Although Faust and D. J. have thus the same source and the same termination, yet, as they proceed from opposite poles, they stand in contrast to each other, and, as was natural, have found different vehicles of expression-Faust in poetry, D. J. in music. The ideal of the D. J. legend is presented in the life of a profligate who gives himself up so entirely to the gratification of sense, especially to the most powerful of all the impulses, that of love, that he acknowledges no higher consideration, and proceeds to murder the man that stands between him and his wish, fancying that in so doing he had annihilated his very existence. Partly in wanton daring, partly to allay all uneasy misgiving, he then challenges that spirit in which he disbelieves to demonstrate to him its existence in the only way he holds valid-namely, through the senses. When this actually happens, when the spirit proves its existence and power by animating the marble statue which he had, with daring mockery, invited as his guest, and summoning him to the final tribunal, compels him to acknowledge the supremacy of spirit, and the worthlessness of a merely sensuous, godless, and immoral existence, it is all over with him, he is crushed, and sinks into hell.

This ideal career is aptly enough localized in one of the most luxurious cities of the once world-monarchy of the Saracens-viz., Seville-and the characters wear the names of the ancient noble families of the place. The hero of the story, D. J., is described as a member of the celebrated family Tenorio, and is represented as living sometimes contemporary with Peter the cruel, sometimes with Charles V. The chief aim of his sinful career is the seduction of the daughter of a governor of Seville, or of a nobleman of the family of the Ulloas. Being opposed by the father, he stabs him in a duel. He then forces his way into the family tomb of the murdered man, within the convent of San Francisco, causes a feast to be prepared there, and invites the statue which had been erected to his victim to be his guest. The stone guest appears at table as invited, compels D. J. to follow him, and, the measure of his sins being full, delivers him over to hell. At a later period, the legend came to be mixed up with the story of a similar profligate, Juan de Maraña, who had in like manner sold himself to the devil, but was at last converted, and died as a penitent monk in the odor of sanctity.

It

The genuine legend of D. J. was first put into form by Gabriel Tellez (Tirso de Molina), in El Burlador de Sevilla y Convivado de Piedra. This drama was transplanted to the Italian stage about 1620, and soon found its way to Paris, where numerous versions of it, among others Molière's Festin de Pierre (1669), made their appearance. was brought on the English stage by Shadwell under the title of The Libertine (1676). In the end of the 17th c., a new Spanish version of Tellez's play was prepared by Antonio de Zamora, and brought on the stage. It is this version that forms the groundwork of the later Italian versions and of Mozart's opera. It was first put into an operatic form by Vincenzo Righini in Il Convitato di Pietra (1777); the text of Mozart's Don Giovanni was written by Lorenza da Ponte (1787). Through this famous opera the story became popular all over Europe, and has since furnished a theme for numbers of poets, playwrights, and writers of romance. A. Dumas has a drama, Don Juan de Maranna; Byron's Don Juan follows the name, and in so far the character of the original; and Prosper Mérimée's novel, Les Ames du Purgatoire, ou les Deux Don Juan, is founded upon it.

DONNE, JOHN, D.D., the son of an eminent merchant, cadet of an ancient family in Wales, was b. in London in 1573. His parents were Catholics, and he was educated in that faith. At the age of 11, he went to Oxford, where he remained three years; thereafter, he removed to Cambridge. Although he greatly distinguished himself at these seats of learning, the faith of his parents prevented him from taking a degree. At the age of 17, he entered Lincoln's inn, to read for the bar; and while so engaged, he carefully studied the principal points in dispute between Catholics and Protestants, and finally joined the latter. About this time, he wrote several of his minor poems, the erotic heat of which contrasted strangely with the austerity of his later years. In 1594, he went abroad, and lived for three years in Spain and Italy. On his return, he was made secretary to Lord Ellesmere, then lord keeper of the great seal. Here he fell in love with that nobleman's niece, and they were privately married. When the union was discovered, D. was imprisoned by his enraged father-in-law. After his liberation, he recovered his wife by legal process, and, without settled employment, went to reside at the house of sir Francis Wooley, a kinsman of his wife. After the death of sir Francis, he removed to London, and lived with sir Robert Drury, in Drury lane. With sir Robert he went to Paris; and on his return, at the instigation of James I., who was delighted with the Pseudo-Martyr, a book which D. had written against the Catholics, he entered holy orders. He was made D.D. by the university of Cambridge; and after accompanying an embassy to the queen of Bohemia, he was made on his return dean of St. Paul's, and vicar of St. Dunstan's. A fever carrried him off in 1631. His life has been written by Izaak Walton-forming one of the group of "lives" so praised by Wordsworth in a celebrated sonnet.

