Chapter XV: Part 15

(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 the Pope himself his name was inscribed in "the Golden Volume of the Capitol," and he received the title of marquis of Ischia, with an annual pension of 3000 crowns, about L625.

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Passagno in 1810. At a sumptuous entertainment which he gave to his workmen, there occurred an incident which marks the kindliness of his character. When the festivities of the day had terminated, he requested the shepherdesses and peasantgirls of the adjacent hamlets to pass in review before him, and to each he made a present, expending on the occasion about L400. We need not, therefore, be surprised that a few years afterwards, when the remains of the donor came to be deposited in their last asylum, the grief which the surrounding peasantry evinced was in natural expression so intense as to eclipse the studied solemnity of more pompous mourning.

After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Passagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals. In the meantime the vast expenditure exhausted his resources, and compelled him to labour with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Passagno and his decease, he executed or finished some of his most striking works. Amongst these were the group "Mars and Venus," the colossal figure of Pius VI., the "Pieta," the "St John," the "recumbent Magdalen." The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara. In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there on the 13th of October 1822, at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honours were paid to his remains, which were deposited in the temple at Passagno on the 25th of the same month.

Canova, in a certain sense, renovated the art of sculpture in Italy, and brought it back to that standard from which it had declined when the sense both of classical beauty and moderation, and of Titanic invention and human or superhuman energy as embodied by the unexampled genius of Michelangelo, had succumbed to the overloaded and flabby mannerisms of the 17th and 18th centuries. His finishing was refined, and he had a special method of giving a mellow and soft appearance to the marble. He formed his models of the same size as the work was intended to be. The prominent defect of Canova's attractive and highly trained art is that which may be summed up in the word artificiality,--that quality, so characteristic of the modern mind, which seizes upon certain properties of conception and execution in the art of the past, and upon certain types of beauty or emotion in life, and makes a compound of the two--regulating both by the standard of taste prevalent in contemporary "high society," a standard which, referring to cultivation and refinement as its higher term, declines towards fashion as the lower. Of his moral character a generous and unwearied benevolence formed the most prominent feature. The greater part of the vast fortune realized by his works was distributed in acts of this description. He established prizes for artists and endowed all the academies of Rome. The aged and unfortunate were also the objects of his peculiar solicitude. His titles were numerous. He was enrolled amongst the nobility of several states, decorated with various orders of knighthood, and associated in the highest professional honours.

See the _Life of Canova_ by Memes; that by Missirini; the _Biografia_
by the Count Cicognara; _Canova et ses ouvrages_, by Quatremere de
Quincy (1834); _Opere scelte di Antonio Canova_, by Anzelmi (Naples,
1842); _Canova_, by A.G. Meyer (1898); and _La Relazione del Canova
con Napoli ... memorie con documenti inediti_, by Angelo Borzelli
(1901). (W. M. R.)

