At this time Canova was twelve years old; he studied two years under Toretto, and made many statues and models, which are still preserved by the Faliero family, or in other collections. His first really original work was the modelling of two angels in clay; he did these during an absence of his master's; he placed them in a prominent place, and then awaited Toretto's opinion with great anxiety. When the master saw them he was filled with surprise, and exclaimed that they were truly marvellous; from these models the grandfather cut two angels in _pietra dura_ for the high-altar at Monfumo. At this same period Canova made his first representations of the human form; he was accustomed to make small statues and give them to his friends. When he was fifteen years old Faliero sent for him, and received him into his own family. Canova wished to earn something for himself, and engaged to work half of the day for Giuseppe Ferrari, who was a nephew of his former master, Toretto. Of this time Canova afterward wrote: "I labored for a mere pittance, but it was sufficient. It was the fruit of my own resolution, and, as I then flattered myself, the foretaste of more honorable rewards." This circumstance proves how remarkable he must have been; it is unusual for a boy of fifteen to be paid for work instead of paying for instruction. In Venice he was able to learn much from observation. He divided his time systematically, spending his mornings in the Academy or some gallery, his afternoons in the shop where he was employed, and his evenings in studies for which he had had no opportunity as a child. The first commission which was given to Canova was from the Commendatore Farsetti for a pair of baskets filled with fruit and flowers, to be sculptured in marble, and placed on a staircase which led to the picture gallery in the Farsetti Palace, where Canova spent much time in study. These works have no special excellence. After a year in Venice he went to Asolo with the Faliero family. Some time before this his patron had asked Canova to make for him a group of Orpheus and Eurydice, taking the moment when Eurydice beholds her lover torn away from her forever. Canova had been busy with this in his leisure hours in Venice, and he took with him to Asolo everything necessary to the work. He completed the Eurydice in his sixteenth year; it was life-size, and cut from _pietra di Costosa_. With this first attempt Canova became convinced that the small models such as were in use by sculptors were quite insufficient to good work, and he determined that his models should be of the size which the finished work would have, even when colossal.