beauty, sentiment, truth, feeling, had disappeared from the labours of the sculptor. CHAPTER IX. ART has never been reformed, after a lapse from high eminence, by mere imitation of examples, however excellent; nor by only following rules for the correction of error. It is here as in morals, example succeeds where precept would fail. Some mind of uncommon firmness and good sense is required, who, beginning with nature, brings to the work of reformation original powers and severe judgment; fancy and feeling, with correctness and cultivated taste: one, in short, of those rare minds whose merits, great in themselves, become incomparably greater viewed with the times in which they commenced their career; whose exertions, wonderful in their own accomplishments, are yet more admirable from the progress which thereby others have been enabled to effect. Such a genius was that possessed by Canova, a name venerable alike for virtue and for talents. Born, in 1757, in a distant and otherwise unknown hamlet, in the territory of Treviso--fallen upon evil days in his art--of the most obscure parentage, destined to fill the humble and laborious occupation of village stone-cutter--remote, in the first instance, from every advice and assistance, he rose to be the companion of princes, the restorer of art, and the generous patron of merit friendless as his own. We know not whether more to love or to admire Canova. In his fifteenth year, repairing to Venice, the cloisters of a convent supplied him, through the benevolence of the good fathers, with a work-shop; and only fifteen years afterwards, through a struggle of poverty, yet redeemed by prudence and industry, and sweetened by independence, he erected in St Peter's the monument of Ganganelli--the first fruits of a spirit, whose sobriety of temperament, more valuable and more rare than mere original invention, here exhibited a correctness which would amend, with a vigour which would elevate, a fallen age. A series of more than two hundred compositions, of which this was the first, standing itself nobly conspicuous, yet only a step from previous imbecility, presents too extensive a field for particular description, or minute examination. The remembrance is yet fresh upon our memory, when, arranged in a funereal hall, representations of these works might well have been deemed the labours of a generation; and while now about to describe the originals, we bear in recollection, that to view these a considerable portion of Europe has been traversed. Thus numerous, and widely extending the influence of their style, these productions certainly, require careful notice. Avoiding details, then, we shall class them under Heroic subjects; Compositions of softness and grace--Monumental erections and Relievos.