name of the INSEPARABLES.

They were employed by the Cardinal of Lyons in copying all the best pieces in the Farnese palace. But their principal study was the works of Raffaelle and other great masters, and the antiques; and they were constant in their attendance every evening at the academy, in designing after models. Mignard had superior talents in practice; but Du Fresnoy was a greater master of the rules, history, and theory of his profession. They communicated to each other their remarks and sentiments ; Du Fresnoy furnishing his friend with noble and excellent ideas, and the latter instructing the former to paint with greater expedition

and ease.

Poetry shared with Painting the time and thoughts of Du Fresnoy, who, as he penetrated into the secrets of the latter art, wrote down his observations; and having at last, acquired a full knowledge of the subject, formed a design of writing a Poem upon it, which he did not finish till many years after

wards, when he had consulted the best writers, and examined with the utmost care the most admired pictures in Italy.

While he resided there he painted several pictures, particularly the Ruins of the Campo Vaccino, with the City of Rome in the figure of a woman; a young woman of Athens going to see the monument of a lover; Æneas carrying his father to his tomb; Mars finding Lavinia sleeping on the banks of the Tyber, descending from his chariot, and lifting up the veil which covered her, which is one of his best pieces; the birth of Venus, and that of Cupid. He had a peculiar esteem for the works of Titian, several of which he copied, imitating that excellent Painter in his colouring, as he did Caracci in his design.

About the year 1653, he went with Mignard to Venice*, and travelled throughout Lom

* This is the account of Mons. Felibien, Entretiens sur les vies et sur les ouvrages des plus excellens peintres, tom. 11. edit, Lond. 1705, p. 333. But the late author of Abregé de la vie des

bardy; and during his stay in that city painted a Venus for Signor Mark Paruta, a noble Venetian, and a Madonna, a half-length. These pictures shewed that he had not studied those of Titian without success. Here the two friends separated, Mignard returning to Rome, and Du Fresnoy to France. He had read his poem to the best painters in all places through which he passed, and particularly to Albano and Guercino, then at Bologna; and he consulted several men famous for their skill in polite literature.

He arrived at Paris in 1656, where he lodged with Mons. Potel, Greffier of the Council, in the street Beautreillis, where he painted a small room; afterwards a picture for the altar of the church of St. Margaret in the suburb St. Antoine. Mons. Bordier, Intendant of the finances, who was then

plus fameux peintres, part. 11. p. 284, edit. Par. 1745, in 4to, says, that Fresnoy went to Venice without Mignard ; and that the latter, being importuned by the letters of the former, made a visit to him in that city.

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finishing his house of Rinci, now Livry, having seen this picture, was so highly pleased with it, that he took Du Fresnoy to that house, which is but two leagues from Paris, to paint the Salon. In the ceiling was. represented the burning of Troy; Venus is standing by Paris, who makes her remark how the fire consumes that great city; in the front is the God of the river, which runs by it, and other deities: this is one of his best performances, both for disposition and colouring. He afterwards painted a considerable number of pictures for the cabinets of the curious, particularly an altar-piece for the church of Lagni, representing the Assumption of the Virgin and the Twelve Apostles, all as large as life. At the Hotel d'Erval (now d'Armenonville) he painted several pictures, and among them a ceiling of a room with four beautiful landscapes, the figures of which were by Mignard. As he understood architecture very well, he drew for Mons. de Vilargelé all the designs of a house which that gentleman built four leagues from

Avignon; as likewise those for the Hotel de Lyonne, and for that of the Grand Prior de Souvré. The high altar of the Filles-Dieu, in the street of St. Denis, was also designed by him.

Though he had finish'd his poem before he had left Italy, and communicated it, as has been already mentioned, to the best judges of that country, yet, after his return to France, he continued still to revise it, with a view to treat more at length of some things, which did not seem to him sufficiently explained.. This employment took up no small part of his time, and was the reason of his not having finished so many pictures as he might otherwise have done. And though he was desirous to see his work in print, he thought it improper to publish it without a French translation, which he deferred undertaking from time to time, out of diffidence of his own skill in his native language, which he had in some measure lost by his long residence in Italy. Mons. de Piles was therefore at