several works on Irish history, Conversations with Carlyle, (1892), Memoirs (1898), &c. In 1891 he became first President of the Irish Literary Society. He was married three times, his third wife dying in 1889.

Duisburg, a town of Prussia, 15 miles by rail north from Düsseldorf, on the Ruhr-Rhine Canal and between these two rivers. The concert hall, law courts, Mercator There are fountain (1878), and war memorial are new. important iron industries, chemical works, saw-milling, shipbuilding, tobacco, cotton, sugar, soap, and other manufactures. There is also (in conjunction with Hochfeld) an extensive trade in coal. The harbour was, in 1898, entered

and cleared by an aggregate of 2,745,400 tons. Population, (1885), 47,519; (1900), 92,729.

Dulcigno (Servian, Ulcinj; Turkish, Olgun), an ancient town formerly belonging to Turkish Albania, but since 1880 Montenegrin. The old walled quarter, with the strong castle, occupies a bold promontory on the Adriatic, 18 miles west-south-west of Scutari; the new town occupies a small narrow valley, and the little harbour is stopped with sand. There are about 5000 inhabitants. Dulcigno was the scene of a naval demonstration made by the British, Russian, French, and Italian fleets in August 1880, by which Turkey was compelled to hand the place over to Montenegro according to the Berlin Treaty.

Dülken, a town of Prussia, in the Rhine province, 11 miles by rail west-south-west from Crefeld, with manufactures of linen, cotton, silk, and velvet, &c., ironworks and foundries. It has a (Roman Catholic) Gothic parish church. Population (1900), 9517.

Duluth, capital of St Louis county, Minnesota, U.S.A., the third city in the state in population, in 46° 47′ N. lat. and 92° 06′ W. long., on the north shore of Lake Superior. The city is situated mainly on the slope of steep bluffs, which rise 600 feet above the lake level. It is regular in plan, one set of streets running directly up the bluffs, the others along their face, parallel with the lake shore ; and it is well paved and sewered. A gravel spit, known as Minnesota Point, stretches nearly across Lake Superior, forming behind it a fine harbour, with a narrow entrance. Duluth is the terminus of no less than nine railways, making it, with its large lake commerce, a commercial city of the first magnitude. It handles large quantities of wheat from Red River Valley and Manitoba, estimated at 90,000,000 bushels annually, great amounts of lumber from the adjacent pine forests, and of iron ore from the Vermilion and Mesabi Ranges to the north. About 2000 vessels enter and clear annually. In 1890, its manufactures had an invested capital of $5,332,447, employed 3752 hands, and had a product valued at $8,811,723. The assessed valuation of real and personal property in 1900, on a basis of about one-half of the full value, was $24,600,333; the net debt of the city was $5,876,732; and the rate of taxation was $30 per $1000. Population (1880), 838; (1890), 33,115; (1900), 52,969, of whom 20,983 were foreign-born and 357 negroes. death-rate in 1900 was 13.2. The village of West Duluth was included in the corporate limits in 1894.

The

Dulwich, a parish of the county of London, in the metropolitan borough of Camberwell, Surrey, five miles from London Bridge, with three railway stations. The upper school, or Dulwich College, maintains its position in the front rank of English public schools. The lower, or Alleyne's school, is situated about a mile from the college, and in close proximity to it are the James Allen's school for girls and the Dulwich Presbyterian Church. There is a high school for girls within half a mile of West Dulwich station. Population (1881), 5590; (1901), 10,246.

