1779, through the influence of Falieri, he received a pension from the Venetian Government, entitling him to three years' study in Rome. He arrived there at a time when the life work of Winckelmann (q.v.) and others was bearing fruit in a new revival of the antique. Through the influence of the Venetian ambassador he was introduced into literary and artistic circles, where he formed his life-long friendship with Quatremère de Quincy (q.v.), the celebrated French archæologist and critic, who exercised great influence upon his art. He threw himself with ardor into the study of the antique, and his "Theseus Vanquishing the Minotaur" showed the fruit of these studies. Exhibited in 1782, it was epoch-making in modern sculpture, as a return from baroque to classic art. He at once rose to the rank of the first sculptor of his day. A commission for a monument to Pope Clement XIV., in Santi Apostoli, was assigned to him, and on the successful completion of this work, in 1787, he received a commission for a like monument to Pope Clement XIII., Rezzonico, in Saint Peter's, completed in 1795- one of his best works. Upon the sarcophagus is an image of the Pope kneeling in prayer, while on the left is a rather stiff figure of "Religion," with the cross, and on the right a genius, somewhat effeminate, with the torch of life reversed. Beneath are two splendid lions, the best part of the work. During this period Canova also executed works of quite a different kind. His famous "Cupid and Psyche" (Louvre), in which the love-god, bending over, raises Psyche from the earth, although not without charm, marks what might be called a departure from the antique, because of the constrained position. More attractive is his later representation of the same subject in the Louvre, where Cupid leans confidingly on Psyche's shoulder, watching a butterfly. Among his other famous works executed before 1798 are his "Venus and Adonis," in the Naples Museum, celebrated for the caressing attitude of the goddess, and "Hebe Pouring Nectar" (Berlin), a charming specimen of girlish beauty, and different representations of the same subject in the Royal Palace, Munich. He usually executed several replicas of works like these, and those cited are either the original, or, failing these, the best-known copy. In order to show his ability with more virile subjects he carved colossal figures of "Hercules Throwing Lichas into the Sea," now in Palazzo Torlonia, Rome, and of the two Greek boxers, "Creugas and Damoxenos," in the Vatican. Although deemed successful by contemporaries, the exaggerated action of these statues displeases modern critics, notwithstanding the great anatomical knowledge displayed, especially in the inverted figure of Lichas. While the Pope was expelled from Rome in the revolution of 1798, Canova spent two years traveling in Austria and Germany with Prince Rezzonico. He returned, however, with the new Pope, and soon afterwards executed his "Perseus," which was purchased by the Pope, with general applause, and placed upon the empty pedestal of the "Apollo Belvedere," after which it had been modeled, in the Vatican. In 1805 the sculptor was commissioned to execute a substitute for the "Medicean Venus," which, like the Apollo, had been taken to Paris by Napoleon. His "Venus" now stands in the Pitti Palace. The "Three Graces" (Saint Petersburg) were executed in rivalry to the antique subject in Siena. Compared with the antique these works seem lacking in simplicity and sentiment; they appear artificial and sentimental, like the age of Canova. Herein lies the importance of Canova as the characteristic representative of his time. His art is a transition from the baroque to the purer classical taste of Thorwaldsen and his successors, and his position in the development of modern sculpture is like that of David in painting. He was the first to show the way to what became one of the most important factors in modern sculpture. Canova was three times summoned to Paris by Napoleon: in 1802, 1805, and 1810. His patriotism would not permit him to accept the Emperor's brilliant inducements to remain in Paris. He pleaded with success for the support of the arts in Italy, but could not induce the Emperor to return the extorted art treasures. He carved the well-known ideal bust of Napoleon in the Pitti Palace, and in 1812 he finished a colossal marble statue, in which, according to Roman custom, the Emperor is represented nude, as a god. The original marble is lost, but an excellent bronze cast is in the court of the Brera Palace, Milan. He also represented Napoleon's sister, Pauline Borghese, as a reclining Venus, his mother as Agrippina, the Empress Maria Louisa as Concordia. In 