D.'s works consist of satires, elegies, religious poems, complimentary verses, and epigrams: they were collected and published by his son in 1650. An earlier but imperfect collection appeared in 1633. D. is usually considered as the first of a series of poets of the 17th c., who, under the infelicitous name of the metaphysical poets, fill a con

spicuous place in English literary history. The directness of thought, the naturalness of description, the rich abundance of genuine poetical feeling and imagery, now began to give way to cold and forced conceits, and elaborate exercises of the intellect. Yet it is generally acknowledged that, amid much rubbish, there is not a little real poetry, and that of a high order, in Donne. His fancy was rich and subtle, his wit singularly keen and poignant, and his word-painting such, that, if he had possessed, in addition, music and sensibility, he would probably have enjoyed a perpetual popularity.

DON'NYBROOK, or ST. MARY'S OF DONNYBROOK, a village and parish in Dublin co., Ireland; now included in Pembroke, a western suburb of Dublin. The parish contains the villages of Donnybrook, Irishtown, Merrion, Ringsend, and Sandymount. The village of Donnybrook was long noted for its fair (begun under king John), kept up for half the month of August every year. In later times the fair lasted only a week. It was long notorious as a season of debauchery and fighting, and in 1855 was finally abolished. DON QUIXO'TE. See CERVANTES.

DOO, GEORGE THOMAS, one of the best English historical engravers of the present day, was b. in the parish of Christ Church, Surrey, Jan. 6, 1800. He has made himself best known by his famous plate of Knox Preaching before the Lords of the Covenant," after Wilkie; while his admirable rendering of Eastlake's "Italian Pilgrims coming in sight of Rome," his exquisitely finished heads of women and children, after Lawrence, his engravings from Raffaelle, Correggio, and others, have succeeded in winning for him a very high place in the estimation of the admirers of his laborious art. In 1851, he was elected a fellow of the royal society, and, in 1856, a royal academician. He was appointed chairman of the engravings committee of the London international exhibition of 1862. In 1864, he completed, after eight years' work, a large engraving of the "Raising of Lazarus," by Sebastian del Piombo.

DOOBOV'KA, a t. on the Volga, in European Russia, government of Saratof; 180 m. w. of Saratof city; pop. '67, 13,676. The town has a number of manufactures, and an important river traffic,

DOOLY, a co. in s. w. Georgia, on Flint river; 530 sq.m.; pop. '70, 9,790-4,855 colored. The land is fertile, but much of it is occupied by pine forests. The chief productions are corn, cotton, and molasses. Co. seat, Vienna.

DOOM, the old name given to the last judgment, and to those representations of it in churches which have a religious rather than an artistic object. Many of the dooms are executed in distemper. In the reign of Edward VI. most of them were washed over, or otherwise obliterated, as superstitious. There is a fine one still remaining in the church of the Holy Trinity at Coventry.

DOOM or DUM PALM (Hyphane Thebaica), a species of palm remarkable for the repeated forkings of its stem. It is a native of upper Egypt and of the central parts of Africa. In some districts, it is the most plentiful tree, sometimes even forming forests, sometimes growing amidst the very sands of the desert. Its leaves are fanshaped. Ropes are made of the fiber of its leaf-stalks. Its fruit is about the size of an orange, but of a somewhat elongated irregular shape; the outer skin is red, and this being peeled off, a considerable thickness of a spongy dry substance is found within it also part of the pericarp-which has an insipid sweetness, and a remarkable resemblance to gingerbread, so that the tree is sometimes called the GINGERBREAD-TREE. This substance is used as an article of food, and an infusion of it as a beverage. The infusion is cooling, gently aperient, and very salutary in fevers. The albumen of the seed is hard and semi-transparent, and is turned into beads and other little ornaments. Each fruit contains one seed. Egyptian bdellium (see BDELLIUM) is said to be an exudation of this palm.

