his "Madonna and Child" in the church of Nebrissa. On the invitation of Count Olivarez, he now went to Madrid, where he was appointed to be royal architect, to be special painter to the king, and to be preceptor to the Prince Don Balthasar Carlos of Austria. But troubles accompanied him, and dimmed his glories. He found one day his wife murdered, and his house robbed. Suspicion fell on an Italian painter, who, however, had disappeared. But then it came to light that Cano had been jealous of this Italian, and had further formed a liaison with another woman. The Italian was acquitted, the husband was condemned. The judges considered he had sufficient motive for the crime—another love and a false wife. He took to flight, reached Valencia, and sought refuge in a Carthusian monastery. He waited some time, thought the thing had blown over, and then imprudently ventured again in Madrid. But justice sleeps with one eye open. He was seized and tortured. He bore his sufferings without a murmur; he confessed nothing; so it was concluded at last, that really he had nothing to confess. The king received him again into favour; but Cano, afraid of being subjected to new trials, sought the protection of the church, and by the king's permission he was nominated residentiary of Grenada. The ecclesiastics grumbled a little at the suspected bloodstain on their lawn, but consoled themselves by considering the art-treasures their new brother would bestow on the church. They were right. Rich gifts in painting and sculpture accrued to the cloth, and Cano spent his last years in acts of extreme devotion and charity. He died in 1676 or 1667, as some assert. His works are very numerous, and are to be met with in most of the churches and convents of Spain. In his later life he made no scruple of exacting the full price of his works. A counsellor is related to have said to him—"You have been twenty-five days carving this figure of St. Antony; you demand one hundred pistoles for it; why, that is at the rate of four pistoles a day. Why, I, a counsellor, do not make half that sum by my talents." "Fool," screamed the incensed artist, "don't talk of your talents. I have been fifty years learning to make this statue in twenty-five days!" and he dashed the saint to the earth into a thousand pieces. For this profane violence the king suspended him from his office, but he was restored on his completion of a magnificent crucifix for the queen. Fuseli rates Cano above all his contemporaries, with the exception of Velasquez. He was very grand in style, powerful in effect, and perfect in drawing. His faults were a certain tendency to the overloaded and redundant.—W. T.
CANO, Juan Sebastian del, the first circumnavigator of the globe, was a native of Biscay. He sailed in the Conception under Magellan, when he passed through the straits that bear his name; and when that commander was killed at the Phillippines, continued the voyage, touched at the Sunda isles, doubled the Cape of Good Hope, and arrived near Seville in 1522. He was rewarded by Charles V., who presented him with a globe bearing the motto "Primus, me circumdedisti." He died in 1526 while on a voyage in the South Seas.—J. B.
CANO or CANUS, Melchior, a Spanish Dominican, born at Taranzo in 1523. He studied at Salamanca, where in 1546 he became professor of theology. He was a bitter opponent of the jesuits, and through their influence, having been summoned by Paul III. to the council of Trent, he was sent away from Spain to be bishop of the Canaries. Philip II., however, recalled him, and he became provincial of his order in Castile. He died at Toledo in 1560. His principal work is a treatise "De locis theologicis," Padua, 1727.—J. B.
CANONICA, Luigi, an architect, born at Milan in the eighteenth century. He adorned his native city with many noble buildings, and is especially remembered for the construction of the arena or amphitheatre begun in 1805 by order of Napoleon. He died at Lilian in 1844.
CANONICUS, a distinguished sachem or chief of the Narragansett Indians in New England. The district over which he ruled lay on the borders of Rhode Island and Connecticut. He continued a firm friend to the English to the end of his life. In the war between Massachusetts and the Pequods, Canonicus was on the side of the colony. In 1644 he submitted himself and his tribe to the authority and protection of the English king, and was one of the noblest specimens of the New England Indians. He died June 4, 1647, aged, as was believed, eighty-five years.—W. G.
