more definite shape after his retirement, and he communicated orally to his friends the sketch of a comprehensive work on the Evidences of Christianity, which his early death, together with his increasing bodily infirmities, prevented him from completing. Nothing was left but unconnected fragments, containing for the most part his thoughts on subjects apparently relating to his great design, hastily written on small scraps of paper, without order or arrangement of any kind. They were published in 1670, with some omissions, by his friends of Port Royal, and were afterwards given to the world entire, under the title of the Thoughts of Pascal. Many of the thoughts are such as we should expect from a man who with a mind distinguished for its originality, with an intimate knowledge of scripture, and lively piety, had meditated much and earnestly on the subject of religion. In a book so published, it is of course easy enough to find matter for censure and minute criticism; but most Christian writers have been content to bear testimony to its beauties and to borrow largely from its rich and varied stores. Among the editors of the Thoughts of Pascal are found Condorcet and Voltaire, who enriched their editions with a commentary. With what sort of spirit they entered on their work may be guessed from Voltaire's wellknown advice to his brother philosopher. "Never be weary, my friend, of repeating that the brain of Pascal was turned after his accident on the Pont de Neuilly." Condorcet was not the man to be weary in such an employment; but here he had to deal with stubborn facts. The brain of Pascal produced after the accident not only the Thoughts, but also the Provincial Letters, and the various treatises on the Cycloid, the last of which was written not long before his death.

He died August 19th, 1662, aged thirty-nine years and two months.

By those who knew him personally he is said to have been modest and reserved in his manners, but withal, ready to enliven conversation with that novelty of remark and variety of information which might be expected from his well-stored and original mind. That spirit of raillery which should belong to the author of the Provincial Letters showed itself also occasionally in his talk, but always with a cautious desire not to give needless pain or offence.

He seemed to have constantly before his eyes the privations and sufferings to which a large portion of the human race is exposed, and to receive almost with trembling those indulgences which were denied to others. Thus, when curtailing his own comforts that he might perform more largely the duties of charity, he seemed only to be disencumbering himself of that which he could not safely retain.

As a philosopher, it is the great glory of Pascal, that he is numbered with that splendid phalanx, which, in the seventeenth century, following the path opened by Galileo, assisted to overthrow the tyranny of the schools, and to break down the fences which for ages had obstructed the progress of real knowledge; men who were indeed benefactors to science, and who have also left behind them for general use an encouraging proof that the most inveterate prejudices, the most obstinate attachment to established errors, and hostility to improvement, may be overcome by resolute perseverance, and a bold reliance on the final victory of truth. No one, however, will coldly measure the honour due to this extraordinary man by his actual contributions to the cause of science or literature. The genius of the child anticipated manhood: his more matured intellect could only show promises

of surpassing glory when it escaped from the weak frame in which it was lodged.

For further information the reader is referred to the discourse on the life and works of Pascal, which first appeared in the complete edition of his works in 1779, and has since been published separately at Paris; to the Biographie Universelle; and to the life of Pascal, written by his sister, Madame Perier, which is prefixed to her edition of his Thoughts.

TRUTH and compliment are happily united in Poussin's observation to a noble amateur, "You wanted but the stimulus of necessity to have become a great painter." The artist had himself felt this stimulus, and he knew its value in producing resolution and habits of industry. His family was noble, but indigent: John, his father, a native of Soissons, and a soldier of fortune, served during the reigns of Charles IX., Henry III., and Henry IV., with more reputation than profit. At last, finding that in the trade of arms his valour was likely to be its own reward, he married the widow of a solicitor, resigned his military employments, and fixed his abode at Andelys in Nor

mandy, where, in June 1594, his son Nicholas, the subject of the present memoir, was born.

The district in which Andelys is situated is remarkable for its picturesque beauty, and from the scenery which surrounded him the genius of Poussin drew its first inspiration. His sketches of landscape attracted the notice and commendation of Quintin Varin, an artist residing in the neighbourhood. Animated by praise, young Poussin earnestly solicited his father that he might become Varin's pupil; a request to which the prudent parent, after long hesitation, reluctantly acceded. He knew that in such a pursuit as that of the fine arts, much of the aspirant's life must be expended before a just estimate of his professional talents can be formed, and that even where talent exists, the success of the possessor is not always commensurate to its claims. The youth, however, was fortunate in meeting, in the first instance, with a preceptor whose instructions, founded on just principles, left him nothing to unlearn. He remained with Varin until his eighteenth year, when he went to Paris, and studied under Ferdinand Elle, and L'Allemand, two artists then in fashion, from whom he learned nothing. In the mean time he had become acquainted with several persons who appreciated his dawning talents, and felt an interest in his fortunes. Among the rest, a young nobleman of Poitou manifested an almost fraternal attachment towards him, relieved his pecuniary wants, and among other services introduced him to Courtois, the King's mathematician, who possessed a fine collection of prints by Marc Antonio, and a great number of drawings and sketches by Raffaelle, Giulio Romano, and other great masters of the Roman school. These treasures Poussin studied and copied with sedulous zeal and attention, and he was frequently heard to advert to this circumstance as one of the most fortunate of his life, inasmuch as the con