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548 OAGLIARI CAGLIOSTEO tano. The soil is throughout mountainous,, the highest points being Monte d'Oleastra, in the district of Lanusei, and Moiite Arcuento, in the district of Iglesias. It is watered by the Tirso, Samassi, Fluraendosa, and several smaller streams. All kinds of grain are cultivated, and the breeding of cattle and cultivation of forests are also of considerable importance. The mines produce iron and silver ore, lead, and antimony. On the coast salt is produced in large quantities. II. The capital of the province (anc. Caralia), situated at the bottom of a bay of the same name, on the S. coast, in lat. 39 13' K, Ion. 9 7' E. ; pop. about 28,000. It is built on the slope of a steep hill which rises from the coast, and it presents an imposing appearance from the sea. The high- est part contains the principal public buildings : the castle, with the viceregal palace ; the ca- thedral, built during the 14th century ; and the university, with the departments of theology, Jaw, medicine, philosophy, and belles-lettres. Oagliari has also a public library, a museum of natural history and antiquities, several public seminaries, a theatre, a mint, many churches, and upward of 20 convents. It is the see of an archbishop, and the principal port of the island. Its more important exports are corn, oil, wine, tobacco, firearms, and soap. It was founded by the Carthaginians, and after the Roman conquest was a naval station and resi- dence of the prsetor. Remains of the ancient city are still to be seen. A submarine tele- graph communicating with Bona in Algeria, and another with Malta, have been in opera- tion since 1857. There are extensive salt works on the shores of the bay. CiGLIARI, or Callari, Paolo, commonly known as PAUL VERONESE, an Italian painter of the Venetian school, born in Verona about 1530, died in Venice in 1588. His father, Gabriele Gagliari, a sculptor, instructed him in drawing and modelling; but he afterward entered the studio of his uncle, Antonio Badile, a Veronese painter of some eminence. After executing some designs in fresco on the dome of the cathedral at Mantua, for the cardinal Gonzaga, he went to Venice, where he passed the re- mainder of his life. The work which first brought him into notice was the story of Es- ther painted on the ceilings of the church of St. ^Sebastian, under which he lies buried, and which contains a great number of his works. A journey to Rome in the suite of the Vene- tian ambassador, Grimani, enabled him to study the, works of Raphael and the elder masters. His history after his return to Venice is a rec- ord of continued and brilliant success. He dis- tributed his paintings among the churches and convents, and would seldom take from them more than the price of his canvas and colors ; for his great picture of the marriage in Oana, painted for the refectory of the convent of San Giorgio Maggiore, he received, it is said, only 90 ducats. He was distinguished for the free- dom and boldness of his designs, the brilliant coloring of his costumes and accessories, and his wonderful facility. No painter ever more frequently violated the proprieties of chronol- ogy, or more openly disregarded fact and probability. In his picture of the family of Darius brought before Alexander, now in the British 'national gallery, the men are Venetian soldiers, senators, and citizens, the women are Venetian ladies, the architecture is of the or- nate 16th century style, and the costume of the same period. In the "Rape of Europa," now at Vienna, Europa is a noble Venetian dame, sumptuously attired, and her attendants are modern maids of honor. The celebrated picture of the marriage in Cana, 30 feet by 20, now in the Louvre, is one of the best speci- mens of his representations of festive meet- ings, on which his reputation principally rests. There are three other festival pictures on a similar scale : Christ entertained by Levi, now in the academy of Venice ; the supper in the house of Simon the Pharisee, with Mary Mag- dalene washing the feet of Christ, now in the Durazzo palace at Genoa ; and the supper at Emmaus. Of his more purely religious sub- jects, the three pictures representing the death of St. Sebastian, in the church of that name in Venice, are among the finest for color and composition he ever painted. His Scriptural, mythological, and allegorical pic- tures are almost innumerable, and many excel- lent specimens are to be found at Venice, Mi- lan, and in the Louvre. Of his allegorical sub- jects, his " Venice crowned by Fame," on the ceiling of the Maggior' Consiglio hall, is an ad- mirable specimen. CAGLIOSTKO, Alessandro cli, count, an Italian charlatan, born in Palermo, June 2, 1743, died in the dungeon of Fort San Leon, in the duchy of Urbino, in 1795. The name and title by which he is known were both invented by himself. . He was of humble parentage, and his real name was Giuseppe Balsamo. At the age of 15 he ran away from a seminary where he had been placed, but was caught and placed in a monastery, where he became assistant to the apothecary, from whom he learned something of the properties of drugs. By 1759 he had be- come the shrewdest rogue in Palermo. Sicily became too hot for him, and he made his exit by obtaining money from a goldsmith under the pretence of helping him to a treasure. With this money he set about travelling, to- gether with a companion to whom he gave the name of Alhotas. He assumed a different name and character in every different country, now appearing as a necromancer, then as a nobleman, again as a naturalist or physician, while the daily exercise of old tricks and the concoction of new ones imparted an inexhaus- tible elasticity to his inventive genius. With Alhotas, according to his own account, he ex- plored Greece, Egypt, Turkey, and Arabia. At Medina he was the guest of a distinguished mufti, and at Mecca a favorite with the sherif. His smattering of medical science stood him in