In all the elements of the beautiful—in form, atti tude and expression, Canova is generally—often pre eminently, happy. His forms, if not always possess ing the highest ideal elevation, are never mean nor common; they are ever graceful selections from na ttere rendered with every beautiful aid of art. Con tours simple and continuous, yet varied and flowing, are sustained by profound anatomical science, still without harshness or severity. Ilk female figures are thus equally removed from the flimsy affectations of his immediate predecessors, as from the too robust and austere proportions of the Tuscan school. It is in those compositions which admit of a direct compari son with the antique, where we sometimes remark most decidedly a deviation into the meagre and the cold, When dignity is to be united with sweetness in the female form: a defect arising from a want of har mony between the just height and fulness of the figures. Of this the Venus exhibits a remarkable instance, where we look in vain for that sustained maturity of beauty which charms in her Grecian rival, for those inexpressibly soft, yet firm and full outlines, meeting but eluding the eye, rounded into life, and lost in the animated marble. In regard to expression in the de partment of the graceful, the idea of Canova appears to have been to unite the two elements of sculptural design, keeping each in due subordination to the other; hence his female statues have more of expres sion than the antique, and less than those of the mo dern schools. But in this expression, though he is always true, he is not often simple, except where no thing beyond mere placidity is attempted:—effort is not unfrequently too discernible, the expression is too elaborately pleasing to please, and though we acknow ledge the presence of much suavity, there is little of feeling. The attainment of that ineffable charm, grace, in all its various constituents of attitude—composi tion—character—arrangement—appears to have been the leading object of Canova's study, and of which he has proved himself a perfect master. In every part of each of his numerous works, even to the smallest ornament, all is the emanation of the same refined taste and cultivated mind. Indeed he has been charg ed with running into the extreme of affecting studied elegance—of a laboured and fastidious refinement. And without doubt, his graces would be too ornate, were not the whole effect productive of the most ini mitable ease;—ease proceeding from the very perfec tion of labour. The attitudes have all the freedom and truth of nature—yet they are not in reality the posi tions which nature would readily suggest or assume, but which graceful art would select as the most un common or the most attractive. The choice has final ly, but not obviously been determined, after much thought and many trials. Even to the minutest fold of drapery the same principle extends; all is the per fection of art, not the simple imitation of nature, but it is art by which art itself is best concealed, and which to its creations lends the enchantment uf na ture's own sweetest graces.
In the third division of his works Canova displays all the peculiar excellencies of his genius, with, more of originality and simplicity than is perhaps to be found in his other labours. This class may be divided into two; architectural elevations supporting colossal statues—and simple tablets in relievo with sculptures the size of life. Of the former, the 'tombs of the popes at Rome, of Alfieri at Florence, and of the archduchess Maria Christina at Vienna, are magnifi; ceht examples, and may he compared in magnitude, as in excellence, with ally similar works of modern art. The monument of Ganganelli has already been noticed as announcing the dawn of reviving purity; that of Hezzonico Clement XIII. followed and con firmed the glories of the coming day. From these the monument of the archduchess is of a character totally different, and indeed stands alone in the annals or sculpture. A simple pyramid represents the se pulchre; towards the dark and open entrance, a pro cession of eight figures with funereal emblems, and bearing to its last earthly resting place the urn of the deceased, appears to move with silent and stealthy pace. Here reign a simplicity and pathos which speak directly to the heart; and if we may judge from the impression made upon our own feelings, no record or mortality ever better accomplished its purpose,— whether to awaken regret for departed virtue—or to tell by its own perfection—that there exists an intel ligence in man which shall live beyond the grave.
The monumental relievos constitute a numerous and very beautiful class of works, and though com posed of nearly the same slender elements of design, a female form mourning over a bust or an urn, yet they exhibit much diversity of character and arrange ment, with great excellence of execution. With one
exception they are all bassi relievi, extremely classi cal in design, and may be said to have been invented by Canova, since we trace resemblance only on one remain of Grecian sculpture. In many cases, how ever, greater force might have been given, if the con tours, instead of melting gradually into the plane of the tablet, had been terminated by a perpendicular outline, as in several of the most admired specimens of antiquity. A firmer and more vigorous effect would thus have relieved the whole piece, which often resembles a highly finished picture, where the light is too equally diffused without just equivalent of shadow. To this the grand relievo on the monument of the Countessa de O'Hara offers a most splendid exception.
Not, however, till 1790, as a relaxation from se verer labours, did Canova turn his studies to relievos, properly so called, nor, except in one or two instan ces, did he execute any example in marble. But in this beautiful department of the art, he modelled nu merous subjects from history, poetry. and mythology, all displaying the same pure taste severely regu lar judgment as appear in more finished works. But, devoting his powers to more arduous pursuits, he left open this career for the exertions of others..
There still remains to be explained one distinctive characteristic of the works before us; namely, the uni form and exquisite beauty of the execution. They smite the dexterity and vigour of handling, which formed the praise of Michael Angelo and Bcrnini. with a delicacy, elegance, and truth, altogether and exclusively their own. Canova appears to have been the first to remark, certainly the earliest to imitate.. this excellence in the models of antiquity. an excel lence of the very highest import, not so of itself, because it can be rendered pleasing only when united with intrinsic beauty of composition and veracity of science. A statue deficient in the higher qualities of art, would by nice finish be rendered only the more ungraceful. In sculpture., works of the greatest merit alone admit with advantage the external em bellishment of the surface. The most perfect statues of antiquity are also the most highly wrought. But modern artists either studied general effect to the dis regard of beautiful finish; or in the endeavour to at tain minute excellence, fell into the dry and the labour ed. For Canova it seemed to be reserved to combine grandeur and breadth of effect with the most delicate touch and the most careful detail. To him modern practice is indebted for this most valuable precept, elicited from a comparison of the antique with nature; namely, that from whatever resources the figure may be composed and brought nearly to a termination, the last touches, the final surface, must be faithfully copied from individual nature. This principle has in every instance guided his hand in the mechanical details. Another may be distinguished which has uniformly traced the gracious and sweetly flowing outlines of his statues; namely, the ternary combination of mem bers in a whole—or that law of arrangement, which in the living as in the inanimate world, seems to cre ate beauty by the relation of a primary and two se condary forms. To the former of these laws is to be ascribed the yielding and elastic, the almost living surfaces of Canova's statues; to the latter, their de lightful propriety and just ordonnance of parts, yet devoid of all obvious symmetrical or artificial balanc ing of masses or attitudes. The exquisite purity of surface and lubricity of contour thus produced, gave rise to the supposition, that less legitimate operations of secret washes or preparations were employed. But though he certainly did make experiments on this subject with a view of discovering the processes with which there is reason to believe the Greek ar tists were acquainted yet over his own works was merely poured a solution of pumice stone, or emery in water, in order to equalize the effects of light, and to take off the glare of recent finish. In the construc tion of the clay and stucco models, the crete and the gessi of the Italian sculptors, Canova likewise intro duced the most important improvements; being the first who employed models fully and carefully com pleted, and the exact size of the intended marble, even in cases of colossal proportions. By this means the labour of the sculptor has been incredibly abridged, and his valuable time saved; for thus the formation of the statue to a very high degree of forwardness may be safely committed to the mere labourer. In short, not one branch of his profession was left by Canova unexercised nor unimproved.