=Dabber.= A tool used in etching to distribute the etching-ground over a
plate of metal in the first process of engraving, and, in printing from
copper-plate engraving and woodcuts, to spread the ink.
=Dactyliography= or =Dactyliology=, Gen. (δακτύλιος, a ring). The study
of rings.
=Dactyliotheca=, Gr. (δακτυλιο-θήκη, a ringbox). (1) A glass case or
casket containing rings. (2) A collection of rings, engraved stones, or
precious stones. (See GLYPTOTHECA.)
=Dactylus=, Gr. (δάκτυλος, a finger). The Roman _digitus_; a
finger-breadth, the 16th part of a foot.
=Dado=, Arch. (1) The part of a pedestal between the base and the
cornice. (2) In apartments, an arrangement of moulding, &c., round the
lower part of the wall.
=Dædal.= A fanciful word coined by the poet Spenser, for “variegated in
design.”
=Dædala=, Gr. Ancient images preserved in sanctuaries in memory of
Dædalus, to whom were attributed the greater number of those works of
art the origin of which was unknown. Hence the name was especially
attributed to certain wooden statues, ornamented with gilding, bright
colours, and real drapery, which were the earliest known form of images
of the gods.
=Dædala=, Gr. (δαίδαλα). Festivals in honour of Hera, celebrated in
Bœotia.
=Dæmon=, =Daimon=, Gr. (δαίμων). The good genius who watched over an
individual during his whole life, like the Latin _Lar_ and _Genius_. It
was the belief of Socrates that he was guided by his Daimon in every
important act and thought of his life. The word has a general meaning of
“Divinity.”
=Dag= or =Dagge=. Old English name of a pistol.
=Dagges=, O. E. Ornamental cutting of the edges of garments, introduced
into England about 1346. (See the illustration to COINTISE, Fig. 177).
=Dagob=, Hindoo. A conical tumulus or shrine in which relics and images
of Buddha were worshipped.
=Dag-swain=, O. E. A sort of rough material of which coverlets for beds,
tables, or floors were made.
=Daguerreotype=. A kind of photography on plates of silver, named after
M. Daguerre, the inventor.
=Daidies=, Gr. (from δαίω, to kindle). A festival held at Athens, during
which torches were lit; it lasted three days.
[Illustration: Fig. 235. Dais.]
=Dais=, Chr. An architectural structure, decorated with sculptures and
ornaments, which serves as a canopy for an altar, throne, pulpit, chair
(_cathedra_), statue, or group. Fig. 235 represents a stone dais of the
St. Anne door in the cathedral of Paris.
=Dais.= In Anglo-Saxon houses, and generally; a covered seat of honour,
at the upper end of the hall, on a raised floor. (“In all the houses of
the wealthy _in China_ there are two raised seats at the end of the
reception-room, with a table between them.” _Fortune_.) (See DEAS.)
=Dalmahoy=, O. E. A kind of bushy bob-wig, worn especially by chemists;
18th century.
[Illustration: Fig. 236. Ecclesiastical Dalmatic.]
=Dalmatic.= A long robe or upper tunic partly opening at the sides, so
named from its being of Dalmatian origin; an ecclesiastical vestment;
also a portion of the coronation robes of sovereign princes. It was
usually made of white silk with purple stripes, occasionally of other
colours, the left sleeve only being ornamented; the right was plain for
convenience. As early as the reign of Richard I., the dalmatic is
mentioned amongst the coronation robes. (Fig. 236.) (See COLOBIUM,
DEACON.)
=Damara= or =Dammar=. A resin used for varnishes. It is a valuable
substitute for mastic.
=Damaretion.= A Sicilian coin, supposed to have been of gold, equal in
value to a half-_stater_.
=Damas= (or =Damascus=) =Pottery Ware=. The commercial name in the 16th
century for a large class of wares, now generally known as Persian.
[Illustration: Fig. 237. Specimen of Arabic Damascening (full size).]
=Damascening=, or =Damaskeening=, is the art of incrusting one metal on
another, not in _crusta_, but in the form of wire, which by undercutting
and hammering is thoroughly incorporated with the metal it is intended
to ornament. (See DAMASK, DAMASCUS BLADES.) The process of etching
slight ornaments on polished steel wares is also called Damascening.
(Fig. 237.)
=Damascus Blades= are prepared of a cast steel highly charged with
carbon, which, being tempered by a peculiar process, assumes the
manycoloured _watered_ appearance by which they are known. The process
is called DAMASCENING (q.v.).
=Damask.= A rich fabric, woven with large patterns, in silk, linen,
wool, or even cotton, originally made at Damascus. (See Fig. 88.)
=Dames=, O. E. The old name for the game of draughts, represented early
in the 14th century. The pieces were originally square.
=Danace= (δανάκη). The _obolus_ which was placed in the mouth of the
dead to pay the passage of the Styx.
=Dance of the Corybantes.= (See CORYBANTICA.)
=Dance of Death=, =Danse Macabre=, Chr. Paintings, illuminations, or
sculptures in bas-relief, representing men dancing under the eye of
Death, who presides at this dance. In some instances the performers are
skeletons and corpses. The most celebrated Dance of Death was that
painted in fresco by Holbein in the cloister of the Dominicans at Basle.
It has been destroyed by fire, but the etching-needle has preserved it
for us. Other examples that may be named are, that in the new church at
Strasburg, that of Lucerne, that in the palace at Dresden, and—most
ancient of all—that at Minden, in Westphalia, which dates from 1380.
=Dancette=, Arch. The chevron or zigzag moulding peculiar to Norman
architecture. (See CHEVRON.)
=Dangu Faience.= Pottery from a manufactory near Gisors in France,
established in 1753.
=Daphnephoria= (δάφνη, a laurel). A festival held in honour of Apollo
every ninth year at Thebes, in which the assistants carried laurel
branches.
=Dara=, Ind. A kind of tambourine.
=Darabukkeh.= An Egyptian drum, unaltered from ancient times.
=Daric Money.= A Persian gold coin, stamped on one side with the figure
of an archer kneeling, and on the other with a deep cleft, and to which
the name of _Daric money_ has been given by numismatists. Its proper
name is the Stater of Dareius I., king of Persia. Its value is about
1_l._ 1_s._ 10_d._
=Darned Netting= (needlework). (See LACIS.)
=Datatim ludere=, R. To play with a ball (“_catch-ball_”).
=Davenport Pottery= is the produce of a manufactory of fine faience
established at Longport in England by John Davenport in 1793.
=Day=, Arch. Part of a window: the same as BAY.
=Deacon=, Chr. A dalmatic, or an alb; i. e. a _deacon’s_ vestment.
=Dead-boot=, O. E., Chr. Prayers for the dead.
=Dealbatus=, R. (_dealbo_, to whiten over). Covered with a coating of
stucco (_albarium opus_). The builders of antiquity made great use of
stucco, both in the interior and exterior of buildings. All the
buildings of Pompeii are stuccoed.
=Deambulatory=, Arch. (_deambulo_, to walk about). The lateral nave
which surrounds the choir of a church; it is usually separated from the
aisles by a grating (_cancelli_).
