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In the self-portrait at the Louvre the artist, wearing a dark green gown and with a stole thrown over his shoulders, is shown in a slightly different pose than in the earlier version in Berlin: posture is erect, his head turned to present an almost full-face view. His facial expression is more solemn, but also less decided. Instead of funeral symbolism, the setting is the artist's studio, lent strangely abstract quality by a staggered arrangement of three framed canvases, one behind the other, whose quadratic structure is echoed by the dark doorframe behind them. It is apparent that the canvas nearest to us is empty, except for a painted inscription. At the left on the second canvas there is a woman in front of a landscape, wearing a diadem with an eye; a man's hands are reaching out to hold her shoulders. This has been interpreted as an allegory: painting crowned as the greatest of arts.
A tiny but highly significant detail is the ring Poussin is wearing on the little finger of his right hand, which rests on a fastened portfolio. The stone is cut in a four-sided pyramid. As an emblematic motif, this symbolized the Stoic notion of Constantia, or stability and strength of character.
The painting is signed and dated: EFFIGIES NICOLAI POUSSINI ANDELYENSIS PICTORIS, ANNO AETATIS 56. ROMAE ANNO JUBILEI 1650.
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