for bachelor, master, and doctor, lined with silk of the official colors of the institution granting the degree, and trimmed with velvet of the color that represents the department of learning in which it is conferred. The following are the colors used for this purpose: Arts and letters, white; theology, scarlet; laws, purple; philosophy, blue; science, gold yellow; fine arts, brown; medicine, green; music, pink; pharmacy, olive; dentistry, lilac; forestry, russet; veterinary science, gray; and library science, lemon. In connection with this system, it is customary for those who hold degrees from German universities to line their hoods with the colors of the university granting them, upon which is laid a German tri-chevron of black, white, and red.

DEGREE OF LATITUDE. A space along the meridian (q.v.), through which an observer must pass to alter his latitude by one degree

i.e. in order to see a star in the meridian one degree nearer to or farther from the zenith. (See LATITUDE.) The length of a degree must be calculated from data found by actual measurements on the earth's surface; and owing to the earth being an oblate spheroid, and not a sphere, it varies with the place of observation, the degrees being longer toward the poles, where the earth is flatter, and shorter at the equator, where the earth is more curved. If the earth were a sphere, a degree would have a constant length. As it is, a degree at the equator contains 362,756.5 feet, while at the latitude 40° it is increased to 364,283.7 feet. From a variety of observations conducted at various times and places, from as far back as the time of Eratosthenes (about B.C. 225), tables have been constructed showing the length of degrees at different latitudes. The length of the middle degree,' as it is called, or that of places in latitude 45°, is 364,606.0 feet. The ascertained difference between degrees of latitude is one of the proofs of the earth's spheroidicity. See GEODESY.

DEGREE OF LONGITUDE. The space between two longitude meridians that make an angle of 1° at the poles, measured on the arc of a circle parallel to the equator passing between them. It is clear that this space is greatest at the equator, and becomes zero at the poles; and it can be shown that it varies with the cosine of the latitude, if the earth be regarded as a sphere. The annexed table shows the lengths of a degree of longitude for every tenth degree of latitude from 0° to 70°, and takes account of the earth's divergence from a spherical form.

beth degrees, from Lambeth Palace, London, his official residence.

DE HAAS, de häs, MAURICE FREDERICK HENDRICK (1832-95). A Dutch marine painter. He was born in Rotterdam; first studied at the Academy there, and in 1851 went to London, where for a year he devoted himself to painting in water colors. After a sketching tour on the English and Dutch coasts, he became a pupil of Louis Meyer at The Hague. In 1859 he emigrated to New York, where he soon gained a high reputation. He was one of the original members of the American Society of Painters in Water Colors, in 1866, and in 1867 became an academician. His best-known American picture is "Farragut Passing the Forts." Some of his other pictures are: "Storm Off the Isle of Jersey;" "After the Wreck;" "White Island Lighthouse;" and "The Rapids Above Niagara." His brother, WILLIAM FREDERICK (1830-80), settled in New York in 1854, and also distinguished himself as a marine painter. He painted: "Sunrise on the Susquehanna;" "Fishing-Boats off Mount Desert;" "Evening at Halifax;" and "Narragansett Pier."

DEHN, dan, SIEGFRIED WILHELM (17991858). A German musical theorist, born at Altona. He became favorably known through his editions of the works of Orlando Lasso (Seven Penitential Psalms, 1838) and other early composers. He was custodian of the musical department of the Royal Library, Berlin, after 1842, and in 1849 was appointed professor. Among his numerous distinguished pupils in musical theory were Kiel, Glinka, Rubinstein, and Theodor Kullak. His principal publication is the Theoretische-praktische Harmonielchre (2d ed. 1858).

DEHODENCQ, dâ'o'dänk', EDME ALFRED ALEXIS (1822-82). A French genre portrait and historical painter, born in Paris. He studied at the Ecole des Beaux-Arts, under Léon Cogniet. His reputation rests principally upon his Spanish and Oriental pictures, and he is one of the most original of the group of French painters who treat such subjects. His pictures are notable for ethnographical accuracy, vivacity, and glowing color. In this genre are: "A Bull Fight in Spain" (1850); "A Jewish Fête at Tangiers" (1865); and "A Story-Teller of Morocco" (1878).

