CANOVA, Antonio, one of the greatest sculptors of modern times, was born on the 1st of November 1757, at Passagno, an obscure village situated amid the recesses of the hills of Asolano, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents. Their loss, however, was compensated by the tender solicitude and care of his grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when the efforts of successful genius had afforded him the means, gave her an asylum in his house at Rome. The father and grandfather of our artist followed the occupation of stone-cutters; and it is said that their family had for several ages supplied Passagno with members of that profession. As soon as Canova’s hand could hold a pencil, he was initiated into the principles of drawing by his affectionate grandfather Pasino, who was acquainted with the subject. He also possessed some knowledge of architecture, designed well, and showed considerable taste in the execution of ornamental works. To his art he was attached with fond partiality; and upon his young charge he looked as one who was designed not only to perpetuate the family name, but also the family profession. The object of his hopes and instructions may be said to have done so; but his works were destined to be known far beyond the period of his life, or the circle of his native hills.

The early years of Canova were· passed in study. The [7:6:96]bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Faliero of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron. Between the younger son, Giuseppe Faliero, and the artist, a friendship commenced, which terminated only with life. From the interest which was excited in this family for Canova, Signor Faliero was induced to receive him under his immediate protection. It has been related by an Italian writer, and since repeated by several biographers, that Canova was indebted to a fortuitous circumstance, the moulding of a lion in butter, for the warm interest which the senator took in his welfare. The anecdote may be true; but it does not appear to rest on authority sufficiently strong to warrant our stating it as authentic. By his kind patron Canova was placed under Bernardi, or, as he is generally called by filiation, Toretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, a village in the vicinity of the senator’s mansion. This took place whilst he was in his thirteenth year; and with Toretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Faliero, the latter was induced to bring the young artist to Venice, where he accordingly went, and was placed under a nephew of Toretto. With this master he continued about a year, studying with the utmost assiduity. After the termination of this engagement he began to work on his own account, and received from his patron an order for a group on the subject of Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke in the act of leaving the infernal realms, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered as qualified to appear before a public tribunal. The kindness of some monks supplied him with his first work-shop, which was the vacant cell of a monastery. Here for nearly four years he laboured with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he did not confine himself to these exercises alone. He resolved to begin where the art itself began, in the study and imitation of nature. From his contemporaries he could learn nothing, for their style was vicious. From their works, therefore, he reverted to living models, as exhibited in every variety of situation. A large portion of his time was also devoted to anatomy, which science was regarded by him as “the secret of the art.” He also frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. Not a day was allowed to pass without his making some visible advances in his profession. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes without producing some design. Whatever was likely to forward his advancement in sculpture, he studied with ardour. On archaiological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted, and he also began to acquire several of the continental languages. When we view such industry, inspired and directed by such a genius as that of Canova, it scarcely appears matter of wonder that the result should be a new era in the art.

Three years had now elapsed without any production coming from his chisel. He began, therefore, to complete the group for his patron, and the Orpheus which followed evinced the great advances he had made in his profession. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The simplicity of style and the faithful imitation of nature which characterized them called forth the warmest admiration. But there was still wanting in his productions that elevation and ideal beauty which he afterwards attained to, and which rather carried nature to its highest perfection than w ent beyond it. His merits and reputation being now generally recognised, he began to turn his attention from the shores of the Adriatic to the more classic banks of the Tiber, for which he set out at the commencement of his twenty-third year.

Previous to his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him without embarrassment to pursue his studies. The application was ultimately successful. It amounted to three hundred ducats, about sixty pounds per annum, and was limited to three years. Our artist had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zuliani, an enlightened and generous protector of the arts, and was received in the most gracious and hospitable manner. Canova’s arrival in the “eternal city” marks a new era in his life. It was here he was to perfect himself, by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the greatest living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus vanquishing the Minotaur. The figures are of the heroic size, that is, larger than life. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he had been engaged, while at the same time it evinces the genius of the sculptor. Simplicity and purity of natural expression had hitherto characterized his style; but with these were now united more exalted conceptions of grandeur and of truth. By those w+o were capable of appreciating the beauties of the Theseus, it was regarded with rapturous enthusiasm, as worthy of the best days of sculpture in a land where sculpture was unrivalled; and it formed a noble presage of future glory and yet more splendid achievements.

