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in the expression of the counte- letter, dated 23rd July 1817, and nance, and are perhaps too strongly addressed to his friend signor Giuindicated, consistent with beauty seppe Falier, after endeavouring or moral dignity. The whole to excuse a long silence, he profigure, however, exhibits wonder- ceeds thus:-"But if I am negliful correctness, the utmost simpli- gent in writing, my heart is not city, and the closest imitation of so in its remembrance of you,
and nature. Though wrought in soft of your most excellent family. Do stone, the execution has been con- you desire a proof of this ? Beducted with such skill, that on the hold one. Know that in my arfirst view it may easily be mis- morial bearings I have adopted the taken for a marble statue tinted emblems of Orpheus and Eury
dice, in memory of these my two It had long been a custom at first statues, ordered of me by your Venice, on the annual festival of most estimable father , from which the Ascension, for artists to expose two statues I ought to acknowto public examination in the square ledge the beginning of my own of St. Mark's, those performances civil existence." which they had recently finished, Being now regarded as a young or deemed
for such an ex- artist of considerable merit, his hibition. Encouraged by the ap- professional employment became plause, and induced by the per- in proportion increased. Soon suasions of his friends, Canova so after the appearance of his Orfar overcame his natural diffidence, pheus, he received from the senaas to present here this statue of tor Grimani an order for a copy Orpheus. The work was thus of the same, but in dimensions universally applauded; and from smaller than those of the original. the exhibition of his Orpheus in This was finished about a year 1776 is to be dated, the commence- after the former, and is of Carrara ment of the success and reputation marble, being the first statue exeof Canova.
cuted by Canova in that material. Almost half a century after the By some writers this second statue first commencement of the group, of Orpheus has been supposed to and when maturity of fame such have laid the foundation of Canoas few have attained, in minds of va's fame, as forming the subject less feeling, would have obliterated of the exhibition already described. such recollections; on being cre- Many reasons, however, might be ated marquis of Ischia, he assumed adduced for refusing credit to this as armorial ensigns the serpent statement: suffice it to state, that and lyre, the mythological symbols the best authorities agree in asof Orpheus and Eurydice. This cribing that honour to the first was intended as a mark of grateful Orpheus, now in the villa Falier. attachment to his first patron, and Canova's prospects thus improvexhibits in an amiable light his ing, it became necessary to provide reminiscences of early life. But more suitable accommodation than his sentiments are best explained his present work-shop afforded. in his own words; and the manner Taking leave, therefore, of the in which the information is con- kind monks of San Stefano, he veyed to us, is not less pleasing removed to a more commodious than the incident itself. In a and better lighted studio, in the street or lane which bears the which the figures are of the natural name of “ San Maurizio." Here size, and in pietra Vicentina. From he continued till his final depart- some cause not explained, the piece ure from his native country. was never completed, the artist
The succeeding year gave birth having proceeded little farther than to a production, the most consider- merely to determine the forms. able yet undertaken by the artist, The order of time has now conin a statue of Esculapius, in pro- ducted the reader to the close of portions larger than life. This Canova's twenty-second
year, work is also executed in marble, which introduces the most importand was originally commissioned ant, as well as most celebrated unby the marchioness Spinola, at dertaking of his noviciate—the Genoa, who then resided with group of Dædalus and Icarus, in great splendor at Venice. From marble of Carrara. The senator, à change of circumstances, how- and procurator, Pisani,* for whom ever, the lady was obliged to re- this was executed, a nobleman dislinquish the contract, when the tinguished by a love for the arts, statue had now been finished. It lived in habits of intimacy with will readily be believed, that such the patron of our artist who thus an occurrence was, at this period, obtained the commission. The a matter of very serious inconve- piece was originally intended for a nience to Canova, more especially niche in the centre pillar between as the performance remained long the double entrance-doors of the upon his hands, without finding palace, or rather united palaces of a purchaser. At length it became Pisani and Barbarigo, which front the property of a signor Cromer, the grand canal. This locality on an advocate. At the villa of this the water is said to have suggested gentleman's son the statue is still the subject. But such was the to be seen.
excellence of the finished producThe subject, from its nature, tion, that its possessor, esteeming admits of little variety, and is still it too valuable for an external exfarther circumscribed by the esta- posure, placed it with some chefs blished modes of antiquity; but d'auvres of the sister art, in an the statue exhibits beauties alto- inner gallery ;+ while its destined gether unknown in the corrupted site remains still unoccupied. style of cotemporary art.