After his return to France he

painted his "October Morning," in the Luxembourg (1872)—an attempt to treat a Parisian scene with the brush of an Orientalist. He also executed a number of portraits.

DEHORNING (a word of hybrid formation, from Lat. de, away from + Engl. horn). The practice of dehorning cattle has been in vogue in Europe and the United States for many years. From time to time there has been much controversy as to the advisability and alleged cruelty of the operation. Dehorning is quite generally advocated by all who have tried it. Special dehorning shears or clippers have been devised which enable the operator to remove the horns quickly and with a minimum amount of pain. The animals recover from the operation in a few days, without serious loss of flesh or decrease in milk production. Dehorned animals are much less liable to injure one another, especially in transportation. Cattle with quarrelsome or vicious disposition are rendered docile

DEHORNING.

and gentle. The operation should be performed in mild weather, and not during periods of extreme cold or in fly-time.

The growth of horn may be entirely prevented by the application of caustic potash to the hornbutton as soon as it can be discovered on the calf's head, or about three or four days after birth. In applying caustic potash the hair should be clipped from the head so as to expose the developing horn. The latter may be moistened with ammonia, so as to dissolve the oily skin secretion. A stick of caustic potash should then be moistened in water and rubbed on the horn. The operation should be repeated until the horn becomes somewhat sensitive. The process requires only a few minutes. A scab forms over the treated surface, and falls off after a period of about one month, leaving a smooth poll on which the horns never develop.

DEHRA DUN, dêrả dụn. The capital of a district of the same name in the Northwest Prov. inces, British India, seventy-five miles east of Ambala. It is picturesquely situated in a mountain valley at an altitude of 2300 feet. Its principal buildings are the seventeenth-century temple of Guru Ram Rai, an Anglican church, and an American Presbyterian mission establishment. The town is the seat of a military cantonment, of Government survey, and of forestry departments. Population, in 1891, 25,684; in 1901, 28,095.

DEIANI'RA (Gk. Anïávɛipa, Deianeira). In Greek mythology, the daughter of Eneus, King of Calydon in Etolia, and of Althæa. She became the wife of Hercules, who was victorious over Achelous in a contest for her possession, and bore him a son, Hyllus. She unintentionally caused Hercules's death by giving him the poisoned shirt of Nessus, and in her grief over it

took her own life.

DEI GRATIA, de'i grā'shi-å (Lat., by the grace of God). A formula found a number of times in the epistles of the New Testament. Pope Felix II., in 356, used "per gratiam dei episcopus." It was formally used by the bishops at the Council of Ephesus, in 431. Later it was commonly used by archbishops, bishops, abbots, and others in their correspondence. After the middle of the thirteenth century, when the sanction of the Pope was considered important for an ecclesiastical appointment, the higher clergy wrote, "Dei et Apostolicæ Sedis Gratia" ("by the grace of God and of the apostolic see"). Other expressions were also used, as "Christi nomine," "miseratione divina," "permissione divina," etc. In England the usage was largely dropped about the time of the Reformation. Occasionally, however, the archbishops of Canterbury and York used the form until the seventeenth century. The expression was used by temporal princes as early as the seventh century. Rothar uses "in Dei nomine." Ethelbert of England, in the charter of 605, styles himself "Ethilbertus Dei Gratia Rex Anglorum." From the time of Pepin the form was commonly used by the Frankish kings. Charles VII. of France regarded Dei Gratia as a royal title, and forbade its use by the Count d'Armagnac. The phrase is used on coins of many nationalities.

