[1] So _Ego Haroldus dux, Ego Tostinus dux_, in a charter of Edward
the Confessor (1060), Hist. MSS. Comm. 12th rep. app. pt. ix. p. 581.
DUKE OF EXETER'S DAUGHTER, a nickname applied to a 15th-century
instrument of torture resembling the rack (q.v.). Blackstone says
(_Commentaries_, ii. sec. 326): "The trial by rack is utterly unknown to
the law of England, though once when the dukes of Exeter and Suffolk,
and other ministers of Henry VI., had laid a design to introduce the
civil (i.e. Roman) law into the kingdom as the rule of government, for a
beginning thereof they erected a rack for torture, which was called in
derision the duke of Exeter's daughter, and still remains in the Tower
of London, where it was used as an engine of state, not of law, more
than once in Queen Elizabeth's reign. But when, upon the assassination
of Villiers, duke of Buckingham, by Felton, it was proposed in the privy
council to put the assassin to the rack, in order to discover his
accomplices, the judges being consulted, declared unanimously that no
such proceeding was allowable by the laws of England."
DUKER, CARL ANDREAS (1670-1752), German classical scholar and jurist,
was born at Unna in Westphalia. He studied at the university of Franeker
under Jacob Perizonius. In 1700 he was appointed teacher of history and
eloquence at the Herborn gymnasium, in 1704 vice-principal of the school
at the Hague, and in 1716 he succeeded (with Drakenborch as colleague)
to the professorship formerly held by Peter Burmann at Utrecht. After
eighteen years' tenure he resigned his post, and lived in retirement at
Ysselstein and Vianen. His health finally broke down under excessive
study, and he died, almost blind, at the house of a relative in
Meiderich near Duisburg, on the 5th of November 1752. His chief
classical works were editions of Florus (1722) and Thucydides (1731,
considered his best). He brought out the 2nd edition of Perizonius's
_Origines Babylonicae et Aegyptiacae_ (1736) and his commentary on
Pomponius Mela (1736-1737). Duker was also an authority on ancient law,
and published _Opuscula varia de latinitate veterum jurisconsultorum_
(1711), and a revision of the _Leges Atticae_ of S. Petit (1741).
See C. Saxe, _Onomasticon litterarium_, vi. 267; articles in
_Allgemeine deutsche Biographie_ and in Ersch and Gruber's _Allgemeine
Encyklopadie_.
DUKERIES, THE, a name given to a district in the N.W. of
Nottinghamshire, England; included within the ancient Sherwood Forest
(q.v.). The name is taken from the existence of several adjacent
demesnes of noblemen, and the character of the Forest is to some extent
preserved here. On the north is the Sheffield-Retford branch of the
Great Central railway, serving the town of Worksop, connecting at
Retford with the Great Northern railway, while on the south the Great
Central railway serves the small market town of Ollerton, and connects
with the Great Northern at Dukeries Junction. The following demesnes are
comprised in the district. Worksop Manor formerly belonged to the dukes
of Norfolk. Welbeck Abbey is the seat of the dukes of Portland, to whom
it came from the Cavendish family (dukes of Newcastle); the mansion is
mainly classic in style, dating from the early 17th century, but with
many subsequent additions; the fifth duke of Portland (d. 1879) built
the curious series of subterranean corridors and chambers beneath the
grounds. Clumber House, the seat of the dukes of Newcastle, is
beautifully placed above a lake in a fine park. Thoresby House is the
seat of the earls Manvers, to whom it came on the extinction of the
dukedom of Kingston; part of this demesne is a splendid tract of wild
woodland.
DUKES, LEOPOLD (1810-1891), Hungarian critic of Jewish literature. He
spent about twenty years in England, and from his researches in the
Bodleian library and the British Museum (which contain two of the most
valuable Hebrew libraries in the world) Dukes was able to complete the
work of Zunz (q.v.). The most popular work of Dukes was his _Rabbinische
Blumenlese_ (1844), in which he collected the rabbinic proverbs and
illustrated them from the gnomic literatures of other peoples. Dukes
made many contributions to philology, but his best work was connected
with the medieval Hebrew poetry, especially Ibn Gabirol. (I. A.)
DUKINFIELD, a municipal borough of Cheshire, England, within the
parliamentary borough of Stalybridge, 6 m. E. of Manchester. Pop.
(1901) 18,929. It lies in the densely populated district in the
north-east of the county, between Stalybridge and Ashton-under-Lyne, and
is served by the London & North Western and Great Central railways.
There are extensive collieries, and the other industries include cotton
manufactures, calico-printing, hat-making, iron-founding, engineering
and the manufacture of firebricks and tiles. A portion remains of the
old timbered Dukinfield Hall, in the chapel of which Samuel Eaton (d.
1665) taught the first congregational church in the north of England.
The chapel, much enlarged, is still used by this denomination. The
borough, incorporated in 1899, is under a mayor, 6 aldermen and 18
councillors. Area, 1405 acres.
