His nephew, Bernardo Belotto, is often also called Canaletto, and it seems that both uncle and nephew were equally known by the diminutive. Belotto, too, went to Rome early in his career, where he attached himself to Panini, a painter of classic ruins, peopled with warriors and shepherds. He was, by all accounts, full of vanity and self-importance, and on a visit to Germany managed to acquire the title of Count, which he adhered to with great complacency. He travelled all over Italy looking for patronage, and was very eager to find the road to success and fortune. About the same time as his uncle, he paid a visit to London and was patronised by Horace Walpole, but in the full tide of success he was summoned to Dresden, where the Elector, disappointed at not having secured the services of the uncle, was fain to console himself with those of the nephew. The extravagant and profligate Augustus II., whose one idea was to extract money by every possible means from his subjects, in order to adorn his palaces, was consistently devoted to Belotto, who was in his element as a Court painter. He paints all his uncle's subjects, and it is not always easy to distinguish between the two; but his paintings are dull and stiff as compared with those of Canale, though he is sometimes fine in colour, and many of his views are admirably drawn. SOME WORKS OF CANALE It is impossible to draw up any exhaustive list, so many being in private collections. Dresden. The Grand Canal; Campo S. Giacomo; Piazza S. Marco; Church and Piazza of SS. Giovanni and Paolo. Florence. The Piazzetta. Hampton Court. The Colosseum. London. Scuola di San Rocco; Interior of the Rotunda at Ranelagh; S. Pietro in Castello, Venice. Paris. Louvre: Church of S. Maria della Salute. Venice. Heading; Courtyard of a Palace. Vienna. Liechtenstein Gallery: Church and Piazza of S. Mark, Venice; Canal of the Giudecca, Venice; View on Grand Canal; The Piazzetta. Windsor. About fifty paintings. Wallace Collection. The Giudecca; Piazza San Marco; Church of San Simione; S. Maria della Salute; A Fête on the Grand Canal; Ducal Palace; Dogana from the Molo; Palazzo Corner; A Water-fête; The Rialto; S. Maria della Salute; A Canal in Venice. CHAPTER XXXII FRANCESCO GUARDI An entry in Gradenigo's diary of 1764, preserved in the Museo Correr, speaks of "Francesco Guardi, painter of the quarter of SS. Apostoli, along the Fondamenta Nuove, a good pupil of the famous Canaletto, having by the aid of the camera ottica, most successfully painted two canvases (not small) by the order of a stranger (an Englishman), with views of the Piazza San Marco, towards the Church and the Clock Tower, and of the Bridge of the Rialto and buildings towards the Cannaregio, and have to-day examined them under the colonnades of the Procurazie and met with universal applause."