Dumas, Alexandre (fils) (1824-1895), French dramatist and novelist, was born in Paris on the 28th July 1824. His parentage was irregular, and his father at that date still a humble clerk and not much more than a boy. "Happily," writes the son, "my mother. was a good woman, and worked hard to bring me up"; while of his father he says, "by a most lucky chance he happened to be well natured," and " as soon as his first successes as a dramatist" enabled him to do so, "recognized me and gave me his name.' Nevertheless the lad's earlier school-life was made bitter by his illegitimacy. The cruel taunts and malevolence of his companions rankled through life (see preface to La Femme de Claude and L'Affaire Clémenceau), and left indelible marks on his character and thoughts. Nor was his paternity, however distinguished, without peril. Alexandre the younger and elder saw life together very thoroughly, and Paris can have had few mysteries for them. Suddenly the son, who had been led to regard his prodigal father's resources as inexhaustible, was rudely undeceived. Coffers were empty, and he had accumulated debts to the amount of two thousand pounds. Thereupon he pulled himself together. To a son of Dumas the use of the pen came naturally. Like most clever young writers-and report speaks of him as specially brilliant at that time-he opened with a book of verse, Péchés de Jeunesse (1847). It was succeeded in 1848 by a novel, La Dame aux Camélias, a sort of reflection of the world in which he had been living. The book had considerable success, and was followed, in fairly quick succession, by Le Roman d'une Femme (1848) and Diane de Lys (1851). All this, however, did not deliver him from the load of debt, which, as he tells us, remained odious. In 1849 he had dramatized La Dame aux Camélias, but for various reasons, the rigour of the censorship being the most important, it was not till the 2nd February 1852, and then only by the intervention of Napoleon's all-powerful minister, Morny, that the play could be produced, at the Vaudeville. It succeeded then, and has held the stage ever since, less perhaps from inherent superiority to other plays which have foundered, than to the great opportunities it affords to any actress of genius. Thenceforward Dumas's career was that of a brilliant and prosperous dramatist. Diane de Lys (1853), Le Demi-Monde (1855), La question d'argent (1857), Le fils naturel (1858), Le Père prodigue (1859), followed rapidly. Debts became a thing of the past, and Dumas a wealthy man. didactic habit was always strong upon him. "Alexandre loves preaching overmuch," wrote his father; and in most of his plays he assumes the attitude of a rigid and uncompromising moralist commissioned to impart to a heedless world lessons of deep import. The lessons themselves are mostly concerned with the "eternal feminine," by which Dumas was haunted, and differ in ethical value. Thus in Les Idées de Madame Aubray he inculcates the duty of the seducer to marry the woman he has seduced; but in La Femme de Claude he argues the right of the husband to take the law into his own hand and kill the wife who is unfaithful and worthless,—a thesis again defended in his novel, L'Affaire Clémenceau, and in his pamphlet, L'Homme-femme; while in Diane de Lys he had taught that the betrayed husband was entitled to kill-not in a duel, but summarily-the man who had taken his honour; and in L'Etrangère the bad husband is the victim. Nor did he preach only in his plays. He preached in voluminous introductions, and pamphlets not a few. And when, in 1870 and 1872, France was going through bitter hours of humiliation, he called her to repentance and amendment in a Nouvelle Lettre de Junius and two Lettres sur les choses du jour. As a moralist he took himself very seriously indeed. As a dramatist,

The

didacticism apart, he had great gifts. He knew his business thoroughly, possessed the art of situation, interest, crisis could create characters that were real and alive. His dialogue also is admirable, the repartee rapier-like, the wit most keen. He was singularly happy, too, in his dramatic interpreters. The cast of L'Etrangère, for instance, comprised Sarah Bernhardt, Croizette, Madeleine Brohan, in the female characters; and Coquelin, Got, Mounet-Sully, and Fébvre in the male characters; and Desclée, whom he discovered, gave her genius to the creation of the parts of the heroine in Une Visite de Noces, the Princesse Georges, and La Femme de Claude. His wit has been mentioned. He possessed it in abundance, of a singularly trenchant kind. It shows itself less in his novels, which, however, do not contain his best work; but in his introductions, whether to his own books or those of his friends, and what may be called his "occasional" writings, there is an admirable brightness. At work of this kind he showed the highest literary skill. His style is that of the best French traditions. Towards his father Dumas acted a kind of brother's part, and while keeping strangely free from his literary influence, both loved and admired him. The father never belonged to the French Academy. The son was elected into that august assembly on the 30th January 1874. He died on the 27th November 1895. (F. T. M.)

