Among other objections, the first is surprized at your passing by the two Angels, in your description of the Raphael in the royal cabinet at Dresden; having been told, that a Bolognese painter, in mentioning this piece, which he saw at St. Sixtus’s at Piacenza, breaks into these terms of admiration: O! what Angels of Paradise[14]! by which he supposes those Angels to be the most beautiful figures of the picture.
The same person would reproach you for having described that picture in the manner of Raguenet[15].
The second concludes the beard of Laocoon to be as worthy of your attention as his contracted belly: for every admirer of Greek works, says he, must pay the same respect to the beard of Laocoon, which father Labat paid to that of the Moses of Michael Angelo.
This learned Dominican,
Qui mores hominum multorum vidit & urbes,
has, after so many centuries, drawn from this very statue an evident proof of the true fashion in which Moses wore his own individual beard, and whose imitation must, of course, be the distinguishing mark of every true Jew[16].
There is not the least spark of learning, says he, in your remarks on the Peplon of the three vestals: he might perhaps, on the very inflection of the veil, have discovered to you as many curiosities as Cuper himself found on the edge of the veil of Tragedy in the Apotheosis of Homer[17].
We also want proof of the vestals being really Greek performances: our reason fails us too often in the most obvious things. If unhappily the marble of these figures should be proved to be no Lychnites, they are lost, and your treatise too: had you but slightly told us their marble was large-grained, that would have been a sufficient proof of their authenticity; for it would be somewhat difficult to determine the bigness of the grains with such exactness as to distinguish the Greek marble from the Roman of Luna. But the worst is, they are even denied the title of vestals.
The third mentioned some heads of Livia and Agrippina, without that pretended profile of yours. Here he thinks you had the most lucky occasion to talk of that kind of nose by the ancients called Quadrata, as an ingredient of beauty. But you no doubt know, that the noses of some of the most famous Greek statues, viz. the Medicean Venus, and the Picchinian Meleager, are much too thick for becoming the model of beauty, in that kind, to our artists.
I shall not, however, gall you with all the doubts and objections raised against your treatise, and repeated to nauseousness, upon the arrival of an Academician, the Margites of our days, who, being shewed your treatise, gave it a slight glance, then laid it aside, offended as it were at first sight. But it was easy to perceive that he wanted his opinion to be asked, which we accordingly all did. “The author, said he very peremptorily, seems not to have been at much pains with this treatise: I cannot find above four or five quotations, and those negligently inserted; no chapter, no page, cited; he certainly collected his remarks from books which he is ashamed to produce.”