Although, from the series of works briefly mentioned, it would not be difficult to prove Canova the most indefatigable--nor, when we consider their influence, the principles they are calculated to enforce, and the fallen state from which they rescued art, the most respectable--of modern sculptors; yet, in estimating truly the rank and constituents of his genius, there is no small difficulty. The very fertility of that genius, diffusing its richness over every province of the art, and, in each varied exercise, constantly displaying the same judgment and taste, increases this difficulty, by blending into one harmonious and regular effect, those outbreakings of peculiar energies usually accompanying, and indicative of, great powers. Hence the character of his mind might be pronounced, at first, as distinguished rather by correctness than by force. Yet, of his talents generally, such would be an erroneous estimate. His mind was deeply embued with both fire and enthusiasm; his imagination, uncommonly active, was stored with materials, but over the treasures thus lavishly poured forth by fancy, severe scrutiny was held by the understanding. Energetic, and even rapid, in composition, in correcting, and finally determining, he was slow and fastidious--often changing, but always improving. Such intellectual organization is by no means favorable to that grandeur usually associated with highest genius, which frequently hurrying alike the artist and spectator beyond reality, derives its very mastery from daring disregard of rule, grasping, with dangerous hardihood, those lofty graces, pardoned only when successful; and even then, however they may elevate the individual subject or artist, not enriching art with useful examples or solid acquisitions. But a mind thus constituted was eminently fitted for correcting public taste, especially in the serene majesty, the orderly magnificence, which compose the true grandeur of Sculpture. Hence Canova is uniformly dignified and consistent; correct without coldness, if he rarely attains the highest sublimity; neither does he fall beneath himself, nor into the extravagant. Compared with the ancients, many of his works remind us of more than merely casual imitation; but it is no less true, that in others of novel invention, he has applied, in not unsuccessful rivalry, their own principles, the discovery of which forms his highest praise, as constituting one of the most essential services ever rendered to Sculpture. Among the moderns he claims pre-eminence, as the first who established improvement upon genuine and universal precepts of art.