Abstract
Passeri's report in his seventeenth-century biography of Duquesnoy that the sculptor and his friend Nicolas Poussin sought to create art in the Greek manner has long intrigued scholars. This article calls attention to period testimony that corroborates Passeri's account and records an academy formed by Duquesnoy's circle. The significance of the Greek manner is explored in relation to Duquesnoy's Saint Susanna and its seventeenth-century critical reception, and the circumstances of the commission are clarified. The statue's subsequent reception is then related to the issues of taste and the perception of the antique that underlay the sculpture's genesis.
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