Chapter 9

Bibliography.—F. de Simone Brouwer,Don Giovanni nella poesia e nell’ arte musicale(Napoli, 1894); A. Farinelli,Don Giovanni: Note critiche(Torino, 1896); A. Farinelli,Cuatro palabras sobre Don Juan y la literatura donjuanesca del porvenirin theHomenaje á Menéndez y Pelayo(Madrid, 1899), vol. i. pp. 205-222.

(J. F.-K.)

DONKIN, SIR RUFANE SHAW(1773-1841), British soldier, came of a military family. His father, who died, a full general, in 1821, served with almost all British commanders from Wolfe to Gage. Rufane Donkin was the eldest child, and received his first commission at the age of five in his father’s regiment; he joined, at fourteen, with eight years’ seniority as a lieutenant. Becoming a captain in 1793, he was on active service in the West Indies in 1794, and (as major) in 1796. At the age of twenty-five he became lieutenant-colonel, and in 1798 led a light battalion with distinction in the Ostend expedition. He served with Cathcart in Denmark in 1807, and two years later was given a brigade in the army in Portugal, which he led at Oporto and Talavera. He was soon transferred, as quartermaster-general, to the Mediterranean command, in which he served from 1810 to 1813, taking part in the Catalonian expeditions. Sir John Murray’s failure at Tarragona did not involve Donkin, whose advice was proved to be uniformly ignored by the British commander. In July 1815 Major-General Donkin went out to India, and distinguished himself as a divisional commander in Hastings’ operations against the Mahrattas (1817-1818), receiving the K.C.B. as his reward. The death of his young wife seriously affected him, and he went to the Cape of Good Hope on sick leave. From 1820 to 1821 he administered the colony with success, and named the rising seaport of Algoa Bay Port Elizabeth in memory of his wife. In 1821 he became lieutenant-general and G.C.H. The rest of his life was spent in literary and political work. He was one of the original fellows of the Royal Geographical Society, and was a member of the Royal Society and of many other learned bodies. His theories as to the course of the river Niger, published under the titleDissertation on the Course and Probable Termination of the Niger(London, 1829), involved him in a good deal of controversy. From 1832 onwards he sat in the House of Commons, and in 1835 was made surveyor-general of the ordnance. He committed suicide at Southampton in 1841. He was then a general, and colonel of the 11th Foot.

See Jerdan,National Portraits, vol. iii.;Gentleman’s Magazine, xcii. i. 273.

DONNAY, CHARLES MAURICE(1859- ), French dramatist, was born of middle-class parents in Paris in 1859. He made his serious début as a dramatist on the little stage of the Chat Noir withPhryné(1891), a series of Greek scenes.Lysistrata, a four-act comedy, was produced at the Grand Théâtre in 1892 with Mme Réjane in the title part. Later plays wereFolle Entreprise(1894);Pension de famille(1894);Complices(1895), in collaboration with M. Groselande;Amants(1895), produced at the Renaissance theatre with Mme Jeanne Granier as Claudine Rozeray;La Douloureuse(1897);L’Affranchie(1898);Georgette Lemeunier(1898);Le Torrent(1899), at the Comédie Française;Éducation de prince(1900);La Clairière(1900), andOiseaux de passage(1904), in collaboration with L. Descaves;La Bascule(1901);L’Autre danger, at the Comédie Française (1902);Le Retour de Jérusalem(1903);L’Escalade(1904); andParaître(1906). WithAmantshe won a great success, and the play was hailed by Jules Lemaître as theBéréniceof contemporary French drama. Very advanced ideas on the relations between the sexes dominate the whole series of plays, and the witty dialogue is written with an apparent carelessness that approximates very closely to the language of every day.

DONNE, JOHN(1573-1631), English poet and divine of the reign of James I., was born in 1573 in the parish of St Nicholas Olave, in the city of London. His father was a wealthy merchant, who next year became warden of the Company of Ironmongers, but died early in 1576. Donne’s parents were Catholics, and his mother, Elizabeth Heywood, was directly descended from the sister of the great Sir Thomas More; she was the daughter of John Heywood the epigrammatist. As a child, Donne’s precocity was such that it was said of him that “this age hath brought forth another Pico della Mirandola.” He entered Hart Hall, Oxford, in October 1584, and left it in 1587, proceeding for a time to Cambridge, where he took his degree. At Oxford he began his friendship with Henry Wotton, and at Cambridge, probably, with Christopher Brooke. Donne was “removed to London” about 1590, and in 1592 he entered Lincoln’s Inn with the intention of studying the law.

