Editing Antonio Canova (section)

===Rome===
Canova arrived in [[Rome]], on 28 December 1780. Prior to his departure, his friends had applied to the [[Venetian Senate]] for a pension. Successful in the application, the stipend allotted amounted to three hundred ducats, limited to three years.<ref name="EB1911"/>

While in Rome, Canova spent time studying and sketching the works of [[Michelangelo]].<ref name="DoA-5"/>

[[File:Canova - Theseus & Minotaur.jpg|thumb|right|250px|''[[Theseus and the Minotaur (sculpture)|Theseus and the Minotaur]]'', [[Victoria and Albert Museum]], London]]

In 1781, [[Girolamo Zulian]] – the Venetian ambassador to Rome – hired Canova to sculpt [[Theseus and the Minotaur (sculpture)|''Theseus and the Minotaur'']].<ref name="wga.hu2">{{cite web|url=http://www.wga.hu/html_m/c/canova/1/2theseus.html|title=Theseus and the Minotaur by CANOVA, Antonio|work=wga.hu}}</ref> Zulian played a fundamental role in Canova's rise to fame,<ref name="Gangemi">{{cite book|title=La storia del Palazzo di Venezia dalle collezioni Barbo e Grimani a sede dell'ambasciata veneta e austriaca|url=https://books.google.com/books?id=SOHMCgAAQBAJ|date=2015|publisher=[[:it:Gangemi Editore|Gangemi]]|location=Rome, Italy|page=[https://books.google.com/books?id=SOHMCgAAQBAJ&dq=girolamo+zulian+collezione+palazzo+zulian&pg=PA60 60–61]|isbn=9788849293661}}</ref><ref name="Dandolo">{{cite book|last1=Dandolo|first1=Girolamo|title=La caduta della repubblica di Venezia|url=https://books.google.com/books?id=7noNAAAAQAAJ|date=1855|publisher=[[University of Oxford]]|page=[https://books.google.com/books?id=7noNAAAAQAAJ&dq=famiglia+zulian+Venezia&pg=PA209 208–211]|isbn=9781841717913}}</ref> turning some rooms of his palace into a studio for the artist and placing his trust in him despite Canova's early critics in Rome.<ref name="Dandolo"/> The statue depicts the victorious [[Theseus]] seated on the lifeless body of a [[Minotaur]]. The initial spectators were certain that the work was a copy of a Greek original, and were shocked to learn it was a contemporary work.<ref>{{cite web|url=http://www.visual-arts-cork.com/sculpture/antonio-canova.htm|title=Antonio Canova: Neoclassical Sculptor, Biography|work=visual-arts-cork.com}}</ref> The highly regarded work is now in the collection of the [[Victoria & Albert Museum]], in London.<ref name="wga.hu2"/>

Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to [[Clement XIV]] for the [[Church of Santi Apostoli]].<ref name="CA"/> After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist.<ref name="EB1911"/>

In 1792, he completed another cenotaph, this time commemorating [[Clement XIII]] for [[St. Peter's Basilica]]. Canova harmonized its design with the older Baroque funerary monuments in the basilica.<ref>{{cite web|url=http://www.wga.hu/html_m/c/canova/1/4clemenu.html|title=Tomb of Pope Clement XIII by CANOVA, Antonio|website=wga.hu}}</ref>

In 1790, he began to work on a funerary monument for [[Titian]], which was eventually abandoned by 1795.<ref name="DoA-5"/> During the same year, he increased his activity as a painter.<ref name="GoV"/> Canova was notoriously disinclined<ref name="Gangemi"/> to restore sculptures. However, in 1794 he made an exception for his friend and early patron Zulian, restoring a few sculptures that Zulian had moved from Rome to Venice.<ref name="Gangemi"/>

The following decade was extremely productive,<ref name="EB1911"/> beginning works such as ''Hercules and Lichas'', ''Cupid and Psyche'', ''Hebe'', ''Tomb of [[Maria Christina, Duchess of Teschen|Duchess Maria Christina of Saxony-Teschen]]'', and ''The Penitent Magdalene''.<ref>{{cite web |url = http://www.wga.hu/html_m/c/canova/1/index.html |title=Sculptures until 1799 |website = wga.hu }}</ref>

In 1797, he went to [[Vienna]],<ref name="auto" /> but only a year later, in 1798, he returned to [[Possagno]] for a year.<ref name="EB1911" />{{NoteTag|''The Glory of Venice: Art in the Eighteenth Century'' states (p. 441) that Canova left Venice when it fell, tried to escape to America and then went to Possagno. The fall of Venice was in 1797. There appears to be some gap in knowledge that would correct or amend these accounts. The first reference to Vienna is an online source, the second is the ''Encyclopædia Britannica, 1911'' which has already proven itself incorrect in some areas. ''The Glory of Venice'' has proven itself more accurate, but it is undated, leaving speculation of time frame.}}