DOOR.

overlaid with plaques of gold or silver. The antique doors of the Pantheon are famous. From Roman times bronze seems to have been the favorite material for decorating doors, on a wooden

DOOR OF THE VIRGIN, NOTRE DAME, PARIS.

frame. But they were also elaborately inlaid under the Empire. The Byzantine method of making whole bronze doors inlaid with niello enamel and silver was probably a Roman survival. The doors of Saint Sophia (now at Saint Mark's, Venice), of Saint Paul's at Rome, of Sant' Angelo at Monte Gargano, and several others in South Italy, are examples of this technique. Another method was of hammering out thin bronze plaques, which were nailed together; of this primitive type are the gates of San Zeno, Verona. But soon bronze casting was revived in France, Germany, and Italy, and used for doors, as at Hildesheim, Augsburg (cathedral), Pisa (cathedral), Ravello (cathedral), and Monreale. Each of these doors was a mass of figured compositions in relief. The climax of doors of cast bronze was reached between the beginning of the fourteenth and the close of the sixteenth century in a series extending from the gate of Andrea Pisano at the baptistery of Florence, through the Ghiberti gates, those of Luca della Robbia (Florence cathedral), of Pollaiuolo (Saint Peter's), and finally those by Giovanni Bologna and his contemporaries at Loreto and elsewhere, which show the decadence of art.

Meanwhile doors merely of wood remained popular, and were often richly carved, but the perishable nature of the material has not allowed many early examples to survive. The earliest are the early Christian doors at Santa Sabina,

DOORWAY.

The

Rome, whose reliefs of the Old and New Testament are among the finest works of the age. Those at the monastery of Grottaferata represent Byzantine art (eleventh century). It became the custom during the Gothic period to make the decoration of the wooden doors consist largely of the wrought-iron hinges, which were expanded into a maze of intricate ornamentation. doors of Notre Dame, Paris, dating from the thirteenth century, are the finest of their class. The Renaissance of the North, in Germany and France, reverted often to elaborately carved doors, which are among the most beautiful products of wood-sculpture. Such were the doors of Beauvais Cathedral by Jean le Pot and those of Saint Maclou at Rouen by Jean Goujon. Doors made entirely of marble are very few and comparatively modern. For illustration of bronze doors, see GHIBERTI.

DOORNBOOM, dôrn'bôm (Acacia horrida). One of the most common trees of the arid and steppe regions of Africa. The name doornboom (thorn-tree), given to it by the Dutch colonists, and the botanical specific name, are due to the number and sharpness of its spines. It seldom much exceeds 30 feet in height. In house carpentry, its hard, tough timber is much used. See ACACIA.

DOORWAY (in art). The form of the doorway is determined by the architectural style of the building in which it is placed. It quickly took an important place in architectural history. In Egypt it was based on the principle of the lintel, surmounted by a strongly projecting cornice and highly developed decoration. Some Egyptian doors are of monumental proportions, like that of the Temple of Edfu, 74 feet high, with a lintel and cornice 23 feet thick. The portals between the great pylons are usually very impressive. They vary comparatively little from the beginning to the end of the style, being always of stone and decorated with colored sculptures. In Babylonia and Assyria, the arched doorway prevailed of brick, often decorated with faïence and flanked with protecting colossi; those of the city and palace gates must have been as impressive and more brilliantly colored than the Egyptian. The Persians largely imitated the Egyptians in their scheme of doorways, as is shown in the palaces of Persepolis and Susa. The primitive GreeksPelasgians, Achæans, etc.-used mainly the linteled doorway of huge, often unwrought, stone (e.g. Lion Gate, Mycena), but they knew also the form of the true and false arch. The historic Greeks confined themselves to the lintel, and evolved a type even more closely followed than the Egyptian, of which the famous doorway of the Erechtheum is the most perfect example, and next to it those at Priene and Eleusis. The lintel projected beyond the jambs, its moldings forming a sort of shoulder. The Roman doorways usually preserved the lintel, and while lacking in delicate perception of proportion, often had a superb effect from size and magnificence, as at Baalbek and Palmyra. Sometimes the arched form was used, with curving entablature. These Roman doorways reached their perfection during the second century. The triumphal and memorial arches also furnished a type of arched portal that was copied in large civil monuments. In the Early Christian and Byzantine styles doorways were of comparatively small artistic impor

tance, owing to the decadence in ornamental sculpture and detail.

