DOGMATIC
93
DOLICHB
facts is evident from the correlative duties of teacher
and persons taught. As it belongs to the duty of
supreme pastor to define the meaning of a book or
proposition, correlatively it is the duty of the subjects
who are taught to accept this meaning. (See Dogma,
F.\ITH, Infallibility, Jansenism.)
HnxTER, Oiillinrs of Dogmalic Theol.. I; BoLGENi, Falti dom- matici. etc. (Brescia. 178S); Scheebex in Kirchcnlex., s. v. Facia Dogmntica: Newman, Apologia; see also the various treatises DeEcclesid. DaNIEL CoQHLAN.
Dogmatic Theology.
See Theology.
See Renne8,
Del and Saint-Malo, Diocese of.
Diocese of.
Dolbeau, Jean, Recollect friar, b. in the ProWnee of Anjou, France, 12 March, 1586; d. at Orleans, 9 June, 1G.52. He entered the order at the age of nine- teen at Balmette, near Angers, and was one of the four Recollects who were the first missionaries of Canada.
is recorded that in every Passion week he painted a
picture of the Saviour. He limited his lirush to
heads — usually of Christ and the Virgin — and seldom
undertook a large-sized canvas. He is celebrated for
the soft, gentle, and tender expression of his faces, the
transparency of his colour, the excellent management
of chiaroscuro, and the careful and ivory-like finish of
his pictures. The simplicity and tranquillity on the
faces of his paintings of Christ and the Virgin seem
little short of inspired. Hinds calls him mawkish and
affected; but Dolci was the last of the Florentine
School, the last real "master of the Renais.sance";
and as decadent sweetness permeated all Italian art,
his pictures but reflected the dominant character of
the close of the seventeenth century. Patient and
slow, he painted pictures that are perfectly finished in
every detail. His masterpiece fl646) is "St. .\ndrew
praying before his Crucifixion" (Pitti Gallery, Flor-
ence). It is one of the few works whej-e his figures,
Madonna and Chili*
Coreini Gallery, Rome
RAIT OF Himself
Uffizi Gallery, Florence
Carlo Dolci
St. Caslmir of Pola.nd
Pitti Palace, Florence
He landed at Quebec in May, 1615, and celebrated the
first Mass ever said there. He became commissionary
provincial of the mission in 1618 and preached the
first jubilee accorded to Canada. This zealous mis-
sionary built the first monastery of the Recollects at
Quebec in 1620. He returned to France in 1625, taking
with him a young Indian boy who was later baptized
at Angers. Endowed with many striking qualities,
Father Dolbeau was remarkable for extraordinary
spiritual insight and profound humility. He was suc-
cessively master of novices, guardian, definitor, and
provincial delegate at the general chapter of the order
held in Spain in 1633. He died in the forty-seventh
year of his religious life.
Biographical notices, seventeenth Century MSS. (Public Library. Orli^ans); Sagard. Hi.s(. du Canada (Paris, 1636): ed. Tross (1866); Leclercq, Prrmier etablisscmrnt de la foi dam la Nouvelle France (Paris, 1691); Shea tr. (New York. 1881).
Odoric M. Jouve.
Dolci, Carlo, painter, b. in Florence, Italy, 25 May, 1616; d. 17 January, 1686. The grand.son of a painter, he seems to have inherited a talent for art. He studied under J. Vignali, and when only eleven years old he attracted attention by the excellence of his work, notably a figure of Saint John and a head of the Infant Jesus. The precocious youth made a care- fully-finished picture of his mother, and thereafter was kept busy filling the numerous commissions he received in Florence, a city he seldom left during his long life, which he devoted to art. Dolci was one of the few masters who.sc |iictures were eagerly sought for V)y his countrjmien during his lifetime. He was very pious and painted religious works exclusively. It
always well drawn and standing out in beautiful relief,
are life-size. Next in excellence to this is tiie "St.
John writing his Gospel" (Berlin). His "Mater Do-
lorosa" called "Madonna del Dito" (of the thumb) is
known throughout the civilized world because of its
many reproductions. In 1662 Dolci saw with chagrin
Giordano accomplish in a few hours what would have
taken him weeks, and it is said he was thereupon
seized with melancholy which ultimately led to his
death. Loma, Mancini, Mariani, and Agnese Dolci
(his daughter) were a few of his pupils and imitators.
Contemporary copyists have filled European collec-
tions with spurious Dolcis. Agnese Dolci, who died
the same year as her father, not only made marvellous
copies of the master's pictures, but was herself an ex-
cellent painter. Her "Consecration of the Bread and
Wine" is in the Louvre. Other works by hun are:
"Virgin and Child", National Gallery, London; "The
Saviour seated with Saints", Florence; "Madonna
and Child", Borghese Gallery, Rome.
Blanc, Ecole floreniine (Paris, 1877); Morelli, Italian Masters in German Galleries (London, 1883): Crowe and Cavalcaselle, Hist, of Painting in Italy (London, 1S71). Leigh Hunt.
Doliche, a titular see of Commagene (Augusto- Euphratesia). It was a small city on the road from Germanicia to Zeugma (Ptolemy, V, 15, 10; Itiner. Anton., 184, 189, 191, 194; Tab. Peuting.), famous for its temple of Zeus Dolichenus ; it struck its own coins from Marcus Aurelius to Caracalla. The ruins stand at Tell DiilCik, three miles northwest of Aintab, in the vilayet of Aleppo. Doliche was at an early date an