When he came of age, he found himself in possession of a considerable fortune, and about the same time rejected the Catholic doctrine in favour of the Anglican communion. He began to produceSatires, which were not printed, but eagerly passed from hand to hand; the first three are known to belong to 1593, the fourth to 1594, while the other three are probably some years later. In 1596 Donne engaged himself for foreign service under the earl of Essex, and “waited upon his lordship” on board the “Repulse,” in the magnificent victory of the 11th of June. We possess several poems written by Donne during this expedition, and during the Islands Voyage of 1597, in which he accompanied Essex to the Azores. According to Walton, Donne spent some time in Italy and Spain, and intended to proceed to Palestine, “but at his being in the farthest parts of Italy, the disappointment of company, or of a safe convoy, or the uncertainty of returns of money into those remote parts, denied him that happiness.” There is some reason to suppose that he was on the continent at intervals between 1595 and the winter of 1597. His lyrical poetry was mainly the product of his exile, if we are to believe Ben Jonson, who told Drummond of Hawthornden that Donne “wrote all his best pieces ere he was 25 years old.” At his return to England he became private secretary in London to Sir Thomas Egerton, the lord keeper (afterwards Lord Brackley), in whose family he remained four years. In 1600 he found himself in love with his master’s niece, Anne More, whom he married secretly in December 1601. As soon as this act was discovered, Donne was dismissed, and then thrown into the Fleet prison (February 1602), from which he was soon released. His circumstances, however, were now very much straitened. His own fortune had all been spent and “troubles did still multiply upon him.” Mrs Donne’s cousin, Sir Francis Wooley, offered the young couple an asylum at his country house of Pyrford, where they resided until the end of 1604.

During the latter part of his residence in Sir Thomas Egerton’s house, Donne had composed the longest of his existing poems,The Progress of the Soul, not published until 1633. In the spring of 1605 we find the Donnes living at Camberwell, and a little later in a small house at Mitcham. He had by this time “acquired such a perfection” in civil and common law that he was able to take up professional work, and he now acted as a helper to Thomas Morton in his controversies with the Catholics. Donne is believed to have had a considerable share in writing the pamphlets against the papists which Morton issued between 1604 and 1607. In the latter year, Morton offered the poet certain preferment in the Church, if he would only consent to take holy orders. Donne, however, although he was at this time become deeply serious on religious matters, did not think himself fitted for the clerical life. In 1607 he started a correspondence with Mrs Magdalen Herbert of Montgomery Castle, the mother of George Herbert. Some of these pious epistles were printed by Izaak Walton. These exercises were not of a nature to add to his income, which was extremely small. His uncomfortable little house he speaks of as his “hospital” and his “prison;” his wife’s health was broken and he was bowed down by the number of his children, who often lacked even clothes and food. In the autumn of 1608, however, his father-in-law, Sir George More, became reconciled with them, and agreed to make them a generous allowance. Donne soon after formed part of the brilliant assemblage which Lucy, countess of Bradford, gathered around her at Twickenham; we possess several of the verse epistles he addressed to this lady. In 1609 Donne was engaged in composing his great controversial prose treatise, thePseudo-Martyr, printed in 1610; this was an attempt to convince Roman Catholics in England that they might, without any inconsistency, take the oath of allegiance to James I. In 1611 Donne wrote a curious and bitter prose squib against the Jesuits, entitledIgnatius his Conclave. To the same period, but possibly somewhat earlier, belongs the apology for the principle of suicide, which was not published until 1644, long after Donne’s death. This work, theBiathanatos, is an attempt to show that “the scandalous diseaseof headlong dying,” to which Donne himself in his unhappy moods had “often such a sickly inclination,” was not necessarily and essentially sinful.

In 1610 Donne formed the acquaintance of a wealthy gentleman, Sir Robert Drury of Hawsted, who offered him and his wife an apartment in his large house in Drury Lane. Drury lost his only daughter, and in 1611 Donne published an extravagant elegy on her, entitledAn Anatomy of the World, to which he added in 1612 aProgress of the Soulon the same subject; he threatened to celebrate the “blessèd Maid,” Elizabeth Drury, in a fresh elegy on each anniversary of her death, but he happily refrained from the third occasion onwards. At the close of 1611 Sir Robert Drury determined to visit Paris (but not, as Walton supposed, on an embassy of any kind), and he took Donne with him. When he left London, his wife was expecting an eighth child. It seems almost certain that her fear to have him absent led him to compose one of his loveliest poems:

“Sweetest Love, I do not goFor weariness of thee.”

“Sweetest Love, I do not go

For weariness of thee.”

He is said to have had a vision, while he was at Amiens, of his wife, with her hair over her shoulders, bearing a dead child in her arms, on the very night that Mrs Donne, in London (or more probably in the Isle of Wight), was delivered of a still-born infant. He suffered, accordingly, a great anxiety, which was not removed until he reached Paris, where he received reassuring accounts of his wife’s health. The Drurys and Donne left Paris for Spa in May 1612, and travelled in the Low Countries and Germany until September, when they returned to London. In 1613 Donne contributed to theLachrymae lachrymaruman obscure and frigid elegy on the death of the prince of Wales, and wrote his famous Marriage Song for St Valentine’s Day to celebrate the nuptials of the elector palatine with the princess Elizabeth. About this time Donne became intimate with Robert Ker, then Viscount Rochester and afterwards the infamous earl of Somerset, from whom he had hopes of preferment at court. Donne was now in weak health, and in a highly neurotic condition. He suggested to Rochester that if he should enter the church, a place there might be found for him. But he was more useful to the courtier in his legal capacity, and Rochester dissuaded him from the ministry. At the close of 1614, however, the king sent for Donne to Theobald’s, and “descended to a persuasion, almost to a solicitation of him, to enter into sacred orders,” but Donne asked for a few days to consider. Finally, early in 1614, King, bishop of London, “proceeded with all convenient speed to ordain him, first deacon, then priest.” He was, perhaps, a curate first at Paddington, and presently was appointed royal chaplain.

