Always joyous and always successful, he was able to paint any subject, sacred, profane, ancient, or modern, so long as it was a happy one.

He was too busy and too gay to feel pain and sorrow, as Botticelli felt them, and to paint sad subjects.

To him the visible world was good and beautiful, and the invisible world lovely and happy likewise.

His Madonnas are placid or smiling mothers.

The fat and darling babies they hold are indeed divine but not awesome.