“homan part of the Centaur, which is ¢ 
1807] | 
4 monument for Volpato, the engraver, 
@ frend of the artist’s, 
Lheseus venguishing « Centaur. 
This last group is superior to those 
of Hercules and Lychas, and The Pwo 
Pugilists, The figure oh, Theseus.,.is 
sketched ina bolder manner, and, though 
the position in which he appears, announs 
ces extvaordinary efforts, it is neverthes 
less natural, and has nothing exaggerated, 
The centaur is down upon his ture legs, 
and is endeavouring to mse again by the 
exertion of lis hinder ones. Theseus 
presses with his knee the human body of 
his antagonist, and is prepariag to strike 
him upon the head with an enormous 
club. One of the Centaur’s arms stays 
that of Theseus, and the other rests upon 
the ground. The hero has not any point 
of support. His. mantle projects behind, . 
either by the effect of the motion, or be- 
cause it is blown by the wind. But this 
drapery is heavy, and impedes the moye- 
ments of the hero., The action is repre- 
sented at a moment which inspires less 
fear than horror, since there can no 
Totiger exist any doubt respecting the fate” 
of the Centaur. Besides, the spectator 
‘sees less of the monster, which might 
justify the fury of the hero. than of the 
cal- 
culated to exeite pity rather than any 
other sentiment. 
Having followed Canova through the 
sareer of sculpture, let us now trace him 
through that of painting, ‘The following 
are the pieces with which he has enriched 
- that art. 
A naked Venus, as large as life, reclining 
ona bed and holding amiurror.. A young 
and beautiful girl served him for a inodel, 
‘This picture e has been engraved. 
Another Venus, likewise naked, in a 
different attitude. She is esivep pails 
satvr crowned with vine-leaves is peeping 
at her. . 
The three Graces embracing, the figures 
of half the natural size. 
A Mother with three Children, one of 
swhom is lying in her lap, while the two 
: 
others are playing about her, , 
A nuked Female going to dress herself. 
Cephalus, weeping over thé corpse of 
ee aft 
a TOCTIS. 
A huto=pleyes. 
Two heads, iarger than ‘life, after the 
manner of Giorgione, 
Lhe portrait of an old man, after the 
= manner of the ancient painters, isa 
ct. 
His own portrait. 
The examination of these pieces con- 
gfirms: the idea we have wished ‘tu give of. 
4 
Avcotnt of ihe Life and Works of Canova. 
“acter; 
.decision in the character, 
“represented standing. 
-~ 1695 
the talents of the artist, The paintings 
of sculptors generally display in the 
harshness of the figures the spirit of their 
favourite art, This may be particu larly 
observed in the productions of Michael 
Anyelo; bu¢ Canova 13 an exception to 
the ‘general rule, and his manner 1esem-s 
bles that of Bernini, who gave his figures 
more delicacy and elegance, than. preci- 
sion and character, The pictures of our 
artist are in general weak, the composi- 
tion Is vague, the figures soft aud desti- 
tute of animation, They might be taken 
for the performances of a female, rather 
than the productions of the vigerous 
pencil of aman; but in regard to co 
lourimg Canova is sometunes superior to 
professed. painters... We discover in it 
the excellent principles of the Venetian 
school, ‘The colours, possess the highest 
degree of local truth, and melt into one 
another. with. much softness.. The. con- 
tours are not marked in a-manner suiti- 
ciently prominent; the figures in the 
-bagk-ground are lost, or, seem to, be en- 
veloped in clouds; the faces are always 
replete with grace, but destitute of cha- 
they announce those soft souls 
which are always ready to be affected, 
and to fall into extacies of a vague sensi- 
bility, without being able to tell what it 
is that excites those emotions in their 
besoms. | 
The choice of the subjects likewise 
corroborates the idea of the peculiar ten- 
dency which we have thought we disco- 
yered in Canova, to) the tender and the 
pleasing. He rather possesses the art of 
colouring than of painting, including un- 
der the latter denomination the tivid art 
of design. It is precisely those subjects 
which ought ‘to ‘exhibit something of in- 
that Sones 
mests with the greatest ability ; ;. and to 
this must doubtless be ascribed the per- 
fection of the group of Cupid and Psyche, 
The numerous 
faults he has cominitied in the represen 
tation of heroic persons, evince that he 
is out of his proper sphere, and that art 
cannot always supply the deficiencies of 
nature, On comparing his different pro- 
ductions, we are continually led back to 
the same idea for the determination of 
his talent, and from the perfection of the 
works which are in his way, we may still | 
more, correctly “ascertain the limits of 
those departments of the artin which he 
does not rise above medioerity. 
A considerable resemblance may be — 
found between the moral character of 
this artist, and the taste which hedisplays 
/ IR 
