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Abstract: THE OUTSTANDING CASE OF A “NEOCLASSIC” PAINTER: GASPARE LANDI, CANOVA, AND THE LEARNT ROMAN CIRCLE The artistic figure of painter Gaspare Landi from Piacenza (1756-1830) is exemplary to confirm the decisive role that Tome occupied in the transmission and the reaffirmation of a taste of classical inspiration at the end of the Eighteen century. In a context of social frequentations in the gathering of enlightened patronage, antiquarians, and the incipient militant art critics, the artist matures an inspired eclecticism. The inspirations came, on one hand, with the tradition of antiquity, classicism dating back to the Sixteenth and Seventeenth centuries, and true naturals, while, on the other hand, sampled along the ideal of perfection identified by Mengs. His were the imitations of the master painters that best excelled in every “aspect” of painting, thought unyielding his personal inclination for being a colorist. Amongst his sources, Landi also adapts Canova’s sculpture, by then already considered a “modern classicist”, mostly due to its technical excellent that contemporaries exalt and that he, himself, compares to the refined “mechanism” of his own painting, based on the technique of glazing.