Those eyes! Perhaps they sparkled just in that way, but we are agreed in one thing: the portrait ought not to represent the original at a given moment, ruled by a certain feeling or engaged in a special act, but should express the sum of the spiritual, intellectual and personal attributes of the subject--his soul and person, mind and character-feelings and nature.

King Philip, pondering over complicated political combinations, would be a fascinating historical painting, but no likeness...." "Certainly not," said the king in a low voice; "the portrait must reveal the inmost spirit; mine must show how warmly Philip loves art and his artists.

Take the palette, I beg.

It is for you, the great Master, not for me, the overworked, bungling amateur, to correct the work of talented pupils." There was a hypocritical sweetness in the tone of these words which had not escaped the artist.
Philip had long been a master in the school of dissimulation, but Moor knew him thoroughly, and understood the art of reading his heart.
This mode of expression from the king alarmed him more than a passionate outburst of rage.

He only spoke in this way when concealing what was seething within.