Chapter XIX: Part 19

The historic details of the episode are still involved in some obscurity, and although mentioned by Villani and other writers, it owes its fame entirely to Dante, who placed Ugolino and Ruggieri in the second ring (_Antenora_) of the lowest circle of the _Inferno_ (canto xxxii. 124-140 and xxxiii. 1-90). This terrible but magnificent passage, which includes "thirty lines unequalled by any other thirty lines in the whole dominion of poetry" (Landor), has been paraphrased by Chaucer in the "Monk's Tale" and more recently by Shelley. But the reason why Dante placed Ugolino among the traitors is not by any means clear, as the flight from La Meloria was not regarded as treachery by any writer earlier than the 16th century, although G. del Noce, in _Il Conte U. della Gherardesca_ (Citta di Castello, 1894), states that that was the only motive; Bartoli, in vol. vi. of his _Storia della Letteratura italiana_, suggests Ugolino's alliance with the Ghibellines as the motive. The cession of the castles was not treachery but an act of necessity, owing to the desperate conditions of Pisa.

BIBLIOGRAPHY.--Besides the above-quoted works see P. Tronci, _Annali
Pisani_ (2 vols., Pisa, 1868-1871); S. de Sismondi, _Histoire des
republiques italiennes_ (Brussels, 1838); also the various annotated
editions of Dante, especially W. W. Vernon's _Readings from the
Inferno_, vol. ii. (2nd ed., London, 1905). (L. V.*)

DELLA PORTA, GIOVANNI BATTISTA (c. 1538-1615), Italian natural philosopher, was born of a noble and ancient family at Naples about the year 1538. He travelled extensively not only in Italy but also in France and Spain, and he was still a youth when he published _Magia naturalis, sive de miraculis rerum naturalium lib. IV._ (1558), the first draft of his _Magia naturalis_, in twenty books, published in 1589. He founded in Naples the Academia Secretorum Naturae, otherwise known as the Accademia dei Oziosi; and in 1610 he became a member of the Accademia dei Lincei at Rome. He died at Naples on the 4th of February 1615.

The following is a list of his principal writings:--_De miraculis rerum naturalium_, in four books (1558); _De furtivis litterarum notis_, in five books (1563, and frequently afterwards, entitling him to high rank among the early writers on cryptography); _Phytognomonica_ (1583, a bulky treatise on the physiology of plants as then understood); _Magia naturalis_ (1589, and often reprinted); _De humana physiognomonia_, in six books (1591); _Villa_, in twelve books (1592, an interesting practical treatise on farming, gardening and arboriculture, based upon his own observations at his country-seat near Naples); _De refractione, optices parte_, in nine books (1593); _Pneumatica_, in three books (1601); _De coelesti physiognomonia_, in six books (1601); _Elementa curvilinea_ (1601); _De distillatione_, in nine books (1604); _De munitione_, in three books (1608); and _De aeris transmutationibus_, in four books (1609). He also wrote several Italian comedies _Olimpia_ (1589); _La Fantesca_ (1592); _La Trappolaria_ (1597); _I' Due Fratelli rivali_ (1601); _La Sorella_ (1607); _La Chiappinaria_ (1609); _La Carbonaria_ (1628); _La Cintia_ (1628). Among all the above-mentioned works the chief interest attaches to the _Magia naturalis_, in which a strange medley of subjects is discussed, including the reproduction of animals, the transmutation of metals, pyrotechny, domestic economy, statics, hunting, the preparation of perfumes. In book xvii. he describes a number of optical experiments, including a description of the camera obscura (q.v.).

DELLA QUERCIA, or DELLA FONTE, JACOPO (1374-1438), Italian sculptor, was born at Siena. He was the son of a goldsmith of repute, Pietro d'Agnolo, to whom he doubtless owed much of his training. There are no records of his early life until the year 1394, when he made an equestrian statue of Gian Tedesco. He is next heard of at Florence in 1402, when he was one of six artists who submitted designs for the great gates of the baptistery, in which competition Ghiberti was the victor. From Florence he seems to have gone to Lucca, where in 1406 he executed one of his finest works, the monument of Ilaria del Caretto, wife of Paolo Guinigi. It is uncertain if he visited Ferrara in 1408; but at the end of that year he was engaged in negotiations which resulted in his acceptance of the commission for the famous Fonte Gaia, at Siena, early in 1409. This work was not seriously begun by him until 1414, and was only finished in 1419. In 1858 the remains of the fountain were removed to the Opera del Duomo, where they are now preserved; a copy of the original by Sarrocchi being erected on the site. After another visit to Lucca in 1422, he returned to Siena, and in March 1425 undertook the contract for the doors of S. Petronio, Bologna. He is known, in following years, to have been to Milan, Verona, Ferrara and Venice; but the rest of his life was chiefly divided between his native city and Bologna. In 1430 he finished the great font of S. Giovanni at Siena, which he had begun in 1417, contributing himself only one of the bas-reliefs, "Zacharias in the Temple," the others being by Ghiberti, Donatello and other sculptors. Among the work known to have been done by Jacopo, may be mentioned also the reliefs of the _predella_ of the altar of S. Frediano at Lucca (1422); and the Bentivoglio monument which was unfinished at the time of his death on the 20th of October 1438. Jacopo della Quercia's work exercised a powerful influence on that of the artists of the later Italian Renaissance. He himself reflects not a little of the Gothic spirit, admirably intermixed with some of the best qualities of neo-classicism. He was an artist whose powers have hardly yet received the recognition they undoubtedly deserve.

See C. Cornelius, _Jacopo della Quercia: eine Kunsthistorische Studie_
(1896), and works relating generally to the arts in Siena.
(E. F. S.)

