ing the kindness of his master, however, a very great proportion of time must of necessity have been devoted to occupations of slight tendency to promote advancement in the nobler walks of art. His age-the views in the first instance proposed of his merely attaining superior skill and dexterity in the subordinate parts, joined to the slender experience antecedently acquired, occasioned his being employed much more frequently in the capacity of a mechanical assistant, than in the more elevated pursuits requisite to the student of a liberal art. The studies more immediately tending to form the artist, were thus confined chiefly to hours of necessary relaxation from manual labour. In the mean time, his powers were unfolding themselves more rapidly, accompanied with higher ideas of excellence than his previous knowledge or present situation yielded the means either of exercising or of gratifying. In the consequent state of impatience and anxiety, implied by his words and feelings, application was unceasing, from that "enthusiastic desire to excel," so justly regarded by Reynolds as "the first thing required to excel."* This desire of excellence, however, was indefinite, and therefore obviously independent of any original attachment to a particular mode in its attainment. This enthusiasm was nothing more than the same generous ambition, which fires every superior mind; and so far from indicating the influence of any natural inclination or exclusive capacity for sculpture, that it excited only undecided hopes and wishes beyond the prospect of success in the art. In such cases, when See "Discourse XIV., on the Character of Gainsborough," &c. the mind is irresolute whether to continue or to abandon its efforts, former habitudes of thought or of action finally prevail; and the acquired habits and tastes of early education assume the semblance and produce the effects of what is termed genius or natural disposi tion. After these paroxysms of fruitless despondency, or of causeless exultation, Canova returned to his drawings-to his modelsfound them imperfect-still they afforded the only exercise in which the ebullitions of emotion could be calmed; and both education and circumstances had rendered superiority in art the sole means of attaining that eminence which he courted. The engagements which hitherto had detained him at Pagnano being now finished, Toretto, after an absence of nearly three years, determined on re-establishing his residence in Venice. Here he died a few months after his return, worn out rather by infirmities than by age. This, in some measure, may be regarded as an unfortunate event for his youthful pupil, who, there is reason to believe, would otherwise have found a future settlement in the capital, less a matter of obligation, if not of difficulty. At least, he would have enjoyed the advantage of prosecuting his studies on the same principles as they had been commenced; in which respect a change was by no means desirable, as in the then state of Venetian art, notwithstanding the deficiencies of his master, it could not have been for the better. Toretto had always expressed to his patron great commendation of Antonio's talents and docility; and latterly, had frequently urged the necessity of better instruction than could now be obtained in the obscure place of his nativity. As the best proof of his own esteem, he had previously declared him his son by adoption, with permission to bear his name; a privilege which was never assumed, and farther than as a pleasing mark of approbation, productive of no subsequent advantage. Canova, however, through life continued to respect the memory, and even seems to have admired the talents of this his early and indulgent master. Of this affectionate remembrance, an instance occurred a short time before the lamented death of this truly great artist. Being at Asolo, on a visit to the friend of his youth the younger son of his first patron, a walk one morning was proposed through the grounds of the villa Falier where they then were. On coming to one of those statues, which, more than half a century before, had been executed by his old master Toretto, he expressed an earnest desire to examine them all, one by one. In the observation of each he passed some time, apparently with great delight; and in commendation had always something pleasing to remark to the friends by whom he was accompanied. Arriving at the last, he concluded by saying, "Eppure han del merito!--Veda, veda come hanno una certa grazietta che le rende interessanti." - "Indeed, indeed, they all possess merit: observe,see how every one has a certain gracefulness, that renders it interesting." "But," adds the relator of the anecdote, ma chi v'ha che abbia mai inteso il Canova dir male di che che sia?" A bold question, doubtless, yet one which might be demanded with perfect confidence, and without fear of provoking a reply, injurious either to the acknowledged candour, or the universal benevolence of that amiable man. It would appear, that in patronising the early studies of Canova, the original intention of Falier was, not to extend this assistance beyond what might simply qualify him for continuing, under superior advantages, the business of his grandfather. With this design, he had been recommended to the care of Toretto, in the hope, that during the temporary residence of the latter in these parts, the youth might become,-not an accomplished