1807.1 
is more simple; itis only tied with a'rib- 
bon. The artist has attempted to ex- 
press the variety of sabstances by the dif 
ference of tint which he has given to the 
body, leaving to the drapery the na- 
tural prilliancy of the marble. He has 
added gilded ornaments wherever he 
thought them appropriate. The zones 
and ribbon are eilded, and we have seen 
that the vases whieh the youthful’ goddess 
holds in her hands are‘also’of metal. All 
connoisseurs will net approve of this me- 
thod of Canova. The authority which he 
might derive from various statues of anti- 
quity that’ were decorated with orna- 
ments of a different nature from the sub- 
stance of which they were made, loses 
much of its weight, if we consider that 
this practice was observed: only with 
respect to statues’ placed in the tem- 
ples of the gods, and that we ne- 
ver meet with itin those which had an- 
other destination. ‘But, ¢eirerally speak- 
ing, ought not fay-fetched aid trivial’ or- 
naments' to be banished! from an art, 
whose object is’ not so much to dazzle 
by something brilliant, as to leave a 
more profound snpression by fixing the 
attention of the speetator on what is 
solely the production of genius. 
But we are now going to‘ observe Ca- 
nova attempting subjects! very different 
from those to which his genius would ap- 
pear to invite him. 
Hercules in his phrenzy precipitating 
Lychas into the sea, is one of the subjects 
which" ‘ihe’ artist proposed for himself. 
The principal figure is larger than’ the - 
Farnese Hereules. . The ‘subject 1s truly 
tragic. ‘The- action is simple, and con- 
formable with the rules of ‘art. The 
phrenzy of the son of Alemene, and the 
melancholy tate of Lychas, form a- good 
contrast, by means of the different senti- 
merits which each of them inspires; but 
in this instance the partis not equal. Is 
Lychas able’ to. make any resistance 
against Hercules, and is not interest con- 
verted intoan emotion of horror at the 
barbarity of the ‘hero? Besides, the arte 
ist has not exhibited Lychas in that situ-° 
ation in which the group would’ produce 
its principal effect. ‘The hero glmost en- 
tirely covers him, and in order to behold 
him on another side to greater advantage, 
you must relinqtish the view of the face 
of Hereules. The manner in which he 
seizes Lychas, grasping his foot with one 
hand, and his hair with the other, is by no 
méans natural’ The dreadful cries which 
the unhappy wretch seems to utter, and 
the barbarous fury expressed by all 
Mowry Mag. No. 161, 
Account of the Lifeand Works of Canova. — 453 
the features of Hercules, exhibit a sceng 
more horrible than pathetic. The fi- 
gure of Hercules is faulty. The loins 
are too narrow in proportion to the 
breadth of the belly ; and from the man- 
ner in which the hero seizes Lychas, it is 
impossible that he can throw him fat. 
The poisoned robe which he has-on his 
body, ‘has the appearance of a plaster, 
This group belongs to the Duke della Mis 
randa, at Wi gitee 
Lhe two pugilists Kreugas and Dumoxe 
enes, are superior 1n point of execution, 
Each stands ona diferent base, but'they 
form essentially one group, because no 
object could be discovered in the disposi« 
tion they affect, if they were separated. 
The history of these two combatants is 
related by Pausanias. Kreugas and Da- 
moxenos had ce for a whole day 
without either of them being beaten; to 
decide the contest, they agreed that each 
should be at liberty to give his adversary 
a blow wherever he pleased, Kreugas 
discharged his on the head of Damoxe- 
nos, but without being able to knock him 
down. ‘The latter, in ‘his turn, required 
Kreugas to hold up his left arm; and 
struck him so violent a blow on the belly, 
which was stretched by this position, as 
to bary his first in the entrails of his un- 
fortunate antagonist, who died on the 
spot. The artist lias’ taken the mo- 
ment in which Kreugas has’ raised his 
arm to receive the blow which Damoxe- 
nosis preparing to give him; butit is ob- 
vious that the circumstance is not happily 
chosen, for Kreugas, who retains on 
his left hand the band ‘employed by pugi- 
lists, seems rather to be the assailant, 
than the party assailed, 
Lhe artist has fallen into one principal 
error. Vrom a wish to give his comba- 
tants members proportioned to tlie vi- 
gour which they announce, the muscles 
are frequently expressed with. such 
strength that they seém rather indica- 
tivecf clumsiness thanof power aud agility, 
Whatever faults may be discovered ‘in 
this group, so much is certain, that in 
none has Canova been ‘so successful in 
the heroic styie, if that term may be ap- 
plied to the conflict of two pugilists. 
In pursuing the works of Canova, we 
find anew group of Cupid and Psyche, in 
which he has partly imitated Psyche hold- 
ing a botterfly. This group as weil as 
the preceding is in the gallery of Prince 
Murat. 
Cupid appears like a boy about twelve 
years of age; he is embracing: Psyche, 
on el express syn of tag timest tendér- 
Desa, 
- 
/ 