CANOVAS DEL CASTILLO, ANTONIO (1828-1897), Spanish statesman, was born in Malaga on the 8th of February 1828. Educated in his native town, he went to Madrid in 1845, bent upon finding means to complete his literary and philosophical studies. His uncle, Don Serafin Estebanez Calderon, found him a situation as clerk in the Madrid-Aranjuez railway, but Canovas soon took to journalism and literature, earning enough to support himself and pay for his law studies at the Madrid University. During this period he published his two best works--an historical novel, _Las Campanas de Huesca_, and the history of the decay of Spain from Philip III. to Charles II. under the house of Austria. He became a politician through his Junius-like letters to the "Murcielago"--_The Bat_, a satirical political journal--and by drawing up the manifesto of Manzanares in 1854 for Marshal O'Donnell, of whom he always remained a loyal adherent. Canovas entered the Cortes in 1854; he was made governor of Cadiz in 1857, sub-director of the state department in 1858, under-secretary at the home office in 1860, minister of the interior in 1864, minister of the colonies in 1865, minister of finance in 1866, and was exiled by Marshal Narvaez in the same year, afterwards becoming a bitter opponent of all the reactionary cabinets until the revolution of 1868. He took no part in preparing that event. He sat in the Cortes Constituyentes of 1869 as a doctrinaire Conservative, combating all Radical and democratic reforms, and defending the exiled Bourbons; but he abstained from voting when the Cortes elected Amadeus king on the 16th of November 1870. He did not object to some of his political friends, like Silvela and Elduayen, entering the cabinets of King Amadeus, and in 1872 declared that his attitude would depend on the concessions which government would make to Conservative principles. After the abdication of Amadeus and the proclamation of the federal republic, Canovas took the lead of the propaganda in favour of the restoration of the Bourbons, and was their principal agent and adviser. He drew up the manifesto issued in 1874 by the young king Alphonso XII., at that time a cadet at Sandhurst; but he dissented from the military men who were actively conspiring to organize an Alphonsist _pronunciamiento_. Like Marshal Concha, marquis del Duero, he would have preferred to let events develop enough to allow of the dynasty being restored without force of arms, and he severely blamed the conduct of the generals when he first heard of the _pronunciamiento_ of Marshal Campos at Sagunto. Sagasta thereupon caused Canovas to be arrested (30th of December 1874); but the next day the Madrid garrison also proclaimed Alphonso XII. king, and Canovas showed the full powers he had received from the king to assume the direction of affairs. He formed a regency ministry pending the arrival of his majesty, who confirmed his appointment, and for six years Canovas was premier except during the short-lived cabinets of Marshal Jovellar in 1875 and Marshal Campos for a few months in 1879. Canovas was, in fact, the soul of the Restoration. He had to reconstruct a Conservative party out of the least reactionary parties of the days of Queen Isabella and out of the more moderate elements of the revolution. With such followers he made the constitution of 1876 and all the laws of the monarchy, putting a limited franchise in the place of universal suffrage, curtailing liberty of conscience, rights of association and of meeting, liberty of the press, checking democracy, obliging the military to abstain from politics, conciliating the Carlists and Catholics by his advances to the Vatican, the Church and the religious orders, pandering to the protectionists by his tariff policy, and courting abroad the friendship of Germany and Austria after contributing to the marriage of his king to an Austrian princess. Canovas crowned his policy by countenancing the formation of a Liberal party under Sagasta, flanked by Marshal Serrano and other Liberal generals, which took office in 1881. He again became premier in 1883, and remained in office until November 1885; but he grew very unpopular, and nearly endangered the monarchy in 1885 by his violent repression of popular and press demonstrations, and of student riots in Madrid and the provinces. At the death of Alphonso XII. he at once advised the queen regent to send for Sagasta and the Liberals, and during five years he looked on quietly whilst Sagasta re-established universal suffrage and most of the liberties curtailed in 1876, and carried out a policy of free trade on moderate lines. In 1890 Canovas took office under the queen regent, and one of his first acts was to reverse the tariff policy of the Liberals, denouncing all the treaties of commerce, and passing in 1892 a highly protectionist tariff. This was the starting-point of the decline in foreign trade, the advance of foreign exchanges, the decay of railway traffic, and the monetary and financial crisis which continued from 1892 to 1898. Splits in the Conservative ranks forced Canovas to resign at the end of 1893, and Sagasta came in for eighteen months, Canovas resumed office in March 1895 immediately after the outbreak of the Cuban insurrection, and devoted most of his time and efforts, with characteristic determination, to the preparation of ways and means for sending 200,000 men to the West Indies to carry out his stern and unflinching policy of no surrender, no concessions and no reforms. He was making up his mind for another effort to enable General Weyler to enforce the reforms that had been wrung from the Madrid government, more by American diplomacy than from a sense of the inevitable, when the bullet of an anarchist, in August 1897, at the baths of Santa Agueda, cut short his career. On the whole, Canovas must be regarded as the greatest Spanish statesman of the close of the 19th century. He was not only a politician but also a man of the world, a writer of considerable merit, a scholar well versed in social, economic and philosophical questions, a great debater, a clever lecturer, a member of all the Madrid academies and a patron of art and letters. (A. E. H.)

CANROBERT, FRANCOIS CERTAIN (1809-1895), marshal of France, was born at St Cere (Lot) on the 27th of June 1809 and educated at St Cyr; he received a commission as sub-lieutenant in 1828, becoming lieutenant in 1833. He went to Algeria in 1835, served in the expedition to Mascara, at the capture of Tlemcen, and in 1837 became captain. In the same year he was wounded in the storm of Constantine, receiving the Legion of Honour for his conduct. In 1839 he was employed in organizing a battalion of the Foreign Legion for the Carlist Wars. In 1841 he was again serving in Africa. Promoted lieutenant-colonel in 1846 and colonel of the 3rd regiment in 1847, he commanded the expedition against Ahmed Sghir in 1848, and defeated the Arabs at the Djerma Pass. Transferred to the Zouaves, he defeated the Kabyles, and in 1849 displayed both courage and energy in reinforcing the blockaded garrison of Bou Sada, and in command of one of the attacking columns at Zaatcha (December 1849). For his valour on the latter occasion he received the rank of general of brigade and the commandership of the Legion of Honour. He led the expedition against Narah in 1850 and destroyed the Arab stronghold. Summoned to Paris, he was made aide-de-camp to the president, Louis Napoleon, and took part in the _coup d'etat_ of the 2nd of December 1851. In the Crimean War he commanded a division at the Alma, where he was twice wounded. He held a dormant commission entitling him to command in case of St Arnaud's death, and he thus succeeded to the chief command of the French army a few days after the battle. He was slightly wounded and had a horse killed under him at Inkerman, when leading a charge of Zouaves. Disagreements with the English commander-in-chief and, in general, the disappointments due to the prolongation of the siege of Sevastopol led to his resignation of the command, but he did not return to France, preferring to serve as chief of his old division almost up to the fall of Sevastopol. After his return to France he was sent on diplomatic missions to Denmark and Sweden, and made a marshal and senator of France (grand cross Legion of Honour, and honorary G.C.B.). He commanded the III. army corps in Lombardy in 1859, distinguishing himself at Magenta and Solferino. He successively commanded the camp at Chalons, the IV. army corps at Lyons and the army of Paris. In the Franco-German War he commanded the VI. army corps, which won the greatest distinction in the battle of Gravelotte, where Canrobert commanded on the St Privat position. The VI. corps was amongst those shut up in Metz and included in the surrender of that fortress. After the war Canrobert was appointed a member of the superior council of war, and was also active in political life, being elected senator for Lot in 1876 and for Charente in 1879 and again in 1885. He died at Paris on the 28th of January 1895 and his remains received a public funeral. His _Souvenirs_ were published in 1898 at Paris.

