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 displeasure of the master. The old man could do nothing for them, but the young Tonin, as he was called, asked for some butter, and from it quickly carved a lion. At table this strange ornament attracted the attention of all the guests, and Tonin was called in to receive their praises; from this time the Senator Faliero became his patron, and he placed the boy under the instruction of Giuseppe Bernardi, called Toretto, a Venetian sculptor who had settled at Pagnano.