His earliest sermon before the king at Whitehall carried his audience “to heaven, in holy raptures.” In April, not without much bad grace, the university of Cambridge consented to make the new divine a D.D. In the spring of 1616, Donne was presented to the living of Keyston, in Hunts., and a little later he became rector of Sevenoaks; the latter preferment he held until his death. In October he was appointed reader in divinity to the benchers of Lincoln’s Inn. His anxieties about money now ceased, but in August 1617 his wife died, leaving seven young children in his charge. Perhaps in consequence of his bereavement, Donne seems to have passed through a spiritual crisis, which inspired him with a peculiar fervour of devotion. In 1618 he wrote two cycles of religious sonnets,La Coronaand theHoly Sonnets, the latter not printed in complete form until by Mr Gosse in 1899. Of the very numerous sermons preached by Donne at Lincoln’s Inn, fourteen have come down to us. His health suffered from the austerity of his life, and it was probably in connexion with this fact that he allowed himself to be persuaded in May 1619 to accompany Lord Doncaster as his chaplain on an embassy to Germany. Having visited Heidelberg, Frankfort and other German cities, the embassy returned to England at the opening of 1620.

In November 1621, James I., knowing that London was “a dish” which Donne “loved well,” “carved” for him the deanery of St Paul’s. He resigned Keyston, and his preachership in Lincoln’s Inn (Feb., 1622). In October 1623 he suffered from a dangerous attack of illness, and during a long convalescence wrote hisDevotions, a volume published in 1624. He was now appointed to the vicarage of St Dunstan’s in the West. In April 1625 Donne preached before the new king, Charles I., a sermon which was immediately printed, and he now published hisFour Sermons upon Special Occasions, the earliest collection of his discourses. When the plague broke out he retired with his children to the house of Sir John Danvers in Chiswick, and for a time he disappeared so completely that a rumour arose that he was dead. Sir John had married Donne’s old friend, Mrs Magdalen Herbert, for whom Donne wrote two of the most ingenious of his lyrics, “The Primrose” and “The Autumnal.” The popularity of Donne as a preacher rose to its zenith when he returned to his pulpit, and it continued there until his death. Walton, who seems to have known him first in 1624, now became an intimate and adoring friend. In 1630 Donne’s health, always feeble, broke down completely, so that, although in August of that year he was to have been made a bishop, the entire breakdown of his health made it worse than useless to promote him. The greater part of that winter he spent at Abury Hatch, in Epping Forest, with his widowed daughter, Constance Alleyn, and was too ill to preach before the king at Christmas. It is believed that his disease was a malarial form of recurrent quinsy acting upon an extremely neurotic system. He came back to London, and was able to preach at Whitehall on the 12th of February 1631. This, his latest sermon, was published, soon after his demise, asDeath’s Duel. He now stood for his statue to the sculptor, Nicholas Stone, standing before a fire in his study at the Deanery, with his winding-sheet wrapped and tied round him, his eyes shut, and his feet resting on a funeral urn. This lugubrious work of art was set up in white marble after his death in St Paul’s cathedral, where it may still be seen. Donne died on the 31st of March 1631, after he had lain “fifteen days earnestly expecting his hourly change.” His aged mother, who had lived in the Deanery, survived him, dying in 1632.

Donne’s poems were first collected in 1633, and afterwards in 1635, 1639, 1649, 1650, 1654 and 1669. Of his prose works, theJuveniliaappeared in 1633; theLXXX Sermonsin 1640;Biathanatosin 1644;Fifty Sermonsin 1649;Essays in Divinity, 1651; hisLetters to Several Persons of Honour, 1651;Paradoxes, Problems and Essays, 1652; andSix and Twenty Sermons, 1661. Izaak Walton’sLife of Donne, an admirably written but not entirely correct biography, preceded theSermonsof 1640. The principal editor of his posthumous writings was his son, John Donne the younger (1604-1662), a man of eccentric and scandalous character, but of considerable talent.

The influence of Donne upon the literature of England was singularly wide and deep, although almost wholly malign. His originality and the fervour of his imaginative passion made him extremely attractive to the younger generation of poets, who saw that he had broken through the old tradition, and were ready to follow him implicitly into new fields. In the 18th century his reputation almost disappeared, to return, with many vicissitudes in the course of the 19th. It is, indeed, singularly difficult to pronounce a judicious opinion on the writings of Donne. They were excessively admired by his own and the next generation, praised by Dryden, paraphrased by Pope, and then entirely neglected for a whole century. The first impression of an unbiassed reader who dips into the poems of Donne is unfavourable. He is repulsed by the intolerably harsh and crabbed versification, by the recondite choice of theme and expression, and by the oddity of the thought. In time, however, he perceives that behind the fantastic garb of language there is an earnest and vigorous mind, an imagination that harbours fire within its cloudy folds, and an insight into the mysteries of spiritual life which is often startling. Donne excels in brief flashes of wit and beauty, and in sudden daring phrases that have the full perfume of poetry in them. Some of his lyrics and one or two of his elegies excepted, theSatiresare his most important contribution to literature. They are probably the earliest poems of their kind in the language, and they are full of force and picturesqueness. Their obscure and knotty language only serves to give peculiarbrilliancy to the not uncommon passages of noble perspicacity. To the odd terminology of Donne’s poetic philosophy Dryden gave the name of “metaphysics,” and Johnson, borrowing the suggestion, invented the title of the “metaphysical school” to describe, not Donne only, but all the amorous and philosophical poets who succeeded him, and who employed a similarly fantastic language, and who affected odd figurative inversions.

