ornamental figures, sometimes in stucco, at others in chiaroscuro, where the effect of his assiduous studies of the Farnesian Hercules is very apparent, as well as of the _torso_ of the Belvidere, which he accurately designed, without even having the model before him. The whole of the other parts breathe Attic elegance combined with Raffaellesque grace, and imitations not only of his own Tibaldi but of Bonarruoti himself, no less than all the sprightly and the powerful added to the art by the Venetians and Lombards. This was the earliest production, where, as in Pandora's box, all the geniuses of the Italian schools united their several gifts; and in its fit place I described the astonishment created by it at Rome, with the revolution it occasioned in the whole art. On account of this work he is ranked by Mengs next after the three leading masters in the fourth degree, and even esteemed supereminent in regard to the form of his virile figures. Poussin asserts, that after Raffaello there were no better compositions than these, and he prefers the decorative heads and figures already mentioned, with the other naked forms, in which the artist was said to have surpassed himself, even to his fables so beautifully painted. To him Baglione refers the method of colouring from nature, which was nearly lost, as well as the true art of landscape-painting, afterwards imitated by the Flemish. To these might likewise be added the use of caricatures, which no one better than he knew how to copy from nature, and to increase with ideal power. In the Roman galleries many of Annibal's pictures are to be met with, conducted in this new style; and there is one in the Lancellotti palace, small, and painted _a colla_,[26] rivalling, I had almost said, the best pieces of Ercolani. It is a Pan teaching Apollo to play upon the pipe; figures at once designed, coloured, and disposed with the hand of a great master. They are so finely expressive, that we see in the countenance of the youth, humility, and apprehension of committing an error; and in that of the old man, turning another way, peculiar attention to the sound, his pleasure in possessing such a pupil, and his anxiety to conceal from him his real opinion, lest he might happen to grow vain.[27] Footnote 26: In colours, of which yolk of egg, or a kind of glue, is the vehicle. Footnote 27: See the _Dissertazione su la Pittura_, by the Canon Lazzarini, in the Catalogue of Pictures at Pesaro, p. 118.