frequently to run, lost between twenty and thirty horse-shoes. Diligent search was made for them many days, but to no purpose. Not long afterwards the smith heard some musical sounds, which seemed to come from the upper part of his house; and having listened a sufficient time to be convinced that his ear did not deceive him, he went up stairs, where he discovered little Davy, with his property, between the ceiling and the thatched roof. The boy had selected eight horse-shoes out of the whole number to form an octave, had suspended each of them by a single cord clear from the wall, and with a small iron rod, was amusing himself by imitating the Crediton chimes, which he did with great exactness. This story being made public, and his genius for music daily increasing, a neighbouring clergyman showed him a harpsichord. This he soon became familiar with, and, by his intuitive genius, was in a short time able to play any easy lesson which was placed before him. He applied himself likewise to the violin, and found but few difficulties to surmount in his progress on that instrument. When eleven years old he was introduced to a distinguished musical amateur (from whose information our notice is chiefly derived), the Rev. Mr. Eastcott of Bath. This gentleman was so struck with young Davy's genius for music, that he recommended him to the notice of Mr. Jackson, the organist of Exeter cathedral, under whose tuition he was subsequently placed as an articled pupil. His progress in the study of composition, and particularly in that of church music, was great. He also soon became an admirable performer, not only on the organ, but on the violin and violoncello. The first of his compositions that attained any degree of celebrity were some vocal quartets, which exhibit considerable indications of musical genius. After the completion of his musical studies, Davy resided some years at Exeter; and subsequently took up his abode in London, where he became a fashionable teacher, and composer for the theatres. His dramatic compositions are as follows—"What a Blunder," 1800; "Perouse" (jointly with Moorehead), 1800; "Brazen Mask," 1800; "The Cabinet" (with Braham and others), 1802; "Rob Roy," 1803; "The Miller's Maid," 1804; "Harlequin Quicksilver," 1804; "Thirty Thousand" (with Braham and Reeve), 1804; "Spanish Dollars," 1805; "Harlequin Magnet" (with Ware), 1806; and "The Blind Boy," 1808.—E. F. R.
DAVYS, Sir John. See Davies.
DAWE, George, a modern English painter, who obtained a very great success by means of a picture of Andromache, which he produced in 1810. But, although the impression which this work made upon the artistical world was of an extraordinary kind, and eventually procured his admission amongst the royal academicians, yet Dawe found it more profitable to repair to St. Petersburg, where he met with abundance of employment from the court. It was in 1829 that he returned home from that country; but within a few weeks of his arrival he was taken ill and died.—R. M.
DAWES, Richard, a learned critic, was born at Market Bosworth in 1708. His earliest education he received in his native town from Anthony Blackwall, the author of the Sacred Classics. After spending some time at the Charter-house he removed to Emanuel college, Cambridge. He became a fellow of that college in 1731, and two years afterwards took his degree of A.M. It was here that he first conceived the violent animosity towards Bentley, which seemed ever afterwards to haunt him like a passion. In 1826 Dawes issued proposals for printing a translation of Paradise Lost into Greek hexameters; this undertaking, however, he never completed. The specimen which he published along with the proposals, proved, as he afterwards admitted, that he was at that time imperfectly acquainted with the Greek language. In 1738 he was appointed master of the free grammar school at Newcastle-upon-Tyne, an office that was then combined with the mastership St. Mary's hospital; but his excessive irritability of temper, which seemed at times to pass into absolute insanity, proved an insurmountable hinderance to his success. Involved in perpetual quarrels with his friends, and with the trustees of the school, the number of his scholars diminished; and he was at length, in 1749, persuaded to resign both his places on an annuity of eighty pounds a year. He then retired to Haworth, on the river side below Newcastle, where he died on the 21st March, 1766. The principal employment of the latter years of his life, is said to have been rowing in a boat on the Tyne. Dawes' great work is the "Miscellanea Critica," pronounced by Person "second only to Bentley's Phalaris," and highly commended by Valkener, Reiske, and other continental scholars. Twenty or thirty years, however, after its publication, its reputation began to decline. It became apparent that much of its author's scholarship was deficient in depth and accuracy. The work consists of five parts: the first contains emendations of Terentianus Maurus; the second exposes the inaccuracy of the Oxford edition of Pindar; the third consists of general observations on the Greek language, together with some emendations of Callimachus; the fourth, of a brief discussion on the digamma, while the fifth is devoted to the illustration of Aristophanes. It is almost superseded through the advances since made in Greek scholarship.—R. M., A.
