What most surprises us is the variety which he infuses into this beauty, resulting no less from his richness of imagination than from his studies. Still continuing to design in the academy up to the close of his career, he practised his invention how best to vary his idea of the beautiful, so as to free it from all monotony and satiety. He was fond of depicting his countenances with upraised looks, and used to say that he had a hundred different modes of thus representing them. He displayed equal variety in his draperies, though invariably preferring to draw the folds ample, easy, natural, and with clear meaning, as to their origin, progress, and disposition. Nor did he throw less diversity into the ornaments of his youthful heads, disposing the tresses, whether loose, bound, or left in artful confusion, always different, and sometimes casting over them a veil, fillet, or turban, so as to produce some fresh display of grace. Nor were his heads of old men inferior in this respect, displaying even the inequality of the skin, the flow of the beard, with the hair turned as we see on every side, and animating the features with a few bold, decided touches, and few lights, so as to give great effect at a distance, altogether with a surprising degree of nature; specimens of which are seen at the Pitti palace, the Barberina and Albana galleries; and yet among the least rare of this artist's productions. He bestowed similar attention to varying his fleshes; in delicate subjects he made them of the purest white, adding, moreover, certain livid and azure, mixed among middle tints, open to a charge, at least by some, of mannerism.[34] Footnote 34: The harmony and union of colour of this artist would seem to excuse some trifling licenses, respecting which see Lazzarini upon the Paintings of Pesaro, p. 29.