=Deas=, =Dais=, =Dees=, Scotch, (1) A table, especially the great hall
table. (2) A pew in a church. (3) A turf seat erected at the door of a
cottage. (See DAIS.)
=Death’s-man=, O. E. The executioner.
=Debased=, Her. Reversed.
=Decadence.= The term in ancient art is applied to the period after the
fall of Rome, and before the _Renaissance_ in the 14th century; in
modern art to the period of the _rococo_ style of Louis XV.
=Decaduchi= (δεκα-δοῦχοι), Gr. A council of ten, who ruled Athens from
B.C. 403 until the restoration of democracy.
=Decan=, Egyp. A period of ten days, which was ruled by a star called
its _Decan_. The month was divided into three decans, and the year into
thirty-six, each being presided over by its own inferior divinity. On
zodiacs they are arranged in groups of three above the twelve superior
gods. The decans were the tutelary genii of the horoscope.
=Decarchia= (δεκ-αρχία). A council of the Lacedæmonians.
=Decastellare=, Med. Lat. To dismantle.
=Decastylos=, Arch. A building of which the portico has ten columns; a
decastylic pediment is a pediment supported by ten columns.
=Decemjugus= (sc. _currus_), R. A chariot drawn by ten horses abreast;
represented on the medals of the later emperors.
=Decempeda=, R. A ten-foot measuring-rod used by architects and
surveyors.
=Decemremis=, R. (_remus_, an oar). A vessel with ten banks of oars. It
is certain that the different ranks of rowers, who had each his own
seat, sat one above the other; the lowest row was called _thalamos_, the
middle _zuga_, and the uppermost _thranos_; but it is very difficult to
understand in what manner so many ranks could have been arranged, and
the question has been the subject of infinite discussion.
=Decennalia= or =Decennia=. A festival at Rome in commemoration of the
refusal of Augustus to become emperor for a longer period than ten years
at a time.
=Decollation= (= beheading). An ecclesiastical expression applied to St.
John the Baptist and other martyrs.
[Illustration: Fig. 238. Decorated window.]
=Decorated Style of Architecture.= The second of the POINTED or GOTHIC
styles of architecture used in England. It was developed from the EARLY
ENGLISH at the end of the 13th century, and gradually merged into the
PERPENDICULAR during the latter part of the 14th. Its most
characteristic feature is the geometrical traceries of the windows.
[Illustration: Fig. 239. Decrescent.]
=Decrescent=, =In Detriment=, Her. A half-moon having its horns to the
sinister.
=Decursio=, R. (_decurro_, to run or march). Military manœuvres; a
review, sham fight, or any exercise for training soldiers; the term
_decursus_ was also used.
=Decussis=, R. (_decem_, ten, and _as_). A piece of money marked with
the numeral X (10), and which was worth ten asses (post-Augustan; see
DENARIUS).
=De Fundato= or =Netted=. A name given to certain silks, which were dyed
of the richest purple, and figured with gold in the pattern of netting.
=De-gamboys=, O. E. A musical instrument. (See VIOL DE GAMBO.)
=Degradation=, Gen. The diminishing of the tones of colour, light, and
shade, according to the different degrees of distance. (A term used
especially in reference to glass painting.)
=Degreed=, =Degraded=, Her. Placed on steps.
=Deice=, =Deas=, or =Deis=, O. E. (See DAIS.)
=Deinos=, Gr. A vessel with a wide mouth and semi-spherical body,
something like the _cacabus_.
=Delf.= Common pottery from Delft in Holland.
[Illustration: Fig. 240. Oil cruet, Delft ware.]
=Delft Faiences= are remarkable for the beauty of their paste and of
their enamel, but spurious imitations are said to be abundant. Fig. 240
is a representative specimen of the real Delft ware. The date of the
establishment of this manufacture is uncertain, but earlier than 1614;
the ornamentation is inspired by Japanese art. (Consult _Jacquemart’s
History of the Ceramic Art_.)
=Delia=, Gr. Festivals and games at Delos.
=Delphica= (sc. _cortina_), R. A table of a very costly description,
made of white marble or bronze. It was used as a drinking-table, and had
only three feet richly ornamented. [Explained under the heading
CORTINA.]
=Delphinia.= A Greek festival in honour of Apollo.
=Delphinorum Columnæ=, R. The two columns at one end of the _spina_ of a
circus, on which marble figures of dolphins were placed. The seven _ova_
(eggs) on similar columns at the end of the _spina_ opposite to these
dolphins, served to indicate the number of turns made by the chariots
round the goal. (See OVUM.) [The figure of the dolphin was selected in
honour of Neptune.] (Cf. CIRCUS.)
[Illustration: Fig. 241. Dolphin. Used as an ornament.]
[Illustration: Fig. 242. Dolphin. Medal of Syracuse.]
=Delphinus=, =Dolphin=, Gen. (δελφίν). The dolphin was often used as an
ornament, and especially as a hand-rest or banister to the _vomitoria_
or entrances of the theatres and amphitheatres. Fig. 241 represents a
dolphin utilized in this manner at the theatre of Puzzoli. Many medals,
as for instance those of Syracuse (Fig. 242), are stamped with a
dolphin. (See also DOLPHIN.)
=Delphis=, R. A heavy mass of iron or lead used in naval warfare, to
drop on board of a hostile ship and sink it. (Compare CORVUS.)
=Delubrum=, R. (_deluo_, to cleanse). A shrine; the part of a temple
which contains the altar or statue of the deity, and thence a temple
containing an altar.
=Demembered=, =Dismembered=, Her. Cut into pieces, but without any
alteration in the form of the original figure.
[Illustration: Fig. 243. Demi-lion, _rampant_.]
=Demi=, Her. The half; the upper, front, or dexter half, unless the
contrary is specified.
=Demi-brassarts=, =Vambraces=, or =Avant-braces=. Half-armour for the
arm.
=Demi-culverin.= A cannon of four inches’ bore. (_Meyrick._)
=Demi-hag.= A smaller kind of hackbut (arquebus).
=Demi-haque=, O. E. A fire-arm, smaller than the arquebus; 16th century.
=Demi-jambes.= Armour for the shins.
=Demi-placcate.= The lower part of a breastplate.
=Demi-relievo.= Sculpture in relief, in which one half of the figure
projects; generally called _Mezzo-relievo_. (See BASSO-RELIEVO.)
=Demiurgi= (δημι-ουργοί). Popular magistrates.
=Demosii.= Slaves belonging to the state, at Athens.
=Demotic= (writing), Egyp. (δημοτικὰ, sc. γράμματα, i. e. popular
writing). A mode of writing among the ancient Egyptians, differing from
the _hieroglyphic_ or sacred writing. This writing, which was employed
for civil records, was introduced under the twenty-fifth dynasty, being
derived from the _hieratic writing_, the first abbreviation of the
hieroglyphics.
=Demster=, O. E. A judge.
=Demyt=, O. E. An old word for dimity; a kind of fustian. Perhaps so
called because first manufactured at Damietta.
=Denarius=, R. (_deni_, by tens). The silver coin principally in use
among the Romans. Until the reign of Augustus the denarius was worth ten
asses, and afterwards sixteen. _Denarius aureus_ was a gold denarius,
equal in value to twenty-five silver denarii.
