[Footnote 20: Pietro da Cortona told Falconieri that when the celebrated picture of S. Girolamo della Carità was exhibited, "it was so abused by all the eminent painters, of whom many then flourished, that he himself joined in its condemnation, in order to save his credit." See Falconieri, Lett. Pittor. tom. ii. lett. 17. He continues: "Is not the tribune of the church of S. Andrea della Valle, ornamented by Domenichino, among the finest specimens of painting in fresco? and yet they talked of sending masons with hammers to knock it down after he had displayed it. When Domenichino afterwards passed through the church, he stopped with his scholars to view it; and, shrugging up his shoulders, observed, 'After all, I do not think the picture so badly executed.'"] [Footnote 21: The most singular and novel opinions concerning our painters are contained in the volumes published by M. Cochin, who is confuted in the _Guides_ to the cities of Padua and Parma, and is often convicted of erroneous statements in matter of fact. He is reproved, with regard to Bologna, by Crespi, in Lett. Pittor. tom. vii.; and for what he has said of Genoa, by Ratti, in the lives of the painters of that city. Commencing with his preface, they point out the grossest errors in Cochin. It is there also observed that his work was disapproved of by Watellet, by Clerisseau, and other French connoisseurs then living: nor do I believe it would have pleased Filibien, De Piles, and such masters of the critical art. Italy also, at a later period, has produced a book, which aims at overturning the received opinions on subjects connected with the fine arts. It is entitled _Arte di vedere secondo i principii di Sulzer e di Mengs_. The author, who in certain periodical works at Rome, was called the modern Diogenes, has been honoured with various confutations. (See _Lettera in Difesa del Cav. Ratti_, p. 11.) Authors like these launch their extravagant opinions, for the purpose of attracting the gaze of the world; but men of letters, if they cannot pass them over in silence, ought not to be very anxious to gratify their wishes--"Opinionum commenta delet dies." _Cicero._] [Footnote 22: Of Apelles himself Pliny observes, "Vulgum diligentiorem judicem quam se præferens." Examine also Carlo Dati in _Vite de' Pittori Antichi_, p. 99, where he proves, by authority and examples, that judgment, in the imitative arts, is not confined to the learned. See also Junius, _De Pictura Veterum_, lib. i. cap. 5.] [Footnote 23: See Mons. Agucchi, in a fragment preserved by Bellori, in _Vite de' Pittori, Scultori, e Architetti moderni_, p. 190.] BIOGRAPHICAL NOTICE.[24]