CANT, ANDREW (1590?-1663), a leader of the Scottish Covenanters. About 1623 the people of Edinburgh called him to be their minister, but he was rejected by James I. Ten years later he was minister of Pitsligo in Aberdeenshire, a charge which he left in 1638 for that of Newbattle in Mid-Lothian. In July of that year he went with other commissioners to Aberdeen in the vain attempt to induce the university and the presbytery of that city to subscribe the National Covenant, and in the following November sat in the general assembly at Glasgow which abolished episcopacy in Scotland. In 1640 he was chaplain to the Scottish army and then settled as minister at Aberdeen. Though a stanch Covenanter, he was a zealous Royalist, preaching before Charles I. in Edinburgh, and stoutly advocating the restoration of the monarchy in the time of the Commonwealth. Cant's frequent and bitter attacks on various members of his congregation led in 1660 to complaints laid before the magistrates, in consequence of which he resigned his charge. His son Andrew was principal of Edinburgh University (1675-1685).

CANT, (1) (Possibly through the Fr. from Lat. _cantos_, corner), in architecture, a term used where the corner of a square is cut off, octagonally or otherwise. Thus a bay window, the sides of which are not parallel, or at right angles to the spectator, is said to be canted. (2) (From the Lat. _cantare_, to sing, very early in use, in a depreciatory sense, of religious services), a word appearing in English in the 16th century 'for the whining speech of beggars; hence it is applied to thieves' or gipsies' jargon, to the peculiar language of any class or sect, to any current phrase or turn of language, and particularly to the hypocritical use of pious phraseology.

CANTABRI, an ancient tribe which inhabited the north coast of Spain near Santander and Bilbao and the mountains behind--a district hence known as Cantabria. Savage and untameable mountaineers, they long defied the Roman arms and made themselves a name for wild freedom. They were first attacked by the Romans about 150 B.C.; they were not subdued till Agrippa and Augustus had carried out a series of campaigns (29-19 B.C.) which ended in their partial annihilation. Thenceforward their land was part of the province Hispania Tarraconensis with some measure of local self-government. They became slowly Romanized, but developed little town life and are rarely mentioned in history. They provided recruits for the Roman _auxilia_, like their neighbours the Astures, and their land contained lead mines, of which, however, little is known.

CANTABRIAN MOUNTAINS (Span. _Cordillera Cantabrica_), a mountain chain which extends for more than 300 m. across northern Spain, from the western limit of the Pyrenees to the borders of Galicia, and on or near the coast of the Bay of Biscay. The Cantabrians stretch from east to west, nearly parallel to the sea, as far as the pass of Leitariegos, afterwards trending southward between Leon and Galicia. Their western boundary is marked by the valley of the river Mino (Portuguese Minho), by the lower Sil, which flows into the Mino, and by the Cabrera, a small tributary of the Sil. Some geographers regard the mountains of Galicia beyond the Mino as an integral part of the same system; others confine the name to the eastern half of the highlands between Galicia and the Pyrenees, and call their western half the Asturian Mountains. There are also many local names for the subsidiary ranges within the chain. As a whole, the Cantabrian Mountains are remarkable for their intricate ramifications, but almost everywhere, and especially in the east, it is possible to distinguish two principal ranges, from which the lesser ridges and mountain masses radiate. One range, or series of ranges, closely follows the outline of the coast; the other, which is loftier, forms the northern limit of the great tableland of Castile and Leon, and is sometimes regarded as a continuation of the Pyrenees. The coastal range rises in some parts sheer above the sea, and everywhere has so abrupt a declivity that the streams which flow seaward are all short and swift. The descent from the southern range to the high plateaus of Castile is more gradual, and several large rivers, notably the Ebro, rise here and flow to the south or west. The breadth of the Cantabrian chain, with all its ramifications, increases from about 60 m. in the east to about 115 m. in the west. Many peaks are upwards of 6000 ft. high, but the greatest altitudes are attained in the central ridges on the borders of Leon, Oviedo, Palencia and Santander. Here are the Pena Vieja (8743 ft.), Prieta (8304 ft.) and Espinguete (7898 ft.); an unnamed summit in the Penas de Europa, to which range the Pena Vieja also belongs, rises on the right bank of the Sella to a height of 8045 ft.; farther west the peaks of Manipodre, Ubina, Rubia and Cuina all exceed 7000 ft. A conspicuous feature of the chain, as of the adjacent tableland, is the number of its _parameras_, isolated plateaus shut in by lofty mountains or even by precipitous walls of rock. At the south-western extremity of the chain is el Vierzo, once a lake-bed, now a valley drained by the upper Sil and enclosed by mountains which bifurcate from the main range south of the pass of Leitariegos--the Sierra de Justredo and Montanas de Leon curving towards the east and south-west, the Sierra de Picos, Sierra del Caurel and other ranges curving towards the west and south-east. The Cantabrians are rich in coal and iron; an account of their geological structure is given under SPAIN. They are crossed at many points by good roads and in their eastern half by several railways. In the west, near the pass of Pajares, the railway from Leon to Gijon passes through the Perruca tunnel, which is 2 m. long and 4200 ft. above sea-level; the railway descends northward through fifty-eight smaller tunnels. The line from Leon to Orense also traverses a remarkable series of tunnels, bridges and deep cuttings.