ROMANESQUE DOORWAYS. But the Romanesque art of the eleventh century developed an entirely new type of doorway, which passed with modifications into Gothic art, and even influenced the Renaissance. It was the recessed doorway, carved oftener with figured than with merely decorative sculpture. The new use of stone vaulting in place of wooden roofs in architecture necessitated the replacing of the old thin walls by very heavy thick masonry, and the desire to give artistic form to the openings cut in these masses taxed the inventiveness of Romanesque artists, and led to the new style of portaled doorways. The French schools of the Centre and South were especially prominent. The great portals of Saint Gilles and Saint Trophime at Arles, in Provence, are masterpieces of composition, combining lifesize figures, reliefs, and architectural framework in a manner suggesting old Roman triumphal arches. The portals of Moissac, Vezelay, and Autun, in Burgundy, are hardly inferior. The entire façade of these and similar churches was composed in connection with the doorways, which became its principal feature. They were usually in a group of three, the central doorway, leading into the nave, being usually higher and deeper. In both these schools the human figure formed the main part of the decoration, but in other schools of central France a system of floral and geometrical ornamentation was largely substituted. The different planes in the successive recesses were marked usually by small columns, sometimes with plain, sometimes with highly decorated shafts, and above them rose corresponding rows of archivolts.

GOTHIC DOORWAYS. When the Ile de France took the lead in the middle of the twelfth cen

tury, its architects developed the pointed portal, singly or in groups of three, with severer and even more thoroughly architectural sculpture, as in the old cathedrals of Chartres, Bourges, and Le Mans, and the Abbey of Saint-Denis. Out of these sprang the unparalleled Gothic doorways of cathedral architecture, of which the masterpieces, in the thirteenth century, are at Notre Dame (Paris), Amiens, Rheims, and Chartres. The portals now project from thinner walls instead of being cut in the thickness of the walls, and, in stead of being rather a structural necessity, are an artistic conception. The older style of molded archivolts is replaced by lines of figures, usually under canopies, following the same curved lines, and making it possible to have several hundred figures in each doorway. The larger part of the encyclopædic thought of the scholastic Middle Ages, its conception of the theory and history of the universe, is expressed in the sculptures of these cathedral doorways, which thus acquire an unequaled importance in the history of art. Only seldom is their importance equaled outside of France. In Italy there are a few fine examples in the north (Verona, San Donnino) and centre (Lucca, Perugia, Orvieto), but it is in the southern region of Apulia that the most beautiful Italian examples occur, especially at Bitonto, Bitetto, Altamura, and their neighborhood, dating from the thirteenth century.

After earlier essays at Bamberg and Freiberg, Germany more closely approaches the French style, which it evidently copied during the Gothic

period. The portals of Strassburg are equal to the most brilliant French work (especially the portal of the Wise and Foolish Virgins); those of Freiberg and Nuremberg are not much inferior, but the sculpture was usually neither as systematic nor as generally employed. Even more decidedly French imitations are found in Spain, for example in the portals of Burgos Cathedral. English art of the Norman and Gothic periods was far less successful; its doorways were usually insignificant, with but little sculpture and poorly composed with the façade.

RENAISSANCE DOORWAYS. The Renaissance returned to a more classic simplicity in doorways, giving less prominence to them in façades and shearing them of sculpture, except occasionally the surface ornamentation of neo-classic pilasterjamb and lintel, usually in the Arabesque style, made popular by Raphael and Giovanni da Udine in painting, and by their predecessors of the Tuscan and Lombard schools in sculpture. Some of the portals in Venice (e.g. San Zaccaria), in Florence (Duomo), and at the Certosa of Pavia represent the early stage of the Renaissance before sculpture was tabooed, but later the purist Renaissance of the sixteenth century and the Barocco of that and the following century, discarded sculpture more rigorously, even in religious work. The arch was used more frequently than the lintel, bossed work becoming more and more popular. The recess idea had been discarded at the beginning of the Renaissance. The doorway has never since regained its mediaval importance.

