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Nowhere among the portraits of Renaissance monsters do we meet with anything like those Roman emperors, whose frightful effigies, tumid, toad-like Vitelliuses or rage-convulsed Caracallas, fill all our museums in marble or bronze or loathsome purple porphyry; such types as these are as foreign to the reality of the Italian Renaissance as are the Brachianos and Lussuriosos, the Pieros and Corombonas, to the Italian fiction of the sixteenth century.
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