Izaak Walton’sLife, first published in 1640, and entirely recast in 1659, has been constantly reprinted. The best edition of Donne’sPoemswas edited by E. K. Chambers in 1896. His prose works have not been collected. In 1899 Edmund Gosse published in two volumesThe Life and Letters of John Donne, for the first time revised and collected.

(E. G.)

DONNYBROOK,a part of Dublin, Ireland, in the south-east of the city. The former village of the name was famous for a fair held under licence from King John in 1204. It gained, however, such a scandalous notoriety for disorder that it was discontinued in 1855, the rights being purchased for £3000.

DONOSO CORTÉS, JUAN,Marquis de Valdegamas (1809-1853), Spanish author and diplomatist, was born at Valle de la Serena (Extremadura) on the 6th of May 1809, studied law at Seville, and entered politics as an advanced liberal under the influence of Quintana (q.v.). His views began to modify after the rising at La Granja, and this tendency towards conservatism, which became more marked on his appointment as private secretary to the Queen Regent, finds expression in hisLecciones de derecho politico(1837). Alarmed by the proceedings of the French revolutionary party in 1848-1849, Donoso Cortés issued hisEnsayo sobre el catolicismo, el liberalismo, y el socialismo considerados en sus principios fundamentales(1851), denouncing reason as the enemy of truth and liberalism as leading to social ruin. He became ambassador at Paris, and died there on the 3rd of May 1853. TheEnsayohas failed to arrest the movement against which it was directed, and is weakened by its extravagant paradoxes; but, with all its rhetorical excesses, it remains the finest specimen of impassioned prose published in Spain during the 19th century.

Donoso Cortés’ works were collected in five volumes at Madrid (1854-1855) under the editorship of Gavino Tejado.

DONOVAN, EDWARD(1768-1837), English naturalist, was the author of many popular works on natural history and botany. In 1792 appeared the first volume of hisNatural History of British Insects, which extended to sixteen volumes, and was completed in 1813. He also publishedNatural Histories of British Birds, in 10 vols. 8vo (1799-1819),of British Fishes, in 5 vols. (1802-1808),of British Shells, in 5 vols. (1800-1804), a series of illustrated works onThe Insects of India, China, New Holland, &c., in 3 vols. 4to (1798-1805), andExcursions in South Wales and Monmouthshire(1805). To these works must be added his periodical entitledThe Naturalist’s Repository, a monthly publication, of which three volumes were completed (1823-1825), and anEssay on the Minute Parts of Plants in general. Donovan was author of the articles on natural history in Rees’sCyclopaedia. In 1833 he published aMemorial respecting my Publications in Natural History, in which he complains that he had been nearly ruined by his publishers. He was a fellow of the Linnean Society, and died in London on the 1st of February 1837.

DOOM(Old Eng.dóm, a word common to Teut. languages for that which is set up or ordered, from “do,” in its original meaning of “place”; cf. Gr.θέμις, from stem ofτίθημι), originally a law or enactment, the legal decision of a judge, and particularly an adverse sentence on a criminal. The word is thus applicable to the adverse decrees of fate, and particularly to the day of judgment. The verb “deem,” to deliver a judgment, and hence to give or hold an opinion, is a derivative, and appears also in various old Teutonic forms. It is seen in “deemster,” the name of the two judges of the Isle of Man.