CANTACUZINO, CANTACUZEN or CANTACUZENE, the name of a family which traces its origin to the Byzantine emperors and writers of the same name (see under JOHN V., Cantacuzene). The founder of the family, Andronik, migrated to Rumania in 1633, and from his two sons Constantine and Gheorge sprang the two principal lines which afterwards branched into numerous families of nobles and high dignitaries, including hospodars (rulers) of Walachia and Moldavia. The Cantacuzinos were represented in every branch of administration and in the world of letters. Under their influence the Rumanian language and literature in the 17th century reached their highest development. Among the more prominent members of the family the following may be mentioned, (1) SHERBAN CANTACUZINO (1640-1688), appointed hospodar of Walachia in 1679. He served under the Turks in the siege of Vienna, and when they were defeated it is alleged that he conceived the plan of marching on Constantinople to drive the Turks out of Europe, the western powers having promised him their moral support. In the midst of his preparations he died suddenly, poisoned, it is said, by the boyars who were afraid of his vast plans. Far more important was his activity in economic and literary directions. He introduced the maize into Rumania; it is now the staple food of the country. He founded the first Rumanian school in Bucharest; he assisted liberally in the establishment of various printing offices; and under his auspices the famous Rumanian Bible appeared in Bucharest in 1688. Through his influence also the Slavonic language was officially and finally abolished from the liturgy and the Rumanian language substituted for it. (2) STEFAN CANTACUZINO, son of Constantine, prince of Walachia, 1714-1716. (3) DEMETRIUS CANTACUZINO, prince of Moldavia, 1674-1676. He left an unsatisfactory record. Descendants of Demetrius and Sherban have emigrated to Russia, and held high positions there as governors of Bessarabia and in other responsible posts. (4) Of the Moldavian Cantacuzinos, THEODORE is well known as a chronicler of his times (c. 1740). (5) GHEORGE CANTACUZINO (b. 1837), son of GREGORI (1800-1849). He was appointed in 1870 minister of public instruction in Rumania; in 1889, president of the chamber; in 1892, president of the senate; from 1899 he was head of the Conservative party, and from 1905 to 1907 prime minister (see also RUMANIA: _History_). (M. G.)

CANTAGALLO, an inland town of the state of Rio de Janeiro, Brazil, about 100 m. by rail N.E. of the port of Rio de Janeiro, with which it is connected by the Cantagallo railway. Pop. (1890) of the municipality, 26,067, of whom less than one-fourth live in the town. Cantagallo is situated in the fertile Parahyba valley and is the commercial centre of a rich coffee-producing district. There are exhausted gold placer mines in its vicinity, but they were not rich enough to cause any considerable development in mining. Coffee production is the principal industry, but sugar-cane is grown to a limited extent, and some attention is given to the raising of cattle and swine. The district is an excellent fruit region.

CANTAL, a department of central France, formed from Haute-Auvergne, the southern portion of the old province of Auvergne. It is bounded N. by the department of Puy-de-Dome, E. by Haute-Loire, S.E. by Lozere, S. by Aveyron and Lozere, and W. by Correze and Lot. Area 2231 sq. m. Pop. (1906) 228,600. Cantal is situated in the middle of the central plateau of France. It takes its name from the Monts du Cantal, a volcanic group occupying its central region, and continued towards the north and east by ranges of lower altitude. The Plomb du Cantal, the culminating summit of the department, attains a height of 6096 ft.; and its neighbours, the Puy Mary and the Puy Chavaroche, attain a height of 5863 and 5722 ft. respectively. Immediately to the east of this central mass lies the lofty but fertile plateau of Planeze, which merges into the Monts de la Margeride on the eastern border. The valley of the Truyere skirts the Planeze on the south and divides it from the Monts d'Aubrac, at the foot of which lies Chaudesaigues, noted for its thermal springs, the most important in the department. Northwards the Monts du Cantal are connected with the Monts Dore by the volcanic range of Cezallier and the arid plateaus of Artense. In the west of the department grassy plateaus and beautiful river valleys slope gently down from the central heights. Most of the streams of the department have their sources in this central ridge and fall by a short and rapid course into the rivers which traverse the extensive valleys on either side. The principal rivers are the Alagnon, a tributary of the Allier; the Celle and Truyere, tributaries of the Lot; and the Cere and Rue, tributaries of the Dordogne. The climate of the department varies considerably in the different localities. In the alluvial plain between Murat and St Flour, and in the south-west in the arrondissement of Aurillac, it is generally mild and dry; but in the northern and central portions the winters are long and severe and the hurricanes peculiarly violent. The cold and damp of the climate in these districts are great obstacles to the cultivation of wheat, but rye and buckwheat are grown in considerable quantities, and in natural pasture Cantal is extremely rich. Cattle are accordingly reared with profit, especially around Salers and in the Monts d'Aubrac, while butter and Roquefort cheese are made in large quantities. Large flocks of sheep pasture in the Monts d'Aubrac and elsewhere in the department; goats are also reared. The inhabitants are simple and primitive and accustomed to live on the scantiest fare. Many of them migrate for part of the year to Paris and the provinces, where they engage in the humblest occupations. The principal articles of food are rye, buckwheat and chestnuts. The internal resources of the department are considerable; but the difficulty of land-carriage prevents them being sufficiently developed. The hills and valleys abound with game and the streams with fish. Cantal produces a vast variety of aromatic and medicinal plants; and its mineral products include coal, antimony and lime. The department has no prominent manufactures. Live-stock, cheese, butter and coal are the principal exports; coal, wine, cereals, flour and earthenware are imported. The department is served by the railways of the Orleans and Southern companies, the construction of which at some points demanded considerable engineering skill, notably in the case of the viaduct of Garabit spanning the gorge of the Truyere. Cantal is divided into four arrondissements--Aurillac, Mauriac, Murat and St Flour--23 cantons and 267 communes. It belongs to the region of the XIII. army corps and to the academie (educational division) of Clermont-Ferrand. Its bishopric is at St Flour and depends on the archbishopric of Bourges. Its court of appeal is at Riom. The capital is Aurillac (q.v.), and St Flour (q.v.) is the other principal town.

