street or lane which bears the name of "San Maurizio." Here he continued till his final departure from his native country. The succeeding year gave birth to a production, the most considerable yet undertaken by the artist, in a statue of Esculapius, in proportions larger than life. This work is also executed in marble, and was originally commissioned by the marchioness Spinola, at Genoa, who then resided with great splendor at Venice. From a change of circumstances, however, the lady was obliged to relinquish the contract, when the statue had now been finished. It will readily be believed, that such an occurrence was, at this period, a matter of very serious inconvenience to Canova, more especially as the performance remained long upon his hands, without finding a purchaser. At length it became the property of a signor Cromer, an advocate. At the villa of this gentleman's son the statue is still to be seen. The subject, from its nature, admits of little variety, and is still farther circumscribed by the established modes of antiquity; but the statue exhibits beauties altogether unknown in the corrupted style of cotemporary art. The sober and dignified air, so suitable to the character-the chaste simplicity of the drapery, in which nothing forced-nothing affected, appears and which clothes without concealing the figure-possess intrinsic merit; while they have the recommendation of novelty when compared with the productions of the same or preceding age. Contemporaneous with the preceding work, is a group on the subject of Apollo and Daphne, in which the figures are of the natural size, and in pietra Vicentina. From some cause not explained, the piece was never completed, the artist having proceeded little farther than merely to determine the forms. The order of time has now conducted the reader to the close of Canova's twenty-second year, which introduces the most important, as well as most celebrated undertaking of his noviciate the group of Daedalus and Icarus, in marble of Carrara. The senator, and procurator, Pisani, for whom this was executed, a nobleman distinguished by a love for the arts, lived in habits of intimacy with the patron of our artist who thus obtained the commission. The piece was originally intended for a niche in the centre pillar between the double entrance-doors of the palace, or rather united palaces of Pisani and Barbarigo, which front the grand canal. This locality on the water is said to have suggested the subject. But such was the excellence of the finished production, that its possessor, esteeming it too valuable for an external exposure, placed it with some chefs d'œuvres of the sister art, in an inner gallery ; while its destined site remains still unoccupied. In this group the figures are of the natural size, and naked, with the exception of a mantle, one corner of which is brought round the loins of Dedalus, while the rest falling behind in large masses, serves as a mutual support. They are preparing for their adventurous journey. The father is represented in "Procurator of St. Mark's, an office of considerable dignity in the Venetian state. + Here is the celebrated "Family of Darius," by Paul Veronese, with other excellent works. the act of adapting to the shoulders of his son the fatal pinions, which he vainly hoped would waft him safely from Cretan bondage. Icarus as if assisting, holds in his right hand part of the materials; but seems chiefly engaged in watching the progress of the work, which he regards with all the careless unconcern of fearless youth. These different but connected actions, have thrown both into attitudes extremely natural and simple, yet admitting the fullest effects of contrast. Dædalus rests on the right lower extremity; and extending behind his son the right arm, in order to adjust the wing, which, with the left hand brought for ward, he is affixing with cord, presents in front his broad and muscular frame. The body is bent gently forwards, but the head being turned towards his son, the aged countenance, deeply marked with anxious expression, is seen in profile. Icarus, on the contrary, inclined towards his father, a side view only of his slender and buoyant form is exposed. The head, indeed, being bent with a graceful inclination, and the looks directed to the right shoulder, the motion has turned the chest more in front, while it fully exhibits the sweet and placid countenance. In the present group, the excellencies and the defects of Canova's early manner are displayed in striking lights. The former consist in simplicity of style, and in