Dumas, Jean Baptiste André (18001884), French chemist, was born at Alais (Gard) on 14th July 1800. Disappointed in his early hope of entering the navy, he became apprentice to an apothecary in his native town; but seeing little prospect of advancement in that calling, he soon moved to Geneva (in 1816). There he attended the lectures of such men as Pictet in physics, De la Rive in chemistry, and De Candolle in botany, and before he had reached his majority he was engaged with Prévost in original work on problems of physiological chemistry, and even of embryology. In 1823, acting on the advice of Humboldt, he left Geneva for Paris, which he made his home for the rest of his life. There he gained the acquaintance of many of the foremost scientific men of the day, and quickly made a name for himself both as a teacher and an investigator, attaining within ten years the honour of membership of the Academy of Sciences. When approaching his fiftieth year he entered political life, and became a member of the National Legislative Assembly. He acted as Minister of Agriculture and Commerce for a few months in 1850-51, and subsequently became a Senator, President of the Municipal Council of Paris, and Master of the French Mint; but his official career came to a sudden end with the fall of the Second Empire. He died at Cannes on 11th April 1884. Dumas is one of the most prominent figures in the chemical history of the middle part of the 19th century. He was one of the first to criticize the electro-chemical doctrines of Berzelius, which at the time his work began were widely accepted as the true theory of the constitution of compound bodies, and opposed a unitary view to the dualistic conception of the Swedish chemist. In a paper on the atomic theory, published so early as 1826, he anticipated to a remarkable extent some ideas which are frequently supposed to belong to a later period; and the continuation of these studies led him to the ideas about substitution ("metalepsy ") which were developed about 1839 into the theory ("Older Type Theory") that in organic chemistry there are certain types which remain unchanged even when their hydrogen is replaced by an equivalent of a haloid element. Many of his well-known researches were carried out in support of these views, one of the most important being that on the action of chlorine on acetic acid to form trichloracetic acid

-a derivative of essentially the same character as the acetic acid itself. In the 1826 paper he described his famous method for ascertaining vapour densities, and the redeterminations which he undertook by its aid of the atomic weights of carbon and oxygen proved the forerunners of a long series which included some thirty of the elements, the results being mostly published in 1858-60. He also devised a method of great value in the quantitative analysis of organic substances for the estimation of nitrogen, while the classification of organic compounds into homologous series was advanced as one consequence of his researches into the acids generated by the oxidation of the alcohols. Dumas was a prolific writer, and his numerous books, essays, memorial addresses, &c., show him to have been gifted with a clear and graceful style. His earliest large work was a treatise on applied chemistry in eight volumes, the first of which was published in 1828 and the last twenty years afterwards. In the Essai de Statique Chimique des Etres Organisés, written jointly with Boussingault (1841), he treated the chemistry of life, both plant and animal; this book brought him into conflict with Liebig, who conceived that some of his prior work had been appropriated without due acknowledgment. In 1824, in conjunction with his friends Audouin and Adolphe Brongniart, he founded the Annales des Sciences Naturelles, and from 1840 he was one of the editors of the Annales de Chimie et de Physique. As a teacher Dumas was much sought after for his lectures at the Sorbonne and other institutions both on pure and applied science; and he was one of the first men in France to realize the importance of experimental laboratory teaching. (H. M. R.)

