From this time Canova was constantly employed, and chiefly on sub jects of imagination. His 'Cupid and Psyche,' his fine group of 'Hercules hurling Lycas from the Rock, 'Theseus with the Centaur,' the Graces,' 'Statues of Nymphs,"Endymion; &e. &c., are too well known, if not in the originals at least by casts or engravings, to require description here. In portrait Canova was considered less successful; though none who have seen his Popes Ganganelli, Rezzonico, and Braschi, will deny his power even in that branch of his art. It is fair to judge him by his best works, and the highest authorities have pronounced the head of the last mentioned Pope, Pius VI., to be a masterpiece of the art. For the union of portrait with ideal (that is elevated) form, we would instance the statues of Napoleon and of Letizia, mother of Napoleon. From among the great number of monumental groups executed by Canova besides those of the popes already mentioned, that of Maria Christina, in the church of Santa Maria de' Frani at Vienna is charac terised by simplicity of composition, expression, and exquisite finish.
Canova travelled when young over part of Germany, and was twice in Paris. At his last visit, when sent there by the Roman govern ment to superintend the removal of the works of art which had been taken to Paris by the French, and which the allies had decided should be restored to Italy, he proceeded to England, chiefly for the purpose of seeing the Elgin marbles, of which be always spoke in terms of the highest admiration, saying that the sight of such exquisite works was sufficient to repay him for his journey from Rome. His reception in England gave him the greatest satisfaction, and he took every oppor tunity of expressing feelings of admiration and gratitude towards this country. On his return to Rome he received a patent of nobility, and was created Marquis of Ischia- As remarkable for his unpretending modesty as for his talent, Canova never assumed his high title, though be was of course addressed by it, but to the last called himself and left his cards as Antonio Canova.
In the latter part of his life Canova was busily occupied in model ling decorations, such as a group of a Deposition aud some bassi rilievi for a church which he had built in his native place; and it was at Venice, where ho was staying to be near this object of his interest, that he died in October 1822, after an illness of a very few days.
Caoova was rather below the common stature, and latterly stooped as ho walked. His features were strongly marked, but of fine form; his nose aquiline, and hie deeply set and full of expression : the general character of his countenance was extremely pleasing and pre possessing.
Of most amiable and conciliating manners towards his brother artists and competitors for fame, he was also the liberal supporter and encourager of students of rising talent. He gave pensions to several whose means were insufficient without such assistance, and established out of his own purse a handsome premium for sculpture in the academy of St. Luke, at Rome, of which he was 'Principe,' or perpetual presi dent.
In execution, add the whole treatment of his marble, Canova was unrivalled ; but those who judge of sculpture by the pure principles of Greek art (or, in other words, of nature, selected and exhibited in its finest and most approved forms), will discover, iu many of his works some affectation, both in the attitudes and expression, and a littleness in some of the details, which are not in accordance with the isloplieity sod breadth of idyls of the beet productions of the aacienta. Admitting We to be the cue (particularly In some of his latter perfortnereeet, mill his works evince so great a progress in art, and is many respects approach so much more neatly than dere that bad for • long reread preceded to the excellence of that Omani must be confessed to be one of the great report-store of the art ; and his name as the restorer of a purer style of dodo, will always be held in honour by those who wish to see simalpture practised upon true principle.. Several of the more impor tant work. of Goo, a are in this country. Of those in collection. open to the public, the most are in the edutirable gallery of tho Duke of Devooelso-e at Chatawortb. where, among others are the seated Arum of the mother of Napoleon, a noble colossal bust of Napoleon, a • Sleepiag Emily :alms; a • Hobe; dc., besides copies in marble and bronze from the oolomal lions on Canova. monument to Clement XIV., and the ' Kneeling Magdalene i we may add that in the sema rich col lection are a set of the greet sculptor's modelling tools, and an excellent automat bust of Canova by Rinaldi.
For further partienlars of CAtnova's life and works, see chiefly Cloogners, Mess della Scaltara, tom. iii.; and iliasirini, Isle di Clasen, bra