the most faithful imitation of nature-beauties essential to perfection, and for the absence of which nothing can compensate. The characteristic failing is a want of elevation-and the desire of preserving extreme simplicity in the grouping, in the forms, and in the attitudes, has produced an effect approaching to poverty and constraint. The merits and reputation of Canova were now generally recognized at Venice: but in his profession, this city neither presented a field for the exercise of abilities, nor afforded the means of more extensive and refined acquirements. He therefore resolved to attempt an establishment at Rome. As affairs stood, however, this would have been a rash and hazardous enterprise, without having first secured a prospect of something certain on which to depend. Under these circumstances, his friends resolved to petition the Venetian senate for a pension, that he might thus be enabled to prosecute his studies without embarrassment, "and adorn by his merits the city of Venice."* In this matter, though his patrons did not despair of final success, considering the munificence of the body addressed, the smallness of the sum demanded, and the deserts of the individual for whom it was solicited, considerable difficulty and delay were to be expected. It had not been the practice of the Senate to interfere in such cases; and the prevalence of future applications, from once giving a precedent, was to be apprehended. The motion was thus likely to experience opposition. Canova therefore determined to leave the affair in the hands of his supporters, and in the mean time, repairing to Rome, to trust to his talents and to fortune. His constant and best benefactor did not desert him on this occasion. It fortunately happened that the Cavaliere Zuliani, who "E decorare col proprio merito la citta di Venezia," the words of the original address." then represented the republic at the Papal court, was the intimate friend of the senator Falier. To this nobleman, therefore, our artist was recommended in the warmest terms. Soon after his twenty-third birth day, then, our artist for the first time beheld the shores of the Adriatic disappear, as he directed his course to the more classic banks of the Tiber. There a new æra commenced, not only in the history of the life, but in the style of art which Canova subsequently adopted; or rather, a refinement in that line of study, which, from the commencement of his independent career, he had constantly pursued. The works executed, up to the present period, with the order of time in which they were finished, according to a list in his own handwriting, are as follow: 1772. Two baskets with fruits and flowers, in marble, for the Farsetti palace; and still there. 1773. Statue of Eurydice, in soft stone of Costosa. 1776. Statue of Orpheus in the same material. These two form one group, and are in the villa Falier at Asolo. Both natural size. 1777. Bust of the Doge Renier, now in the possession of signor Angelo Querini, of Venice. 1777. Copy of the Orpheus, in Carrara marble. Venice, Palazzo Grimani. 1778. Statue of Esculapius, in marble, larger than nature. Villa Monseliana, Venetian State. Apollo and Daphne, in soft stone, natural size, unfinished. Venice. 1779. Group of Dedalus and Icarus, in marble of Carrara. Pisani palace, Venice. 1780. Statue of the marquis Poleni, in soft stone of Vicenza, Padua. larger than life. CHRONOLOGICAL CATALOGUE, with the present Localities or Possessors of all the WORKS executed by CANOVA, from the period of his settling in Rome to the time of his death, that is, from 1780 to 1822. The dates, as affixed by himself, sometimes mark when the marbles, but most commonly shew when the models of the respective works were completed. 1781. Apollo crowning himself, -a small figure in marble. Baron Daru. 1782. Group of Theseus and the Minotaur. Count de Fries, Vienna. 1783. Statues of Piety and Meekness, in model. Studio of the Artist. 1787. Tomb of Clement XIV. The statue of the Pontiff is 13 Roman palms, and those of the Allegorical Figures 11 palms high. Rome, Church of the H. Apostles. Statue of a Cupid. The head was a likeness of the young prince Czartoriscky. Princess Lugumirschi. 1789. Statue of a Cupid, almost a copy of the preceding;-head ideal. Lord Cawdor. Group, in model, of Venus crowning Adonis, with Cupid bringing Flowers. Studio of the Artist. Psyche, a statue in mar ble. Sir H. Blundell. 