DELLA ROBBIA, the name of a family of great distinction in the annals of Florentine art. Its members are enumerated in chronological order below.[1]

I. LUCA DELLA ROBBIA (1399 or 1400[2]-1482) was the son of a Florentine named Simone di Marco della Robbia. According to Vasari, whose account of Luca's early life is little to be trusted, he was apprenticed to the silversmith Leonardo di Ser Giovanni, who from 1355 to 1371 was working on the grand silver altar frontal for the cathedral at Pistoia (q.v.); this, however, appears doubtful from the great age which it would give to Leonardo, and it is more probable that Luca was the pupil of Ghiberti. During the early part of his life Luca executed many important and exceedingly beautiful pieces of sculpture in marble and bronze. In technical skill he was quite the equal of Ghiberti, and, while possessing all Donatello's vigour, dramatic power and originality, he very frequently excelled him in grace of attitude and soft beauty of expression. No sculptured work of the great 15th century ever surpassed the singing gallery which Luca made for the cathedral at Florence between 1431 and 1440, with its ten magnificent panels of singing angels and dancing boys, far exceeding in beauty those which Donatello in 1433 sculptured for the opposite gallery in the same choir. This splendid work is now to be found in the Museo del Duomo. The general effect of the whole can also be seen at the Victoria and Albert Museum, where a complete cast is fixed to the wall. The same museum possesses a study in _gesso duro_ for one of the panels, which appears to be the original sketch by Luca's own hand.

In May 1437 Luca received a commission from the signoria of Florence to execute five reliefs for the north side of the campanile, to complete the series begun by Giotto and Andrea Pisano. These panels are so much in the earlier style of Giotto that we must conclude that he had left drawings from which Luca worked. They have representative figures chosen to typify grammar, logic, philosophy, music, and science,--the last represented by Euclid and Ptolemy.[3] In 1438 Luca in association with Donatello received an order for two marble altars for chapels in the cathedral. The reliefs from one of them--St Peter's Deliverance from Prison and his Crucifixion--are now in the Bargello. It is probable that these altars were never finished. A tabernacle for the host, made by Luca in 1442, is now at Peretola, near Florence, in the church of S. Maria. A document in the archives of S. Maria Nuova at Florence shows that he received for this 700 florins 1 lira 16 soldi (about L1400 of modern money). In 1437 Donatello received a commission to cast a bronze door for one of the sacristies of the cathedral; but, as he delayed to execute this order, the work was handed over to Luca on the 28th of February 1446, with Michelozzo and Maso di Bartolomeo as his assistants. Part of this wonderful door was cast in 1448, and the last two panels were finished by Luca in 1467, with bronze which was supplied to him by Verrocchio.[4] The door is divided into ten square panels, with small heads in the style of Ghiberti projecting from the framing. The two top subjects are the Madonna and Child and the Baptist, next come the four Evangelists, and below are the four Latin Doctors, each subject with attendant angels. The whole is modelled with perfect grace and dignified simplicity; the heads throughout are full of life, and the treatment of the drapery in broad simple folds is worthy of a Greek sculptor of the best period of Hellenic art. These exquisite reliefs are perfect models of plastic art, and are quite free from the over-elaboration and too pictorial style of Ghiberti. Fig. 1 shows one of the panels.

The most important existing work in marble by Luca (executed in 1454-1456) is the tomb of Benozzo Federighi, bishop of Fiesole, originally placed in the church of S. Pancrazio at Florence, but removed to S. Francesco di Paola on the Bellosguardo road outside the city in 1783. In 1898 it was again removed to the church of SS. Trinita in Florence. A very beautiful effigy of the bishop in a restful pose lies on a sarcophagus sculptured with graceful reliefs of angels holding a wreath which contains the inscription. Above are three-quarter length figures of Christ between St John and the Virgin, of conventional type. The whole is surrounded by a rectangular frame formed of painted tiles of exquisite beauty, but out of keeping with the memorial. On each tile is painted, with enamel pigments, a bunch of flowers and fruit in brilliant realistic colours, the loveliness of which is very hard to describe. Though the bunch of flowers on each is painted on one slab, the ground of each tile is formed of separate pieces, fitted together like a kind of mosaic, probably because the pigment of the ground required a different degree of heat in firing from that needed for the enamel painting of the centre. The few other works of this class which exist do not approach the beauty of this early essay in tile painting, on which Luca evidently put forth his utmost skill and patience.