CANTARINI, SIMONE (1612-1648), called SIMONE DA PESARO, painter and etcher, was born at Oropezza near Pesaro in 1612. He was a disciple of Guido Reni and a fellow-student of Domenichino and Albano. The irritability of his temper and his vanity were extreme; and it is said that his death, which took place at Verona in 1648, was occasioned by chagrin at his failure in a portrait of the duke of Mantua. Others relate that he was poisoned by a Mantuan painter whom he had injured. His pictures, though masterly and spirited, are deficient in originality. Some of his works have been mistaken for examples of Guido Reni, to whom, indeed, he is by some considered superior in the extremities of the figures. Among his principal paintings are "St Anthony," at Cagli; the "Magdalene," at Pesaro; the "Transfiguration," in the Brera Gallery, Milan; the "Portrait of Guido," in the Bologna gallery; and "St Romuald," in the Casa Paolucci. His most celebrated etching is "Jupiter, Neptune and Pluto, honouring the arms of Cardinal Borghese."

CANTATA (Italian for a song or story set to music), a vocal composition accompanied by instruments and generally containing more than one movement. In the 16th century, when all serious music was vocal, the term had no reason to exist, but with the rise of instrumental music in the 17th century cantatas began to exist under that name as soon as the instrumental art was definite enough to be embodied in sonatas. From the middle of the 17th till late in the 18th century a favourite form of Italian chamber music was the cantata for one or two solo voices, with accompaniment of harpsichord and perhaps a few other solo instruments. It consisted at first of a declamatory narrative or scene in recitative, held together by a primitive aria repeated at intervals. Fine examples may be found in the church music of Carissimi; and the English vocal solos of Purcell (such as _Mad Tom_ and _Mad Bess_) show the utmost that can be made of this archaic form. With the rise of the Da Capo aria the cantata became a group of two or three arias joined by recitative. Handel's numerous Italian duets and trios are examples on a rather large scale. His Latin motet _Silete Venti_, for soprano solo, shows the use of this form in church music.

The Italian solo cantata naturally tended, when on a large scale, to become indistinguishable from a scene in an opera. In the same way the church cantata, solo or choral, is indistinguishable from a small oratorio or portion of an oratorio. This is equally evident whether we examine the unparalleled church cantatas of Bach, of which nearly 200 are extant, or the _Chandos Anthems_ of Handel. In Bach's case many of the larger cantatas are actually called oratorios; and the _Christmas Oratorio_ is a collection of six church cantatas actually intended for performance on six different days, though together forming as complete an artistic whole as any classical oratorio.

The essential point, however, in Bach's church cantatas is that they formed part of a church service, and moreover of a service in which the organization of the music was far more coherent than is possible in the Anglican church. Many of Bach's greatest cantatas begin with an elaborate chorus followed by a couple of arias and recitatives, and end with a plain chorale. This has often been commented upon as an example of Bach's indifference to artistic climax in the work as a whole. But no one will maintain this who realizes the place which the church cantata occupied in the Lutheran church service. The text was carefully based upon the gospel or lessons for the day; unless the cantata was short the sermon probably took place after the first chorus or one of the arias, and the congregation joined in the final chorale. Thus the unity of the service was the unity of the music; and, in the cases where all the movements of the cantata were founded on one and the same chorale-tune, this unity has never been equalled, except by those 16th-century masses and motets which are founded upon the Gregorian tones of the festival for which they are written.