DOOMSDAY BOOK. See DOMESDAY BOOK.

DOOMSTER. See DEEMSTER.

DOON, a Scotch river, rising in the s.e. of Ayrshire in Loch Enoch. It runs n.w. through Loch Doon (5 m. by 4 m., amid treeless mountains), past Dalmellington, Burns's monument, and Alloway kirk, to the firth of Clyde, 2 m. s. of Ayr. It is 30 m.

long. On leaving Loch Doon, the river flows through Glen Ness, a huge rocky and wooded ravine, not surpassed in picturesque beauty by any similar scenery in Scotland. On an islet in the loch are the ruins of Doon castle, where Edward, brother of Robert Bruce, is said to have lived. Burns has immortalized the D. in song.

DOOR AND DOORWAY, in art. The form of the doorway is determined by the architectural style of the building in which it is placed. In classical buildings, it is generally rectangular in form, though both Greeks and Romans, following the Egyptians, amongst whom the practice was almost universal, occasionally diminished the opening towards the top; and the Romans, in later times, very frequently threw over it the circular arch, which was the characteristic feature of their style. Egyptian doorways are known to us, for the most part, only by the examples which remain in monumental structures; and these, like the other members of the style as thus exhibited, are of gigantic proportions. The doorway of the temple at Edfu measures 74 ft. to its summit, but the lintel and cornice which cover it are so deep and massy as to occupy a space of no less than

Door.

23 ft., so that the height of the aperture is only 51. With the Egyptians, the doorway was an architectural object of very great importance. On either side of it, colossal statutes or obelisks were placed, and the approach to it was often lined with rows of gigantic sphinxes.

The Greek doorway was surrounded by moldings, and as the lintel or top-stone which covered it projected on both sides beyond the jambs, the moldings which ran round both jutted out at the place of meeting, forming a sort of shoulders, as in a doorway of Erechtheium. This arrangement, however, was by no means uniform, the moldings of the jambs being frequently quite separated from those of the architrave. The doors themselves, in antiquity, in private dwellings, were generally of wood; and in structures devoted to religious or public purposes, of metal, and occasionally of marble. They were generally paneled, and turned on pivots working in sockets. With the exception of the forms of the windows, and the tracery and foliage of the pillars, doorways are the most characteristic feature in all the styles of Gothic architecture. In the earliest, which we in this country are in the habit of calling Saxon, and which on the continent is commonly known as Romanic, they are of course very plain. There is seldom more than a few simple moldings, surrounding a semicircular arch, and in some of the earliest examples, the head of the opening is covered by two flat stones, leaning upon each other in the center, and their other ends being placed on the imposts, so as to form a triangle. In the Norman style, they become gradually more ornamental. The arch still continued in general to be semicircular, though there are a few instances of the segmental or horse-shoe arch. As the style advanced, the moldings and enrichments became more various. Of these, that which is most characteristic of the style is the zigzag molding. Circular or octagonal shafts were now frequently placed in the jambs, and these, too, were often ornamented with zigzag or spiral moldings, their capitals being enriched with foliage or grotesque heads or figures. The opening of the doorway often does not rise higher than the springing of the arch, and in this case it is generally flat, the semicircular space between it and the arch being frequently ornamented with a sculptured representation of some scriptural subject. The few Norman doors that exist are devoid of ornament, with the exception of projecting nails, and a simple iron scroll-work projecting from the hinge, and stretching to a greater or less extent over the door. As the doorway adheres strictly to the characteristics of the style, early English doorways of course generally terminate in pointed arches. In these the moldings are more numerous, the jambs contain a greater number of small shafts, some of which occasionally stand quite free, and on the whole the work is richer in form, and more finished in execution. The opening of the doorway is now frequently divided into two, either by a single shaft or a clustered column. In the decorated style, the doorways are not in general so deeply recessed as in the early English; and this circumstance takes from them in richness more than they gain in elegance by their greater height, and by the more delicate character of their ornamentation. In these, the moldings are commonly enriched with flowers or foliage, either in running patterns or placed separately at short intervals. Of these, the commonest are the ball-flower (q.v.), and a flower of four leaves, which often projects boldly, and produces a fine effect. The iron scroll-work on the doors resembles that in the former style, except that the terminations are more frequently worked into leaves or flowers. In other cases, the doors are paneled, and covered with characteristic tracery. In the perpendicular style, though the door continues to be arched, it is usually placed under a heavy square external molding. The doorway in this style loses much of the depth and richness which belongs to it in the earlier styles which we have been considering. Shafts are still used in the jambs, though not always, and they are generally small and few in number; the capitals of the jambs rarely possess the same richness of foliage, and frequently consist merely of plain moldings. One or more large hollows are often left in the jambs, forming small niches, which frequently contain statues. This latter characteristic seems to be peculiar to the perpendicular style. In the door ways, as well as in the windows of this style, the fourcentered arch came into general use, but two-centered arches, and, in small doorways, ogees, are frequently to be met with. The doors in the perpendicular style, when ornamented, are usually paneled, the upper parts being sometimes covered with tracery, but the fine iron scroll-work of the earlier styles had entirely disappeared.

