56 THE FINE ARTS. 
Algardi. A few years younger than Bernini, who was born in 1598, Alex. 
Algardi first saw the light in 1602. In early youth he labored to perfect 
himself in drawing under Ludovico Caracci, and also in modelling; and 
notwithstanding many adverse circumstances, he at last succeeded in causing 
himself to be regarded as the best sculptor after Michael Angelo. His 
Magdalen, St. John, and St. Paul were universally admired ; and the bronze 
statue erected by the senate to Pope Innocent, with which Algardi gained 
the victory over Francesco Mocchi, procured for him the cross of the order 
of Christ. Nevertheless his last great work, the famous bas-relief over the 
altar of St. Leo in the Capella della Colonna of St. Peter’s, which represents 
Attila encountering Pope Leo I. on the banks of the Po, and frightened 
back by the apparition of St. Peter and St. Paul, degenerated completely 
into the pictorial style of Bernini. Algardi and Bernini found imitators in 
the sculptors Roggi, Ferrata, and Brunelli; and Rusconi and Zamba per- | 
haps surpassed them. It was not till the middle of the last century that the 
investigations and the ardent zeal for the simplicity and true beauty of the 
antique of such men as Winckelmann and Mengs, supported by Cardinal 
Albani, rekindled a love for the antique and a taste for genuine art. Cava- 
ceppi also, although as a sculptor he belonged to the school of Bernini, 
collected, restored, and described the remains of antiquity with spirit and 
knowledge of the subject, and his copies of them are truly estimable. The 
first, however, who introduced into Italy a new era of art, in which the 
spirit of une antique awoke to new life, were Trippel and Canova. Alex- 
ander Trippel of Schaffhausen was originally a cabinet-maker, but studied 
sculpture under Wiedevelt in Copenhagen; in which art he soon attained 
to such perfection, that he was able to go to the Academy at Dresden and 
afterwards to Rome, where he remained and executed several very impor- 
tant works. 
Antonio Canova was born, 1757,in Passagno in the Venetian territory, 
and first applied himself along with Rafael Morghen, under Volpato’s direc- 
tion, to the art of engraving on copper. But this he forsook as there became 
developed in him a marked talent for sculpture; this last branch of art he 
studied in Bassano, and then went to the Academy at Venice, where in his 
16th year he executed a statue of Eurydice. In the year 1780 he went to 
Rome, where he began and finished his Theseus slaying the Minotaur 
(this group is now in Vienna), and very soon gained so considerable a 
reputation that in 1787 he was intrusted with the execution of the sepulchral 
monument of Clement XIV. About this time he produced his Perseus 
with the Medusa’s head, which was purchased by the pope and set up in 
the Vatican in place of the Apollo of Belvedere which had been carried 
off by the French. After Canova had made a tour through Austria and 
Prussia, he executed in Paris in 1802 the model for the colossal heroic 
statue of Napoleon. Pius VIII. conferred high honors upon him, and sent 
him again to Paris in 1815, to demand the restoration of the plundered 
treasures of art. Canova died in 1822, and there was erected to him in 
the Chiesa dei Frari the monument which he had designed for Titian. 
He had also essayed his genius in the line of painting, and placed a high 
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