artist, but an expert workman. On the return of the master to Venice, therefore, the aspiring pupil found himself, after an absence of nearly two years, once more on the point of being established in the workshop of Pasino, -a second time, and to all appearance for ever, condemned to irksome toil, and to the obscurity of his native village. At this period, those to whom alone he was known, had removed for a time from Asolo; his old master, who at least would have employed him, was dead; and had the elder Falier adhered to his first resolution, Antonio, at his present age, destitute of friends, with slender knowledge, and great diffidence of natural disposition, would hardly have essayed an effort, and, in all probability, would not have achieved a successful attempt to leave the solitudes of Possagno. of The transport, then, with which Canova prepared in consequence an invitation from his benevolent Canova speak ill of any one whomsoever? patron, to repair to Venice, may easily be imagined. His own But who is there that ever heard Falier. affection for the youth had no doubt strongly inclined the senator Falier to adopt a resolution, apparently at variance with his first intentions in this respect. Antonio likewise possessed à zealous advocate in the elder son of that nobleman; with whom, from disparity of age, he had not indeed formed that intimate and familiar friendship which united him to the younger; but in all his studies the former had ever been warmly interested, and by his superior influence with the father, was on the present occasion, of the most essential service.* The general testimony of Toretto, also, and the considerations he had more recently urged, subsequently to his return from Pagnano, encouraged these generous friends, by the assurance that the talents of the youthful artist merited, and would repay their patronage. In Venice, whither he had thus been invited at fifteen years of age, the reception which Canova experienced from his patron was most kind and hospitable. The Falier palace he was desired to consider as his home; and every considerable expense of education or of maintenance, was to be supplied by the liberality of its gene This was Giambattista Falier, to whom is dedicated the print the beautiful statue of "John the of Baptist in infancy," published at Rome in 1817, and engraved by Consorti. But this was not the only mark of grateful respect paid by Canova to this early friend. "Non ho lettera," says the younger Falier, "del Canova ove non ricordi anche per il mio maggior fratello, la sua gratitudine." "I have not a letter of Canova's in which he does not mention his gratitude to my elder brother." A grateful sense of past favours was one of the many aimable traits of Canova's character an obligation once conferred was never forgotten. rous owner. But the incipient effects of that disinterestedness and love of independence, which through life so strongly marked the character and actions of Canova, would not, even at that early age, permit, since it might be avoided, this entire dependency on the bounty of others. He now considered himself, though far from adequately versed in the mechanical departments of his profession to pursue with every advantage its higher studies-yet sufficiently so, to entitle his exertions to some recompense in labouring for another. Hence, with a view at once to improvement in the practice of his art; and to supply, at least in part, from the resources of present attainment, the requisites of future and more advanced acquirement, he resolved to devote a portion of time to working for some eminent master. With this intention, immediately on his arrival, he engaged for a very slender consideration, to work during the latter half of each day, under Giuseppe Ferrari the grand nephew of his former master, and from that circumstance surnamed also Toretto. It has been generally supposed that during his first residence in Venice, Canova's education was in every respect eleemosynary, and his patron's generosity. his maintenance the gratuity of This however is a mistake. It is evident, that young and inexperienced as Antonio then was, his own exertions did in part minister to his necessities, even on his first coming to Venice; and that Toretto, instead of receiving money for instructing him, paid a certain recompense for his services; a circumstance which still farther ap pears, from his having executed at least two picces by commission, daring the period of his connection with the latter. Under the direction of this his last master, Canova remained not quite a year. As the moiety only of his time was thus occupied, the whole space, during which he continued to receive instructions from others, exclusive of that passed with his grandfather, scarcely exceeded two years. An education in what relates purely to the modes of mechanical operation, thus almost entirely the result of self-instruction, which, without contracting any vicious methods or affected singularities, conducted uniformly to superiority in this respect, is rare even in the sister art of painting, but especially so in his own profession. In the latter, those processes which require a master's aid, and which can really be transmitted from one man to another, being both more numerous as well as more tedious, seem to require longer pupilage and more copious tuition. statues on the façade of St. Eustachio, or, as it is called in the Venetian dialect, St. Staë; the Crucifix on the high altar of which is considered his masterpiece.