Justum et tenacem propositi virum
Non civium ardor prava jubentium,
Non vultus instantis tyranni
Mente quatit solidâ, &c.
This would, in my opinion, be a more suitable inscription for the bust, than the concetto of Cardinal Bembo, which is at present under it[8]. Michael Angelo, in all probability was pleased with the expression he had already given the features, and chose to leave it as an unfinished sketch, rather than risk weakening it by an attempt to improve it.
The virtuosi differ in opinion respecting the Arrotino, or Whetter, as much as about the head of Alexander. A young gentleman said to an antiquarian, while he contemplated the Arrotino, “I believe, Sir, it is imagined that this statue was intended for the slave, who, while he was whetting his knife, overheard Catiline’s conspiracy.”—“That is the vulgar opinion,” said the other; “but the statue was, in reality, done for a peasant, who discovered the plot into which the two sons of Junius Brutus entered for the restoration of Tarquin.” “I ask pardon, Sir,” said the young man; “but although one may easily see that the figure listens with the most exquisite expression of attention, yet I should think it very difficult to delineate in the features, whether the listener heard a conspiracy, or any thing else which greatly interested him, and absolutely impossible to mark, by any expression of countenance, what particular conspiracy he is hearing.” “Your observation is just, young man,” said the antiquarian, “when applied to modern artists, but entirely the reverse when applied to the ancient. Now, for my own part, I plainly perceive in that man’s countenance, and after you have studied those matters as profoundly as I have done you will see the same, that it is the conspiracy for the restoration of Tarquin, and no other plot whatever, which he listens to; as for Catiline’s conspiracy, it is not possible he could know any thing about it; for, good God! people ought to reflect, that the man must have been dead four hundred years before Catiline was born.”
As we are now in the famous octogonal room, called Tribuna, I ought, if I had any thing new to say, to descant a little on the distinguishing excellencies of the Dancing Faun, the Wrestlers, the Venus Urania, the Venus Victrix; and I would most willingly pay the poor tribute of my praise to that charming figure known by the name of Venus de Medicis. Yet, in the midst of all my admiration, I confess I do not think her equal to her brother Apollo in the Vatican. In that sublime figure, to the most perfect features and proportions, is joined an air which seems more than human. The Medicean Venus is unquestionably a perfect model of female beauty; but while Apollo appears more than a man, the Venus seems precisely a beautiful woman.
In the same room are many valuable curiosities, besides a collection of admirable pictures by the best masters. I do not know whether any are more excellent of their kind, but I am convinced none are more attentively considered than the two Venuses of Titian; one is said to be a portrait of his wife, the other of his mistress. The first is the fined portrait I ever saw, except the second; of this you have seen many copies: though none of them equals the beauty of the original, yet they will give a juster idea of it than any description of mine could. On the back ground, two women seem searching for something in a trunk. This episode is found much fault with; for my part, I see no great harm the two poor women do: none but those critics who search more eagerly after deformity than beauty, will take any notice of them.