BIBLIOGRAPHY. Illustrations and descriptions of portals are scattered through the histories of architecture and systematic collections of plates and photographs. For Apulian portals, consult Moscione's Collection of Photos; for French, the Robert Milusement Collection of Government Photos. The examples in southern France are given in Revoil, L'architecture romane du midi de la France (Paris, 1873); and other French examples are given under "Porte" and "Portail," in Viollet-le-Duc's Dictionnaire raisonné de l'architecture française (Paris, 1854-68).

DOPPLER, CHRISTIAN (1803-53). An Austrian physicist and mathematician, born in Salzburg (crownland of that name). He studied at the Polytechnical Institute of Vienna, and became an instructor in mathematics there. Subsequently he held various academic appointments, including those of professor of elementary mathematics and practical geometry in the Technical Institute at Prague (1841-47), professor of praetical geometry in the Polytechnikum of Vienna (1848-51), and director of the physical institute of Vienna University (1851-53). He is best known as the first to enunciate the well-known Doppler's principle (q.v.) (in his monograph Ueber das farbige Licht der Doppelsterne, 1842). His further works include Versuch einer systematischen Klassifikation der Farben (1848).

DOPPLER'S PRINCIPLE. A law in physphysicist, in 1842. If a body which is emitting ics enunciated by Christian Doppler, an Austrian which is receiving the waves, the wave-number is waves of any kind recedes from the instrument apparently decreased; and conversely, if the vibrating body approaches the receiving instrument, the wave-number is increased. Similar statements can be made, in general, of the effect

DOPPLER'S PRINCIPLE.

of making the receiving instrument move away from or toward the vibrating source. This alteration in wave number is called 'Doppler's Principle,' having been first stated in 1842 by Prof. Christian Doppler, of Prague. If the natural velocity of waves in the medium connecting the vibrating body and the receiving instrument is V, if the velocity of approach of the vibrating body is v, and if N is the natural wave-number of the waves, the new wave-number will be N', where V

N1 N V-vi

captured is said to bite viciously at any object within reach. Its flesh is of poor quality." DO'RAD.

A mailed catfish of the Amazonian

genus Doras. See CATFISH and HASSAR. DORA D'ISTRIA, dō'rå de strê-ȧ (1828-88). A pseudonym of Helen Ghika, Princess KoltzoffMassalsky. She was the niece of Prince Alexander Ghika, Hospodar of Wallachia, and was born at Bucharest, January 22, 1828. Thoroughly instructed in the classics under the care of Professor Pappadopoulos, she added to these by frequent extensive knowledge of modern languages and literature. At the age of fifteen she commenced a translation of the Iliad into German, and not long afterwards wrote several pieces for the theatre. After her marriage with Prince KoltzoffMassalsky she accompanied her husband to the Court of Saint Petersburg. Her first important work, La vie monastique dans l'église orientale, was published at Paris and Geneva in 1855. This was followed by two works, Gli eroi della Rumenia

N1 =

¥ (V + v).

N V

Illustrations of Doppler's principle are afforded in acoustics and in light. If a sounding body, e.g. a whistling locomotive, is approaching a listener, the pitch of the note heard is higher than when it is at rest or when receding. Similarly, if a source of light, e.g. a star or one edge of the rotating sun, is approaching an observer rapidly, the color due to any train of waves in the radiation produced in the human eye is not what would be seen if there were no relative motion in the line of sight; the color actually seen will be slightly shifted toward the blue portion of the spectrum. If a photographic plate is used to record the radiation, the actual change in wave-number can be measured, and thus an idea obtained of the velocity of the source of light.

DOQUET. See DOCKET.

DOR, DOR-BEETLE, or DOR-BUG. See CHAFER; JUNE-BUG.

DORE, dôr, or MONT DORE (often erroneously written Mont d'Or). A mountain mass in France, comprised in the great group of Auvergne (q.v.) Mountains in the Department of Puy-deDôme (Map: France, J 6). They are of volcanic formation, and rise in the Puy-de-Sancy, which is the highest peak of central France, to the height

of 6190 feet.

