Canova was paid for 100 gold zecchini for the completed work. At the base of the statue, Daedalus' tools are scattered about; these tools are also an allusion to Sculpture, of which the statue is a personification. With such an intention, there is suggestion that Daedalus is a portrait of Canova's grandfather Pasino. 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. While in Rome, Canova spent time studying and sketching the works of Michelangelo. In 1781, Girolamo Zulian – the Venetian ambassador to Rome – hired Canova to sculpt Theseus and the Minotaur. Zulian played a fundamental role in Canova's rise to fame, 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. 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. The highly regarded work is now in the collection of the Victoria & Albert Museum, in London. Between 1783 and 1785, Canova arranged, composed, and designed a funerary monument dedicated to Clement XIV for the Church of Santi Apostoli. After another two years, the work met completion in 1787. The monument secured Canova's reputation as the pre-eminent living artist. 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. In 1790, he began to work on a funerary monument for Titian, which was eventually abandoned by 1795. During the same year, he increased his activity as a painter. Canova was notoriously disinclined 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. The following decade was extremely productive, beginning works such as Hercules and Lichas, Cupid and Psyche, Hebe, Tomb of Duchess Maria Christina of Saxony-Teschen, and The Penitent Magdalene. In 1797, he went to Vienna, but only a year later, in 1798, he returned to Possagno for a year. France and England By 1800,