DEIRA.

born and educated in Vienna. He was vicedirector of the Hofburg Theatre, Vienna, from 1832 to 1841, and editor of the Jahrbücher der Litteratur from 1829 to 1849, during which period this publication counted among its contributors men like W. von Humboldt, A. W. Schlegel, Rückert, and Hebbel. His Künstlerdramen (2 vols., Leipzig, 1845), treating of the dramatic episodes in the lives of artists and actors, may be said to have established in some respects a new dramatic genre in Germany. Among his best plays may be mentioned: Hans Sachs; Floretta; and Garrick in Bristol. collected works, comprising seven volumes, were published in Leipzig (1848-57), under the title Gesammelte dramatische Werke.

His

DEIO'CES (Lat., from Gk. Anïbкns, Deiokës, Assyr. Dayaukku, connected ultimately with Av. dainhupati, Arm. dephet, lord of the land). According to Herodotus, the first ruler of the Empire of the Medes. After the Median revolt from Assyria, he rose to be chieftain of his own petty village, and later was chosen king. He built Ecbatana, and ruled, in true Eastern style, by means of informers and spies.

DE'IOT'ARUS (Anïbrapos, Deiotaros). A king of Galatia in the first century B.C. He formed an alliance with the Romans against Mithridates, and with several hundred horsemen defended the afterwards fled with the latter. cause of Pompey at Pharsalia (B.C. 48), and Several years later he was accused of aiding Cæcilius Bassus and of conspiring against Cæsar, but was exonerated after the famous tribute paid to him by Cicero in the oration entitled Pro Rege Deiotaro. He aided Brutus at the battle of Philippi, and afterwards took sides with Octavius against Antony.

DEIPH'OBE (Anïþóßn). In Greek mythology, a daughter of Glaucus and priestess of Apollo and Artemis. Apollo granted her to live seven hundred years, but she neglected to ask for everlasting youth, and at length lost her powers and vanished away. She lived in a cabin near Cumæ, and was the guide of Æneas to the under world. She was said to be identical with the sibyl who sold the Sibylline Books to Tarquin.

DEIPH'OBUS (Gk. Antpoßos, Deiphobos). In Greek legend, the son of Priam and Hecuba, and one of the bravest of the Trojan heroes. After the death of Paris he married Helen, and she, after the fall of Troy, gave him up to Menelaus, her former husband, by whom he was killed and mutilated.

DE'IRA.

An ancient kingdom of Britain, corresponding closely to the modern Yorkshire. It formed a part of Roman Britain, and the town of York was the capital and seat of the Roman prefect. Ella, a chief of the Angles, took possession of Deira about the middle of the sixth century. There was constant strife between Deira and its northern neighbor, Bernicia, which delayed the full conquest of northern Britain. Æthelfrith of Bernicia drove out Ella's son in 588, and united the two kingdoms under the name Northumbria. In 603 the

at the Dagestan, and the rule of Northumbria was established from the Humber to the Forth. In 627 Christianity was accepted. Bernicia and

its modern name;

