But we have Philip actually brought before us as he lived and moved at the period in question in the portraits of Titian and Sir Antonio More. There we see his slight and singularly elegant figure, and admire his striking costume. There we may peruse his remarkable lineaments, every trait of which has been preserved by the great painters with extraordinary fidelity. Philip’s face was a perfect oval, and all the features good, except the mouth, the lower lip of which was too full, and projected beyond the upper—a defect inherited by the Prince from his father, who was considerably under-jawed. Philip’s complexion was fair, of almost feminine delicacy and clearness, his eyes large and blue, and shaded by thick brows meeting over the nose. His hair, worn short, according to the Spanish mode, was of a golden yellow—a circumstance which, no doubt, caused the Redshank to liken him to “my Lord of Jedward’s kinsman;”—and his pointed beard of the same hue. His forehead was lofty, and white as marble, and his nose long, straight, and perfectly proportioned. In regard to his attire, he was extremely particular, affecting dark colours, as they best suited him; and he had the good taste to dispense with embroidery and ornament. On the present occasion he had in no wise departed from his rule. Black velvet haut-de-chausses, black taffetas hose, velvet buskins, doublet of black satin, all fitting to perfection, constituted his habiliments. Over all, he wore a short black damask mantle furred with sable. His neck was encircled by the collar of the Golden Fleece, and on his head sat a black velvet cap, having a small chain of gold as its sole ornament. This costume, chosen with great judgment, was admirably calculated to display the graces of his person, and set off the extreme fairness of his complexion. Moreover, the Prince’s demeanour was marked by extraordinary loftiness, and an ineffable air of the highest breeding pervaded his every look and gesture.