FIis next undertaking was a monument in honour of Clement XIV.; but before he proceeded with it, he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited in person, and it was granted in the most handsome manner. He returned immediately to Rome, and opened that studio in the Stracla Babbuino, which was soon to be one of the proudest boasts of Italy, and to which the ardent devotees of the art from every nation of Europe were to perform pilgrimage. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. Expectation had been highly excited, and never was it more amply gratified. The work, in the opinion of the best judges, stamped the author as the first artist of modern times. After five years of incessant labour, he completed another cenotaph to the memory of Clement X11I. of which it is sufficient praise to say, that it raised still higher the fame of [7:6:97]the author. Works came now so rapidly from his chisel, that it will be impossible to enumerate any but the most conspicuous. Amongst those which belong to the period in question is Psychc with a butterfly, which is placed on the left hand, and held by the wings with the right. This beautiful figure, which is intended as a personification of man’s immaterial part, is considered as in almost every respect the most faultless and classical of Canova’s works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent, and both are of superlative excellence. These and other proofs of lofty genius raised his reputation so high, that the most flattering offers were sent him from the Russian court to induce him to remove to St Petersburg; but these were declined. “Italy,” says he, in writing of the occurrence to a friend, “Italy is my country—is the country and native soil of the arts. I cannot leave it; my infancy was nurtured here, and if my poor talents can be useful in any other, they must be of some utility to this; and ought not hers to be preferred to all others ?” Genius never appears so truly great as when it is united with a disinterested love of country. In this respect Canova will ever command admiration. The powers of his mind scarcely surpassed the virtues of his heart.

Numerous works were produced during the years 1795- 6-7, of which several were repetitions of previous productions. It is only necessary to notice the celebrated group representing the parting of Venus and Adonis. The youth is gazing tenderly upon the goddess. With his left arm he encircles her waist, while his right grasps a hunting spear. She, on the other hand, by the most endearing yet chaste caresses, endeavours to avert his resolution of departing. This famous production was sent to Naples; and, out of respect to the artist, the king ordered every tax which attended its importation to be remitted. As a more substantial mark of approbation, he decorated the sculptor with the insignia of the order of the Two Sicilies. The French revolution was now extending its ravages over Italy; and the pure and peaceful spirit of Canova, shrinking from scenes of contention and blood, sought obscurity and repose in the bosom of his native Passagno. Thither he retired in 1798, and continued about a year, principally employed in the sister art of painting, in which also he was no ordinary proficient. One of his productions in this department of art is a picture representing the dead body of the Saviour just removed from the cross, surrounded by the three Marys, the beloved disciple, Joseph of Arimathea, and, somewhat in the back ground, Nicoemus. Above appears the personification of the Father, with the mystic dove in the centre of a glory, and surrounded by a circle of cherubs. This admirable composition, which was greatly applauded, he presented to the parochial church of his native place. Events in the political world having come to a temporary crisis, he returned to Rome; but his health, from arduous application, having been impaired, he took a journey through a part of Germany, in company with his friend Prince Rezzonica. He returned from his travels much improved, and again commenced his labours with renewed vigour and enthusiasm.

Canova’s sculptures have been distributed under three heads: 1. Heroic compositions; 2. Compositions of grace and elegance; and 3. Sepulchral monuments and relievos. In noticing the works which fall under each of these divisions, it will be impossible to maintain a strict chronological order, but perhaps a better idea of his productions may thus be obtained. Their vast number, however, prevents their being all enumerated.

Soon after his return appeared his Perseus with the head of Medusa. The moment of representation is when the hero, flushed with conquest, displays the head of the “snaky Gorgon,” whilst the right hand grasps a sword of singular device. By a public decree, this great triumph of art was placed in one of the stanze of the Vatican, hitherto reserved only for the most precious works of antiquity. In 1802, at the personal request of Napoleon, Canova repaired to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honours were conferred upon him. The statue, which is colossal, was not finished till six years after. On the fall of the living original, the French king presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington. Palamedes, Creugas, and Damoxenus, the combat of Theseus and the Centaur, and Hercules and Lydias, all displaying great and varied excellence, may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, the statues of Washington, Ferdinand, and others. The group of Hercules and Lydias is considered as the most terrible conception of Canova’s mind, and in its peculiar style as scarcely to be excelled.

