The preceding series of his works, which, includ ing busts and portraits, amounts to upwards of two hundred, fully establishes this, as these works exhibit the same merit in every department of the art, and in each separately, attaining a degree of eminence alone sufficient to insure immortality to any single artist. In this view there can be no hesitation in pronouncing Canova the most indefatigable; nor, when we consider the influence of these labours, and of the principles which they illustrate and enforce, the greatest of mo dern sculptors. Yet in estimating truly the rank and constituents of his genius, there arises no small diffi culty. The very fecundity of that mind diffusing its richness over every province of the art, and in each varied character constantly displaying by the same admirable judgment and fine taste, increases this dif ficulty by blending into one harmonious whole the marked qualities and outbreakings of peculiar ener gies usually indicative of lofty powers. Hence we might be inclined to pronounce his genius distin guished more by correctness than by fire. Yet though such really seems externally to be the character im pressed upon their exercises, of his powers generally, the estimate would be erroneous. his genius wanted neither fire nor enthusiasm—his imagination was un commonly active, and stored with materials; but over the treasures thus lavishly poured forth, judgment and taste presided in severe scrutiny. Hence, though in composition rapid and energetic, in correcting and finally determining, he was slow or even fastidious; often changing, but always improving. With Dante he could truly have said Such an intellectual -organization is by no means favourable to that grandeur, usually associated with our ideas of the highest genius, which hurries alike the artist and the spectator beyond the bounds of reality; which, deriving its very mastery from daring disregard of rule, grasps with dangerous hardihood those aspiring graces, pardoned only when successful, and even then, however they may elevate the indivi dual, not enriching art with useful examples or solid acquisitions. But such a mind was eminently fitted for exalting fallen taste, especially for succeeding in the serene majesty and regular magnificence which constitute the true greatness of sculpture. Hence in the labours of Canova there is to be found this supe riority, that his march is uniformly dignified and con sistent; correct without coldness, if he rarely attain the height of sublimity, he never falls beneath him self or into the extravagant in the pursuit. Compared with the ancients, he remains inferior, in as far as he has, like every modern, been indebted to the precepts and the examples of Greece. But his was no servile imitation, to have studied constantly their works, to have discovered and applied their principles, forms his greatest praise, and constitutes one of the most essential services ever rendered to sculpture. Among the moderns, Canova claims pre-eminence as being the first to establish the grounds of progressive im provement on genuine and universal principles of art. The greatest names whose labours illustrate former ages, either wrought without principles—their skill was merely personal, and the same tomb thus closed over the knowledge and the possessor; or they were at best but founders of partial theories, and of exclu sive schools. By the sculptors living prior to the sixteenth century, accuracy of imitation was the only essential generally known and practised. The mas ters of that splendid era combined, with forceful exe cution, the magnificence of elevated—but of peculiar theory. Before Canova, no one had exhibited in his own works a just harmony between the several requi sites of excellence, nor had given in pmetice rules conducting to general and undeviating results. From a degraded and lost condition he not only elevated art to a state of perfection, such as may be compared with its brightest periods, but founded this improve ment on principles that lead progressively to greater excellence, or at least cannot bear to error since they conduct to nature. It is this remounting to the eternal sources of truth and beauty, this influence of univer sal principle, this exhibition of unchangeable and uni form art, which will render the works of Canova a standard in all ages to come—inseparably associating his merits with the future history of sculpture.
We approach with respectful diffidence our more immediate contemporaries. A few notices of those names who already belong to posterity may, however, prove not unacceptable.
Among the Italian sculptors,—consequently among the masters of Europe, Thorwaldsen has obtained the first place since the death of his illustrious contem porary above mentioned. The life of this artist dis plays a striking instance of the powerful volitions and deep-toned sensibilities of genius. Thorwaldsen was born at Copenhagen in 1771-2. His father, a builder in that city, possessing some knowledge of the arts, began early to cultivate the turn displayed by young Albert for sculpture. The years of childhood were passed in modelling and in carving architectural or naments at home; on early entering a student in the academy of fine arts, in which professors, enjoying pensions from the government, are bound to give in struction without fees, he soon became distinguished; on every occasion carrying off the prizes proposed as the rewards of industry and merit. In his seventeenth year an extraordinary gold medal happened to be offered for the best relievo on the subject of sacking the temple at Delphi. The competitors were placed in separate apartments, and thus shut up from external communication, were to finish their respective pieces, or to relinquish the contest. The latter resolution, it is said, had almost been adopted by our youthful as pirant, whose feelings were so tremblingly alive to the peculiarity of his situation, that after hours of fruitless solicitude, he had not been able even to make an attempt. At length the flow of inspiration came; Thorwaldsen produced a model, not only unanimously declared the best on the occasion, but of such pre eminent excellence as to entitle him to the award of the great gold medal assigned to the most accomplish ed pupil of the Danish academy. To this honour a pension was also joined for assisting the holder in foreign travel. It was thought advisable, however, that on account of inexperience, some time should be permitted to elapse before this latter advantage should be embraced. Accordingly, for some years Thor waldsen remained at Copenhagen, where he executed several works of great promise. When at length he set out for Italy, having landed at Naples, the most longing desire of returning to his native land seized his mind; and not without difficulty was he prevailed upon, in the first place at least, to visit Rome. The sight of this venerable capital, and the friendly offices of some of his countrymen whom he there met, seem to have in part reconciled him to absence. But a new anxiety arose, and threatened to put a stop to all future hopes. He saw and ardently appreciated the rich treasures of art contained in that city; but the perfections of past exertions, far from stimulating, overwhelmed his spirit. He despaired of ever accom plishing an effort which should deserve mention in the place where these were to be found, and deep melan choly preyed upon his mind. For more than a twelve month he remained in a state of depressing irresolu tion, during which studies were thrown entirely aside, or resumed only to increase his mental sufferings, and almost to confirm into permanent disability the tem porary diffidence of high-wrought feeling. The en couragement and advice of friends, his own ardent aspirations after honest fame, conquered at length this painful sentiment. Once more he addressed him self to his art, and produced the statue of Jason, a work which warranted the most honourable expecta tions, although the artist was yet personally so little known, that he himself was asked by one at a large party if he knew the young Dane who had just pro duced the admired model of Jason. Other labours followed, and the fame of Thorwaldsen was establish ed by the two statues of Mars and Adonis, each of very opposite but of great beauty. Among the fore most to acknowledge and to praise the merits of these performances, was Canova, the sole individual who had reason to feel alarm from the success of such a rival. Canova, in 1809, received an order from the Danish monarch for four Bassi relievi, to be placed in the cathedral of Copenhagen; this order he declined, representing the justice of employing equal ability in a subject. Nor was the conduct of Thorwaldsen less noble.