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Rh the bust of Professor Moke, at Antwerp, “Heliotrope” in the museum at Ghent, “Portrait of M. Charles van Hutten,” the Wilson monument in the Musée Communal, Brussels, the statue of “Marnix de Sainte Aldegonde” in Brussels, the monument erected at Courtrai to Mgr de Hearne, the monument of Meddepenningen at Ghent, and the monument of the Gevaert family in the Communal Cemetery at Evere.

Canova so dominated the world of sculpture at the beginning of the 19th century that the pseudo-classic style which he introduced remained typical of all the Italian sculpture of note until Bartolini led the movement which ultimately crushed it. In Rome Canova completely overshadowed all other sculptors except perhaps

Thorwaldsen, the Danish sculptor, who resided for some time in that city. It is true that Pompeo Marchesi (1789–1858) at the outset of his career enjoyed great popularity, but at the time of his death he was well-nigh forgotten. The interval between the death of Canova and the rise of Bartolini and the new school was filled in by men of mediocre talent, in whose work the influence of the leader of classicism is strongly marked. Francesco Carradori (1747–1824), Camillo Pacetti (1758–1826), Rinaldo Rinaldi (b. 1793) and Giuseppe Fabris (b. 1800) were all followers of Canova, the last three being pupils of that master.

Lorenzo Bartolini (1777–1850) became the leader of the movement towards naturalism. This was nothing more nor less than the servile copying of form-both in natural forms and in dress. Nevertheless Bartolini must be remembered as the pioneer of a different kind of naturalism which was of far greater importance than the manner of treating forms and texture. His true originality layi in his representations of character. In place of the classic subjects invariably treated