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ANECDOTES of the LIFE of CANOVA up to the Time of his Residence at ROME.

[Abridged from " Memoirs of Antonio Canova," &c. by J. S. Memes, A. M.]

AMONG the former dependencies of Venice is the obscure village of Possagno, situate amid the recesses of the hills of Asolano, which form the last undulations of the Venetian Alps, as they subside in the plains of Treviso. In Possagno, on the morning of the 1st of November 1757, was born Antonio Canova, The mud-walled cabins of an alpine village witnessed, during the first twelve years of existence, the dawnings of that mind whose productions now constitute the most precious treasures of the noblest palaces.

cutter ;

Pietro, the father of Antonio, followed the occupation of a stonewhile his mother was in nowise distinguished from the simple females of her native hamlet. Of these humble parents,

Canova was the only child.

At the period of his son's birth, Pietro still resided under the paternal roof, and continued without a separate establishment till 1760, when he died at an early age. He appears to have been a man of melancholy habits, and of a weakly constitution; not remarkable for talents of any kind, and in this respect greatly inferior to his father Pasino; with whom, either as assistant, or in partnership, he had always continued to work.†

A few months after the demise of her former husband, the mother

* In some biographical sketches published many years ago in the Ialian Journals, he is improperly named Francisco, an error which has been copied into the still more erroneous accounts of travellers.

+ The family of Canova is said to have furnished stone-cutters to the village of Possagno for several ages.

of Antonio entered again into a state of wedlock, and settled in the neighbouring village of Crespano. The name of her new spouse was Sartori; but of what condition or occupation does not clearly appear. The only offspring of these second nuptials was a son, who still survives, the Abbot Giovanni Battista Sartori Canova. This brother was the object of Canova's tenderest attachment, whom he patronized and supported in early life, and constituted his heir at death; confiding to him the completion of several designs in which he was then engaged.*

When his mother removed to Crespano, on the occasion of her second marriage, Canova, then about three years old, remained at Possagno under the protection of his grandfather, Pasino. Thus, at an age when he could scarce yet lisp their names, was he deprived of both parents.+ This loss, generally irreparable, was most amply sup→ plied by the tender care of Catterina Ceccato, his paternal grandmother. She nursed his delicate frame with the kindest assiduity; watched his progress with the most affectionate solicitude; and directed his childish acquirements in the

V 11 fratello d. Gio. Battista Sartori Canova, erede universale ed esecutore delle mie disposizioni è costituito nel diritto e nella liberta di fare quelle eccezioni, o alterazioni alle mie testimentarie disposizioni, &c.-" My brother, John Baptist Sartori Canova, sole heir and executor of my dispositions, is invested with the power and liberty of making these exceptions and alterations in my testamentary dispositions," &c. tract from Canova's Will-Introduction. +"Quasi ancor balbettante," says Canova, in one of his letters.

Ex

seeming probability, to bury his talents in a humble and laborious occupation, and confined to the obscure precincts of his native village. But the favourable crisis, which was to call him from seclusion, and to place within his reach instruction and acquisitions to which he never could otherwise have aspired, was now near at hand.

The country round Possagno presents considerable beauty of natural scenery, and lying near the Alps, enjoys during the heats of summer refreshing breezes from the mountains. These advantages render this a desirable situation whence to retire from the confinement and bustle of a city. At the period of which we now speak, there were accordingly in this vicinity several villas of the Venetian nobility, in which their opulent proprietors were then accustomed to reside during some months of each season. In the repairs, or minor embellishments of these retreats, Pasino Canova, recommended by his superior ingenuity, which precluded the necessity of sending artists from the capital, was frequently employed. On these occasions he was now generally accompanied by his youthful as

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season passed without several visits from Pasino; and he was often invited to spend a few days at the villa, even when the assistance of his skill was not required.

By this means young Canova was first introduced to the senator Falier, who afterwards became his most zealous patron; by the whole family, likewise, he was soon recognised as a universal favourite. Between him and Giuseppe Falier, the younger son, in particular, who were both at the happy age yet unconscious of the artificial distinctions of rank, a friendship then commenced, which terminated only with the life of the former. Few indeed could at this time know the amiable and unassuming boy, without feeling an affection for him. His light and graceful figure; his finely formed and expressive countenance, beaming at once with sensibility and fire, interested at first sight; while the unaffected simplicity of his address-the modest diffidence, but not awkward timidity of his manner-his goodness of heart, and ingenuous disposition, could not fail to improve these favourable impressions.

