They present no excellence which a youth of fifteen, endowed with ordinary capacity, and educated with a steady view to the art, could not have attained or even surpassed. The flowers, which would have constituted the more difficult part, are very sparingly introduced to fill up interstices. If the " opera eseguita con tutta la gentilezza" of a panegyrist be at all admissible, the praise must be confined to the mechanical execution, and in that principally to the working of the baskets, which may perhaps exhibit some facility in the use of tools, and much patience of labour.

Thus passed in academical or in private study, and in working under Toretto, the first year of Canova's residence in Venice; about which time he left the employment of the former, and commenced his own master. An undertaking hitherto not mentioned, had at leisure hours previously occupied his attention. His patron, anxious to possess some important specimen of his abilities, or willing to incite industry by a specified task, and most probably by a stipulated reward, had prescribed a group on the subject of Orpheus and Eurydice. They were to be represented at the moment when, through fond impatience, having broken the compact with the gloomy deity, the wretched lover beholds the object of his affection a second time, and for ever torn from his arms. Such were the materials furnished to the artist, who, in all other respects, was left to the suggestions of his own taste, and the resources of unaided invention.

The model for the statue of Eurydice was now finished; and at this season the Falier family

were about to leave town for their usual summer retreat at Asolo. To this retirement Canova also removed, carrying with him every thing necessary to complete, during his residence in the country, that part of his work thus commenced. In consequence of these preparations therefore, at Asolo-in the villa Falier where it still remains, was finished towards the conclusion of his sixteenth year, the first original statue by Canova, or rather his earliest production in which the human form was imitated in any material more durable than modelling clay.* The present figure is executed in pietra di Costosa, a species of soft stone found near Vicenza, of a yellowish but not disagreeable tint, resembling marble discoloured by age. The statue is about the size of nature.

Eurydice is represented amid flames and smoke, in the act of leaving the infernal realms. A gigantic hand, intended to appear as if issuing from clouds and darkness which may be imagined to conceal the rest, has arrested her steps, and seizing its victim by the right arm, drags her backwards and downwards. The efforts to overcome this rude and sudden shock, have thrown the body forwards, its whole weight being supported on the left limb, which is placed as if aiding the endeavour to spring from the iron grasp; while the left arm and hand are naturally

The only works of the same nature known to have been executed by Canova previous to this period, are two statues in alabaster, finished in his fourteenth year, while with his first master at Pagnano, and presented to the younger Falier, by whom they are still preserved. and therefore, except as primizie of so They are only about a foot in height, great a name, not deserving of notice.

extended towards her husband. The form is not without dignity; and there is an unaffected simplicity of action,-a feeling of truth, which afford no obscure premises of higher refinement. Grief and despair are sufficiently well expressed in the countenance; but perhaps we ought not in this performance to expect, and should not, therefore, feel disappointed, by the absence of that nice discernment, which, in representing the effects of passion, teaches how to preserve the symmetry of youth and loveli

ness.

This statue, notwithstanding it is the first of his labours, is connected with a very important improvement, afterwards introduced by Canova in the method of modelling;-a circumstance which shews how early he perceived the deficiencies of the art, as then practised, and with what facility his judgment suggested the proper remedy. The model in clay of the figure of Eurydice, according to the general usage of the time, had been formed in proportions much inferior to those of the intended statue. This, however, in working from, was found so apt to lead into error, and so ill adapted for enabling an artist to judge of the final and real effect of his future work, that he then first conceived the idea of executing all models, those even of colossal figures, of exactly the same magnitude as the finished sculptures. This method, indeed, he had not an opportunity of adopting, till after his removal to Rome; but from that period it was never afterwards abandoned.*

An anecdote originating in the

* Letter from Canova to Falier, dated August 28, 1784. The subject will again fall under consideration.

occurrences of this date, although the event itself happened long after, ought not to be omitted. While employed upon his Eurydice, the young artist had been attended by a domestic of the family, whose assistance he had also occasionally required for the purposes of study, and with whom a sort of intimacy had thus been contracted. Nearly forty years afterwards, recognizing the same domestic, now aged and infirm, who entered the apartment in attendance on the company, he immediately rose from his seat, and going up to the old man, in presence of all, most cordially embraced him, recalling with delight every little incident of their early acquaintance, and suggesting many endearing recollections.