=Denia.= A city of Valencia in Spain, which disputes with Alcora the
production of a remarkable kind of pottery, of which Jacquemart mentions
a vase with two handles of Arab form, resembling the alcarazas, upon a
smooth white enamel decorated with birds and flowers coarsely painted.
=Dens=, R. Literally, a _tooth_; hence the prongs of a fork, the flukes
of an anchor, the barbs of a lance, the teeth of a saw or rake.
=Dentale=, R. (_dens_, a tooth). The piece of wood in a plough on which
the plough-share (_vomer_) is fastened.
=Dentatus=, R. Armed with teeth.
=Dentelle Decoration.= Of French pottery, a light lace pattern, more
delicate than the “_lambrequin_.”
=Dentels=, Fr. (See DENTILE.)
=Dentile=, =Dentils= (Latin, _denticuli_), Arch. Ornaments in the form
of small cubes or teeth, used in the moulding of cornices, in the IONIC,
CORINTHIAN, and COMPOSITE orders. (See TOOTH-ORNAMENT, DOG’S-TOOTH.)
=Depas=, R. A bowl with two handles, the foot of which is made of a low
flat moulding like the Doric fillet.
=Depressed=, Her. Surmounted, placed over another.
=Derby Porcelain.= Manufactory established in 1750. Jacquemart says,
“Derby has made fine porcelains and statuettes which have nothing to
fear by comparison with the groups of Saxony or Sèvres.”
=Dere=, O. E. Noble, honourable.
“Syr Cadore with his _dere_ knyghttes.”
=Derring do=, O. E. Deeds of arms.
=Deruncinatus=, R. Smoothed and polished with the _runcina_ or
carpenter’s plane.
=Desca=, Lat. A stall or desk in a church.
=Descobinatus=, R. Rasped with the SCOBINA or carpenter’s rasp.
=Destrere=, Anglo-Norman. A war-horse.
=Desultorius= (sc. _equus_), R. (_desilio_, to leap off). A horse
trained for equestrian performances in a circus by the _desultor_.
_Desultorius_ is itself sometimes used as a synonym for _desultor_. The
_desultor_ rode two horses at once, and got his name from his _leaping_
or vaulting from one to the other.
=Desvres=, Pas de Calais, France. An interesting manufactory of faience
established in the 17th century, of a style originating in Flanders.
(_Jacquemart._)
=Detached.= A term in painting applied to figures which stand out well.
=Detriment=, Her. (See DECRESCENT.)
=Deunx=, R. (_de_ and _uncia_, a twelfth part off). A nominal value not
represented by any coin. The term means literally eleven _unciæ_, or
eleven-twelfths of anything [i. e. ounces or twelfths of a pound].
=Developed=, Her. Displayed, unfurled.
=Devil=, Chr. Mediæval representations of the devil (especially in
painting) were taken from those of the satyrs of the ancients. They
were, however, subject to no canon of symbolism at all, and varied from
the likeness of a beautiful woman to every imaginable variety of the
grotesque and repulsive.
[Illustration: Fig. 244. Old Devonshire Lace.]
=Devonshire Lace (Old).= This lace is said to have been first introduced
into England by the Flemings in 1567–73, and it long preserved its
Flemish character. The engraving shows a specimen of old Devonshire
lace, made at the beginning of the last century.
=Devs=, Pers. Evil genii, servants of Ahriman, in the religion of
Zoroaster; they were twenty-eight in number, and were opposed to the
ministers of the amchaspands or IZEDS (q.v.).
=Dextans=, R. (_de_ and _sextans_, i. e. a sixth part off). A nominal
value not represented by any coin. The literal meaning of the term is
ten _unciæ_, or ten-twelfths of anything [ounces].
=Dexter=, Her. The right side, i. e. to the spectator’s or reader’s
left.
[Illustration: Fig. 245. Dextrochere or bracelet.]
=Dextrale=, R. (_dexter_, right). A bracelet worn by Greek and Roman
women on the right arm, and differing from the _dextrocherium_ (Fig.
245), which was worn on the wrist. The latter ornament was often of
gold. (See ARMILLA.)
=Dholkee=, Hindoo. A kind of tom-tom, or small drum. (See TOM-TOM.)
=Diabathrum=, Gr. and R. (βάθρον, that on which one stands). A sandal or
light shoe worn by women, especially such as were tall. The comic poet
Alexis, talking of courtesans, says, “One is too short, and so she puts
cork in her _baukides_; another is too tall, and she puts on a light
_diabathrum_.”
=Diaconicum=, =Scevophylacium=, and =Bematis Diaconicon=, Chr. A room in
an ancient basilica near the altar, where the priests put on and took
off their vestments, and the deacons (διάκονοι) prepared the vessels and
sacred ornaments to be used in the service. _Diaconicum majus_ was the
sacristy.
=Diadema=, R. (diadeô, to bind round). Originally the white fillet worn
by Eastern monarchs round the head. It was made of silk, wool, or yarn,
narrow, but wider in the centre of the forehead. The Greeks presented a
diadem to every victor in the public games, and it was worn by priests
and priestesses. As the emblem of sovereignty it is an attribute of
Juno. Afterwards the term came to mean a diadem.
=Diæta=, Gr. and R. (i. e. a living-place). That part of a house in
which a Roman received his guests. The same term was applied to a
captain’s cabin in the after-part of a ship.
=Diætæ=, R. Summer-houses. (See HORTUS.)
=Diaglyph=, Gr. and R. (διαγλύφω, to carve through). An intaglio, or
design cut into the material on which it is executed. (See INTAGLIO.)
=Diaglyphic.= (Sculpture, engraving, &c.) in which the objects are sunk
below the general surface.
=Diagonal Rib=, Arch. A cross formed by the intersection of the ribs
which cut one another according to the groins of a groined roof.
=Dialia=, Gr. and R. (διάλια, from Δὶς, old form for Ζεύς). Festivals
held in honour of Jupiter by the Flamen Dialis (the priest of Jupiter).
=Diamastigosis=, Gr. (διαμαστίγωσις, i. e. a severe scourging). A
festival held at Sparta in honour of Artemis Orthia, during which boys
were flogged at an altar in order to harden them to the endurance of
pain.
[Illustration: Fig. 246. Diamicton.]
=Diamicton=, Gr. and R. (διαμίγνυμι, to mix up). A wall, of which the
outside surface was made of brickwork or regular layers of masonry, and
the centre was filled up with rubble. Fig. 246.
=Diamond=, for glass-cutting, was not used till the 16th century,
although suggested in a Bolognese MS. of a century earlier. Its
discovery is attributed to Francis I., who, to let the Duchesse
d’Estampes know of his jealousy, wrote on the palace windows with his
ring,—
“Souvent femme varie;
Mal habil qui s’y fie.”
The art of cutting and polishing diamonds with diamond powder was
discovered by Louis de Berquem in 1476.
=Diamond=, in Christian art. (See WHITE.)
=Diamond Fret=, Arch. The descriptive name for a decorated moulding in
Norman architecture.
[Illustration: Fig. 247. Di-amante, Punning device of Pietro de’
Medici.]
