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Docana (*@6ÎH[=3Ddokos], a beam)=
. An
ancient Spartan symbol of Castor and Pollux. =
It
consisted of two upright beams, with cross pieces.(1883m1) |
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An important Italian
manufactory of soft porcelain founded in 1735. Jacqu=
emart
says, "Doccia now inundates |
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A plane figure havin=
g twelve
sides.(1891a1) |
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A solid figure havin=
g twelve
faces.(1891a1) |
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Gr. A solid figure o=
f twelve
equal sides.(1883m1) |
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After the invasion of |
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A |
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(Arch.) In Grecian
architecture a temple was termed dodecastyle =
i>when
it had twelve pillars in its façade.(1891a1) |
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Gr. and R. (<=
span
style=3D'font-family:"WP Greek Courier";mso-ascii-font-family:"Times New =
Roman";
mso-hansi-font-family:"Times New Roman";mso-char-type:symbol;mso-symbol-f=
ont-family:
"WP Greek Courier";mso-no-proof:no'>*f*,6"[=3Ddodeka], twelve=
, and FJØ8@H[=3Dstulos], pillar=
). A
building, the arrangement of which admits of twelve columns in front. A <=
span
class=3DSpellE>dodecastyle pediment is a pediment supported by twe=
lve
columns.(1883m1) |
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R. (dodrans, nine parts). A k=
ind of
beverage, or rather soup, composed of nine ingredients. We learn from |
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R. (i.e. three‑=
;fourths).
Nine unciae<=
/i>,
or three‑quarters of an as<=
/i>.
There was no coin of this value. As a measure of length, nine inches. (See AS.)(1883m1) |
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Doff or Deff. Egyp. The square tambou=
rine
of the ancient Egyptians; the toph of the Hebrews, still in use among the Arabs,
especially in the Barbary States.(1883m1) |
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The dog in classical=
as well
as in mediaeval art was the symbol of fidelity. In classical times it was
customary to paint a dog with the inscription cave canem at the threshold of dw=
elling‑houses.
An example of this device is to be seen at |
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An emblem of fidelit=
y and
loyalty. In mediaeval 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 repre=
sent,
in painting or mosaic, a chained watch‑dog at the doors of Roman
houses. The DOG OF FO is a sacred emblem in |
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This
animal was used for hunting in the desert, and was occasionally made a pet
of. The hunting dog was of the nature of a greyhound, with pointed upright
ears and curly tail. The Slughi, used now-a-days for the same purpose in the |
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Barbarous Latin; e.g=
. "Verte canem ex" (t=
urn the
dog out).(1883m1) |
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O.E. A cordial used =
in low
life, composed of warm porter, moist sugar, gin, and nutmeg. (Halliwell.)(1883m1) |
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Arch. A characterist=
ic
ornament of Early English architecture, formed=
of
four leaves with small spiral fillets, which bear some resemblance to tee=
th.
(See TOOTH‑ORNAMENT.)(1883m1) |
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A cutting instrument=
used
for various purposes, just as the modern axe or hatchet is. It was employ=
ed
by husbandmen for chopping wood, &c., and in the columns of Trajan and Antoninus so=
ldiers
are represented as breaking through fortifications and stockades with the=
dolabra. ILLUS. dolabra(1891a1)
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R. (dolo= , to hew). An instrument like a pick or hatchet, which varied in form accordin= g 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.) Fig.
255 Bronze Dolabra or hatchet (Celtic). Fig. 256. Hatchet, flintstone. Fig. 257. Gallic hatchet.(1883m1)
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=
A term applied by
modern anthropologists to that class of skull which is both long and narr=
ow, in regular
proportion. See Macrocephalic
and Brac=
hycephalic.
(1876c1) |
|
Dolium or Culeus, Gr=
. and R.
A large earthenware vessel with a wide mouth, and of rounded, spherical f=
orm.
It was used to contain wine and oil when first made, before they were
transferred into smaller vessels for keeping.(1883m1) |
|
Dolium. An earthenware vessel of almost spherical for=
m used
by the Romans to hold wine and other liquids. These vessels were often of
very large dimensions, sometimes large enough to contain a man. In
|
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See Toys.(1902b1) |
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A Celtic monument co=
nsisting
of unhewn stones arranged in parallel and ver=
tical
lines. Upon these other stones are placed horizontally. Some dolmens are
divided into compartments and closed at one end. ILLUS. dolmen(1891a1)
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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 diffe= rent types of dolmens. (See CROMLECH.) Fig.