In the latter part of his life Luca was mainly occupied with the production of terra-cotta reliefs covered with enamel, a process which he improved upon, but did not invent, as Vasari asserts. The _rationale_ of this process was to cover the clay relief with an enamel formed of the ordinary ingredients of glass (_marzacotto_), made white and opaque by oxide of tin. (See CERAMICS: _Italian Majolica_.) Though Luca was not the inventor of the process, yet he extended its application to fine sculptured work in terra-cotta, so that it is not unnaturally known now as Della Robbia ware; it must, however, be remembered that by far the majority of these reliefs which in Italy and elsewhere are ascribed to Luca are really the work of some of the younger members of the family or of the _atelier_ which they founded. Comparatively few exist which can with certainty be ascribed to Luca himself. Among the earliest of these are medallions of the four Evangelists in the vault of Brunelleschi's Pazzi chapel in S. Croce. These fine reliefs are coloured with various metallic oxides in different shades of blue, green, purple, yellow and black. It has often been asserted that the very polychromatic reliefs belong to Andrea or his sons, and that Luca's were all in pure white, or in white and blue; this, however, is not the case; colours were used as freely by Luca as by his successors. A relief in the Victoria and Albert Museum furnishes a striking example of this and is of especial value from its great size, and also because its date is known. This is an enormous medallion containing the arms of Rene of Anjou and other heraldic devices; it is surrounded by a splendidly modelled wreath of fruit and flowers, especially apples, lemons, oranges and fir cones, all of which are brilliantly coloured. This medallion was set up on the facade of the Pazzi Palace to commemorate Rene's visit to Florence in 1442. Other reliefs by Luca, also in glazed terra-cotta, are those of the Ascension and Resurrection in the tympani of the doors of the sacristies in the cathedral, executed in 1443 and 1446. Other existing works of Luca in Florence are the tympanum reliefs of the Madonna between two Angels in the Via dell' Agnolo, a work of exquisite beauty, and another formerly over the door of S. Pierino del Mercato Vecchio, but now removed to the Bargello (No. 29). The only existing statues by Luca are two lovely enamelled figures of kneeling angels holding candlesticks, now in the canons' sacristy.[5] A very fine work by Luca, executed between 1449 and 1452, is the tympanum relief of the Madonna and four Monastic Saints over the door of S. Domenico at Urbino.[6] Luca also made the four coloured medallions of the Virtues set in the vault over the tomb of the young cardinal-prince of Portugal in a side chapel of S. Miniato in Florence (see ROSSELLINO). By Luca also are various polychromatic medallions outside Or San Michele.[7] One of his chief decorative works which no longer exists was a small library or study for Piero de' Medici, wholly lined with enamelled plaques and reliefs.[8] The Victoria and Albert Museum possesses twelve circular plaques of majolica ware painted in blue and white with the Occupations of the Months; these have been attributed to Luca, under the idea that they formed part of the decoration of this room, but their real origin is doubtful.

In 1471 Luca was elected president of the Florentine Gild of Sculptors, but he refused this great honour on account of his age and infirmity. It shows, however, the very high estimation in which he was held by his contemporaries. He died on the 20th of February 1482, leaving his property to his nephews Andrea and Simone.[9] His chief pupil was his nephew Andrea, and Agostino di Duccio, who executed many pieces of sculpture at Rimini, and the graceful but mannered marble reliefs of angels on the facade of S. Bernardino at Perugia, may have been one of his assistants.[10] Vasari calls this Agostino Luca's brother, but he was not related to him at all.

II. ANDREA DELLA ROBBIA (1435-1525), the nephew and pupil of Luca, carried on the production of the enamelled reliefs on a much larger scale than his uncle had ever done; he also extended its application to various architectural uses, such as friezes and to the making of lavabos (lavatories), fountains and large retables. The result of this was that, though the finest reliefs from the workshop of Andrea were but little if at all inferior to those from the hand of Luca, yet some of them, turned out by pupils and assistants, reached only a lower standard of merit. Only one work in marble by Andrea is known, namely, an altar in S. Maria delle Grazie near Arezzo, mentioned by Vasari (ed. Milanesi, ii. p. 179), and still well preserved.

One variety of method was introduced by Andrea in his enamelled work; sometimes he omitted the enamel on the face and hands (nude parts) of his figures, especially in those cases where he had treated the heads in a realistic manner; as, for example, in the noble tympanum relief of the meeting of St Domenic and St Francis in the loggia of the Florentine hospital of S. Paolo,--a design suggested by a fresco of Fra Angelico's in the cloister of St Mark's. One of the most remarkable works by Andrea is the series of medallions with reliefs of Infants in white on a blue ground set on the front of the foundling hospital at Florence. These lovely child-figures are modelled with wonderful skill and variety, no two being alike. Andrea produced, for gilds and private persons, a large number of reliefs of the Madonna and Child varied with much invention, and all of extreme beauty of pose and sweetness of expression. These are frequently framed with realistic yet decorative garlands of fruit and flowers painted with coloured enamels, while the main relief is left white. Fig. 2 shows a good example of these smaller works. The hospital of S. Paolo, near S. Maria Novella, has also a number of fine medallions with reliefs of saints, two of Christ Healing the Sick, and two fine portraits, under which are white plaques inscribed--"DALL ANNO 1451 ALL ANNO 1495"[11]; the first of these dates is the year when the hospital was rebuilt owing to a papal brief sent to the archbishop of Florence. Arezzo possesses a number of fine enamelled works by Andrea and his sons--a retable in the cathedral with God holding the Crucified Christ, surrounded by angels, and below, kneeling figures of S. Donato and S. Bernardino; also in the chapel of the Campo Santo is a fine relief of the Madonna and Child with four saints at the sides. In S. Maria in Grado is a very noble retable with angels holding a crown over a standing figure of the Madonna; a number of small figures of worshippers take refuge in the folds of the Virgin's mantle, a favourite motive for sculpture dedicated by gilds or other corporate bodies. Perhaps the finest collection of works of this class is at La Verna, not far from Arezzo (see Vasari, ed. Milanesi, ii. p. 179). The best of these, three large retables with representations of the Annunciation, the Crucifixion, and the Madonna giving her Girdle to St Thomas, are probably the work of Andrea himself, the others being by his sons. In 1489 Andrea made a beautiful relief of the Virgin and two Angels, now over the archive-room door in the Florentine Opera del Duomo; for this he was paid twenty gold florins (see Cavallucci, _S. Maria del Fiore_). In the same year he modelled the fine tympanum relief over a door of Prato cathedral, with a half-length figure of the Madonna between St Stephen and St Lawrence, surrounded by a frame of angels' heads.

In 1491 he was still working at Prato, where many of his best reliefs still exist. A fine bust of S. Lino exists over the side door of the cathedral at Volterra, which is attributed to Andrea. Other late works of known date are a magnificent bust of the Protonotary Almadiano, made in 1510 for the church of S. Giovanni de' Fiorentini at Viterbo, now preserved in the Palazzo Communale there, and a medallion of the Virgin in Glory, surrounded by angels, made in 1505 for Pistoia cathedral.[12] The latest work attributed to Andrea, though apparently only a workshop production of 1515, is a relief representing the Adoration of the Magi, made for a little church, St Maria, in Pian di Mugnone, near Florence.[13] Portions of this work are still in the church, but some fragments of it are at Oxford.