=Diamond Rings= were used as seal and bearings on his escutcheon
(represented in Fig. 100) by Cosmo de’ Medici, the founder of the famous
Florentine family. The device in various forms was invariably adopted by
his descendants. Fig. 247 is the device of Pietro de’ Medici († 1470),
the son of Cosmo: a falcon with a ring, and the punning motto, “Semper,”
forming with the device the words “_Semper fa-’l-con di_ (Dio)
_amante_.”
=Diapasma=, Gr. and R. (διαπάσσω, to sprinkle). A powder made of dried
flowers and odoriferous herbs, which was put in a sachet for use as a
perfume, or rubbed over the body.
=Diaper=, Arch. Ornament of sculpture in low relief, sunk below the
general surface.
=Diaper=, O. E. A mode of decoration by a repeated pattern, carved or
painted, generally in squares, representing flowers and arabesques.
[Illustration: Fig. 248. Diapered surcoat of a Herald, with the
clarion.]
=Diaper= or =Damask=, a name given to a fine linen cloth made at Ypres,
is spoken of as early as the 13th century.
“Of cloth making she had such a haunt,
She passed hem of Ypres and of Gaunte.”
(_Prologue of Canterbury Tales._)
The peculiarity of this cloth, as of that of Damascus, was in the
pattern. “_To diaper_” is, in heraldry, to cover the field of an
escutcheon with devices independent of the armorial bearings. The
engraving shows a surcoat diapered, on which are embroidered armorial
bearings. (Fig. 248.)
=Diasia=, Gr. Festivals in honour of Zeus, held at Athens, outside of
the walls of the city, for the purpose of averting epidemics and other
ills (ἄση).
=Diastyle=, Arch. An intercolumniation, in which the columns are
separated from each other by a space of three diameters.
=Diathyrum=, Gr. A passage leading at one end to the street door of a
house, and at the other to the door of the courtyard. The Romans called
this space PROTHYRUM (q.v.).
[Illustration: Fig. 249. Diatonoi.]
=Diatoni=, =Diatonoi=, Gr. and R. (διατείνω, to extend through). Long
stones extending from one face of a wall to the other (to which modern
architects give the name of _perpenders_ or _perpend-stones_), and which
were employed in the method of construction called EMPLECTON (q.v.). In
Fig. 249 one is represented by the stone placed between b and c.
=Diatreta=, Gr. (διάτρητα, i. e. bored through). A drinking-cup made of
glass, cut in such a way that the designs or ornaments upon it stand out
completely from the body of the vase, and form a tracery, which is only
united to the vase itself by small ties or pins left for the purpose.
=Diatriba=, Gr. and R. (διατρίβω, to spend time). Places in which
learned discussions were held, such as lecture or assembly rooms.
=Diaulos=, Gr. The double flute. (See AULOS, FLUTE.) One in the British
Museum, found in a tomb at Athens, is of cedar-wood, with tubes fifteen
inches in length.
=Diazoma=, Gr. (διάζωμα, that which girdles). A Greek synonym of the
Latin term PRÆCINCTIO (q.v.).
=Dicasterion=, =Dicastery=, Gr. (δικαστήριον; δίκη, justice). A tribunal
at Athens in which the people themselves administered justice without
the intervention of the magistrates.
=Dicastes.= A judge, or rather juryman, chosen annually from the
citizens at Athens.
=Dicerion=, Chr. (δι-κέραιον, with two horns). A candlestick with two
branches, holding which in their hands the Greek priests bless the
people. The _dicerion_ is symbolical of the two-fold nature of Christ.
(See TRICERION.)
=Dichalcon=, Gr. (δίχαλκος, i. e. double-chalcos). A small Greek copper
coin worth only one-fourth or one-fifth of an obolus.
=Dichoria=, Gr. (δι-χορία, i. e. division of chorus). When the ancient
choruses divided into two, to recite in turn a part of the action of a
play, or mutually to interchange sentiments, this action was called
_dichoria_; each half of the chorus was called _hemichoria_ (ἡμιχορία),
and each stanza _antichoria_ (ἀντιχορία).
=Dicken=, O. E. The devil. “Odds dickens!”
=Dicker=, O. E. Half a score.
=Dicomos=, Gr. (κῶμος, a feast). A banqueting-song, which was sung at
the second course of the feast at the festivals of Bacchus.
=Dicrotos=, =Dicrotus=, Gr. (δί-κροτος, lit. double-beating). The Greek
name for a vessel with two banks of oars, the Roman _biremis_.
=Dictynnia= (δίκτυον, a hunter’s net). A Cretan festival in honour of
Artemis.
[Illustration: Fig. 250. Dictyotheton.]
=Dictyotheton=, Gr. (from δίκτυον, a net). A kind of masonry composed of
regularly-cut square stones, forming, in a wall so constructed, a
network or chess-board pattern. It answered to the _opus reticulatum_ of
the Romans.
=Didrachma=, =Didrachmum=, Gr. (δί-δραχμον). A double silver drachma of
the Greek coinage, which was worth about two shillings.
=Die.= In Architecture, for _dado_, or the part of a pedestal that would
correspond to the _dado_ (q.v.).
=Die-sinking.= The art of engraving on steel moulds, medals, coins, and
inscriptions.
=Difference=, =Differencing=, Her. An addition to, or some change in, a
coat of arms, introduced for the purpose of distinguishing coats which
in their primary qualities are the same. Differencing is sometimes used
in the same sense as Cadency; but, strictly, it is distinct, having
reference to alliance and dependency, without blood-relationship, or to
the system adopted for distinguishing similar coats of arms.
(_Bouteil._)
=Digitale=, R. (_digitus_, a finger). A kind of glove worn by the
Sarmatians, an example of which may be seen on Trajan’s Column.
=Diglyph=, Gr. and R. (δί-γλυφος, doubly indented). An ornament
consisting of two _glyphæ_ (γλυφαὶ) or grooves channelled out on
consoles. (See TRIGLYPH.)
=Diipoleia= (πολιεὺς, of the city). A very ancient Athenian festival,
celebrated annually on the Acropolis, in honour of Zeus Polieus.
[Illustration: Fig. 251. Rose dimidiated. Device of James I.]
=Dimidiated=, Her. Cut in half per pale, and one half removed. Fig. 251
is a device placed by James I. on some of his coins, in which the
thistle and rose are respectively _dimidiated_. The legend was, “_Fecit
eos in gentem unam_.”
=Diocleia.= A festival of the Megarians, held about the grave of an
ancient Athenian hero, Diocles. There was a prize for kissing.
=Dionysia.= The celebrated orgies of Dionysus or Bacchus, suppressed
B.C. 186, and substituted by the Liberalia. (See BACCHANALIA.)
=Dioptra=, Gr. and R. (δίοπτρα; διοράω, to see through). An instrument
used in surveying to measure distances and to take levels.
=Dioscuria=, Gr. and R. (Διοσκούρια). Games instituted at Rome in honour
of the Dioscuri (Castor and Pollux), who, at the battle of Lake Regillus
against the Latins (496 B.C.), were supposed to have fought on the side
of the Romans.
=Diospolites=, Egyp. One of the nomes or divisions of Lower Egypt.