as

Deira became separate kingdoms about 633, but were reunited in 651. Later Deira was a separate kingdom under the Danes. It was a number of native prisoners of Deira, exposed for sale in the slave market at Rome, that attracted the attention of Gregory I. and led to the Christianizing of Britain, according to the old legend. DEIR-EL-BAHRI, där el-bä'rê (northern convent). The modern Arabic name of a famous Egyptian temple near the site of the ancient Thebes (q.v.). It was built by Queen Hatshepsut (Hatasu), the sister and wife of Thothmes II., but was never completed. In Christian times it became a monastery, whence and the reliefs adorning the walls were badly mutilated by zealous monks, who regarded them remnants of heathenism. The temple was dedicated to the god Ammon of Thebes, and also contained chapels for the deities Athor and Anubis, as well as a funerary chapel for Queen Hatshepsut. It is built upon three terraces rising in successive steps from the plain, each containing a court with columned porticoes and other buildings. The principal buildings surround the upper court, at the rear of which is the sanctuary. The walls of the various halls and chapels are magnificently decorated with sculptures and paintings. In one of the halls is depicted the fleet sent by Queen Hatshepsut to Punt, on the Somali coast. (See EGYPT, History.) The site was examined by Mariette, and later Naville, acting under the auspices of the Egypt Exploration Fund, cleared the whole temple of rubbish and explored it systematically. In 1881 no fewer than thirty-nine mummies and coffins of kings and members of the royal house were found in a deep, rocky pit near Deir-el-Bahri and removed to the Bulak Museum. Among the mummies found were those of Seqenen-Rê, Amasis I., Amenophis I., Thothmes II., Thothmes III., Seti I.. Rameses I., and Rameses II. Consult: Mariette, Dier-el-Bahri (Leipzig, 1877); Dümichen, Flotte einer ägyptischen Königin (Leipzig, 1868); Egypt Exploration Fund Memoirs, vols. xii-xiv., xvi. (London, 1894 et seq.); Guide to the Temple of Deir-el-Bahri, published by the Egyptian Exploration Fund (London).

A

DEIR-EL-KAMAR, el-kä'mer, or DER-ELKAMAR (Ar., monastery of the moon). town of Syria and once the seat of Emir Beshir, the chief sheik of the Druses (Map: Palestine, B 1). It is picturesquely situated in a glen of Mount Lebanon, at an altitude of over 2800 feet, about 13 miles from Beirut. The chief industry is the production of silk stuffs and embroideries. Population, about 8000, chiefly Maronites. Deir-el-Kamar has been the centre of many conflicts between the Maronites and the Druses.

DE ISM (Fr. déisme, from Lat. deus, god), or THEISM (Fr. théisme, from Gk. eos, theos, god). A term which properly means belief in a god, or opposed to atheism. In common language, however, deism is opposed to belief in a revelation, and a deist is one who holds the existence and providence of God, but grounds his belief on reason and the evidence afforded by the constitution of things, and rejects the testimony of a revelation. The name is often used vaguely by way of reproach, similarly to 'infidel.'

The term deists, or freethinkers, is sometimes used to designate a school or series of writers who appeared in England in the seventeenth and eighteenth centuries, and who aimed at establishing what they called natural religion, upon the basis of reason and free inquiry, and then bringing all positive or revealed religion to the test of this. They are looked upon as the precursors of German rationalism in theology. The leading names in this school are: Lord Herbert of Cherbury (died 1648); John Toland, whose Christianity Not Mysterious (London, 1696) gave exact expression to the tendency of the deists; the third Earl of Shaftesbury; Anthony Woolston; Matthew Tindal, the author of Christianity as old as the Creation, or the Gospel a Republication of the Religion of Nature (London, 1730); Viscount Bolingbroke. Consult: 1863); Leslie Stephen, History of English A. S. Farrar, History of Free Thought (London, Thought in the Eighteenth Century (London, 1881).

Collins (died 1729), the friend of Locke; Thomas

DÉJAZET, dâ'zhá'zâ', PAULINE VIRGINIE (1797-1875). A celebrated French actress. She was born in Paris, August 30, 1797 (some accounts say 1798). From the time she was five years old, when she began playing children's parts with marvelous precocity of intelligence and grace, till she was over seventy, her career upon the stage was an almost uninterrupted success. After experience in several Parisian theatres, she went to Lyons and Bordeaux, where she won great popularity in soubrette rôles. Returning to Paris (1820), she played successively at the Gymnase, the Nouveautés, and the Palais Royal, where she made some of her greatest hits in young men's parts. These, called roles travestis, were SO distinctive that they, together with her quick-witted soubrette rôles, came to be known as a class by themselves, Déjazets. Famous especially were her impersonations in La petite sœur; Le plus beau jour de la vie; Le fils de l'homme; Sophie Arnould; Frétillon; and numerous others. After 1845 she played for a time at the Variétés, and made successful tours abroad. In 1859, with her son Eugène, she undertook the management of the Folies-Nouvelles, then known as the Théâtre Déjazet. Here she brought out several of Sardou's earlier pieces, among them Monsieur Garat and Les prés Saint-Gervais. She retired from the stage in 1868, but appeared again even within a year of her death, which occurred December 1, 1875. Countless stories are told of her brilliant wit and personal charm. Consult: Duval, Virginie Déjazet, 1797-1875 (Paris, 1876); Lecomte, Virginie Déjazet: étude biographique (Paris, 1866); and Mirecourt, “Déjazet," in Les contemporains (Paris, 1854).