DOON DE MAYENCE,a hero of romance, who gives his name to the third cycle of the Charlemagne romances, those dealing with the feudal revolts. There is no real unity in thegesteof Doon de Mayence. The rebellious barons are connected by thetrouvèreswith Doon by imaginary genealogical ties, and all are represented as in opposition to Charlemagne, though their adventures, in so far as they possess a historical basis, must generally be referred to earlier or later periods than the reign of the great emperor. The general insolence of their attitude to the sovereign suggests that Charlemagne is here only a name for his weaker successors. The tradition of a traitorous family of Mayence, which was developed in Italy into a series of stories of criminals, was however anterior to the Carolingian cycle, for an interpolator in the chronicle of Fredegarius states (iv. 87) that the army of Sigebert was betrayed from within its own ranks by men of Mayence in a battle fought with Radulf on the banks of the Unstrut in Thuringia. The chief heroes of the poems which make up thegesteof Doon de Mayence are Ogier the Dane (q.v.), the four sons of Aymon (seeRenaud), andHuon of Bordeaux(q.v.). It is probable that Doon himself was one of the last personages to be clearly defined, and that thechanson de gesterelating his exploits was drawn up partly with the view of supplying a suitable ancestor for the other heroes. The latter half of the poem, the story of Doon’s wars in Saxony, is perhaps based on historical events, but the earlier half, which is really a separate romance dealing with his romantic childhood, is obviously pure fiction and dates from the 13th century. Doon had twelve sons: Gaufrey de Dane Marche (Ardennes?), the father of Ogier; Doon de Nanteuil, whose son Garnier married the beautiful Aye d’Avignon; Griffon d’Hauteville, father of the arch-traitor Ganelon; Aymon de Dordone or Dourdan, whose four sons were so relentlessly pursued by Charles; Beuves d’Aigremont, whose son was the enchanter Maugis; Sevin or Seguin, the father of Huon of Bordeaux; Girard de Roussillon, and others less known. The history of these personages is given inDoon de Mayence,Gaufrey, the romances relating to Ogier,Aye d’Avignon, the fragmentaryDoon de Nanteuil,Gui de Nanteuil,Tristan de Nanteuil,Parise la Duchesse,Maugis d’Aigremont,Vivien l’amachour de Monbranc,Renaus de Montauban or Les Quatre Fils Aymon, andHuon de Bordeaux. Some of this material, which dates in its existing form from the 12th and 13th centuries, remains unpublished, but the chief poems are available in the series ofAnciens Poètes de la France(1859, &c).

SeeHist. litt. de la France, vols. xxii. and xxvi. (1852 and 1873), for analyses of these poems by Paulin Paris; also J. Barrois,Éléments carolingiens(Paris, 1846); W. Niederstadt,Alter und Heimat der altfr. Doon(Greifswald, 1889). The prose romance,La Fleur des batailles Doolin de Mayence, was printed by Antoine Vérard (Paris, 1501), by Alain Lotrian and Denis Janot (Paris, c. 1530), by N. Bonfons (Paris; no date), by J. Waesbergue (Rotterdam, 1604), &c.

DOOR(corresponding to the Gr.θύρα, Lat.foresorvalvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr.θύραand Lat.fores), in architecture, the slab, flap or leaf forming the enclosure of a doorway (q.v.), either in wood, metal or stone. The earliest records are those represented in the paintings of the Egyptian tombs, in which they are shown as single or double doors, each in a single piece of wood. In Egypt, where the climate is intensely dry, there would be no fear of their warping, but in other countries it would be necessary to frame them, which according to Vitruvius (iv. 6.) was done with stiles (scapi) and rails (impages): the spaces enclosed being filled with panels (tympana) let into grooves made in the stiles and rails. The stiles were the vertical boards, one of which, tenoned or hinged, is known as the hanging stile, the other as the middle or meeting stile. The horizontal cross pieces are the top rail, bottom rail, and middle or intermediate rails. The most ancient doors were in timber, those made for King Solomon’s temple being in olive wood (1 Kings vi. 31-35), which were carved and overlaid with gold. The doors dwelt upon in Homer would appear to have been cased in silver or brass. Besides olive wood, elm, cedar, oak and cyprus were used. All ancient doors were hung by pivots at the top and bottom of the hanging stile which worked in sockets in the lintel and cill, the latter being always in some hard stone such as basalt or granite. Those found at Nippur by Dr Hilprecht, dating from 2000b.c.. were in dolorite. The tenons ofthe gates at Balawat (see fig.) (895-825b.c.) were sheathed with bronze (now in the British Museum). These doors or gates were hung in two leaves, each about 8 ft. 4 in. wide and 27 ft. high; they were encased with bronze bands or strips, 10 in. high, covered with repoussé decoration of figures, &c. The wood doors would seem to have been about 3 in. thick, but the hanging stile was over 14 in. in diameter. Other sheathings of various sizes in bronze have been found, which proves this to have been the universal method adopted to protect the wood pivots. In the Hauran in Syria, where timber is scarce, the doors were made in stone, and one measuring 5 ft. 4 in. by 2 ft. 7 in. is in the British Museum; the band on the meeting stile shows that it was one of the leaves of a double door. At Kuffeir near Bostra in Syria, Burckhardt found stone doors, 9 to 10 ft. high, being the entrance doors of the town. In Etruria many stone doors are referred to by Dennis.

The ancient Greek and Roman doors were either single doors (μονοθύραι,unifores), double doors (διθύραι,biforesorgeminae) or folding doors (πτύχες,valvae); in the last case the leaves were hinged and folded back one over the other. At Pompeii, in the portico of Eumachia, is a painting of a door with three leaves, the two outer ones of which were presumably hung, the inner leaf folding on one or the other; hinges connecting the folding leaves of a door have been found in Pompeii. In the tomb of Theron at Agrigentum there is a single four-panel door carved in stone. In the Blundell collection is a bas-relief of a temple with double doors, each leaf with five panels. Among existing examples, the bronze doors in the church of SS. Cosmas and Damiano, in Rome, are important examples of Roman metal work of the best period; they are in two leaves, each with two panels, and are framed in bronze. Those of the Pantheon are similar in design, with narrow horizontal panels in addition, at the top, bottom and middle. Two other bronze doors of the Roman period are in the Lateran Basilica.