Conscious, no doubt, of higher powers than he had yet displayed, Canova is said to have been but little satisfied with their first effort. Whatever might have seemed his own sentiments, however, they had no influence on the opinion of his patron, by whom Eurydice was considered a work of great merit, and as such, likewise applauded by those to whom the statue was exhibited. In consequence of this general approbation of his friends, the young artist was declared sufficiently instructed in his profession, to present himself, without fear, on the public stage of life.

On this occasion, a vacant cell in the monastery of the Augustine Friars, attached to the church of S. Stefano, through the kindness of the monks, was gratuitously assigned for his use. Here, on the ground floor of the inner cloister,

-how seldom is the word united with associations so pleasing!-in an apartment, now shewn with

reverential regard, neither spacious nor well lighted, Canova opened his first work-shop. Here, for the space of nearly four years, he continued to reside, or rather to work; although by some it has been supposed, that the same place served at once as the scene of labour by day, and of repose by night. This, however, most certainly was not the case. Canova had always an apartment in the house of his patron, whose kindness was to be repaid by such works as he might order or select, till time, assiduity, and merit, should have rendered individual patronage no longer ne

cessary.

From this, his second arrival in Venice, to the time of his departure for Rome, Canova resided constantly in the former city. During the first three years of this period, in addition to the mere exercises of study, he was employed on the statue of Orpheus, and in executing a bust of the Doge Renier. These, at least, are the only performances which the artist subsequently acknowledged, by insertion in the catalogue of his works furnished by himself for the elegant and elaborate history of sculpture, published by his friend.*

* An autograph copy of this catalogue the author had an opportunity of transcribing at Rome, and of comparing with that printed in Cicognara's work. They agree in every particular.-Paravia mentions a statue of Hercules in his cradle strangling the serpents, which he says he remembers well, (ricorda bensi), among the works of Canova at Venice. This statue is mentioned neither by Federici nor Tadini, nor by Cicognara; and therefore was either not executed, or not acknowleged by Canova. If it really was by him, it must have been finished at the period of which we now speak, namely, during the first three years of his second resi dence.

As formerly, he was regular in attendance on the studies of the academy; and it is likewise said he was very successful in carrying off various of those prizes, which, in such establishments, are provided for the encouragement of merit, or the reward of industry.

Canova, however, early perceived, that it was not from eminence in academical exercises, or from imitation of any living master, he was to expect the attainment of future excellence, or derive his hopes of lasting renown. Like the Greek, he resolved" to begin the art where the art itself had begun," in assiduously study. ing, and faithfully imitating na

ture.

Three years had now elapsed, undistinguished by any production of art, since he had finished at Asolo the statue of Eurydice. As might be expected, therefore, increased knowledge and experience are very evident in the completing of the group; and the figure of Orpheus is not only superior to its companion, but may be compared with any performance of the artist's noviciate.

Of the Orpheus, the forms are light and elegant-the attitude is graceful yet energetic, representing him in act to rush forward, and snatch his partner once more from fate. But a sudden recollection seems to have arrested the unfinished movement. The left hand, with violent action, has dashed to earth that lyre now destined to become

"the sole companion of his way." The right arm, raised in more subdued emotion, indicates, by its repressed action, the consciousness of despair-that human power is unavailing, and that all is lost. Rage and grief contend for mastery

in the expression of the countenance, and are perhaps too strongly indicated, consistent with beauty or moral dignity. The whole figure, however, exhibits wonderful correctness, the utmost simplicity, and the closest imitation of nature. Though wrought in soft stone, the execution has been conducted with such skill, that on the first view it may easily be mistaken for a marble statue tinted by age.

It had long been a custom at Venice, on the annual festival of the Ascension, for artists to expose to public examination in the square of St. Mark's, those performances which they had recently finished, or deemed proper for such an exhibition. Encouraged by the applause, and induced by the persuasions of his friends, Canova so far overcame his natural diffidence, as to present here this statue of Orpheus. The work was thus universally applauded; and from the exhibition of his Orpheus in 1776 is to be dated, the commencement of the success and reputation of Canova.