=Diota=, Gr. (δί-ωτα, with two ears). A name applied indifferently to
any kind of vase furnished with two handles, such as _lagenæ_,
_amphoræ_, _canthari_, &c.
=Diplinthus=, R. (πλίνθος, a brick). Masonry two bricks thick.
=Diploïs=, Gr. and R. Folded in two; an upper garment which was doubled
in the same manner as a woman’s shawl at the present day; it was much
worn among the Greeks.
=Diploma=, Gr. and R. (δίπλωμα, i. e. double-folded). A passport
consisting of two leaves (whence its name). The term is also used to
denote a diploma by which any right or privilege is conferred.
=Dipteral=, Arch. A building having double wings. The term is applied to
any building having a double intercolumniation all round it.
=Diptheræ=, Gr. and R. (διφθέραι; δέφω, to make supple). (1) Prepared
skins for writing on. (2) A kind of garment; an overcoat of skin or
leather which Greek slaves put on over their tunic.
=Diptych=, Gr. (δί-πτυχα, i. e. double-folded). Double tablets united by
means of strings or hinges. _Diptycha consularia_, _ædilitia_,
_prætoria_ had engraved on them portraits of consuls, ædiles, prætors,
and other magistrates. These consular diptychs were a part of the
presents sent by new consuls on their appointment to very eminent
persons. The series of them is a very valuable record of the progress of
the art of ivory carving. In Christian archæology diptychs were
decorated with scenes from biblical history. There were also diptychs of
the baptized; of the bishops and benefactors of a church, living or
dead; of saints and martyrs; and, lastly, of deceased members of the
congregation, whose souls were to be remembered at mass. (See TRIPTYCH.)
=Directors=, or =Triangular Compasses=. A mathematical instrument
adapted for taking three angular points at once.
=Diribitorium=, R. (_diribeo_, to sort or separate). A place or building
in which a public officer inspected the troops, distributed the pay, and
enrolled the conscripts in their respective regiments.
=Dirige=, Chr. A psalm forming part of the burial service, “Dirige
gressus meos,” &c.; hence =Dirge=, for funereal music or hymns in
general.
=Dirk.= A Scotch dagger.
[Illustration: Fig. 252. Tazza of Diruta, with head of “Rome.”]
=Diruta.= An important porcelain manufactory in the Papal States,
established by a pupil of Luca della Robbia in 1461.
=Discerniculum=, R. (_discerno_, to divide). A bodkin used by Roman
women in the toilet to part their hair. (See COMBS.)
=Discharging Arch.= An arch built into the structure of a wall, to
relieve the parts below it of the pressure of those above it; such
arches are common over flat-headed doors or other openings.
=Discinctus=, Gr. and R. (_discingo_, to ungird). A man who is _ungirt_,
that is, who does not wear a girdle round the waist of his tunic; for a
man, this was a mark of effeminate manners. _Discinctus miles_ denoted a
soldier who had been stripped by his commander of his sword-belt, as a
mark of disgrace. (Compare CINGULUM.)
=Disclosed=, Her. With expanded wings, in the case of birds that are not
birds of prey. The contrary to CLOSE.
[Illustration: Fig. 253. Discobolus of Myron copied on a gem.]
=Discobolus=, Gr. and R. (δισκο-βόλος, i. e. discus-throwing). A man
throwing the DISCUS (q.v.). [A celebrated statue of the sculptor Myron
so called.]
=Discus=, R. (δίσκος; δικεῖν, to throw). This term denoted (1) the
discus hurled by the DISCOBOLUS (q.v.); that is, a circular plate of
metal or stone, about ten or twelve inches in diameter. (2) A sun-dial.
(3) A shallow circular vessel for holding eatables.
=Disk.= (See WINGED DISK.)
=Disomum=, Chr. (δί-σωμον, double-bodied). An urn or tomb which held the
ashes or bodies of two persons; _bisomum_ was also used. Both terms are
met with in Christian inscriptions.
[Illustration: Fig. 254. Falcon Displayed.]
=Displayed=, Her. Birds of prey with expanded wings. Fig. 254 represents
the crest of Edward IV., the falcon and fetterlock.
=Displuviatus=, =Displuviatum=, R. An atrium, the roof of which was
sloped outwards from the COMPLUVIUM (q.v.), instead of being sloped
towards it. (See IMPLUVIUM and ATRIUM.)
=Disposed=, =Disposition=, Her. Arranged, arrangement.
=Distaff.= A common object in ancient art. It is an attribute of the
Fates, and generally distaffs of gold were given to the goddesses. It
was dedicated to Minerva. (See COLUS.) The name of St. Distaff’s Day was
given to the day after Twelfth Day in England.
=Distance.= In a picture, _the point of distance_ is that where the
visual rays meet; _middle distance_ is the central portion of a picture,
between the _foreground_ and the _extreme distance_.
=Distemper.= A kind of painting in which the pigments are mixed with an
aqueous vehicle, such as _size_. Distemper is painted on a dry surface.
(See FRESCO-PAINTING.)
=Ditriglyph=, R. (δὶς, twice, and τρίγλυφος). The space between two
triglyphs in the Doric order. The term is therefore a synonym of METOPE
(q.v.).
=Dividers.= Ordinary compasses for taking off and transferring
measurements.
=Dividiculum=, R. A reservoir in the form of a tower, in which the water
of an aqueduct was collected, and whence it was afterwards distributed.
(See CASTELLUM.)
=Docana= (δοκὸς, a beam). An ancient Spartan symbol of Castor and
Pollux. It consisted of two upright beams, with cross pieces.
=Doccia.= An important Italian manufactory of soft porcelain founded in
1735. Jacquemart says, “Doccia now inundates Europe with spurious
majolica of the 16th century, and with false porcelain of Capo di Monte,
of which she possesses the moulds.”
=Dodecahedron=, Gr. A solid figure of twelve equal sides.
=Dodecastyle=, Gr. and R. (δώδεκα, twelve, and στῦλος, pillar). A
building, the arrangement of which admits of twelve columns in front. A
dodecastyle pediment is a pediment supported by twelve columns.
=Dodra=, R. (_dodrans_, nine parts). A kind of beverage, or rather soup,
composed of nine ingredients. We learn from Ausonius that it was made of
bread, water, wine, oil, broth, salt, sweet herbs, honey, and pepper.
=Dodrans=, R. (i. e. three-fourths). Nine _unciæ_, or three-quarters of
an _as_. There was no coin of this value. As a measure of _length_, nine
inches. (See AS.)
=Doff= or =Deff=, Egyp. The square tambourine of the ancient Egyptians;
the _toph_ of the Hebrews, still in use among the Arabs, especially in
the Barbary States.
=Dog.= An emblem of fidelity and loyalty. In mediæval art, the attribute
of St. Roch; also of St. Dominic, the founder of the Dominican order; of
St. Bernard, St. Wendelin, and St. Benignus. As an emblem of fidelity,
it is placed at the feet of the effigies of married women upon
sepulchres. It was common to represent, in painting or mosaic, a chained
watch-dog at the doors of Roman houses. The DOG OF FO is a sacred emblem
in China, sometimes called a _Chimera_; it is placed as the guardian of
the thresholds of temples, and of the Buddhist altars. In the Chinese
zodiacal system the dog is the sign for the month of September.
