Stone assesses Erwin Panofsky's essay "Et in Arcadia ego, Poussin and the elegiac tradition," contending that, while the essay is itself suffused with an elegiac spirit and is in its own way a work of art, it seems harsh and surprising after Panofsky's lyric invocation of the Arcadian tradition to dismiss Guercino's ca.1618 Et in Arcadia Ego (Rome, Palazzo Corsini, via della Lungara) and Poussin's 1628-1629 Arcadian Shepherds (Et in Arcadia Ego) at Chatsworth as formulaic and anecdotal paintings. Stone asks, had the elegiac tone been so missing from them after all? He argues for a greater continuity between these two pictures and Poussin's ca.1638-1640 Arcadian Shepherds (Et in Arcadia Ego) in the Louvre (Paris) than Panofsky allows.
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