nazionale F.N. 10307. The subject may possibly be the Sacrifice of [phigeneia.
—-— Venice, Accademia 776.
Both probably Italian, seventeenth century.
A NAKED FIGURE LANDING FROM A BOAT
—-— Rome, Gabinetto Nazionale F.C. 127421 recto. Verso: See 74.
Two figures kneel to the principal figure, who seems to be a woman, while two winged figures point the
way ahead.

THE CAPTURE OF JERUSALEM

See. Vol. Hp. 18,
The Gatteaux drawing is probably the one which belonged to Lawrence and appears in the tenth
exhibition of his drawings by Woodburn, July 1836, no. 66 (cf. Morning Chronicle, 18.viii.1836).

SKETCHES FOR BATTLE SCENES

Sec.) On 11 p. 19.
The Chantilly drawing, No. 134, is inscribed a 65 in the same hand as Nos. 344 and 355 above,
and presumably all three drawings come from an album bearing that number.
In addition to the battle scene on No. 137, the drawing has a large-scale study of a leg, of which
only the lower part is visible in the reproduction. The drawing cannot be precisely dated, but it
looks later than 1639, the date tentatively proposed in Vol. II.

SCENES FROM ARIOSTO AND TASSO

ROGER CARRIED AWAY FROM BRADAMANTE ON THE HIPPOGRIFF

428. Private Collection — 0.192 X 0.110 — Pen and bistre — Inscribed: Pusinu — Numbered: 146. Plate 309
The story is told in Orlando Furioso (IV, v. 35). This is the only known example of Poussin illustra-
ting a story from Ariosto. A characteristic drawing of the later 1630's.

29
 RINALDO AND ARMIDA
See VOL ppe ari:
The painting from Kedleston is now in the Toledo Museum of Art, Toledo (Ohio). It represents
Dido and Aeneas and not Rinaldo and Armida (cf. Exh. Paris 1960, no. 1), and is almost certainly not
by Poussin (cf. Blunt, Critical Catalogue, R 74).
Drawing No. 144 is engraved by C. Massé (cf. Wildenstein 165).
No. A 38 is by Pier Francesco Mola (cf. R. Cocke, ‘Mola’, Joc. cit., p. 712).
Mlle. Monique Lavallée has shown a connection between No. 146 and a painting by Vouet (cf.
BSP, UT, 1948, p. 90, and L. Massignon, zbid., I, 1947, p. 35).
Poussin’s drawing No. 146 seems to have been used by another artist as a basis for a painting now
at Shugborough (cf. Pl. IIa), wrongly ascribed to Lebrun. A drawing with Jeudwine in 1959 is
also connected with the painted composition and is no doubt by the same hand. The drawing
belongs to a group which may possibly be by Dufresnoy and, if so, the A7zaldo would provide a
close parallel to the puzzling case of the Finding ofQueen Zenobia (cf. above, p. 96, No. 422).

—— Louvre 32492.
Italian, late seventeenth century.
—— Uffizi 8100 S.
Copy after the Berlin picture, (cf. Blunt, Critical Catalogue, no. 204).

RINALDO CARRIED. OFF BY HIS COMPANIONS

—— Rome, Gabinetto Nazionale F.C. 127492.
Probably Roman, late seventeenth century.

ERMINIA AND THE SHEPHERDS

—— Besangon 2669. The technique is like that of Blanchard.

THE VICTORY OF GODFREY DE BOUILLON

see Vol. Llp. 23.
Plate 310 429. Rotterdam, Museum Boymans-van Beuningen FI 248 —0.108 x 0.255 — Pen and bistre
wash — Coll.: Koenigs.
Study for the right-hand half of the big drawing at Windsor (No. 147). In the finished drawing
the soldiers force the captives to kneel before Godfrey, whereas in the sketch they offer him two
decapitated heads. The horseman turning back to shoot an arrow appears on the extreme tight
of both drawings. Otherwise most of the figures have been changed in the finished version.

ALLEGORY
DANCE OF HUMAN LIFE
pee Vole ps 24.
The Loyd drawing, No. 149, is probably that recorded in the Bélisard sale, Paris, 22 ff.xii.1783.

100
SHEPHERDS READING THE INSCRIPTION ON A TOMB
Dec: VOL). 275
The Chatsworth drawing, tentatively ascribed to Castiglione in Vol. II, is attributed to Pier
Francesco Mola by Richard Cocke (cf. ‘Mola’, uc. cit., p. 712).

ALLEGORY OF JUSTICE
430. Amsterdam, Rijksmuseum 64: 202 — Pen and bistte wash — Coll.: Richardson the Elder. Plate 309
The middle figure holds the scales and a spear. The other two appear to have no attributes. No
composition of this subject by Poussin is known, but the drawing appears to be an original of
the late thirties.

ALLEGORY
— — Copenhagen, National Museum 6772 — 0.128 X 0.093 — Pen and bistre wash — Inscribed: Pusino — Coll.:
S. Larpent.
A woman seated on clouds, attended by putti, wearing a helmet crowned with laurel(?) leaves. In her right
hand she holds a staff or a trumpet, and in her left an open book. One foot rests on a globe from behind
which an animal, apparently a ram, emerges and falls downwards. Possibly an allegory of peace.
Probably the work of an artist who was influenced by early Italian baroque art as much as by Poussin. In
style not unlike drawings by Mellin.

ILLUSTRATION TO THE DOCUMENTI D’ AMORE

pee7 y Ol. U1 yp. 25.

— — Uffizi 14034 F —- Cf. Vitzthum, Art de France, Il, 1962, pp. 263 f.
This drawing, discussed and published by Dr. Vitzthum, is closely connected with the engraving in Fran-
cesco Barberino’s Documenti d’ Amore, inscribed as after a design by Camillo Massimi. Vitzthum is therefore
no doubt correct in ascribing the Uffizi drawing to Massimi.
Both Windsor drawings, Nos. 153 and A 41, are certainly originals.

FRONTISPIECE TO THE WORKS OF HORACE

see, Volz I1,.p. 26.
— — Hermitage 8210 — 0.363 X 0.225 — Pen and bistre wash — Coll.: Brihl.
Lit.: Kamenskaya, art. cit., Master Drawings, V, 1967, p. 393.
Probably a copy after a lost drawing by Poussin, since it shows considerable differences from the Windsor
drawing and the engraving. The poet holds pan-pipes instead of a scroll; the drapery over the left leg of the
muse is different; the background has no trees, but on the right appear the head and arm of a recumbent girl.
~— Diisseldorf 4435 — Cf. G. Kauffmann, Wadllraf-Richartz Jahrbuch, XVII, 1955, p- 233-
A free variant of Poussin’s design (see No. A 43), probably by a late seventeenth-century follower.
See also above, p. 77, No. 398.

IsOstk TON VOene FESPERIDES OF FERRARI

pee Voll, p. 20.
— Badly
431. Louvte 32442 —0.305 X 0.206-—Pen and bistre wash over traces of black chalk Plate 309
rubbed.

101
 The drawing is laid down, but an inscription on the verso is sufficiently visible from the front to
show that it is not in Poussin’s hand (cf. J. D. Draper, ‘Letter to the Editor’, Master Drawings,
WAL O0S.. Puede):
This drawing, like Nos. A 44 and A 45, is in the opposite sense to the engraving (cf. Andresen
435; Wildenstein 173) and differs from it in several details, particularly in that it has in the back-
ground a tising sun instead of the hill with the castle. As was pointed out by J. D. Draper, it is
evidently Poussin’s first idea for the composition, which was altered, probably in another lost
drawing, of which No. A 45 is a fair copy.
—- Hermitage 2302.
An exact but coarse copy of No. A 44, which differs from A 45 in the castle in the background (cf. Kamens-
kaya, art. cit., Master Drawings, V, 1967, pp. 393 f.).
—— Private Collection (formerly Marignane).
Copy of the engraving, in the opposite sense to all the other drawings.

ALEBGORY OF SATIRE
Plate 294 432. British Museum — 1948-8-5-2 verso. (Cf. above, p. 77, No. 398).
The sketch, which is on the same sheet as drawings for the Raising of Lazarus, is connected with
Poussin’s frontispiece to the works of Horace, but seems to be connected with satire generally
rather than with any particular satirist. For a discussion of the authenticity of this sheet see above,
p- 77, No. 397.
ALLEGORICAL FIGURES WITH PUTTO
—— Uffizi 6126 F.
The figure (female) lays her hand on a tablet supported by the putto. Probably by a Roman artist near
Maratta.

RECUMBENT ALLEGORICAL FIGURE WITH PUTTO HOLDING A CANDLE

—— Besancon 1228.
By a French imitator.

ALLEGORY OF ‘TIME
—— Uffizi 1706 Orn.
An almost identical drawing at Stockholm (CC476) is there ascribed to Testa.

ALLEGORY OF OCCASIO AND TWO OTHER FIGURES

—— Chantilly 217-—Cf. Malo 62.
Probably Italian, seventeenth century.

MYTHOLOGY
MARINO DRAWINGS
see Voll, pp..9 ft.
For a full study of the iconography of the series cf. J. Costello, /WCV7, XVIII, 1955, pp. 296 ff.
In particular Miss Costello shows that there is a good tradition in illustrated editions of Ovid

102
for including battles from early Roman history in an Ovidian series, so that drawings Nos. 110-113
(Vol. II, pp. 7 f.) certainly belong to the Marino group.

THE NURTURE OF THE INFANT JUPITER

pee Voli pp. 134
The paintings in the National Gallery, Washington, and belonging to George Tait, Beverly
Hills, California (cf. Blunt, Burl. Mag., CII, 1961, pp. 457, and Critical Catalogue, R 80), referred
to on page 14, are not by Poussin.
The Stockholm drawing, No. 165, has many weaknesses. It may, however, be by Poussin and
was used by the artist who executed the two painted versions, the ‘Hovingham Master’, or it may
be by this artist himself. The fact that another drawing exists (Paris art market), which appears
to be a copy after it (though with some variations), may be an argument in favour of the Stockholm
version.
—— Besancon 1184.
Study for the painting attributed to Dufresnoy, formerly in the Dufourny collection and engraved in the sale
catalogue.

THE RAPE OF EUROPA

See Vol. III, pp. 14 f.
A fragment of what appears to be the original painting is now in the collection of M. Pierre
Desprats, Cahors (cf. Blunt, Critical Catalogue, no. 153).
The Koenigs drawing referred to on p. 15 is now in the Museum Boymans-van Beuningen,
Rotterdam.
The Uffizi drawing, No. 169, is discussed by P. Rosenberg, Mostra, no. 16.
Much speculation has taken place about ‘M. Pucques’ or ‘M. Picques’, who commissioned the
painting, but he can now be identified with almost complete certainty. His full name is Simon
Picques. He was a diplomat who served under Chanut, when the latter was Ambassador to Queen
Christina of Sweden, and was left in charge as Resident when Chanut went to Liibeck in 1651 for
peace negotiations (cf. J. W. Arckenholz, Mémoires pour servir a histoire de Christine Reine de Suede,
Amsterdam 1751, I, p. 386). Later he published the Mémozres et négotiations de Chanut (Paris 1676)
under the pseudonym of Linage de Vauciennes. He certainly knew Bourdelot in Stockholm, and
frequently reported on him to Paris (cf. G. Masson, Queen Christina, London, 1968, pp. 152 ff.).
Further information about him is to be found in F. W. Bain, Christina of Sweden, London 1890,
pp. 179, 182, and M. H. Granert, Christina Kénigin von Schweden, Bonn 1837, 1, pp. 314, 435, both
of whom have little good to say of him. His name appears on an engraving of a Madonna and
Child by F. de Poilly after Pierre Mignard, with an inscription which refers to the fact that he was
a‘Conseiller du Roi’. Picques presumably knew Chantelou through his position in the civil service,
and Bourdelet would have formed a further link with Poussin’s circle (cf. Blunt, 1967, pp. 208 ff.).

JUPITER AND ANTIOPE

See Vol. III, pp. 15 f.
The copy of No. 170 referred to was sold in the Rouit-Berger sale, Paris, Drouot, 28.xi.1934, lot 121.
Another copy is in the Louvre (32504).

103
JUPITER AND DANAE
pee, VOL. LIT p.716,
The Venice drawing was published by Serge Ernst in BSHAF, 1939, pp. 216 ff., and BSP, HI,
1950, pp. 86, 89 (repr.).

APOLLO AND DAPHNE

pee V ols IIT, per7.
The Chantilly drawing, No. 171, comes from the Grivis collection.
A copy of the Chatsworth drawing, No. 172, in reverse, is in the Uffizi (8107 S). It is attributed by Pierre
Rosenberg to Michel Corneille the Younger (cf. Rosenberg, Mostra, under no. 9).

THE LOUVRE APOLLO AND DAPHNE

Secs Vol IT pp. 17 i.
For a discussion of the iconography of this group of drawings, cf. E. Panofsky, BSP, III, 1950,
pp. 27 ff., and Blunt, 1967, pp. 336 ff. It is now clear that drawings Nos. 177-179, which were
catalogued in Vol. II as forming a separate group, all belong to Poussin’s experiments which led
up to the Apollo and Daphne. The inventory number of the Louvre drawing (No. 174) should be
32448,
The authenticity of No. A 46, which was challenged by Panofsky, is strongly supported by Rosen-
berg (Mostra, no. 17). On the other hand, the drawing of Apollo Sauroctonos (No. 177) is certainly
a copy. The line is totally insensitive, and the wash is grey, a colour never used by Poussin in his
late years.
Certain drawings not listed in Vol. III must also be mentioned:

432a. Chantilly 191a-0.120 X 0.080~ Pen and bistre wash —Cf. Malo 4r1b.
Verso Sec Vol. 1, p- az, No. 84.
The drawing is extremely difficult to decipher, but the nymph reclining in a tree is clearly visible
in the upper right-hand part of the composition, and Apollo’s dog appears in the bottom left-hand
corner. About the middle of the left-hand side of the drawing is what appears to be a circular
temple. The exact relationship of this drawing to the Louvre painting and to other drawings for
it is difficult to establish, because of the way in which Poussin has reworked all parts of the sheet,
but it certainly belongs to this group.
The drawing on the verso (cf. Vol. 1, No. 84) is very close to figures in the Chantelou Baptism,
but the style of drawing seems to be later, and the study may be connected with a similar group
conceived for a later composition (cf. The Woman Taken in Adultery in the Louvre).

432b. Hermitage 5077 -— 0.130 X 0.201 — Pen and bistre — Squared—Coll.: Paul I.
Lit.: Kamenskaya, 1969, p. 426, and Pl. 31a.
This drawing is identical in all substantial features with one in the Ecole des Beaux-Arts (cf.
Vol. HI, p. 20, No. 178), which has always been regarded as an original. The Hermitage drawing
has, however, a better claim. First it is squared up, unlike the Paris drawing. Secondly in certain

104
parts, e. g. the right arm, the left hand and the hair of the seated nymph it shows pentimenti which
do not appear in the Paris drawing.

A 175a. Louvre R.F. 1168 recto — 0.298 X 0.209- Pen and bistre— Coll.: Gatteaux. Plate 320

The middle drawing of the second row must be a copy of a study for the figure of Apollo in the
Louvre painting.

AeOLLOUAND -CEY 11k

A 176. Private Collection. Plate 317
The subject is the rather rare story of Clytie, daughter of Oceanus, who loved Apollo but was
rejected by him when he fell in love with Leucothoe, whose death Clytie then caused (cf. Ovid,
Metamorphoses, IV, 206). The subject was also painted by La Fosse for the Grand Trianon (cf.
A. Schnapper, Tableaux pour le Trianon de Marbre, Paris 1967, p. 78, repr. fig. 12). Clytie appears
in Poussin’s Kingdom of Flora, gazing at the chariot of Apollo, as in the drawing. The latter appears
to be a copy of a lost original of about 1630.

APOLLO GUARDING THE HERDS OF ADMETUS

See Vol. III, p. 11, No. 159.
— — Paris, Drouot, anonymous sale, 28.x.1927, lot 116.
Copy of No. 159. According to the sale catalogue dated: Rome 1630. As far as can be judged from
the reproduction, a very good and accurate copy.

THE BIRTH OF BACCHUS

433. Cambridge, Mass., Fogg Art Museum 1958.290 —0.228 X 0.375 — Pen and bistre wash— Blatessnur
Squared - Engraved by Verini (cf. Wildenstein 127) — Coll.: Defer-Dumesnil; sold Paris,
10.v.1900, lot 204; anonymous sale, Paris, 4.v.1958, lot 28, as from Defer-Dumesnil collection.
Lit.: A. Mongan, Fogg Art Museum, Annual Report, 1958-59, pp- 29 ff.
A superb example of Poussin’s late style, made as a preparation for the painting, also in the Fogg
Museum (cf. Blunt, Critical Catalogue, no. 132).
The drawing differs from the painting principally in that Apollo appears in his chariot over the
cave of the nymphs, whereas in the painting this group is replaced by the light of the rising sun
(not visible in a reproduction). Verini’s print follows the drawing in almost every detail, except
that the engraver has misunderstood the group of Jupiter served by Ganymede, which is rather
roughly indicated in the drawing, and has transformed Jupiter into Venus, Ganymede into Cupid,
and the eagle into a pair of doves. In the painting Ganymede is replaced by Hebe. Other smaller
changes in the painting include the disappearance of the radiance round the head of Bacchus, and
an alteration in the pose of Pan. For the iconography of the drawing cf. Blunt, 1967, pp. 316 ff.

THE INFANT BACCHUS CARRIED BY PAN

434. Florence, Fondazione Horne 5820-0.130 X 0.133 — Black chalk, pen and bistre, with Plate 313

grey-brown wash — Coll.: Richardson the Younger; J. C. Robinson.

105
 The dtawing evidently represents the same theme as No. 231 (Vol. III, p. 44), and the presence
of the leopard and goat, as well as the grapes which the child is carrying, suggests that the latter
is Bacchus and the satyr-like figure carrying him in reality the god Pan.
The drawing is in many ways feeble and may be an early copy. It has many features in common
with No. 220 (Vol. III, p. 39) — including the arched top - and is probably by the same hand.

BACCHUS AND ARIADNE

Bee, Voll pi22.
No. B 23: The Collection should be Armand Valton, not Armand.

BACCHUS AND ERIGONE

Sccevollllep. 22.
For a detailed discussion of drawing and painting (Blunt, Critical Catalogue, no. 135) cf. Panofsky,
A Mythological Painting by Poussin, Stockholm, 1960; Blunt, in Actes, 1960, I, p. 165, and Burl. Mag.,
CII, 1960, p. 402; Panofsky, Burl. Mag., CII, 1961, pp. 318 ff.; Costello, Art Bulletin, XLIV,
TOO2ppers 7k.
For the drawings on the verso see above, p. 75, Nos. 395, 395a, and below, p. 111, No. 440.

THE RICHELIEU BACCHANALS

peer VOT 5.23,
M. Pintard has shown that the 7riumph of Bacchus and the Feast of Pan were despatched from Rome
in May 1636 (cf. Actes, 1960, I, p. 33; Blunt, Critical Catalogue, nos. 136, 137).

Plate 312 435. Hermitage 6995 — 0.082 < 0.075 — Pen and bistre wash — Coll.: Paul I.
Lit.: Kamenskaya, ‘Further Remarks on Poussin Drawings in the Hermitage’, Master Drawings, VII, 1969,
p- 246.

Plate 3204 435a. Private Collection - Anonymous sale, Sotheby, 9.vii.1968, lot 7 - Approximate size 0.092
x 0.080 — Irregularly cut on all four sides and joined on to another drawing (cf. above,
p. 73, No. 393a)—- Pen and brown ink on much darkened paper.

Plate 312 436. Kansas City, Nelson Gallery-Atkin Museum 54-83 — 0.159 X 0.229 — Pen and bistre — Coll.:
Marignane — Exh. Poussin, Minneapolis and Toledo, 1959.

Plate 312 437. Uffizi 905E verso — Inscribed: Pussino, and in Poussin’s hand on two banners carried by one
of the centaurs: bacchus and evoe.
Recto: See Vol. Il, p. 24, No. 193.
Upper half: Study for the Feast of Pan (see below, No. 4372).

Plate 318 A 177. Mr. T. Cottrell-Dormer, Rousham, Oxfordshire — 0.408 x 0.489 — Pen and bistre wash—
Coll; Lely,
Lit.: Exh. Paris, 1960, no. 143.

106
The Uffizi study shares with a study for the Feast of Pan the verso of a sheet on the recto of which
is a further sketch for the latter composition. The two sketches on the verso are opposite ways up,
like those on No. 189, and, like the latter, belong to an early stage in the development of the
composition. The study for the 7riamph shows a centaur waving two banners, and another
mounted by a Cupid, motives which do not occur in the painting.
The Kansas City drawing represents a stage closer to the painting than No. 185, with the frieze-
like arrangement of the chariot drawn by centaurs more or less in its final form; but it still shows
in the background the elephants and camels of the Indian triumph, which disappear in the painting.
The form of the chariot is close to the separate sketch on No. 185. The river-god appears, but
facing forward.
The Hermitage fragment corresponds to the Kansas City study, except that it shows the further
centaur ridden by a Cupid who appeats to beat him, a theme reminiscent of the Uffizi verso study.
No. 435 shows a group very similar to the one in the foreground of the Hermitage fragment,
but in reverse.
No. A 177 was discovered shortly before the Poussin exhibition of 1960, in the catalogue of
which it was classified as an original. During the exhibition, however, several scholars, including
Professor Jan van Gelder, pointed out that it was by Jan de Bisschop. It differs from the painting
in one ot two small details, notably in showing a relief on the side of the chariot. It may, therefore,
be either a copy of a lost drawing or a slightly varied copy of the painting.
—— Louvre R.F. 760.
Probably French, late seventeenth century.
—— Besancon 1178.
Near La Fage.

THE FEAST OF PAN

see Vol. IIT, pp. 23 ff.
437a. Uffizi g05E verso. Plater
ecto sce: Vol IIT, ps 24; No. 193.
Lower half: Study for 7riumph of Bacchus, see above, No. 437.
Lit.: Rosenberg, Mostra, no. 11.
A study representing an early stage in the evolution of the design. On the left the drunken piping
Silenus, to be seen in the upper part of No. 189; to the right the satyr, holding a nymph on a goat
and the satyr offering fruit, which appear in the other half of the same sheet. Below the main
composition is a rough sketch of a figure kneeling before a satyr holding a wine jar.

438. Private Collection — Inscribed: Nicolo Possino in Veechiaia. Plate 313

The principal group corresponds closely to Nos. 186, 187 and 189, but the presence of the altar
above the goat and the closing of the composition on the right by a tree and a column suggest that
the group was intended to stand at the right-hand edge of the composition, as in No. 192. The
ficure of a youth supporting a drunken woman does not occur in any of the other drawings.

TRIUMPH OF SILENUS
—— Louvre 32540.
Copy of the figure group in the painting of which the best version is in the National Gallery, London (cf.
Grautoff 50; Blunt, Critical Catalogue, no. 138).

107
The drawing, which does not include the somewhat empty foreground of the painting, nor the upper part
of the landscape setting, may perhaps represent the original format of Poussin’s composition.

BACCHANAL IN FRONT OF A TEMPLE

see Vol. IIT, pp. 26f.
The Chantilly drawing, No. 195, was in the Mariette sale (lot 1326) under the title of “Le Triomphe
de Flore’ (cf. sketch by Gabriel de Saint-A ubin in his copy of the catalogue in the Fogg Museum).
It was later in the Lawrence collection.
Porthe perso see. Vol. Il pi 26, No=13 9.

BACCHANAL
See Vol. HI, p. 28, No. 199.
No. 199 is Louvre M.I. 1103, not 32427.
—— Paris, Ecole des Beaux-Arts 1457 (34817).
Highteenth century.