The doors of the church of the Nativity at Bethlehem (6th century) are covered with plates of bronze, cut out in patterns: those of Sta Sophia at Constantinople, of the 8th and 9th century, are wrought in bronze, and the west doors of the cathedral of Aix-la-Chapelle (9th century), of similar manufacture, were probably brought from Constantinople, as also some of those in St Mark’s, Venice.

Of the 11th and 12th centuries there are numerous examples of bronze doors, the earliest being one at Hildesheim, Germany (1015). Of others in South Italy and Sicily, the following are the finest: in Sant’ Andrea, Amalfi (1060); Salerno (1099); Canosa (1111); Troja, two doors (1119 and 1124); Ravello (1179), by Barisano of Trani, who also made doors for Trani cathedral; and in Monreale and Pisa cathedrals, by Bonano of Pisa. In all these cases the hanging stile had pivots at the top and bottom. The exact period when the hinge was substituted is not quite known, but the change apparently brought about another method of strengthening and decorating doors, viz. with wrought-iron bands of infinite varieties of design. As a rule three bands from which the ornamental work springs constitute the hinges, which have rings outside the hanging stiles fitting on to vertical tenons run into the masonry or wooden frame. There is an early example of the 12th century in Lincoln; in France the metal work of the doors of Notre Dame at Paris is perhaps the most beautiful in execution, but examples are endless throughout France and England.

Returning to Italy, the most celebrated doors are those of the Baptistery of Florence, which together with the door frames are all in bronze, the borders of the latter being perhaps the most remarkable: the modelling of the figures, birds and foliage of the south doorway, by Andrea Pisano (1330), and of the east doorway by Ghiberti (1425-1452), are of great beauty; in the north door (1402-1424) Ghiberti adopted the same scheme of design for the panelling and figure subjects in them as Andrea Pisano, but in the east door the rectangular panels are all filled with bas-reliefs, in which Scripture subjects are illustrated with innumerable figures, these being probably the gates of Paradise of which Michelangelo speaks.

The doors of the mosques in Cairo were of two kinds; those which, externally, were cased with sheets of bronze or iron, cut out in decorative patterns, and incised or inlaid, with bosses in relief; and those in wood, which were framed with interlaced designs of the square and diamond, this latter description of work being Coptic in its origin. The doors of the palace at Palermo, which were made by Saracenic workmen for the Normans, are fine examples and in good preservation. A somewhat similar decorative class of door to these latter is found in Verona, where the edges of the stiles and rails are bevelled and notched.

In the Renaissance period the Italian doors are quite simple, their architects trusting more to the doorways for effect; but in France and Germany the contrary is the case, the doors being elaborately carved, especially in the Louis XIV. and Louis XV. periods, and sometimes with architectural features such as columns and entablatures with pediment and niches, the doorway being in plain masonry. While in Italy the tendency was to give scale by increasing the number of panels, in France the contrary seems to have been the rule; and one of the great doors at Fontainebleau, which is in two leaves, is entirely carried out as if consisting of one great panel only.

The earliest Renaissance doors in France are those of the cathedral of St Sauveur at Aix (1503); in the lower panels there are figures 3 ft. high in Gothic niches, and in the upper panels a double range of niches with figures about 2 ft. high with canopies over them, all carved in cedar. The south door of Beauvais cathedral is in some respects the finest in France; the upper panels are carved in high relief with figure subjects and canopies over them. The doors of the church at Gisors (1575) are carved with figures in niches subdivided by classic pilasters superimposed. In St Maclou at Rouen are three magnificently carved doors; those by Jean Goujon have figures in niches on each side, and others in a group of great beauty in the centre. The other doors, probably about forty to fifty years later, are enriched with bas-reliefs, landscapes, figures and elaborate interlaced borders.

In England in the 17th century the door panels were raised with “bolection” or projecting mouldings, sometimes richly carved, round them; in the 18th century the mouldings worked on the stiles and rails were carved with the egg and tongue ornament.

(R. P. S.)

DOORWAY(corresponding to the Gr.πύλη, Lat.porta), in architecture, the entrance to a building, apartment or enclosure. The term is more generally applied to the framing of the opening in wood, stone or metal. The representations in painting, and existing examples, show that whilst the jambs of the doorway in Egyptian architecture were vertical, the outer side had almost the same batter as the walls of the temples. In the doorways of enclosures or screen walls there was no lintel, but a small projection inwards at the top, to hold the pivot of the door. In Greece the linings of the earliest doorways at Tiryns were in wood, and in order to lessen the bearing of the lintel the dressings or jambs (antepagmenta) sloped inwards, so that the width of the doorway opening was less at the top than at the bottom. In the entrance doorway of the tomb of Agamemnon at Mycenae, 18 ft. in height, the width is about 6 in. less at the top than at the bottom. The lintel of the Greek doorway projected on either side beyond the dressings, constituting what are known as the shoulders or knees (projecturae), a characteristic feature which has been retained down to our time. The next step was to work a projecting moulding round the dressings and lintel forming the architrave. Examples with shoulders in stone exist in the Beulé doorway of the Acropolis at Athens, in the tomb of Theron, and in a temple at Agrigentum in Sicily; also in the temples of Hercules at Cora, and of Vesta at Trivoli, and with a peculiar pendant in all the Etruscan tombs. The most beautiful example of a Greek doorway is that under the north portico of the Erechtheum (420b.c.). There is a slight diminution in the width at the top of the opening,and outside the ordinary architrave mouldings (which here and in all classic examples are derived from those of the architrave of an order) is a band with rosettes, which recall the early decorative features in Crete and Mycenae; the band being carried across the top of the lintel and surmounted by a cornice supported on each side by corbels (ancones).

