"This admirable study was probably made from nature, additional character and more powerful expression having been given to it by a slight exaggeration of details, bordering on caricature (observe the protruding lower lip, 'nez retrousse,' and overhanging forehead). The head, in profile, turned to the right, is proudly planted on a massive neck and shoulders, and the short tufted hair stands up erect. The expression is that of fierce, insolent self-confidence and malevolence; it is engraved in facsimile in Ottley's 'Italian School of Design,' and it is described in that work, p. 33, as 'Finely expressive of scornfulness and pride, and evidently a study from nature.' "Michel Angelo has made use of the same ferocious-looking model on other occasions--see an instance in the well-known 'Head of Satan' engraved in Woodburn's Lawrence Gallery (No. 16), and now in the Malcolm Collection. "The study on the reverse of the leaf is more lightly executed; it represents a man of powerful frame, carrying a hog or boar in his arms before him, the upper part of his body thrown back to balance the weight, his head hidden by that of the animal, which rests on the man's right shoulder. "The power displayed in every line and touch of these drawings is inimitable--the head was in truth one of the 'teste divine,' and the hand which executed it the 'mano terribile,' so enthusiastically alluded to by Vasari." 234. Passing, for the moment, by No. 10, a "young woman of majestic character, marked by a certain expression of brooding melancholy," and "wearing on her head a fantastic cap or turban;"--by No. 11, a bearded man, "wearing a conical Phrygian cap, his mouth wide open," and his expression "obstreperously animated;"--and by No. 12, "a middle-aged or old man, with a snub nose, high forehead, and thin, scrubby hair," we will go on to the fairer examples of Divine heads in No. 32. "This splendid sheet of studies is probably one of the 'carte stupendissime di teste divine,' which Vasari says (Vita, p. 272) Michel Angelo executed, as presents or lessons for his artistic friends. Not improbably it is actually one of those made for his friend Tommaso dei Cavalieri, who, when young, was desirous of learning to draw." But it is one of the chief misfortunes affecting Michael Angelo's reputation, that his ostentatious display of strength and science has a natural attraction for comparatively weak and pedantic persons. And this sheet of Vasari's "teste divine" contains, in fact, not a single drawing of high quality--only one of moderate agreeableness, and two caricatured heads, one of a satyr with hair like the fur of animals, and one of a monstrous and sensual face, such as could only have occurred to the sculptor in a fatigued dream, and which in my own notes I have classed with the vile face in No. 45.