1815, after the fall of Napoleon, he was sent as the Pope's ambassador to Paris, to bring about the return of the art treasures taken from Rome, and it was chiefly owing to his skill as a diplomat that they were returned. On his return to Rome the Pope made him Marquis of Ischia, the Academy of Saint Luke chose him perpetual president, and the Roman Senate inscribed his name in the Golden Book of the Capitol. During his embassy to Paris he visited London and saw the Elgin marbles, but warmly rejected Lord Elgin's proposal to restore them. One of Canova's most celebrated works was the monument ordered, in 1798, by Albert, Prince of Sachsen-Teschen, for his wife, Marie Christina, Archduchess of Austria, but not completed till 1805, and erected in the Church of the Augustines in Vienna. It consists of a marble pyramid, in front of which are two groups of figures. On the left "Virtue," attended by two beautiful maidens, and bearing the cinerary urn, strides toward the door of the pyramid, followed by "Charity," leading a blind old man. On the right reclines a lion as guardian of the tomb, and a mourning genius. The composition is more adapted to a painting or relief than to a work of sculpture, and the figures, notwithstanding their beauty, have the effect of artificiality. Among his other sepulchral monuments are that of his friend Volpato, in Santi Apostoli, Rome; of the poet Alfieri, in Santa Croce, Florence; of the last three Stuarts, in Saint Peter's, Rome, and of Pius VI., a praying figure, in Saint Peter's. In these works he appears at his best. Among his classical subjects are an excellent "Paris" (1807), in Munich, "Theseus and the Centaur," in Vienna, and a "Mars and Venus," in London. His famous series of antique dancers are too studied in pose to be pleasing. One of his last works was the plaster model of George Washington, clad as an antique hero, writing his last message, which may be seen in the museum in his native town. He seldom treated religious subjects, and when he did he represented them as beautiful, classical figures. The best-known example is a kneeling "Magdalen," in Villa Carlotta, Candenabbia. Canova also executed a large number of portrait busts of the celebrities of his day, his friends, and especially of ideal women, as Laura or Beatrice. They are too lacking in individualization to be good portraits. He was unsuccessful in relief work, owing to his inability to make a good composition. As a painter he is of little importance. But in his proper field of sculpture he is one of the most prominent figures of modern times. No one has treated the surface of marble with more delicacy and more skill than he. Canova died in Venice, October 13, 1822, and was buried at Passagno in a church which he had himself erected at the cost of his earnings of a lifetime. There is also a monument to him, after his own design, in the Church of the Frari, Venice, near the tomb of Titian. He was a man of lovable character, kind and charitable, especially to young and needy artists. He was inspired by a lofty patriotism, and by a touching love for his native town, to which he returned whenever possible. His house there contains a museum of his works, with the original plaster models of the most remarkable. His works were engraved by Lasinio (Pisa, 1821-25), Moses (London, 1828), and Reveil (Paris, 1825). BIBLIOGRAPHY. An excellent contemporary biography of Canova was written by his friend, Quatremère de Quincy (Paris, 1834), with which compare the more critical Römische Studien, by Fernow (Zürich, 1806). Other biographies are those of his friend Cicognara (Venice, 1823); Missirini (Prato, 1827); Rosini (Pisa, 1825); D'Este (Florence, 1864); Lücke, in Dohme, derts (Leipzig, 1883); and Meyer, in Knackfuss, Künstlermonographien (Bielefeld, 1898). Kunst und Künstler des neunzehnten Jahrhun CÁNOVAS DEL CASTILLO, käʼnô-vås del kȧ-stelyo, ANTONIO (1828-97). A Spanish statesman, born in Malaga, June 5, 1828. He studied philosophy and law in Madrid, entered journalism, and soon became active in politics. In 1852 he represented his native city in the Cortes as a Liberal, and two years later was appointed chargé d'affaires at Rome, where he aided in preparing the concordat between Spain and the Holy See. After being director-general of the administration from 1858 to 1861 and UnderSecretary of State in the latter year, he became, in 1864, Minister of the Interior in the Mon Ministry, and Minister of Finance and the Colonies in the O'Donnell Ministry the next year. He prepared at the time the law for the abolition of negro slavery. He was one of the last to defend in the Cortes the Liberal principles he espoused under the reactionary