interrogated by one of his pupils, _in what part of heaven, in what mould_ existed those wondrous features which he only drew, he pointed to the casts of the antique heads just alluded to, adding, "You too may gather from such examples beauties similar to those in my pictures, if your skill be equal to the task." I find, moreover, that he took for model of one of his Magdalens, the extremely vulgar head of a colour-grinder; but under Guido's hand every defect disappeared, each part became graceful, the whole a miracle. Thus too in his naked figures he reduced them, whatever they were, to a perfect form, more especially in the hands and feet, in which he is singular, and the same in his draperies, which he often drew from the prints of Albert Durer, enriching them, freed from their dryness, with those flowing folds or that grandeur of disposition best adapted to the subject. To portraits themselves, while he preserved the forms and age of the originals, he gave a certain air of novelty and grace, such as we see in that of Sixtus V., placed in the Galli palace at Osimo, or in that wonderful one of Cardinal Spada, in possession of some of his descendants at Rome. There is no one action, position, or expression at all injurious to his figures; the passions of grief, terror, sorrow, are all combined with the expression of beauty; he turns them every way as he lists, he changes them into every attitude, always equally pleasing, and every one equally entitled to the eulogy of displaying in every action, and in every step, the beauty which secretly animates and accompanies it.[33] Footnote 33: Illam quidquid agat, quoquo vestigia vertat, Componit furtim, subsequiturque decor.--TIBUL.