DOOR, the movable panel by which the opening to an apartment, closet, or passage is closed. Doors are made of wood, iron, bronze, or stone. When moving horizontally on hinges, they are called swing-doors; when two such are used to close one opening, they are folding-doors. Sliding-doors are those which move on rollers, and may be pushed aside. A jib-door is one which is concealed as much as possible when shut. trap-door is one which opens vertically over a horizontal opening, as a hole in a floor, etc. When a small door closes an opening cut in a larger one, it is usually called a wicket.

Ꭺ

Doors are commonly made of wood, and these we shall first describe. The most simply made door is constructed of several boards joined together at their edges by a rebate, or a plowed and tongued groove (see CARPENTRY); these are held together by a transverse piece simply nailed to each board; this is called a ledge, and the door thus made, a ledge-door. These are commonly used for workshops, stabling, etc.;

Dore.

but when durability and appearance are to be combined, a stout frame is first made, its parts joined together by mortise and tenon. See CARPENTRY. This frame has one or more openings-usually four-which are filled with thin pieces called panels, fitted into grooves plowed in the edges of the frame. The horizontal pieces of the frame are, according to their position, called the top-rail, bottom-rail, lock-rail, and frieze-rail. The lock-rail is that to which the lock is fixed, the frieze-rail intermediate between the middle and top-rail in large doors. The extreme vertical parts of the frame to which the rails are fixed are called stiles, and the intermediate vertical part, a mounting. Doors are named one, two, four, six, etc., paneled doors, and are further described by the kind of molding which surrounds the panel, and from the description of panel. The main object of framing, besides appearance, is to counteract the tendency of the wood to warp, by binding the different parts together with pieces having their fibers at right angles to each other.

In many old buildings, the outer, and even some inner doors are made of massive oaken planks, bound together with ornamental iron straps. Iron doors are chiefly used to intercept fire. For this purpose, they are best made of wrought iron, with double sides. Bronze doors are sometimes used for churches and other large buildings. They are usually ornamented with castings in high and low relief. Those of the baptistery of the cathedral of Florence, by Ghiberti, and the pantheon of Rome, are among the most celebrated examples. A few examples of marble doors exist, chiefly in cemeteries and some Belgian churches.

DOOR, a co. in n.e. Wisconsin, between Green bay and lake Michigan; 625 sq.m.; pop. '75, 8,020. Agriculture is the chief business. Co. seat, Gibraltar.

