obscure village situated amid the
recesses of the hills of Asolo, 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, his father dying and
his mother remarrying. Their loss, however, was compensated by the
tender solicitude and care of his paternal grandfather and grandmother,
the latter of whom lived to experience in her turn the kindest personal
attention from her grandson, who, when he had the means, gave her an
asylum in his house at Rome. His father and grandfather followed the
occupation of stone-cutters or minor statuaries; and it is said that
their family had for several ages supplied Passagno with members of that
calling. As soon as Canova's hand could hold a pencil, he was initiated
into the principles of drawing by his grandfather Pasino. The latter
possessed some knowledge both of drawing and of architecture, designed
well, and showed considerable taste in the execution of ornamental
works. He was greatly attached to his art; and upon his young charge he
looked as one who was to perpetuate, not only the family name, but also
the family profession.

The early years of Canova were passed in study. The 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 Falier 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 Falier, and the artist a friendship commenced which terminated
only with life. The senator Falier 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 trivial
circumstance--the moulding of a lion in butter--for the warm interest
which Falier took in his welfare. The anecdote may or may not be true.
By his patron Canova was placed under Bernardi, or, as he is generally
called by filiation, Torretto, a sculptor of considerable eminence, who
had taken up a temporary residence at Pagnano, a village in the vicin