The friendly regard he had long entertained for old Pasino, joined to the interest which the boy himself had excited, while a convenient opportunity presented of placing him in the way of receiving better instruction, induced the signor Falier to receive Canova at this period under his immediate protection. He thought there appeared in the youthful artist talents that promised much. A little encouragement and more extensive tuition would elicit these, or, at least, render him better qualified to succeed in his present occupation.

Such were the circumstances which introduced Canova to his

earliest patron. It has indeed been asserted by an Italian writer, and from him copied by various others, that a mere accident was the occasion of this interesting connection. At a festival, it is said, which was celebrated in the villa Falier, and attended by a numerous assembly of Venetian nobility, the domestics had neglected to provide an ornament for the dessert, without discovering the omission, till the moment it was required to be supplied. Fearing lest they should on this account incur their master's displeasure, and being in the greatest terror, they applied to Pasino, who then happened to be engaged at work in the house, accompanied by his grandson. The old man's invention could suggest no remedy; -his youthful associate, seeing the necessity of the case, desired some butter to be provided; and from this material presently carved a lion, with such skill and effect, that, on being presented at table, it excited the attention and received the applause of all present. So singular an ornament naturally produced inquiry. The servants The servants were questioned; the whole was disclosed, and Tonin Canova declared to be the contriver. Tonin was immediately called for; and blushing, half reluctant, apprehensive of having done something amiss, was ushered into the brilliant assembly-when, to his great relief, instead of rebuke, he received praises and caresses from the whole company.

From this circumstance, it is stated, his talents for sculpture were first discovered by the senator Falier, who from thenceforth resolved to encourage them by patronizing their pos

sessor.

"Memorie Trivigiane sulle opere di disegno, del Padré Federici," 2 tom. VOL. LXVII,

The anecdote may very possibly be true; nay, there are many reasons for crediting its veracity: but certainly the circumstance which it records was not, either the occasion of Canova's first introduction to the family of Falier, or the cause of the subsequent patronage which he experienced. The connection was not in truth the result of a fortuitous occurrence,― nor founded on a momentary feeling, but proceeded from previous and long-established intercourse.

Some months previous to Antonio's completion of his twelfth year, Giuseppe Bernardi, surnamed Toretto, a Venetian sculptor, had settled at the villa di Pagnano, a short distance from Asolo. Bernardi had studied sculpture under his uncle Giuseppe Toretto, distinguished by the appellation of the Elder, by whom he had been adopted, and whose name, in consequence, he had assumed. This artist was considered as one of the most skilful then in Venice, and had fixed his temporary residence at Pagnano, in order to finish on the spot various works of embellishment, in the prosecution of which he was then engaged. Bernardi, or, as he is more generally called, Toretto, had formerly executed several statues, as ornaments for the villa d'Asolo, in the grounds of which these works, along with others of his different cotemporaries, are still to be seen. On this ac

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seeming probability, to bury his talents in a humble and laborious occupation, and confined to the obscure precincts of his native village. But the favourable crisis, which was to call him from seclusion, and to place within his reach instruction and acquisitions to which he never could otherwise have aspired, was now near at hand.

season passed without several visits from Pasino; and he was often invited to spend a few days at the villa, even when the assistance of his skill was not required.

By this means young Canova was first introduced to the senator Falier, who afterwards became his most zealous patron; by the whole family, likewise, he was soon recognised as a universal favourite. Between him and Giuseppe Falier, the younger son, in particular, who were both at the happy age yet unconscious of the artificial dis

The country round Possagno presents considerable beauty of natural scenery, and lying near the Alps, enjoys during the heats of summer refreshing breezes from tinctions of rank, a friendship then the mountains. These advantages render this a desirable situation whence to retire from the confinement and bustle of a city. At the period of which we now speak, there were accordingly in this vicinity several villas of the Venetian nobility, in which their opulent proprietors were then accustomed to reside during some months of each season. In the repairs, or minor embellishments of these retreats, Pasino Canova, recommended by his superior ingenuity, which precluded the necessity of sending artists from the capital, was frequently employed. On these occasions he was now generally accompanied by his youthful assistant.