DEJEAN, de-zhäN', JEAN FRANÇOIS AIMÉ, Count (1749-1824). A French general and statesman, born at Castelnaudary. He fought with distinction in the wars of the Revolution, rising successively to the rank of brigadiergeneral and general of division. He was Minister of War from 1802 to 1807, and, after the first Restoration, was appointed governor of the Polytechnic School. Upon the return of Napoleon from Elba, he rendered valuable services until after the battle of Waterloo. He was also

DEJEAN.

79 for a time grand chancellor of the Legion of Honor.

DEJEAN, PIERRE FRANÇOIS AIMÉ AUGUSTE, Comte (1780-1845). A French general and entomologist, son of the preceding. He was born at Amiens, and took up the study of medicine, but soon entered Napoleon's army, with which he went to Spain and to Russia. In the army he attained the rank of a general of division, and at Waterloo acted as adjutant to the Emperor. Devoting all his leisure to science, Dejean made extensive collections of insects, and contributed much to our knowledge of Coleoptera (beetles). He is the author of the following works: Iconographie des coléoptères d'Europe (1829-36); Espèces générales des coléoptères (1825-37); and Histoire naturelle et iconographie des coléoptères d'Europe. The last-named work is still a standard on the subject of Coleoptera. The works were written by Dejean in conjunction with Boisduval and Aubé.

DE KALB. A city in De Kalb County, Ill., 58 miles west of Chicago; on the Chicago Great Western Railroad (Map: Illinois, D 2). It is the seat of the Northern Illinois State Normal School. The city contains barbed-wire factories, wire-drawing and woven-wire mills, agriculturalimplement works, piano, shoe, glove, mitten, and creamery package factories, etc. The government is administered by a mayor, biennially elected, and a municipal council. The city owns and operates its water-works. Settled about 1838, De Kalb was incorporated in 1877. Population, in 1890, 2579; in 1900, 5904.

DE KAY, CHARLES (1848-). An American author. He was born in Washington, and graduated at Yale University in 1868. He was associated with the New York Times as literary and art editor from 1877 to 1892, and two years later was appointed consul-general of the United States at Berlin, where he remained until 1897. During his sojourn abroad he established the Berliner Fechtklub, after previously founding a similar society (the Fencers' Club) in New York (1882). Among the literary and art societies established by him are the Authors' Club (1882), the National Sculpture Society (New York, 1992), and the National Arts Club (New York, 1899), of which he became the managing director. Among his numerous publications are the following: Hesperus and Other Poems (1880); Vision of Nimrod, a dramatic poem (1881); Bird Gods, devoted to ancient European mythology and religion (1898); Essays on Ancient Ireland; Love Poems of Louis Barnevel (pen-name) (1883); and translations of Heinrich Heine's Letters and of several works from the French.

DEKEN, dáʼkěn, AGATHE (1741-1804). A Dutch poet and novelist, born at Amstelveen. Many of her works were written in collaboration with her friend Elizabeth Bekker. These joint productions include the novels: Historie van Sara Burgerhart (1782); Historie van Willem Levend (1875); Brieven von Abraham Blankaart (1787); and Historie van Cornelia Wildschut (1793). Her religious songs show her to have been possessed of a truly pious nature, while her descriptive poems are fine characterizations of the folk life of Holland. Espe

DE KOVEN.