DO'RA. A play by Sardou, produced in 1877, and popular in an English version under the title of Diplomacy.

DORA, SISTER. See PATTISON, DOROTHY WYNDLOW.

DO'RAB. A fish (Chirocentrus dorab) of the Red Sea, Indian Ocean, and Malayan waters, al lied to the herrings, but having some remarkable peculiarities of structure characterizing the separate family Chirocentride. "The upward direction of the cleft of the mouth, which is armed with formidable teeth, coupled with the elongation of the lower jaw, gives a rather peculiar expression to the head, and the eyes are remarkable for being covered with skin. As this

fish attains a length of more than a dozen feet, it is a sufficiently formidable monster, and when

VOL. VI.-26.

zerland resulted in a work entitled La Suisse allemande. She received an official invitation in 1865 to attend the sixth centenary festival in honor of the birthday of Dante. This event she described vividly in Pèlerinage au tombeau de Dante. In 1867 she went to Venice to examine the ample archives of that city; but the first thing she did was to publish Venise en 1867. Afterwards she showed the fruits of her researches in Les Albanais musulmans and Gli Albanesi nella Rumenia; storia dei principi Ghika nei secoli XVII., XVIII., XIX. (1873). În 1868 she gave some account of her own active life in Di alcune opere della principessa Dora d'Istria, a work which reappeared in 1871 under the title, Dora d'Istria e la poesia albanese. Her work, Des femmes par une femme (1864), was translated into Russian, Italian, and English. She died at Florence, November 17, 1888.

DORALICE, dō'rå-lē'châ. (1) One of the stories in Straparola's Nights, and an old version of Cinderella. (2) In Ariosto's Orlando Furioso, the daughter of the King of Granada, and wife, first of Mandricardo and then of Roger. (3) The fair, shrewd wife of Rhodophil in Dryden's Marriage à la Mode.

DO'RAN, JOHN (1807-78). An English miscellaneous writer, descended from an old Irish family of Drogheda. He was born in London. He acquired from his father, who had lived in France, a good knowledge of French. From 1823 to 1828 he was on the Continent as tutor to a young nobleman. He had already become a contributor to the Literary Chronicle. When only seventeen he wrote a melodrama, which, under the title of Justice, or the Venetian Jew, was produced at the Surrey Theatre in 1824. Four years later he published a selection from his contributions to the press--Sketches and Reminiscences; and in 1835, History of Reading. In 1854 appeared Habits and Men, and Table Traits, followed by Lives of the Queens of the House of Hanover (1855); Knights and Their Days (1856); Monarchs Retired from Business (1857); History of Court Fools (1858); New Pictures and Old Panels (1859); The Princes of Wales (1860); and a Memoir of Queen Adelaide (1861). In 1864 he produced Their Majesties'

DORCHESTER.

Orthodoxy (1878); Problems of Religious ProgTess (1881); Giving and Worship (1882); Latest Drink Sophistries Versus Total Abstinence (1883); The Liquor Problem in All Ages (1884); The Why of Methodism (1887); Christianity in the United States (1888); and Romanism Versus the Public School System (1888).

DORDOGNE, dôr'do'ny'. A river of south central France, formed by the junction of the Dor and Dogne at the foot of Mont Dore (Map: France, G 7). It flows west through the departments of Corrèze, Lot, Dordogne, Gironde, and joins the Garonne thirteen miles north of Bordeaux. It is about 305 miles long, and navigable to Souillac, about 186 miles. Ocean steamers ascend to Libourne.

DORDOGNE. A southwestern department of France, formed of the ancient Province of Périgord, with small portions of Limousin, Angoumois, and Saintonge (Map: France, G 6). Area, 3561 square miles. Population, in 1896, 464,822; in 1901, 452,951. The surface is hilly, with occasional valleys of extraordinary beauty and fer: tility, the borders of which are generally covered with vineyards. There is a deficiency of corn, but a large output of chestnuts. Capital, Péri

gueux.