258. Dolmen. Fig. 259. Dolmen, in the
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R. (*`8T<[=3Ddolon]). (1) A =
long stick
armed with an iron point. (2) A cane, in the h=
ollow of
which a poniard was concealed. (3) The fore‑t=
opsail
of a vessel.(1883m1) |
|
A conventional figur=
e of a large‑headed
cetaceous mammal. Dolphins are especially used to decorate fountains. They
are also used in heraldry, and are then generally represented in profile =
with
their bodies bent into a semicircle. ILLUS. dolphin(1891a1)
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Her. A favourite fish with heralds. It is best known=
as
the armorial ensign of the Dauphin, the eldest son and heir apparent of t=
he
kings of Fig. 260. Heraldic Dolphin.(1883m1)
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Dome, It. (1) Litera=
lly, the
house of God. When a city pos=
sesses
several churches, the name is applied to the cathedral only. (2) The interior of =
a cupola.(1883m1) |
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Dome. (Arch.) A roof=
formed
by a series of arches springing from consecutive points on a circular or
polygonal plane base and crossing one another at the summit. The solid fi=
gure
thus formed may be roughly described as hemispherical, and if, for exampl=
e,
the plane base were a true circle, and the arches true semicircles, the d=
ome
would then be a true hemisphere. ILLUS. dome(1891a1)
|
|
Domes are sometimes =
built
with a polygon as their base. The Louvre in <=
st1:City
w:st=3D"on">
|
|
A dome, the surface =
of which
above the roof is less than a hemisphere.(1891a1) |
|
A dome which consist=
s of a
hemisphere standing upon a solid rectangular figure. [Arch, Stilted.](189=
1a1) |
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A term used to descr=
ibe the
principal colour or tone in a picture.(1891a1=
) |
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Gr. and R. (Gr. = *`= :@= H[=3Ddomos], @= É6= @H[=3Doikos]). A house, in contradistinc= tion to insula, a group of houses.= The Greek house is divided into two parts by the central chambers. The extern= al, the ANDRONITIS, contains the men's, and the inner, or GYNAECONITIS, the women's apartments. The whole building was generally long and narrow, occ= upying a comparatively small frontage to the street, and the outside wall was pl= ain without windows. Outside the door was often an altar of Apollo Agyieus, o= r 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 (= "Û= 8,= \" = 2b= D"[=3Dauleia thura]), over which th= ere was generally a motto inscribed: the passage (= 2L= DT= D,= Ã@= <[=3Dthuroreion], B= L8= ã<[=3Dpulon], = 2L= Dã= <[=3Dthuron]) (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 HYPAETHRAL, or open‑air cour= t, surrounded by porticoes called STOAI, and by the men's apartments, which = were large banqueting‑rooms (= @É= 6@= 4[=3Doikoi], = <*= Dä= <,= H[=3Dandrones]), smaller sitting‑rooms (= ¦>= X*= D"= 4[=3Dexedrai]), and sleeping‑chambers (= *T= :V= J4= "[=3Ddomatia], 6= @4= Jä= <,= H[=3Dkoitones], @= Æ6= Z:= "J= "[=3Doikemata]). The door to the passage D was called = :X= J"= L8= @H[=3Dmetaulos] or = :X= F"= L8= @H[=3Dmesaulos] (i.e. the middle of the aulae), and gave admission to E, the peristyle or aula of the Gynaeconiti= s. The rooms numbered 10 to 17 were the chambers of the women; P P were call= ed the Thalamos and Amphithalamos; H H and G were the = ÊF= Jä= <,= H[=3Dhistones], or rooms for working in wool; and at I was the garden door (6= 0B= "\= " 2= bD= "[=3Dkepaia thura]). There was usually an upper story where guests and slaves were lo= dged (ß= B,= Dè= @<[=3Dhuperoon], = *4= D= ,H[=3Ddieres]), the stairs leading to wh= ich 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 coloure= d. The construction and decoration varied with the ages; painted ceilings we= re a late introduction. Of a Roman house, the pri= ncipal parts were the VESTIBULUM, or court before the door, open to the street; = the OSTIUM, JANUA, or FORES, the entrance; the ATRIUM, CAVUM AEDIUM, or CAVAEDIUM, with the COMPLUVIUM open over the central tank (termed the IMPLUVIUM); the ALAE (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, EXEDRAE, PINACOTHECA, BIBLIOTHECA, BALNEUM, CUL= INA, COENACULA, DIAETA, SOLARIA, &c.) The floors of a Roman house were eit= her of the composition called RUDERATIO, and, from the process of beating dow= n pavita, were then called PAVIMEN= TUM, or of stone or marble or mosaics (MUSIVUM OPUS). The inner walls were usu= ally covered with frescoes. The ceilings left the beams visible, which support= ed the roof, and the hollow or unplanked spaces (LACUNARIA or LAQUEARIA) wer= e often covered with gold and ivory, or with paintings. (See CAMARA.) The princip= al apartments had no windows, deriving their light from the roof; in the upp= er stories there were windows either open or latticed, or later filled with mica, and finally glass. Fig.
