The Project Gutenberg eBook of An Illustrated Dictionary of Words Used in Art and Archæology, by J. W. Mollett

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.)

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.

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.)

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.

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.

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.

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.

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.

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.)

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.)

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.

(4) From the nipples to horizontal line across the centre of the square—the pubes—is one-fourth.

(7) The forearm (from the elbow) is a fourth of the height; the hand a tenth.

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.

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.)

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.)

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.

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.)

Dracontarium, R. A band for the head, so called because it was twisted in imitation of the draco which was used as an ensign.

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.

Dravid’ha, Hind. A Hindoo temple constructed on an octagonal plan. (See Nagaras, Vimana, Vesara.)

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.

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.

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-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.

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.

Dwararab’ha, Dwaragopouras, Dwaraharmya, Dwaraprasada, Dwarasala, Ind. (See Gopouras.)