sway of Narvaez and Gonzalez Bravo, and was banished shortly before the revolution of 1868, in which he had no share. Returning to active life in 1869, as the leader of the moderate Conservatives, he opposed in the Constituent Cortes the project of a democratic constitution, and was one of the leaders of the movement which placed Alfonso XII. on the throne. He became president of the Council and chief of the provisional Cabinet December 31, 1874, and remained at the head of the Liberal-Conservative Ministry (the so-called Cabinet of Conciliation). He withdrew in September, 1875, before the attacks of the extreme Conservative party. He was recalled in December of the same year and charged with the direc tion of the first legislative elections under the new regulations. From this time he remained Premier, until 1879, when Marshal Martinez Campos returned from Cuba and took his place, retaining the principal members of the Cabinet. Martinez Campos was in turn obliged to resign in December, being defeated upon certain free-trade measures, and Cánovas returned to power. His Conservative Cabinet was overthrown in 1881. He was again Premier in 188485, in 1890-92, and again in 1895-97, alternating in office with Sagasta, the leader of the Liberals. In time his ideas became decidedly Conservative, and to the Radical element in Spain Cánovas appeared in the light of a reactionary. He was assassinated by an anarchist on August 8, 1897. Cánovas found time, even in the stir of Spanish political life, for considerable literary activity. In 1867 he was elected a member of the Academy of Madrid. Among his writings are a volume of poems (1887), Estudios del reinado de Felipe IV. (1888); Artes y letras (1887); Problemas contemporáneos, a collection of essays on economic and social questions (1884); Biografía de Calderon (2 vols., 1883); and several minor pieces. He also edited the works of a number of contemporary dramatists (2 vols., 1881-86), and an important historical work, the Historia general de España (10 vols., 1890-97). The most extended biography is by Pons y Humbert, Cánovas del Castillo (Madrid, 1901). CANROBERT, käN'ro'bâr', FRANÇOIS CERTAIN DE (1809-95). A marshal of France. He was born at Saint Céré, June 27, 1809, studied in the military school of Saint Cyr, and in 1828 entered the army. After 1835 he served in Algeria. In the storming of Constantine he was one of the first to enter the breach. In 1849 he commanded! a successful expedition against the Kabyles. As general of brigade, in 1850, he led an expedition through the rocky country of Narah, and destroyed the Arab stronghold there. In January, 1853, he became a general of division. In 1854 he commanded a division in the Crimea, and upon the death of Saint-Arnaud he assumed control of the French operations. In 1856 he was made Marshal of France. In 1859 he was a corps commander in the Italian campaign against Âustria, and took part in the battles of Magenta and Solferino. At the outbreak of the Franco-German War he was in command of the Sixth Army Corps. He was shut up in Metz with Bazaine, and became a prisoner. In 1879 he became a member of the French Senate. Consult Martin, Le maréchal Canrobert (Paris, 1895). CAN'SO. A port of entry in Guysborough County, Nova Scotia, near the cape of the same name (Map: Nova Scotia, J 4). It has important fishing interests, being the port of call for the Gloucester fishing fleet. The annual trade in fish products is valued at between $300,000 and $400,000. Canso is the landing-place of two cables of the Western Union and five of the Commercial Cable Company. The United States is represented by a consular agent. Pop., 2000. CANSO, CAPE. The eastern extremity of Nova Scotia and the southern boundary of the entrance of Chebucto or Chedabucto Bay (Map: Nova Scotia, J 4). It is in latitude 45° 21′ N. and longitude 61° W. The GUT or STRAIT OF CANSO is a passage 17 miles long and 21⁄2 miles in average breadth, connecting the inlet just mentioned with the Gulf of Saint Lawrence, and forming an island of Cape Breton. It is greatly used by local sailing vessels, but of the three channels between the Gulf of Saint Lawrence and the open ocean, it is the one that is least frequently used by European vessels. CANSTADT, kän'ståt (from Cannstatt, or Canstadt, a city of Württemberg, now part of Stuttgart). The name applied to a long-headed type of Quaternary man in Germany, based on a fragment of skull found among relics dug up in the year 1700 by Duke Eberhard Ludwig. Consult Mortillet, Le préhistorique (Paris, 1900). CANSTEIN, känʼstin, KARL HILDEBRAND, Baron von (1667-1719). The founder, by his writings and by his will, of the famous Canstein Bible