group the figures are of sober and dignified air, so suitable the natural size, and naked, with to the character--the chaste sim- the exception of a mantle, one plicity of the drapery, in which corner of which is brought round nothing forced---nothing affected, the loins of Dædalus, while the appears—and which clothes with rest falling behind in large masses, out concealing the figure-possess serves as a mutual support. They intrinsic merit ; while they have are preparing for their adventurous the recommendation of novelty journey. The father is represented in when compared with the productions of the same or preceding * Procurator of St. Mark's, an office age.
of considerable dignity in the Venetian Contemporaneous with the pre
+ Here is the celebrated “ Family of ceding work, is a group on the Darius,” by Paul Veronese, with other subject of Apollo and Daphne, in excellent works.
the act of adapting to the shoulders effect approaching to poverty and of his son the fatal pinions, which constraint. he vainly hoped would waft him The merits and reputation of safely from Cretan bondage. Icarus Canova were now generally recogas if assisting, holds in his right nized at Venice : but in his prohand part of the materials; but fession, this city neither presented seems chiefly engaged in watching a field for the exercise of abilities, the progress of the work, which nor afforded the means of more he regards with all the careless extensive and refined acquirements. unconcern of fearless youth. These He therefore resolved to attempt different but connected actions, an establishment at Rome. As have thrown both into attitudes affairs stood, however, this would extremely natural and simple, yet have been a rash and hazardous admitting the fullest effects of con- enterprise, without having first trast. Dædalus rests on the right secured a prospect of something lower extremity; and extending certain on which to depend. Under behind his son the right arm, in these circumstances, his friends reorder to adjust the wing, which, solved to petition the Venetian with the left hand brought for- senate for a pension, that he might ward, he is affixing with cord, thus be enabled to prosecute his presents in front his broad and studies without embarrassment, muscular frame. The body is "and adorn by his merits the city bent gently forwards, but the head of Venice."* being turned towards his son, the In this matter, though his paaged countenance, deeply marked trons did not despair of final sucwith anxious expression, is seen in cess, considering the munificence profile. Icarus, on the contrary, of the body addressed, the smallinclined towards his father, a side ness of the sum demanded, and the view only of his slender and buoy- deserts of the individual for whom ant form is exposed. The head, it was solicited, considerable diffiindeed, being bent with a graceful culty and delay were to be exinclination, and the looks directed pected. It had not been the practo the right shoulder, the motion tice of the Senate to interfere in has turned the chest more in front, such cases; and the prevalence of while it fully exhibits the sweet future applications, from once givand placid countenance.
ing a precedent, was to be appreIn the present group, the ex- hended. The motion was thus cellencies and the defects of Cano- likely to experience opposition. va's early manner are displayed in Canova therefore determined to striking lights. The former con- leave the affair in the hands of his sist in simplicity of style, and in supporters, and in the mean time, the most faithful imitation of na- repairing to Rome, to trust to his ture—beauties essential to per- talents and to fortune. fection, and for the absence of His constant and best benefactor which nothing can compensate.
did not desert him on this occaThe characteristic failing is a
sion. It fortunately happened want of elevation--and the desire that the Cavaliere Zuliani, who of preserving extreme simplicity
• “ E decorare col proprio merito la in the grouping, in the forms, and
citta di Venezia,''-the words of the in the attitudes, has produced an original address.
then represented the republic at Poleni, in soft stone of Vicenza, the Papal court, was the intimate larger than life. Padua. friend of the senator Falier. To this nobleman, therefore, our artist CHRONOLOGICAL CATALOGUE, with was recommended in the warmest the present Localities or Possesterms.
sors of all the WORKS executed Soon after his twenty-third
by CANOVA, from the period of birth day, then, our artist for the
his settling in Rome to the time first time beheld the shores of the
of his death, that is, from 1780 Adriatic disappear, as he directed
to 1822. The dates, as affixed his course to the more classic banks
by himself, sometimes mark
when of the Tiber. There a new æra
the marbles, but most commonly commenced, not only in the history
shew when the models of the reof the life, but in the style of art
spective works were completed. which Canova subsequently adopt- 1781. Apollo crowning himself, ed; or rather, a refinement in that - a small figure in marble. Baron line of study, which, from the Daru. commencement of his independent 1782. Group of Theseus and career, he had constantly pursued. the Minotaur. Count de Fries,
The works executed, up to the Vienna. present period, with the order of 1783. Statues of Piety and time in which they were finished, Meekness, in model. Studio of according to a list in his own hand- the Artist. writing, are as follow :
1787. Tomb of Clement XIV. 1772. Two baskets with fruits The statue of the Pontiff is 13 and flowers, in marble, for the Roman palms, and those of the Farsetti palace; and still there. Allegorical Figures 11 palms high.