BACCHUS AND ATTENDANTS

—— Lille 1614.
By a French seventeenth-century artist.

BACCHIC DANCE
—— Besancon 1187.
Probably French, seventeenth century.

BACCHIC PROCESSION
—-— Amsterdam, Rijksmuseum 50:271.
Perhaps by La Fage.

THE DRUNKEN SILENUS

— — London, British Museum 1946-7-13-125.
Not by Poussin.

BACCHANALS
—— Uffizi 6122F.
Probably Italian.
—— Venice, Accademia 146.
Lit.:Serge Ernst, BSH AF, 1939, p. 224.
Not by Poussin.
—— Edinburgh, National Gallery of Scotland 3229. Verso: Pan, Midas, Nymphs, ete.
By Chapron. The verso drawing corresponds closely, in reverse, to a drawing with an old attribution to him
at Rennes (C_ 125-2), except that it does not include the figure of Apollo.
—— Besangon 1242.
Near La Fage.

108
DIANA HUNTING
See Vol. II, p. 28, No. 200.
A 178. Private Collection —0.165 x 0.245 — Pen and bistre—Coll.: Rosner, Tel Aviv; Alister Plate 317
Mathews, 1968.
A faithful copy of the original at Windsor (No. 200). It is reproduced here as an example of the
skilful manner in which even Poussin’s very early drawings were copied.

DIANA BEFORE JUPITER

—— Munich, Kupferstichkabinett 3163.
Near to Testa in style.

MERCURY, PARIS AND CUPID

See Vol. III, p. 29, No. 201.
R. W. Wallace (GBA, 1960, I, pp. 14 ff.) has suggested that the Louvre drawing (No. 201) isa
fragment of a Judgement of Paris.
The late date suggested for this drawing must be wrong. The drawing is firm, the wash broad.
Only the grimacing Paris suggests a late period.
On the verso (laid down) is what appears to be a landscape, which looks like Poussin’s studies of
this type made in the late 1630’s, to which period the drawing on the recto no doubt also belongs.

VENUS AND MARS

—— Private Collection — 0.450 * 0.350 — Pen and bistre — Coll.: Rouart; sold Paris, 16 ff-xii.1912, lot 269;
anonymous sale, Paris, 30.v.1951, lot 2; Lerolle.
Version of the painting wrongly ascribed to Poussin in the Louvre (cf. Grautoff, II, p. 276; Blunt, Critical
Catalogue, R 104), in reverse and enlarged at the top to roughly double the height of the painting.

VENUS AND MARS

See Vol. II, p. 30, No. 206.
The number of the Louvre drawing is R F 5893, not RF 4893.

VENUS AND ADONIS

See Vol. II, p. 31.
The Smith College painting has now been sold; neither it nor the Cook picture is by Poussin (cf.
Blunt, Critical Catalogue, R 107).
The painting formerly in Lord Carrington’s collection is now in the Rhode Island School of
Design, Providence (cf. Blunt, of. cit., no. 185).
The painting in Florence is by a poor imitator.
B 55. Louvre 27665 — 0.353 X 0.458 — Pen and bistre wash. Plate 319
In the Louvre this drawing is classified among the works of Lebrun, but it is certainly not connected
with him and seems to be by a fairly close imitator of Poussin.
—— Chicago, Art Institute 22.3036.
Copy of the painting.
The drawings at Diisseldorf are Nos. 704, 705, and 706.

109
 VENUS AND AENEAS
Poussin painted this subject twice; the earlier version, probably executed in about 1636, is now
in Toronto (cf. Blunt, Critical Catalogue, no. 190), and the later, painted for Stella in 1639, is at
Rouen (cf. Grautoff 67; Blunt, op. ci#., no. 191).
No original drawings survive for either painting, but two copies related to the later version are
known.

Plate 317 A179. Private Collection — 0.260 x 0.375 — Pen and bistre wash — Coll.: Bates; Alister Mathews,
1960.
The drawing shows variations from the painting, but so slight that it is impossible to say whether
it is an accurate copy of a lost preparatory drawing or a slightly inaccurate copy of the painting.
—— Private Collection — 0.495 x 0.515 — Coll.: Marignane.
A large drawing, apparently on the scale of the original, exactly following the group of Venus and her three
accompanying putti.

VENUS SURPRISED BY SATYRS

pcenvOly LL pp. 32 &
The Thalberg painting is certainly a copy. The better version in the Kunsthaus, Ziirich, was shown
in the Louvre exhibition, 1960 (no. 34), but is probably by an imitator near Testa. The National
Gallery painting is a later variant (Peighteenth century) of the Ziirich composition. For all three
paintings see Blunt, Cretical Catalogue, R 113.
—— Louvre 32566.
A copy after the Kunsthaus picture.

VENUS AT THE FOUNTAIN

Been or llap..33, No.212.
Ci RaW. Wallace, GBA, 1960, (1, pp. 11 ff.
In Vol. III this drawing was said to be datable after 1662 on a false interpretation of the letter
on the verso. In fact the letter is addressed to Poussin and not to Lebrun and is dated 1657, which
is no doubt also the date of the drawing. A painting based on this drawing, in a private collection,
Paris, is perhaps by Antoine Bouzonnet Stella.

PUTITI CHASING A HARE

Plate 313 439. Rotterdam, Museum Boymans-van Beuningen F173 -0.077 x 0.086-—Pen and bistre
wash — Inscribed: Poussin —Coll.: F. Reynaud (cf. Lugt Supplement 1042); Koenigs.
Lit.: Blunt, Burl. Mag., C, 1958, pp. 82 (repr.), 85 note 63.
In the Burlington article quoted the subject of the drawing was rightly identified, but it was
wrongly associated with the Venus and Adonis in the Rhode Island School of Design, in which the
same motive appears. In fact the style indicates a much later date, and the drawing is a fragment
of a study for the Venus at the Fountain.

110
THE TOILET OF VENUS
—— Besancon 1172.
Not by Poussin.

CEPHALUS AND AURORA

A 180. Hermitage 5143 -0.220 x 0.280-—Pen and bistre wash
—Inscribed: Poussin, and at the Plate 317
top: C.
The scene shows agoddess carrying off a young hunter, whose spear, dog, and hunting horn appeat
at the bottom of the drawing. This seems to indicate either Venus and Adonis or Aurora and
Cephalus. The reluctance of the youth points to the latter pair, and the fact that the chariot is
drawn by horses rules out Venus as the goddess. The drawing seems to be a copy of a lost original
of about 1630.

THE KINGDOM OF FLORA

pee V Ol, pp: 345i:
The Dresden painting (cf. Blunt, Critical Catalogue, no. 155) can now be certainly dated to 1630-31.
The Windsor drawing (No. 214), however, probably dates from slightly earlier.

440. Cambridge, Fitzwilliam Museum 3097, verso. Plate 293

Recto: See Vol. IU, p. 22, No. 184.
For other drawings on the verso see above, p. 75, No. 395.
The upper half of this sheet contains a rough sketch of the legs of Ajax — cut off just above the
knees — and of his shield. The rest of the sketch is impossible to decipher. The drawing must
belong to an early stage in the evolution of the design, because the pose of the legs corresponds
to the Windsor drawing (No. 214), but was completely changed in the painting.

441. Windsor 8237 verso — Black chalk.

Recto: See above, p. 26, No. 292.
A drawing, too faint to reproduce, of parts of the figures of Crocus and Smilax in the lower right-
hand corner of the composition.

GALATEA AND ACIS

Deca ole til, p. 36-4.
The Chantilly drawing was in the Mariette sale, Paris 3.ii. (or 8.iv.) 1777, lot 1327. It is shown in a
sketch by Gabriel de Saint-Aubin in his copy of the catalogue in the Fogg Museum.

HERCULES AND DEIANIRA

See Vol. IIT; p. 39.
The drawing at Windsor, No. 220, is probably an early copy by the same hand as No. 434 (see
above, p. 105).
Lit
 HERCULES SHOOTING AT THE STYMPHALIAN BIRDS
Plate 314 442. Hermitage 5152 verso— Pen and bistre wash.
Recto: Vol. I, p. 28, No. 54.
Lit.: Kamenskaya, ‘Some Unpublished Drawings of Poussin and his Studio in the Hermitage’, Master
Drawings, V, 1967, p. 391.

The recto can be dated c. 1649-50, which is no doubt also the date of the verso. It is therefore
probably not connected with the decoration of the Long Gallery, in which in any case the panel
illustrating this subject was to be circular and quite different in design (cf. Vol. IV, p. 19, No. Ag5).
It may not even represent Hercules, but simply a man shooting birds. It is worth noticing that
the man is not wearing a lion’s skin, but this is also true of some of the Long Gallery drawings.

GACUS» 51.HALING THE CATTLE, OF HERCULES

—-— Besancon 1236.
Probably French, late seventeenth century.

PoE DEATH OP SIRPOLY TUS

Sec, V oll. 54395, Now 222:
Plate 314 443. New York, Pierpont Morgan Library I 267 verso.
certo: sce VOlnlil yp. 30, Nozz22.
The drawing, which comes from the J. C. Robinson collection, has recently been lifted from its
mount and the verso shows a rapid sketch for the same subject as the recto. In this version, however,
Poussin has chosen a different moment. Hippolytus lies dead beside the chariot, while a man,
presumably Theseus, stands over him with his arms outstretched in a gesture of anguish. On the
right stands a second figure, who takes something from an attendant with his left hand and with
his right touches the dead Hippolytus, apparently with a rod, round which is entwined a snake.
This is presumably Aesculapius, who, at the plea of Theseus, brought his son back to life. For a
discussion of the reason for Poussin’s interest in this theme, cf. Blunt, 1967, pp. 133 ff.
The chariot and the figure of the dead Hippolytus are taken over almost exactly from the drawing
on the recto.
H. Bourdon (“Poussin et la littérature latine’, Actes, 1960, I, p. 127) suggests that Poussin’s design
was based on an engraving by Crispin de Passe (which he illustrates as fig. 95), but the comparison
seems somewhat far-fetched.

THE BIRTH OF CASTOR, POLLUX, HELEN AND CLYTEMNESTRA

Plate 319 B56. Bayonne N.I. 54 (1680) —0.130 X 0.270— Pen and bistre wash
— Coll.: His de la Salle;
Bonnat.
This drawing is made up from elements taken from ancient sarcophagus reliefs. The left-hand part
is probably based on a sarcophagus representing the Judgement of Paris, and the right-hand part
from a Phaedra or a Meleager sarcophagus.

112
MELEAGER AND ATALANTA HUNTING
—= Louvte 32485, 32525.
Copies after the Prado painting.
—— Frankfort, Staedel 1150.
A copy after the Prado painting attributed to F. Chauveau, who may have made the anonymous engraving
after it, known from a single copy in the Albertina.

THE JUDGEMENT OF JUPITER

—— Besancon 2682.
Not by Poussin.

PARIS AND OENONE

See Vol. Il, p. 40:
In Vol. Lit was suggested that the Stockholm drawing (B 25) might be by Blanchard, but R. Cocke
has convincingly attributed it to Pier Francesco Mola (cf. ‘Mola’, Joc. cit., p. 712).

PERSEUS (THE ORIGIN OF CORAL)

Seca Vol iL pps4iee
—— Louvre 01925.
Copy after the Windsor drawing (A 66).
—~— E. B. Crocker Art Gallery, Sacramento, California.
A highly finished drawing based on No. 224, probably by Bourdon, who made a painting, now in Munich,
which corresponds closely with this drawing (cf. Vol. III, Fig. 19).

THESEUS ABANDONING ARIADNE

sec Vol. IIL, 5.43.
4434. Uffizi 5740 S—0.143 X 0.196- Pen and bistre wash. Plate 3144
In Vol. III the British Museum drawing (A 67) was published as a copy of a lost original by Poussin
and this original has since been identified by Pierre Rosenberg (Mostra, p. 9, no. 9) as the drawing
in the Uffizi, previously ascribed to Testa (cf. Marabottini, Commentari, V, 1954, nO. 3, 195, p. 243).
The dating to the late twenties proposed on the basis of the copy is confirmed by the style of the
original.

APOLLO GUARDING THE HERDS OF ADMETUS

SecavVol Ul. po.
A181. Louvre R. FP. 1163 recto. Plate 320
Verso: See Vol. Il, p..15, No. A 33.
Lit.: Blunt, Poussin, 1967, pp. 337f.
For other drawings on the recto see Vol. I, p. 4, No. A 1 and below, p. 114, A 182.
The bottom part of the sheet contains a series of details apparently after a lost drawing by Poussin.
Several of them follow exactly the description of a painting in Sannazaro’s Arcadia (ed. Scherillo,
Turin 1888, pp. 36 ff.): the bulls butting, the shepherd asleep, Paris cutting the name of Oenone
on a tree, and the head crowned with a wreath (if, as seems likely, it represents Apollo). These
13
 details are so unusual and correspond so closely to Sannazaro’s description that Poussin must have
planned to illustrate his text.

NYMPHS SPIED ON BY SHEPHERDS

—— Hermitage (no number) — Coll.: Paul I.

Lit.: Kamenskaya, ‘Further Remarks on Poussin Drawings in the Hermitage’, Master Drawings, VU, 1969,
px 425.
A copy of No. 178 (Vol. II, p. 20), squared.

SACRIFICE TO PRIAPUS
mee VOLSUT, -p.742.
Plate 320 melee. Louvtech....1163,. 77/0.
1
erro -ecer Vol. 6. 15, No. iA 33%
Lit.: Blunt, Revue des Arts, X, 1960, pp. 60 ff.

For other drawings on the recto see Vol. I, p. 4, No. A 1, and above, p. 113, No. A 18t.
The drawing shows various figures with legends in French attached as follows, from left to right:
the statue of the god; figure carrying a wine jar (viv); figure carrying a sprig of vine (wargotte
de vigne); figure pulling a goat (owe); figure carrying a basket (coffre plain de figue); figure carrying
the phallus (#embre viril); and across the top is the inscription: tout ce que lon portoit antiquement aux
baccanales et... ples. The drawing and the inscriptions are both directly based on the description
of a ceremony in honour of Priapus given by Cartari (ed. Venice, 1587, p. 341).
—— Museu de Belas Artes, Lisbon.
Copy after the Sao Paulo painting (cf. Blunt, Critical Catalogue, no. 176) by Manuel de la Cruz.
The Louvre drawing mentioned in Vol. ITI (p. 42) in fact represents the rites of Mutinus, not Priapus.

ANCIENT EROTIC CEREMONY

Plate 319 B 57. Windsor 11974 — 0.203 X 0.276 — Pen and bistre with yellow wash — Coll.: Massimi (cata-
logue no. 15, “Sacrificio di Priapo’’).
Lit.: Woodward, Fine Arts Quarterly Review, I, 1863, p. 270; Friedlaender, Bur]. Mag., 1929, LIV, p. 253;
Blunt, 1945, no. 268.

On the left Venus and Cupid seated on a dolphin; in the centre a bride and bridegroom stand
beside a pagan altar, while to the right an aged couple hold a thurible. The drawing is made as if
it represented a fragment of an ancient relief, but appears to be a pastiche.
The status of this drawing is difficult to determine. It is in many ways rather weak, but this might
be accounted for by the fact that the artist was doing a rather unusual and perhaps uncongenial
type of drawing.The heads of the figures are very like those in Poussin’s drawings of about 1637,
and on balance it seems likely that the drawing is an original of this period. Its provenance from
the Massimi volume is an argument in favour of this view.

114
TWO GIRLS ACCOMPANIED BY CUPID
444, Sir Anthony Blunt, London - 0.144 x 0.120—Pen and bistre wash over black chalk — Coll. Plate 315
Lord Milford; given to the present owner by his descendant Sir John Philipps.
The subject is not clear, butitseems to be a bride led to the bridegroom by a putto and an attend-
ant, while above Cupid urges her on. It may be part of a scene such as those shown in Nos. A 61
(Vol. IIT, p. 36) or 181 and 182 (Vol. IH, p. 21). The latter may represent Bacchus and Ariadne
or simply a classical marriage-scene on the lines of the A/dobrandini Wedding. The drawing has
many features in common with the Marino series and must date from the first years in Rome.

TWO NYMPHS WITH WATER-POTS

445. Rome, Gabinetto Nazionale F.C. 129844- 0.094 X 0.145— Pen and bistre— Numbered: 27. Plate 315
An original drawing, apparently of the 1640’s, but not connected with any known composition.

A 183. Louvre R.F.1168 recto — Pen and bistre — Coll.: Gatteaux. Plate 320

The two top drawings on this sheet are exact copies of No. 445. A nymph, at the left of the
second row, may be a study for a composition of the same type. The seated figure in the middle
of the row is for the Apollo in the Louvre Apollo and Daphne.
The woman on the right of this row is like those in the Louvre Rebecca.
The bottom row contains two drawings: one of a child’s chariot filled with Bacchic instruments
(perhaps connected with the Children’s Bacchanal; cf. Blunt, Critical Catalogue, no. 192), the othet
the end of a bed.

BAGCHIC SUBJECT
446. Budapest, National Museum 2880-0.181 X 0.328— Pen and bistre with grey wash. Plate 316

Lit.: Vitzthum, Art de France, Il, 1962, p. 265.

This drawing, which was discovered by Dr. Walter Vitzthum, is identical in style, technique, and
format with the Marino drawings. It must, like them, date from 1623-1624.
The subject has so far defied identification. On the left a lusty satyr holds a bunch of grapes
before a youthful figure, who appears to be Bacchus, while a nymph stands behind them carrying
a branch of vine. In the middle of the foreground lies a figure leaning on a water-pot. Above an
old woman teproves a girl. Next to her are two standing soldiers and a reclining girl. In the right
foreground, forming a group balancing that of Bacchus and his attendants, are two men in armour
holding a laurel-crown over a seated figure, who turns to look up at them. Behind them is a
piece of garden architecture composed of niches separated by Atlantes.

SCENE OF INCANTATION
447. Munich, Staatliche Graphische Sammlung 3161 — 0.178 X 0.267 — Pen and bistre ink, with Plate 316
gtey wash. This drawing is closely connected with the Budapest drawing (No. 446) in size, tech-
nique, style, and obscurity of subject. On the left are three standing male figures, probably all
statues, though the one furthest away does not stand on a plinth. Near them stand three putti
carrying torches. In front of the statues are three women, two kneeling in adoration, one standing
115
 and pointing downwards with a wand. In front of this group are three vases, from the middle one
of which flames emerge.
The subject cannot at present be identified, but it seems to represent a sorceress bringing to life
one or perhaps all of the statues. The torches suggest an allusion to marriage.
Dr. Vitzthum suggested that the Budapest drawing might have been made for Marino, and the
same is probably true of the Munich sheet, though so far no scenes have been found in his work
which correspond to either drawing. The style indicates very strongly that they were executed
in Paris, perhaps even before the Marino drawings at Windsor, which are more skilful in drawing
and more vigorous in their dramatic qualities. It is therefore possible that they may illustrate
themes from the work of a contemporary French writer.

SCENES OF SACRIFICE AND INCANTATION

Plate 3144 A 184. Cambridge, Fitzwilliam Museum 2986 - 0.157 X 0.254 — Black chalk and bistre wash —
Given by A. A. Vansittart, 1882.

A 185. Besancon 1245 — Black chalk and bistre wash.

The Besancon drawing was unfortunately identified too late to be reproduced here, but it clearly
belongs to the same series as the Cambridge sheet. Both are in the unusual technique of bistre wash
over black chalk, and both have two arches drawn at the bottom of the sheet, indicating that the
drawings must have been designs for decorations to be executed on a wall over an arcade.
The Cambridge drawing repeats almost exactly the group of three women from the Munich
composition (No. 447), but the rest of the scene is different. The statues on the left are replaced
by an urn, which is being draped with laurel-bands by three putti. A single flaming vase, like that
in the Munich drawing, stands in front of the urn.
The Besangon drawing shows a priestess pouring an oblation over a fire burning on an altar,
round which stand a boy and two winged putti, one of whom carries a basket of fruit. To the
right a girl, helped by a putto, hangs a laurel-band round a tripod. In front of this group is a putto,
apparently carrying a torch.
The style of the drawings suggests the hand of a French artist of about the middle of the century
and bears some resemblance to the manner of Le Sueur. Since the Budapest drawing was almost
certainly made in Paris, it is possible that it remained there and could have been used by a French
imitator as the basis for a scheme of decoration, in which case the Besangon drawing may record
another composition made by Poussin at the same time. Such a proceeding is not entirely without
parallel, because two of the panels illustrating the story of Hercules in the ceiling of the gallery
in the chateau of Tanlay are based on Poussin’s drawings for the Long Gallery.

THREE DANCING SATYRS

see Vol IIL p. 44.
The Windsor drawing (A 68) is based on an ancient gem once in the collection of Pietro Stefanoni,
and illustrates a passage in the Georgics, where Virgil describes a rustic dance, which consisted
of jumping on a goat-skin made slippery by being covered with oil (cf. Blunt, Burl. Mag., CII,
1960, p. 402). The drawing was catalogued in Vol. III as studio work, but it is certainly a rather
unusually finished original, dating from the mid-thirties.

116
FIVE NAIADS
See Vol. III, p. 44, No. 234.
This drawing was bought by the Fogg Museum in 1968.
It bears the collector’s mark of Deglatigny. It is almost certainly a study for the Birth of Bacchus,
also in the Fogg Museum (cf. Blunt, Critical Catalogue, no. 132).

NYMPH MOUNTING A GOAT

sce Vole ill p. 44.
The Chantilly drawing is No. 179, not 189.

A WARRIOR BEING ARMED

—— Rome, Gabinetto Nazionale F.C. 127430 — 0.142 X 0.142 — Black chalk and grey bistre wash.
The drawing is in many ways like Poussin’s wash drawings, but the colour of the wash and the steep perspec-
tive of the architectural background are unlike his style. The drawing is probably by a French contemporary,
such as Jacques Blanchard. It may possibly be the drawing described as ‘“Vénus qui arme Marts” in the inven-
tory of the Valtelle collection, made in 1720 (cf. Boyer, GBA, 1965, I, p. 102).

SHEPHERDS PRESENTING OFFERINGS

sec ¥ Ole LI. 45, No. B26.
This drawing was catalogued as by an imitator, perhaps by Jacques Blanchard, but it is almost
certainly by Poussin himself.
—— Louvre 32478.
An exact copy of the Chantilly drawing. The number appears to correspond to those on the Crozat series,
and the drawing may come from his collection.

CUPIDS SHOOTING AT A TARGET

448. Hermitage 5145 — 0.190 X 0.260 — Pen and bistre wash- Inscribed: Poussin. Plate 315

In the background is a circular temple with, on the top, a figure apparently of Venus. The idea
of the drawing is taken directly from Titian’s Feast of Venus, which Poussin studied in his first
yeats in Rome. This drawing may be a very skilful early copy.

PUTT PLAYING WITH A GOAT

B 58. Munich, Staatliche Graphische Sammlung 3152 — 0.305 X 0.277 — Chalk. Plate 318
Perhaps by an imitator such as Chapron.

CHILDREN PLAYING
Sec. Voln lip. 46.
449. Venice, Accademia 779-—0.090 X 0.170- Black chalk—Inscribed: N¢ccolo Possino and Plate 315
numbered: 88.
Cortesponds closely to the drawing in the Gabinetto Nazionale, Rome (cf. Vol. III, p. 46, No. 237),
except that it shows on the left two figures, one of whom points to the children. These figures

TF
 appear in a painting formerly with G. Morant, London, which follows the Venice drawing,
except that it omits the Bacchic sésta.
The same subject, treated slightly differently, appears under the title of Le Masque in Jacques
Stella’s Les Jeux et Plaisirs de ’Enfance, engraved by Claudine Stella in 1657. This was the year of
Jacques Stella’s death, and also the year when his nephew, Antoine Bouzonnet Stella, went to
Rome and was kindly received by Poussin. The Morant painting is probably by the nephew, who
may have been shown the drawings by Poussin and encouraged to make use of them. A similar
case occurs over the drawing of Venus at the Fountain (cf. Vol. III, p. 33, No. 212), which ts datable
to 1657 (cf. above, p. 110), and after which a painting, probably also by Antoine Bouzonnet
Stella, is known.

