Very soon he was selected to erect a monument to Clement XIV. This pope was a famous man; he was the collector of the Clementine Museum, the author of the elegant letters known by his family name of Ganganelli, and, above all, he was the suppressor of the Jesuits. While Canova felt the honor that was thus offered him he also thought himself bound to consult those who had conferred his pension upon him, and thus helped him to become the artist that he was. He went, therefore, to Venice and sought direction from the Senate; he was told to employ his time as should be most profitable to himself. He therefore gave up his studio in Venice, and as his patron, Zuliani, had now left Rome, he fitted up the studio in the Strada Babbuino, which became so well known to lovers of art of all nations who visited Rome. In 1787 the above monument was exhibited, and was much admired. An engraving was made from it and dedicated to Zuliani; but Canova desired to do something more worthy for his patron, and made a statue of Psyche as a gift to him; Zuliani hesitated to accept it, but finally consented to do so if Canova would in turn accept a number of silver medals with the Psyche on one side and a head of Canova on the other, which he could give to his friends. In the midst of all this Zuliani died, and his heirs were so angry because he had left works of art to the Public Library that they refused to carry out his plans. In the end the Psyche was bought by Napoleon and presented to the Queen of Bavaria. [Illustration: FIG. 115.--THE THREE GRACES. _By Canova._] Canova executed a second papal monument to Pope Clement XIII. It was erected in St. Peter's by his nephews. The mourning genius upon it is frequently mentioned as one of Canova's happiest figures. The execution of these two monuments occupied almost ten years of the best part of this sculptor's life. Canova's fame had extended over all Europe, and he was asked to go to St. Petersburg, and offered most advantageous terms if he would do so; but he declined, and executed the monument of Admiral Emo, on a commission from the Venetian Senate. For this work he received a gold medal and an annuity for life. In 1798, during the revolutionary excitement at Rome, Canova went to Possagno, his native town. Here, in his retirement, he painted more than twenty pictures, which were by no means to be despised. His masterpiece represented the Saviour just taken from the cross, and surrounded by the Marys, St. John, Nicodemus, and Joseph of Arimathea. This was the first of the many gifts which he made to this little church, by which it became a splendid temple and the expression of Canova's love for his birthplace and early home.