year at Naples. In 1837 he produced "Pia di Tolomei" at Venice, and "Roberto Devereux" at Naples; in 1838 "Maria di Rudens" at Venice; and in 1839 "Gianni di Parigi" at Milan. He now went to Paris, to take up his residence; and there proved the great versatility of his talent, in the composition of operas for the French stage, by the felicitous adaptation of his style to the very diverse characteristics of this new field of action from those of the Italian theatre. "La Fille du Regiment" was produced at the Opera Comique, and "Les Martyrs" at the Academie; and they are both as fitted to the locality for which they were written, as though the author had spent his busy life in composing for the two Parisian theatres. The Théatre de Rénaissance mainly supported itself this year by the performance of a French version of Lucia, the success of which prompted the management to engage Donizetti to write a new opera; he composed, accordingly, "L'Ange de Nisida," but the theatre was ruined before the work was ready for production. He wrote "Le Duc d'Albe" for the Academie; but the drama of this opera being disapproved, and a work of Donizetti being much desired at the theatre, he remodelled the "Ange de Nisida," changing the music of "Léonore" originally written for Mad. Thillon's soprano voice, to suit the mezzo-soprano of Mad. Stolz, and adding the fourth act. In this form it was brought out under the name of "La Favorite," with at first but indifferent success, though it soon became and long remained the most attractive opera in the entire repertory of the theatre. Such were the labours of 1840; the following year was less active, being marked by one opera only, "Adelia," which appeared at Rome. In 1842 Donizetti produced "Maria Padilla" at Milan; he was then appointed kapellmeister at the imperial theatre in Vienna, whither he repaired to produce "Linda di Chamouni," as the inaugurative work of his new office. In the recess of the Vienna season he revisited Paris, to bring out "Don Pasquale" at the Théatre Italien, of which Grisi, Mario, Tamburini, and Lablache were the original representatives, who transplanted this brilliant work to London in the spring of the same year, 1843. Donizetti returned to Vienna, and there gave "Maria di Rohan," which he took with him back to Paris in the autumn, for performance by the Italian company. He now wrote "Dom Sebastien" for the Academie, and he was busied at the same time in superintending the rehearsals of this opera at the one theatre, and "Maria di Rohan" at the other. In 1844 he went to Naples, to give "Caterina Cornara," which was the last work he produced in public. He went thence again to Vienna, and in 1845 once more returned to Paris. It was now that his mental malady fell upon him; he was at first attacked by occasional fits of despondency, which in time became so frequent as entirely to absorb his reason, and he declined into a condition of melancholy madness. In January, 1846, when his disease was proved to be beyond momentary relief, he was placed in an asylum at Ivry, where he remained till June, 1847. He was then removed to a like institution in Paris, whence he was taken three months later, in the hope that a return to his native air might act beneficially upon him. He was arrested on his journey by an attack of paralysis at Brussels, from which, however, he rallied sufficiently to be conveyed to Bergamo. The hopes were vain that he might derive relief from the effect of the climate and the scenes of home. Suffering an unknown sorrow, shedding ceaseless tears for an unreal grief, he lingered until a second paralytic stroke dealt him the blow of death. He expired four days after this attack. His interment in the cemetery outside the city was witnessed by a large multitude, who felt one common regret for the loss the lyric drama had sustained. His brothers have erected a monument to his memory in the cathedral of his native city; but his own genius has reared one in every country throughout the world where music is known. Besides the sixty-four operas that have been noticed, Donizetti left one in the possession of the management of the Opéra Comique at Paris, which, like "Le Duc d'Albe," has not been performed. He composed a "Miserere" and many other works for the church, a great quantity of unpublished instrumental music, an immense number of single songs, which have been printed, and a still greater number of pieces for insertion in different operas, which remain in MS. in the hands of the several singers for whom they were written. Beyond all this scarcely credible mass of productions, it is related of him that it was his common custom, in such situations in his operas as he deemed specially important, to make several settings of the text, from which to select the best.
It need not be said of the man who created, in twenty-six years, a number of works that has never been equalled in the same period, that he possessed an almost fabulous facility of invention. Some anecdotes of his immense rapidity of production are so startling, that they can scarcely be repeated with any expectation of credence. His first works, it is not to be wondered, are in the style of Rossini, which was universally in favour, and which almost universally prevailed at the period when they were written; but Donizetti soon emancipated himself from the influence of that popular master, and asserted a decision of character and an originality of thought, which are the questionless marks of true genius. It is one of his great merits, that each of his best works is individualized by some particular colouring appropriate to its subject, and is thus as much distinguished from the others as any one composition of an author can be from the rest of his productions. Many of his countless melodies have obtained the popularity of national songs in widely-severed lands, and are sung by thousands of people, who are made happy by them without ever having heard their composer's name. Donizetti was a man of ardent passions, warm in his friendships, prompt in his kindnesses, of most sensitive tenderness, open-handed and open-hearted; it may be said of him that, in his active life and in his living influence, he was one of the most remarkable men of the present century.—G. A. M.
DONNADIEU, Gabriel, Viscount, a French general, was born in 1777, and died in 1849. He served with distinction in several of the revolutionary campaigns and the wars of the empire, particularly attracting notice in Spain, where he was made general of brigade. The Bourbons, who, on their restoration in 1814, found him in prison on a charge of conspiracy, gave him the military command of the district of Grenoble—a position in which he heightened his credit with the court, by suppressing with great promptitude a formidable insurrection that broke out in 1816 in the region of his command. He afterwards sat in the chamber of deputies, where he attracted attention by his unmeasured abuse of Richelieu.—J. T.
DONNE, John, born in London in the year 1573, was the son of an eminent merchant belonging to an ancient family in Wales, while on the mother's side he was descended from Sir Thomas More. His parents were rigid catholics, and he was educated in that faith. At the early age of eleven he was sent to Oxford, and entered at Hart Hall (since merged in Exeter college), where he remained for three years; but his religion operated as a bar to his taking a degree. For the three succeeding years he studied at Cambridge, whence he came up to London about the age of eighteen, and entered at Lincoln's-inn to read for the bar. While thus engaged he commenced, we are told, a careful examination of the principal matters in dispute between catholics and protestants, which resulted in his embracing the doctrines of the Church of England. About the same time he seems to have written most of his minor poems, many of which are disfigured by the grossest sensuality. This has been called the "current mintage" of the time; yet the poems of Daniel are almost entirely free from it, nor does either Spenser or Shakspeare offend against decency to nearly the same extent as Donne. He tells us that he was diverted from the study of the law by "the worst voluptuousness, an hydroptique immoderate desire of human learning and languages." A simpler cause is mentioned by his biographers, namely, the death of his father shortly before he came of age—an event which put him in possession of property to the amount of £3000, and enabled him to gratify his love of travel and thirst after knowledge. He went abroad about the year 1594, and stayed three years in Spain and Italy, joining the two expeditions of the earl of Essex in 1596 and 1597—one against Cadiz, the other to the Azores. Returning to England after having spent the greater portion of his patrimony, he obtained a situation as secretary to Lord Ellesmere, then lord-keeper of the great seal. He remained in this capacity for five years, and won the entire esteem and confidence of the lord-keeper. But a niece of the lady Ellesmere, who often stayed in the house, captivated his heart, and interfered with the upward course of his ambition. This lady was the daughter of Sir George More, lieutenant of the Tower; and since her father would not consent to their union, Donne persuaded her to enter into a clandestine marriage, in the year 1602. The secret could not long be kept, and in his rage at