In the Roman doorways, excepting those at Cora and Tivoli, there is, as a rule, no diminishing of the width, which is generally speaking half of the height. The dimensions of some of the Roman doorways are enormous; in the temple of the Sun at Palmyra the doorway is 15 ft. 6 in. wide and 33 ft. high; and in the temple of Jupiter at Baalbec, 20 ft. wide and 45 ft. high, the lintel is composed of three stones forming voussoirs the keystone measuring 7 ft. at the bottom, 8 ft. at the top, 10 ft. high and 7 ft. 6 in. deep.

All the doorways mentioned above have cornices, and in those at Palmyra and Baalbec richly carved friezes with side corbels. In the Pantheon there is a plain convex frieze, but the outer mouldings of the architrave and the bed-mould of the cornice are richly carved. In the Byzantine doorways at Sta Sophia, Constantinople, a bold convex moulding and a hollow take the place of the fasciae of the classic architrave.

So far we have only referred to square-headed doorways, but the side openings of the triumphal arches of Titus and Constantine are virtually doorways, and they have semicircular heads, the mouldings of which are the same as those of the square-headed examples. In Saxon doorways, which had semicircular heads, the outer mouldings projected more boldly than in classic examples, and were sometimes cut in a separate ring of stone like the hood mould of later date.

During the Romanesque period in all countries, the doorway becomes the chief characteristic feature, and consists of two or more orders, the term “order” in this case being applied to the concentric rings of voussoirs forming the door-head. In classic work the faces of these concentric rings were nearly always flush one with the other; in Romanesque work the upper one projected over the ring immediately below, and the employment of a different design in the carving of each ring produced a magnificent and imposing effect: in the Italian churches the decoration of the arch mould is frequently carried down the door jambs, and the same is found, but less often, in the English and French doorways; but as a rule each ring or order is carried by a nook shaft, those in England and France being plain, but in Italy and Sicily elaborately carved with spirals or other ornaments and sometimes inlaid with mosaic.

The deeply recessed Norman doorways in English work required a great thickness of wall, and this was sometimes obtained by an addition outside, as at Iffley, Adel, Kirkstall and other churches.

In France, during the Gothic period, the several orders were carved with figure sculpture, as also the door jambs; and the great recessing of these doorways brought them more into the categories of porches. In England much less importance was given to the Gothic doorways, and although they consisted of many orders, these were emphasized only by deep hollows and converse mouldings and always carried on angle or nook shafts. In the perpendicular period the pointed-arch doorway was often enclosed within a square head-moulding, the spandrel being enriched with foliage or quatrefoil tracery.

In the Mahommedan style the doorway itself is comparatively simple, except that the voussoirs of its lintel are joggled with a series of curves, and being of different coloured stones have a decorative effect. These doorways are placed in a rectangular recess roofed with the stalactite vault.

With the Renaissance architect, the doorway continued as the principal characteristic of the style; the actual door-frame was simply moulded, by enclosing it with pilasters or columns, isolated or semi-detached, raised on pedestals and carrying an entablature with pediment and other kind of super-doorway; and great importance was given to the feature. In the Italian cinquecento period, the panels of the side pilasters were enriched with the most elaborate carving, and this would seem to have been an ancient Roman method, to judge by portions of carved panels now in the museums of Rome. The doorways of Venice are remarkable in this respect. At Como the two side doorways of the cathedral, one of which is said to be by Bramante, are of great beauty, and the same rich decoration is found throughout Spain and France. In Germany and England the pattern book too often suggested designs of an extremely rococo character, and it was under the influence of Palladio, through Inigo Jones, that in England the architect returned to the simpler and purer Italian style.

(R. P. S.)

DOPPLERITE,a naturally occurring organic substance found in amorphous, elastic or jelly-like masses, of brownish-black colour, in peat beds in Styria and in Switzerland. It is tasteless, insoluble in alcohol and ether, and is described by Dana as an acid substance, or mixture of different acids, related to humic acid.