Almost half a century after the first commencement of the group, and when maturity of fame such as few have attained, in minds of less feeling, would have obliterated such recollections; on being created marquis of Ischia, he assumed as armorial ensigns the serpent and lyre, the mythological symbols of Orpheus and Eurydice. This was intended as a mark of grateful attachment to his first patron, and exhibits in an amiable light his reminiscences of early life. But his sentiments are best explained in his own words; and the manner in which the information is conveyed to us, is not less pleasing than the incident itself. In a

letter, dated 23rd July 1817, and addressed to his friend signor Giuseppe Falier, after endeavouring to excuse a long silence, he proceeds thus:-"But if I am negligent in writing, my heart is not so in its remembrance of you, and of your most excellent family. Do you desire a proof of this? Behold one.

Know that in my ar

morial bearings I have adopted the emblems of Orpheus and Eurydice, in memory of these my two first statues, ordered of me by your most estimable father, from which two statues I ought to acknowledge the beginning of my own civil existence."

Being now regarded as a young artist of considerable merit, his professional employment became in proportion increased. Soon after the appearance of his Orpheus, he received from the senator Grimani an order for a copy of the same, but in dimensions smaller than those of the original. This was finished about a year after the former, and is of Carrara marble, being the first statue executed by Canova in that material. By some writers this second statue of Orpheus has been supposed to have laid the foundation of Canova's fame, as forming the subject of the exhibition already described. Many reasons, however, might be adduced for refusing credit to this statement: suffice it to state, that the best authorities agree in ascribing that honour to the first Orpheus, now in the villa Falier.

Canova's prospects thus improving, it became necessary to provide more suitable accommodation than his present work-shop afforded. Taking leave, therefore, of the kind monks of San Stefano, he removed to a more commodious and better lighted studio, in the

street or lane which bears the name of "San Maurizio." Here he continued till his final departure from his native country.

The succeeding year gave birth to a production, the most considerable yet undertaken by the artist, in a statue of Esculapius, in proportions larger than life. This work is also executed in marble, and was originally commissioned by the marchioness Spinola, at Genoa, who then resided with great splendor at Venice. From a change of circumstances, however, the lady was obliged to relinquish the contract, when the statue had now been finished. It will readily be believed, that such an occurrence was, at this period, a matter of very serious inconvenience to Canova, more especially as the performance remained long upon his hands, without finding a purchaser. At length it became the property of a signor Cromer, an advocate. At the villa of this gentleman's son the statue is still to be seen.

The subject, from its nature, admits of little variety, and is still farther circumscribed by the established modes of antiquity; but the statue exhibits beauties altogether unknown in the corrupted style of cotemporary art. The sober and dignified air, so suitable to the character-the chaste simplicity of the drapery, in which nothing forced-nothing affected, appears and which clothes without concealing the figure-possess intrinsic merit; while they have the recommendation of novelty when compared with the productions of the same or preceding age.

Contemporaneous with the preceding work, is a group on the subject of Apollo and Daphne, in

which the figures are of the natural size, and in pietra Vicentina. From some cause not explained, the piece was never completed, the artist having proceeded little farther than merely to determine the forms.

The order of time has now conducted the reader to the close of Canova's twenty-second year, which introduces the most important, as well as most celebrated undertaking of his noviciate the group of Dedalus and Icarus, in marble of Carrara. The senator, and procurator, Pisani,* for whom this was executed, a nobleman distinguished by a love for the arts, lived in habits of intimacy with the patron of our artist who thus obtained the commission. The piece was originally intended for a niche in the centre pillar between the double entrance-doors of the palace, or rather united palaces of Pisani and Barbarigo, which front the grand canal. This locality on the water is said to have suggested the subject. But such was the excellence of the finished production, that its possessor, esteeming it too valuable for an external exposure, placed it with some chefs d'œuvres of the sister art, in an inner gallery ;† while its destined site remains still unoccupied.

In this group the figures are of the natural size, and naked, with the exception of a mantle, one corner of which is brought round the loins of Dedalus, while the rest falling behind in large masses, serves as a mutual support. They are preparing for their adventurous journey. The father is represented in

Procurator of St. Mark's, an office of considerable dignity in the Venetian

state.

↑ Here is the celebrated "Family of Darius," by Paul Veronese, with other excellent works.