* DAWES, Rufus, an American poet, born in Boston in 1803, and educated in part at Harvard college, was the son of Thomas Dawes, an associate judge of the supreme court of Massachusetts. Rufus Dawes studied law, but has given nearly his whole life to literary pursuits. He began by contributing some minor poems to the United States Literary Gazette, published at Boston and Cambridge. In 1829 he married a daughter of chief-justice Cranch of Washington, He conducted for a time a weekly newspaper, and published in 1830 "The Valley of the Nashaway, and other Poems;" in 1839 a second volume, containing "Geraldine, Athenia of Damascus," &c.; and in 1848 "Nix's Mate," a historical romance, which had considerable success. In the winter of 1840-41 he delivered a course of lectures in the city of New York, on mental and moral philosophy.—F. B.
DAWES, Sir William, Bart, D.D., Lord-archbishop of York from 1714 to 1724, was born at Lyons, near Braintree, Essex, September 12, 1671, and was educated at Merchant Taylor's school, from whence in 1687 he proceeded to St. John's college, Oxford, and became, in due course, a fellow of that society. On the death of his elder brother, and his accession to the title and estate, he removed to Catherine hall, Cambridge, and there took his degrees. Shortly after his marriage to Frances, daughter of Sir Thomas D'Arcey of Braxsteed, Essex, he was ordained deacon and priest by Bishop Compton of London. Falling under the notice of Archbishop Tenison, he was appointed dean and rector of Bocking, and chaplain to King William III., who, in consequence of a sermon preached before him at Whitehall, on November 5, 1696, gave him a prebend in Worcester cathedral. The same year he was elected master of Catherine hall, the chapel of which he liberally assisted to restore. Having occasion to preach before Queen Anne while the bishopric of Lincoln was vacant, to which her majesty intended to present him, he spoke so plainly that she was persuaded to give the see to another. She, however, in 1708 appointed him to the bishopric of Chester, and six years afterwards to the archbishopric of York. He died, April 80, 1724, in his fifty-third year, and was buried in the chapel of Catherine hall. He is said to have been a plain and unaffected preacher, a careful administrator of his dioceses, and a liberal supporter of all charitable and good works. His writings consist chiefly of sermons; but, besides, he published "The Duties of the Closet, an Exhortation to Private Devotion;" "The Great Duty of Communicating, with Devotions for the Lord's Supper;" "The Anatomy of Atheism;" a poem, &c. His collected works were published in three volumes in 1733.—T. S. P.
* DAXENBERGER, Sebastian Franz, a German poet, was born at Munich in 1809, and studied law at the universities of Munich, Berlin, and Göttingen. He then entered the Bavarian administrative service, in which he has been raised to a high position. Under the assumed name of Karl Fernau, he has written several dramas and some volumes of poetry, and edited an annual called Charitas.—K. E.
DAY, Alfred, M.D., a musical theorist, was born in London in January, 1810, where he died in February, 1848. His early predilection for music was opposed by his father, who devoted him to the profession of medicine. He studied in the schools of London and Paris, obtained his diploma at Heidelberg, and practised in London as a homœopathist. His father's hinderance of his pursuit of music prevented his acquiring any practical facility in the art, but could not check his interest in it, and he indulged accordingly in theoretical investigation. His only instructor was W. H. Kearnes; but his familiar intercourse with several of the most talented musicians of his own age gave him constant opportunity of study. He conceived a theory of harmony that justifies, upon fundamental principles, many of the beautiful exceptions from conventional rules that adorn the
