The perfection to which Canova seems to have aspired in the ideal, appears to have been the union of the two elements of sculptural design, keeping each in just subordination to beauty. Hence, in his figures, form does not, as in the antique, constitute so entirely the primary, and almost sole thought, neither is it so much subservient to action and effect, as in the most eminent of the modern masters. In like manner, the expression holds an intermediate character between the unmoved serenity of the ancients, and the marked lineaments of Michael Angelo. In some instances this union is very happily accomplished; but generally, though always true, the expression is not often simple. The only defect which can be discerned in Canova's selection of form, and which is more especially to be found in his female, is a meagreness and want of vigour; sometimes they too much remind us of the individual model, and of those manners of life whence such models are usually obtained. But speaking universally, the contours of this master are full, flowing, and well sustained. And here we can discover the same principles of design and practice which were pointed out in the best era of the Grecian schools, with this novel precept, the discovery, or at least uniformly successful application, of which belongs to Canova, namely, that all grand parts may be resolved into a primary and two secondary forms. As this ternary combination is sweetly, yet decidedly marked, blending yet separating its constituent lines, the graceful ease and infinite variety of natural outline is obtained. In every statue of the modern, also, we find exemplified the principle adopted from Phidias, and already noticed, namely, that from whatever resources of imagination any figure may be composed, the final surface--all that meets the eye at last--must be finished, and faithfully imitated from individual nature. There is still one characteristic which pre-eminently distinguishes those works we are examining, namely, the exquisite beauty of composition. They unite the dexterity and force which constituted the peculiar praise of the masters of the sixteenth century, with a delicacy, a refinement, and truth, exclusively their own. This is an excellence of the highest import--not so much in itself as in its consequences--for it can be introduced with good effect only when the nobler elements of composition are present. A statue defective in the higher qualities of art, would by high finish become only the more ungracious: works of unblemished merit only admit with advantage of elaborate technicality. Hence, among the ancients, the perfect statues, in all other respects, are also the most highly wrought. This excellence Canova seems to have been the first to remark and to emulate, which he has done successfully, especially in the most difficult parts--the extremities.