Plate 318 A 186. Venice, Accademia 777 -—0.135 X 0.200-Pen and bistre-Inscribed on the mount:
NN. Possino.
The putto with the satyr’s mask and the one riding the goat are to be seen in one of the Children’s
Bacchanals in the Incisa della Rocchetta collection (cf. Blunt, Critical Catalogue, no. 192), but
the actual theme of the drawing is different from that of the painting, since it shows the putto
on the goat tilting at a shield held by two others. The present drawing is presumably a copy of an
original of the same period as the Incisa painting, that is to say, c. 1625-26.

UNIDENTIFIED SUBJECT
450. Orléans, Musée des Beaux-Arts Altan 1, no. 108 —0.109 x 0.126— The top right-hand
corner cut off— Pen and bistre— Coll.: Fourché.
This slight but beautiful sketch was discovered by Ann Sutherland-Harris among the anonymous
Italian drawings. It is difficult to read in parts, but shows on the left a nude woman seated in front
of a tree beside a water-pot, with her left arm resting on her bent knee. Another naked figure,
probably also a woman, seems to be combing the hair of the seated woman. The drawing probably
dates from the later thirties, or possibly the early 1640's.

The following drawings of mythological subjects are wrongly attributed to Poussin:

THE, GODS OF OLYMPUS
—— Besancon 1181.
The figures include Bacchus, Juno, Neptune, and three unidentified goddesses.
—— Paris, Ecole des Beaux-Arts 1441 (2869).
MINERVA, JUNO AND VENUS
—— Rotterdam, Museum Boymans-van Beuningen FI 72.
BACCHUS AND ARIADNE
—— Vienna, Albertina 11426. Bacchus swearing an oath offidelity to Ariadne before a herm.
French, late seventeenth century.
—-— British Museum, Sloane 5214-256.
Copy, with small variations, of the painting in the Prado (cf. Blunt, Critical Catalogue, R 66), which is wrongly
attributed to Poussin.
BACCHUS AND MIDAS
—— Besancon 2617.

118
Apparently connected with a painting formerly in the Yarborough collection (sold Christie, 12.vii.1929,
lot 29). There attributed to Dufresnoy. In fact, however, both painting and drawing may be by Chapron.

DIANA AND ACTAEON

—-— Vienna, Albertina 11420-11422.
Three studies for details of a composition of this subject. By a French academician of the late seventeenth
century, such as Noél Coypel.
DIANA AND ENDYMION
—— Venice, Accademia 427 - Inscribed: Nicol Possino qdo era pin giovane.
Lit.: Serge Ernst, BSHAF, 1939, pp. 216, 220 (rept.).
Probably Italian.
—— Paris, Ecole des Beaux-Arts, Masson 1124.

TOILET OF VENUS(?)
—-— Rotterdam, Museum Boymans-van Beuningen FI 75.
By a feeble French imitator.

VENUS AND ADONIS

— — Rotterdam, Museum Boymans-van Beuningen FI 231.
Near Blanchard.
VENUS AND CUPIDS
—— Rome, Gabinetto Nazionale F.C. 127424.
Pastiche after the Dresden Venus and Shepherds by a French imitator.
ATALANTA
—— Darmstadt AE 2553.
By a contemporary of Poussin; close in technique to Jacques Blanchard.

CEPHALUS FINDING THE WOUNDED PROCRIS

—— Besancon 1166.
Probably French, seventeenth century.

DIDO AND AENEAS HUNTING

—— Besangon 1183.
Related to the Hunt painting in the Prado (cf. Blunt, Critical Catalogue, no. 163), but by a French imitator.

FLORA
—— Besancon 2683.
Probably by Jan de Bisschop.

THE RAPE OF GANYMEDE

—— Besancon 1186.

THE MARRIAGE OF HERCULES AND HEBE

—— Chantilly 237 verso — Cf. Malo 50.
Recto: See p. 121.
By a French imitator.

THE RAPE OF ORITHYIA

—— Besangon 1174.
This and Besancon 1186 above have been identified by R. Cocke as studies by Mola for the frescoes at
Valmontone (cf. Cocke, ‘Mola’s Designs for the Stanza dell’Aria at Valmontone’, Burl. Mag., CX, 1968,
pp. 558 ff.).
+19
PAN WITH A NYMPH LEANING ON A HERM
— — Bayonne N.I. 66 recto.
Verso See Pe JT.
By the same hand as the Cambridge Group of Worshipping Figures (cf. above, p. 71).
PAN AND SYRINX
—- Paris, Ecole des Beaux-Arts 1446 (34.874).
Not by Poussin.
TIRESIAS AND THE SNAKES
~- Paris, Ecole des Beaux-Arts 1437 (34800).
Probably French, seventeenth century.
SATYRS WITH WINE JARS
—— Naples, provisional number 16.
By a Roman contemporary of Poussin.
A NAKED WOMAN FAINTING AND SUPPORTED BY TWO CUPIDS (?CALLISTO)
—— Uffizi 6120 F.

A SACRIFICE
—— Lille 1612.
Probably Italian, seventeenth century.
NYMPHS AND SHEPHERDS DANCING
—— British Museum 1946-7-13-1148.
Probably by the same hand as Christ Healing the Blind in the Rijksmuseum, Amsterdam (cf. above, p. 77).
SATYRS DANCING
_— Uffizi 887 E.
NYMPHS AND SATYRS
—— Chantilly 182 recto — Cf. Malo 81.
SATYR, PUTTI AND GOAT
—— Uffizi 8097 S.

PROCESSION OF PUTTI WITH A GOAT

—— Uffizi 902 E.
Though weak this drawing may possibly be a very early original.
NYMPHS AND PUTTI GATHERING FLOWERS
—— Uffizi 8099 S.

NYMPHS WITH A RIVER-GOD

—— British Museum 1910-2-12-5 — Coll.: Reynolds.

PUTIWITH-A GOAT
—-— British Museum Pp. 4.74 — Coll.: Payne Knight.

STUDIES OF A FLYING PUTTO

—— Besangon 1193.
Not exactly traceable in any surviving composition; very near to Poussin’s putti in general character, but
unlike him in technique and in the pose with the sharply foreshortened leg. Probably by a close imitator.

a PUTTO: OFFERING: A BASKET OF FRUIT. TO:A> DEITY

—— Chantilly 179 verso.
Perhaps Italian, seventeenth century.

120
WOMAN AND PUTTO
—— Paris, Ecole des Beaux-Arts Masson 1125.
Tord bgB®)
—— Uffizi 6123 F.
Reminiscent of Mola, but possibly an original by Poussin himself.
—— Albertina 11429.
Closely related to figures appearing in Bacchanals by Poussin, but probably by Mola.
PULIE WIth SULTERELY
—— British Museum (Cracherode Ff. 2.164).
Perhaps by Andrea Podesta or an artist working close to him.
TWO PUTTI, ONE CROWNED WITH VINE-LEAVES
— — British Museum 1952-1-21-35 — Coll.: James Cavendish.
Verso: Two heads.
CUPID WITH FIVE FEMALE FIGURES (?MUSES)
—— Chantilly 237 recto — Cf. Malo 49.
By the same hand as the verso (cf. p. 119).
STUDIES OF CENTAURS
—— British Museum 1895-9-15-926 verso.
Recto: See IV, p. 56, No. B 35.
By the same hand as the rec/o.
THREE UNIDENTIFIED SUBJECTS
See Vol. III, p. 47.
It was suggested in Vol. III that these sketches might represent the death of Orpheus, but in fact they show
St. Denis Terrifying his Exxecutioners (cf. above, p. 88).

DRAWINGS FOR THE LONG GALLERY OF THE LOUVRE

bec VOl.1V, pp. 11-f1.
HERCULES AND THE NEMEAN LION
A finished drawing exactly after the engraving by Pesne is in an Austrian private collection. In
A 87 and A 88 Poussin seems to have made use of three chiaroscuro engravings, said to be after
Raphael, by Ugolino da Carpi (cf. Bartsch, XH, p. 119, no. 15), Giuseppe Vicentino (zbid., no. 17)
and an anonymous engraver (cbid., p. 120, no. 18).

HERCULES TAKING VENGEANCE ON LINUS

A drawing almost identical with No. A 80, but much more finished, was recently with L. Gold-
schmidt, New York.

DECORATIVE PANEL
A 187. Albertina 11693 — 0.553 X 0.311 — Pen and brown ink with water-colout. Plate 321

Lit.: D. Wild, ‘Nicolas Poussin et la décoration de la Grande Galerie du Louvre’, Revue du Lowre, XV1, 1966,
Pp. 77 ft.
An important drawing which suggests that the decoration of the vault in the Long Gallery was
in colour and not in grisaille as is usually supposed.

TA
 DECORATIVE DRAWINGS

DESIGN FOR A TROPHY

See: Voli pn 25,.N0.°245,
This drawing is in pen and bistre, with bistre and grey wash. It was in the Reiset collection.

TROPHY AND CIRCULAR RELIEF UNDER AN ARCH

Plate 321 451. Hermitage 5144 -—0.190 X 0.113 — Pen and bistre wash - Inscribed: Poussin.
Lit.: Kamenskaya, art. cit., Master Drawings, VII, 1969, p. 426.
This drawing is a decorative fantasy based, for the upper part, on the so-called Trophies of Marius.
The scene in the roundel below cannot be identified. The purpose of the decoration is unknown,
but it is conceivable that it may have been made at the time Poussin was working on the decoration
of the Long Gallery.

DESIGN FOR A CEILING

Plate 3204 452. Devonshire Collection, Chatsworth — 0.124 xX 0.084— Pen and bistre wash — Inscribed on
the mount in the hand of the younger Richardson: Le Poussin apresso Pantico — Coll.: Tal-
man (?); Richardson the Younger.
In spite of Richardson’s note, the drawing is certainly not after the Antique. It represents the
decoration of a corner of a coved ceiling and a mask, both of which appear on No. A 152 (see above,
p. 50). The top part of this drawing was also discussed in Vol. IV under No. A 124, but at that
time it was not realized that the mask belonged to the ceiling design. The mask on A 152 seems
to be exactly copied from No. 452, and is cut off at precisely the same point; but the design for
the ceiling as a whole must be taken from a more complete original, now lost, since it shows not
only the corner but half of one side of the cove.
The only time when Poussin is recorded as having made designs for decorations was during the
Paris visit, when Chantelou asked his advice about a cabinet in de Noyers’ house (cf. Correspondance,
p. 89).

A SNAKE IN A ROUNDEL
453. Louvre 34521— 0.268 < 0.196— Pen and dark bistre-Coll.: Calando; acquired 1970.
Verso: A series of tiny figure sketches, difficult to read, possibly connected with the Labours
of Hercules — Pen and black chalk.
A design for a decorative panel, showing a snake curled up within a roundel. Possibly connected
with the decoration of the Long Gallery.

DECORATIVE PANEL WITH A SEA-HORSE

454. Louvre 34520-0.102 X 0.198—Pen and dark bistre, and black chalk —Coll.: Gigou;
Calando; acquired 1970.

122
Parts of this drawing are in a style slightly unusual for Poussin and more reminiscent of a follower
of Polidoro da Caravaggio, but certain sections, particularly the forelegs of the horse, can hardly
be by anyone except Poussin.

DECORATIVE DESIGNS
—— Albertina 13434.
An exact copy of No. 247 (cf. Vol. IV, p. 25).
DESIGNS FOR VASES
— — Turin 16307.
Three drawings of vases, apparently all under the same inventory number. Certainly Italian, and perhaps
late seventeenth or early eighteenth century.

DESIGNS FOR A CEILING DECORATION

—— Turin 16303.
A design for the coved ceiling of an octagonal room, with four long and four short sides. It shows oval
panels on the long sides and upright panels on the short sides, each containing a classical subject. The
drawing is certainly French, since it includes very clear elements of Fontainebleau strap-work, and the
drawing of the figures is somewhat Poussinesque. It is probably by a classical decorator of about 1650, such
as Charles Errard.

ILLUSTRATION TO LEONARDO’S TREATISE

See Vol. IV, pp. 26 ff.

In Vol. IV (p. 28) it was stated that the series of drawings in the Hermitage was incomplete,
but this is not correct (cf. Kamenskaya, ‘Some Unpublished Drawings of Poussin and his Studio
in the Hermitage’, Master Drawings, V, 1967, p. 390).

LANDSCAPE DRAWINGS

In the section of Vol. IV dealing with landscape drawings Dr. Shearman and I attempted to
establish a group of works which could be attributed to Poussin either because they were related to
known paintings or because they corresponded so closely in style to accepted drawings that they
could reasonably be included in the canon. Careful examination of the very large number of
landscape drawings attributed to the artist led us to the conclusion that a large number of them,
though of very high quality, did not fall into the above categories. Dr. Shearman was able to
show — to my satisfaction at least — that a considerable group of them should be ascribed to Gaspard
Dughet, and we accordingly divided the catalogue into four sections: drawings by Poussin,
drawings directly connected with him, i.e. either copies or drawings by very close imitators
(these were given A numbers), a few that were more remotely connected (the B series), and finally
a group of about forty drawings which were classified as by Dughet (with G numbers).
We were fully aware that this division ran counter to the views of previous students of Poussin’s
drawings and in the event the catalogue aroused criticism first from E. Knab in his catalogue of
the exhibition “Claude Lorrain und die Meister der roémischen Landschaft des XVII. Jahr-

123
hunderts”, held in the Albertina in 1964, and later from Marco Chiarini in a review of our catalogue
in Paragone for September 1965 (XVI, no. 187, pp. 66 ff.).
Knab did not discuss the problems involved in detail but stated that in his view many of the
drawings which we had rejected and ascribed to Dughet were in fact by Poussin and that the
othets were not all by the same hand. Chiarini followed the same lines, but he went into the matter
in rather greater detail. He maintained that many of the drawings which we had rejected wete too
good to be by Dughet and were not like his paintings. To the second point it would be possible
to reply that they look even less like Poussin’s paintings, but that they are often very close in
style to Gaspatd’s etchings; and on the first point it could be said that Dughet was a better artist
than was realized in the nineteenth and early twentieth centuries — indeed further study of his work
since Chiatini wrote in 1965 has emphasized his importance as an original artist. Chiarini rightly
stressed the fact that many of these drawings came from the Crozat and Mariette collections, a
point which we had very much borne in mind. But a provenance from the Crozat collection,
though an important element in the argument, is not proof of authenticity, for the Crozat collection
contained a large number of figure drawings attributed to Poussin — mostly now in Stockholm —
which have been rejected by all modern scholars; and Mariette himself noted in his copy of the
Crozat catalogue (which he himself wrote) that a number of landscape drawings attributed to
Poussin were in fact by Dughet.
Chiarini further complains that in the discussion of the group of drawings which we attributed
to Dughet Dr. Shearman did not take into account all the drawings generally accepted as being
from his hand. This is true, but does not affect the argument. It would have served no purpose
to have discussed, for instance, the black chalk drawings in Diisseldorf, which bear no resemblance
to those in question. The basis of the argument was to try to show that there were drawings signed
by Dughet or generally accepted as being by him which were sufficiently like those which we
rejected as not being by Poussin to justify an attribution of them to Dughet.
The second point raised by both Knab and Chiarini, that the drawings classified by us as by
Dughet are not all by the same hand, merits more careful consideration, and it may well be that
some of them ought to be eliminated from the canons of both artists. Chiarini lists under this
category G 19, 20, 21, 24, 25, 28, 30, 36-39, 41. Of these Dr. Shearman and I remain convinced
that G 19, 20, 21, 24, 25 and 38 are by Dughet, but in the case of the others Chiarini may well be
tight. As Dr. Shearman said in his text — and his phrase was quoted with approval by Chiarini —
a final decision on these questions must await a fuller study of Dughet as a whole.
The drawings which Chiarini wishes to restore to Poussin are the following: G 1-18, 22, 26, 27,
32, 34, 35, 40. Knab explicitly supports him over G 1-6, 13, 22, which were the only drawings of
this group included in his exhibition, but he also ascribed to Poussin G 24, 25, which Chiarini
tegards as being by neither Poussin nor Dughet. Chiarini accepts G 29 as being probably by Poussin
and G 23, 33, 42 as being probably by Dughet, though with varying degrees of enthusiasm.
Chiarini has also comments to make on some of the drawings not included in the “G group”.
He attributes A 141 and B 38 to Dughet, in our opinion wrongly. For the Albertina drawings listed
in our catalogue after B 4o he rejects our attribution to Dughet and believes them to be by several
different hands. For B 35 he rejects our tentative attribution to Lemaire and proposes the name of
Mola-—a puzzling attribution, since Mola hardly ever used pen alone and was not in the habit
of composing architectural fantasies.
Chiarini has a few suggestions to make about the topography of the drawings. He believes that

124
G 6 represents a view from Monte Mario and not a view of the Alban Hills as Knab suggests,
and he does not think that the drawing on the verso of No. 278 represents the Circus Maximus,
a point which is difficult to settle since the drawing is so faint that it is hard to identify it with any
known site.

MEW OPsTHE TIBER. VALLEY

455. Earl of Leicester, Holkham Hall
-0.133 x 0.259 — Pen and bistre wash. Plate 322

Lit.: Blunt, ‘Poussin and his Roman Patrons’, Walter Friedlaender zum 90. Geburtstag, Berlin, 1965, p. 64.

Formerly attributed to Claude, this drawing seems to be by Poussin and to be connected with the
two landscapes now in the National Gallery, London (cf. Blunt, Critical Catalogue, nos. 213, 214).
In technique it is close to several drawings of the forties: the Vzew of the Aventine (cf. Vol. IV,
p- 45, No.277), the Finding of Moses (cf. Vol. I, p.5, No.5), Baptism (cf. Vol. I, p.41, No. 81),
and the Arcus Argentariorum (cf. above, p. 26, No. 292). It must date from the mid-forties.
Dr. Shearman, however, does not believe that this drawing is by Poussin.

VIEW OF A CASTLE AND OTHER BUILDINGS

456. Albertina 35474-0.071 X 0.143 — Pen and bistre wash. Plate 322
Verso: Some figures in a hand which might be Poussin’s.
Lit.: Albertina Informationen, 1, i, 1968, p. 3.

A fragment probably connected with the background of a figure composition, possibly Christ
Flealing the Blind Men of Jericho (cf. Blunt, Critical Catalogue, no. 74). The style would indicate
a date in the late 1640’s.

A GROUP OF TREES
457. Uppsala, University Library — 0.254 < 0.300-Pen and bistre over black chalk — Inscribed: Plate 323
Poussin — Coll.: Possibly Claudine Bouzonnet Stella; Crozat (sale Paris, 1741, lot 979);
Tessin; almost certainly in his sale at Stockholm, 8.v.1786.
Lit.: P. Bjurstrém, ‘A Landscape Drawing by Poussin in the Uppsala University Library’, Master Drawings,
III, 1965, pp. 264 f.

As Per Bjurstrém points out, this drawing has features in common with several landscapes by
Poussin, particularly the National Gallery Landscape with a Man Killed by a Snake of 1648, which has
a similar group of trees in the background.
The Uppsala drawing is very probably the one described in the inventory of Claudine Bouzonnet
Stella as “Cinq arbres 4 la plume”. This reference was associated in Vol. [V with the famous
drawing in the Louvre (cf. p. 43, No. 271), but, as was pointed out by Pierre Rosenberg (in his
review of that volume in Master Drawings, Ill, 1965, p. 171) and Mlle. Rosaline Bacou (Le Cabinet
d’un grand amateur, P.-]. Mariette, Louvre, 1967, p. 134), this is doubtful because the Louvre
drawing has a great deal of wash. In fact, as Bjurstrém indicates (footnote 6), the Uppsala drawing
has a better claim.

125
 LANDSCAPE WITH THE BODY OF PHOCION CARRIED OUT OF ATHENS |

458. Louvre 34519 — 0.102 X 0.120— Black chalk — Coll.: Hudson, Richardson the Elder; Reynolds ;
Triqueti; Calando.
A study for the two bearers carrying the body of Phocion (cf. Blunt, Critical Catalogue, no. 173).
—— Paris, Ecole des Beaux-Arts 1452 (12101).
This drawing includes a copy of No. 458 (cf. Pl. 303, No. A 172).

LANDSCAPE WITH ST. FRANCIS

Plate 324 A 188. Cardiff, National Museum of Wales — 0.397 < 0.260 — Pen and black ink, over traces of
black chalk.
The drawing is clearly a copy after a lost original by Poussin. The general configuration of the
landscape, with the river, the town on a hill, and the cave in a rock in the middle distance, suggest
a connection with the Landscape with St. Francis (cf. Blunt, Critical Catalogue, no. 100). The original
drawing must have dated from the second half of the 1640’s.

LANDSCAPE WITH POLYPHEMUS

Plate 324 A 189. The William Hayes Ackland Memorial Art Center at the University of North Carolina,
Chapel Hill — 0.204 xX 0.271 — Pen and bistre wash and black chalk, heightened with
white — Coll.: Chevalier de Camberlyn; W. Mitchell.
The drawing is either a copy of the painting in the Hermitage (cf. Blunt, Critical Catalogue, no. 175)
or after a lost drawing for that picture. It shows the composition slightly enlarged at the sides
and at the bottom, like the painted copy in the Prado. It is just possible that the enlarged form
represents the original composition, and that the Hermitage picture was cut down when it was
made a pair to the Hercules and Cacus (cf. Blunt, op. eit., no. 158). In the painting the trees at the
sides are cut off in an unexpected manner, particularly on the right. At the bottom the tree-stump
is cut off in the middle, and the pool of water is only just visible.
—— Louvre 32552.
An exact copy after the Hermitage painting.

LANDSCAPE WITH THE SPIES BEARING THE GRAPES (AUTUMN)

A drawing of this painting for the series of the Four Seasons (cf. Blunt, Critical Catalogue, no. 5) belonged to
Seymour de Ricci and was exhibited at the Exposition rétrospective de la vigne et du vin, Pavillon de Marsan,
Louvre, 1936, no. 166. It was in black chalk and came from the collections of the younger Richardson,
Benjamin West, and Lawrence. The figures were larger in relation to the whole composition than in the
painting. My notes, made in 1936, suggest that the drawing was not an original, because the line was not
shaky. The drawing is not now traceable, and no photograph is available.

LANDSCAPE WITH ST. MATTHEW

see Vol. IV, p.i52.
This drawing was published as a copy by Dughet after Poussin’s painting, now in Berlin (cf. Schaar, [talieni-
sche Flandzeichnungen des Barock, Kunstmuseum, Diisseldorf 1964, p. 28, no. 42).

126
ORPHEUS AND EURYDICE
see Vol. TV, p. 52:
A 140. This drawing comes from the Coningham collection.

VIEW OF THE VATICAN

—— Berlin (West), Kunstbibliothek 3697 — Pen and bistre — Coll.: Dupan; H. Destailleur.
Lit.: E. Berckenhagen, Die franzésischen Zeichnungen der Kunstbibliothek Berlin, Berlin 1970, p. 62, no. 3697.
Not by Poussin, but probably Italian.

A CASTLE WITH FORTIFICATIONS

—— Nottingham, Castle Museum 91149 — 0.318 x 0.457 — Coll.: Desperet; Viscountess Galway.
Connected with the type of fortified town visible in the background of Poussin’s three versions of the story of
Camillus and the Schoolmaster of Falerii (cf. Blunt, Critical Catalogue, nos. 142, 143, and above, Vol. II, pp. 12 f.,
Nos. 123, A 30). The drawing is very near to Poussin in style, but is probably by a close follower.

