Page:The New International Encyclopædia 1st ed. v. 04.djvu/183

* CANOPY. 149 CANOVA. Originally a mosquito-netting in the form of a tent. In this sense the word was used as early as Herodotus ( ii. 95) of the nets which the Xile fishermen hung up at night to keep off in- sects, and Horace (Epistle ix. 9) .shows that regular niosquilo-nettiugs were so called. Later the term came to be used of any fi.ed hang- ing or projection over a bed, couch, or throne, or of similar portable objects carried over dig- nitaries in processions, as the baldachin (q.v.). It has since passed into architectural terminolo- gy to designate any overhanging covering or pro- jection above an altar, tomb, or statue, whether CA.NOrV OF TOMB OF DUKE OF WELLIXUTON, St. Paul's. London. made of wood, stone, or metal — such a canopy aa was termed ciborium (q.v. ) in the iHddle Ages. These features became fashionable in the Gothic period, affording an opportunity for great dis- play of decorative riclmess and variety, especial- ly in connection with sculpture. The group of Gothic canopies on the tombs of the Scaligers at Verona are the climax of a numerous series at Padua, Bologna, Verona, and other Italian cities, where they stand either against a wall or free; inside a building, or out in a square. They usually at this time end in a gable surmounting a pointed or trefoil arch, with pinnacles, crockets, and finials. There are innumerable canopies in the French Gothic cathedrals, such as Amiens, Rhcims. and C'hartres, surmounting even the smallest figures and forming one of the most prominent decorative features of the style not only in France, but throughout Europe. The canopy was much used in miniature form, in reliquaries, shrines, and other goldsmith work, and in works of industrial art, tapestries, stained glass, etc. The Renaissance used it but little. CANOSA DI PUGLIA, ka-nu'.sa de poo'lya (Lat. CainisiuiH ). Aeityinsouth Italy, 1.7 miles southwest of Barletta, on the slope of a hill, near the Ofanto I Map : Italy, LG). The Cathe- dral of San Sabino, with pavement several feet below the surface of the street, was built about 1101, and contains a pulpit and an episcopal throne in marble. In an adjacent court is the tomb of Bohemond I., who died in 1111: it has bronze doors by Ruggieri of Amalfi. There is a ruined castle, built by Charles I. of Xaples. A gate and the ruins of a large amphitheatre and of an aqueduct testify to the prosperity of the ancient Canusimn, while from the tombs in the vicinity, excavated in 1S12-13, painted vases, painted busts, marble statues, and other nuvgniti- cent funereal furniture liave been transferred to the museum at Xajiles. The town was founded by the Greeks, and till the Second Punic War was an imjjortant commercial centre. Near by is the battle-ground of Cann*. The country produces wine and oil. Population (commune"), in 18S1. 19,000; in 1901, 24,169. CANOSSA, ka-nos'sa. A ruined castle in north Italy. 12 miles southwest of Reggio, cele- brated as the place where, in 1077, Emperor Henry IV. oljtained absolution from Poi>e Gregoiy VII. after three days' humiliation (Jlap: Italy, E 3). Hence the expression 'Go to C'anossa' is proverbially used to denote a surrender to the claims of the Church. When Bismarck inaugu- rated his Kulturkampf (q.v.) he publicly boasted that he would never 'go to Canossa,' but he did. The ivy-clad ruins of the castle of Canossa, which in the Eleventh Century be- longed to Countess ilatilda of Tuscany, Greg- ory's friend, and which was destro^-ed by the citizens of Reggio in 1255, croTi the rock above the little village. From it there is a splendid view to the south of the castle of Rossena, with the Apennines in the background, and to the north, of the valley of the Po. CANOT, ka'n.y, Theodore (1807-50). An African slave-trader. He was born in Florence, Italy, and after numerous adventures made his first voyage to Africa in 182G, sailing from Ha- vana to Bangalang. on the River Pongo, Sene- gambia. After several successful voyages as the o"ner of a slave transport, he established a slave station at Kambia, which was destroyed by fire in May, 182S. Afterwards he became the pioneer of the slave traffic at Xew Sestros, and in 1840 sent 749 slaves from that station to Cuba. Upon the destruction of the settlement of Xew Florence in 1847, which he had established sev- eral years previously, ostensiblj' as an agricul- tural and trading centre, he removed to South America, whence he went to Baltimore, ild., and finally to France, where he was ajjpointed an official in one of the French colonies of Oceaniea. Consult ifayer. Captain Canot, or Tuenty Years of an African Slai-er (Xew York, 1854). CANOVA, ka-no'va, Antonio (1757-1822). An Italian sculptor. He was born at Possagno in the Province of Treviso, Xovember 1, 1757. His family had been stone-cutters for generations, and his grandfather taught him the use of the chisel. The lad's talent attracted the attention of the Venetian Senator Giovanni Falieri, who jirocured him admission, in his fourteenth year, to the atelier of the sculptor Torrctti, who was working in the neighborhood. Canova accom- panied the latter to Venice, and after Torretti's death he studied with his nephew Ferrari. He also attended the Venetian Academy of Art, studying espe<'ially the nude; but found little to inspire him in the debased rococo of the day, and was in the main self-taught. His progress was rapid, and at the age of fifteen he executed for his patron Falieri two statues, "Orpheus" and '•Eurydice." His "Da-dalus and Icarus," executed in his twenty-second year, and now in the Vene- tian Academy, was even more famous. ^'hile still in the baroque style, these works show originality, and a careful study of the nude. In