A

An

DEKKER, THOMAS (c.1570-c.1641). English dramatist. He was born in London. His dramatic career began as early as 1597, and before his death he wrote, single-handed or in collaboration, more than forty plays. In 1600 were printed two of his best comedies-The Shoemaker's Holiday and Old Fortunatus. The latter contains scenes and passages of very great beauty. Dekker had been writing the previous year in conjunction with Ben Jonson, but the two dramatists had now fallen out. In 1601 Jonson ridiculed Dekker in The Poetaster. Dekker replied with Satiromastix, or the Untrussing Of the plays of the Humourous Poet (1602). that Dekker wrote after that, the most powerful is The Honest Whore (two parts, 1st part printed 1604; 2d part, 1630), in the composition of which he was aided by Middleton. Other plays in which Dekker bore a hand are: Black Bateman of the North (1598); The Roaring Girl (1611); The Virgin Martyr (1622); and The Witch of Edmonton (first published 1658). He wrought with a realistic aim, describing the middle and lower strata of London life. He also wrote several noteworthy pamphlets, of which The Gull's Hornbook (1609) is the best extant account of the London gallants. Other pamphlets deal with thieves and vagabonds; another, The Wonderful Year (1603), describes London suffering from the plague. Consult: Dramatic Works, edited by Shepherd (4 vols., London, 1873); Plays (selected), edited by Rhys (London, 1887); and Nondramatic Works, edited by Grosart (5 vols., London, 1884-86).

DE KO VEN, HENRY LOUIS REGINALD (1861 -). An American composer of songs and light operas, born in Middletown, Conn. When eleven years old he was taken to Europe, where he received his education. He was graduated from Saint John's College, Oxford, in 1879. After he had been instructed in the usual musical grounding branches by Speidel, Lebert, and Pruckner, in Stuttgart, and Hauff in Frankfort, he took a course in vocalization with Vanuccini in Florence, and courses in light-opera composition with Genée, Von Suppé, and Delibes. On his return from Europe in 1882 he took up his residence in Chicago, but subsequently moved to

New York and afterwards to Washington. His scores are melodious and show refinement of instrumental coloring and harmony. His greatest success has been Robin Hood (1890), a thoroughly delightful work of its kind. Others among his light operas are: The Begum (1887); The Fencing Moster (1892); Rob Roy (1894); The Highwayman (1897); The Three Dragoons (1899); Foxy Quiller (1900); and Maid Marian (1901). He has also composed many songs, several of which have become well known.

DELABARRE-DUPARCQ, de-labär dụ pärk', NICOLAS EDOUARD (1819-93). A French military critic and historian, born at Saint Cloud, Seine-et-Oise. He studied at the Ecole Polytechnique, and in 1849 was appointed professor of military history at the College of SaintCyr. Having entered the engineers in 1841, he rose in 1871 to the rank of colonel, and was retired in 1879. He wrote, in addition to numerous memoirs for the Academy of Moral and Political Sciences, Biogrophie et maximes de Maurice de Saxe (1851); Portraits militaires, Esquisses historiques et stratégiques (2 vols., 1853-55); Les chiens de guerre (1867); Histoire de Henri IV., roi de France et de Navarre (1884); and many other works.

DE LA BÈCHE, de là bãsh, Sir HENRY THOMAS (1796-1855). A distinguished British geologist. He was born near London, and educated at the military school at Great Marlowe. He entered the army in 1814, but soon retired from public service to take up the study of science. For several years he traveled through England, France, and Switzerland, examining the geological formations and gaining a knowledge of mineralogy and petrography. His researches were the bases of frequent contributions to the Transactions of the Geological Society, in which he displayed great scientific ability. He was the first to conceive the plan of making a detailed geological map of England, a task he commenced upon his own responsibility; in 1832 the expense of this work was assumed by the Government, and De la Beche was appointed director. He labored for many years to establish the survey on a successful basis, and he was also concerned in founding a geological museum and a school of mines in London. The list of his publications includes many books recognized as standard works of reference and numerous papers contributed to scientific journals; among the more important are the following: Manual of Geology (1831); Rescarches in Theoretical Geology (1834); Report on the Geology of Cornwall, Devon, and West Somerset (1839); On the Formation of the Rocks of South Wales (1846); and Geological Observer (1853). De la Beche was elected president of the Geological Society of London in 1847, and in 1855 he received the Wollaston medal from the same society. His distinguished services were also awarded by the bestowal of knighthood and by numerous marks of honor from foreign societies.

