my concern, and i see this but generally the taller guy gets this or tends to get the omotion. studies that bear that out. those that are better looking just do better. and i'm not sure whether this is right. >> a lot of this has to do with looking at faces that are more symmetrical. should we look at that is the most important thing? well, of course not. what with you now. you have your own show. >> this is very true. and you have me thinking. i never thought of that before. but we are showing some of this, either this or the teachers in my class. but does list, it is not a shock to me but it is a sense of reality that if you are not a perfect looking person, you do have a tougher road. >> i think things even out. but many have a responsibility for that kid that has low self-esteem. and parents have a job as well. and the lord gave you what he gave you. but there are certain things you cado, and young women who work for me, some of them are just now paying for their own races, and i say gd for you. it's part of marketing. >> do you go out of your way to hire ugly people? >> we

that conveyed the king's role as divine monarch and that, with his french queen henrietta maria, omoted an image of peace and harmony. in this double portrait of the king and queen, henrietta maria offers charles the laurel wreath of victory. she lds an olive sigrepres e these symbols alluded to the stability of theireign. an unusual portrait representing the monarch from three different positions was intended to be sent to the italian sculptor gian lorenzo bernini as a model for a bust of the king. not onlyn the sensitiv characterization of the kin, t also in trtment ofhe erateostumes. seems to be infused with religious symbolism. it suggests the holy trinity's three persons in one god and conveys charles' claim to rule by divine right. in london, van dyck established large workshop to produce the enormous numb of portraits demanded by thcrown. he also worked for other members of the court andristocracy paintings of the earl of arundel, robert rich, and james stuart reflect the ambitions of van dyck's patrons as well as the courtly ideals of the time. in 1634, thertist turned to sthern