It is now many years ago, long before the episcopal burthen pressed upon his shoulders, that the author enjoyed the pleasure of knowing, and frequently conversing with, the estimable Görres, at Munich. One day, the conversation turned on a remark in that deep writer’s ‘Philosophy of Mysticism, ’ to the effect, that saints most remarkable for their mystical learning and piety were far from exhibiting, in their features and expression, the characteristics usually attributed to them. They are popularly considered, and by artists represented, as soft, fainting, and perhaps hysterical persons; whereas their portraits present to us countenances of men, or women, of a practical, business-like, working character.
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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