DULCIGNO (Servian, _Ultsin_, Turk. _Olgun_), a seaport of Montenegro, on
the Adriatic Sea, 8 m. W. of the Albanian frontier. Pop. (1900) about
5000. Shut in by hills and forests, and built partly on a promontory
overlooking its bay, partly along the shore, Dulcigno is the prettiest
of Montenegrin towns. Its narrow crooked lanes, however, with its
bazaars, mosques, minarets and veiled women, give to its picturesqueness
a decidedly Turkish air. The old quarter, on the promontory, is walled,
and has a medieval castle, once of great strength. Turks form the bulk
of the inhabitants, although their numbers decreased steadily after
1880, when the population numbered about 8000. Albanians and Italians
are fairly numerous. Dulcigno has a Roman Catholic cathedral and an
ancient Latin church. The Austrian Lloyd steamers call at intervals, and
some shipbuilding and fishing are carried on; but the harbour lacks
shelter and is liable to deposits of silt.
To the Romans, who captured it in 167 B.C., Dulcigno was known as
_Ulcinium_ or _Olcinium_; in the middle ages it was a noted haunt of
pirates; in the 17th century it was the residence of Sabbatai Zebi (d.
1676), a Jew who declared himself to be the Messiah but afterwards
embraced Islam. In 1718 Dulcigno was the scene of a great Venetian
defeat. It belonged to the Turks until 1880, when its cession, according
to the terms of the treaty of Berlin (1878), was enforced by the
"Dulcigno demonstration," in which the fleets of Great Britain, France,
Germany, Austria and Russia took part.
DULCIMER (Fr. _tympanon_; Ger. _Hackbrett_, _Cymbal_; Ital. _cembalo_,
_timpanon_ or _salterio tedesco_), the prototype of the pianoforte, an
instrument consisting of a horizontal sound-chest over which are
stretched a varying number of wire strings set in vibration by strokes
of little sticks or hammers. The dulcimer differed from the psalterium
or psaltery chiefly in the manner of playing, the latter having the
strings plucked by means of fingers or plectrum. The shape of the
dulcimer is a trapeze or truncated triangle, having the bass strings
stretched parallel with the base, which measures from 3 to 4 ft.; the
strings decrease gradually in length, the shortest measuring from about
18 to 24 in. at the truncated apex. The sound-board has one or two rose
sound-holes; the strings are attached on one side to hitch pins and at
the other to the larger tuning pins firmly fixed in the wrest plank. The
strings of fine brass or iron wire are in groups of two to five unisons
to each note; the vibrating lengths of the strings are determined by
means of two bridges. The dulcimer is placed upon a table in front of
the performer, who strikes the strings with a little hammer mounted on a
metal rod and covered on one side with hard and on the other with soft
leather for forte and piano effects. The compass, now chromatic
throughout, varies according to the size of the instrument; the large
cymbalom of the Hungarian gipsies has a range of four chromatic octaves,
[Illustration: musical notes].
The origin of the dulcimer is remote, and must be sought in the East. In
the bas-reliefs from Kuyunjik, now in the British Museum, are to be seen
musicians playing on dulcimers of ten strings with long sticks curved at
the ends, and damping the strings with their hands. This is the pisantir
of the days of Nebuchadrezzar, translated "psaltery" in Dan. iii. 5,
&c., and rendered "psalterion" in the Septuagint, a confusion which has
given rise to many misconceptions.[1] In the Septuagint no less than
four different instruments are rendered _psalterion_ (from Gr. [Greek:
psallo], pluck, pull), i.e. _ugab_, _nebel_, _pisantir_ and _toph_, two
stringed, one wind and one percussion. The use of the word in Greek for
a musical instrument is not recorded before the 4th century B.C. The
modern santir of the Persians, almost identical with the German
hackbrett, has a compass from [Illustration: musical notes] according to
Fetis.[2] The Persians place its origin in the highest antiquity. Carl
Engel[3] gives an illustration said to be taken from a very old
painting.[4]
The dulcimer was extensively used during the middle ages in England,
France, Italy, Germany, Holland and Spain, and although it had a
distinctive name in each country, it was everywhere regarded as a kind
of psalterium. The importance of the method of setting the strings in
vibration by means of hammers, and its bearing on the acoustics of the
instrument, were recognized only when the invention of the pianoforte
had become a matter of history. It was then perceived that the
psalterium in which the strings were plucked, and the dulcimer in which
they were struck, when provided with keyboards, gave rise to two
distinct families of instruments, differing essentially in tone quality,
in technique and in capabilities: the evolution of the psalterium
stopped at the harpsichord, that of the dulcimer gave us the pianoforte.
The dulcimer is described and illustrated by Mersenne,[5] who calls it
_psalterion_; it has thirteen courses of pairs of unisons or octaves;
the first strings were of brass wire, the others of steel. The curved
stick was allowed to fall gently on to the strings and to rebound many
times, which, Mersenne remarks, produces an effect similar to the
trembling or tremolo of other instruments. Praetorius[6] figures a
hackbrett having a body in the shape of a truncated triangle, with a
bridge placed between two rose sound-holes, and played by means of two
sticks. Another kind of hackbrett[7] (a psaltery), which was played with
the fingers, was known to Praetorius. The pantaleon, a double dulcimer,
named after the inventor, Pantaleon Hebenstreit of Eisleben, a
violinist, had two sound-boards, 185 strings, one scale of overspun
catgut, the other of wire. Hebenstreit travelled to Paris with his
monster dulcimer in 1705 and played before Louis XIV., who baptized it
_Pantaleon_. Quantz[8] and Quirin of Blankenburg[9] both gave
descriptions of the instrument. (K. S.)