III., IV. Five of Andrea's seven sons worked with their father, and after his death carried on the Robbia fabrique; the dates of their birth are shown in the table on p. 838 _ante_. Early in life two of them came under the influence of Savonarola, and took monastic orders at his Dominican convent; these were MARCO, who adopted the name of Fra Luca, and PAOLO, called Fra Ambrogio. One relief by the latter, a Nativity with four life-sized figures of rather poor work, is in the Cappella degli Spagnuoli in the Sienese convent of S. Spirito; a MS. in the convent archives records that it was made in 1504.

V. The chief existing work known to be by the second LUCA[14] is the very rich and beautiful tile pavement in the uppermost story of Raphael's loggie at the Vatican, finely designed and painted in harmonious majolica colours. This was made by Luca at Raphael's request and under his supervision in 1518.[15] It is still in very fine preservation.

VI. GIOVANNI DELLA ROBBIA (1460-1529?) during a great part of his life worked as assistant to his father, Andrea, and in many cases the enamelled sculpture of the two cannot be distinguished. Some of Giovanni's independent works are of great merit, especially the earlier ones; during the latter part of his life his reliefs deteriorated in style, owing mainly to the universal decadence of the time. A very large number of pieces of Robbia ware which are attributed to Andrea, and even to the elder Luca, were really by the hand of Giovanni. One of his finest works is a large retable at Volterra in the church of S. Girolamo, dated 1501; it represents the Last Judgment, and is remarkable for the fine modelling of the figures, especially that of the archangel Michael, and a nude kneeling figure of a youth who has just risen from his tomb. Quite equal in beauty to anything of his father's, from whom the design of the figures was probably taken, is the washing-fountain in the sacristy of S. Maria Novella at Florence, made in 1497.[16] It is a large arched recess with a view of the seashore, not very decorative in style, painted on majolica tiles at the back. There are also two very beautiful painted majolica panels of fruit-trees let into the lower part. In the tympanum of the arch is a very lovely white relief of the Madonna between two Adoring Angels (see fig. 3). Long coloured garlands of fruit and flowers are held by nude boys reclining on the top of the arch and others standing on the cornice. All this part is of enamelled clay, but the basin of the fountain is of white marble. Neither Luca nor Andrea was in the habit of signing his work, but Giovanni often did so, usually adding the date, probably because other potters had begun to imitate the Robbia ware.[17]

Giovanni lacked the original talent of Luca and Andrea, and so he not only copied their work but even reproduced in clay the marble sculpture of Pollaiuolo, Da Settignano, Verrocchio and others. A relief by him, evidently taken from Mino da Fiesole, exists in the Palazzo Castracane Staccoli. Among the very numerous other works of Giovanni are a relief in the wall of a suppressed convent in the Via Nazionale at Florence, and two reliefs in the Bargello dated 1521 and 1522. That dated 1521 is a many-coloured relief of the Nativity, and was taken from the church of S. Girolamo in Florence; it is a too pictorial work, marred by the use of many different planes. Its predella has a small relief of the Adoration of the Magi, and is inscribed "Hoc opus fecit Ioaes Andee de Robia, ac a posuit hoc in tempore die ultima lulli ANO. DNI. M.D. XXI." At Pisa in the Campo Santo is a relief in Giovanni's later and poorer manner dated 1520; it is a Madonna surrounded by angels, with saints below--the whole overcrowded with figures and ornaments. Giovanni's largest and perhaps finest work is the polychromatic frieze on the outside of the Del Ceppo hospital at Pistoia, for which he received various sums of money between 1525 and 1529, as is recorded in documents which still exist among the archives of the hospital.[18] The subjects of this frieze are the Seven Works of Mercy, forming a continuous band of sculpture in high relief, well modelled and designed in a very broad sculpturesque way, but disfigured by the crudeness of some of its colouring. Six of these reliefs are by Giovanni, namely, Clothing the Naked, Washing the Feet of Pilgrims, Visiting the Sick, Visiting Prisoners, Burying the Dead, and Feeding the Hungry. The seventh, Giving drink to the Thirsty, was made by Filippo Paladini of Pistoia in 1585; this last is simply made of painted stucco. The large figures of the virtues placed between the scenes, and the medallions between the pillars, are the work of assistants or imitators.

A large octagonal font of enamelled clay, with pilasters at the angles and panels between them with scenes from the life of the Baptist, in the church of S. Leonardo at Cerreto Guidi, is a work of the school of Giovanni; the reliefs are pictorial in style and coarse in execution. Giovanni's chief pupil was a man named Benedetto Buglioni (1461-1521), and a pupil of his, one Santi Buglioni (b. 1494), entered the Robbia workshops in 1521, and assisted in the later works of Giovanni.

VII. GIROLAMO DELLA ROBBIA (1488-1566), another of Andrea's sons, was an architect and a sculptor in marble and bronze as well as in enamelled clay. During the first part of his life he, like his brothers, worked with his father, but in 1528 he went to France and spent nearly forty years in the service of the French Royal family. Francis I. employed him to build a palace in the Bois de Boulogne called the Chateau de Madrid. This was a large well-designed building, four storeys high, two of them having open loggie in the Italian fashion. Girolamo decorated it richly with terra-cotta medallions, friezes and other architectural features.[19] For this purpose he set up kilns at Suresnes. Though the palace itself has been destroyed, drawings of it exist.[20]

The best collections of Robbia ware are in the Florentine Bargello, Accademia and Museo del Duomo; the Victoria and Albert Museum (the finest out of Italy); the Louvre, the Cluny and the Berlin Museums; while fine examples are to be found in New York, Boston, St Petersburg and Vienna. Many fine specimens exist in private collections in England, France, Germany and the United States. The greater part of the Robbia work still remains in the churches and other buildings of Italy, especially in Florence, Fiesole, Arezzo, La Verna, Volterra, Barga, Montepulciano, Lucca, Pistoia, Prato and Siena.

