enly and despised secretly.

But about the end of the century another spirit arose; a second
Renaissance took place, which may be traced in literature and in art, as
it may be in the movement of political events and an independence of
thought everywhere.

Naturally the question as to where artists could turn for their models
was an important one, and as before in various epochs in art the antique
had been the "only help in time of trouble," so it proved again. In 1764
Winckelmann published his "History of Ancient Art," in which the rich
significance of classic art was clearly placed before the student. The
service which this author rendered to art can scarcely be
over-estimated, coming, as it did, at a time when the genius of art
seemed to have turned his back upon the world, and all true inspiration
was lost. At about the same time the monuments of Athens were recalled
to the European world by Stuart and Revett in their architectural
designs, and by the end of the century the study of the antique had done
its transforming work, and artists were striving for more worthy ends
than the favor of kings and powerful patrons. This new study of classic
art did not show its full and best results until the Danish sculptor
Thorwaldsen executed his works; but before his time others were striving
for that which it was his privilege to perfect.

Among the earliest and most famous of these eighteenth-century reformers
was the Venetian, ANTONIO CANOVA (1757-1822). He was born in Possagno,
and was the son and grandson of stone-cutters. His father died when he
was very young, and he was thus left to the care and instruction of his
grandfather, the old Pasino Canova, who lost no time in accustoming the
boy to the use of the chisel, for there are cuttings in existence which
were executed by Canova in his ninth year. Signor Giovanni Faliero dwelt
near Possagno, and was in the habit of employing Pasino Canova
frequently; he entertained such respect for the old stone-cutter that he
sometimes asked him to spend a few days at his villa. On these visits
the old man was accompanied by Antonio, who soon became a favorite with
all the family of Faliero, and a friend of the young Giuseppe.

On one occasion when Pasino and the boy attended a festival at Villa
Faliero, the ornament for the dessert was forgotten. When the servants
remembered it at the last moment they went to the old Pasino in
distress, and begged him to save them from the displeas