d to return to France by Louis XIII., who, finding
that several invitations to that effect, conveyed through ambassadors,
failed to bring back Poussin, did him the honour to write him an
autograph letter, entreating his presence. The painter obeyed the
flattering summons, but unwillingly. He felt that he was sacrificing
his independence to the splendid bondage of a court, and he often
remembered with fond regret, 'the peace and the sweetness of his
little home.'

Two years he resided at court, tasting the sweets and bitters of
ambition--the caresses of a powerful king, and a still more powerful
cardinal--mingled with the envious intrigues and malicious detraction
of jealous rivals. Poussin loved not such a life; his free spirit
languished, his noble heart was pained; and in 1642, he requested and
obtained leave to visit Italy, promising, however, to return.

The deaths of Louis and Richelieu, which took place within a short
period of each other, released Poussin from his pledge. From that
time, he constantly resided at Rome, and executed his greatest works.
Amongst these may be named: _Rebecca_, _The Seven Sacraments_, _The
Judgment of Solomon_, _Moses striking the Rock_, _Jesus healing the
Blind_, and _The Four Seasons_, each being represented by a subject
from sacred history. All these, with the exception of _The Seven
Sacraments_, are to be seen in the Louvre.

Poussin died at Rome in 1665. His wife had expired a short time
before, and grief for the loss of this fond and faithful partner broke
down his energies and hastened his decease.

'Her death,' he wrote, 'has left me alone in the world, laden with
years, filled with infirmities, a stranger and without friends.' All
those whom he loved had preceded him to their tombs, and the only
relative at his death-bed was an avaricious nephew, eager to seize his
possessions.

The name of Nicholas Poussin will never die. He was the first great
French painter; and in him were united what, unhappily, are often
dissevered, the highest qualities of the head and of the heart--the
lofty genius of the artist with the humble piety of the Christian.

ORIGIN OF MUSIC.

As to the hackneyed doctrine that derives the origin of music from the
outward sounds of nature, none but poets could have conceived it, or
lovers be justified in repeating it. Granting even that the singing of
birds, the rippling of brooks, the murmuring of winds, might have
suggested some idea, in the