mance, 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. His merits and reputation being now
generally recognized, his thoughts began to turn from the shores of the
Adriatic to the banks of the Tiber, for which he set out at the
commencement of his twenty-fourth year.

Before his departure for Rome, his friends had applied to the Venetian
senate for a pension, to enable him to pursue his studies without
embarrassment. The application was ultimately successful. The stipend
amounted to three hundred ducats (about L60 per annum), and was limited
to three years. Canova had obtained letters of introduction to the
Venetian ambassador, the Cavaliere Zulian, and enlightened and generous
protector of the arts, and was received in the most hospitable manner.
His arrival in Rome, on the 28th of December 1780, 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 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. 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 has been engaged.
Simplicity and natural expression had hitherto characterized Canova's
style; with these were now united more exalted conceptions of grandeur
and of truth. The Theseus was regarded with fervent admiration.

Canova's 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. He returned immediately to Rome, and opened his celebrated
studio close to the Via del Babuino. 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 i