TREE STUDY
pec VOL-IV, p43; No, 27%.
Mlle. R. Bacou (1967, no. 231) rightly challenges the identification of this drawing as the ‘Cing
arbres’ referred to in the inventory of Claudine Bouzonnet Stella, which is probably the Uppsala
drawing (cf. above, p. 125, No. 457).

LANDSCAPE WITH AN ARCH

peony Ol, TV,cp.44, No. 272.
Mlle. Bacou has demonstrated that this drawing represents Villeneuve-lés-Avignon and not,
as has always been supposed, the Roman Campagna (cf. Bacou, 1967, no. 253). This is important,
because it can be almost certainly dated to 1642, when Poussin is known to have passed through
Avignon. He may also have passed through the city on his way to Paris in the autumn of 1639, but
is unlikely to have had time to stop there.

OAK TREES ON A BANK

See Vol. IV, p. 64, No. G39.
The number of this drawing at Chantilly is 199, not 213.

TREES AT DUSK
see VOl.AV, p. 55.
M. Roethlisberger (Claude Lorrain. The Drawings, University of California Press, 1968, I, p. 441,
no. 1221) rejects the attribution of this drawing to Claude and, surprisingly, ascribes it to the
young Gaspard Dughet.

A BRIDGE OVER RAPIDS

See Vol. IV, p. 63, Nos. G 36, 37.
Both drawings are from the Révil Collection.
127,
 INDEXES
TO THE DRAWINGS OF NICOLAS POUSSIN, VOLS. I-V
 INDEX OF PRESENT LOCATIONS

ABBEVILLE verso Study for Snake Landscape IV,

Mus£E DES BEAUXx-ARTS p- 47, No. 283
Two Elephants V, p. 42, No. 3474 Figure of a Woman _ V, p. 54
att (1679) Interior of a Wood IV, p. 60,
AMSTERDAM
No. G7
RiyksMusEUM (Rijksprentenkabinet) The Birth of Castor and Pollux V,
46:09 recto Joseph and his Brethren V, p. 70 p. 112, No. B 56
verso Christ healing the Blind V, p. 77 4 (1013) A Sacrifice V, p. 27, No. 297
so:271 A Bacchic Procession V, p. 108 (1682) Two Reliefs V, p. 34, No. 325
§2:104 Confirmation V, p. 89 (1683) Details of Altars and Reliefs V,
§§:136 After the Antique V, p. 54 p-35,,.No. 326
60:236 recto Theseus finding the arms of his (1685) An Altar to Hercules Vv Pages
Father V, p. 90 No. 316
verso Tree Study IV, p. 54 (1688) Landscape with Rocks and Pool
64:201 Ordination I, p. 46, No. 97; V, p. 89 1Vyp. st, Nowa 137
64:202 Allegory of Justice V, p. 101, No. 430 Children playing with a Rabbit V,
A 3538 Youth offering acuptoaGirl V, p. 98 p. 61
7452 A Bearded Man and Study ofa man’s leg KH Pan with Nymph and Herm _V, pp. 71
Nop not and 120
DE VRIES SALE, 24-25. i. 1922 A Martyrdom of St. Erasmus V, p. 86
Lot 431 Aurora leaving Cephalus III, p. 35, Holy Family I, p. 26
No. A 57 Nx ou
=“ After the Antique V, p. 54
Venus landing on Cythera III, p. 29,
ANGERS
No. 205
MusEuM Two Studies of a Bacchante for the
—— The Holy Family with Putti V, p. 74 Feast ofPan Ill, p. 24, No. 191
ANTWERP Centaur carrying off a Nymph III, p.
46, No. 240
D. HertTAGHE COLLECTION
Nymph carried off bya Satyr III, p. 43,
—— The Gathering of the Manna V,p. 71
No. 228
AVIGNON Feast of Pan III, p. 23, No. 186; V,
MuséE CALVET p. 106
—— ‘The Virgin and Child appearing to a Saint recto Feast of Pan III, p. 24, No. 187;
Vipas7 V, p. 106
verso Feast of Pan and drunken Silenus
BAYONNE III, p. 42, No. 226
Mus&E BONNAT A Chariot II, p. 27
N.I. 40 (709)A sheet of Studies Vo Apel, Pyramus and Thisbe III, p. 42, No. 225
No. 345 recto Battle Scenes I, p. 19, No. 136
N.I. 41 (710) Details of Altars and Reliefs V, verso Battle Scenes II, p. 19, No. 137;
p: 35, No. Ar4s
N.I. 42 (711) Details of Sculpture V, p. 38, recto Christ healing the Blind I, p. 33,
No. 339 No. 63
N. I. 48 (1673) recto Labours of Hercules IV, verso Holy Family I, p. 27, No. 51
pez. NGI24r The Finding of Moses I, p. 6
 1689 Mercury and Argus III, p. 28 1193 Studies of a flying Putto V, p. 120
—— Mother carrying a Child and Venus and 1194-1197 After the Antique V, p. 54
Cupid V, p. 54 1199 The Tower of Babel V, p. 70
— Battle of Riders II, p. 27 1200 The Manna _V, p. 70
1201 Flight into Egypt V, p. 75
BERGUES 1202, 1205 Afterthe Antique V,p. 54
MusrEuMm 1206 Man dictating his Will V, p. 93
The Infant Pyrrhus V, p. 92, No. 4174 1207 Drunkenness of Noah _ V, p. 70
1208 Children cutting Wood V, p. 61
BERLIN (WEST) 1210 Viewin Rome IV, p. 54
KUNSTBIBLIOTHEK 1212 Laban searching for his Idols V, p. 70
3697 View of the Vatican V, p. 127 1213 Landseape “lV, ps4
KuPFERSTICHKABINETT 1214 Landscapes IV, p. 51, No. A 138
Apollo guarding the Herds of Admetus III, p. 20 1217 Afterthe Antique V,p. 54
KdZ 20887 The Victory of Joshua. V, p. 69, 1218 Landscape IV, p. 51, No. A 139
No. 389 1219 Plague at Ashdod V, p. 69
1222 The Pilgrims to Emmaus _V, p. 87
BESANGON 1225 Ceiling Decoration IV, p. 26
Musée bes Beaux-Arrs 1228 Recumbent Allegorical Figure with Putto
1158 A Priest carrying the Host V, p. 87 VEPs 162
1160 God the Father V, p. 63 1230 After'the Antique, Vyp. 54
1161 recto Minerva andthe Muses_ V, p. 98 1231 The Baptism of Christ V, p. 76
verso A sheet of Figure Studies V, p. 61 1232 Abigail V, p. 70
1162 After a Sarcophagus in the Palazzo dei 1234 Battle of Ostia V, px 54
Conservatori V, p. 49, No. A 147 1236 Cacus stealing Cattle V, p. 112
1163 Marriage V, p. 89 1237 After the Antique V,p. 54
1164 The Worship of the Golden Calf V, p. 67 1242 Bacchanal V, p. 108
1165 Landscape IV, p. 54, No. B31 1245 A Classical Sacrifice V, p. 116, No. A 185
1166 Cephalus and Procris V, p. 119 1530 Finding of Moses V, p. 64
1167 A Sick Man beforea Ruler V, p. 98 1531 Crossing of the Red Sea _ V, p. 66
1168 Rape of the Sabines V, p. 93 2617 Bacchus and Midas _ V, p. 118
1169 Mythological Scene IV, p. 54 2669 Erminia and the Shepherds V, p. 100
it7i YAfterthe Antique V; p. 54 2671 Winter IV, p. 25, No. 246
o72. doilet of Venus Vp. 111 2672 The Rape of the Sabines II, p. 10, No. 118
1173. St. Mary Magdalen V, p. 87 2673 Triumph of a Roman General V, p. 98
1174 The Rape of Orithyia V, p. 119 2676 Holy Family V, p. 74
1176 St. Mary of Egypt in the Desert(?) V, 2678 Classical Landscape IV, p. 54, No. B 32
Pp. 87 2679 Adoration of the Kings V, p. 72
1177 A Crowned Figure giving Alms_ V, p. 99 2680 Figures by a Tomb V, p. 99
1178 ABacchanal V, p. 107 2681 Christ appearing to the Magdalen V, p. 80
1179 ‘Triumph of Bacchus and Ariadne(?) IV, 2682 ‘The Judgement of Jupiter V, p. 113
p. 26 2683 Flora V, p. 119
1181 The Gods of Olympus V, p. 118 2684 Samsonand Delilah V, p. 70
1182 Virgin and Child adored by Saints V, 2685 Massacre of the Innocents V, p. 76
Pp. 87 2695 ‘The Baptism of Christ V, p. 76
1183 Dido and Aeneas hunting V, p. 119 —— Aurora leaving Cephalus III, p. 35
1184 Nurture of Jupiter V, p. 102 —— Infancy of Augustus I, p. 27
1185 After the Antique V, p. 54
1186 RapeofGanymede V, p. 119 BEZIERS
1187 Bacchic Dance V, p. 108 PRIVATE COLLECTION
1188, 1189 Afterthe Antique V,p. 54 Man wearing a Toga and Study of a Leg V, p. 30
1192 Decorative Panel IV, p. 26 Studies of Heads and Figures V, p. 51

152
BRUNSWICK, MAINE CARDIFF
BowDoIN COLLEGE NATIONAL MusEuM oF WALES
Four Figure Studies V, p. 61 Landscape with St. Francis V, p. 126, No. A 188
Rest on the Flight V, p. 75
CHALONS-SUR-MARNE
BRUSSELS
Museum
FPELDMANN COLLECTION (FORMERLY) Triumph of David V, p. 70
Massacre of the Innocents I, p. 31
CHANTILLY.
BUCHAREST
MuskE Conpi
GEORG Oprescu COLLECTION 160 (Malo 24) Abraham driving out Hagar I,
Extreme Unction V, p. 90 p- 33 V, p. 64, No. 383a
161a (Malo 12) God the Father supported by
BUDAPEST Angels “is p.g; NO.13.V, ps 63
NaTIONAL MusEum (Museum oF Fine Arts) 161b (Malo 47) Unidentified Subject I, p. 17
2880 A Bacchic Subject V, p. 115, No. 446 162 (Malo 13) Adoration of the Kings I, p.
2881 Finding of Moses I, p. 5, No. 4 20, No. 37
2886 Soldier on Horseback V, p. 38, No. 335b 163. (Malo 14) Adoration of the Kings I, p.
2902 Unidentified Subject V, p. 61 20, No. 38
3039 Martyrdom of St. Erasmus V, p. 86 164 (Malo 15) Holy Family I, p. 27, No. A 8
165 (Malo 16) Holy Family I, p. 27, No. 53
CAMBRIDGE 166 (Malo 17) Rest on the Flight I, p. 31
FrrzwILLt1aM Museum 167. (Malo 18) recfo Rest on the Flight I, p. 30,
2606 Victory of Joshua over the Amorites V, Noe 665 Vip. 75
p. 68, No. 388 verso Fragments of Ancient Mouldings V,
2986 Scenes of Sacrifice and Incantation V, P-3 1, Nou 314
p. 116, No. A 184 168 (Malo 20) Baptism of Christ I, p. 4o
recto Bacchus and Erigone III, p. 22, (Malo 19) Baptism of Christ I, p. 40, No.
oo,
No. 184; V, p. 106 75
verso Kingdom of Flora V, p. 111, No. 440 (not 171; Malo 21) Baptism of Christ I,
Massacre of the Innocents V, p. 75, No. p. 42; Vip. 76
171 (Malo 22) Conversion of St. Paul I, p. 37,
595
3098 ‘Triumph of Flora III, p. 36, No. A 59 Novis Vy p64
PD 95-1961 Worshipping Figures V, p. 71 173 (Malo 25) Triumph of Galatea III, p. 37
(Malo 26) Venus and Mars __ III, p. 30, No.
CAMBRIDGE, MASS.
207
(Malo 28) Galatea and Acis III, p. 37,
FocG Art MusEuM Nov255 Veo 1H
1941.13 Presentation in the Temple V, p. 76, 175 | (Malo 30) Apollo and Daphne III, p. 17,
No. B 53 No. 171; V, p. 104
1943.3 Bacchic Scene III, p. 27, No. A 49 176 (Malo 31) Psyche introduced to Olympus
1958.290 Birth of Bacchus V, p. 105, No. 433 TIL, p. 42
a Five Naiads_ V, p. 117 177. (Malo 46) Shepherds presenting Offerings
SACHS COLLECTION Ill; p..45, No. Biz65V5-part7
Charity II, p. 25 178 (Malo 39) recto Bacchanal before a Temple
Landscape with Lake V, p. 71 IE, ps27; Nos19s79V sp. 108
Rebecca and Eliezer at the Well I, p. 4 verso Death Scene I, p. 20, No. 139
179 (wrongly given in Vol. III as 189; Malo 27)
AGNES MONGAN COLLECTION recto Nymph mounting a Goat III, p. 44;
recto Departure for a Hunt V, p. 30, No. 308 NSPOLLy
verso A Sacrifice to Hercules V, p. 30, No. 307 verso Putto with Basket of Fruit V, p. 120

ey
 180 (Malo 29) Nymph spied upon by Satyrs 195 (Malo 3) Bridge in a Wood IV, p. 60,
Litspe45 No. G16; V;,p- 124
181 (Malo 42) Nymphs by a Stream III, p. 47 196 (Malo 4) Hermit beneath a Tree IV, p.
182 (Malo 81) recto Studies for Venus, Faun, 64, No. G 38; V, p. 124
Nymphs and Satyrs IV, p. 55; V, p. 120 197. (Malo 8) Orpheus and Eurydice IV, p.
verso Buildings among Trees IV, p. 55 52, No, A’140;.V, po 127
183a (not in Malo) Finding of Moses I, pp. 6 f., 198 (Malo 1) Archinthe Campagna IV, p. 44,
Nos. 7, 8; V, p. 64 IN@R2725 V2 pr 127
183b (not in Malo) Birth of Venus III, p. 29, 199 (Malo 11) Oak Trees ona bank IV, p. 64,
No. 203 No; G 395 V5 p- 127
184a (Malo 43) Five Putti III, p. 46, No. 238 200: (Malo 2) Trees at Dusk =1V,7 6. 155m \.
184b (Malo 32) Toilet of Venus III, p. 33 pri27
185 (Malo 36) Rape of the Sabines II, p. 10, 202a (Malo 9) recto The Belvedere IV, p. 46,
No. 119; V, p. 93 No. 280
185b (Malo 35) recto Continence of Scipio II, verso The Ponte Molle IV, p. 46, No. 280
PigelNo. esa V 5294. 202b (not in Malo) View of the Campagna IV,
verso A Nude_ V, p. 60, No. A 162a P- 55
186 (Malo 37) Death of Germanicus II, p. 15, 203 (Malo 85) Prows of Ships V, p. 38, No.
No. 130 557
187 (Malo 38) After the Antique V, p. 54 204. (Malo 84) Prows of Ships V, p. 38, No.
188 (Malo 34) Time and Truth I], p. 25 338
189 (Malo 33) Allegory of Fortune II, p. 27 205 (Malo 83) Galleys V, p. 37, No. 335
1g0a (Malo 23) Christ and the Woman taken in 206 (Malo 88) Figures at Sacrifice and Dacian
Adultery I, p. 33, No. B17 Soldiers V, p. 36, No. 329
190b (Malo 45) Sketch II, p. 4, No. 105; V, 207-211 (Malo 87, 74, 7, 75, 76, 61) Studies after
Pp. 90 the Antique V, p. 54
I9oc (Malo 44) Finding of Queen Zenobia II, 212 (Malo 53) Castor and Pollux V, p. 26
Paty ANG. 13070V, p96 No. 293
I9gla (Malo 41b) recto Apollo and Daphne V, 213 (Malo 60) recto After the Antique V,p. 54
p- 104, No. 4324 (Malo 59) verso Groups of Classical
verso Woman carrying a Child I, p. 42, Buildings IV, p. 55
No. 84; V, p. 88 214-216 (Malo 65, 63; 216 not in Malo) After the
191b recto (Malo 41c) Adoration of the Shepherds Antique V.p.554
V, p. 72, No. 390a 217. (Malo 62) Allegory of Occasio and Two
191b verso (Old number 1325; not in Malo) other Figures V, p. 102
Battle Scene and Letter II, p. 19, No. 134; 218 (Malo After fe Antique V, p. 54
V, P99 219 (Malo 56) Marcus Aurelius V, p. 27, No.
IQIC (Malo 41a) recto Study of a Woman V, 295
p. 56, No. 372 220-221 (Malo 66, 67) After the Antique’ V,
verso Hercules III, p. 39, No. 221 P- 54
192a (Malo 40a) The Infant Pyrrhus V, p. 92, 223 (Malo 51) After the Antique V, p. 54
No. 417 225 (Malo 52) Pan and Daphnis V, p. 26 >
192b (Malo 4ob) Clelia crossing the Tiber II, No. 294
p: 27; V, p. 94 226 (Malo 57) Two rearing Horses V, p. 61
192C (Malo 4oc) Flight into Egypt I, p. 30, 227 (Maloi86) Trophy lV, p.25..No. 2455, ve
Nox Bits5 V5 pags p. 122
E95 (Malo 48) Triumph of David I, p. 14, 228-229 (Malo 70, 71) After the Antique V,
ING.i293:V, p70 P- 54
194a (Malo 6) Bridge over Rapids LY, pi 3, 230 (Malo 58) recto Drawings after Du Choul
NON 3G2V5 9, 127 V, p. 44, No. 354
194b (Malo 5) Bridge over Rapids IV, p. 63, (Malo 102) verso Drawings after Du Choul
NoiGi3732V- pal27 Vi9p:'45..No.355

134
 231-234 (Malo 69, 74, 80, 79). After the Antique CHATSWORTH
V, p54 TRUSTEES OF THE CHATSWORTH SETTLEMENT
235 (Malo 73) Two Female Figures V, p. 51, 859 Apollo and Daphne III, p. 17, No. 172;
No. A 155b V, p. 104
236 (Malo 54) After the Antique V, p. 54 861 Rape of the Sabines II, p. 9, No. 114
237 (Malo 49) recto Cupid and Muses (?) V, 862-9 Moses striking the Rock I, p. 14
pe i21 Bacchanal III, p. 28
(Malo 50) verso Marriage of Hercules and Shepherds reading the Inscription on a
Heber eVeosriy Tomb” JL pi27:.V, paror
238a (Malo 90) Head of Medusa _ V, p. 31, No. Design for a Ceiling V, p. 122, No. 452
Rae
238b (Malo 90) Cuirassed Torso. V, p. 31, No. CHICAGO, ILL.
ad Art Instirure oF CHIcaco
238c (Malo 90) Head of Apollo V, p. 31, No. 22.297 After the Antique
313 22.3036 Venus and Adonis V, p. 109
239 (Malo 82) After the Antique V, p. 54
240 (Malo 89) recto After the Antique V, p. CLEVELAND, OHIO
40, No. 342 MuseEuM oF ART
(not in Malo) verso Decorative Designs Italian Lansdcape IV, p. 55
LV jep-025, No. 279
241 (notin Malo) Altars V, p. 50, Nos. A 150, COLOGNE
AGS FORMERLY WItH MALMEDY
242 (Malo 78) After the Antique V, p. 54 Annunciation I, p. 18
243 (Malo 77) Ceres seeking Proserpine V,
pet25. No. 156 COPENHAGEN
244a and b (Malo 97, 96) After the Antique V, NATIONALMUSEUM
P- 53 6772 Allegory V, p. 101
245a (Malo 98a) A fantastic Animal V, p. 45,
No. 358 DARMSTADT
245b (Malo 98b) Elephant driving two Mice V, HEssIsCcHES LANDESMUSEUM
p- 53, No. B45 AE 2549 Finding of Moses I, p. 5
246a and b (Malo 99a and b) After the Antique AE 2551 Unidentified Subject V, p. 60, No. B
48
247a (Malo 1o1a) Sea-Horse with a Caduceus AE 2553 Atalanta V, p. 119
V, p. 46, No. 359 AE 2554 ‘The Suicide of Armida II, p. 23
247b (Malo rorb) Medea _ V, p. 53, No. B 44 AE 2558 Marriage V, p. 89
247C (Malo 101¢) Fantastic Sea-monster and Dol- AE 2559 View of an Italian Town IV, p. 55
phin V, p. 46, No. 360 AE 2560 Italian Landscape IV, p. 55, No. B 33
248a (Malo r1ooa) Jupiter enthroned with Eagle AE 2561 St. Anthony of Padua preaching V,
WD? 53,2N02D43 Pp. 87
248b (Malo 1oob) Eagle, Lion and Dolphin V, Hz 5426 Figure of a Woman seen from behind
p- 53, No. B 46 Vepeor
249a, b and 250 a, b (Malo 92a, b, 94 and 95)
After the Antique V, p. 53 DESSAU
251 (Malo 93) Putto carrying a Goat V,p. 53, Ducat COLLECTION
No. B 47 After the Antique V, p. 54
252 (Malo 91) After the Antique V, pp. 53 f.
DIJON
CHAPEL HILL, NORTH CAROLINA Mus£E DES BEAux-ARTS
Tue Witt1Am Hayes ACKLAND MEMORIAL CENTER, 870 recto Holy Family I, p. 25, No. 45
UNIVERSITY OF NORTH CAROLINA verso St. John baptizing Christ I, p. 41,
Landscape with Polyphemus_ V,p.126, No. A 189 No. 77

ES
 S71 Christ bearing the Cross” 17 p.34, «No. 165; 884E Massacre of the Innocents I, p. 31
V,P- 79 885E Martyrdom of St. Erasmus I, p. 39,
872 recto Study for Snake Landscape IV, p. 47, No. 73
No. 282 886E The Assumption of the Virgin I, p. 35;
verso Adoration of the Shepherds Vo. Paes V, p. 82, No. 406
No. 390 887E Satyrs dancing V, p. 120
900K The Rape of the Sabines IT, p--9,.No,
MAGNIN COLLECTION
LE§3) V..p193
Holy Family V, p. 73
901k The Annunciation I, p. 18, No. B 7;
DRESDEN V5 pay
902H Satyrs, Puttiand Goats V, p. 120
KUPFERSTICHKABINETT
903H The Baptism of Christ I, p. 41, No. 79;
Lamentation over the Dead Christ V, p. 80
V, py 88
DUBLIN 904E The Rape of Europe III, p. 14, No.
169; V, p. 103
NATIONAL GALLERY
905H recto Feast of Pan III, p. 24, No. 193
2769 Galateaand Acis III, p. 37, No. A 62
verso (upper) Bacchanal V, p. 106, No.
—— jJosephin Prison I, p. 17
437
DUSSELDORF verso (lower) Feast of Pan V, p. 107,
KUNSTMUSEUM No. 4374
yor A Saint healing V, p. 87 2466F Clelia crossing the Tiber II, p. 27
yoz Jupiterand Leda MII, p. 16 2467F The Death of Sapphira 1, p. 38
703 Jupiter and Leda III, p. 16 6119F The Assumption of the Virgin V, p.
82
7o4 Venusand Adonis III, p. 31; V, p. 109
7o5 Venusand Adonis V, p. 109 6120F A Woman fainting V, p. 120
7o6 Venus and Adonis IH, p. 31; V, p. 109 6121F An Artist’s Studio V, p. 55, No. 369
708 St. Matthew ina Landscape IV, p. 52; V, 6122F Bacchanal V, p. 108
p. 126 6123F WPutto, V5 p. 121
4423 recto Adoration of the Kings V, p. 72 6124F The Crucifixion V, p. 79
verso Moses trampling on Pharaoh’s Crown 6125F The Sacrifice of Noah_V, p. 63
V5 -p:.65 6126F Allegorical Figures with Putto V, p.
4435 Frontispiece to the Works of Horace V, 102
p- LOE
14034F Illustration to the Documenti d’ Amore
4447 ‘Two seated Figures —V, p. 61 V5 pe Tor
recto A classical Landscape IV, p. 48, 1706ORN Allegory of Time V, p. 102
4699
No. 286 5740S Theseus abandoning Ariadne V,p.113,
verso Buildings among Trees and the No. 443a
Finding of Queen Zenobia IV, p. 48, 8097S Satyr and Putti with Goat V, p. 120
No. 287; V, p. 96, No. 422 8099S Nymphs and Putti gathering Flowers
Death of Germanicus IL, p. 16; V, p. 95 Ve p.u120
Rinaldo and Armida II, p. 23 8100S Rinaldo and Armida_ V, p. 100
8101S recto'The Aventine IV, p. 45, No. 277
EDINBURGH verso View in Rome_ IV, p. 46, No. 278
NATIONAL GALLERY OF SCOTLAND 8102S Wooded Hill with Hermits IV, p. 52,
3229 recto A Bacchanal V, p. 108 No. A 141
verso Pan, Midas, Nymphs, etc. V, p. 108 81035 recto Classical Figures in a Ravine IV,
p. 56
FLORENCE verso Landscape IV, p. 56
UFFIZzI 8104S recto The Campo Vaccino IV, p. 56
882E Holy Family I, p. 26, No. 50 verso Houses among Trees _ IV, p. 56
883 Hercules carrying off Deianira III, p. 8105S Apollo and Daphne III, p. 18, No. A
38, No. A 63 46; V, p. 104

