...which presents them, as it were, more lively and pleasing than the truth. Thus in portraits he centres the chief power in the eyes, the nose, and the mouth,...the spirit of the heads and to the whole effect.' —vol. iii. p. 143. Tintoretto was ambitious of adding Michael Angelo's vigour and loftiness of design...

...which presents them, as it were, more lively and pleasing than the truth-. Thus in portraits he centres the chief power in the eyes, the nose, and the mouth,...leaving the remaining parts in a kind of pleasing uncer^ taiuty, extremely favourable to the spirit of the heads and to the whole effect.' —vol. iii....

...peculiar aspect which is more lively and pleasing than the truth. Thus, in his portraits he centres the chief power in the eyes, the nose, and the mouth,...the spirit of the heads and to the whole effect," "Titian was the first," says Mengs, "who knew how to avail himself of the ideal of different colours."...

...observing that he may be studied with advantage even by lovers of the sublime. In his portraits he centres the chief power in the eyes, the nose, and the mouth,...to the spirit of the heads and to the whole effect, and as a portrait painter he was quite incomparable, and to this species of excellence he L3 was in...

...presents them, as it were, more lively and pleasing than the truth. Thus, in his portraits, he centres the chief power in the eyes, the nose, and the mouth,...parts in a kind of pleasing uncertainty, extremely favorable to the spirit of the heads, and to the whole effect. But since the variations of depth and...