The above assessment of Goethe is by the English "parodist" and caricaturist Max Beerbohm (1872-1956), seen here in a caricature by Walter Sickert in 1891 for Vanity Fair. (What a lifetime: from the Victorian era to the era of the Bomb.) It is from an essay by Beerbohm called "Quia Imperfectum" from 1918, in which he shows a pretty good knowledge of Goethe. The essay is rather tongue in cheek, mostly about Goethe's relationship with Tischbein and the famous painting of Goethe in the Campagna. For the entire essay, see here.
Beerbohm reminded me that Goethe had not seen the finished painting. It was given to the Städel Museum in Frankfurt in 1878 by the Baroness Salomon de Rothschild, also known (according to the Städel site, as "Adèle Hannah Caroline von Rothschild" (1843-1922), who was living in Paris when she made the bequest. How the painting got from Italy to Paris is not indicated.