Nicolas Poussin, Landscape with a Man washing his Feet at a Fountain

In this picturesque landscape the bright blue sky and leafy trees reflect the warm climate. The path and river lead our eye towards the town in the distance with its buildings nestled into the mountain.

On the left, a seated man washes his feet in a fountain. The woman who is seated beside a shepherd on the right is pointing towards a large column, which may be part of a temple. Large basins like the one we see here were often placed near temples so that worshippers could wash their feet as a purifying ritual before entering. The shrine or small statue attached to a tree beside the road is an unusual detail. The sword and scabbard above the statue may belong to the man lying on the ground, indicating that he has recently retired from military life.

This landscape could be inspired by a description of the Vale of Tempe in the area of Thessaly in Greece, published in the Varia historia by the classical author Aelian: ‘In the valley there are infinite glades, shaded completely by the leaves of the trees, which in the summer offer pleasant refuges for travellers … There are numerous springs and fountains running with cool water, delicious, and very agreeable to drink.’ This scene revives aspects of classical art: the solid appearance of the people and their drapery recalls ancient statues. This is particularly apparent in the figure of the woman walking towards the right.

When the painting was acquired by the National Gallery, the man washing was thought to be Phocion, a successful politician in ancient Greece who was mentioned in the famous stories written by Plutarch. But this is now considered unlikely, and the picture is not believed to illustrate a scene from ancient literature.

Painted in around 1648, this work may have been owned by Jean Pointel, a Parisian merchant who was one of Poussin’s most important patrons. Little is known about where the picture was before it arrived in England, where it was bought by Sir George Beaumont in 1785. It was among the first paintings to be purchased by the National Gallery in 1826.

In 1821 the English landscape painter John Constable wrote that this was ’the most affecting picture I almost ever stood before.'