province of Sardinia, embracing the extreme southern part of the island; bounded N. by Isili, N.E. by Lanusci, W. by Iglesias. Pop. (1848) 106,388.

capital of the above province, and of the island of Sardinia, situated in the recess of the bay of Cagliari, on the southern coast of the island, in N. Lat. 39.33.14., E. Long. 9.7.48. It is built on the slope of a hill, the summit of which is crowned by a noble castle, containing the vice-regal palace, the cathedral, the university, and public seminaries. The intermediate slope between the bay and the district of the castle is occupied by the Marina, a well-built Cagliari, quarter, where the merchants and consuls reside. Lining the coast are the warehouses, the lazaretto, and the mole. To the west of the castle stands the district of Stampace, to the east that of Villanova,—both consisting of narrow, irregular, and ill-paved streets,—while outside is the spacious suburb of St Avandres, nearly a mile in length. The principal public buildings are those in the castle, including the cathedral already mentioned, built by the Pisans during their occupation of the island, with a handsome front mostly of marble; the vice-regal palace; the mausoleum of Martin, king of Sicily; and the citadel on the northern side, surmounted by three square Pisan towers. The educational and literary establishments of Cagliari include the university (with the four faculties of theology, law, medicine, and philosophy, and enrolling from 200 to 300 students), a private college for the nobility, museums of antiquities and natural history, and a public library containing 15,000 volumes. Besides the cathedral, Cagliari contains about 30 churches and 21 convents, to one of which is attached a handsome chapel. It is the see of an archbishop, and the seat of the cortes or states-general for the whole island, and of the audiencia or judicial court for the southern division. The bay of Cagliari contributes greatly to its commercial importance. It is formed by the projection of Cape Carbonara on the one side and Pula on the other; having an extreme width of 24 miles, and a depth of 12. The harbour at the south angle of the wall of the Marina quarter, inclosed by a projecting pier, is one of the best and safest in the Mediterranean, being well sheltered from every wind except the south. Cagliari is the chief port of Sardinia, and monopolizes almost all the export trade of the island. The exports consist chiefly of the corn, oil, wine, and manufactures of the country. The principal articles of manufacture are tobacco (which is a royal monopoly), cotton fabrics, soap, chairs, and salt; the last article being procured from numerous salterns in the bay of Cagliari and the neighbourhood.

From the elevation of its site the climate of Cagliari is healthy, notwithstanding its immediate proximity to a stagnant swamp six or seven miles in length. Pop. nearly 28,000.

The modern city stands on the site of the ancient Carales, or Caralis, which was founded by the Carthaginians, but passed into the hands of the Romans after the first Punic war. In the civil wars between Caesar and Pompey, and during the empire, it was regarded as an important naval station, but was never raised to the status of a Roman colony. After the fall of the Western Empire it continued under the Vandals to be the capital of the island, and retained its importance during the middle ages. The site of the ancient city is still marked by the remains of a large aqueduct, a circular temple, and numerous Roman sepulchres.

Paolo, called Veronese, a distinguished painter, born at Verona in 1532. His father Gabriele Cagliari, who was a sculptor, perceiving his son's extraordinary predilection for painting, placed him with his uncle Badile, then one of the most eminent artists at Verona. Here he rapidly distinguished himself; and while still a mere youth, was employed by Cardinal Ercole Gonzaga to paint an altarpiece for the cathedral of Mantua. Proceeding afterwards to Venice, he was engaged to paint the ceiling of the church of St Sebastian in that city, and produced his celebrated work, the story of Esther, which at once established his fame. In conjunction with Tintoret, F. Bassano, and Battista Franco, he was employed to execute some works for the senate, and bore away the palm of victory,—an honour that was enhanced by the circumstance that Titian and Sansovino were the judges. He visited Rome in the suit of Grimani the Venetian ambassador; and while there he made the works of Michael Angelo and Raphael the especial objects of his study. Yet it must be observed that Paul Veronese was guided solely by the impulses of his own genius and vivid imagination, which delighted in gorgeous effect and magnificence of costume, even where such accessories were out of place,—a peculiarity that is manifest in his great picture of the Marriage at Cana, in which the guests are represented in the rich attire of the luxurious Venetian nobility of his time. He was esteemed the greatest of the Lombard school, and was not inappropriately styled Il pitore felice. At Venice the specimens of this great master are very numerous. His principal works are the following: The Marriage at Cana (in which he has introduced at least 150 heads), now in the Louvre; The Feast of Simon, with Mary Magdalene washing our Saviour's feet,—painted for the church of St Sebastian; Christ at Table with his Disciples,—painted for the church of SS. Giovanni e Paolo; The Feast of Simon, differently painted from that above mentioned,—presented by the republic, in 1665, to Louis XIV.

This great painter died at Venice in 1588; and a statue of brass was erected to his memory in the church of St Sebastian. (See Lanzi, Storia Pittorini.)