In modern times the term cantata is applied almost exclusively to choral, as distinguished from solo vocal music. There has, perhaps, been only one kind of cantata since Bach which can be recognized as an art form and not as a mere title for works otherwise impossible to classify. It is just possible to recognize as a distinct artistic type that kind of early 19th-century cantata in which the chorus is the vehicle for music more lyric and songlike than the oratorio style, though at the same time not excludeing the possibility of a brilliant climax in the shape of a light order of fugue. Beethoven's _Glorreiche Augenblick_ is a brilliant "pot-boiler" in this style; Weber's _Jubel Cantata_ is a typical specimen, and Mendelssohn's _Walpurgisnacht_ is the classic. Mendelssohn's "Symphony Cantata," the _Lobgesang_, is a hybrid work, partly in the oratorio style. It is preceded by three symphonic movements, a device avowedly suggested by Beethoven's ninth symphony; but the analogy is not accurate, as Beethoven's work is a symphony of which the fourth movement is a choral finale of essentially single design, whereas Mendelssohn's "Symphony Cantata" is a cantata with three symphonic preludes. The full lyric possibilities of a string of choral songs were realized at last by Brahms in his _Rinaldo_, set to a text which Goethe wrote at the same time as he wrote that of the _Walpurgisnacht_. The point of Brahms's work (his only experiment in this _genre_) has naturally been lost by critics who expected in so voluminous a composition the qualities of an elaborate choral music with which it has nothing whatever to do. Brahms has probably said the last word on this subject; and the remaining types of cantata (beginning with Beethoven's _Meeres-stille_, and including most of Brahms's and many notable English small choral works) are merely so many different ways of setting to choral music a poem which is just too long to be comprised in one movement. (D. F. T.)

CANTEEN (through the Fr. _cantine_, from Ital. _cantina_, a cellar), a word chiefly used in a military sense for an official sutler's shop, where provisions, &c., are sold to soldiers. The word was formerly applied also to portable equipments for carrying liquors and food, or for cooking in the field. Another sense of the word, which has survived to the present day, is that of a soldier's water-bottle, or of a small wooden or metal can for carying a workman's liquor, &c.

CANTEMIR, the name of a celebrated family of Tatar origin, which came from the Crimea in the 17th century and settled in Moldavia.

CONSTANTINE CANTEMIR became a prince of Moldavia, 1685-1693. He was a good and conscientious ruler, who protected the people from the rapacity of the tax-gatherers and introduced peace into his country. He was succeeded on the throne by his son Antioch, who ruled twice, 1696-1700 and 1705-1707.

His youngest brother, DEMETRIUS or DEMETER CANTEMIR (b. October 26, 1673), was made prince of Moldavia in 1710; he ruled only one year, 1710-1711, when he joined Peter the Great in his campaign against the Turks and placed Moldavia under Russian suzerainty. Beaten by the Turks, Cantemir emigrated to Russia, where he and his family finally settled. He died at Kharkov in 1723. He was known as one of the greatest linguists of his time, speaking and writing eleven languages, and being well versed in Oriental scholarship. He was a voluminous and original writer of great sagacity and deep penetration, and his writings range over many subjects. The best known is his _History of the Growth and Decay of the Ottoman Empire_. He also wrote a history of oriental music, which is no longer extant; the first critical history of Moldo-Walachia; the first geographical, ethnographical and economic description of Moldavia, _Descriptio Moldaviae_, under the name of _Historia Hieroglyphica_, to which he furnished a key, and in which the principal persons are represented by animals; also the history of the two ruling houses of Brancovan and Cantacuzino; and a philosophical treatise on the old theme of the disputation between soul and body, written in Greek and Rumanian under the title _Divanul Lumii_.

The latter's son, ANTIOCH CANTEMIR (born in Moldavia, 1700; died in Paris, 1744), became in 1731 Russian minister in Great Britain, and in 1736 minister plenipotentiary in Paris. He brought to London the Latin MS. from whence the English translation of his father's history of the Turkish empire was made by N. Tindal, London, 1756, to which he added an exhaustive biography and bibliography of the author (pp. 455-460). He was a Russian poet and almost the first author of satires in modern Russian literature.

BIBLIOGRAPHY.--_Operele Principelui D. Cantemir_, ed. Academia Romana
(1872 foll.); A. Philippide, _Introducere in istoria limbei si
literat. romane_ (Iasi, 1888), pp. 192-202; O.G. Lecca, _Familiile
boeresti romane_ (Bukarest, 1898), pp. 144-148; M. Gaster, _Chrestom.
romana_, i. 322, 359 (in Cyrillic). (M. G.)