=Dog Latin.= Barbarous Latin; e. g. “Verte canem ex” (turn the dog out).
=Dog’s-nose=, O. E. A cordial used in low life, composed of warm porter,
moist sugar, gin, and nutmeg. (_Halliwell._)
=Dog’s-tooth Moulding=, Arch. A characteristic ornament of Early English
architecture, formed of four leaves with small spiral fillets, which
bear some resemblance to teeth. (See TOOTH-ORNAMENT.)
[Illustration: Fig. 255. Bronze Dolabra or hatchet (Celtic).]
[Illustration: Fig. 256. Hatchet, flint-stone.]
[Illustration: Fig. 257. Gallic hatchet.]
=Dolabra=, R. (_dolo_, to hew). An instrument like a pick or hatchet,
which varied in form according to the different purposes for which it
was employed. The _dolabra_ was used for digging, cutting, breaking, and
chopping, and was thus a pick, a hatchet, an adze or _ascia_, &c.
Dolabra of flint or other hard stone, called Celts, are of remote
antiquity. (See CELT.) (Figs. 255 to 257.)
=Doliolum.= Dimin. of DOLIUM (q.v.).
=Dolium= or =Culeus=, Gr. and R. A large earthenware vessel with a wide
mouth, and of rounded, spherical form. It was used to contain wine and
oil when first made, before they were transferred into smaller vessels
for keeping.
[Illustration: Fig. 258. Dolmen.]
=Dolmen=, Celt. A term which, in the Celtic language, means literally a
stone table. It consists of a number of stones, of which some are fixed
in the ground, and the others laid transversely over them. These
structures were used as sepulchres. Figs. 258 and 259 represent two
different types of dolmens. (See CROMLECH.)
[Illustration: Fig. 259. Dolmen, in the forest of Rennes.]
=Dolon= or =Dolo=, R. (δόλων). (1) A long stick armed with an iron
point. (2) A cane, in the hollow of which a poniard was concealed. (3)
The fore-topsail of a vessel.
[Illustration: Fig. 260. Heraldic Dolphin.]
=Dolphin=, Her. A favourite fish with heralds. It is best known as the
armorial ensign of the Dauphin, the eldest son and heir apparent of the
kings of France—_Or_, a Dolphin _az_. In Christian archæology the
dolphin is the symbol of swiftness, diligence, and love; it is often met
with entwined with an anchor. The first Christians often wore these two
symbols united in a ring, which was known as a _nautical anchor_. (See
also DELPHIN.)
=Dome=, It. (1) Literally, the _house_ of God. When a city possesses
several churches, the name is applied to the cathedral only. (2) The
interior of a _cupola_.
=Dominions=, in Christian art. (See ANGELS.)
[Illustration: Fig. 261. Plan of a Greek house.]
=Domus=, Gr. and R. (Gr. δόμος, οἶκος). A house, in contradistinction to
_insula_, a group of houses. The Greek house is divided into two parts
by the central chambers. The external, the ANDRONITIS, contains the
men’s, and the inner, or GYNÆCONITIS, the women’s apartments. The whole
building was generally long and narrow, occupying a comparatively small
frontage to the street, and the outside wall was plain without windows.
Outside the door was often an altar of Apollo Agyieus, or an obelisk, or
sometimes a laurel-tree, or a bust of the god Hermes. A few steps,
called ANABATHMOI, led up to the house door (αὐλεία θύρα), over which
there was generally a motto inscribed: the passage (θυρωρεῖον, πυλὼν,
θυρὼν) (A B in the plan) had the stables on one side, and the porter’s
lodge opposite, and led to C, the PERISTYLE or AULA of the men’s
quarters, a HYPÆTHRAL, or open air court, surrounded by porticoes called
STOAI, and by the men’s apartments, which were large banqueting-rooms
(οἶκοι, ἀνδρῶνες), smaller sitting-rooms (ἐξέδραι), and
sleeping-chambers (δωμάτια, κοιτῶνες, οἰκήματα). The door to the passage
D was called μέταυλος or μέσαυλος (i. e. the middle of the aulæ), and
gave admission to E, the peristyle or aula of the Gynæconitis. The rooms
numbered 10 to 17 were the chambers of the women; P P were called the
Thalamos and Amphithalamos; H H and G were the ἱστῶνες, or rooms for
working in wool; and at I was the garden door (κηπαία θύρα). There was
usually an upper story where guests and slaves were lodged (ὑπερῷον,
διῆρες), the stairs leading to which were outside the house. The roofs
were flat, and it was customary to walk upon them. The floors were of
stone, in later times ornamental or coloured. The construction and
decoration varied with the ages; painted ceilings were a late
introduction.
[Illustration: Fig. 262. Plan of a Roman house.]
Of a Roman house, the principal parts were the VESTIBULUM, or court
before the door, open to the street; the OSTIUM, JANUA, or FORES, the
entrance; the ATRIUM, CAVUM ÆDIUM, or CAVÆDIUM, with the COMPLUVIUM open
over the central tank (termed the IMPLUVIUM); the ALÆ (wings), TABLINUM,
FAUCES, and PERISTYLIUM: of each of which a notice will be found in its
alphabetical place in this work. (See also CUBICULA, TRICLINIA, EXEDRÆ,
PINACOTHECA, BIBLIOTHECA, BALNEUM, CULINA, CŒNACULA, DIÆTA, SOLARIA,
&c.) The floors of a Roman house were either of the composition called
RUDERATIO, and, from the process of beating down _pavita_, were then
called PAVIMENTUM, or of stone or marble or mosaics (MUSIVUM OPUS). The
inner walls were usually covered with frescoes. The ceilings left the
beams visible, which supported the roof, and the hollow or unplanked
spaces (LACUNARIA or LAQUEARIA) were often covered with gold and ivory,
or with paintings. (See CAMARA.) The principal apartments had no
windows, deriving their light from the roof; in the upper stories there
were windows either open or latticed, or later filled with mica, and
finally glass.
[Illustration: Fig. 263. Atrium with Doric columns. (_See also_ Fig.
49.)]
=Don Pottery.= A name given to the productions of a porcelain
manufactory established in 1790 at Swinton on the Don.
[Illustration: Fig. 264. Donjon.]
=Donjon=, Mod. The principal tower of a Norman or mediæval castle. It
was generally separate from the other parts of the building. The greater
number of feudal fortresses originally consisted merely of a donjon
erected on an artificial earthwork. This donjon was surrounded by an
open space walled, called the Inner Bailey, and another beyond called
the Outer Bailey. Beneath were the dungeons. Fig. 264 represents a
donjon called the Tower of Loudun. The White tower is the donjon of the
Tower of London.
=Doom.= In Christian art, the Last Judgment; a subject usually painted
over the chancel arch in parochial churches.
=Dorelot.= A network for the hair, worn by ladies in the 14th century.
(See CALANTICA, CRESPINE, &c.)
[Illustration: Fig. 265. Column and Capital of the Doric Order.]