DORDRECHT, dôrʼdrěkt, or DORT. A town of the Netherlands, in the Province of South Holland, situated on an island in the Merwede (Meuse delta), twelve miles southeast of Rotterdam (Map: Netherlands, C 3). The town presents a mediæval appearance, and has a large Gothic Groote Kerk, with a fine nave and tower. The Merwede here forms a spacious harbor. The trade of the town in wine and lumber is considerable, and there are flour-mills and sawmills, iron and salt works, and shipyards. Population, in 1892, 34,125; in 1899, 38,386; in 1905, 44,022. Dordrecht was founded by Count Dietrich III. of Holland in 1018, and during the Middle Ages it was the foremost commercial town of the country, and a member of the Hanseatic League. The first assembly of the independent States of Holland was held here in 1572, and it was the meetingplace of the famous Synod of Dort (1618-19), which affirmed the doctrines of Calvin. (See DORT, SYNOD OF.) The city was formerly on the mainland, but was separated from it by the inundation of 1421.

DORÉ, dō'ra', PAUL GUSTAVE (1833-83). A French illustrator, painter, and sculptor. He was born at Strassburg, January 6, 1833, the son of an engineer. His talent was very precocious. At the age of ten he drew sketches for lithographs, and in his fifteenth year he was regularly employed as an illustrator by the Journal pour Rire, at the same time exhibiting series of pen sketches in the Salons. He had but little education in art, and the demand for his designs was too great to allow him the requisite leisure for technical training. As a caricaturist he was successful, but he soon turned his attention to the illustration of books. His Rabelais Illustré, which appeared in 1854, established his reputation, and this work was followed by an incredible number of others, equally famous. He was not only popular in France, but in the United States and throughout Europe, especially in England, where there was a Doré cult. He worked with amazing facility and fecundity, ac

quiring great sums of money through his art. He was made a Chevalier of the Legion of Honor in 1861, and Officer in 1879. He died in Paris, January 23, 1883.

Doré's reputation as an artist is due to his illustrations, in which his wonderful imagination, his dramatic sentiment, and his astonishing fecundity had opportunity for full sway. His drawing, however, is often faulty. He uses landscape with success, especially in order to obtain the weird and gloomy effects in which he excelled. Sometimes, as, for example, in his last great work, Orlando Furioso (1880), his imagination runs riot, and his work becomes exaggerated and bizarre. His chief masterpieces of engraving, besides the Rabelais, mentioned above, are Don Quixote (1863) and Dante's Inferno he illustrated were Balzac's Contes Drolatiques (1861). Among the numerous other works which (1856), Atala (1862), the Bible (1864), and La Fontaine's Fables (1866). He illustrated a number of important works of English literature, among which are Milton's Paradise Lost (1866), Tennyson's Idylls of the King (1867-68), Coleridge's Ancient Mariner (1876), and Poe's Raven (1883).

with his accustomed facility, created many Doré aspired to be an historical painter, and, works, mostly of colossal proportions. In these his lack of technical training is particularly conspicuous, especially his faulty drawing and his lack of color sense. The English, however, made much of his painting, and there was for a long time a permanent exhibition of his pictures in London." His first exhibited canvas was the "Battle of the Alma" (1855), and the best of his paintings are "Francesca da Rimini" and the "Neophyte" (1868). His large canvases, "Christ Leaving the Prætorium," and "Christ's Entry into Jerusalem," attracted much attention. Doré's landscapes and aquarelles are worse than his figure pieces. In them the artist strives after scintillating effects, but shows no real feeling for nature.

As a sculptor his technical deficiencies are even more evident. His best-known work is the monument to Alexandre Dumas in the Place Malesherbes, Paris. But he was more successful in a colossal vase, exhibited in the Exposition Universelle of 1878, and now in Golden Gate Park, San Francisco. The vase represents the "Vintage," and is decorated with numerous little figures of geniuses and animals, in which, in a graceful and delightful manner, the artist has expressed his exuberant fantasy.

Consult: Delorme, Gustav Doré (Paris, 1879); Roosevelt, Life and Reminiscences of Gustav Doré (London, 1885); Jerrold, Life of Gustave Doré; Claretie, Peintres et sculpteurs contemporains (2d series, Paris, 1884); Hamerton, in Fine Arts Quarterly Review, vol. iii. (London, 1864).