Institute in Halle, Germany, for the distribution of the Scriptures at the lowest rates. CAN'TAB, or CAN'TABRIG'IAN (Med. Lat. Cantabrigiensis, from Cantabrigia, Cambridge). One who is either a student or a graduate of the University of Cambridge, England. CANTABILE, kán-tä'bê-lå (It., singable, from Lat., It. cantare, to sing). In music, a term which signifies in a singing or vocal manner. When placed over a passage of music, it demands an easy, flowing execution, along with a clear-cut and well-defined delivery of the chief melody, so as to bring it distinctly out against the background of the accompaniment. CANTA'BRI (a word of Iberian origin). A rude race of mountaineers of ancient Spain. They were of Iberian origin, and lived in a district comprised in the modern provinces of Oviedo (eastern part), Santander, Vizcaya, and Guipúzcoa, on the coast of the Bay of Biscay, which derived from them its name, Oceanus Cantabricus. The most important of their towns was Iuliobriga (the Roman form of its name). The Cantabri are described as like the Scythians and Thracians in hardihood and martial character, sleeping on the bare earth, enduring extreme pain without a murmur, and, like most savages, leaving agricultural toil to their women. Their bravery was evinced in the Cantabrian War, a six years' contest with the Romans, begun by Augustus, and concluded by Agrippa (B.C. 25-19). Tiberius afterwards stationed garrisons in the towns of the conquered Cantabri, but some portion retreated into their fastnesses among the mountains, where they preserved their independence. They are supposed by some to be the ancestors of the Basque race (q.v.). CANTA BRIA. The name anciently applied to a district of Spain, on the south coast of the Bay of Biscay, the home of the Cantabri (q.v.). CANTA'BRIAN MOUNTAINS. A range of mountains extending for a distance of over 300 miles through northern Spain near the shores of the Bay of Biscay, from the west end of the Pyrenees to Cape Finisterre (Map: Spain, C 1). Less than 30 miles wide in the east in the Basque Provinces, the range broadens out toward the west and breaks up into a number of ranges, which, with their foot-hills, cover the whole northwest corner of the Iberian Peninsula ; at the east the main range is less than thirty miles from the coast, but this increases to about 70 miles at the west. Extreme elevations of over 5000 feet in the eastern part increase to nearly 8800 feet near the centre (Peña de Cerredo, 2678 meters); but farther west the elevations decrease from 6000 and 7000 feet in Asturias to 3000 to 4000 feet in Galicia, and rapidly diminish toward the western coast. In general, the northern and western sides are steep, forming a bold seacoast, with promontories interrupted by short narrow sections of flat coast, but on the south and east the slope is more gradual, and the descent relatively slight to the great Castilian plateau. Different portions of the Cantabrian Mountains have local names. CAN'TACUZE'NUS (Med. Gk. Kavrakovn voç, Kantakouzēnos), JOHN VI. (c.1292-c.1380). A Byzantine emperor and historian, born in Constantinople. Under Andronicus III. (132841), he had principal charge of the Government, and when Andronicus died he was left regent, the successor being John Palæologus, then only nine years old. Suspected by the Empress, Cantacuzenus fled from Constantinople, and proclaimed himself Emperor. Six years of civil war followed, in which the rivals employed foreign mercenaries and nearly ruined the Empire. In 1347 Cantacuzenus entered Constantinople and became joint Emperor with John Palæologus, but monopolized the royal power. He governed the Empire until 1354, when John, aided by a Cantacuzenus popular revolt, overcame him. abdicated and entered a monastery, where he wrote a history of his life and times, from 1320 to 1357, published in the collections of Byzantine historians. He strove during his regency and reign earnestly but unsuccessfully to preserve the Empire from further decline. CANTAL, kän'tål. A central department of France, formed out of the southern portion of the old Province of Auvergne (Map: France, J 6). Area, 2217 square miles. Population, in 1896, 234,382; in 1901, 230,511. Almost the whole area consists of the remains of an extinct volcano, intersected by gorges and diversified by peaks, the higuest of which are the Plomb de Cantal (6095 feet) and the Puy Mary (5850 feet). Unimportant streams traverse the gorges. Cattleraising is the chief industry, only about onequarter of the department yielding arable land. Coal exists in the northwest and near Mauriac, and marble is quarried. Capital, Aurillac. CANTALOUPE. A variety of muskmelon (q.v.). CANTANI, kån-tä'nê, ARNOLDO (1837-93). An Italian physician, born in Hainsbach, Bohemia, and educated in Prague. In 1864 he became professor of pharmacology and toxicology in Pavia; in 1867 director of the Clinical Institute of Medicine in Milan; and in 1868 professor devoted in Naples. His investigations were chiefly to such diseases as malaria, cholera, typhoid, tuberculosis, and diabetes. His efforts in behalf of the introduction of German medical methods into Italy were especially commendable. Among his principal publications are the following: Manuale di materia medica e terapeutica (2 vols., 1865-77), and Manuale di farmacologia clinica (5 vols., 2d ed., Milan, 1885-90). CANTARINI, kän'tà-re'nê, SIMONE (161248). An Italian painter, called the Pesarese, or Simone da Pesaro. He was born in Oropezza, near Pesaro, and after studying under Pandolfi and C. Ridolfi, entered the school of Guido Reni, of whose manner he became a close imitator. He devoted some time to studying the works of Raphael in Rome, and then went to Mantua. Humiliated by his unsuccessful effort to paint a portrait of the Duke of Mantua, he went to Verona, and died there, probably by poison. Though Cantarini approached nearer to Guido than any other of his imitators, and excelled as a colorist, he showed little originality. His etchings, too, are able and spirited, but in these his imitation of Guido is even more apparent than in his paintings. His best-known productions are the paintings: "Assumption" (Bologna Gallery); "Holy Family" (Barbaziano); “Transfiguration" (Milan); "Joseph and Potiphar's Wife" (Dresden Gallery); a portrait of Guido (in Pesaro); and the etchings "Saint John in the Wilderness;" "The Repose in Egypt;" another "Repose in Egypt," with the head of the Virgin in profile and Saint Joseph sitting near her; "Venus;" "Adonis;" "Cupid;" and "Fortune." CANTATA, kan-tä'tà (It., song, from Lat., It. cantare, to sing). In music, the name of a vocal composition of either a sacred or a secular character, for solo voices, ensembles, and chorus, with instrumental accompaniment. The sacred cantata differs from the oratorio in that it is less subjective, the solos representing individuals from a community or a congregation. The secular cantata differs from opera in the absence of stage accessories, and in this respect the name lyric scene' is perhaps more appropriate. In mere matter of length the cantata is usually much shorter than the opera or the oratorio. CANTEEN' (Fr. cantine, from It. cantina, cellar), MILITARY. A place of refreshment, set apart in every army post, wherever practicable, for the use of the rank and file of the troops stationed there. In the United States, the canteen system consists of a number of so-called post exchanges, intended to combine the advantages of a gymnasium and reading and recreation rooms. There are also in the same establishments cooperative stores and restaurants, including lunch counters, where are sold non-intoxicants and tobacco. The primary purpose of the entire undertaking is to furnish the troops, at reasonable prices, with articles of ordinary use, wear, and consumption not supplied by the Government, and to afford them means of rational recreation and amusement. When the exchange or canteen is free from debt, the net profits are distributed among the various organizations stationed at the post, for the maintenance of regimental and post athletic teams and other institutions. Previous to 1901, when the sale of intoxicants was abolished, the post exchange was permitted to sell beer and wine to the troops, the sale of spirits being, however, prohibited. This department was for the advantage of men confined by their duties to the post, or those not desiring to go outside. Strict regulations were made and enforced against possible abuses of the privilege; the beverages sold were generally the best procurable, and retailed to the soldier at the lowest possible price. As a result of public pressure, however, the canteen was formally abolished by act of Congress in 1901. There has been much controversy regarding this side of the canteen, the majority of army officers being strongly in favor of the canteen, and the several national temperance societies as strongly against it. In England there is a canteen established in every post, barrack, and standing camp; in the latter instance each regiment stationed in the garrison or camp has its own regimental canteen, while there is, in addition, a separate establishment known as the garrison canteen. The canteen is divided into two parts-the wet canteen, where ale, porter, and mineral water are on sale; and the dry canteen, at which groceries may be purchased. A separate institution