136
 8106S The Arms of France IV, p. 25, No. A 24035 The Testament of Eudamidas V,
123 p- 92, No. 417b
81075 ApolloandDaphne_ V, p. 104 14036 The Death of Priam _ V, p. 91, No. B
Hornet Museum 54a
5820 The Infant Bacchus carried by Pan V, HOLKHAM HALL
p. 105, No. 434 EARL OF LEICESTER COLLECTION
5822 Death Scene II, p. 20, No. 138
River-God and Putti gathering Grapes III, p. 46,
5823 Sacrifice of Noah JI, p. 3
No. 236
5837 im Rivet-bend LV, p.63, No, G3o7 V,
The Plague at Ashdod V, p. 69
p. 124
View of the Tiber Valley V, p. 125, No. 455
FRANKFORT
HOVINGHAM HALL
STAEDEL INsTITUT
Str Marcus WorsLey CoLLECTION
1036 The Rape of the Sabines_ V, p. 93
The Death of the Virgin V, p. 81, No. 405
1048 Victory and Fame MII, p. 25, No. 152
1062 The Exposition of Moses V, p. 70 ITHACA, NEW YORK
1150 Meleager and Atalanta V, p. 113
MusEuM
1309 Narcissus IV, p. 55
Ancient relief V, p. 54
1314 The Worship of the Golden Calf I, p. 12
1315 Ancient Vase V, p. 54 KANSAS CITY, MISSOURI
1844 Christ teaching inthe Temple V, p. 77
WILLIAM ROCKHILL NELSON GALLERY OF ART
4009 ‘The Worship of the Golden Calf V, p. 67
Bacchanal V, p. 106, No. 436
13997 recto Death of Socrates V, p. 92
verso The Infant Christ asleep on the Cross LEIPZIG
Wop. 87
MUuSEUM DER BILDENDEN KUNSTE
13998 recto The Death of Socrates V, p. 92
N. I. 371 Crucifixion V, p. 78, No. 399
verso The Infant Christ asleep on the Cross
V <p: 87 STADTBIBLIOTHEK
14395 The Death of Germanicus(?) I, p. 16; Ancient Vase V,p. 54
V, Pp: 95 LENINGRAD
15419 Palazzo Chigi, Ariccia IV, p. 55, No.
HERMITAGE
B 34
16016 APondina Wood IV, p. 55 2302 Illustration to the ‘Hesperides’ V, p. 102
5071 Achillesin Scyros I, p. 3, No. A 23
GHENT 5072. Moses driving Shepherds from the Well
PROFESSOR DELACRE COLLECTION (FORMERLY) I, p. 9, No. 14
Rebecca and Eliezer at the Well I, p. 4 5073 Worship of the Golden Calf V, p. 67
5076 Flora and Zephyr III, p. 36, No. A 61
GLASGOW 5077 Apolloand Daphne _ V, p. 104, No. 432b
MunicrpaL GALLERY 5078 Artist’s Studio V, p. 55, No. A 157
The Plague at Ashdod _ V, p. 69 5081 Baptism of Christ I, p. 41, No. 78
5082 Classical Landscape with Figures IV,
HAARLEM
p. 46, No. 279
KorENIGS COLLECTION (FORMERLY): see ROTTER- 5083 The Finding of Queen Zenobia UI, p. 17,
DAM, MusEum BoyMANS-VAN BEUNINGEN No. A 34; V, p. 96
TEYLER MusEuM 5106 Marriage I, p. 45
Flight into Egypt V, p. 75 5108 Ordination I, p. 47
Christ in Limbo V, p. 87 5128 Conversion of St. Paul I, p. 36, No. A
£65.V5 pes
HAMBURG 5129 Parisand Oenone IU, p. 41, No. A 65
KUNSTHALLE 5130 Holy Family I, p. 30
1963/318 The Sack ofaCity V, p. 99 5131 Holy Family I, p. 30, No. 59

137
 p154 Holy Family I, p. 24, No. 39 8000 Hercules killing Zethes and Calais IV,
y135 Aunt Vs po 5, NOs 371 p. 24, No. A 116
5134 Conversion of St. Paul I, p. 36, No. 69; 38001 Hercules supporting a Globe IV, p. 22,
V, p- 83 No. A. 111
5135 Landscape with a blazing Castle IV, 8002 Panel for ceiling of the Long Gallery IV,
p. 52, No. A 142 p. 24, Nor As 627
5136 recto Achilles on Scyros I, p. 3, No. 104 8003 Panel for ceiling of the Long Gallery IV,
verso Draft of a letter II, p. 3, No. 104 p: 24, No. A 122
yA37 A Group of Ruins IV, p. 56 8004 Hercules and King Eryx IV, p. 22, No.
5138 Apollo and Daphne III, p. 19, No. 176; A 109
Vp. toa 8005 Hercules and the Lernaean Hydra IV,
5140 Achilles in Scyros II, p. 4, No. 106 p. 18
5141 Achilles in Scyros II, p. 3, No. A 24 8006 Hercules and King Lycus IV, p. 20, No.
5142 Holy Family I, p. 30, No. 58 A 98
5143 Cephalus and Aurora V, p. 111, No. A 8007 Marriage of Hercules with Megara IV,
180 p. 16, No. A 82
5144 Trophy and Circular Relief under Arch 8008 Hercules killing Ialebion and Dercynus
V 0.122, Now4y1 IV, p. 22, No. A 108
5145 Cupids shooting at a Target V, p. 117, 8009 Hercules and Cycnus L¥n.p223, No7e
No. 448 15
5146 Mutius Scaevola_ V, p. 94, No. 418 8010 Hercules taking VengeanceonLycus IV,
5148 Continence of Scipio V, p. 95, No. A p. 23, No. A114
174 8011 Education of Hercules LV} -pst No.
5149 Miracle of St. Francis Xavier I, p. 39, 77
No. A 19 8012 Panel for Ceiling of the Long Gallery IV,
5150 Holy Family I, p. 29, No. Ag p- 24, No. A 11g
sift Holy Family I, p. 29, No. 57 8015 Infant Hercules suckled by Juno IV,
5152 recto Holy Family I, p. 28, No. 54 p14No: AA74
verso Hercules shooting a Bird V, p. 112, 8016 Hercules and the Nemean Lion IV, p.
No. 442 17, No.cArs8*:V, pwm2t
6995 A Bacchanal V, p. 106, No. 435 8017 Eestasy of St.Paul ise. 37% V..prscd
7007 Apollo and Daphne III, p. 19, No. 175 No. 409
7034 Head of a Girl V, pp. 56 f., No. 377 8018 Hercules and the Centaurs IV Spgs:
7997 Finding of Moses I, p. 6 No. A 91
7144 Two Figures on a Wooded Hill IV, 8019 Hercules learning Archery IV, p. 15,
p- 51, No. 291 No. A 76
7239 Hercules and the Lernaean Hydra IV, 8020 Hercules boxing against Titias IN p az
p. 18, No. A go No. A 104
7293 Hercules wrestling with Polygonus and 8021 Hercules learning Horsemanship IV, p.
Telegonus IV, p. 20, No. A 1o1 15, No. A 78
7994 Hercules and Antaeus IV, p. 21, No. A 8022 Hercules and Alcyoneus IV, p.-23, No;
106 ASTT2
7995 Hercules and the Mares of Diomedes_ IV, 8034 Hercules consulting the Delphic Oracle
p. 20, No. A 97 IVS Dewey
7996 Hercules and the Amazons IV, p. 20, 8035 Hercules and the Nemean Lion IV, p.
No. A 99 17, Nov A 8725 oes
7997 Hercules and Hesione IV, p. 21, No. A 8050 The Conversion of St. Paul I, p. 37,
103 No. 70; V, p. 83
7998 Hercules and the Sons of Geryon IV, 8133 Funeral Feast V, p. 46, No. 363
p. 22, No. A 107 8134 Details from Early Christian Sarcophagi
1999 Hercules wrestling with Polygonus and V, p. 47, No. 364
Telegonus IV, p. 20, No. A 102 8174 Men on an Elephant V, p. 97, No. 423

138
 8175 Man riding a Rhinocerus V, p. 97, No. 1895-9-15-928 Aurora leaving Cephalus IU, p.
424. 34, No. A 56
8176 ACamel V, p. 97, No. 425 1895-9-15-929 Nymph mounting on the back of
8177. ACamel V, p. 97, No. 426 a Satyr III, p. 44, No. 229
8186 A River-Bank IV, p. 50, No. 288 1895-9-922 Schoolmaster of Falerii IL, p. 12,
8188 Cottagesamong Trees IV, p. 50, No. 289 No. A 30; V, p. 94
8192 Panel for Ceiling of the Long Gallery IV, IQOI-4-17-2 Self-Portrait V, p. 57, No. 379
p. 24, No. 244 IQ1O-2-12-5 Nymphs with a River-God_ V,
8210 Frontispiece to the Works of Horace V, p. 120
p. 101 1913-I-I1-2 Bacchus and Ariadne III, p. 22
8373 Agonyinthe Garden V, p. 78, No. 398a 1918-6-15-6 An Altar V, p. 32, No. 315
14538 recto Moses striking the Rock J, p. 14, 1937-12-1I-1 recto Holy Family I, p. 28, No.
No. 27
verso Judgment of Solomon I, p. 15, verso Landscape with blazing
No. 31 Castles IV.) p. 47, Nos 284; V,
14539 recto Moses striking the Rock J, p. 13, pay
No. 24 1946-7-13-125 Bacchanal III, p. 28; V, p. 108
verso Man and Woman pointing at a Child 1946-7-13-1143 Altar and the Medici Vase V,
I, p. 133 Nos 24 p. 34, No. 324
14540 Crossing of the Red Sea I, p. 11, No. 17 1946-7-13-1144 Relief of a Bacchante V, p. 29,
14541 Crossing of the Red Sea I, p. 11, No. 19 No. 305
14542 Crossing of the Red Sea _ I, p. 11, No. 18 1946-7-13-1145 recto Minerva and other Studies
—— Two Heads and an Arm V, p. 47, No. V, p. 40, No. 341
365 verso Designs foraCartouche IV,
—— Nymphs spied on by Shepherds V, p. p. 25, No. 248
114 1946-7-13-1146 Theseus abandoning Ariadne
LILLE Ill, p. 43, No. A673; Vp. 113

Musé£e pes Beaux-Arts (Musze Wicar) 1946-7-13-1147 Apollo and the dead Hyacinthus
III, p. 20, No. A 47
TOI2~ Av saccilice” -V,p..120
1946-7-13-1148 Nymphs and Shepherds dancing
1613 Massacre of the Innocents I, p. 31, No.
Vs pe.t20
61;V, p. 75, No. 394 1948-8-5-2 recto The Raising of Lazarus V,
1614 Bacchus and Attendants V, p. 108
p- 77, Nos. 397, 398
1615 Details of Altars anda Vase V, pp. 33 f.,
verso Allegory on Satire V, p.
Nos. 322, 323
102, No. 432
610 sAltars™ “Vi. p. 33, No. 322 recto Sacrifice to Silvanus V, p.
1950-5-12-4
LISBON 30, No. 309
Musgu NACIONAL DE ARTE ANTIGA verso Lion Hunt V, p. 31, No.
1190 Studies of Heads and Figures V, p. 51, 310
No: Ans 19§ 2-I-21-35 ‘Two Patie-V> pv r25
—— A Sacrifice to Priapus V, p. 114 195 5-10-8-6 The Ecstasy of St. Paul V, p. 84
f 210.138 Lamentation I, p. 35
LONDON 5236 Massacre of the Innocents I,
BRITISH MUSEUM P34
1895-9-15-294 Confirmation I, p. 44 Ff 2-163 Adoration of the Shepherds I,
1895-9-15-923 Baptism of Christ I, p. 42 p. 19, No. A 6
1895-9-15-925 St. Paul and St. Barnabas I, p. Ff 2-164 Four Putti catching Butterflies
38, No. B 19; V, p. 84 ITD, p..465-V,, p. 121
1895-9-15-926 recto Architectural Caprice IV, Ff 4-58 Aurora leaving Cephalus Il,
p- 56, No. B 35 p- 35, No. A 57
verso Studies of Centaurs V, p. Pp 4-79 Round Temple by the Tiber IV,
121 p. 56

139
 Pp 4-71-288 Interior of a Wood IV, p. 60, Mrs. MACFADYAN COLLECTION
NosG 83°V, p. 124 Hercules with the body of the Nemean Lion IV,
Pp 4-72-289 Fountain in a Wood IV, p. 60, p. 17, No. A 89
NowG o2y. p.at24 Hercules boxing against Titias IV, p. 21, No.
Pp 4-73-286 Rinaldo and Armida II, p. 21, A 105
No, A38; V,p. foo
NorTHWICK SALE, SOTHEBY, 1.Xi.1920
Pp 4-74 Putti with a Goat V, p. 120
No. 265 The Plague at Ashdod I, p. 17
Pp 4-75 Venus and Adonis II, p. 31
Sloane 5214-256 Bacchus and Ariadne V, p. Miss ARMIDE Opp, COLLECTION
118 Trees and Undergrowth IV, p. 61, No. G 18;
Sloane 5237-147 recto Bacchanalian Dance III, Ve peiz4
p-. 27, No. 198 A Group of Soldiers V, p. 29, No. 303
verso Rivet-God and Naiads
OpPpENHEIMER COLLECTION (FORMERLY)
MIS psas Nos 235
After the Antique V, p. 54
Death of Germanicus Te Dp:
The Choice of Hercules V, p. 71
15, No. 129
Dr. E. SCHILLING COLLECTION
VICTORIA AND ALBERT MusEuM The Conversion of St. Paul V, p. 83, No. 408
CA 1824 Goddesses and Putti on Clouds ~ III,
Pp: 47 LOS ANGELES
Dyce 562 Theseus finding the arms of his ELMER BEttr LIBRARY
Father, V..p..90. Drawing from the Leonardo Manuscript tv;
SIR ANTHONY BLUNT COLLECTION pp.287 33, NoAr35
Drawings after the Antique V, p. 41, No. 344 LYONS
Decorative Designs IV, p. 25, No. 247; V,
MusE£E DES BEAUX-ARTS
po 123
Mercury and Argus III, pp. 28 f.; IV, p. 56
Triumph of Amphitrite III, p. 34, No. 213
Rebecca and Eliezer at the Well I, p. 4, No. 2
Studies of an Ancient Statue V, p. 42, No. 346
Triumph of a Roman General V, p. 98
Scylla anda Centaur V, p. 42, No. 346a
Moses trampling on Pharaoh’s Crown I, p. 7, PRIVATE COLLECTION
No. A 2 Extreme Unction I, p. 49, No. A 22
Crossing of the Red Sea_V, p. 66, No. 386 MADRID
Massacre of the Innocents V, p. 75, No. 395a
PRADO
Two Girls accompanied by Cupid V, p. 115,
2695 Hercules and the Amazons EV;.ps 20;
No. 444 No. A 100
CouRTAULD INsTITUTE OF ART
MANCHESTER
982 Altar with a Greek inscription V, p. 33,
No. 319 UNIVERSITY
1546 Details of Reliefs V, p. 40, No. 343 The Finding of Moses V, p. 64
A. C. H. DuNLop CoLLEcTION MARSEILLE
recto Achilles on Scyros_ V, p. 91, No. B 54 Mus£E DES BEAUX-ARTS
verso Holy Family V, p. 74, No. A 168 392 Trees overhanging a Valley IV, p. 64,
No. G 40; V, p. 124
KENNETH GUICHARD COLLECTION
A Storm V, p. 61, No. B 50 MILAN
AMBROSIANA
D°HENDECouRT SALE, SOTHEBY, 10.V.1929
Diana and Endymion III, p. 28 Illustrations to Leonardo’s Treatise IV, pp. 30 ff,
Plague scene V,p.71 Nos. 251-269, A 125-A 132
Cod. Resta 243, Fol. 219 Figure Study V, p. 62
HESELTINE COLLECTION (FORMERLY) Cart. 8, F 253 inf. 1075 |Martyrdom of St. Eras-
Extreme Unction I, p. 49 mus V,p.85,No. 4o9a

140
MONTPELLIER NEW ROCHELLE, N.Y.
MuséE ATGER Curtis O. BAER COLLECTION
Death of Phaeton (?) III, p. 42 recto Study for a Landscape Composition IV,
Mus&e Fasre P= 51,-No. 290
37 The Eucharist I, p. 49 verso Foliage Decoration IV, p. 25, No. 250
38 Extreme Unction I, p. 49 NEW YORK
388 Landscape, IV p. 56
Hewirr-Coorper Muszum oF DESIGN
773 Landscape with Shepherd and Don-
1938-88-5-5322 A Cinerary Urn V, p. 32, No.
key IV,p. 56
318
825-1-272 Wooded River-Bank IV, p. 45, No.
276 METROPOLITAN Museum oF ART
837-1-240 Penance I, p. 47, No. 99 61.123.1 The Entombment V, p. 80, No. 4or1
837-1-1149 The Annunciation I, p. 18 80.3.583 ACinerary Urn V, p. 33, No. 320
837-1-1150 Three Heads V,p. 54
PIERPONT MORGAN LIBRARY
864-2-99 Caparisoned Animals and Sandalled
I, 266 Lamentation over the dead Christ I,
Feet V, p. 43, No. 349
864-2-100 A Sheet of Studies V, p. 52, No. P- 35
I, 267 Death of Hippolytus II, p. 39, No.
B 42
222 ps iiz) Now4as
eS Shepherd with Flock III, p. 45
III, 70 Ordination I, p. 46, No. 98; V, p. 89
MUNICH III, 71 Holy Family I, p. 25, No. 46
STAATLICHE GRAPHISCHE SAMMLUNG Ill, 72 The Spies with the Grapes IV, p. 53,
2791 Holy Family V, p.74 No. A 143
3150 The Adoration of the Kings I, p. 20; Ill, 73. The Death of Meleager V, p. 28, No.
iV Dag 300
B15 2 Putti playing witha Goat V, p. 117, Dr. GeorGE M. BAER COLLECTION
No. B 58 A wounded Soldier tended by two others V,
3553 Seated Woman and a Head _ V, p. 62 p- 37, No. 3354
3159 A Queen offering her Crown to a
WALTER C. BAKER COLLECTION
King V,p.98
3161 Scene of Incantation V, pp. 115 f., A. Lowet ina "Wood , LV,.p.162. Nex G 2725N,
p. B24
No. 447
3162 Venus at the Fountain III, p. 33 L. GOLDSCHMIDT COLLECTION
3163 Diana before Jupiter V, p. 109 Hercules taking vengeance on Lynus_ V, p. 121
3164 Lamentation over the Dead Christ I,
P35, NO 13 NEWMAN SALE, ANDERSON GALLERIES, 2.X1.1920
3167-3168 Figure Studies IV, p. 26; V, p. 54 Alexander at the Tomb of Achilles II, p. 7, No.
12354 Design for a Trophy IV, p. 26 IN2635. V.p.-93
12357-60 After the Antique V, p. 54 I. ScHoLtz COLLECTION
12366-67 After the Antique V, p. 54 The Massacre of the Innocents I, p. 32
12368-69 Designs for Tapestry IV, p. 26
Conversion of St. Paul I, p. 37 SIEGFRIED SCHWARZ COLLECTION
Five Naiads III, p. 44, No. 234; V, p. 117
PRIVATE COLLECTION The Continence of Scipio V, p. 95, No. 420
The Finding of Romulus and Remus _V, p. 93
H. SHIcKMAN GALLERY
NAPLES Baptism V, p. 88, No. 412
Musto NAZIONALE DI CAPODIMONTE
PrrvATE COLLECTIONS
Satyrs with Wine Jars V, p. 120
Apollo and the Muses on Parnassus LiLep 20:
NEUILLY-SUR-SEINE No. 180
Mme Umberto AGNELLI COLLECTION The Death of Sapphira V, pp. 82 f., No. 407
Studies of Animals V, pp. 42 f., No. 348 The Infant Pyrrhus V, pp. 91 f., No. 416

141
 Ordination V, p. 89, Nos. 413, 414 32427 Venus, Cupid and Pan III, p. R25.NoO.
Portrait of Poussin V, p. 60, No. B 49 A 54
The Presentation in the Temple V, p. 76, 32428 Madonna with St. Jerome I, p. 30
No. 396 32429 Extreme Unction I, p. 49, No. 103; V,
The Worship of the Golden Calf V, p. 67, 90
No. A 164 Mats aed Teaeemed of Solomon I, p. 16, No. 33
52451 Moses striking the Rock I, p. 13, No. 23
NOTTINGHAM Moses driving Shepherds from the Well
52456
CastLE MuszEuM Lp: 9, No. 155V, p.66
91149 Castle with Fortifications V, p. 127 32.433 Venus and Mercury III, p. 30, No. 208
32434 Moses and the Burning Bush I, p. 10,
ORLEANS No. A 5
Must Des Beaux-Arts 32435 Rinaldo and Armida II, p. 22, No. 144;
Altan 1, 108 Unidentified subject V, p. 118, V, parce
No. 450 32436 Ordination I, p. 46, No. 96
1040 N Scipio Africanus and the Pirates V, 32437 Holy Family I, p. 26, No. 48
p- 95, No. A 175 32438 Holy Family I, p. 26, No. 49
32439 Holy Family I, p. 25, No. 47
OXFORD
32440 Domestic Scene II, p. 20, No. 140
ASHMOLEAN MusEUM 32441 Hercules cleaning the Augean Stables
Parker 665 D Adoration of the Magi V, p. 43 IV, p. 19, No. A 94
— Two Poplars IV, p. 62, No. G 32442 Illustration to the ‘Hesperides’ V, pb:
26-6V pred tor f., No. 431
Curist CHURCH 32443 Hercules learning to play the Lyre IV,
FF 7 Adoration of the Shepherds I, p. 19, p. 16, No. A 79
INO (3 SaaV5 pe 32445 Mercury, Paris and Cupid II], p. 29,
FF 7a Rest on the Flight into Egypt I, p. 31, No. 201; V, p. 109
No. B 16; V, p. 74, No. A 169 32446 Death of Meleager IV, p. 60, No. G 11;
FF 8 S. Giorgio in Velabro IV, p. 56, No. B V,p. 124
36 32447 Shepherd in a Landscape IV, p. 60,
FF 9 Mount Aventine andthe Tiber IV, p. 57, Now G23 Vip. aes
No. B 37 32448 (not 32443) Apollo and Daphne III, p.
FF ro Landscape IV, p. 57 18, NO. 1743 V; p. 104
PE 20) St. Peter's from:S. Onottio IV, p. 57 32449 Villa Madama _ IV, p. 61, No. G 13; V,
p. 124
PARIS
32450 Judgment of Solomon I, p. 16
LouvRE 32451 Scene from the ‘Golden Ass’ IL, ip..20;
e1gz§ Petseus Vp. 113 No. 141
12945 Bacchanal III, p. 28 32452 Sacrifice of Noah _ I, p. 3, No. B 1; V, p.
22332 Moses trampling on Pharaoh’sCrown I, 63
p. 8 32453 Sacrifice of Noah I, p. 3, No. B 2; V,
25385 Adoration of the Shepherds V, p. 72 Pp.63
27665 Venus and Adonis V, p. 109 32454 Venus and Amoretti III, p. 33, No. B 24
30640 Lamentation over the Dead Christ I, 32455 Holy Family I, p. 23, No. B 14; V, p. 72
ee) 32456 Adoration of the Shepherds I, p. 19, No.
32422 Massacre of the Innocents V, p. 54 36
32423-32423bis After the Antique V, p. 54 32457 Eucharist V, p. 89
32424 Studies of Heads V, p. 48 32458 Illustration to the ‘Hesperides’ LE pee2zG:
32425 Classical Landscape with Shepherd IV, No. A 44; V, p. 102
P- 57 32459 Shepherds’ Dance III, p. 45, No. A 70
32426 Metius Curtius riding out of the Marsh 32461 Marriage of Hercules with Megara IV,
I, p. 11, No. 1203 V, p. 94 p. 16;No.A 83

