1807.) 
that of Perseus, which he executed the 
fyllowing year, in marble, for the’ Pio- 
Clementine maseum. This statue fills 
the place formerly oceupied by the Apollo 
Belvedere; the author has impressed upon 
it all the perfections of his art, and it has 
contributed in an extraordinary degree to 
extend his reputation. 
The pompous eulogies which have been 
lavished on this statue, the enthusiasm 
with which it has inspired connoisseurs, 
as well as mere amateurs, are a manifest 
proof of the influence of the beauties of 
a performance, devoid however of unity, 
of character, and of general design, upon 
the judgment of the present ave. The 
public forms two classes of spectators, 
one of which admire out of imitation, and 
others fancy they discover in the object 
whicl: they are criticizing such beauties 
as must call forth their. approbation, 
They know theoretically. some of the 
principles which constitute the perfection 
of a work, but they are incapable of mak- 
ing ajust application of them, and with- 
out entering into a profound investigation 
of what they commend or condemn they 
judge at random that one part merits the 
censure, and another the applause which 
they lavishly bestow upon it. 
The first source of error arises from this 
circumstance, that the critic has not an 
accurate idea of the object which the ar- 
tist had in view, and of the impression 
which he was desirous of producing, 
This point, the only one that is capable 
of directing the judgment, being once lost 
sight of, can it be surprising, if he errs as 
widely in his censures as in hiscommend- 
ations? 
If Canova’s Perseus presents perfect 
beauties in the figure and the high finish of 
the execution, the same caunot be said with 
‘respect to the couception of the subject. 
In the opinion of his admirers;Perseusis uo 
other than Apollo represented under the’ 
aspect of a warrior; but this very com- 
pliment indicates an error on the part of 
the artist, who ought to make an essen- 
tial difference between the expression in 
the character ofa god, and in that ofa hero. 
The first requisite of a perfect work, is 
certamly that it should display. in a pre- 
cise mauner the character whichis adapt- 
ed to it.. In Canova’s Perseus, the dis- 
position of the head, and of the left arm 
and hand holding that of Medusa, the 
right hand resting upon the sword, and 
the whole attitude of the upper part of 
the body are the same asin the Apollo. 
Ina word, no difference isto be found ex- 
~ 
Account of the Life and Works of Canova. 157 
cept in the arrangement of the legs. Tie 
the Apollo Belvedere the body rests on 
the nightleg, whichis advanced before the 
other, Perseus, on the contrary, advances 
the left leg and holds back the right. In 
consequence it does not exhibit the ad- 
mirable contrast which gives such graces 
to the countenance of Apollo, and the 
statue bears entirely on the left side, 
which produces a very bad effect when 
viewed in profile. The breast is broader 
in Perseus, the thiyhs are exact copies of 
those of Apollo; but the legs are some- 
what thicker. ‘These differences give an 
air of orginakty to- the performance of 
Canova. The face does not announce 
the character of a hero; it is a sott, ef= 
feminate figure, apparently contemplating 
his own beauty with great complacency, 
Besides, the head is so turned, that 
to bring it naturally to the same point 
canpot be done without: straining the 
muscies. of the neck. It is impossible 
that, in this state, Perseus can look at the 
head of Medusa. Thus the celebrated 
Perseus of Canova,so adinrable in the exe= 
cution of its parts, does not present a wells 
detined unity of action and characters 
-and according to the remark of ‘a crific, 
it seems to be rather a collection \of sta- 
tues than a single statue which you have 
been admiring. The shoulders, the back, 
the lower part of the body, the thighs, 
the feet exhibit a thousand minute beau- 
ties in the figure, the softness and pliancy 
of the flesh. The muscles also are ex- 
pressed with admirable effect. In all 
these respects the execution leaves no- 
thing to be wished, and it is this superior 
perfection that enchants. all the admirers 
of the statue of Perseus, 
‘The form of the helmet. transgresses 
against the truth of costume, for it resem- 
sembles that of Paris aid Mithras; and 
every one knows that, according to the 
fable, Perseus received that which he 
wore from Orclins. + 
Instead of the trunk which supports 
the Apollo Belvedere,{ Canova has con- 
trived along drapery which falls down to. 
the ground, and torms exaetly such ans 
les as any kind of stutf which has just 
been unfolded. ‘ 
The Mars Pacifer, the model of which 
was exhibited in Canova’s workshop in 
1602, may be considered:as the compa- 
nion to Perseus, This statue has the 
same faults.as the other: Mars is holding 
in his righthand an olive-branch; behind 
him his helmet rests upon the trunk which 
serves him for a support; the sword, is 
suspended . 
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