=Doric Order of Architecture.= The earliest and simplest of the three
Greek orders. “The Grecian Doric order, at its best period, is one of
the most beautiful inventions of architecture—strong and yet elegant,
graceful in outline and harmonious in all its forms, imposing when on a
great scale, and pleasing equally when reduced in size, by the exquisite
simplicity of its parts.” (_Newlands._) The columns of this order had no
pedestal, nor base; the capital, which was half a diameter in height,
had no _astragal_, but a few plain fillets, with channels between them,
under the _ovolo_, and a small channel below the fillets. The _ovolo_ is
generally flat, and of great projection, with a _quirk_, or return. On
this was laid the ABACUS, which was only a plain tile, without fillet or
ornament. A peculiarity of this order was the _flutings_ of the column,
twenty in number, shallow, and with sharp edges. The best examples of
the Grecian Doric of which we have descriptions and figures are the
temples of Minerva (called the Parthenon) and of Theseus at Athens, and
that of Minerva at Sunium. The ROMAN DORIC differs in important
particulars from the Grecian. (See ROMAN DORIC.)
=Dormant= or =Couchant=, Her. Asleep. (See COUCHANT.)
=Dormer= (Fr. _dormir_, to sleep). The top story in the roof of a house.
=Dormer Window.= A gabled window in the sloping side of a roof,
projecting _vertically_; when it lies in the slope of the roof, it is a
_skylight_.
=Dorneck=, =Dornex=, or =Dornyks=, O. E. An inferior damask, wrought of
silk, wool, linen thread, and gold, at Tournay or _Dorneck_; 15th
century.
=Dorsale=, =Dosser=, =Dossier=, Chr. (_dorsum_, the back). Pieces of
tapestry or hangings put up in the arches or bays surrounding the choir
of a church in order to screen the clergy and choristers from draughts
of air. Also pieces of tapestry hung upon parapets, the panels of
pulpits and stalls, and sometimes the backs of side-boards. It was the
custom to hang tapestry, cloth of Arras, or needlework round the lower
half of all the ancient dining-halls to a height of about five feet
above the basement.
=Dorsualia=, R. (_dorsum_). An embroidered saddle-cloth, which was laid
across the back of a horse on the occasion of a triumphal entry, or on
the backs of victims for sacrifice. Examples of _dorsualia_ occur on
several monuments, in especial on a bas-relief of the arch of Titus, at
Rome.
=Doryphorus=, Gen. (δορυ-φόρος). Literally, spear-bearer. Fig. 130
represents a Persian spearman. A celebrated statue of Polycletus (of the
Argive school) is called the _Doryphorus_. “Polycletus advanced his art
in several respects, chiefly by fixing a law of proportion, of which his
Doryphorus, a youth bearing a spear, was called the CANON (q.v.); and
also by his making the weight of the body rest on one foot, in
contradistinction to the ancient practice, thereby producing a contrast
between the supporting, weight-bearing side of the body, and the
supported, freely-resting side.” (_Butler’s Imitative Art._) The statue
by Polycletus is lost. The proportions handed down to us by Vitruvius
are thus described by Bonomi:—
(1) The length of the horizontally extended arms equals the height of
the figure.
(2) The head is an _eighth_, the face a _tenth_ of the whole height.
(3) From the top of the scalp to the nipples is _one-fourth_.
(4) From the nipples to horizontal line across the centre of the
square—the pubes—is _one-fourth_.
(5) From that line to one just below the knee-cap is _one-fourth_.
(6) From that line to the ground is _one-fourth_.
(7) The forearm (from the elbow) is a _fourth_ of the height; the hand
a _tenth_.
=Dose= or =Dosall=, O. E. (Lat. DORSALE, q.v.).
=Dossar.= (See DORSALE.)
=Douai.= A manufactory of modern faience established in 1784, producing
stone-wares and “cailloutages.”
=Doublé=, Fr. (1) The term is applied to precious stones, when cemented
upon glass. (2) The inside lining of a well-bound book.
[Illustration: Fig. 267. Doublet costume, _temp._ Elizabeth.]
=Doublet=, although deriving its name from the French word _doublée_
(lined), is in that language more generally known as “Pourpoint,” of
which, in fact, it is merely a variety. It first appeared in England in
the 14th century made without sleeves, which for convenience were
afterwards added; and being universally adopted, it superseded the
tunic. The engraving shows a doublet with stuffed sleeves of the time of
Elizabeth. They were worn of varied forms till the reign of Charles II.
(Fig. 267.)
=Doubling=, Her. The lining of a mantle or mantling.
[Illustration: Fig. 268. Two Doves. Device of Giovanna de’ Medici.]
=Dove.= A Christian symbol of frequent occurrence; it expresses candour,
gentleness, innocence, faith, and, in especial, the Holy Spirit. It is
also a symbol of martyrdom and grief, and in this signification appears
frequently represented on tombs and sarcophagi. With an olive-bough in
its mouth it is a symbol of peace, and accordingly the inscription PAX
(Peace) is often found accompanying representations of the dove, more
particularly in the catacombs. With the Assyrians and Babylonians the
dove was the symbol of Semiramis, who, according to them, took this
shape on leaving earth. The dove was the favourite bird of Venus. As a
symbol of conjugal fidelity, the device of two turtle-doves was adopted
by Giovanna of Austria on her marriage with Francesco de’ Medici. (Fig.
268.)
[Illustration: Fig. 269. Dove-tailed Masonry.]
=Dove-tail= or =Swallow-tail=, Gen. A method of joining employed for
wood, stone, or iron, and so called because the tenon by which the joint
is effected is cut in the shape of a dove-tail or swallow-tail. This
tail fits into a notch (Fig. 269). The ancients employed double
dove-tails for joining stones together; this method of construction was
called _Opus_ REVINCTUM (q.v.).
=Dove-tail Moulding=, Arch. (Norman; called also TRIANGULAR FRETTE).
Decorated with running bands in the form of dove-tails.
=Doves, the Eucharistic.= Sacred vessels of gold, silver, gilded bronze,
or ivory, in the form of a dove, a tower, &c., which served as
receptacles for the reserved Host; they were hung up in the middle of
the CIBORIUM (q.v.). At the Amiens Museum a dove of this kind is to be
seen dating from the 12th century, and at the church of St. Nazaire at
Milan there is one of silver, gilded within and enamelled without, which
is also very ancient.
=Dowlas=, O. E. Coarse linen cloth made in Brittany; “_filthy dowlas!_”
=Drachma=, Gr. (δραχμή; δράσσομαι, to hold in the hand). A drachm, the
principal silver coin of the Greeks. There were two kinds of
_drachmata_, which differed in value: the Attic drachm and the Æginetan.
The Attic _drachma_ was equal in value to a franc, equal to six
_oboloi_. The piece of four drachmas was called a _stater_. As a weight
the drachma was the eighth of an _uncia_; about = our modern _drachm_.
