(_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.