142
32464 Path through a Wood _ IV, p. 61, No. G 32522 Massacre of theInnocents I, p. 32
14; V5 pv 124 32523 Four Putti III, p. 46
32.465 A shaded Wood IV, p. 61, No. G 15; 32524 ‘Tower by a River-Bed IV, p. 63, No.
V, pated G 35; V, p. 124
32466 Tree Study IV, p. 43, No. 270 32525 Meleager and Atalanta hunting V, p. 113
32467 Five /Inees DV, p.4g,Nose7a; V, p.127 32527 Heads of Artists V, pp. 47f., No. 366
32468 Trees through an Archway IV, p. 61, 32528 Heads of Artists V, pp. 47f., No. 367
No. G 16; V, p. 124 32529-35 Copies of first series of the Sacraments
32469 Trees at the edge of a Wood IV, p. 61, (Montarsy) V, p. 88
No G17;Viovie4 32540 Triumph of Silenus, V, p. 107
32471 After the Antique V, p. 54 32542 Martyrdom of St. Erasmus _ V, p. 86
32474 Classical Landscape IV, p. 57, No. B 38; 32545 The Woman taken in Adultery V, p. 77
Vepiie4 32550 The Miracle of St. Francis Xavier V,
32476 The Ponte Molle TVs p- 63, No. G 34; V, p. 86
pai24 32552 Landscape with Polyphemus V, p. 126
52477 A River Landscape IV, p. 57 32553 Holy Family V, p. 74
32478 Shepherds presenting Offerings Vp. 127 32557 Holy Family V, p. 74
52479 Massacre of the Innocents Lipa3e 32566 Venus surprised by Satyrs V, p. 110
32480 Figure Studies V, p. 62 32569 Hercules and Omphale III, p. 39
32481 Study for Landscape with Snake IV, 32571 The Rites of Priapus or Mutinus III,
p- 47, No. 281 pases Vip 34
32482 Battle Scenes V, p. 99 34519 Landscape with the body of Phocion V,
32485 Meleager and Atalanta hunting V, p-113 p- 126, No. 458
3.2486 Two Putti II, p. 46 34520 Decorative Panel with a Sea-Horse V,
32487 Return from Egypt V, p. 76 pp. 122 f., No. 454
32488 Farm on a wooded Hillside IV, p. 57 34521 ASnakeinaRoundel V, p. 122, No. 453
32491 Crucifixion I, p. 35 M.I. 750 recto The Assumption of the Virgin
32492 Rinaldo and Armida_ V, p. 100 PepaspNown ads Vp. 82
32493 Moses striking the Rock I, p. 14 verso Holy Family I, p. 30, No. A to
32494 Annunciation I, p. 18 M.I. 987. The Baptism of Christ I, pp. 41 f.,
32495 Annunciation I, p. 18, No. B 8; V, p. 71 No. 81
32496 Annunciation I, p. 18 M.I. 988 The Baptism of Christ I, p. 42,
32497 Holy Family I, p. 30 No. 83
32498 Crucifixion I, p. 35 M.I. 989 The Baptism of Christ I, p. 42,
32500 Ecstasy of St. Paul I, p. 38 No. 82
32501 St. Denis terrifying his Executioners V, M.I.990 The Baptism of Christ I, p. 41,
. 88 No. 80
32503 Flora and Zephyr III, p. 36, No. A 60 M.I. 991 Penance Il, p. 47, No. B 20
32504 Jupiter and Antiope V, p. 103 M.I. 992 Eucharist I, p. 48, No. 100; V, p. 89
32507 Hercules consults the Delphic Oracle IV, M.I. 993 Ordination I, p. 46, No. 95
p. 17, No. A 86 M.I. 994 Confirmation I, pp. 43 f., No. 88
32508 Hercules carrying off Deianira III, p. 38, M.I. 995 Confirmation I, p. 43, No. 87
No. 219 M.I. 996 Confirmation I, p. 44, No. 89; V,
52009 After the Antique V, p. 54 p- 89
32510 After the Antique V, p. 54 M.I. 1103 Bacchanal III, p. 28, No. 199; V,
32511 recto Studies of Heads and Figures V, p. 108
pr 50, Ne. 153 R.F. 17 (not) R:Faa8). Mareiage Lap ee45;
verso Sheet of Studies Verp. 48, No. 2 No. 94
145a Rib.) 18 (not) RSE. 27) Marcuee “1, peas,
32512 Annunciation I, p. 18, Nos. B 9, B 10; No. 93; V, p. 89
NG pays R.F. 35 Bacchus and his Companions II,
2a Ma After the Antique V, p. 54 p. 23
143
 RP: recto Studies of Heads Vs peed, Hercules and the Nemean Lion IV,
No. 368 Pet]
verso A distant Landscape IV, p. 54, Hercules learning Archery IV, p. 15
No. A 144 Hercules and Antaeus IV, p. 21
RE: 94 Victory and Fame II, p. 25, No. A recto The Ecstasy of St. Paul I, p. 38,
40 No. A 17
REE. IO1 Panel for ceiling of the Long Gallery verso Labouts of Hercules IV, p. 13,
IVE p24, Nor A120 No. 242
KE. 102 Panel for ceiling of the Long Gallery Moses driving Shepherds from the
IV, p. 24, No. A 118 Well V, p. 66
RE 103 Jupiter and Mercury IV, p. 14, Finding of Moses I, p. 5
No. A 71 recto Finding of Moses _I, p. 5, No. 3
R.F. Birth of Hercules IV, p. 14, No. A verso Moses driving Shepherds from
73 the Well I,°p.19, No. 13;°V, p: 66
R.B- Infant Hercules and the Serpents IV, Finding of Moses I, p. 5, No. 5
Pp: 15 Finding of Moses _ I, p. 6, No. 6; V,
RoE: Education of Hercules IV, p. 15 p. 64
RE. Hercules learning to play the Lyre PIO Aaron’s Rod changed into a Serpent
LV eps 16 I, p. 10, No. 16
RB. Hercules killing Linus IV peri6; The Plague: at Ashdod. Ivp.417;\V,
No. 803 V, ps 122 p. 69, No. 389a
RE: Marriage of Hercules with Megara The Crucifixion I, p. 34, No. 67; V,
IN Spat? P- 79
RB: Marriage of Hercules with Megara 3 The Crucitixion Ijip.34, Nou6s; Vv,
IV5D: 17,.NOMA85 P= 79
Rae Hercules boxing against Titias IN; - 754 The Crucifixion I, p. 34, No. 66; V,
Bb vAst P: 79
RF. Tohz Peres with the body of the Nem- 75) Achilles on Scyros II, p. 5; V, p. 91
ean Lion IV, p. 17 2756 Rinaldo and Armida II, p. 21, No.
RCE: Hercules and the Lernaean Hydra 142
LY, pats rT recto Rinaldo and Armida_ II, p. 23,
R.E; Hercules and the Erymanthean Boar No. 146; V, p. 100
IN 3-pi718 verso Studies for Eucharist and Pen-
RCE: Hercules cleaning the Augean Stables ance I, p. 48, No. tor
IV, p19 «758 recto Rinaldo and Armida II, p. 23,
RE. Hercules and the Stymphalian Bird No. 145
IV, p. 19, No. A 95 verso Holy Family V, p. 73, No. 391
[nseoi, Hercules and the Mares of Diomedes 759 Two Nymphs spied upon by Satyrs
LV pezo II, p. 45
R.B: Hercules and the Cretan Bull IV, . 760 Bacchanal V, p. 107
p. 19, No. A 96 =761 Apollo Sauroctonos IT. p..19, No.
R.F. Hercules killing Ialebion and Dercy- L775 NV puto
muss LV; p.22 Oe Venus at the Fountain IZ, p. 33,
RE. Hercules and King Eryx IV, p. 22 Noy 212; V, p.110
RE; Hercules wrestling with Polygonus 703 Group of Trees IV, p. 63, NoxG
and Telegonus IV, p. 21 31
R.F, Hercules and the Amazons IV, p. 20 . 764 Temple between Trees, IV,p.63,No.
RE. Hercules and the sons of Geryon IV, GoesVyosi2d
Pp: (2p . 842 recto Crossing of the Red Sea I, p. 11,
RF. Hercules learning to drive a Chariot No. 20
IV, p. 16, No. A 81 verso Crossing of the Red Sea _I, p. 11,
R.F, Hercules and Hesione IV, p. 21 No. 21

144
 RLF, 844 Moses striking the Rock pets 1432 (2873) Statue of Phocion V, p. 49, No.
No. 26 A 149
RBar763 recto Rebecca and Eliezer at the Well 1433 (2872) Roman Infantry and Cavalry V,
and other Figure Studies I, p. 4, p. 36, No. 330
NOP Asi saVsPD: $0,515 jayO4,.133, 1434 (34798) Reliefs from the Column of Trajan
Nous 181, p: 414, No. Ani82 V, P. 54
verso The Finding of Moses, Death of 1435 (2874) Sacrificial Instruments V, pp. 43f.,
Germanicus, and other Figure Studies No. 352
I pps £, No.ok 335.V scp. Gapand 1436 (2861) Battle Scenes V, p. 99
p. 65, No. A 163 1437 (34800) Tiresias V, p. 120
. 1164 Sheets of Studies V5 pp. 59 £., Nos. 1438 (2864) The Judgement of Paris III, p. 40
A 160; A'163 1439 (34930) Bas-Relief V, p. 54
PLLOs Prows of Ships V, p. 38, No. 336 1440 (34797) Shields and Heads_ V, p. 54
. 1166 tata, p.. 32, NO.317 1441 (2869) The Gods of Olympus V, p. 118
2 £167 Soldiers and Standards V; p- 37> 1442 (2871) Aebdeze Vie pi 54
No. 333 1443 (34627) iLwo: Friezes. Wespies 4
5 ioe recto Apollo and Daphne, etc. V, 1444 (346) Lowo: Priezes.V5op., $4
preies,. No. ia754, sand) po &15, 1445 (2871) Roman General addressing his
No. A 183 verso Ceiling Decoration, Aro, J sp.027
StCLIN op -2iG; Noe A242 Vp. 50, 1446 (34874) Pan and Syrinx V, p. 120
Nor A152 1447 (12105) Holy Family V, p. 74
2 iL 7 Landscape with a Snake IV, p. 53 1448 (34818) The Adoration of the Magi V,
sie a Classical Landscape with Figures IV, p- 43, No. 351
De O35 NO. G33 V, pr124 1449 (37163) Solomon and the Queen of Sheba
- 2359 Marriage I, p. 45, No. 91; V, p. 89 Vi p.7o
- 5893 (wrongly given in Vol. III as 4893) 1450 (34819) Figure of a Woman _ V, p. 62
Venus and Mars III, p. 30, No. 206 1451 (12103) A Sheet of Studies V, p. 59,
RFs 5933 After the Antique V, p. 54 Nos. A 158, A 159 (and p. 92)
EcoLe DES BEAUX-ARTS 1452 (12101) recto Heads of Figures V, p. 50,
1420 (2865) Jupiter and Antiope Dien owey No. A 154
ING. 1765) V5. p.. 3.03 verso Phocion and Extreme Unc-
1421 (34803) Nymphs with Putti riding Goats tion UV inp: 52355 Doc, as
Llp. 44. Noe 232 p. 126
1422 (128) Scipio Africanus and the Pirates 1453 (34799) Man in Armour and Sea-Horses
IL p. 14, No.-128 V,).p-433. No. 350
1423 (2859) Salome eps, No. 74 1454 (12188) Woman making an Offering V,
1424 (34873) Judgement of Solomon I, p. 15, p- 62
No. 32 1455 (24290) Four Figures V, p. 62
1425 (2866) Nymphs and Satyrs Tite <p: 20, 1457 (34817) Bacchanal V, p. 108
Nor 178; V,)p. 104 Masson 1118 The Baptism of Christ I, p. 40,
1426 (34817) The Testament of Eudamidas II, No. 76
pos Non 25 Masson 1119 Moses striking the Rock V, p. 67
1427 (2863) Venus in the Forge of Vulcan III, Masson 1120 The Ecstasy. of St..Paul 1. p37,
D320 NO.A153 No. 72
1428 (2862) Venus in the Forge of Vulcan III, Masson 1121 recto Worship of the Golden Calf
pe3e NowAT52 V, p. 67, No. A 166
1429 (34875) Bacchus and Ariadne III, p. 22, verso God the Father V, p. 63
INGO. B 2350, “pe 106 Masson 1122 The Marriage of the Virgin V,
1430 (2868) Ponte Molle IV, p. 63, No. G29; Pp. 87
Veep-ai 24 Masson 1123 The Agony inthe Garden I, p. 34
1431 (2867) Dead Trees overlooking a Valley Masson 1124 Diana and Endymion V, p. 119
EV; ptG2,- No! G23 3.VV, pote Masson 1125 Woman and Putto V, p. 121

145
 Masson 1126 River Landscape IV, p. 57 THOME COLLECTION (FORMERLY)
Masson 1127 Landscape IV, p. 57 The Crucifixion V, p-79
Masson 1128 The Entombment V, p. 80 PRIVATE COLLECTION
Masson 1136 Landscape IV, p. 57 recto Satyr and Peasant, V, p. 98, No. 427
Masson 1137 Landscape IV, p. 57 verso Man wearing a Toga, anda Leg V, p. 29,
—— Proportion drawings NN, pe G2 No. 306
ANONYMOUS SALE, DRowoT, 28.x.1927
PORTO
Apollo guarding the Herds of Admetus_V, p. 105
EscoLA SUPERIOR DE BELAS ARTES
MarceL BEURDELEY COLLECTION Holy Family V, p. 74
A Path acrossa Plain IV, p. 44, No. 274
PRINCETON, NEW JERSEY
BEURDELEY SALE, 8.X.1920 UNIVERSITY
Baptism I, p. 42; V, p. 88 The Pool of Bethesda V, p. 88
Boussac SALE
PROVIDENCE
Extreme Unction I, p. 49
Musrum oF Art, RHODE IsLAND SCHOOL OF DESIGN
Prerre Dusautr COLLECTION 54.185 The Annunciation V, p.71
The Schoolmaster of Falerii V, p. 94, No. 419 —— Moses driving the Shepherds from the
JeaN EHRMANN COLLECTION (FORMERLY) Well V5 plGs; Now 33s
Bas-Relief with Sacrificial Scene V, p. 29, No. RENNES
304
Musk&E DES BEAUX-ARTS
Marouis HuBert DE GANAY COLLECTION C. 34-5 The Adoration of the Kings V, p. 72
Drawing from Leonardo Manuscript IV, pp. 28
and 33, No. A 134 ROME
GATTEAUX COLLECTION (FORMERLY) GABINETTO NAZIONALE DELLE STAMPE
The Capture of Jerusalem I, p. 18, No. A 37; Fondo Nazionale
V;, p- 99 9920 Martyrdom of St. Bartholomew V,
WALTER Gay COLLECTION (FORMERLY) p. 85, No. A171
Venus and Adonis III, p. 31 10307 Sacrifice of Iphigenia V, p. 99

GIRAUDOUX COLLECTION (FORMERLY) Fondo Corsini

Extreme Unction I, p. 49, No. 102 11060 Saint refusing to adore an Emperor
V, p. 88
Maurice Gosin COLLECTION
12724 Venus surprised by Satyrs II, p. 33
Phaedra V, pp. 27 f., No. 298 12910 Saint refusing to adore an Emperor
MARIETTE SALE Ve p. 88
The Finding of Moses V, p. 65 125570 recto Apollo and Daphne III, p. 17,
No. 173
MARIGNANE COLLECTION (FORMERLY)
verso Head of a Woman and Fragment
ieroules 1V; p23, No. A 113
of a letter: (V, ps 57, Noo 378
Illustration to the ‘Hesperides’ Vip. £62
126973-77 Studies of Heads V, p. 62
Shields and Tents Ve D5 To INO. 332
126978-79 Heads of Eagles V, p. 58, Nos. 381,
SEYMOUR DE Ricci COLLECTION (FORMERLY) 382
Landscape with the Spies bearing the Grapes V =) 127041-43 Studies of Heads V, p. 62
p- 126 127050-51 Studies of Heads V, p. 62
PIERRE ROSENBERG COLLECTION 127259 Venus with Putti IT, p. 33
Funeral Feasts V, p. 46, Nos. 361, 362 127421 recto Naked Figure landing from a
boat V, p. 99
P. RuELos COLLECTION verso Holy Family V, p.74
The Flight into Egypt V, p. 74, No. A 169 127422 Birth of Venus III, p. 29, No. 202

146
 127424 Venus and Cupid V, p. 119 NATIONALMUSEUM
127428 Children playing III, p. 46, No. 237 2427 (Wengstrom VIII) Holy Family I, p. 23,
127429 Scipio Africanus and the Pirates V, No.8 tig pez
P- 95, No. 421 2428 (Wengstrom X) Holy Family I, p. 23,
127430 A Warrior being armed _ V, p. 117 Noy Bi135. Vp; 72
127440 After the Antique V, p. 54 2429 (Wengstrom IX) Holy Family I, p. 23,
127444 Virgin adored by Saints V, p. 88 No: B ¥25°V; p-72
127492 Rinaldo carried off by his Companions 2430 (Wengstrom XI) Holy Family I, p. 27,
V, p. 100 No. A 7
129744 recto Moses trampling on Pharaoh’s 2431 (Wengstrom V) recto Paris and Oenone
Crown and Aaron’s Rod V, p. 65, Hil, paqogNo:B293\V5 po. 254
No. 384 verso Study of a seated Man_ V, p. 62
verso Extreme Unction V, p. 90, 2432 (Wengstrom XII, not XIII) The Finding
No. 415 of Moses _ I, p. 5, No. B 4; V, p. 64
129777 A Harvest Scene IV, p. 58 2438 (Wengstrom VI) The Nurture of Jupiter
129844 Two Nymphs with Water-Pots V, Ti pesnsy No. 1655 Vip 103
p. 115, No. 445 2445 (Wengstrom XIV) recto Triumph of Gala-
129847 Hercules holding the Distaff III, p. tea =I, p: 37, No. 217
39 verso The Birth of Venus III, p. 29, No.
ROTTERDAM as
MusEuM BoyMANS-VAN BEUNINGEN (FORMERLY ew oeean ee eset pid oF aseaaces
KoENIGS COLLECTION) ee ee ;
Ele Mince. Tino ad Venue. Vp 2447 ad le TV) Prometheus creating Man

FI 73 Putti chasing a Hare V,p. 110, No. 439 ages 1D Al d ee Tee

FI 74 Group of Womanand Children V, p. 62 2449 oer Je lerengee ee Lee
FI
FI
7576 The Toilet of Venus(?) V, : p. 119 2450
Babies: Use eae Pe ea
(Wengstrom IT) Women mourning at a
76 Holy Family V, p. 74 3
FI 83 recto Classical Landscape with Serpent Lees ha, i
eee 2451 (Wengstrom VII) The Finding of Queen
; 2 ; Zenobia II, p. 17, No. 1333 V, p.96
verso Kuropa III, p. 15; V, p. 103 a 33 P.9
So haa Wengstrom XVI) recto Study of a Horse
FI 109 recto Worship of the Golden Calf V, p. cae
NEG: V,p. 27, No. 296
Meo Ppioeeon of the Shepherds V verso Battle Scene IU, p. 19, No. 135
p : 5404a (Wengstrom XVIII) Bacchanalian Dance
FI 123 eas drinking froma Stream I, p. 14; We Noy
One coe pies 16/1923 (Wengstrom XV and XIX) recto The
‘Sail : Rape of Europa III, p. 14, No. 166
ae eau BET COTS ionP
py eo) verso Moses striking the Rock; The Holy
FI 248 Victory ere
Sores of Godfrey de Bouillon V, Bee
amily; fae Rape . of cE Europa
the II, p. 13,
: ‘ Non2§; Type 27 Norse; 11 pia Nosanb7,
ROUSHAM, OXFORDSHIRE 168
T. CorTRELL-DORMER COLLECTION 300/1925 (Wengstrom XVII) Bacchanal (Drun-
The Feast of Pan V, p. 106, No. A 177 ken Silenus) III, pp. 28, 43
1571/1875 (Wengstrom I) The Triumph of Titus
SACRAMENTO, CALIFORNIA
V, p. 28, No. 299
CROCKER ART GALLERY
Apollo and Daphne III, p. 19 STUTTGART
Perseus Vp. 113 FLEISCHHAUER COLLECTION (FORMERLY)
STOCKHOLM The Feast of Pan III, p. 23, No. A 48
KUNGLIGE AKADEMIEN TEL AVIV
A Spring in a Wood IV, p. 64, No. G 41; V, PrivarE COLLECTION
Pp. 124 A Group of Trees IV, p. 59

