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Updated: May 6, 2025
The story of Cupid and Psyche has not only been retold by poets from Apuleius to William Morris, but also drawn out in a series of frescoes by Raphael, and sculptured in marble by Canova. Even to enumerate the works of art of the modern and ancient world which depend for their subject-matter upon mythology would be a task for a book by itself.
The influence of Canova and the example of Pradier and Etex were not lasting. Indeed, Greek sculpture has perished so completely that it sometimes seems to live only in its legend. With the modern French school, the academic school, it is quite supplanted by the sculpture of the Renaissance. And this is not unreasonable.
Indeed, to describe galleries, however rich and renowned they may be, is in general a work of so much difficulty, that I know not whether the writer or the reader is made most tired thereby. This collection possesses also the celebrated statue of Venus, by Canova. She stands in the centre of a little apartment, filled with the most delicate and graceful works of painting.
Such, according to some biographers, was the turning point in the career of Antonio Canova, who, from a peasant lad, born in the little Venetian village of Possagno, rose to be the most illustrious sculptor of his age.
In 1819 George IV. erected a monument by Canova, in St Peters at Rome, to "James III., son of James II., King of Great Britain, to Charles Edward, and Henry, his sons, the last of the Royal Stuart line. Blessed are the dead who die in the Lord." Sir Walter Scott visited this alone of Roman sights, in 1832, just before he came home to die.
But there is no inherent sacredness in prices. A picture is worth only what it will fetch. Let our artists be satisfied with a fair day's wage for a fair day's work, like any other species of craftsman. After all, they were all craftsmen Michael Angelo, Titian, Donatello, Canova wall-decorators, door-painters, ceiling-colourers, tomb-builders, stone-masons, working to contract and to measure.
The Liverpool stone-cutter had brought a few of his drawings with him, and Canova examined them with great attention. Instinctively he recognized the touch of genius. When he had looked at them keenly for a few minutes, he turned kindly to the trembling young man, and said at once, "Come to me alone next week, for I want to have a talk with you."
The spirit of Thorwaldsen, the contemporary and brother-sculptor of Canova, permeates everything, and in making his native city his heir, he also bequeathed to her an appreciation of art which her eminent scientists have ably supplemented in their several departments of knowledge.
The speaker was a delicate, pale-faced boy, about twelve years old, who had been engaged to help in some of the minor details of preparation for the great event. "You!" exclaimed the steward, gazing in amazement at the modest, yet apparently audacious lad before him. "And who are you?" "I am Antonio Canova, the grandson of Pisano, the stonecutter."
The sculptor had never yet sold a statue, and didn't know how much he ought to ask; but after a few minutes' consideration he said, "Five hundred pounds. But, perhaps," he added timidly, "I have said too much." Gibson was delighted, and ran over at once to tell Canova, thinking he had done a splendid stroke of business.
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