is installed in all permanent barracks, known as the 'recreation rooms. This also is a regimental institution, and generally contains pool and billiard tables, material and accommodations for the playing of cards, chess, dominoes, and similar games, for which no charge is made. There is a room in the same building set apart for library and reading-room. In garrisons and standing camps there is a permanent library of considerable size, supplied with standard and current literature. British soldiers are allowed three-quarters of a pound of beef and one pound of bread per diem. This is the regular Government ration; all other food is purchased by the soldier, for which an average allowance of threepence halfpenny is deducted from his pay, the scale of pay being so arranged as to cover this deduction. value of this system to the soldier is that it gives him so much increase of pay when away from his mess or regiment. All groceries are to be purchased from the dry canteen, and are retailed to the different company messes at the also purchase foods and groceries in the smallest lowest possible rate. Individual soldiers may possible quantities from the dry canteen, and cooked meals or goods from the regimental café or restaurant attached to the recreation rooms. The wet canteen is for the exclusive use of private soldiers; neither wines nor spirits are permitted to be sold, nor are men allowed to have credit with the steward, as they usually are in the dry canteen, and invariably in the restaurant. A non-commissioned officer is always on duty, to maintain order and prevent the admission of men denied its privileges. Corporals have their separate canteen, and sergeants their own mess, military discipline not permitting the intermingling of the rank and file. moneys over and above the expenses and working capital are divided among the various regimental organizations and funds. The All The canteen as an article of equipment varies in the different armies. In the United States, as in most of the armies of Continental Europe, it is a metal, leather, or wooden flask or bottle, having an average capacity of two pints, in which the soldier carries his liquid refreshment on the march, in which case it is carried slung by a strap over the shoulder. In the British Army such a vessel is called a water-bottle, while the canteen is a combination of pan, dish, and plate, constructed of tin, covered, when not in use, with a thin leather material, and carried, on the march, strapped to the valise (knapsack), pack, or waistbelt, according to the order in which the men are equipped. CANTEMIR, kän'tye-mēr'. See KANTEMIR. CANTERAC, kän'tâ-råk', José (c.1775-1835). A Spanish soldier. In 1818 he went to Peru, in command of a detachment sent to assist in quelling the revolt there. With General La Serna he fought several campaigns in Upper Peru. He was a member of the cabal which in 1821 obtained the deposition of Pezuela from the viceroyalty and the appointment of La Serna to that office. As lieutenant-general and commanderin-chief of the Royalist forces, he was utterly defeated by Bolivar at the Plain of Junin. He was subsequently in command of the reserves at the final battle of Ayacucho (December 9, 1824), and, after his return to Spain, was shot during a mutiny in Madrid. CANTERBURY, kăn'tĕr-běr ́i (AS. Cantwaraburh, burg of the Kents, from Cantwara, gen. pl. of Cantuar, Kentish man + burh, town). A municipal and Parliamentary borough, civic county, and cathedral city in Kent, England, on the river Stour, 56 miles east-southeast of London, on the highroad from London to Dover (Map: England, H 5). It is the archiepiscopal see of the primate, and the ecclesiastical metropolis of all England. The city, traversed by two main branches of the river, stands on an undulating plain between hills of moderate height. It dates from the early period of English history, and retains many of the aspects of an old town, High Street containing several mediaval houses with gabled ends and projecting fronts. One of the gates and some remains of the ancient city wall still exist, and near the wall is an artificial mound, 80 feet high, known as the Dane John (probably Donjon), from the summit of which a fine view of the country around is obtained. Connected with this mound is a public garden, laid out in the end of the Eighteenth Century. The ruins of a Norman castle also stand near the city wall. Christchurch Cathedral, the crowning architectural feature of Canterbury, occupies almost the central point of the city. It stands amid its own precincts, to which admission is obtained through a beautiful gate of Perpendicular architecture erected in 1517. The cathedral is a