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Edward L. Pierce, Memoir and letters of Charles Sumner: volume 2 10 0 Browse Search
Frank Preston Stearns, Cambridge Sketches 8 0 Browse Search
Southern Historical Society Papers, Volume 11. (ed. Reverend J. William Jones) 6 0 Browse Search
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen 4 0 Browse Search
Adam Badeau, Grant in peace: from Appomattox to Mount McGregor, a personal memoir 2 0 Browse Search
Margaret Fuller, Memoirs of Margaret Fuller Ossoli (ed. W. H. Channing) 2 0 Browse Search
Thomas Wentworth Higginson, Oldport days, with ten heliotype illustrations from views taken in Newport, R. I., expressly for this work. 2 0 Browse Search
Harper's Encyclopedia of United States History (ed. Benson Lossing) 2 0 Browse Search
Lydia Maria Child, Letters of Lydia Maria Child (ed. John Greenleaf Whittier, Wendell Phillips, Harriet Winslow Sewall) 2 0 Browse Search
Thomas Wentworth Higginson, Margaret Fuller Ossoli 2 0 Browse Search
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Browsing named entities in Southern Historical Society Papers, Volume 11. (ed. Reverend J. William Jones). You can also browse the collection for Canova or search for Canova in all documents.

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Southern Historical Society Papers, Volume 11. (ed. Reverend J. William Jones), Sketch of the Lee Memorial Association. (search)
, and he became restless to put to account the stores he was laying up. He returned to Florence and placed himself under the instruction of Bonauti, the friend of Canova and the pupil of Thorwaldsen. The year after this we find the young artist at Dresden, with the view of becoming the pupil of Rietschel, the famous sculptor thepted aesthetical sense as opposed to the idea of being impressed—its eminent beauties constantly reveal themselves by study. A celebrated sculptor, in comparing Canova and Thorvaldsen, once said that before Canova's work he was always on the defensive, fearing that his judgment might be taken captive by the excessive airs and grCanova's work he was always on the defensive, fearing that his judgment might be taken captive by the excessive airs and grace of the figures and by the extreme skilfulness of the execution, which often conceal faults, and which were neither natural nor antique. With Thorvaldsen, on the contrary, he continues: I do not fear any such artifices; my mind is tranquil. I prefer him for his greater breadth of style and because his work is truer and more c