DORAN, JOHN(1807-1878), English author, was born in London of Irish parentage on the 11th of March 1807. He became tutor in several distinguished families, and while travelling on the continent contributed journalistic sketches toThe Literary Chronicle, a paper which was afterwards incorporated withThe Athenaeum. His play,Justice or the Venetian Jew, was produced at the Surrey theatre in 1824, and in 1830 he began to write translations from French, German, Latin and Italian authors forThe Bath Journal. After some years of travel on the continent he became in 1841 literary editor ofThe Church and State Gazette, and in 1852 under the title ofFilia dolorosaproduced a memoir of Maria Thérèse Charlotte, duchesse d’Angoulême. Two years later he became a regular contributor toThe Athenaeum, succeeding Hepworth Dixon as editor for a short time in 1869, until he became editor ofNotes and Queriesin 1870. His most elaborate work,Their Majesties’ Servants, a history of the English stage from Betterton to Kean, was published in 1860, and was supplemented byIn and About Drury Lane, which was written forTemple Barand was not published in book form till 1885, after Doran’s death. Among his other works may be mentionedTable TraitsandHabits of Men(1854),The Queens of the House of Hanover(1855),Knights and their Days(1856),Monarchs retired from Business(1856),The History of Court Fools(1858), an edition of theBentley Ballads(1858),The Last Journals of Horace Walpole(2 vols., 1859),The Princess of Wales(1860), and theMemoirs of Queen Adelaide(1861). These were followed byA Lady of the Last Century(1873), an account of Mrs Elizabeth Montagu and the blue-stockings;London in Jacobite Times(1877); andMemories of our Great Towns(1878). Doran died in London, on the 25th of January 1878.

DORAT, CLAUDE JOSEPH(1734-1780), French man of letters, was born in Paris on the 31st of December 1734. He belonged to a family whose members had for generations been lawyers, and he entered the corps of the king’s musketeers. He obtained a great vogue by hisRéponse d’Abailard à Héloïse, and followed up this first success with a number of heroic epistles,Les Victimes de l’amour, ou lettres de quelques amants célèbres(1776). Dorat was possessed by an ambition quite out of proportion to his very mediocre ability. Besides light verse he wrote comedies, fables and, among other novels,Les Sacrifices de l’amour, ou lettres de la vicomtesse de Senanges et du chevalier de Versenay(1771). He tried to cover his failures as a dramatist by buying up a great number of seats, and his books were lavishly illustrated by good artists and expensively produced, to secure their success. He was maladroit enough to draw down on himself the hatred both of thephilosopheparty and of their arch-enemy Charles Palissot, and thus cut himself off from the possibility of academic honours.Le Tartufe littéraire(1777) attacked La Harpe and Palissot, and at the same time D’Alembert and Mlle de Lespinasse. Dorat died on the 29th of April 1780 in Paris.

See G. Desnoireterres,Le Chevalier Dorat et les poètes légers au XVIIIesiècle(1887). For the bibliographical value of his works, see Henry Cohen,Guide de l’amateur de livres à figures et à vignettes du XVIIIesiècle(editions of Ch. Mehl, 1876, and R. Portalis, 1887).

DORCHESTER, DUDLEY CARLETON,Viscount(1573-1632), English diplomatist, son of Antony Carleton of BaldwinBrightwell, Oxfordshire, and of Jocosa, daughter of John Goodwin of Winchington, Buckinghamshire, was born on the 10th of March 1573, and educated at Westminster school and Christ Church, Oxford, where he graduated M.A. in 1600. He travelled abroad, and was returned to the parliament of 1604 as member for St Mawes. Through his connexion as secretary with the earl of Northumberland his name was associated with the Gunpowder Plot, but after a short confinement he succeeded in clearing himself of any share in the conspiracy. In 1610 he was knighted and was sent as ambassador to Venice, where he was the means of concluding the treaty of Asti. He returned in 1615, and next year was appointed ambassador to Holland. The policy of England on the continent depended mainly upon its relations with that state, and Carleton succeeded in improving these, in spite of his firm attitude on the subject of the massacre of Amboyna, the bitter commercial disputes between the two countries, and the fatal tendency of James I. to seek alliance with Spain. It was in his house at the Hague that the unfortunate Elector Frederick and the princess Elizabeth took refuge in 1621. Carleton returned to England in 1625 with the duke of Buckingham, and was made vice-chamberlain of the household and a privy councillor. Shortly afterwards he took part in an abortive mission to France in favour of the French Protestants and to inspire a league against the house of Austria. On his return in 1626 he found the attention of parliament, to which he had been elected for Hastings, completely occupied with the attack upon Buckingham. Carleton endeavoured to defend his patron, and supported the king’s violent exercise of his prerogative. It was perhaps fortunate that his further career in the Commons was cut short by his elevation in May to the peerage as Baron Carleton of Imbercourt. Shortly afterwards he was despatched on another mission to the Hague, on his return from which he was created Viscount Dorchester in July 1628. He was active in forwarding the conferences between Buckingham and Contarini for a peace with France on the eve of the duke’s intended departure for La Rochelle, which was prevented by the latter’s assassination. In December 1628 he was made principal secretary of state, and died on the 15th of February 1632, being buried in Westminster Abbey. He was twice married, and had children, but all died in infancy, and the title became extinct. Carleton was one of the ablest diplomatists of the time, and his talents would have secured greater triumphs had he not been persistently hampered by the mistaken and hesitating foreign policy of the court.

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