147
TURIN 425 Alexander at the Tomb of Achilles II,
BIBLIOTECA REALE p. 7, No: A 283 V5 p..93
16282 The JudgementofSolomon I, p. 16; V, 426 A Landscape IV, p. 58
p. 70, No. B 51 427 Dianaand Endymion V,p. 119
16284 Clelia crossing the Tiber V, p. 94 496 Decorative Design with ancient Armour
16285 Town with a Basilica inthe distance IV, V, p. 44, No. 353
p. 48, No. 285 776. A Sacrifice’ V>p..99
16286 A Saint preaching V, p. 88 777. Children playing V, p. 118, No. A 186
16288 Valley with Ruins IV, p. 58 779 Children playing V, pp. 117 f., No. 449
16290 The Annunciation I, p. 18; V, p. 71 781 Virgin and Child appearing to Monks V,
16291 Holy Family V, p. 74, No. A 167 p- 88
16292 Ara Pacis Frieze V, p. 54 782 Holy Family V,p. 74
16293 Alexander and Diogenes V, p. 93 783 Figure Study V, p. 62
16294 The Hermits Paul and Anthony IV, p. 784 The Baptism of Christ V, p. 76
58, No. B 40; V, p. 124 1476 Holy Family I, p. 27
16295 Apollo guarding the Herds of Admetus 1686 Nude V, p. 62
Ill,p..20, No. 179; V3 p. 104 —— Jupiterand Danae III, p. 16; V, p. 104
16296 Christ healing the Sick V, p.77
VERSAILLES
16300 The Assumption of the Virgin V, p. 82
16301 Marriage I, p. 45, No. 92 RENE VARIN COLLECTION
16302 ABattle V,p. 28, No. 302 Portrait of Poussin V, p. 60, No. A 162
16303 Designs for Ceiling Decoration V, p. 123
VIENNA
16304 A Sheet of Studies V, pp. 35f., No. 327
16305 DesignforaCup IV, p. 26 ALBERTINA
16307 Design for Vases V, p. 123 11354 Jacob and Laban V, p. 70
16307b Galleys V, p. 37, No. 334 11375 Victory of Joshua over the Amalekites I,
16325 HolyFamily V,p. 74 Pp: 17
11394 ‘Tobias burying the Dead V, p. 70
UPPSALA 11411 The Sacrifice of Noah I, p. 3
UNIVERSITY LIBRARY 11413 The Finding of Moses I, p. 5
A Group of Trees V, p. 125, No. 457 11414 Crossing of the Red Sea _ I, p. 11
11415 The Annunciation I, p. 18, No. 34; V,
VALENCE p71
Musée DEs BEAUX-ARTS 11416 The Baptism of Christ I, p. 42; V, p. 76
21 Moses driving the Shepherds from the Well 11417 The Baptism of Christ I, p. 42; V, p. 76,
1
Ba ohio) No. A 170
11418 The Assumption of the Virgin I, p. 35
VALENCIENNES 11420-22 Dianaand Actaeon V, p. 119
Mus£E DES BEAUX-ARTS 11424 Nymph mounting on a Goat III, p. 44,
543 Studies of Armour and Trumpeters V, No. 230
p. 36, No. 328 11426 Bacchus and Ariadne V, p. 118
11429 “1 Putto V5 p.121
VENICE 11436 A Hill-Town IV, p. 61, No. G 19; V,
ACCADEMIA p. 124
146 Bacchanal V,p. 108 11437 View overa Valley IV, p. 61, No. G 20;
147. Shepherds’ Dance III, p. 45, No. A 69 Ve pares
iso A -bisth Ill p.47, No. B27 11438 The Colosseum IV, p. 61, No. G 21; V,
153 Battle between Greeks and Amazons V, p. 124
p- 49, No. A 146 11439 Trees overhanging a defile IV, p. 62,
154 After the Antique V, p. 54 NovG 225 Ve pene4
423 Sheet of Studies V, p. 62 11440 Interior of a Wood IV, p. 59, No. G 1;
424 Recumbent Nude _ V, p. 62 V, p. 124

148
 II441 A broken Tree IV, p. 59, No. G 2; V, 0698 Scipio Africanus and the Pirates |a
p. 124 14; Non 327.V, p.c9§
11442 A Bridge over a Stream IV, p. 58; V, 0748 The Entombment V, p. 79, No. 400
p. 124 9749 The Ascension V, p. 66 and p. 80,
11443 Distant View of the Ponte Molle IV, No. 403
p59, No. G3; Vy»pi124 0750 recto God the Father V, p. 63, No. 383
11444 The “Porte de Lions’ IV, p.58; V, p. 124 verso Figure Study V, p. 58, No. 380
11445 Campagna seen through Trees IV, p. 59, 4877A The Three Marys at the Sepulchre V,
No. G 4; V, p. 124 p. 80, No. 402
11446 Path through a Wood IV, p. 60, No. G 5723 Landscape with Woman washing her Feet
S5aV Oe 124 IV, p. 54
11447 Wooded Valley IV, p. 60, No. G 6; V, 6140 AW Hille Towne LV, 'p64No: G 42; V,
Pe k24 p. 124
11448 Landscape Fantasy IV, p. 58; V, p. 124 6141 Group of Italian Farm Buildings IV,
11449 Two Trees overhanging a Ravine IV, p- 59, No. B 41
pa 58s, pr 124 8237 recto Arcus Argentariorum V, p 26,
T1450 Burial of a dead Man _ IV, p. 58 No. 292
T1451 Architectural Fantasy IV, p. 58 verso The Kingdom of Flora V, p. 111,
11452 Capitol from S. Pietro in Vincoli IV, No. 441
p. 62, No. G 23;V, p. 124 11876 Eucharist I, p. 49
11453 Rock-Face among Poplars IV, p. 62, 11877 Venus and Adonis hunting III, p. 31,
Not G 24-V sp. 24 Nor A 31
Tl454 Town seen across a Ravine IV, p. 62, 11878 The Kingdom of Flora III, p. 33, No. A
NosG255°V, p.124 58
11693 Decorative Panel V, p. 121, No. A 187 11879 Perseus (The Origin of Coral) III, p. 42,
13434 Decorative Designs V, p. 123 Nos Abo N Spt ss
13435 Drawings and text from Du Choul V, T1880 The Seven against Thebes V; pp. 28 £.
p- 45, Nos. 356, 357 No. 3024
25389 Pan and Syrinx III, p. 40 11882 Victory of Godfrey of Bouillon II, pp.
35474 View of a Castle and other Buildings V, 23 f., Nos. 147, 148; V, p. 100
p- 125, No. 456 11883 The Virgin and her Companions V, pp.
80 f., No. 404
WANTAGE, BERKSHIRE
11884 recto Victory of the Israelites over the
C. L. Loyp CoLLEcTION, LOCKINGE Midianites V, p. 68, No. 387
Dancerot Human Icife.Il.p: 24,.No. 149; V, verso The Worship of the Golden Calf I,
Pp: 100 p..12, No. 22
The Finding of Moses TD eNO. 5 11885 Moses trampling on Pharaoh’s Crown I,
WELLINGTON, NEW ZEALAND p. 7, No. 9
11886 Scipio Africanus and the Pirates
NATIONAL GALLERY
14 f., Nos: (826, 127
God the Father V, p. 63
11887 recto Moses striking the Rock I, p. 14,
WINDSOR No. 28
Royau Liprary verso St. Matthew and the Angel pe ss,
036 Peasant Women sewing V, p. 55, No. B 18; V, p. 84
No. 370 11888 recto Death of Virginia II, p. 12, No. 122
037 The Triumph of David I, p. 14, No. 30; verso Bacchus and Ariadne III, p. 21,
Vi pogo No. 181
038 Two Philosophers I, p. 20, No. B 22; 11889 recto Moses driving the Shepherds from
V, p- 98 the Well I, p. 8, No. A 3; V, p. 66
039 recto Two bearded Men V, p. 87, No. 410 verso Combat of the Horatii and the Curia-
verso Man with both Hands raised V, ti Tipper, Nosr2s
p- 87, No. 411 11890 Moses driving the Shepherds from the

149
 Well 1) ipewoe Nosittzenase Vi gpa.6G 11920 recto Hercules and Theseus fighting the
11891 Cogiolanus +15 pia 33, No. Aas Amazons IV, p. 14, No. 243
11892 recto Medea slaying her Children III, verso Holy Family I, p. 25, No. 44
Pp: 39, No.223 11921 recto Charity II, p. 25, No. 151
verso Holy Family I, p. 29, No. 56 verso’ Time and Truth II, p. 25, No. 150
11893 Medea slaying her Children III, p. 40, T1922 Nymph seated near a Tree III, p. 44,
No.
A 64 No. 233
11894 Marriage I, p. 44, No. 90 11923 Rinaldo and Armida II, p. 22, No. 142
11895 Finding of Queen Zenobia II, p. 17, No. 11924 A seated Woman _ V, p. 56, No. 374
LE Ve p96 11925 St. Mary of Egypt IV, p. 44, No. 275
11896 recto Confirmation I, p. 43, No. 85 11926 Herm beneath a Tree IV, p. 59
verso Holy Family I, p. 24, No. 4o 11928 Heads of Children V, p. 62
11897 recto Confirmation I, p. 43, No. 86 11929 Two Heads anda Foot V, p. 62
verso Head ofa Woman V, p. 56, No. 376 11930 The Woman taken in Adultery V, p. 78
11898 Confirmation I, p. 44, No. A 20; V, p. 89 11931 Studies of Heads_ V, p. 62
11899 Ordination I, p. 47, No. A 21; V, p. 89 11932 The Woman taken in Adultery V, p. 78
TIQO0-1I 1901 Christ healing the Blind I, p. 32, 11953 Birth of Adonis III, p. 10, No. 154
Nos. A 11,A 12 11934 Thetis and Achilles III, p. 13, No. 162
T1902 recto Christ healing the Blind I, p. 32, ch) Diana slaying Chione III, p. 10, No. 156
No. 62 11936 Death of Gamilla JI, p. 8,-No. 1135 V,
verso Feast of Pan III, p. 24, No. 188; 93
V, pp. 90, 106 ee Bh Ointee in Hades III, p. 12, No. 161
11903 Rape of the Sabines II, p. 10, No. 117 11938 Birth of Priapus III, p. 10, No. 155
11904 Rape of the Sabines II, p. 9, No. 116 eee) Acis transformed into a River-God II,
I1905 recto Indian Triumph of Bacchus tLe port; Non158
Pi 23s INOA1385 3, Dp. 107 11940 Galatea, Acis and Polyphemus III, p. 12,
verso Feast of Pan III, p. 24, No. 189; V, No. 160
p. 107 T1941 Dryope III, p. 11, No. 157
11906 Sacrifice of Polyxena II, p. 5, No. 107 T1942 Battle of the Rutuli against the Trojans
11907 Moses and the Burning Bush I, p. 10, Lipps; Noni eV p93:
No.A 4 11943 Battle of Romans and Sabines I p.-8,
11908 Mary Magdalen carried to Heaven I, Novrins Vsp. 93
p- 38, No. A 18 11944 Battle between the Tribes of Latium and
TI9O09 Saving of Pyrrhus II, p. 6, Nos. 108, 109 the Romans _ II, p. 7, No. 110; V, p. 93
TI9IO Bacchanal in front ofa Temple III, p. 26, 11945 recto lo, Mercury and Argus III, p. 13,
No. 194 No. 164
T1911 Bacchus and Ariadne [II], p. 21, No. 182 verso Figure of a Man_ V, p. 56, No. 375
T1912 recto Rape of Deianira III, p. 38, No. 218 11946 Pallas and the Muses III, p. 13, No. 163
verso Holy Family I, p. 24, No. 42 11947 Apollo guarding the Herds of Admetus
T1913 Schoolmaster of Falerit II, p. 12, No. 123 Tipe Nous95 Vine bes
T1914 Tyro and the Nymphs(?) II, p. 11948 Frontispiece to the Works of Virgil II,
No. 227 p. 26, No. A 42
T1915 recto Venus, Cupid and Pan III, p. 32, ee Frontispiece to the Works of Horace II,
No. 210 p. 26, No. A 43
verso Sketches of Centaurs III, p. 46, 11950 Illustration to the ‘Hesperides’ II, p. 26,
No. 239 Nomads pace
T1916 Two draped Female Figures V, p. 28, 11967-68 Cupid on Horseback Te pp. se snes
No. 301 Nos. 253, A:qiV, pnce1
T1917 Holy Family I, p. 24, No. 41 11969 Mercury intercepting Apollo IV, p. 14,
T1919 recto Death of Cato the Younger II, No? A572
D213, NOs 124 11970 Infant Hercules and the Serpents IV,
verso Figure Studies V, p. 56, No. 373 p= is, Nov A 35

150
I197I Hercules supporting the Globe IV, p. 11995 Feast of Pan III, p. 24, No. 192; V, p.
22, No,A°116 107
11972 Hercules and the Erymanthean Boar IV, 11996 Landscape with Classical Buildings IV,
p. 18, No. A 93 P- 59
LEOT Hercules and the Centaurs at Pholoe IV, 11997 Agony in the Garden I, p. 33, No. 64;
p. 18, No. A 92 Vip. 78
at9 14 Ancient erotic Ceremony V, p. 114,
No! B47
eo Venus and Mars _ III, p. 30, No. A 50 WORCESTER, MASS.
11976 Rinaldo and Armida II, p. 22, No. A 39 Art MusEuM
ee I Alpheus and Arethusa III, p. 33, No. A 1951.23 Finding of Romulus and Remus _ V,
5 ee
11978 Eli and the Child Samuel(?) I, p. 17,
No. B6; V, p. 69
eepe| Bacchanalian Dance III, p. 27, No. 196 WHEREABOUTS UNKNOWN
11980 Venus, Cupidand Pan III, p. 32, No. 209 Moses driving the Shepherds from the Well J,
11981 Satyr carrying a Child III, p. 44, No. p. 8, No. 10; V, p. 66
231 Holy Family V, p. 73, Nos. 392, 393, 3934
11982 Abraham driving out Hagar I, p. 3 a The Finding of Queen Zenobia II, p. 17, Nos. A
No. Bish V, pps'63 f. 35,A 36;V, p. 96
11983 Kingdom of Flora III, p. 35, No. 214; Roger carried away from Bradamante V, p. 99,
V, p. LET No. 428
11984 Perseus (The Origin of Coral) III, p. 41, The Nurture of Jupiter V, p. 103
No. 224 Jupiter and Antiope III, p. 16
11985 Diana hunting III, p. 28, No. 200; V, Apollo and Clytie V, p. 105, No. A 176
p- 109 Apollo and the Muses on Parnassus_ V, p. 43
11986 Hercules carrying off Deianira III, p. 39, Bacchanal V, p. 106, No. 4354
Now220;V, purr The Feast of Pan V, p. 107, No. 438
11987 Venus sutprised by a Satyr III, p. 33, Diana hunting V, p. 109, No. A 178
No! 291 Venus and Mars V, p. 109
11988 Holy Family I, p. 24, No. 43 Venus and Aeneas V, p. 110, No. A 179
11989 Clemency of Alexander II, p. 7, No. A The Marriage of Hercules and Megara _ IV, p. 16,
29 No. A 84
11990 Triumph of Bacchus and Ariadne III, Hercules and the Nemean Lion V, p. 121
p: 22, Nor 183 Studies from Ancient Reliefs V, p. 39, No. 340
TI9Q9I Martyrdom of St. Erasmus _ I, p. 39 Sheet of Studies V, p. 42, No. 347
T1992 Three dancing Satyrs III, p. 44, No. A Soldiers and Prows of two Galleys Ve Pp. 37
68; V, p. 116 No. 331
11994 Death of Cato the Younger EL pees. Youth holding a Bow V, p. 30, No. 306a
Noo B2izV,pro4 A Sacrifice V, p. 49, No. A 148

151
 SUBJECT INDEX
Aarton’s Rod changed into a Serpent lj Spy 10, Annunciation see Virgin
No. 16; V, p. 65, No. 384 Anthony Hermit see Paul and Anthony Hermits
Abigail bringing food to David V, p. 70 Anthony of Padua, St., preaching to the Fishes V,
Abraham driving out Hagar I, p. 3, No. B 3; V, 877
pp03\t., INO. 383 gees see Jupiter and Antiope
Achilles on Scyros II, p. 3, Nos. 104-106, A 23, Antique, drawings from the V, pp. 25 ff, Nos.
24; V. pp.9o.t., INo..B 54 292-335b, 339-347, 352-360, A 145-A 152, A 155b,
Achilles see a/so Alexander at the Tomb of Achilles; A 156, B 42-47, p. $4; p1122, Nos.453, 454
Thetis and Achilles Apollo and Clytie V, p. 105, No. A 176
Acis transformed into a River God III, p. 11, Apollo and Daphne III, pp. 16 ff., Nos. 171-176,
No. 158 A 46; V, p. 104, Nos. 432a, 432b, A 1754
Acis see also Galatea Apollo and the Muses on Parnassus III, p. 20,
Actaeon see Diana and Actaeon No. 180; V, p. 43
Admetus see Apollo guarding the Herds of Ad- Apollo carrying the dead Hyacinthus III, p. 20,
metus No. A 47
Adonis, Bitth.of Ill, p. 1xo,.No.154 Apollo guarding the Herds of Admetus III, p. 11,
Adonis, Death of see Meleager No..159, ps 20; Nos: 17851793 NV Ps.105, pat i4,
Adonis see also Venus and Adonis No. 181
Adoration of the Kings I, p. 20, Nos. 37, 38; V, Apollo; Headiof V, p.31,.No: 313
p- 43, No. 351, p. 72 Apollo Sauroctonos II, p. 19, No. 177
Adoration of the Shepherds I, pp. 18 f., Nos. 35, Ara Pacis WV, p.54
36, A 6; V, pp. 71 f., Nos. 390, 390a Arch inethe. Campagna IV;-p.ci4.) Nos 2723
Adultress see Christ and the Woman taken in p27
Adultery Arcus Argentartorum see Rome
Agony in the Garden. I, p. 33; No..64; V, p. 78, Arethusa see Alpheus and Arethusa
No. 398a Argus see Ilo, Mercury and Argus; Mercury and
Alexander and Diogenes V, p. 93 Argus
Alexander at the Tomb of Achilles It .pp..6.4. Ariadne see Bacchus and Ariadne; Theseus aban-
Nos. A 26-28; V, p. 93 doning Ariadne
Alexander, Clemency of I, p. 7, No. A 29 Ariccia, Palazzo Chigi IV, p. 55, No. B 34
Allegorical Figures V, p. 102 Armida see Rinaldo and Armida
Allegory V, p. 101 Artist’s Studio V, p. 55, Nos. 369, A 157
Allegory of Fortune II, p. 27 Artists, Heads of V, pp. 47 ff., Nos. 366-367
Allegory of Justice V, p. 101 Ascension see Christ, Ascension of
Allegory of Occasio V, p. 102 Ashdod, Plague at I, p. 17; V, p. 69, No. 389a
Allegory of Satire V, p. 102, No. 432 Assumption of the Virgin see Virgin
Allegory of Time V, p. 102 Atalanta V, p. 119; see also Meleager and Atalanta
Alpheus and Arethusa III, p. 33, No. A 55 hunting
iters Vo pp. 32 8. Nos. 315-326, A 145, p. 50 Augustus, Infancy of I, p. 2
Nos. A 150, A 151 Aurora see Cephalus and Aurora
Amazons see Battle between Greeks and Amazons Autumn see Spies with Grapes
Amorites see Victory of Joshua Aventine see Rome
Amphitrite, Triumph of III, p. 34, No. 213
Ananias and Sapphira V, p. 823 see also Sapphira,
Death of Babel, Tower of V, p. 70

152
Bacchanal in front of a Temple III, pp. 26 f., Nos. Cato the Younger, Death of II, p. 13, Nos. 124,
194, 195; V, p. 108 Bins Vip.94
Bacchanalian Dance III, p. 27, Nos. 196-198 Ceiling design V, p. 122, No. 452, p. 123
Bacchanals III, pp. 23 ff, Nos. 185-199, A 48, Centaurs III, p. 46, Nos. 239, 240; V, p. 42, No.
A 49; V, pp. 106 ff., Nos. 435-438, A 177 346a, p. 121
Bacchante V, p. 29, No. 305 Cephalus and Aurora III, pp. 34f., Nos A 56,
Bacchic Dance _ V, p. 108 Aus7s Vy p. 213, No; Ac180
Bacchic Procession V, p. 108 Cephalus and Procris V, p. 119
BacchicuScene™ WI, p:i27,No.-A 49; V,*p. 215, Ceres seeking Proserpine V, p. 52, No. A 156
No. 446 Chariot II, p. 27
Bacchus and Ariadne IH, pp. 21 f., Nos. 181-183, Charity. Uy p22; 5NOat 51
Bizz pp. 106, 178 Charles, St., Borromeo seeVirgin and Child
Bacchus and Attendants V, p. 108 adored by St. Charles Borromeo
Bacchus and Erigone II, p. 22, No. 184; V, p. 106 Chigi, Palazzo see Ariccia
Bacchus and Midas_ V, p. 118 Children playing III, p. 46, No. 237; V, pp. 117 f.,
Bacchus, Birth of V, p. 105, No. 433 Nos. 449, A 186; see a/so Putti; Cupids
Bacchus carried by Pan V, p. 105, No. 434 Chione see Diana slaying Chione
Bacchus, Indian Triumph of III, p. 23, No. 185 Christ and the Woman taken in Adultery I, p. 33,
Baptism see Christ, Baptism of; Sacraments Neowbii7; Vopa78
Barnabas see Paul and Barnabas Christ appearing to the Magdalen V, p. 80
Bartholomew, Martyrdom of V, p. 85, No. A 171 Christ, Ascension of V, p. 80, No. 403
Battle Scenes>) Il, pps 18'H., Nos. 134-137; p.273 Christ asleep on the Cross V, p. 87
V, p. 28, pp. 93, 102 f.; see also Victory Christ, Baptism of I, p. 42; V, p. 76; see also
Battle between Greeks and Amazons Wp 9, Sacraments
No. A 146 Christ bearing the Cross I, p. 34, No. 65; V, p. 79
Battle of the Rutuli against the Trojans DS pens; Christ, Entombment of V, pp. 79 f., Nos. 400, 401
No. 112 Christ healing the Blind I, pp. 32 ff., Nos. 62, 63,
Battle of the Tribes of Latium against the Romans Dnt ty eres Ve pas
Ti<p7, No.116 Christ healing the Sick V, p. 77
Battle of Romans and Sabines Ip, No. 117 Christ in Limbo _ V, p. 87
Belvedere sce Rome Christ teaching in the Temple V, p. 77
Bethesda, Pool of V, p. 88 Clelia crossing the Tiber II, p. 27; V, p. 94
Birth see Adonis; Bacchus; Priapus; Venus Clemency of Alexander sce Alexander
Bitte Llp 47, No. B27 Clytemnestra see Castor, Pollux, Helen and Cly-
Blind see Christ healing the Blind temnestra
Bouillon, Godfrey de see Godfrey of Bouillon Clytie see Apollo and Clytie
Bradamante see Roger carried away from Brada- Colosseum see Rome
mante Confirmation see Sacraments
Continence of Scipio see Scipio
Conversion of St. Paul see Paul
Cacus stealing the Cattle of Hercules V, p. 112 Coral, Origin of see Perseus
Callisto (?) V, p. 120 Coriolanus II, p. 13, No. A 31
Camels V, p. 97, Nos. 425, 426 Crossing of the Red Sea _ I, pp. 10 ff., Nos. 17-21;
Camilla, Death of II, p. 8, No. 113 V, p. 66, No. 386
Camillus see Schoolmaster of Falerti Crowned Figure giving Alms V, p. 99
Campagna, The IV, p. 55, p. 59, No. G 4 Crucifixion I, p. 34, Nos. 66-68; V, p. 79, No. 399
Campo Vaccino see Rome Cupid on Horseback (Illustration to the Document
Capitol see Rome a amore) 11, p. 255. Nosm153, 24 413), pero
Capture of Jerusalem see Jerusalem Cupid see Girls accompanied by Cupid; Mercury,
Castor and Pollux V, p. 26, No. 293 Paris and Cupid; Venus, Cupid and Pan
Castor, Pollux, Helen and Clytemnestra, Birth of Cupids shooting at a Target V, p. 117, No. 448
V, p. 112, No. B 56 Cythera see Venus landing on Cythera