DOO RA. See DURRA.

DOOR-KEEPER, in the senate and house of representatives of the federal congress, and in the corresponding bodies in state legislatures, an officer chosen by vote of the body who has general charge of the rooms. He announces messages from presidents, governors, or the co-ordinate legislative bodies; attends to the dispatch of documents, and assists the sergeant-at-arms in keeping order.

DOORN, in English, thorn, is a common name in s. Africa. It indicates various communes in the Cape Colony. It also designates two rivers, distinguished as Great and Little, both of them joining the Olifant, or Elephant, on the right, but the smaller from the s.e., and the larger from the north-east.

DOORN BOOM, Acacia horrida, the most common tree in the wastes of s. Africa. The name D. (thorn-tree), given to it by the Dutch colonists, and the botanical specific name, are due to the number and sharpness of its spines. It seldom much exceeds 30 ft. in height, but its timber is hard and tough, and is much used for house-carpentry, etc. See ACACIA.

DOOS TEE, a river of Beloochistan, running s. through the entire country, and falling into the Arabian sea. It is about 900 m. long.

DOQUET, or DOCKET (from the same root as dock, to cut off or clip), a small piece of paper or parchment, containing a brief or summary of a large writing. All attestations or declarations annexed to written instruments are called doquets, more particularly those that are done by a notary. The notarial D. is said to be the most ancient example of fixed style in Europe; and though latterly appropriated to the instrument of sasine, it was formerly common to all solemn instruments. It consisted of a Latin attestation, holograph of the notary, annexed to the notarial instrument prepared by him. The name of the notary was set forth, and the authority mentioned, by which he had been appointed to be a notary. In the case of an instrument of sasine, it stated that he was personally present with the witnesses; that he saw, knew, heard, and noted the circumstances mentioned in the sasine; that he prepared the instrument, and the number of pages it contained. In addition to his subscription, the notary was formerly in use in Scotland to add his signum, which was a flourish of the pen, called a paraph or ruck. Latterly, he only subscribed the document on each page; and on the last page, opposite to the D., he added to his subscription the motto which he had assumed on his admission as a notary. The notarial D. of instruments of sasine was superseded by 8 and 9 Vict. c. 35, s. 5.

DOR. See DUNG BEETLE.

DOR, or MONT DOR (often written less properly Mont d'Or), a chain of mountains in France comprised in the great group of the Auvergne (q.v.) mountains in the department of Puy-de-Dome. They are clearly of volcanic formation, and rise in the Puy-deSancy, which is the highest peak of central France, to the height of 6,190 feet.

DORA D'ISTRIA. See GHIKA HELENA, ante.

DORAK', a t. of Persia, in the province of Khuzistan, situated on a marshy plain at the junction of the D. with the Jerrahi. It is surrounded by a mud-wall, and defended by a fort. By a canal which unites the D. with the river Karun, a considerable trade is carried on. D. is also reported to have thriving manufactures. Pop. 6.000.

Dore.

DORAN, JOHN, PH.D., a copious contributor to miscellaneous literature, descended from an old Irish family of Drogheda, was b. in London in 1807. In early life he resided in France and Germany, and was chiefly educated by his father. So early as 1822, he produced the melodrama of The Wandering Jew, and at the age of 20 became the editor of the Literary Chronicle. In 1835, he wrote a history of Reading, but from that time till 1854, he confined his labors to the periodical press. In the latter year he published Habits and Men, followed by Table Traits and Something on them. Lives of the Queens of England of the House of Hanover appeared in 1855; Knights and their Ďays, in 1856; Monarchs retired from Business, in 1857; History of Court Fools, in 1858; New Pictures and Old Panels, in 1859; The Princes of Wales, in 1860; and a Memoir of Queen Adelaide, in 1861. In 1864, he produced Their Majesties' Servants, a history of the stage from Betterton to Kean; in 1868, Saints and Sinners; and in 1873, his most interesting work, an account of Mrs. Montague and the "blue stockings" of her day, under the title of A Lady of Last Century. In 1876, he published Mann and Manners, the letters of sir Horace Mann to Horace Walpole. His last work, London in Jacobite Times, appeared in 1877. Besides being a large contributor to miscellaneous literature, Dr. D. several times edited the Athenæum, and at his death, 25th Jan., 1878, he was editor of Notes and Queries.