1773. Statue of Eurydice, in Rome, Church of the H. Apostles. soft stone of Costosa.
Statue of a Cupid. The 1776. Statue of Orpheus in the head was a likeness of the young same material.
These two form prince Czartoriscky. Princess Luone group, and are in the villa gumirschi. Falier at Asolo. Both natural 1789. Statue of a Cupid, almost size.
a copy of the preceding ;-head 1777. Bust of the Doge Renier, ideal. Lord Cawdor. now in the possession of signor
Group, in model, of Venus Angelo Querini, of Venice. crowning Adonis, with Cupid bring
1777. Copy of the Orpheus, in ing Flowers. Studio of the Artist. Carrara marble. Venice, Palazzo
Psyche,--a statue in marGrimani.
ble. Sir H. Blundell. 1778. Statue of Esculapius, in 1790. Bassi Relievi, in model ; marble, larger than nature. Villa viz. Briseis delivered to the Heralds Monseliana, Venetian State. -Socrates drinking the hemlock
Apollo and Daphne, in Socrates taking leave of his Family soft stone, natural size, unfinished. - Return of Telemachus-Death Venice.
of Priam. 1779. Group of Dædalus and
Third Cupid, nearly as cus, in marble of Carrara Pin above.
Latouche, esq. sani palace, Venice.
1792. Mausoleum of Clement 1780. Statue of the marquis XIII.;-height of the pontiff 19 palms ; of the Genius and Religion of the deposition from the Cross ; 15; Lions also colossal. St. Peter's. -worked in marble by Antonio
1792. Head of a Cupid. Ger- d’Este. This copy is in Venice. many, prince of Ausberg.
Col. Wadmanio. Bassi Relievi, in model ; 1800. Perseus with the head of viz. Procession of the Trojan Ma- Medusa,-statue in marble, and trons-Dance of the daughters of size of the Apollo. Vatican Muesum. Alcinöos--Socrates pleading before
Creugas and Damoxenus, the judges—Crito closing the eyes or the Boxers. Vatican Museum. of Socrates.
Colossal statue of Ferdi1793. Second Statue of Psyche. nand IV. King of Naples. Royal Palace at Monaco.
Repetition of the Perseus, Group of Cupid and Psyche for countess Tarnovosky. Poland. recumbent. Royal Palace of Com- 1801. Repetition of the Hebe, piegne, near Paris.
for the empress Josephine. 1794. Cenotaph of chevalier
Hercules destroying his Angelo Emo. Arsenal of Venice. own children,-a basso relievo in
1795. Group of Adonis and model. Venus, natural size. Geneva, for- 1802. Colossal groupof Hercules merly at Naples.
and Lychas. Turlonia Palace, Two Relievos in model, Rome. Education and Charity. Studio. 1803. Colossal statue of Napo
1796. Second Group of Cupid leon-height 16 Roman palms. and Psyche recumbent. Prince Duke of Wellington, a fine copy Youssouppoff
in bronze is in the Academy of Statue of a Magdalen Arts at Milan. kneeling. Marg. Sommariva, Paris. 1804. Statue of Palamedes, in
Hebe, statue in marble. marble, semi-colossal. Villa SomVenice, Casa Albrizzi.
mariva, on the lake of Como. A Cupid with wings.
Model of an intended MoPrince Youssouppoff, Russia. nument for Francesco Pesaro.
1797. Apollo, a small figure, 1805. Bust in marble of Pius modelled in 1787 as a Cupid. VII., presented by the Sculptor to Marquis Sommariva.
Bust in marble of the Em viz. Rome writing round a Me- peror of Austria. Vienna. dallion-Dance of Venus with the
Monument of the ArchGraces_Death of Adonis-Birth duchess Maria Christina Vienna; of Bacchus--Socrates saving Alci- the whole expense of this work biades at Potidea.
amounted to upwards of 10,000l. Cupid and Psyche, stand- sterling. ing. Palace of Compiegne.
Model in Relievo, for a Monument in Relievo of monument to Alfieri. Studio of bishop Giustianini. Padua, in the Sculptor. residence of the Congregazione di
Statue of Madame Letizia. Carita.
mother of Napoleon. Duke of 1800. Cupid and I'syche, stand- Devonshire. ing-second group. Purchased by
Venus Victorius, recumthe emperor of Russia.
bent statue. Palazzo Borghese, Basso Relievo in model, Rome. VOL. LXVII.