CANO'VA, ANTONIO, was born November 1, 1757, at Possaguo, a considerable village in the province of Trevigi, in the Venetian territory.
The father of Canova worked in marble, and was also an architect of some merit, so that his son may be said to have been initiated from childhood in the pursuit io which be became so distinguished. At fourteen years of age Canova was taken by his father to Venice, and having obtained the notice of Giovanni Faller°, a senator, he was through his recommendation received into the studio of one Bernardi Torretti; and afterwards, on Torretti's death, into that of his nephew, Giovanni Ferrari. Two baskets of fruit and flowers carved in marble for Faliero are still shown at Venice as the earliest finished produc tions of Canova's chisel. About this time he commenced his first work of imagination, a group of Orpheus and Eurydice,' which he modelled at his native village, during the time that he used to walk to Venice to attend the academy. Having now acquired some reputa tion, and being recommended by his first protector Faliero, he was employed on some other works, chiefly busts ; and he also modelled his group of 'Dasdalus and Icarus '—a work which may be said to have laid the foundation of his future fame. In the year 1779, the Cay. Zuliano was sent ambassador from Venice to Rome, and the senator Faller°, anxious to advance the studies of the young sculptor, gave him a recommendation to that functionary. In October of that year he arrived at Rome, accompanied by Fontana, a Flemish painter. Ilia group of Dredalue and Icarus' was sent to him, and the account of the impression which it made is interesting. Zuliano was one of the most distinguished patrons and admirers of the fine arts, and his palace was the rendezvous of all the best artiste, critics, and literati of the day. The work of Canova being well placed in one of the Bakens, a large party of connoisseurs, consisting of Cedes, Volpato, Battoni, Gavin Hamilton (the painter), the Abbate Puccini, and others, were invited to dinner, and after the repast were conducted into the room where were the artist and his group. The qualities of art
which they were now called upon to judge, viz., simplicity, expres sion, and unaffected truth to nature, were so different from that which was the mode, that for some time there was a profound silence. Gavin Hamilton at length relieved the youthful sculptor from his em barrassment, pronounced the highest encomiums upon his work, and gave him at the same time kind and valuable advice and encourage ment. This liberality was not thrown away upon Canova, who, through his long career of success, always acknowledged with grati tude the important service thus rendered him by Mr. Hamilton. Canova returned to Venice, but soon after established himself in Rome, having obtained a pension from his government of 300 ducats a year for three years. His first work after his settlement there was a group of Theseus aud the Miuotaur ; an extraordinary production for the time, and showing a feeling for the purer principles of the art, both in composition and style, quite distinct from the wretched manner that characterised the performances of his contemporaries, and of those who had for some years preceded him. His admitted superiority of talent required but little aid from the influence of his noble protectors to procure him some important employment, and he was selected to execute the monument of Ganganelli (Pope Clement XIV.) for the church of the SS. Apostoli, in Rome. This fine work was exhibited in 1787, and established at once Canova's claim to the highest rank in his profession. Before this was completed Canova had commenced his model of Rezzonico's (Clement XIII.) monument. This work is in St. Peter's, and is a splendid effort of genius, and of skill in execution. A story is told in Rome of Canova's putting on a monk's dress and cowl, and in this disguise mixing with the crowd, to hear the criticisms that were made when the work was first exposed to public view.