=Draco=, Gen. (1) A dragon; the ensign of the Roman cohort in the time
of Trajan, adopted from the Parthians. (2) A fantastic animal of Pagan
mythology: the garden of the Hesperides, the Golden Fleece, and the
fountain of Castalia were all guarded by dragons. (3) In Christian
archæology the dragon symbolizes sin, especially idolatry. (4) The
Chinese give to several immortals the figure of a dragon. They
distinguish the long dragon of heaven, a being especially sacred; the
Kau, dragon of the mountain; and the Li, dragon of the sea. The dragons
are represented as “gigantic saurians, with powerful claws, and
terminated by a frightful head, scaly and strongly toothed.” There are
the scaly dragon, the winged dragon, the horned and the hornless
dragons, and the dragon rolled within itself which has not yet taken
flight to the upper regions. In their zodiacal system the dragon is the
sign for the month of March. (See TCHY.)
=Draconarius=, R. The standard-bearer who carried the _draco_.
=Dracontarium=, R. A band for the head, so called because it was twisted
in imitation of the _draco_ which was used as an ensign.
[Illustration: Fig. 270. Heraldic Dragon.]
=Dragon=, Her. A winged monster having four legs. (See DRACO.)
=Dragon.= A short carbine (hence “dragoons”).
=Dragon’s Blood.= A resinous astringent extract of a deep red colour,
used as a colouring ingredient for spirit and turpentine varnishes and
paints, &c. The Roman _cinnabar_ was Dragon’s Blood.
=Draught= (or =Drawte=) =Chamber=, O. E. The with _drawing_ room.
=Draughts, Game of.= (See DAMES, LATRUNCULI.)
=Dravid’ha=, Hind. A Hindoo temple constructed on an octagonal plan.
(See NAGARAS, VIMANA, VESARA.)
[Illustration: Fig. 271. Dresden milk-jug.]
=Dresden Porcelain=, made at the Royal Manufactory established at
Meissen in Saxony in 1709, is most excellent anterior to 1796, since
when its ancient perfection has been lost. The mark of the best period
is two crossed swords, with a sloped cross or a small circle beneath.
The later mark has a star beneath the swords. On rejected pieces the
swords were cut across with a line; but the manufactory at the present
day counterfeits its old marks. Fig. 271 is a specimen of the best
period, later than 1720 and before 1778.
[Illustration: Fig. 272. Pot-pourri vase, Dresden china.]
=Dressoir= or =Dressouer= (the _buffet_ of the 15th century, the
_évidence_ of the 16th) was the principal object of the dining-room, on
which were displayed all the ornamental plate of the owner of the house,
costly vases, &c. Kings had often three dressers, one for silver,
another for silver-gold, and the third for gold plate. In form they
varied; but they were made of the most valuable woods, and enriched with
the finest carving. They were sometimes covered over with cloth of gold:
the city of Orleans offered one in gold to Charles IV., which was valued
at 8000 livres Tournois.
=Drilbu=, Hind. A bell used in Buddhist worship.
=Drinking-cups of Glass= are frequently found in the Saxon barrows or
graves in England. They are ornamented in various patterns, and rounded
at the bottom. The Anglo-Saxons were also rich in cups of the precious
metals. They used horn cups also, as did the Normans. In the 15th
century flat-shaped cups or bowls were used.
=Drip=, Arch. The edge of a roof; the eaves; the corona of a cornice.
=Drip-stone=, Arch. The moulding in Gothic architecture which serves as
a canopy for an opening and to throw off the rain. It is also called
_weather-moulding_ and _water-table_. (See also CORONA.)
=Dromo=, =Dromon=, R. (δρόμων; δραμεῖν, to run). A vessel remarkable for
its swift sailing; hence—
=Dromon= or =Dromound=, O. E. A mediæval ship, propelled by oars and one
sail, used for the transport of troops. The Crusaders called it a
_dromedary_.
=Dromos=, Gr. and Egyp. (δρόμος). (1) The Spartan race-course. (2) An
avenue leading to the entrances of Egyptian temples; that leading to the
great temple of Karnac contained 660 colossal sphinxes, all of which
were monoliths.
=Drop Lake= is a pigment obtained from Brazil wood, which affords a very
fugitive colour.
=Drops=, Arch. (Lat. _guttæ_). Ornaments resembling drops, used in the
Doric entablature, immediately under the TRIGLYPH and MUTULE.
=Druidic= (Monuments), Celt. Celtic monuments, also known by the name of
_Megalithic_. (See STANDING STONES, DOLMENS, MENHIRS, CROMLECHS, &c.).
The most ancient and probably the largest Celtic or Druidical temple was
at Avebury in Wiltshire. _Dr. Stukeley_, who surveyed it in 1720, says
that “this may be regarded as the grand national cathedral, while the
smaller circles which are met with in other parts of the island may be
compared to the parish or village churches.”
=Drum=, Arch. (1) Of a dome or cupola, the STYLOBATE (or vertical part
on which the columns rest). (2) Of the Corinthian and Composite
capitals, the solid part; called also BELL, VASE, BASKET.
=Dry Point.= Direct engraving upon copper with the sharp etching-needle
itself, without the plate being covered with etching-ground, or the
lines bit in by acid. This method produces very soft and delicate work,
but it is not so durable in printing as the etched line.
=Dryers.= In painting, substances imparted to oils to make them dry
quickly. The most general in use is OXIDE of LEAD, but white copperas,
oxide of manganese, ground glass, oxide of zinc, calcined bones,
chloride of lime, and verdigris have all been used at various times.
=Drying Oil.= Boiled oil, used in painting as a vehicle and a varnish.
It is linseed oil boiled with litharge (or oxide of lead).
=Dryness.= A style of painting in which the outline is harsh and formal,
and the colour deficient in mellowness and harmony.
=Duck-bills=, O. E. Broad-toed shoes of the 15th century.
[Illustration: Fig. 273. Duke’s coronet.]
=Duke=, Her. The highest rank and title in the British peerage; first
introduced by Edward III. in the year 1337, when he created the Black
Prince the first English duke (in Latin “dux”). The coronet of a duke,
arbitrary in its adornment until the 16th century was far advanced, is
now a circlet, heightened with eight conventional strawberry-leaves, of
which in representation three and two half-leaves are shown.
(_Boutell._)
=Dulcimer.= A musical instrument, the prototype of our pianoforte. It
was very early known to the Arabs and Persians, who called it _santir_.
One of its old European names is the _cimbal_. The Hebrew _nebel_, or
perhaps the _psanterin_ mentioned by Daniel, is supposed to have been a
dulcimer; the _psalterion_ of the Greeks also. A hand organ of the
Middle Ages was called a dulcimer.
=Dunkirk.= A manufactory of modern faience which only existed for a
short time in the 18th century, and was closed within a year. The works
are therefore very rare. Jacquemart mentions a clock bearing a close
resemblance to certain Dutch products, inscribed _Dickhoof_ and _A.
Duisburg_, and by the latter name identified as Dunkirk work.
=Duns=, Celtic. Ancient hill forts of the simplest kind, consisting of a
round or oval earthen wall and ditch on a rising ground, probably
contemporary with the pit dwellings.
=Dunster=, O. E. Broad cloth made in Somersetshire, _temp._ Edward III.
=Dutch Pink.= (See PINKS.)
=Dutch White.= (See CARBONATE OF LEAD, BARYTES.)
=Dwararab’ha=, =Dwaragopouras=, =Dwaraharmya=, =Dwaraprasada=,
=Dwarasala=, Ind. (See GOPOURAS.)