DELABORDE, de-là bôrd', HENRI, Count (1811-99). A French art critic and historical painter, born in Rennes, son of Count Henri François Delaborde. He studied for some time in Paris with Delaroche, and afterwards produced historical pictures of a rather conventional type. Among them are: "Hagar in the Desert" (1836); "Saint Augustine" (1837); and "The Knights of

Saint John of Jerusalem" (1845), at Versailles. But he is known principally as a critic of art. Besides his writings, as perpetual secretary of the Académie des Beaux-Arts, he contributed to the Revue des Deux Mondes and other periodicals. These articles have been collected as Mélanges sur l'art contemporain (1866), and Etudes sur les beaux-arts en France et en Italie (1864). He also assisted Charles Blanc in preparing his History of Painters, and published, among other volumes, Ingres, sa vie, ses trauvaux, sa doctrine (1870); Lettres et pensées d'Hippolyte Flandrin (1865); Gérard Edelinck (1886); La gravure (1882); and La gravure en Italie (1883). He became an officer of the Legion of Honor in 1870.

DELABORDE, HENRI FRANÇOIS (1764-1830), Count. A French soldier, born in Paris. He successively became a brigadier-general, chief of staff, and commander in Corsica. As a general of division he conducted the campaigns in the Pyrenees (1794) and on the Rhine. In 1812 he was a general of division in Mortier's "Jeune Garde," which fought so gallantly in the Russian campaign. Upon the return of Napoleon from Elba he again espoused the cause of the Emperor. With the advent of the Restoration he was brought before a military tribunal (September, 1816), but acquitted.

DELACROIX, de-lå'krwä', FERDINAND VICTOR EUGÈNE (1799-1863). A French painter, an important leader of the modern Romantic School. He was born at Charenton-Saint-Maurice, near Paris, April 26, 1799. Under the Directory his father had been Minister of Foreign Affairs and had held other offices of honor. He mismanaged the family property, and the son had to struggle hard for an existence. He entered the studio of Guérin, when he was eighteen years old, and there became the friend of Géricault. Delacroix might have received academic honors if he had not, with Géricault and others, diverged from the classicism of the school of David and joined the Romantic School, of which he became the recognized leader. He first exhibited in 1822 "Charon's Bark Crossing the Acheron." This work made a great impression, was purchased for the Luxembourg Gallery, and is now in the Louvre. His "Massacre of Chios," exhibited in 1824, and now in the Louvre, caused an even greater sensation. Indeed, it may be termed a manifesto of the new Romantic School. The types were individual and characteristic instead of general and typical, as in the Classic School. The old ideas of composition were altogether disregarded, and the scene portrayed was one of gloomy horror and pathos. The painter was accused of worshiping the hideous instead of the beautiful, and his picture was dubbed "The Massacre of Painting." Its sale, however, enabled him to visit England in 1825. and further to increase his knowledge of the English colorists, by whom he had already been influenced. During this visit he acquired his life-long fondness for English literature, especially for Byron, Scott, and Shakespeare, whom along with Goethe he preferred to the more classic authors of his own country. In 1832 he was sent as a member of an embassy to Morocco, and he also visited Spain and Algiers. These travels enriched his palette with bright colors, and his Oriental subjects brought him great popularity. Nevertheless, he was unfortunate in selling pictures,