composed in excellent taste, one of which is in possession of the Signore Biancani Tazzi, a piece greatly admired by Algarotti, as a perfect model of refined taste. A similar graceful little picture of a Cupid and nymphs, which I saw at Signor Volpi's, displays much poetical imagination, this artist delighting in poetical composition, very different from Lomazzo's and Boschini's, to an extreme old age.[50] Footnote 50: See Lett. Pittor. tom. iv. p. 136. From Zanotti, who was an excellent master, Ercole Lelli acquired his knowledge of design. His extraordinary genius, his anatomical preparations in wax, made by himself and Manzolini for the institution, and his great influence in the instruction of young artists, in the three branches of the fine arts, acquired him great reputation in Italy. At the same time, it is known that he lectured much better than he painted; the art requiring, like a knowledge of languages, close and persevering application, such as Lelli could not command. One of his altar-pieces is reported in the Bolognese Guide; and standing in need of defence, it was truly stated, that it was among his earliest pieces. In the Guide to Piacenza, another, his S. Fedele, at the Cappuccini, is also noticed; though it is added, with more candour, that his highest merit did not consist in painting. Gio. Viani was fellow-pupil to Pasinelli in the school of Torre; but it is only a conjecture that he was also his assistant. He was a learned painter, not inferior in design to any contemporary of the same school; and added to his powers by assiduous drawing from the living model in the academy, and the study of anatomy, until the close of his career. To such knowledge he united elegance in his forms, softness of colouring, engaging attitudes, lightness of drapery, studying much from life, and giving it an air of grace, in the manner of Torre, or of Guido. That exquisite picture of St. John di Dio, at the hospital of the Buonfratelli, is such a specimen of his art. In the portico of the Servi he represented, in a lunette, S. Filippo Benizi, borne up to heaven by two angels; a figure which, both in countenance and action, breathes an expression of beatitude, conspicuous, even at the side of another history, by Cignani. In other lunettes of the same portico he does not excite equal admiration, and gives us an idea of an artist able to compete with the best masters, but obliged to work with a much larger share of study than they were accustomed to bestow.