1790. Bassi Relievi, in model; viz. Briseis delivered to the Heralds -Socrates drinking the hemlockSocrates taking leave of his Family -Return of Telemachus-Death of Priam. Third Cupid, nearly as above. Latouche, esq. 1792. Mausoleum of Clement XIII.;-height of the pontiff 19 palms; of the Genius and Religion 15; Lions also colossal. St. Peter's. 1792. Head of a Cupid. Germany, prince of Ausberg. Bassi Relievi, in model; viz. Procession of the Trojan Matrons-Dance of the daughters of Alcinöos-Socrates pleading before the judges-Crito closing the eyes of Socrates. 1793. Second Statue of Psyche. Royal Palace at Monaco. Group of Cupid and Psyche recumbent. Royal Palace of Compiegne, near Paris. 1794. Cenotaph of chevalier Angelo Emo. Arsenal of Venice. 1795. Group of Adonis and Venus, natural size. Geneva, formerly at Naples. Two Relievos in model, Education and Charity. Studio. 1796. Second Group of Cupid and Psyche recumbent. Prince Youssouppoff. Statue of a Magdalen kneeling. Marq. Sommariva, Paris. Hebe, statue in marble. Venice, Casa Albrizzi. A Cupid with wings. Prince Youssouppoff, Russia. 1797. Apollo, a small figure, modelled in 1787 as a Cupid. Marquis Sommariva. Bassi Relievi in model; viz. Rome writing round a Medallion-Dance of Venus with the Graces-Death of Adonis-Birth of Bacchus-Socrates saving Alcibiades at Potidea. Cupid and Psyche, standing. Palace of Compiegne. Monument in Relievo of bishop Giustianini. Padua, in the residence of the Congregazione di Carita. 1800. Cupid and Psyche, standing-second group. Purchased by the emperor of Russia. Basso Relievo in model, VOL. LXVII. of the deposition from the Cross; -worked in marble by Antonio d'Este. This copy is in Venice. Col. Wadmanio. 1800. Perseus with the head of Medusa,-statue in marble, and size of the Apollo. Vatican Muesum. Creugas and Damoxenus, or the Boxers. Vatican Museum. Colossal statue of Ferdinand IV. King of Naples. Repetition of the Perseus, for countess Tarnovosky. Poland. 1801. Repetition of the Hebe, for the empress Josephine. Hercules destroying his own children,-a basso relievo in model. 1802. Colossal group of Hercules and Lychas. Turlonia Palace, Rome. 1803. Colossal statue of Napoleon,-height 16 Roman palms. Duke of Wellington, a fine copy in bronze is in the Academy of Arts at Milan. 1804. Statue of Palamedes, in marble, semi-colossal. Villa Sommariva, on the lake of Como. Model of an intended Monument for Francesco Pesaro. 1805. Bust in marble of Pius VII., presented by the Sculptor to Buonaparte. Bust in marble of the Em- peror of Austria. 1805. Venus coming out of the Theseus combatting the Nymph dancing. This statue was exhibited at Somersethouse in 1823, and formerly belonged to Josephine; now (it is believed) in possession of the duke of Devonshire. 1806. Sepulchral Relievo of Countess D'Haro. Studio of the Sculptor. Sepulchral Vase, with small relievos for the Baroness Deede. Padua. Sitting Statue of the Princess Leopoldina Esterhazy. Vienna. 1807. Monument of Alfieri. Church of St. Croce-Florence, erected by order of the countess of Albany. Bust in marble of Pius VII., presented by the Sculptor to his Holiness. Rome. Bust of Cardinal Fesch. Bust of Princess Paulina Borghese Buonaparte. Rome. Two Statues of Paris, in Carrara marble; one finished in 1813, now in possession of the emperor of Russia; the other completed in 1816, for the hereditary prince of Bavaria. Model for an Equestrian Statue of Napoleon. Model of a Monument to the memory of Lord Nelson. 1808. Cenotaph to the memory of Giovanin Volpato. Church of the Holy Apostles. Rome. Cenotaph for Count de Sousa; two originals were wrought at the same time, one of which is in Rome, the other in Portugal. Cenotaph to the memory Venice. of the Senator Falier. Bust in marble of the Princess of Canino. Bust of Paris, for the then Ambassador of France. sessor. Dancing Nymph, with cymbals. Prince Rossaumoffsky. garland. Sig. Manzoni, of Forli. Dancing Nymph, with a 1810. Colossal model of a Horse. Louisa, with the attributes of Con1811. Sitting Statue of Maria cord. Palace of Colorno near Parma. Ajax, companion to the Hector, Semi-colossal Statue of and left in the same state. Both remained in the studio of the Sculptor. Sculptor. Polyhymnia, originally begun as a Sitting Statue of the Muse portrait of the Princess of Lucea ed, in 1817, as an ideal work, and (Maria Eliza) subsequently finishfor the emperor of Austria. Cabipurchased by the Venetian States net of the empress. Vienna. Lucca. Bust of the Princess of in 1815 for the Russian count Statue of Peace, finished Romanzoff. Three successive heads of this family had negociated grand treaties of peace. Bust of Murat, while King of Naples. |