though not converted by his antagonist, was on terms of cordial friendship with him, and united with the rest of Dr. Doig's numerous acquaintance in honouring him for his learning, candour, energy, and kindliness of disposition.—J. B. J.
DOLABELLA, Publius Cornelius, born 70 b.c. He was from early youth of notoriously abandoned habits, some of his youthful excesses nearly entailing on him judicial punishment. In 51 b.c. He was one of the quindecemviri. In the year following he put away his wife Fabia, and married Cicero's daughter, Tullia. His loose habits involving him in debt, to escape the importunity of his creditors he fled in 49 b.c. to Cæsar's camp. During the Spanish campaign of 48 b.c. He commanded Cæsar's fleet in the Adriatic. After the battle of Pharsalia he returned to Rome, got adopted into the plebeian family of Cneius Lentulus, and having thus been made eligible, he was in 47 b.c. chosen tribune of the people. We next find him with Cæsar in Africa, and then in Spain, where he was wounded On the assassination of his patron, Dolabella seized the consular insignia, and, by seeming to favour the republican party, obtained his recognition as consul. Seeing the prospects of Antony and his friends were brightening, he veered round, and obtained from Antony the government of Syria. He hastened thither with a few troops, extorting money on all hands in his march through Greece and Asia Minor, and treacherously murdering the proconsul C. Trebonius in Smyrna, 43 b.c. Finding on his arrival his forces unable to cope with Cassius, who had come to wrest Syria from him, he shut himself up in Laodicea. Hard pressed in the siege, he caused one of his soldiers to kill him, 43 b.c.—R. B.
DOLCE or DOLCI, Carlo (also called il Dolce), a Florentine painter—born in 1616; died in 1686—ranks amongst the foremost celebrities in art of the seventeenth century. He studied under Jacopo Vignali, but chose his own track independently of that master's tendencies. One of his biographers justly says of him, that he was to the Florentine school what Sassoferrato was to the Roman. Certainly Dolci strove in every way to compete with Salvi in almost all the subjects he undertook; and perhaps the same was done by the Roman artist as regards his Florentine rival. The humility of his character; the sweetness of his temper; the delicate and sensitive feeling which pervaded him—all concurred in fostering his bias for quiet, deeply expressive, eminently christian impersonations. His pictures, whilst they even surpass those of Sassoferrato in religious sentiment, and are therefore more pleasing to religious minds, present, at the same time, such abundance of really artistical merits, as to render them equally satisfactory to those who examine them for the mere sake of art. His suffering madonnas, his dying Christs, his expiring martyrs, are replete with the most delicate grace and most stirring pathos. His paintings were generally small; they were much sought after during his lifetime, and since his death have constantly increased in value. Amongst them are especially noted—the "Magdalen" at Florence; the "Saviour and Madonna" at Rome; the "St. Cecilia" at St. Petersburg; the "Herodias" and the "Christ blessing the bread and wine" at Dresden; several "Holy Families" at Vienna, Munich, Florence, &c. He excelled in portraits, the best specimens of which are at Florence. Many works attributed to this artist are mere copies after subjects by him, or original productions by his daughter Agnese, who, though not reaching the paternal perfection, imitated his style with considerable success.—R. M.
DOLCE, Lodovico, born at Venice in 1508; died in 1568. Dolce belonged to a noble family; his life was passed in indigence, but no details have been preserved. He was a member of one of those fantastic societies in his day so common in Italy. His was called the Pastori frategiani. A smaller knot of six friends, who called themselves Pellegrini, or pilgrims, numbered him among the members. A falcon holding in his talons a diamond was their crest, and their shield was a pilgrim's staff, with cowl, cockle shell, and napkin heraldically disposed. One of their mottoes was "Via tentanda est." Dolce's first adventures in literature were inspired by Carlovingian romance. We have a regularly built epic in ottava rima, entitled "Sacripante Paladino;" another on that Mambrino so irreverently adverted to in Don Quixote. Dolce was one of the many Italian poets who thought to recast Boiardo, but luckily his Innamorato was never printed. He wrote tragedies and comedies; the tragedies were from Euripides and Seneca, the comedies from Plautus. He translated Homer's Odyssey and the Battle of the Frogs and Mice; Ovid, too, and Virgil; adopting the ottava rima as more suited to the genius of Italian poetry, than the loose blank verse which in Italy is almost consecrated to such task-work. He assisted in a Spanish translation of Ariosto. Some historical tracts of his are still looked at. Dolce edited Petrarch, Boccaccio, and Dante. His biographers have neglected to state what ought to make his name remembered, that his edition of Dante in 1555 was the first the title-page of which exhibited the words "La Divina Commedia." Bernardo Tasso's Amadigi was originally published, with a preface, by Dolce in 1560.—J. A., D.
