[2] Tacit. Annal. lib. VI. "Nullam ob eximiam artem, sed quod par
negotiis, neque supra erat."
[3] D. Longin. περι ὑψους, § 34.
[4] "Les hommes qui ont changé l'univers, n'y sont jamais parvenus en
gagnant des chefs; mais toujours en remuant des masses. Le premier moyen
est du ressort de l'intrigue, et n'amène que des résultats secondaires; le
second est la marche du Génie, et change la face du monde."--_Napoleon._
[5] Tacit. Annal. lib. xiv. et xvi.
[6] Difficile est proprie communia dicere. Hor. A.P.
[7] Τον δ' αρ' ὑπο ζυγοφιν προσεφη ποδας αἰολος ἱππος. Iliad xix. 404.
----Rhœbe diu, etc.--_Virg._ x.
[8] Plin. lib. xxxv.
[9] This picture, during a period of nearly half a century, graced the
collection of Charles Lambert, Esq. of Paper-buildings, Temple; where it
remained without having been washed or varnished. At his death it was
purchased by my friend Mr. Knowles, has been cleaned by a skilful hand,
and restored to nearly its pristine state.
[10] Sea Voyage, Act 3rd. sc. 1st.
[11] Dante Inferno, Cant. xxiv.
[12] ΗΘΗ. Mores. Plin. l. xxxv.
[13] The Necromantia of Nicias--the sacking of a town, by Aristides.
Plin. l. xxxv.
[14] A group of Stephanus in the Villa Ludovisi, known by the name of
Papyrius and his mother, called a Phædra and Hippolytus, or an Electra
with Orestes, by J. Winkelmann, bears more resemblance to an Æthra with
Theseus, or a Penelope with Telemachus.
[15] Gallum inficetissime linguam exserentem.--Plin. l. xxxv.
[16] Plin. l. xxx. W. c. xiv.
[17] Commonly named the Dying Gladiator; by J. Winkelmann called a
Herald; with more probability the "Vulneratus deficiens, in quo possit
intelligi quantum restet animæ." A work of Ctesilas in bronze, was
probably the model of this. Plin. l. xxxiv.
[18] Sueton. l. vi.
[19] In one of the cartoons of Raffaello, now lost, but still in some
degree existing in tapestry and in print.
[20] Engraved by G. Audran.
[21] In the cartoon of Peter and John.
[22] Iliad, L. xviii. l. 93; L. xvi. l. 74 and 75; L. ix. l. 346.
[23] Commonly called the Castor and Pollux of Monte Cavallo,--the name
given from their horses to the Quirinal.
[24] Plin. N.H. l. xxxv. c. ix. Tantus diligentia, ut Agrigentinis
facturus tabulam, quam in templo Junonis Lucinæ publice dicarent,
inspexerit virgines eorum nudas, et quinque elegerit, ut quod in quaque
laudatissimum esset, pictura redderet.
[25] Mengs Lettera à don A. Ponz. Opere di A.R. Mengs, t. ii. p. 83.
[26] Such was probably that austerity of tone in the works of Athenion,
which the ancients preferred to the sweetness or gayer tints of
Nicias--"austerior colore et in austeritate jucundior."--Plin. l. xxxv.
c. xi.
[27] See the sonnet of Agostino Carracci, which begins "Chi farsi un bon
Pittor cerca e desia," &c. which the author himself seems to ridicule by
the manner in which he concludes.
[28] Οὐκ ἀγαθον πολυκοιρανιη εἱς κοιρανος ἐστω. Il. ii. 204. The
conception of every great work must originate in one, though it may be
above the power or strength of one to execute the whole.
[29] Pliny, l. xxxiv. c. 8.
[30] In the Letter to C.B. Castiglione. Ideal is properly the
representation of pure human essence.
[31] Raffaelle and the best of his pupils; their successors, commonly
known by the name of the Roman school, followed principles diametrically
opposite.
[32] "Macinava carne," said Annibale Carracci.
[33] Ægidius Sadeler sculpsit ex Prototypo Alberti Dureri.
[34] "Elumbis," as applied by the author of the Dialogue on Orators to
the style of Brutus, will nearly suit all imitators of Michael Angelo.
[35] In the Sacristy of St. Giovanni in Laterano, painted from the
cartoon by Marcello Venusti.
[36] This and the foregoing picture are in the Scuola di S. Rocco at
Venice. The skeleton of the former is known by an etching of _Le Fevre_.
[37] "Whoever looks at a picture by Correggio of a glorified Madonna
with a St. Sebastian and other figures, at Dresden, is instantly
surprised by the light of the glory, which has all the splendour of a
sun, though painted with a low-toned yellow, and dim at the
extremities."
Opere di R. Mengs, t. ii. p. 161.
[38] John, called da Bologna, showed a model to Michael Angelo smoothly
polished; Michael Angelo took, and, heedless of its finish, twisted it
about; then giving it back to the student, "Learn," said he, "to sketch
before you attempt to finish."
[39] Such was the proud answer of Frà Sebastian del Piombo, grown fat by
the signet of St. Peter, when asked why he had entirely resigned all
exercise of his art.
[40] Said Michael Angelo, when asked whether the copy of the Laocoon by
Baccio Bandinelli was not equal or superior to the original. Titiano,
with more mordacity though surely with less discrimination, ridiculed
the copyist by a caricature in which the Trojan with his sons were
changed to baboons.
[41] "Sineret se plebeculam pascere," said Vespasian to the artist who
had contrived a machine to convey some large columns with a trifling
expense to the Capitol, and rewarded him without accepting his offer.
[42] Cosmo Rosselli, one of the Tuscan painters who preceded Michael
Angelo in decorating the Chapel of Sixtus IV.
[43] This is the Madonna painted for Angelo Doni, now in the Tribuna of
Florence, and probably the only existing oil-picture of Michael Angelo,
though Lanzi rejects its title to that. Vasari mentions it with his
usual extravagance of praise, but appears ignorant of the real meaning
of the figures.