155
Dance of Human Life II, p. 24, No. 149; V, p. 100 Extreme Unction see Sacraments
Daphne see Apollo and Daphne
Daphnis see Pan and Daphnis Falerii, Schoolmaster of see Schoolmaster of Falerii
David, Triumph:of <I; :p.t4;,Nos.\29;130; V,p<76 Fame see Victory and Fame
Death see Camilla; Cato the Younger; Germanicus; ‘Fanciulle Rusticane’ see Peasant Women sewing
Hippolytus; Meleager (or Adonis); Phaeton; Feast of Pan see Pan
Priam; Sapphira; Socrates; Virgin; Virginia Ferrari see Hesperides
Death Scenes II, pp. 19 f., Nos. 138, 139 Figure Studies V, pp. 56 ff, Nos. 372-375, 380,
Decorative Designs IV, pp. 25 f., Nos. 245-250, IA. 458-161, A 2620, pp. 61k. ip. 77,0 paca NOs
i123. 12455, p44, No. 353,90. 122, Novas, 410, 411, p. 99
pot23 Figures bya Tomb _ V, p. 99
Deianira see Hercules carrying off Deianira Finding of Moses see Moses
Delilah see Samson Finding of Queen Zenobia see Zenobia
Denis, St., terrifying his Executioners V, p. 88 Finding of Romulus and Remus see Romulus and
Diana and Actaeon V, p. 119 Remus
Diana and Endymion III, p. 28; V, p. 119 Flight into Egypt I, p. 30, Nos. 60, B 15, 16; V,
Diana before Jupiter V, p. 109 pp. 74 f£., Nos. A 169, B 52
Diana hunting III, p. 28, No. 200; V, p. 55, p..109, Flora. V7 p.119
No. A 178 Flora and Zephyr III, p. 36, Nos. A 60, A 61
Diana slaying Chione III, p. 10, No. 156 Flora, Kingdom of III, p. 35, Nos. 214, A 58; V,
Dido and Aeneas hunting V, p. 119 p. 111, Nos. 440, 441
Diogenes see Alexander and Diogenes Flora, Triumph of III, p. 36, No. A 59
Documenti d’ Amore see Cupid on Horseback Fortune see Allegory of Fortune
Domestic Scene I], p. 20, No. 140 Francis, St. V, p..126, No. A 188
Drunkenness of Noah see Noah Francis: Xavier, St. 1, p.39,.No. A197 V, p86
Dryope, Il p.14; No. 157 Frontispiece see Hesperides; Horace; Virgil
Du Choul, drawings from V, pp. 44f., Nos. 354- Funeral Feasts V, pp. 46 f., Nos. 361-363
557
Galatea, Acis and Polyphemus III, p. 12, No. 160
Eagles V, p. 53, No. B 46, pp. 58 f., Nos. 381, 382 Galatea and Acis III, pp. 36f., Nos. 215, A 62;
Early Christian Frescoes, drawings after V, pp. Vipstrt
46 f., Nos. 361-364 Galatea, Triumph of III, p. 37, Nos. 216, 217
Ecstasy of St. Paul see Paul Ganymede, Rape of V, p. 119
Elephants V, p. 42, Nos. 347-348, p. 53, No. B 45, Gems, drawings after V, pp. 45 ff., Nos 358-360,
p- 97, No. 423 pp. 53 f., Nos. B 43-B 47, p. 122, No. 453.
Eli and the Child Samuel I, p. 17, No. B 6; V, p. 69 Germanicus, Death of I], p. 15, Nos. 129, 130,
Eliezer see Rebecca A 333 V, p. 95
Emmaus, Pilgrims to see Pilgrims to Emmaus Girls accompanied by Cupid V, p. 115, No. 444
Endymion see Diana and Endymion Giulio Romano, drawings after V, pp. 38 ff., Nos.
Entombment of Christ see Christ, Entombment of 336-338, 345, 348, 350, A 152
Erasmus, St., Martyrdom of I, p. 39, No. 73; V =) God the Father: I) p.3, Nov 1; V, p563,4No7-333
p- 85, No. 4o9a Goddesses and Putti on a Cloud I], p. 47
Erigone see Bacchus and Erigone Godfrey of Bouillon, Victory of II, p. 23, Nos.
Erminia and the Shepherds V, p. 100 147, 1483 Vap. too, Nomizo
Erotic Ceremony V, p. 114, No. B 57 Gods of Olympus V, p. 118
Eucharist see Sacraments Golden Ass II, p. 20, No. 141
Eudamidas, Testament of II, p. 5, No. A 25; V > Golden Calf, Worship of I, p. 12, No. 22; V,
p- 92, No. 417b, p. 93 pp. 66 f., Nos. A 164-166
Europa, Rape of III, pp. 14f., Nos. 166-169; V >
P1035 Hagar see Abraham
Eurydice see Orpheus and Eurydice Heads, Studies of V, p. 48, No. 368, pp. sof., A
Exposition of Moses _see Moses 153-155a, p. 56, Nos. 376-378, p. 62

154
Hebe see Hercules and Hebe Jupiter with an Eagle V, p. 53, No. B 43
Helen see Castor, Pollux, Helen and Clytemnestra Justice see Allegory of Justice
Hercules III, p. 39, No. 221
Hercules, Altar to V, p. 32, No. 316 Kings see Adoration of the Kings
Hercules and Deianira II, p. 38, Nos. 218-220,
03 3.V5.Pers De D1 Laban searching for his Idols V, p. 70
Hercules and Hebe V, p. 119 Laban — see also Jacob and Laban
Hercules and Omphale III, p. 39 Lamentation over the dead Christ Ip. 35> No.
Hercules holding the Distaff III, p. 39 Avis
Hercules, Sacrifice to V, p. 30, No. 307 Landscape with Snake IV, pp. 46 f., Nos. 281-283
Hercules shooting at the Stymphalian Birds V> Landscapes IV, pp. 33 ff., Nos. 270-291, A 137-144,
p. 112, No. 442 B 31-41, Gt-423'V, po 6i, No. B50, pp. 123 fh,
Hercules (Long Gallery) IV, pp. 11 ff, Nos. 241- Nos. 455-458, A 188, A 189
S45 7FI-t16; Virper27 Latium, Battle of the Tribes of, against the Romans
Hercules see also Cacus see Battle
Herds of Admetus see Apollo guarding the Herds Lazarus, Raising of V, p. 77, Nos. 397, 398
of Admetus Leda see Jupiter and Leda
Hermit seated beneath a Tree IV, p. 64, No. G 38 Leonardo da Vinci, Illustrations to the Trattato della
Hesperides, Frontispiece to the II, p. 26, Nos. A 44, Pittura IN, pp. 26 ff., Nos. 251-269, A 125-136;
PASS Vp. 1omiNo:431 VV, p2123
Hippolytus, Death of III, p. 39, No. 222; V, Long Gallery (Louvre) IV, pp. 11 ff., Nos. 241-244,
pi tie. Noma; Fisk 2255 ps 223
Holy Family I, pp. 20ff., Nos. 39-59, A 7-10, Louvre see Long Gallery
B 11-14; V, pp. 72 ff, Nos. 391-393a, A 167, 168 Lycomedes, Achilles and the Daughters of see
Horace, Frontispiece to the Works of II, p. 26, Achilles on Scyros
No. A 43; V, p. 101
blotatti, The ills p..11,.No.121 Magi see Adoration of the Kings
Fiotses, -V p26) Man riding a Rhinoceros V, p. 97, No. 424
Hunts: Vp. 315 No. 310, ps, 55, Nox371 Manna _ V, p. 70
Hyacinthus see Apollo carrying the dead Hyacin- Mantegna, drawings after V, p. 42, Nos. 347, 3474
thus Marcus Aurelius V, p. 27, Nos. 295, 296
Marino Drawings Ill, pp. 9 ff., Nos. 154-164; V,
Incantation, Scene of V, p. 115, No. 4473 see also p. 102
Sacrifice and Incantation Marriage see Sacraments
Indian Triumph of Bacchus see Bacchus Mars see Venus and Mars
Infancy of Augustus see Augustus, Infancy of Marsyas and Olympus _V, p. 27
Innocents, Massacre of see Massacre Martyrdom of St. Bartholomew see Bartholomew
Io, Mercury and Argus III, p. 13, No. 163, p. 28 Mary of Egypt, St. V, p. 87
Israelites see Victory of the Israelites over the Mary of Egypt, St., and St. Zosimus IV, p. 44,
Midianites INO. 275:
Marty Magdalen, St. I, p. 38, No. A 18; V, p. 873
Jacob and Laban parting II, p. 70 see also Christ appearing to the Magdalen
Jerusalem, Capture of II, p. 18, No. A 37; V, p. 99 Marys at the Sepulchre V, p. 80, No. 402
Joseph and his Brethren V, p. 70 Massacre of the Innocents I, p. 31, No. 61; V,
Joshua, Victory of V, p. 68, Nos. 388, 389 P- 54, pp. 75 f., Nos. 394-3954
Judgement see Jupiter; Paris; Solomon Matthew, St. I, p. 38, No. B 18; V, p. 84, No. 126
Juno see Minerva, Juno and Venus Matthew, Landscape with St. V, p. 126
Jupiter and Antiope III, p. 15, No. 170; V, p. 103 Medea _ V, p. 53, No. B 44
Jupiter and Danae III, p. 16; V, p. 104 Medea slaying her Children III, pp. 39 f., Nos. 223,
Jupiter and Leda III, p. 16 A 64
Jupiter, Judgement of V, p. 113 Medici Vase V, p. 34, No. 324
Jupiter, Nurture of III, p. 13, No. 165; V, p. 103 Medusa _V, p. 31, No. 312

155
Meleager and Atalanta hunting V, p. 113 Nymphs and Satyrs_ V, p. 120
Meleager (or Adonis), Death of IV, p. 60, No. Nymphs and Shepherds dancing V, p. 120
Gai; V,p. 28, Noj 406 Nymphs by a Stream III, p. 47
Men with Elephants V, p. 97, No. 423 Nymphs spied on by Satyrs II, p. 45; V, p. 114
Mercury and Argus III, p. 28; IV, p. 56 Nymphs with Putti riding on Goats III, p. 44, No.
Mercury, Paris and Cupid III, p. 29, No. 201; V, 232
Pp too Nymphs with River God_V, p. 120
Mercury see Io, Mercury and Argus; Venus and Nymphs with Water-Pots V, p. 115, Nos. 445,
Mercury A 183
Metamorphoses of the Flowers see Flora Nymphs see Girls; Tyro and the Nymphs
Metius Curtius riding out of the Marsh II, p. 11,
INGOs 1208 V5 pS 51NOn 371) PL 94 Occasio see Allegory of Occasio
Midas see Bacchus and Midas Oenone see Paris and Oenone
Midianites see Victory of the Israelites over the Olympus see Gods of Olympus
Midianites Omphale see Hercules and Omphale
Minerva V, p. 40, No. 341 Ordination see Sacraments
Minerva and the Muses_ V, p. 98 Orithyia, Rapeof V, p. 119
Minerva, Juno and Venus V, p. 118 Orpheus and Eurydice IV, p. 52, No. A 140; V,
Minerva _ see also Pallas prez7
Monk in Ecstasy V, p. 88 Orpheus in Hades II, p. 12, No. 161
Moses and the Burning Bush I, p. 10, Nos. A 4, Ostia, Battleiot) Vop.-54
As
Moses driving the Shepherds from the Well (Moses Pallas and the Muses Ill, p. 13, No. 163; see also
and the Daughters of Jethro) I, pp. 8 ff, Nos. Minerva
10-15, A 3; V, pp. 65 f., No. 385 Pan, Feast-of “Lil pp.23 ff, (Noss 186-1093 49.
Moses, Exposition of V, p. 70 V, p. 107, Nos. 4374, 438
Moses, Finding of I, pp. 4 ff, Nos. 3-8, A 1, B 4, Pan and Daphnis_ V, p. 26, No. 294
B5; V, pp. 64f., No. A 163 Pan and Nymph _V, p. 120
Moses striking the Rock I, pp. 12 ff., Nos. 23-28; Pan and Syrinx III, p. 40; V, p. 120
Ne pa.07 Pan see also Venus, Cupid and Pan
Moses trampling on Pharaoh’s Crown I, p. 7, Paris and Oenone III, pp. gof., Nos. A 65, B 25;
Nos. 9, A 2; V, p. 63, p. 65, No. 384 Viper 13
Moses see also Aaron; Crossing of the Red Sea; Paris, Judgement of III, p. 4o
Golden Calf Paris see also Mercury, Paris and Cupid
Muses _ see Minerva and the Muses; Pallas and the Parnassus see Apollo and the Muses on Parnassus
Muses; Apollo and the Muses on Parnassus Paul and Anthony Hermits, IV, p. 58, No. B 4o
Mutinus, Rites of V, p. 54 Paul and Barnabas, Sts. I, p. 38, No. B 19; V, p. 84
Mutius Scaevola_ V, p. 94, No. 418 Paul, Conversion of St. I, pp. 35 ff, Nos. 69-71,
A 15; A NG6s Vp. 835 Nos408
Naiads_ III, p. 44, No. 234; V, p. 117 Paul, Eestasy of St. I> pp. 374. Nossa Amys. Vv,
Naiads and Crowned Male Figure II], p. 45, No. p. 84, No. 409
235 Peasant Women sewing V, p. 55, No. 370
Naked Figure landing from a Boat Vi; p- 99 Penance see Sacraments
Noah, Drunkenness of V, p. 70 Perseus (The Origin of Coral) III, pp. 41 f., Nos.
INGalwoaeriticeof p.3, NosiBa.2; V, p. 63 224, GOSWs Data
Nymph carried off by a Satyr III, p. 43, No. 228 Phaedra V, p. 27, No. 298
Nymph mounting on a Goat III, p. 44, No. 230; Phaeton, Death of III, p. 42
Va Oy TE Philosophers II, p. 20, No. B 22; V, p. 98
Nymph mounting the back of a Satyr II], p. 44, Phocion, Body of V, p. 126, No. 458
No. 229 Phocion, Statue of V, p. 49, No. A 149
Nymph seated near a Tree III, p. 44, No. 233 Pilgrims to Emmaus V, p. 87
Nymphs and Putti gathering Flowers V, p. 120 Pirates, Scipio Africanus and see Scipio

£56
Plague at Ashdod see Ashdod Return of the Holy Family from Egypt V, p. 76
Polidoro da Caravaggio, drawings after V, p. 38, Rhinoceros V, p. 97, No. 424
No. 337, 353 Rinaldo and Armida II, pp. 21 ff., Nos. 142-146,
Pollux — see Castor IANS, 39% Vs p. 10°
Polyphemus_ V, p. 126, No. A 189; see a/so Galatea, River-God and Putti gathering Grapes III, p. 46,
Acis and Polyphemus No. 236
Polyxena, Sacrifice of II, p. 5, No. 107 Roger carried away from Bradamante V, p. 99,
Ponte Molle see Rome No. 428
Pool of Bethesda see Bethesda Roman General addressing his Army II, p. 27
‘Porte de Lions’ IV, p. 58 Romans, Battle of, and Sabines see Battle
Poussin, Portrait of V, p. 60, Nos. A 162, B 49. Rome:
See also Self-Portrait Arcus Argentariorum N, p. 26, No. 292
Presentation in the Temple V, p. 76, Nos. 396, mventine .LV) p.45, No. 277, p: 57; Noob 37
B53 Belvedere IV, p. 46, No. 280
Priam, Death of V, p. 91, No. B 54a Campo Vaccino IV, p. 56
Priapus, Birth of III, p. 20, No. 155 Capitol IV, p. 62, No. G 23
Priapus, Rites of III, p. 42 Colosseum IV, p. 61, No. G 21
Priapus, Sacrifice to V, p. 114, No. A 182 Ponte Molle IV, p. 59, No. G 3, p. 63, No. G 34
Priest carrying the Host V, p. 87 S. Giorgio in Velabro IV, p. 56, No. B 36
Procris see Cephalus and Procris pe, Peters 1V, ps7
Prometheus III, p. 42 Temple by the Tiber IV, p. 56
Proportion Drawings Vep.62 Liber. IV, p44, Now 2735 0. S7eNOm bs t760y s
Proserpine see Ceres seeking Proserpine p- 1257 NO1455
Portia i p46, Nos. 237,238: V, pps61t., 120, 121 Vatican V, p. 127
Putti chasing a Hare V, p. 110, No. 439 View in IV, p. 46, No. 278
Putti with Butterfly V, p. 121 Villa Madama _ IV, p. 61, No. G 13
Putti with a Goat V, p. 53, No. B 47, p. 117, No. Romulus and Remus, Finding of V, p. 93
B 58, p. 120 Rutuli, Battle of, against the Trojans see Battle
Putti, see a/so Children; Cupids; Goddesses; Nymphs;
River God Sabines, Rape of I, pp. 8 ff., Nos. 114-119; V, p. 93
Putto flying V, p. 120 Sacraments:
Putto with Basket of Fruit V, p. 120 Baptism I, pp. 40 ff., Nos. 75-84; V, p. 88, No.
Pyramus and Thisbe III, p. 42, No. 225 412
Pyrrhus received by Glautias V, pp. 91 f., Nos. Confirmation I, pp. 42 ff., Nos. 85-89, A 20;
416-4174 V, p. 89
Pyrrhus, Saving of II, p. 6, Nos. 108, 109 Eucharist I, pp. 48 f., Nos. 100, 101; V, p. 89
Extreme Unction I, p. 49, Nos. 102, 103, A 22;
Queen offering her Crown to a victorious King V, V, p. 90, No. 415
. 98 Marriage I, pp. 44f., Nos. 90-943 V, p. 89
eee of Sheba see Solomon and the Queen of Ordination I, pp. 45 f., Nos. 95-98, A 21; V,
Sheba p. 89, Nos. 413, 414
Queen Zenobia see Zenobia Penance T, p. 47, Nos. 99, Bo" pa774 1c.
391
Raising of Lazarus see Lazarus Sack of a City V, p. 99
Rape of Europa see Europa Sacrifice V, p. 29, No. 304, p. 49, No. A 148,
Rape of the Sabines see Sabines A eth seas
Raphael, drawings after V, pp. 42 ff., Nos. 348-350, Sacrifice and Incantation Scenes V, p. 116, Nos.
365, A 155, Pp. 54 A 184, A 185
Rebecca and Eliezer I, p. 4, Nos. 2, A 1; V, p. 64 Sacrifice see also Hercules; Noah; Polyxena; Silva-
Red Sea, Crossing of see Crossing of the Red Sea nus
Remus see Romulus and Remus Saint healing V, p. 87
Rest on the Flight into Egypt see Flight into Egypt Saint preaching V, p. 88

157
Saint refusing to adore the Image ofan Emperor V, Thisbe see Pyramus and Thisbe
p- 88 Tiber: IV,-p. 44; Nom2735 p25 7; Noe Bas zie:
St. Peter’s see Rome pi25, NO7 455
Salome I, p. 39, No. 74 Time see Allegory of Time
Samson and Delilah V, p. 70 Time and Truth II, pp. 24f., No. 150
Samuel see Eli Tiresias V, p. 120
San Giorgio in Velabro see Rome Titus, Triumph of V, p. 28, No. 299
Sapphira, Death of V, p. 82, No. 407 Tobias burying the Dead V, p. 70
Satire see Allegory on Satire Toilet of Venus see Venus
Satyr and Peasant V, p. 98, No. 427 Tower of Babel see Babel
Satyr carrying a Child III, p. 44, No. 231 Trajan’s Column V, pp. 36 ff., Nos. 328-335b
Satyr, Putti and Goat V, p. 120 ‘Tree. Studies. IV, pp. -43-H.,) Nos? 270, 2y7i5epp:
Satyrs dancing III, p. 44, No. A 68; V, pp. 116, 120 54 £559 thy Nos. G 2) Grr7, Gris, Graz, Ge2G,
Satyrs with Wine Jars V, p. 220 G23) 'G 31, G39, G:4o; V5 p25, NO.457, p.127
Satyrs see also Venus surprised by Satyrs; Nymphs Trojans, Battle of the Rutuli against see Battle
Saving of Pyrrhus see Pyrrhus Tribes of Latium, Battle of, against the Romans _ see
Schoolmaster of Falerii II, p. 12, Nos. 123, A 30; Battle
V, p. 94, No. 419 Triumph of a Roman General V, p. 98
Scipio Africanus and the Pirates II, p. 14, Nos. Triumphs see Amphitrite; Bacchus; Flora; Gala-
126-128, A 32; V, p. 95, Nos: 421, A 175 tea; Silenus; Titus
Seipio,-<Coatinence of (11. paa3, No2253"Vs pp: ‘Frophy TV, p:. 25,,.No<-2455.W ps 122 NO.451
94 f., Nos. 420, A 174 Truth see Time and Truth
Scylla and a Centaur V, p. 42, No. 346a Tyro and the Nymphs III, p. 43, No. 227
Sea-Horse V, p. 122, No. 454
Self-Portrait V, p. 57, No. 379, p. 60, No. A 162 Vasari, drawings after V, pp. 47 ff., Nos. 366, 367
Seven against Thebes see Thebes Vases Vp. 123
Shepherd with his Flock III, p. 45 Vatican see Rome
Shepherds’ Dance __ III, p. 45, Nos. A 69, A 70 Venus and Adonis IlL, pi3t;V, ph Too; Nowbiss,
Shepherds presenting Offerings III, p. 45, No. NV ee)
B2G5N >P4ihl7 Venus and Adonis hunting III, p. 31, No. A 51
Shepherds reading the Inscription on a Tomb II, Venus and Aeneas V, p. 110, No. A 179
Dp 2767 Vp: 201 Venus and amoretti III, p. 33, No. B 24; V, p. 119
Shepherds see a/so Adoration of the Shepherds Venus and Mars III, p. 30, Nos. 206, 207, A 50;
Sick Man before a Ruler V, p. 98 V, p. 109
Silenus, drunken II, p. 42, No. 226; V, p. 108 Venus and Mercury III, p. 30, No. 208
Silenus, Triumph of V, p. 107 Venus at the Fountain III, p. 33, No. 212; V, p. 110
Silvanus V, p. 30, No. 309 Venus, Birth of III, p. 29, Nos. 202-204
Snake V, p. 122, No. 453 Venus, Cupid and Pan III, p. 32, Nos. 209, 210,
Socrates, Death of V, p. 92 ASA
Solomon and the Queen of Sheba _V, p. 70 Venus in the Forge of Vulcan II, pp. 31 f., Nos.
Solomon, Judgement of JI, pp. 15 f., Nos. 31-33; AL §25 N53
V, p. 79, No. B 51 Venus landing on Cythera III, p. 29, No. 205
Spies with Grapes IV, p. 53, No. A 143; V, p. 126 Venus surprised by Satyrs II, p. 32; V, p. 110
Storm V, p. 61, No. B 50 Venus, Toiletot »Hl ps 335.V, pp.287, 210
Syrinx see Pan and Syrinx Venus see also Minerva, Juno and Venus
Victory and Fame II, p. 25, Nos. 152, A 4o
Testament of Eudamidas see Eudamidas Victory of Joshua see Joshua
Thebes, Seven against V, p. 28, No. 3024 Victory of the Israelites over the Midianites V,
Theseus abandoning Ariadne III, p. 43, No. A 67; p. 68, No. 387
VED. 1135,No. 4434 Villa Madama _ see Rome
Theseus finding his Father’s sword VV, p. 90 Virgil, Frontispiece to the Works of I, p= 26;
Thetis and Achilles III, p. 13, No. 162 No. A 42

158
Virgin adored by Saints V, p. 88 Warrior being armed V, p. 117
Virgin and Child adored by St. Charles Borromeo Winter IV, p. 25, No. 246
Vo pe 87 Woman fainting V, p. 220
Virgin and Child appearing to a Saint V, p. 87 Woman taken in Adultery see Christ and the
Virgin and Child appearing to Monks V, p. 88 Woman taken in Adultery
Virgin and her Companions V, p. 80, No. 404; Women mourning at a Tomb II, p. 27
see also Peasant women sewing Worship of the Golden Calf sce Golden Calf
Virgin, Annunciation to I, p. 17f., Nos. 34,
B 7-10; V, p. 71 Youth offering cup toa Girl V, p. 98
Virgin, Assumption of I, p. 35, No. A 14; V,
p- 82, No. 406 Zenobia, The Finding of Queen II, pp. 16 ff., Nos.
Virgin, Death of V, p. 81, No. 405 131-133, /\34-303;-L Vy Dp: .48, INO.0287;.V, Pp. 96,
Virgin, Marriage of V, p. 87; see also Sacraments: No. 422
Marriage Zephyr see Flora and Zephyr
Virginia, Death of II, pp. 11 f., No. 122 Zosimus, St. see Mary of Egypt, St.

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