ody as well as the Greeks treated it; but it left him wholly at
liberty to treat the face as ill; and he did: and in some respects very
curiously worse.

The Greeks had, in all their work, one type of face for beautiful and
honorable persons; and another, much contrary to it, for dishonorable
ones; and they were continually setting these in opposition. Their type
of beauty lay chiefly in the undisturbed peace and simplicity of all
contours; in full roundness of chin; in perfect formation of the lips,
showing neither pride nor care; and, most of all, in a straight and firm
line from the brow to the end of the nose.

The Greek type of dishonorable persons, especially satyrs, fauns, and
sensual powers, consisted in irregular excrescence and decrement of
features, especially in flatness of the upper part of the nose, and
projection of the end of it into a blunt knob.

By the most grotesque fatality, as if the personal bodily injury he had
himself received had passed with a sickly echo into his mind also,
Michael Angelo is always dwelling on this satyric form of
countenance;--sometimes violently caricatures it, but never can help
drawing it; and all the best profiles in this collection at Oxford have
what Mr. Robinson calls a "nez retrousse;" but what is, in reality, the
nose of the Greek Bacchic mask, treated as a dignified feature.

233. For the sake of readers who cannot examine the drawings themselves,
and lest I should be thought to have exaggerated in any wise the
statement of this character, I quote Mr. Robinson's description of the
head, No. 9--a celebrated and entirely authentic drawing, on which, I
regret to say, my own pencil comment in passing is merely "brutal lower
lip, and broken nose":--

"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.'