LITERATURE.--H. Barbet de Jouy, _Les della Robbia_ (Paris, 1855); W.
Bode, _Die Kunstlerfamilie della Robbia_ (Leipzig, 1878); "Luca della
Robbia ed i suoi precursori in Firenze," _Arch. stor. dell' arte_
(1899); "Uber Luca della Robbia," _Sitzungsbericht von der Berliner
kunstgeschichtlichen Gesellschaft_ (1896); _Florentiner Bildhauer der
Renaissance_ (Berlin, 1902); G. Carocci, _I Dintorni de Firenze_
(Florence, 1881); "Il Monumento di Benozzo Federighi," _Arte e Storia_
(1894); "Opere Robbiane poco noti," _Arte e storia_ (1898, 1899);
Cavallucci et Molinier, _Les della Robbia_ (Paris, 1884); Maud
Crutwell, _Luca and Andrea della Robbia and their Successors_ (London,
1902); A. du Cerceau, _Les plus excellents bastiments de France_
(Paris, 1586); G. Milanesi, _Le Vite scritte da Vasari_ (Florence,
1878); M. Reymond, _Les della Robbia_ (Florence, 1897); _La Sculpture
Florentine_ (Florence, 1898); I. B. Supino, _Catalogo del R. Museo di
Firenze_ (Rome 1898); Vasari (see Milanesi's edition).
(J. H. M.; W. B.*)

FOOTNOTES:

[1] Genealogical tree of Della Robbia sculptors:--

Simone di Marco.
|
+----------------+------------------+
| |
Marco. Luca
| (1400-1482).
Andrea
(1435-1525).
|
+------+-------+------------+-------------+------------+
| | | | |
Girolamo Luca Paolo Giovanni Marco
(1488-1566), (1475-1550?), (1470-?), (1469-1529?), (1468-?),
worked mostly worked in Dominican worked Dominican
in France. Florence monk. mainly in monk.
and Rome. Florence.

[2] Not 1388, as Vasari says. See a document printed by Gaye,
_Carteggio inedito_, i. pp. 182-186.

[3] Vasari is not quite right in his account of these reliefs: he
speaks of Euclid and Ptolemy as being in different panels.

[4] See Cavallucci, _S. Maria del Fiore_, pt. ii. p. 137.

[5] The Victoria and Albert Museum possesses what seem to be fine
replicas of these statues.

[6] The document in which the order for this and the price paid for
it are recorded is published by Yriarte, _Gaz. d. beaux arts_, xxiv.
p. 143.

[7] One of these medallions, that of the Physicians, is now removed
to the inside of the church.

[8] It is fully described by Filarete in his _Trattato dell'
architectura_, written in 1464, and therefore was finished before
that date; see also Vasari, ed. Milanesi (Florence, 1880), ii. p.
174.

[9] His will, dated 19th February 1471, is published by Gaye, _Cart.
ined._ i. p. 185.

[10] In the works of Perkins and others on Italian sculpture these
Perugian reliefs are wrongly stated to be of enamelled clay.

[11] Professor Marquand has discovered, beneath 1451, the inscription
Prete Benino, and, under 1495, De Benini; probably the names of the
governors of the hospital at these dates.

[12] See Gualandi, _Memorie risguardanti le belle arti_ (Bologna,
1845), vi. pp. 33-35, where original documents are printed recording
the dates and prices paid for these and other works of Andrea.

[13] See a document printed by Milanesi in his Vasari, ii. p. 180.

[14] It appears certain that this Luca was a layman and not the Fra
Luca referred to above.

[15] It is illustrated by Gruner, _Fresco Decorations of Italy_
(London, 1854), pl. iv.; see also Muntz, _Raphael, sa vie_, &c.
(Paris, 1881), p. 452, note i., and Vasari, ed. Milanesi, ii. p. 182.

[16] See a document printed by Milanesi in his Vasari, ii. 193.

[17] Examples of these imitations are a retable in S. Lucchese near
Poggibonsi dated 1514, another of the Madonna and Saints at Monte San
Savino of 1525, and a third in the Capuchin church of Arceria near
Sinigaglia; they are all inferior to the best works of the Robbia
family, though some of them may have been made by assistants trained
in the Robbia workshops.

[18] The hospital itself was begun in 1514.

[19] The Sevres Museum possesses some fragments of these decorations.

[20] See Laborde, _Chateau de Madrid_ (Paris, 1853), and _Comptes des
batiments du roi_ (Paris, 1877-1880), in which a full account is
given of Girolamo's work in connexion with this palace.

DELMEDIGO, a Cretan Jewish family, of whom the following are the most important:

ELIJAH DELMEDIGO (1460-1497), philosopher, taught in several Italian centres of learning. He translated some of Averroes' commentaries into Latin at the instigation of Pico di Mirandola. In the sphere of religion, Delmedigo represents the tendency to depart from the scholastic attitude in which religion and philosophy were identified. His most important work was devoted to this end; it was entitled _Behinath ha-Dath_ (Investigation of Religion).

JOSEPH SOLOMON DELMEDIGO (1591-1655), pupil of Galileo, wrote many books on science and philosophy, and bore a considerable part in initiating the critical movement in Judaism. He belonged to the sceptical school, and though his positive contributions to literature were not of lasting worth, Graetz includes him among the important formative influences within the synagogue of the 17th century. (I. A.)

