Zanoni. Эдвард Бульвер-Литтон

distortion sometimes seen in the countenance of a cripple,—large, exaggerated, with the nose nearly touching the chin; the eyes small, but glowing with a cunning fire as they dwelt on Glyndon; and the mouth was twisted into a grin that displayed rows of jagged, black, broken teeth. Yet over this frightful face there still played a kind of disagreeable intelligence, an expression at once astute and bold; and as Glyndon, recovering from the first impression, looked again at his neighbour, he blushed at his own dismay, and recognised a French artist, with whom he had formed an acquaintance, and who was possessed of no inconsiderable talents in his calling.

      Indeed, it was to be remarked that this creature, whose externals were so deserted by the Graces, particularly delighted in designs aspiring to majesty and grandeur. 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. It was also a notable contradiction in this person, who was addicted to the most extravagant excesses in every passion, whether of hate or love, implacable in revenge, and insatiable in debauch, that he was in the habit of uttering the most beautiful sentiments of exalted purity and genial philanthropy. The world was not good enough for him; he was, to use the expressive German phrase, A WORLD-BETTERER! Nevertheless, his sarcastic lip often seemed to mock the sentiments he uttered, as if it sought to insinuate that he was above even the world he would construct.

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      Orpheus was the favourite hero of early Italian Opera, or Lyrical Drama. The Orfeo of Angelo Politiano was produced in 1475. The Orfeo of Monteverde was performed at Venice in 1667.