"Dancing Nymphs" maintain a character
similar to that of the Hebe. The "Graces" and the "Venus" are more
elevated. The "Awakened Nymph" is another work of uncommon beauty. The
mother of Napoleon, his consort Maria Louisa (as Concord), to model whom
the author made a further journey to Paris in 1810, the princess
Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in
this class, as do the ideal heads, comprising Corinna, Sappho, Laura,
Beatrice and Helen of Troy.

(3) Of the cenotaphs and funeral monuments the most splendid is the
monument to the archduchess Maria Christina of Austria, consisting of
nine figures. Besides the two for the Roman pontiffs already mentioned,
there is one for Alfieri, another for Emo, a Venetian admiral, and a
small model of a cenotaph for Nelson, besides a great variety of
monumental relievos.

The events which marked the life of the artist during the first fifteen
years of the period in which he was engaged on the above-mentioned works
scarcely merit notice. His mind was entirely absorbed in the labours of
his studio, and, with the exception of his journeys to Paris, one to
Vienna, and a few short intervals of absence in Florence and other parts
of Italy, he never quitted Rome. In his own words, "his statues were the
sole proofs of his civil existence." There was, however, another proof,
which modesty forbade him to mention, an ever-active benevolence,
especially towards artists. In 1815 he was commissioned by the Pope to
superintend the transmission from Paris of those works of art which had
formerly been conveyed thither under the direction of Napoleon. By his
zeal and exertions, for there were many conflicting interests to
reconcile, he adjusted the affair in a manner at once creditable to his
judgment and fortunate for his country. In the autumn of this year he
gratified a wish he had long entertained of visiting London, where he
received the highest tokens of esteem. The artist for whom he showed
particular sympathy and regard in London was Haydon, who might at the
time be counted the sole representative of historical painting there,
and whom he especially honoured for his championship of the Elgin
marbles, then recently transported to England, and ignorantly
depreciated by polite connoisseurs. Canova returned to Rome in the
beginning of 1816, with the ransomed spoils of his country's genius.
Immediately after, he received several marks of distinction,--by the
hand of t