DORCAS SOCIETY, the name given to an association of ladies who supply clothes to necessitous families. The name is taken from Acts ix. 39: "And all the widows stood by him weeping, and shewing the coats and garments which Dorcas made, while she was with them."

DORCHESTER, a co. in s.e. Maryland, on Delaware and Chesapeake bays, intersected by the Delaware and Dorchester railroad; 640 sq.m.; pop. '70, 19,458-7,556 colored. Productions, wheat, corn, etc. Co. seat, Cambridge.

DORCHESTER, a co. in Canada, bordering on Maine, and drained in part by Chaudière river., Pop. '71, 17,779.

DORCHESTER, a parliamentary and municipal borough, the co. town of Dorsetshire. It has a considerable trade in ale and beer, and sends much butter to London. Pop. '71, 6,915. It sends one member to parliament. D. was the Roman Durnovaria or Durinum, a walled town with a fosse, and a chief Roman British station. Parts of the wall, 6 ft. thick, remained till 1802. Near D. are the remains of the most perfect Roman amphitheater in England, 218 by 163 ft., and 30 ft. deep, the seats rising from the arena, cut in the chalk, and capable of holding 13,000 spectators. There is also a Roman camp with a ditch and high vallum. Near D. is a large British station with three earthen ramparts, a mile and a half in circuit, and pierced by intricate passages, and inclosing barrows. The inner rampart is 60 ft. high. Here, in 1685, judge Jeffreys, in his bloody assize," sentenced to death, in two days, 109 persons implicated in Monmouth's rebellion.

DORCHESTER, formerly accounted a separate city of Massachusetts, U. S., was in 1870 annexed to the city of Boston. The fortification of Dorchester heights, in 1776, compelled the evacuation of Boston.

DORCHESTER (ante), formerly a t. in Norfolk co., Mass., but now the 16th ward of the city of Boston; pop. 75, 15,788. The locality was settled by Puritans from Dorchester, Eng., under the lead of the Rev. John White, who landed at Nantasket, June 11, 1630. The codfishery, so important to New England, originated in Dorchester, and there was erected the first mill in America driven by water-power. Large portions of this district are exceedingly attractive, with beautiful suburban residences.

DORDOGNE, a river rising in s. central France, running w. through the departments of Corrèze, Lot, and Dordogne, and falling into the Garonne, 13 m. n. of Bordeaux: about 220 m. long, and navigable for 150 miles.

DORDOGNE, a department in the s.w. of France, formed of the ancient province of Périgord, with small portions of Limousin, Angoumois, and Saintonge. Area, 3,531 sq.m. Pop. '76, 489,848. The surface is for the most part hilly, and covered with broom and underwood, with here and there a valley of extraordinary beauty and fertility, inclosed with hills, the sides of which are generally clothed with vineyards. There is a great deficiency of corn, but the want, as an article of food for the inhabitants, is supplied to some extent by the immense produce of the chestnuts, which, with the walnut and the oak, are the prevailing trees in the forests. The climate is generally mild. Mines of coal, iron, and manganese are worked; marble, alabaster, and millstones are quarried. The manufactures are coarse woolens, hosiery, brandy, oil, paper, etc. D. carries on considerable trade in iron, wine, hams, and truffled turkeys. It has five arrondissements-viz., Bergerac, Nontron, Périgueux, Ribérac, and Sarlat, with Périgueux as capital.

DORDRECHT. See DORT

DORÉ, PAUL GUSTAVE, a French artist of great and versatile power, was b. at Strasburg in 1832. He was educated at Paris, and very early gave indication of superior ability. His first attempts were sketches, contributed to the Journal pour Rire and others of the Paris periodicals. In 1855, he exhibited his picture of the "Battle of the