CANTERBURY, CHARLES MANNERS-SUTTON, 1ST VISCOUNT (1780-1845), speaker of the House of Commons, was the elder son of Charles Manners-Sutton (q.v.), afterwards archbishop of Canterbury, and was born on the 29th of January 1780. Educated at Eton and Trinity College, Cambridge, he graduated B.A. in 1802, and was called to the bar at Lincoln's Inn in 1806. At the general election of this year he was returned to parliament in the Tory interest as member for Scarborough, and in 1809 became judge-advocate-general in the ministry of Spencer Perceval. He retained this position until June 1817, when he was elected speaker in succession to Charles Abbot, created Baron Colchester, refusing to exchange this office in 1827 for that of home secretary. In 1832 he abandoned Scarborough and was returned to parliament as one of the members for the university of Cambridge. Before the general election of 1832 Manners-Sutton had intimated his desire to retire from the position of speaker and had been voted an annuity of L4000 a year. The ministry of Earl Grey, however, reluctant to meet the reformed House of Commons with a new and inexperienced occupant of the chair, persuaded him to retain his office, and in 1833 he was elected speaker for the seventh time. Some feeling had been shown against him on this occasion owing to his Tory proclivities, and the Whigs frequently complained that outside the House he was a decided partisan. The result was that when a new parliament met in February 1835 a sharp contest ensued for the speakership, and Manners-Sutton was defeated by James Abercromby, afterwards Lord Dunfermline. In March 1835 the retiring speaker was raised to the peerage as Baron Bottesford and Viscount Canterbury. In 1835 he was appointed high commissioner for Canada, but owing to domestic reasons he never undertook the appointment. He died in London on the 21st of July 1845 and was buried at Addington. His first wife was Lucy (d. 1815), daughter of John Denison of Ossington, by whom he had two sons and a daughter. Both his sons, Charles John (1812-1869), and John Henry Thomas (1814-1877), succeeded in turn to the viscounty. By his second wife, Ellen (d. 1845), widow of John Home-Purves, he had a daughter.

CANTERBURY, a city and county of a city, the metropolis of an archdiocese of the Church of England, and a municipal, county and parliamentary borough of Kent, England, 62 m. E.S.E, of London by the South-Eastern & Chatham railway. Pop. (1901) 24,889. It lies on the river Stour, which here debouches from a beautiful narrow valley of the North Downs, the low but abrupt elevations of which command fine views of the city from the west and south, while the river presently enters upon the flat belt of land which separates the elevated Isle of Thanet from the rest of Kent. This belt represents the existence, in early historic times, of a sea-strait, and Fordwich, little more than 2 m. north-east of Canterbury, was once accessible for shipping. The city surrounds the precincts of the great cathedral.

_The Cathedral_.--It was to Canterbury, as the capital of Aethelberht, the fourth Saxon king of Kent, that in 597 Augustine and his fellow-missionaries came from Rome, and their settlement by Aethelberht in his capital became the origin of its position, held ever since, as the metropolis of the Church of England. Aethelberht, whose queen, Bertha, was already a Christian, gave the missionaries a church whose mythical founder was King Lucius. Augustine was a Benedictine and established the monastery of that order attached to the cathedral; this foundation was set upon a firm basis after the Norman Conquest by Archbishop Lanfranc, who placed its charge (as distinct from that of the diocese) in the hands of a prior.

History of the building.

Preparatory to the description of the cathedral, the principal epochs in the history of its erection may be noted. The Romano-British church occupied by St Augustine, of basilica form, remained long in use, though it was largely rebuilt by Archbishop Odo, c. 950; after further vicissitudes it was destroyed by fire in 1067. Archbishop Lanfranc, taking up his office in 1070, undertook the building of an entirely new church, but under Anselm (c. 1100) Prior Ernulf rebuilt the eastern part, and his successor Conrad carried on the work. A fire destroyed much of this part of the building in 1174, and from that year the architect, William of Sens, took up the work of rebuilding until 1178, when, on his suffering serious injury by falling from a scaffold, another William, commonly distinguished as the Englishman, carried on the work and completed it in 1184. In 1376 Archbishop Sudbury entered upon the construction of a new nave, and Prior Chillenden continued this under Archbishop Courtenay. The building of the central tower was undertaken c. 1495 by Prior Goldstone, with the counsel of Selling, his predecessor, and Archbishop Morton.

Exterior.

This Perpendicular tower is the most notable feature of the exterior. It rises in two storeys to a height of 235 ft. from the ground, and is known variously as Bell Harry tower from the great bell it contains, or as the Angel steeple from the gilded figure of an angel which formerly adorned the summit. The Perpendicular nave is flanked at the west front by towers, whose massive buttresses, rising in tiers, serve to enhance by contrast the beautiful effect of the unbroken straight lines of Bell Harry tower. The south-western of these towers is an original Perpendicular structure by Prior Goldstone, while the north-western was copied from it in 1834-1840, replacing a Norman tower which had carried a spire until 1705 and had become unsafe. The north-west and south-west transepts are included in Chillenden's Perpendicular reconstruction; but east of these earlier work is met with. The south-east transept exhibits Norman work; the projecting chapel east of this is known as Anselm's tower. The cathedral terminates eastward in a graceful apsidal form, with the final addition of the circular eastern chapel built by William the Englishman, and known as the Corona or Becket's Crown. St Andrew's tower or chapel on the north side, corresponding to Anselm's on the south, is the work of Ernulf. From this point westward the various monastic buildings adjoin the cathedral on the north side, so that the south side is that from which the details of the exterior must be examined.

Interior.

