least two pieces by commission, during the period of his connec tion 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.

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.

1. The first whose name this really was, for of the others it was so merely by adoption, was Giuseppe Toretto, surnamed Il Vecchio or the Old. He appears never to 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

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.

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

his relievos encumbered with attempts at perspective representations-in short, works displaying the universal and characteristic defects of the age, show, in a most

• Venezia Illustrata, tom. i. + By some he is erroneously called Domenico,

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. 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.

The

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

modern productions as were then esteemed proper models. In drawing, and in modelling from these, as likewise more especially in painting, the students were directed by professors of some eminence. To all of these masters the talents or docility of Canova soon recommended him. Mingardi, in particular, the professor of painting, and an artist of considerable reputation, conceived a great affection for the youth, receiving him under his special care and protection. Public teachers have rarely an opportunity of appreciating any other capabilities in their pupils, save those displayed by their performances in the same arts which they themselves profess. Where it is known, then, that no previous or peculiar claims to regard existed, we can reasonably suppose this feeling to be excited only by the superiority of its object in such exercises. From the attachment of Mingardi to Canova, therefore, it may be permitted to conclude, that in painting, actual progress, or promise of future excellence, rendered the latter, in the opinion of his instructor, more deserving of notice than his compeers. The circumstance is at least of influence to shake the credit of a statement, extensively circulated in our own and also in foreign countries, that, in the sister art, the attempts of Canova totally miscarried-an assertion which has been made sufficiently at hazard.

The gallery of the palace which then belonged to the family Farsetti divided with the academy the attentions of Canova. This institution, the effect of private munificence, was gratuitously open to youth studious of the fine arts, where, without expense, they were supplied with every requisite for

study, and where at this time they could likewise profit by the instructions of an able director.* So constant was his attendance, and so great his assiduity here, that the attention of the noble owner was attracted; and from thence the young artist received the earliest commission which he himself has recorded, and which is universally believed to have produced the first performance not intended merely as an exercise, or for which money was paid. On the balustrade of the grand stair which then conducted to the galtery, are still to be seen, sculptured in white marble, though somewhat injured, two baskets filled with different fruits and flowers. These are the works in question-the earliest public labours of Canova's hand.t

In these juvenile productions, the objects are represented of the natural size; but it is not always easy to ascertain what fruit or what flower the artist had intended to imitate. By him who impartially examines them, no striking marks of proficiency already acquired, or indications of future superiority, will be discovered.

lani of Bologna was director of the Far• When Canova studied there, Fursetti gallery; a man of some taste, who, though he never executed any considerable work in marble, has left several pensieri in stucco, both of groups and of single statues, not devoid of merit.

This patron of Canora was the Commendatore Farsetti, eminent alike for knowledge of literature and taste in the arts. From the misfortunes of the family, the palace is now changed into the Hotel della Gran Brettagna. the treasures of its gallery, the works

Of

now described alone remain. The casts were transferred to the Academy of Fine Arts, which, under its present learned and enlightened president, the count Cicognara, has become one of the best establishments of the kind in Italy,

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

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 work ing 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 ail, 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