were able to reproduce the plaster form in the selected block of marble. These workers would leave a thin veil over the entire statue so Canova's could focus on the surface of the statue. While he worked, he had people read to him select literary and historical texts. Last touch During the last quarter of the eighteenth century, it became fashionable to view art galleries at night by torchlight. Canova was an artist that leapt on the fad and displayed his works of art in his studio by candlelight. As such, Canova would begin to finalize the statue with special tools by candlelight, to soften the transitions between the various parts of the nude. After a little recarving, he began to rub the statue down with pumice stone, sometimes for periods longer than weeks or months. If that was not enough, he would use tripoli (rottenstone) and lead. He then applied a now unknown chemical-composition of patina onto the flesh of the figure to lighten the skin tone. Importantly, his friends also denied any usage of acids in his process. Criticisms Conversations revolving around the justification of art as superfluous usually invoked the name of Canova. Karl Ludwig Fernow believed that Canova was not Kantian enough in his aesthetic, because emphasis seemed to have been placed on agreeableness rather than Beauty. Canova was faulted for creating works that were artificial in complexity. Legacy Although the Romantic period artists buried Canova's name soon after he died, he is slowly being rediscovered. Giuseppe Pavanello wrote in 1996 that "the importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age". Canova spent large parts of his fortune helping young students and sending patrons to struggling sculptors, including Sir Richard Westmacott and John Gibson. He was introduced into various orders of chivalry. A number of his works, sketches, and writings are collected in the Sala Canoviana of the Museo Civico of Bassano del Grappa. Other works, including plaster casts are the Museo Canoviano in Asolo. In 2018, a crater on Mercury was named in his honor. Literary inspirations Two of Canova's works appear as engravings in Fisher's Drawing Room Scrap Book, 1834, with poetical illustrations by Letitia Elizabeth Landon. These are of The Dancing Girl and Hebe''. Commemorations Canova, South Dakota Via Antonio