DELMENHORST, a town of Germany, grand duchy of Oldenburg, on the Delme, 8 m. by rail W. from Bremen, at the junction of a line to Vechta. Pop. (1905) 20,147. It has a Protestant and a Roman Catholic church, and is the seat of considerable industries; notably wool-combing, weaving, jute-spinning and the manufacture of linoleum. Delmenhorst was founded in 1230, and from 1247 to 1679, when it was destroyed by the French, was protected by a strong castle.

DELOLME, JEAN LOUIS (1740-1806), Swiss jurist and constitutional writer, was born at Geneva in 1740. He studied for the bar, and had begun to practise when he was obliged to emigrate on account of a pamphlet entitled _Examen de trois parts de droit_, which gave offence to the authorities of the town. He took refuge in England, where he lived for several years on the meagre and precarious income derived from occasional contributions to various journals. In 1775 he found himself compelled to accept aid from a charitable society to enable him to return home. He died at Sewen, a village in the canton of Schwyz, on the 16th of July 1806.

During his protracted exile in England Delolme made a careful study of the English constitution, the results of which he published in his _Constitution de l'Angleterre_ (Amsterdam, 1771), of which an enlarged and improved edition in English appeared in 1772, and was several times reprinted. The work excited much interest as containing many acute observations on the causes of the excellence of the English constitution as compared with that of other countries. It is, however, wanting in breadth of view, being written before the period when constitutional questions were treated in a scientific manner. Along with a translation of Hume's _History of England_ it supplied the _philosophes_ with most of their ideas about the English constitution. It thus was used somewhat as a political pamphlet. Several editions were published after the author's death. Delolme also wrote in English _Parallel between the English Government and the former Government of Sweden_ (1772); A _History of the Flagellants_ (1782), based upon a work of Boileau's; _An Essay on the Union of Scotland with England_ (1787), and one or two smaller works.

DELONEY (or DELONE), THOMAS, English ballad-writer and pamphleteer, produced his earliest indisputable work in 1586, and died about 1600. In 1596 Thomas Nashe, in his _Have with you to Saffron Walden_, wrote: "Thomas Deloney, the ballating silk-weaver, hath rime enough for all myracles, and wit to make a Garland of Good Will more than the premisses ... and this deare yeare, together with the silencing of his looms, scarce that, he being constrained to betake himself to carded ale; whence it proceedeth that since Candlemas, or his jigge, John for the king, not one merrie dittie will come from him, but, the Thunderbolt against Swearers,--Repent, England, Repent--and, the strange Judgements of God." In 1588 the coming of the Armada inspired him for three broadsides, which were reprinted (1860) by J. O. Halliwell-Phillipps. They are entitled "The Queenes visiting of the Campe at Tilsburie with her entertainment there," "A Joyful new Ballad, declaring the happie obtaining of the great Galleazzo ...," and "A new Ballet of the straunge and Most cruell Whippes which the Spaniards had prepared." A collection of _Strange Histories_ (1607) consists of historical ballads by Deloney, with some poems from other hands. This collection, known in later and enlarged editions as _The Royal Garland of Love and Delight_ and _The Garland of Delight_, contains the ballad of Fair Rosamond. J. H. Dixon in his preface to _The Garland of Good Will_ (Percy Society, 1851) ascribes to Deloney _The Blind Beggar of Bednall Green_, and _The Pleasant and sweet History of Patient Grissel_, in prose, with the whole of the _Garland of Good Will_, including some poems such as "The Spanish Lady's Love" generally supposed to be by other hands. His other works include _The Gentle Craft_ (1597) in praise of shoemakers, _The Pleasant Historie of John Winchecombe_ (8th ed., 1619), and _Thomas of Reading or the Sixe Worthie Yeomen of the West_ (earliest extant edition, 1612). Kempe, the actor, jeers at these histories in his _Nine Daies Wonder_, but they were very popular, being reprinted as penny chap-books.

DE LONG, GEORGE WASHINGTON (1844-1881), American explorer, was born in New York city on the 22nd of August 1844. He graduated at the U.S. Naval Academy in 1865, and spent the next fourteen years in naval service in various parts of the world, attaining the rank of lieutenant in 1869, and lieutenant-commander in 1879. In 1873 he took part in the voyage of the "Juniata," sent to search for and relieve the American Arctic expedition under Hall in the "Polaris," commanding a steam launch which was sent out from Upernivik, Greenland, to make a thorough search of Melville Bay. On his return to New York the same year he proposed to James Gordon Bennett, of _The New York Herald_, that the latter should fit out a Polar expedition. It was not until 1879 that the final arrangements were made, the "Pandora," a yacht which had already made two Arctic voyages under Sir Allen Young, being purchased and rechristened the "Jeannette" for this voyage. The story of this expedition (see POLAR REGIONS) is chiefly remarkable on account of the long and helpless drifting of the "Jeannette" with the polar ice-pack in which she was caught (September 5, 1879) and by which she was finally crushed and sunk on the 13th of June 1881. The members of the expedition set out in three boats, one of which was lost in a gale, while another boat-load under De Long died from starvation after reaching the mouth of the Lena river. He was the last survivor of his party. His journal, in which he made regular entries up to the day on which he died (October 30, 1881) was edited by his wife and published in 1883 under the title _Voyage of the "Jeannette"_; and an account of the search which was made for him and his comrades by his heroic companion George W. Melville, who was chief engineer of the expedition and commanded the third of the retreating parties, was published a year later under the title of _In the Lena Delta_. The fate of the "Jeannette" was still more remarkable in its sequel. Three years after she had sunk several articles belonging to her crew were found on an ice-floe near Julianshaab on the south-west coast of Greenland; thus adding fresh evidence to the theory of a continuous ocean current passing across the unknown Polar regions, which was to be finally demonstrated by Nansen's voyage in the "Fram." By direction of the United States government, the remains of De Long and his companions were brought home and interred with honour in his native city.

