Though his colouring was hard and shallow, as was that generally of the French school at the time, his DRAWINGS were admirable for symmetry, simple elegance, and classic vigour; at the same time they unquestionably wanted ideal grace.

He was fond of selecting subjects from Roman history, rather than from the copious world of Grecian beauty, or those still more sublime stories of scriptural record from which Raphael and Michael Angelo borrowed their inspirations.

His grandeur was that not of gods and saints, but mortals.

His delineation of beauty was that which the eye cannot blame and the soul does not acknowledge.

In a word, as it was said of Dionysius, he was an Anthropographos, or Painter of Men.