Among the residences in which they were thus most commonly engaged, and at no great distance from the village of Possagno, is the villa d'Asolo, contiguous to the little town of the same name, and belonging to the patrician family of Falier, or Falieri, of Venice. Signor Giovanni Falier, the proprietor, and head of the family, entertained a particular regard for the grandfather of our artist, the effect of long acquaintance, and of the old man's good qualities. No

commenced, which terminated only with the life of the former. Few indeed could at this time know the amiable and unassuming boy, without feeling an affection for him. His light and graceful figure; his finely formed and expressive countenance, beaming at once with sensibility and fire, interested at first sight; while the unaffected simplicity of his address-the modest diffidence, but not awkward timidity of his manner-his goodness of heart, and ingenuous disposition, could not fail to improve these favourable impressions.

The friendly regard he had long entertained for old Pasino, joined to the interest which the boy himself had excited, while a convenient opportunity presented of placing him in the way of receiving better instruction, induced the signor Falier to receive Canova at this period under his immediate protection. He thought there appeared in the youthful artist talents that promised much. A little encouragement and more extensive tuition would elicit these, or, at least, render him better qualified to succeed in his present occupation.

Such were the circumstances which introduced Canova to his

earliest patron. It has indeed been asserted by an Italian writer, and from him copied by various others, that a mere accident was the occasion of this interesting connection. At a festival, it is said, which was celebrated in the villa Falier, and attended by a numerous assembly of Venetian nobility, the domestics had neglected to provide an ornament for the dessert, without discovering the omission, till the moment it was required to be supplied. Fearing lest they should on this account incur their master's displeasure, and being in the greatest terror, they applied to Pasino, who then happened to be engaged at work in the house, accompanied by his grandson. The old man's invention could suggest no remedy; -his youthful associate, seeing the necessity of the case, desired some butter to be provided; and from this material presently carved a lion, with such skill and effect, that, on being presented at table, it excited the attention and received the applause of all present. So singular an ornament naturally produced inquiry. The servants The servants were questioned;-the whole was disclosed, and Tonin Canova declared to be the contriver. Tonin was immediately called for; and blushing, half reluctant, apprehensive of having done something amiss, was ushered into the brilliant assembly-when, to his great relief, instead of rebuke, he received praises and caresses from the whole company. From this circumstance, it is stated, his talents for sculpture were first discovered by the senator Falier, who from thenceforth resolved to encourage them by patronizing their pos

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The anecdote may very possibly be true; nay, there are many reasons for crediting its veracity: but certainly the circumstance which it records was not, either the occasion of Canova's first introduction to the family of Falier, or the cause of the subsequent patronage which he experienced. The connection was not in truth the result of a fortuitous occurrence,nor founded on a momentary feeling, but proceeded from previous and long-established intercourse.

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Some months previous to Antonio's completion of his twelfth year, Giuseppe Bernardi, surnamed Toretto, a Venetian sculptor, had settled at the villa di Pagnano, a short distance from Asolo. Bernardi had studied sculpture under his uncle Giuseppe Toretto, distinguished by the appellation of the Elder, by whom he had been adopted, and whose name, in consequence, he had assumed. This artist was considered as one of the most skilful then in Venice, and had fixed his temporary residence at Pagnano, in order to finish on the spot various works of embellishment, in the prosecution of which he was then engaged. Bernardi, or, as he is more generally called, Toretto, had formerly executed several statues, as ornaments for the villa d'Asolo, in the grounds of which these works, along with others of his different cotemporaries, are still to be seen. On this ac

quarto. A work of no great merit, but which nevertheless has, on this occasion, been very generally followed. In his admirable" Catalogo Ragionato" of Books on the Works of Art, Cicognara

designates this "due tome in uno," with

no other remark. Falier expressly says, "Non si allega la storiella del Leoncino di burro, asserita dal P. Federici nelle 'Memorie Trivigiane,' perche, se anche vera, essa non fu certo il motivo dell interesse presone da mio Padre." N*

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