When the nave of the cathedral is entered, the complete separation of the interior into two main parts, not only owing to the distinction between the two main periods of building; but by an actual structural arrangement, is realized as an unusual and, as it happens, a most impressive feature. In most English cathedrals the choir is separated from the nave by a screen; at Canterbury not only is this the case, but the separation is further marked by a broad flight of steps leading up to the screen, the choir floor (but not its roof) being much higher than that of the nave. Chillenden, in rebuilding the nave, retained only the lower parts of some of the early Norman walls of Lanfranc and the piers of the central tower arches. These piers were encased or altered on Perpendicular lines. In the choir, the late 12th-century work of the two Williams, the notable features are its great length, the fine ornamentation and the use of arches both round and pointed, a remarkable illustration of the transition between the Norman and Early English styles; the prolific use of dark marble in the shafts and mouldings strongly contrasting with the light stone which is the material principally used; and, finally, the graceful incurve of the main arcades and walls at the eastern end of the choir where it joins the chapel of the Trinity, an arrangement necessitated by the preservation of the earlier flanking chapels or towers of St Anselm and St Andrew. From the altar eastward the floor of the church is raised again above that of the choir. The choir screen was built by Prior de Estria, c. 1300. The organ is not seen, being hidden in the triforium and played from the choir. There are several tombs of archbishops in the choir. The south-east transept serves as the chapel of the King's school and exhibits the work of William of Sens in alteration of that of Ernulf. Anselm's chapel or tower, already mentioned, may be noticed again as containing a Decorated window (1336). This style is not common in the cathedral.

Becket's shrine. Pilgrimages.

Behind the altar is Trinity Chapel, in the centre of which stood the celebrated shrine of St Thomas of Canterbury. The priory owed its chief fame to the murder of Archbishop Becket (1170) in the church, his canonization as St Thomas of Canterbury, and the resort of the Christian world on pilgrimage to his shrine. Miracles were almost immediately said to be worked at his grave in the crypt and at the well in which his garments had been washed; and from the time when Henry II. did his penance for the murder in the church, and the battle of Alnwick was gained over the Scots a few days afterwards--it was supposed as a result--the fame of the martyr's power and the popularity of his worship became established in England. On the rebuilding of the cathedral after the fire of 1174, a magnificent shrine was erected for him in Trinity Chapel, which was built for the purpose, and became thronged for three centuries by pilgrims and worshippers of all classes, from kings and emperors downward. Henceforward the interests of the city became bound up in those of the cathedral, and were shown in the large number of hostels for the accommodation of pilgrims, and of shops containing wares especially suited to their tastes. A pilgrimage to Canterbury became not only a pious exercise, but a favourite summer excursion; and the poet Chaucer, writing in the 14th century, gives an admirable picture of such pilgrimages, with the manners and behaviour of a party of pilgrims, leisurely enjoying the journey and telling stories on the road. The English language even preserved two words originating in these customs--a "canterbury," or a "canterbury tale," a phrase used for a fiction, and a "canter," which is a short form for a "canterbury gallop," an allusion to the easy pace at which these pilgrimages were performed. The shrine with its vast collected wealth was destroyed, and every reminiscence connected with it as far as possible effaced, by King Henry VIII.'s commissioners in 1538. But some of the beautiful old windows of stained glass, illustrating the miracles wrought in connexion with the saint, are preserved. The north-west transept was the actual scene of Becket's murder; the spot where he fell is shown on the floor, but this part of the building is of later date than the tragedy.

Close to the site of the shrine is the fine tomb of Edward the Black Prince, with a remarkable portrait effigy, and above it his helmet, shield and other equipment. There is also in this chapel the tomb of King Henry IV. The Corona, at the extreme cast of the church, contains the so-called St Augustine's chair in which the archbishops are enthroned. It is of marble, but its name is not deserved, as it dates probably from c. 1200. The western part of the crypt, beneath the choir, is the work of Ernulf, and perhaps incorporates some of Lanfranc's work. The chapel of St John or St Gabriel, beneath Anselm's tower, is still used for service, in which the French language is used; it was devoted to this purpose in 1561, on behalf of French Protestant refugees, who were also permitted to carry on their trade as weavers in the crypt. The eastern and loftier part of the crypt, with its apsidal termination, is the work of William the Englishman. Here for some time lay the body of Becket, and here the celebrated penance of Henry II. was performed.

Monastic buildings.

The chief entrance to the precincts is through an ornate gateway at the south-west, called Christchurch gateway, and built by Prior Goldstone in 1517. Among the remains of the monastic buildings there may be mentioned the Norman ruins of the infirmary, the fine two-storeyed treasury and the lavatory tower, Norman in the lower part and Perpendicular in the upper. The cloisters are of various dates, containing a little rich Norman work, but were very largely rebuilt by Prior Chillenden. The upper part of the chapter-house is also his work, but the lower is by Prior de Estria. The library is modern. The site of the New Hall of the monastery is covered by modern buildings of King's school, but the Norman entry-stair is preserved--a magnificent example of the style, with highly ornate arcading.

The principal dimensions of the cathedral arc: length (outside) 522 ft., nave 178 ft., choir 180 ft. The nave is 71 ft. in breadth and 80 ft. in height.

Province and diocese.

The archbishop of Canterbury is primate of all England; the ecclesiastical province of Canterbury covers England and Wales south of Cheshire and Yorkshire; and the diocese covers a great part of Kent with a small part of Sussex. The following is a list of archbishops of Canterbury:--