magnificent building, 545 feet long and 156 feet broad at the eastern transepts. Its general aspect is of the Perpendicular style of architecture, although it represents various phases of the architectural development of several centuries. The noble proportions of its nave, choir, corona, its lofty central tower, its double set of transepts, and its northwest and southwest towers are particularly impressive, as viewed from the entrance gateway. When Saint Augustine became Archbishop of Canterbury (about 600), he consecrated, under the name of Christ's Church, Queen Bertha's Church on Saint Martin's Hill, which had been formerly used by Roman Christians. Cuthbert, the eleventh Archbishop (740), added a church to the east of this. In the course of ages it received numerous additions, until it assumed its present magnificent form. Among those who helped to repair, enlarge, and rebuild it were Archbishops Odo (940), Lanfranc (1070), and Anselm (1093). In 1174 the choir was destroyed by fire, and a number of French and English artificers were employed to rebuild it. Among the former was William of Sens, a man of real genius, to whom the work was intrusted. The church was rich in relics. Plegemund had brought hither the body of the martyr Blasius from Rome; there were the relics of Saint Wilfred, Saint Dunstan, and Saint Elfege; while the murder of Thomas à Becket (q.v.) added a still more popular name to the list of martyrs. The offerings at these shrines, especially the last, contributed greatly to defray the expenses of the magnificent work. William of Sens did not, however, live to see its completion, dying from injuries received through a fall from the clerestory. He was succeeded by another William, an Englishman, and to him we owe the completion of the existing unique and beautiful choir, terminated by the corona or circular Gervasius, a chapel called Becket's Crown. monk, who witnessed the fire of 1174, has left an account of it, relating that the parts of Lanfranc's church which remained in his time were the nave, the central and western towers, the western transepts, and their eastern chapels. In the Fourteenth Century the nave and transepts were transformed into the Perpendicular style of that period. The central tower (called the Angel Steeple) was carried up (1486-1504) to about double its original height, also in the Perpendicular style; it is 234 feet high and 35 The indiscriminate The A feet in diameter. The northwest tower, taken down in 1834, was replaced by the existing one to match its southwest neighbor; the old tower was 113 feet high, and divided into five stories. The Norman plinth still remains on each side of the nave, in the side aisle, and portions of Norman ashlaring may still be seen about the transepts outside the west wall, and on the eastern piers of the great tower. use of the round or Norman, and the pointed or early English arch, is also a very striking feature in the eastern part of the building. Lady Chapel (now called the Dean's Chapel), with its beautiful fan-vaulted roof, stands on the north side of the church, and was built in 1368. The north transept, where Becket was murdered on Tuesday, December 29, 1170, is called the Martyrdom. Fifty years later his remains were removed from the crypt to a shrine in the newly erected Trinity Chapel, eastward of the choir. About the year 1500 the yearly offerings at this shrine amounted to $20,000; but they had then declined much in value. mosaic pavement still remains in front of the place where the shrine stood, and the stone steps which lead up to it are worn by the knees of countless pilgrims; but during the Reformation period the shrine itself was demolished (1538) by Henry VIII.'s commissioners; and, according to tradition, the saint's remains were burned. In 1643 the building was further 'purified,' as it was called, by order of Parliament. Still, many interesting monuments remain, such as the tomb of Stephen Langton; that which is commonly, but wrongly, supposed to be the tomb of Archbishop Theobald; with those of the Black Prince, of Henry IV., of Archbishops Maphan, Peckham, Chicheley, Courtenay, Sudbury, Stratford, Kemp, Bourchier, Warham, and of Cardinal Pole. The crypt is of greater extent and loftier than any other in England, owing to the choir being raised by numerous steps at the east end. Here, in 1888, a stone coffin containing the remains of a skeleton, supposed to be BeckIn 1561 et's, was discovered and reinterred. this crypt was given up by Elizabeth to a congregation of French and Flemish Protestant refugees, and a French service is still held here. In 1872 the church narrowly escaped destruction for the fourth time by fire. Other build |