The author asked Görres if he had ever seen an original likeness of S. Teresa, in whom he thought these remarks were particularly exemplified. He replied that he never had; and the writer, on returning to Rome, fulfilled the promise which he had made the philosopher, by procuring a sketch of an authentic portrait of that saint, preserved with great care in the Monastery of S. Sylvester, near Tusculum. It was painted for Philip II. by a concealed artist, while he was conversing with her.
This portrait confirms most strongly the theory of Görres, as the author wrote to him with the drawing; for while no mystical saint has ever been more idealised by artists, or represented as living in a continual swoon, than S. Teresa, her true portraits all represent her with strong, firmly set, and almost masculine features, with forms and lines that denoted vigour, resolution, and strong sense. Her handwriting perfectly suggests the same conclusion.
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