* This artist died about 1760, while Canova was yet in the first years of infancy. Those writers are of course in error who state this to have been his first master. 2. Giuseppe Bernardi, † the nephew and scholar of the preceding, was, in consequence of these circumstances, the second who bore the name of Toretto. As an artist he is most to be esteemed for his relievos. Of the well-known series in the church of San Giovanni e Paol, two of the best-the Presentation, and the Marriage of the Virgin, are by him; as also the statues of the Evangelists, of the Doctors, and the eight relievos representing the principal events in the life of San Filippo, in the church of La Fava. A great part of his works, however, are to be met with out of Venice, about Udine, Treviso, and Bassano. The performances of this sculptor exhibit a facility of mechanical practice, and a careful neatness of finish, which seem very capable of being improved into that boldness and freedom of execution—that exquisite delicacy of touch, so conspicuous in the works of his celebrated pupil. But his affected and undignified attitudes-his figures buried in drapery-the simpering, unmeaning expression of his heads 1. The first whose name this his relievos encumbered with really was, for of the others it was so attempts at perspective representamerely by adoption, was Giuseppe tions in short, works displaying Toretto, surnamed Il Vecchio or the universal and characteristic the Old. He appears never to defects of the age, show, in a most have wrought out of Venice, where his principal works are to be seen in the churches of the Jesuits, the Scalzi, and in several of the colossal In many of the accounts of Canova's youth which have appeared, the grossest mistakes have been committed in the number, the order, and even in the names of his masters. These errors have arisen in part from confounding the several artists who have been distinguished by the surname of Toretto. There have flourished in Venice, at different periods, four individual sculptors, distinguished by this appellation. Venezia Illustrata, tom. i. striking manner, how much was to be done--and which by Canova has been so happily accomplished, before sculpture could recover the dignity and simplicity of its purer and happier periods. 3 and 4. Two living artists, brothers, Giuseppe and Giovanni Ferrari, from being related to the above, surnamed likewise Toretto, dispute the honour of having been the last of Canova's masters. The younger Falier, whose authority is certainly of much importance, says the latter is the artist under whom his friend was placed on first coming to Venice. This opinion, however, is opposed by collateral circumstances. The chief works of Giovanni are the statues of St. Peter and St. Jeremiah, in the church of the latter; but neither these, nor any other of his performances, are pointed out as those of Canova's master. On the contrary, the Tomb of Admiral Emo, in the church of San Martino, is shown to every one as the work of that great artist's instructor, and for that reason only. This is known, from historical archives in the Sacristy, to have been executed by Giuseppe Ferrari. A more direct and conclusive proof may be deduced from a statue of Psyche, with a moveable drapery of marble, which is now in the palace of the Savorgnan family at Venice, and which was executed by Giuseppe Ferrari, partly in imitation of Canova's first production on the same subject. The accurate and eloquent historian of modern sculpture distinctly states, that this statue was the work of one under whom Canova studied, but, respecting the feelings of the artist, forbears a direct mention of his name. In the preceding statement, therefore, notwithstanding the authority of Falier, who appears, in this instance, to have mistaken one name for another, or not to have been aware of the existence of two individuals bearing the same appellation, and practising the same profession; Giuseppe Ferrari Toretto, and not Giovanni, is assigned as the second and last master of Canova. The works of this artist are distinguished by an extreme minuteness of finish, but his manner is dry and hard, with all the defects of the time. In the course of life he had either been unfortunate or imprudent, and at the time of Canova's death was, it is said, supported by a pension which he enjoyed from the almost universal benevolence of the latter. From his first arrival in Venice, Canova continued to observe an exact distribution of his time; to each division of which its proper employment was assigned. The mornings were devoted to the studies of the academy, or to those of the Farsetti gallery; and the latter part of every day was passed in the less intellectual, but equally necessary labours of the workshop. A portion of the evening appears to have also been allotted to improving, or rather, in many instances, to commencing those branches of general education which the habitudes of life have rendered indispensable; in several of which, as may readily be imagined, he had hitherto made but very gradual advancement. The Academy of Fine Arts, although far inferior to what it has since become, partly from the beneficence of the very individual of whose studies there we now speak, contained at this time some good casts from the antique, and a still greater number from such |