of his profession. They
communicated their sentiments to each other, Fresnoy furnishing his friend
with noble ideas, and the latter instructing the former to paint with more
ease and dispatch. Fresnoy painted several fine pictures in Rome, and, in
1653, he left that city, in company with his friend, travelled to Venice,
and then to Lombardy. Here the two friends parted,[3] Mignard returning to
Rome, and Fresnoy to his native city. After his arrival in Paris, he
painted some beautiful historical pictures, which established his
reputation. He perfectly understood architecture, and drew designs for many
elegant mansions in Paris. During his travels in Italy, he planned and
composed his _De Arte Graphica_, an excellent poem, full of valuable
information, and containing unerring rules for the painter. This poem was
twenty years in hand, and was not published until three years[4] after the
author's death, which took place in 1665. It has been observed, that
Fresnoy possessed the genius requisite for forming a great master; and had
he applied himself more strictly to painting, and educated pupils, he would
doubtless have proved one of the greatest painters France ever produced.
But, possessing high literary talents, he chose to lay down _precepts_ for
his countrymen, rather than to present them with _examples_ of his art. He
adhered too closely to the theory of painting, neglecting the more
essential part--practice.

[3] When Mignard returned to Paris in 1658, he again went to reside
with his friend.

[4] It appeared at Paris, in 12mo., with a French translation by
Mons. Du Piles, 1668.

In the reign of Louis XIV., Nicholas Poussin distinguished himself as a
painter, by displaying exquisite knowledge and great skill in composition.
He generally painted ancient ruins, landscapes, and historical figures. He
was likewise well acquainted with the manners and customs of the ancients;
and, though he educated no pupils, and never had any imitators, his
pictures are universally admired in every European country. Charles le
Brun[5] established the French school,--an undertaking which Voueet had
previously attempted. Le Brun drew well, had a ready conception, and a
fertile imagination. His compositions are vast, but, in various instances,
they may justly be termed _outre_. He possessed the animation, but not the
inspiration of Raphael; and his design is not so pure as that of
Domenichino, nor so lively as that of