Under the second head, namely, compositions of grace and elegance, the statue of Hebe takes the first place in point of time. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. The invention merits the title of originality, and the figure in each of the statues is, in all its details, in expression, attitude, elegance, and delicacy of finish, perfect in beauty. The Dancing Nymphs maintain a character similar to that of the Hebe. The Graces and the Venus are more elevated, as combining dignity with elegance. The Awakened Nymph is another work of extraordinary beauty, a term indeed which may be applied to all his productions indiscriminately. The mother of Napoleon, Maria Louisa, to model wlκ>m the author made a second journey to Paris in 1810, the Princess Esterhazy, and the muse Polyhymnia, take their place in this class; as do the ideal heads, comprising Corinna, Sappho, Laura, and Beatrice. In these the artist combined reality with fancy; all are representations of celebrated females, and he has endeavoured to realize the glowing descriptions of poesy, or the more veracious traits of history, according to his own refined conceptions of character. Living models supplied the contour and the features, but these were kindled up with the soul of passion and expression by the sculptor’s hand. Belonging to this class of composition the most glowing portraiture of female loveliness is the Helen of Troy.

The cenotaphs and funeral monuments fall next to be noticed. Of these the most splendid is the monument to the Arch-Duchess Maria Christina of Austria, consisting of nine figures. It is considered as a chef-d’ oeuvrera this department of art. Besides the two for the Roman pontiffs, already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Nelson, besides a great variety of monumental relievos.

The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works, arc of so little importance as scarcely to merit notice. His mind was entirely absorbed in the labours of his studio, and, with the exception of his two journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quitted Rome. In his own words, “his statues were the sole proofs of his civil existence.” There was, however, another proof, which modesty forbade him [7:6:98]to mention, an ever active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris, of those works of art which had formerly been conveyed there under the direction of Napoleon. By his zeal and exertions, for there were many conflicting interests to reconcile, he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country. In the autumn of this year he gratified a wish he had long entertained, of visiting the British metropolis, where he was graciously received by the prince regent, and honoured with the highest tokens of esteem. He returned to Rome in the beginning of 1816, with the ransomed spoils of his country’s genius. Immediately after, he received several marks of distinction: by the hand of the pope himself his name was inscribed in “the golden volume of the capitol,” and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns, about L.625.

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration: the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the world of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance, he resolved to consecrate a shrine to the cause, at once worthy of himself and of the religion to which he was devoted. In his native village he began to make preparations for erecting a temple, which was to contain not only the above statue, but other works of his own; and within its precincts also were to repose the ashes of the founder. Accordingly, in prosecution of this design, he repaired to Passagno in 1819. At a sumptuous entertainment which he gave to his workmen, there occurred an incident which it is impossible to overlook in any life of Canova, however circumscribed. When the festivities of the day had terminated, he requested the shepherdesses and peasant girls of the adjacent hamlets to pass in review before him, and to each he made a present, expending on the occasion about L.400. We need not therefore be surprised, that, a few years afterwards, when the remains of the donor came to be deposited in their last asylum, the grief which the surrounding peasantry evinced was in natural expression so intense and irrepressible, as totally to eclipse all the studied solemnity of more pompous mourning.

After the foundation stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Passagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals. In the mean time the vast expenditure exhausted his resources, and compelled him to labour with unceasing assiduity, when age and disease had set their seal upon his frame. During the period which intervened between commencing operations at Passagno, and his decease, he executed or finished some of his most splendid works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI., the Pietà, the St John, the recumbent Magdalen, and others of scarcely inferior excellence. The last performance which issued from his hand was a colossal bust of his friend the Count Ciconava. In May 1822 he paid a visit to Naples, to superintend the construction of waxmoulds for an equestrian statue of Ferdinand. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there on the 13th of October 1822, at the age of sixty-five. The most distinguished funeral honours were paid to his remains, which were deposited in the temple at Passagno on the 25th of the same month.

Canova is allowed to rank above every other master, from the age of Nicholas of Pisa. He renovated the art in Italy, and brought it back to the standard from which it had declined. His style in youth displayed the utmost simplicity; but as he proceeded in his career, he evinced the true poetic feeling which spiritualizes and exalts nature into ideal beauty and grandeur—that power which give^ to marble features an expression apparently resulting from the workings of an inherent and active intelligence; in a word, he stamped them with the impress of the soul. His finishing was excessively refined, and he had a method of giving a mellow and soft appearance to' the marble, hitherto unattempted. He formed his models of the same size as the work he designed was intended to be, which was, undoubtedly, a great improvement in the art. Of his moral character, a generous and unwearied benevolence formed the most prominent feature. Of the vast fortune realized by his works, the greater part was distributed in acts of this description. To artists in particular, his hand was “open as day to melting charity.” He established prizes for them, and endowed all the academies of Rome. The aged and unfortunate were also objects of his peculiar solicitude. His titles were numerous. He was enrolled amongst the nobility of several states, decorated with various orders of knighthood, and associated in the highest professional honours. (See the Life of Canova by Memes, one vol.; by Missinini, four vols.; also the Eiografia, by the Count Ciconava.)