DOLET, Etienne, born at Orleans in 1509; died at Paris in 1546. He is said to have been an illegitimate son of Francis I., and was educated at Paris, then at Padua. In 1530 he went to Venice as secretary to a French ambassador, fell in love with a fine Venetian. Frenzy of another kind came to his rescue, no other than an almost fanatical worship of the style of Cicero, then epidemic. He now went to Toulouse to study law. The students at Toulouse were, according to the constitution of the old universities, divided into nations, each having its orator, and all at war with the civic authorities, from whose jurisdiction they claimed an exemption. Dolet was elected orateur des Français, and, as in duty bound, fell out with the parliament of Toulouse, was imprisoned, and released at the intercession of Dupin, bishop of Rieux. He was, however, banished from the place, and a pig was at the same time carted through the streets with a label on it bearing the name of Dolet. He found refuge in Lyons, where he published at the press of Sebastian Gryphe in 1536-38 his commentaries "De Linguâ Latinâ." Dolet is described as irritable and quarrelsome. While in Lyons he killed a man, in self-defence, he says; he fled to Paris, and succeeded in obtaining a pardon from the king. He dedicated to him his commentaries and obtained unusual privileges, securing him a long copyright in whatever book he might publish. At Paris he met Rabelais and Marot, and among other distinguished foreigners Melancthon, Vida, and Sannazar. On his return to Lyons we find him established as a printer. His first publication was his own poems. Among his publications were the works of Rabelais. In 1534 he was engaged in a pamphlet war on the subject of Ciceronian Latin. In 1541 he printed the New Testament. In 1542 he was imprisoned for heresy in the conciergerie de Paris. Duchâtel, the bishop of Tulle, succeeded in obtaining his release on condition of his recanting his errors. In 1543 the parliament of Paris ordered thirteen of his publications to be burned as blasphemous. He fled to Lyons, was there imprisoned, but escaped through the contrivance of his gaoler; fled to Piedmont, where he wrote a series of epistles in French verse, and which he calls his "second hell," the "first" being his imprisonment in the conciergerie of Paris. Among the letters of his "Deuxiême Enfer" was one to Francis I. In 1545 he was accused of sending heretical books to Paris, and of atheism. His disbelief of the immortality of the soul was inferred from his paraphrase of a passage in a dialogue attributed to Plato. The parliament of Paris condemned him to be burned as a relapsed atheist. The sentence was executed on the 3rd of August, 1546, the feast-day of his patron saint, the protomartyr St. Stephen.—J. A., D.
DOLGOROUKI. The name of a noble Russian family, which has produced a considerable number of generals and statesmen. The most celebrated member of this house is—
Prince Ivân Michaïlovitch Dolgorouki, who was born in 1764, and died in 1823. On completing his education at the university of Moscow he entered the army, and attained the rank of general of brigade. He filled in succession various offices under the Emperor Paul, and from 1802 to 1812 was civil governor of Wladimir. In the midst of his other engagements, he cultivated poetry with such success that his works have run through many editions, and have taken their place among the Russian classics.—J. T.
DOLIEBONO, Giacomo, a worthy pupil of the celebrated architect Bramante, flourished during the early part of the sixteenth century. The work which has procured for him imperishable fame is the beautiful church and cloister of St. Mauritius and St. Lazarus (generally called the Monastero Maggiore) in his native town Milan.—R. M.
DOLLOND, John, a celebrated English optician, born 10th June, 1706; died 30th November, 1761. He was of French extraction. His family being expatriated by the revocation of the edict of Nantes, came to England and settled in Spitalfields, where he was born. He was an illustrious example of the