261. Plan of a Greek house. Fig. 262. Plan of a Roman house. Fig. 263. Atrium with Doric columns. (See also Fig 49.)(1883m1)=
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A strongly fortified
building placed either in the interior of a castle or at one angle of the
outer wall. Within the donjon were preserved the archives and treasure. In
the case of siege, the donjon was the last resort of the besieged. In ear=
ly
times donjons were constructe=
d,
according to the Norman custom, on a square or rectangular plan. In the 1=
1th
century they assumed the form of quatrefoils and afterwards were cylindri=
cal
in shape. In the 12th century particular attention was paid to their
fortifications and means of defence. But afte=
r a
time splendour rather than strength was aimed=
at,
and in the 14th and 15th centuries donjons became nothing more than
magnificent dwelling‑houses. ILLUS. donjon(1891a1)
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Mod. The principal tower of a
|
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This
animal is frequently depicted on the tomb walls, sometimes in small drove=
s.
It was much used as a beast of burden. One picture of an ass and her foal
shows the creature as heavily laden as one may see them now-a-days. Pluta=
rch
states that the ass was abhorred by the Egyptians, but nothing has been
discovered to corroborate this theory. A chapter in the "Book of the
Dead" is curiously named "the Chapter of repulsing the eater of=
the
Ass," the accompanying vignettes showing "the eater" to be=
a
serpent.(1902b1) |
|
In former times the donors of pictures or wind=
ows to
churches were frequently portrayed kneeling before the figure of the saint
whose portrait they had presented.(1891a1) |
|
A name given to the
productions of a porcelain manufactory established in 1790 at Swinton on the Don.(1883m1) |
|
In Christian art, th=
e Last
Judgment; a subject usually painted over the chancel arch in parochial
churches.(1883m1) |
|
An Arabic province, supposed to have been =
the Dumah of Hebrew writers. (1876c1) |
|
(Arch.) An opening o=
r bay,
which serves the purpose of entrance or exit. Gothic churches are general=
ly
provided with doors of great beauty, which vary in style according to the=
ir
period. In Norman churches the archivolt is a semicircle and is supported=
by
small columns. At a later date vertical supports decorated by niches plac=
ed
one above the other replaced these columns. The space between the lintel =
and
the arch was called the tympanum (q.v.). In Gothic buildings this tympanum
was sometimes decorated with bas‑reliefs, often comprising hundreds=
of
small figures disposed in friezes one above the other. Sometimes too tymp=
ana
were occupied by a representation of the genealogy of the Virgin in the f=
orm
of a tree, termed Jesse's tree. 2 ILLUS. door1, door=
2(1891a1)
|
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A door consisting of=
two
leaves, which close one upon the other. French windows or doors opening o=
n to
a balcony are generally constructed upon this plan. The leaves are someti=
mes
carried up the whole length of the bay, while sometimes upper part of the
doorway is occupied by a fixed sash. ILLUS. <=
span
style=3D'font-family:Arial;mso-bidi-font-family:"Times New Roman";mso-no-=
proof:
no'>doorfold(1891a1)
|
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No
temple or house doors remain from ancient times, but the sockets and plac=
es
for hinges are frequently seen in doorways of tombs and temples. The
"doors" of the pyramids consisted of huge blocks of granite let
into place after the body was deposited, effectually closing and conceali=
ng
the entrance. As wood was extremely valuable in |
|
The fixed frame to w=
hich a
door is hung. A door‑frame consists of two vertical posts whose upp=
er
extremities are tenoned in a head or lintel, =
and
whose lower extremities are fitted into a side of hard wood or stone. The
frame is either built in as the masonry progresses, or recesses are left =
into
which it is afterwards fitted. In cases where the vertical pieces project
they are termed responds. 2 ILLUS. doorfra1, doorfra=
2(1891a1)
|
|
Doorga. Or= i> Durja. A Hindu goddess, a form of Parvati the consort of Siva, in her attribute = of the avenger.(1876c1) |
|
(Arch.) A doorway in=
the
form of a trapesium. Its jambs are generally
inclined as in the cut, but sometimes they are vertical. Egyptian doorways
are generally ornamented with sculptured or painted hieroglyphics. A cent=
ral
ornament in the form of a winged globe sometimes surmounts them. ILLUS. <=
/span>doorway(1891a1)
|