[291] Baldinucci, Notiz. de’ P. d. D. P. 118. Argenville seems not to have understood the word, _Ciliegia_: he saw that it should be a symbol of spring, and changed the cherry to a butterfly; the chief object of the picture he omits, and talks only of the girl. [292] Lepiciè Vies des P. R. P. II. p. 17, 18. [293] Recueil d’Estamp. de la Gall. de Dresd. fol. 48. [294] Pompa & Introitus Ferdinandi Hisp. Inf. p. 15. Antv. 1641. fol. [295] Vasari vite. P. III. Vol. I. p. 76. [296] Chambray Idée de la P. p. 107, 108. Bellori Descriz. delle Imagini dip. da Raffaello, &c. [297] Heraclid. Pontic. de Allegoria Homeri, p. 443. [298] Josephi Antiq. L. XIV. c. 8. Edit. Haverc. [299] Dati vite de’ Pittori. p. 73. [300] Thesaur. Idea Arg. Dict. C. III. p. 84. [301] Blondel Maisons de Plaisance, T. II. p. 26. [302] Passerii Lucernæ fict. Tab. 51. [303] Quellinus Maison de la Ville d’Amst. 1655. fol. [304] Arnob., adv. Gentes L. V. p. 157. Edit. Lugd. 1651. 4. [305] An ox-head on the reverse of an Attick gold coin, stamped with the head of Hercules and his club, is supposed to allude to his labours, (Haym. Tesoro Britt. l. 182.) and to be, in general, a symbol of strength, industry, or patience, (Hypnerotomachia Polyphili. Venet. Ald. fol.) [306] Vitruv. L. I. c. 2. [307] Diodor. Sic. L. XIII. p. 375. al. 507. [308] Blondel Maisons de Plaisance. [309] Vide Spectator, No. 51. [310] Pausan. L. I. c. 43. l. 22. [311] Plin. Hist. N. L. XXXVI. c. 5. [312] Paus. L. II. c. 2. P. 115. l. 11. [313] Idem. L. IX. c. 40. P. 795. l. 11. [314] Aldrovand. de Quadrup. bisulc. p. 141. [315] Bellori Lucern. Sepulcr. P. I. fig. 17. [316] Spon. Misc. Sect. II. Art. I. P. 25. [317] Vide Buonarotti Osserv. sopra alcuni Medagli. Proem. p. XXVI. Roma. 1693. 4. [318] Plutarch. de Garrulit. p. 502. [319] Tristan Comment. Hist. des Emper. T. I. p. 632. [320] Plutarch. Marcell. p. 277. [321] Vulpii Latium, T. II. L. II. c. 20. p. 175. [322] Banier Mythol. T. II. L. I. ch. 11. p. 181. [323] Dioscorid. de Re Med. L. V. c. 179. [324] Fred. Oeser, one of the most extensive geniuses which the present age can boast of, is a German, and now lives at Dresden; where, to the honour of his country, and the emolument of the art, he gets his livelihood by teaching young blockheads, of the Saxon-race, the elements of drawing; and by etching after the Flemish painters. N. of Transl. [325] Hymn. in Apoll. [326] Alexander, in his S. John, in _St. Andrea della Valle_ at Rome; Niobe, in a picture belonging to the _Tesoro di S. Gennaro_, at Naples. [327] So are the goddesses of the Theopægnia at Blenheim, in Oxfordshire; and hence it is clear, that another Venus, analogous to that in the Tribuna, among the pictures of a gentleman in London, cannot be the production of that genius-in-flesh only. This daughter of the Idalian graces seems to thrill with inward pleasure, and to recollect a night of bliss——