CANOPPI, Antonio, an Italian artist, first known as a fresco painter, became afterwards a scene painter in the theatres at Venice and Mantua. Compelled to leave Italy, because he was suspected by the French government, he sought refuge at Vienna, where he became acquainted with the Russian ambassador, at whose recommendation he settled at Moscow in 1807. He there decorated the halls of many of the nobles, and the senate hall. Just before the great fire which destroyed all his works, he had gone to St. Petersburg, where, till his death in 1832, he was scene-painter in the imperial theatre.—J. B.
CANOVA, Antonio, was born at Possagno in the province of Treviso, November 1, 1757, of a respectable family of that place; but, having lost his father when still an infant, he was brought up by his grandfather. At a very early age young Canova was set by his grandfather to the work of a stone-mason, and in this humble sphere his capacity for fine art soon developed itself He attracted the notice, when only thirteen years old, of the Venetian senator, Giovanni Faliero, who placed him with the sculptor Torretti, at that time living in the neighbourhood of Possagno, and with whom Canova passed two years near his native place, when he removed with his master to Venice; and here surrounded by great works, if not by great masters, he rapidly enlarged his views of art. He was so far advanced that, on the death of Torretti, which happened not long after he settled in Venice, his grandfather felt justified in selling a small piece of land in order to find funds to place the young sculptor with a second master, Torretti's nephew, Ferrari, equally obscure as the uncle, yet both quite capable of instructing the young sculptor in the practical work of his art. Their names, however, have been preserved from oblivion, solely by the fact of their having been concerned in the education of the young Canova, and to this alone they owe their immortality. Among Canova's first works were two baskets of fruit, made for the staircase of his patron, Faliero, who also commissioned him to make his first group of figures, "Orpheus and Eurydice," executed in stone, of which he made afterwards a copy in marble for another patron at Venice, by which he acquired considerable local distinction; an achievement, however, then comparatively easy, for the arts were fallen to so low a state in the former mistress of the Adriatic, that its rank was no higher than that of any ordinary provincial town. His next group was "Dædalus and Icarus," which developed a still greater advance, and carried his reputation beyond the limits of the Venetian waters. In 1780 Canova left Venice for Rome, with a pension granted by the state for three years, and a special recommendation to the Venetian ambassador. Count Zulian, who became subsequently a valuable patron to him. He contracted also a friendship with Gavin Hamilton, then an important critic in Rome, and a valuable acquaintance for Canova. He initiated him into the history and principles of ancient and modern art. About 1783 Canova decided to fix himself definitively at Rome. Pompeo Battoni was then the great Roman celebrity in painting. From this time he commenced that series of great works which have earned him the renown of the most distinguished sculptor of modern times. Among the first was "Theseus and the Minotaur." One of his first important monuments was the mausoleum of Clement XIV. in the church of the Santi Apostoli, with three colossal figures. This was followed by the still more important monument to Clement XIII. in St. Peter's, uncovered in 1795, and particularly celebrated for its two crouching lions. In this year he made the bas-relief to the Venetian admiral, Emo, for the arsenal at Venice, and for which the senate sent him a gold medal with this inscription—"Antonio Canova Veneto artibus elegantioribus mirificè instructo ob monumentum publicum Angelo Emo egregiè insculptum Senatus Munus: a. mdccxcv." Among the minor works of this period is the well-known "Penitent Magdalene," made shortly before the invasion of Rome by the French. It was about this time also that Canova tried his hand at painting. There is a print by Pietro Vitali, entitled Venere Transteverina, which is engraved from a painted Venus by Canova. He painted also his own portrait for the Florence gallery, besides several other pictures. When Rome was occupied by Berthier in February, 1798, and Pius VI., a great patron of the arts, was dethroned and removed, a suspension took place in the labours of Canova at Rome, who also left the eternal city and revisited his native place, Possagno. Rome was no place for artists during its short-lived republic, which was a simple interregnum of anarchy. Many of its most valued art-treasures were alienated at this period. Canova made an extensive tour in Germany during his absence from Rome, and the