DELORME, MARION (c. 1613-1650), French courtesan, was the daughter of Jean de Lou, sieur de l'Orme, president of the treasurers of France in Champagne, and of Marie Chastelain. She was born at her father's chateau near Champaubert. Initiated into the philosophy of pleasure by the epicurean and atheist Jacques Vallee, sieur Desbarreaux, she soon left him for Cinq Mars, at that time at the height of his popularity, and succeeded, it is said, in marrying him in secret. From this time Marion Delorme's salon became one of the most brilliant centres of elegant Parisian society. After the execution of Cinq Mars she is said to have numbered among her lovers Charles de St Evremond (1610-1703) the wit and litterateur, Buckingham (Villiers), the great Conde, and even Cardinal Richelieu. Under the Fronde her salon became a meeting place for the disaffected, and Mazarin is said to have sent to arrest her when she suddenly died. Her last years have been adorned with considerable legend (cf. Merecourt, _Confessions de Marie Delorme_, Paris, 1856). It seems established that she died in 1650. But she was believed to have lived until 1706 or even 1741, after having had the most fantastic adventures, including marriage with an English lord, and an old age spent in poverty in Paris. Her name has been popularized by various authors, especially by Alfred de Vigny in his novel _Cinq Mars_, by Victor Hugo in the drama _Marion Delorme_, and by G. Bottesini in an opera of the same title.

See P. J. Jacob, _Marion Delorme et Ninon Lenclos_ (Paris, 1859); J.
Peladan, _Histoire et legende de Marion de Lorme_ (Paris, 1882).

DE L'ORME, PHILIBERT (c. 1510-1570), French architect, one of the great masters of the Renaissance, was born at Lyons, the son of Jehan de L'Orme, who practised the same art and brought his son up to it. At an early age Philibert was sent to Italy to study (1533-1536) and was employed there by Pope Paul III. Returning to France he was patronized by Cardinal du Bellay at Lyons, and was sent by him about 1540 to Paris, where he began the Chateau de St Maur, and enjoyed royal favour; in 1545 he was made architect to Francis I. and given the charge of works in Brittany. In 1548 Henry II. gave him the supervision of Fontainebleau, Saint-Germain and the other royal buildings; but on his death (1559) Philibert fell into disgrace. Under Charles IX., however, he returned to favour, and was employed to construct the Tuileries, in collaboration with Jean Brillant. He died in Paris on the 8th of January 1570. Much of his work has disappeared, but his fame remains. An ardent humanist and student of the antique, he yet vindicated resolutely the French tradition in opposition to Italian tendencies; he was a man of independent mind and a vigorous originality. His masterpiece was the Chateau d'Anet (1552-1559), built for Diane de Poitiers, the plans of which are preserved in Du Cerceau's _Plus excellens bastimens de France_, though part of the building alone remains; and his designs for the Tuileries (also given by Du Cerceau), begun by Catherine de' Medici in 1565, were magnificent. His work is also seen at Chenonceaux and other famous chateaux; and his tomb of Francis I. at St Denis remains a perfect specimen of his art. He wrote two books on architecture (1561 and 1567).

See Marius Vachon, _Philibert de L'Orme_ (1887); Chevalier, _Lettres
et devis relatifs a la construction de Chenonceaux_ (1864); Pfror,
_Monographie du chateau d'Anet_ (1867); Herbet, _Travaux de P. de
L'Orme a Fontainebleau_ (1890).

DELOS (mod. _Mikra Dili_, or Little Delos, to distinguish it from Megali Dili, or Great Delos), an island in the Aegean, the smallest but most famous of the Cyclades, and, according to the ancient belief, the spot round which the group arranged itself in a nearly circular form. It is a rugged mass of granite, about 3 m. long and 1 m. to 1/2 m. broad, about 1/2 m. E. of Megali Dili or Rheneia, and 2 m. W. of Myconus. Towards the centre it rises to its greatest height of 350 ft. in the steep and rocky peak of Mount Cynthus, which, though overtopped by several eminences in the neighbouring islands, is very conspicuous from the surrounding sea. It is now completely destitute of trees, but it abounds with brushwood of lentisk and cistus, and here and there affords a patch of corn-land to the occasional sower from Myconus.

I. _Archaeology._--Excavations have been made by the French School at Athens upon the island of Delos since 1877, chiefly by Th. Homolle. They have proceeded slowly but systematically, and the method adopted, though scientific and economical, left the site in some apparent confusion, but the debris have more recently been cleared away to a considerable extent. The complete plan of the sacred precinct of Apollo has been recovered, as well as those of a considerable portion of the commercial quarter of Hellenistic and Roman times, of the theatre, of the temples of the foreign gods, of the temples on the top of Mount Cynthus, and of several very interesting private houses. Numerous works of sculpture of all periods have been found, and also a very extensive series of inscriptions, some of them throwing much light upon the subject of temple administration in Greece.

