THE WORKS OF CANOVA.
(For the Mirror.)
Canova, while living, was thought to be the first sculptor of the age, and his works are still greatly admired—for their exquisite finishing, and for their near resemblance to real life. They are certainly very attractive, and may be contemplated a considerable time with delight; but they never impose upon the beholder, and never raise in his mind any of those sublime ideas which he invariably experiences while contemplating the works of the ancients, or the modern productions of Michael Angelo Buonarotti. Canova, in fact, though he possessed the grace, the elegance, and the liveliness of the greatest masters of Italy, could never surmount a certain degree of littleness, which failure predominates in most of his works. The calm, tranquil, and dignified pathos of Leonardo di Vinci cannot be traced in Canova's countenances, which rather approach to those represented by Charles le Brun, Eustache le Seur, and other French artists. Though his men were generally deficient in dignity, the faces of his females were always pleasing, notwithstanding
"The sleepy eye, that spoke the melting soul,"
peculiar to most Italian women, is never found in his productions. It does not appear likely that Canova, although his present admirers are very numerous, will be greatly idolized by posterity. Indeed, if we may be allowed to predict, his name, unlike that of his countryman, Buonarotti, will sink into oblivion. He, however, enjoyed a high reputation as an artist while he lived, and his sculpture is now eagerly sought for by the lovers of the fine arts, both in Great Britain, and on the continent.
Canova died at Venice, in the month of October, 1822. His death was heard with extreme regret in Europe, and indeed in all parts of the globe where his works were known.