Ruskin was more critical of Gaspard Dughet's (known to Ruskin as Gaspard Poussin) classicism than that of either of the two painters with whom he is most closely associated, his brother-in-law, Nicolas Poussin and Claude. In fact, so low was Ruskin's estimation of his painting and particularly its 'want of imagination' ( Works, 4.243) that he rarely commented on it in his published work after Modern Painters I. In The Stones of Venice I (1851), Ruskin dismissed the 'dull manufacture of Gaspar' ( Works, 9.45); in his lecture of 15 December 1853 on 'Turner and his Works', later published in Lectures on Art and Architecture (1854), Ruskin argued that Dughet reflected the 'the dull and affected erudition' of his period ( Works, 12.120). Although Ruskin acknowledges in this lecture that Dughet is one of a number of artists whom Turner imitated, he believed that the influence of the painter on his artist-hero was insubstantial: 'I doubt if [Turner] took anything from Gaspar; whatever he might have learned from him respecting masses of foliage and golden distances, could have been learned better, and, I believe, was learned, from Titian' ( Works, 5.406). (See also Gaspard Poussin's perception of nature).