The most convenient place for landing is protected by an ancient mole; it faces the channel between Delos and Rheneia, and is about opposite the most northerly of the two little islands now called [Greek: Rheumatiari]. From this side the sacred precinct of Apollo is approached by an avenue flanked by porticoes, that upon the seaside bearing the name of Philip V. of Macedon, who dedicated it about 200 B.C. This avenue must have formed the usual approach for sacred embassies and processions; but it is probable that the space to the south was not convenient for marshalling them, since Nicias, on the occasion of his famous embassy, built a bridge from the island of Hecate (the Greater Rhevmatiari) to Delos, in order that the imposing Athenian procession might not miss its full effect. Facing the avenue were the propylaea that formed the chief entrance of the precinct of Apollo. They consisted of a gate faced on the outside with a projecting portico of four columns, on the inside with two columns _in antis_. Through this one entered a large open space, filled with votive offerings and containing a large exedra. The sacred road continued its course to the north-east corner of this open space, with the precinct of Artemis on its west side, and, on its east side, a terrace on which stood three temples. The southernmost of these was the temple of Apollo, but only its back was visible from this side. Though there is no evidence to show to whom the other two were dedicated, the fact that they faced west seems to imply that they were either dedicated to heroes or minor deities, or that they were treasuries. Beyond them a road branches to the right, sweeping round in a broad curve to the space in front of the temple of Apollo. The outer side of this curve is bounded by a row of treasuries, similar to those found at Delphi and Olympia, and serving to house the more costly offerings of various islands or cities. The space to the east and south of the temple of Apollo could also be approached directly from the propylaea of entrance, by turning to the right through a passage-like building with a porch at either end. Just to the north of this may be seen the basis of the colossal statue of Apollo dedicated by the Naxians, with its well-known archaic inscription; two large fragments of the statue itself may still be seen a little farther to the north.

The temple of Apollo forms the centre of the whole precinct, which it dominates by the height of its steps as well as of the terrace already mentioned; its position must have been more commanding in ancient times than it is now that heaps of earth and debris cover so much of the level. The temple was of Doric style, with six columns at the front and back and thirteen at the sides; it was built early in the 4th century B.C.; little if any traces have been found of the earlier building which it superseded. Its sculptural decoration appears to have been but scanty; the metopes were plain. The groups which ornamented, as acroteria, the two gables of the temple have been in part recovered, and may now be seen in the national museum at Athens; at the one end was Boreas carrying off Oreithyia, at the other Eos and Cephalus, the centre in each case being occupied by the winged figure that stood out against the sky--a variation on the winged Victories that often occupy the same position on temples.

To the east of the space in front of the temple was an oblong building of two chambers, with a colonnade on each side but not in front; this may have been the Prytaneum or some other official building; beyond it is the most interesting and characteristic of all the monuments of Delphi. This is a long narrow hall, running from north to south, and entered by a portico at its south end. At the north end was the famous altar, built out of the horns of the victims, which was sometimes reckoned among the seven wonders of the world. The rest of the room is taken up by a paved space, surrounded by a narrow gangway; and on this it is supposed that the [Greek: geranos] or stork-dance took place. The most remarkable architectural feature of the building is the partition that separated the altar from this long gallery; it consists of two columns between _antae_, with capitals of a very peculiar form, consisting of the fore parts of bulls set back to back; from these the whole building is sometimes called the sanctuary of the bulls. Beyond it, on the east, was a sacred wood filling the space up to the wall of the precinct; and at the south end of this was a small open space with the altar of Zeus Polieus.

At the north of the precinct was a broad road, flanked with votive offerings and exedrae, and along the boundary were porticoes and chambers intended for the reception of the [Greek: theoriai] or sacred embassies; there are two entrances on this side, each of them through extensive propylaea.

At the north-west corner of the precinct is a building of limestone, the [Greek: porinos oikos] often mentioned in the inventories of the treasures of the Delian shrine. South of it is the precinct of Artemis, containing within it the old temple of the goddess; her more recent temple was to the south of her precinct, opening not into it but into the open space entered through the southern propylaea of the precinct of Apollo. The older temple is mentioned in some of the inventories as "the temple in which were the seven statues"; and close beside it was found a series of archaic draped female statues, which was the most important of its kind until the discovery of the finer and better preserved set from the Athenian Acropolis.

Within the precinct there were found many statues and other works of art, and a very large number of inscriptions, some of them giving inventories of the votive offerings and accounts of the administration of the temple and its property. The latter are of considerable interest, and give full information as to the sources of the revenue and its financial administration.

Outside the precinct of Apollo, on the south, was an open place; between this and the precinct was a house for the priests, and within it, in a kind of court, a set of small structures that may perhaps be identified as the tombs of the Hyperborean maidens. Just to the east was the temple of Dionysus, which is of peculiar plan, and faces the open place; on the other side of it is a large rectangular court, surrounded by colonnades and chambers which served as offices, the whole forming a sort of commercial exchange; in the middle of it was a temple dedicated to Aphrodite and Hermes.

To the north of the precinct of Apollo, between it and the sacred lake, there are very extensive ruins of the commercial town of Delos; these have been only partially cleared, but have yielded a good many inscriptions and other antiquities. The most extensive building is a very large court surrounded by chambers, a sort of club or exchange. Beyond this, on the way to the east coast, are the remains of the new and the old palaestra, also partially excavated.

The shore of the channel facing Rheneia is lined with docks and warehouses, and behind them, as well as elsewhere in the island, there have been found several private houses of the 2nd or 3rd century B.C. Each of these consists of a single court surrounded by columns and often paved with mosaic; various chambers open out of the court, including usually one of large proportions, the [Greek: andron] or dining-room for guests.

The theatre, which is set in the lower slope of Mount Cynthus, has the wings of the auditorium supported by massive substructures. The most interesting feature is the _scena_, which is unique in plan; it consisted of an oblong building of two storeys, surrounded on all sides by a low portico or terrace reaching to the level of the first floor. This was supported by pillars, set closer together along the front than at the sides and back. An inscription found in the theatre showed that this portico, or at least the front portion of it, was called the proscenium or logeum, two terms of which the identity was previously disputed.

On the summit of Mount Cynthus, above the primitive cave-temple which has always been visible, there have been found the remains of a small precinct dedicated to Zeus Cynthius and Athena Cynthia. Some way down the slope of the hill, between the cave-temple and the ravine of the Inopus, is a terrace with the temples of the foreign gods, Isis and Serapis, and a small odeum.