Du Maurier, George Louis Palmella Busson (1834-1896), British artist and writer, was born in Paris. His father, a naturalized British subject, was the son of émigrés who had left France during the Reign of Terror and settled in London. In Peter Ibbetson, the first of the three books which won George du Maurier late in life a reputation as novelist almost as great as he had enjoyed as artist and humorist for more than a generation, the author tells in the form of fiction the story of his singularly happy childhood. He was brought to London, indeed, when three or four years old, and spent in Devonshire Terrace and elsewhere two colourless years; but vague memories of this period were suddenly exchanged one beautiful day in June-"the first day of his conscious existence "—for the charming realities of a French garden and "an old yellow house with green shutters and mansard roofs of slate." Here, at Passy, with his ". gay and jovial father" and his young English mother, the boy spent seven years of sweet priceless home-life- -seven times four changing seasons of simple genial præ-Imperial Frenchness. The second chapter of Du Maurier's life had for scene a Paris school, very much in the style of that "Institution F. Brossard" which he describes, at once so vividly and so sympathetically, in The Martian; and like "Barty Josselin's" schoolfellow and biographer, he left it (in 1851) to study chemistry at University College, London, actually setting up as an analytical chemist afterwards in Bucklersbury. But this was clearly not to be his métier, and the year 1856 found him once more in Paris, in the Quartier Latin this time, in the core of that art-world of which in Trilby, forty years later, he was to produce with pen and pencil so idealistic and fascinating a picture. Then, like "Barty Josselin " himself, he spent some years in Belgium and the Netherlands, experiencing at Antwerp in 1857, when he was working in the studio of Van Lerius, the one great misfortune of his life—the gradual loss of sight in his left eye, accompanied by alarming symptoms in his right. It was a period of

tragic anxiety, for it seemed possible that the right eye might also become affected; but this did not happen, and the dismal cloud was soon to show its silver lining, for, about Christmas time 1858, there came to the forlorn invalid a copy of Punch's Almanac, and with it the dawn of a new era in his career.

There can be little doubt that the study of this Almanac, and especially of Leech's drawings in it, fired him with the ambition of making his name as a graphic humorist; and it was not long after his return to London in 1860 that he sent in his first contribution (very much in Leech's manner) to Punch. Mark Lemon, then editor, appreciated his talent, and on Leech's death in 1865 appointed him his successor, counselling him with wise discrimination not to try to be "too funny," but "to undertake the light and graceful business and be the "romantic tenor" in Mr Punch's little company, while Keene, as Du Maurier puts it, "with his magnificent highly trained basso, sang the comic songs." These respective rôles the two artists continued to play until the end, seldom trespassing on each other's province; the "comic songs" finding their inspiration principally in the life of the homely middle and lower middle classes, while the "light and graceful business " enacted itself almost exclusively in "good Society." To a great extent, also, Du Maurier had to leave outdoor life to Keene, his weak sight making it difficult for him to study and sketch in the open air and sunshine, thus cutting him off, as he records regretfully, from "so much that is so popular, delightful, and exhilarating in English country life"-hunting and shooting and fishing and the like. He contrived, however, to give due attention to milder forms of outdoor recreation, and turned to good account his familiarity with Hampstead Heath and Rotten Row, and his holidays with his family at Whitby and Scarborough, Boulogne and Dieppe.

Of Du Maurier's life during the thirty-six years of his connexion with Punch there is not, apart from his work as an artist, much to record. In the early 'sixties he lived at 85 Newman Street in lodgings, which he shared with his friend Lionel Henley, afterwards R.B.A., working hard at his Punch sketches and his more serious contributions to Once a Week and the Cornhill Magazine. After his marriage with Miss Emma Wightwick in 1862 he took a spacious and pleasant house near Hampstead Heath, in surroundings made familiar in his drawings. Shortly before he died he moved to a house in Oxford Square. About 1866 he struck out a new line in his admirable illustrations to Jerrold's Story of a Feather. In 1869 he realized a long-cherished aspiration, the illustrating of Thackeray's Esmond, and in 1879 he drew twelve additional vignettes for it, in the same year providing several illustrations for the Ballads. From time to time he sent pretty and graceful pictures to the exhibitions of the Royal Society of Painters in Water-Colour, to which he was elected in 1881. In 1885 the first exhibition of his works at the Fine Art Society took place. Thus occupied in the practice of his art, spending his leisure in social intercourse with his many friends and at home with his growing family, hearing all the new singers and musicians, seeing all the new plays, he lived the happiest of lives. died somewhat suddenly on 8th October 1896, and was buried in the Hampstead Cemetery.

He

It is impossible, in considering Du Maurier's work, to avoid comparing it with that of Leech and Keene, the more so that in his little book on Social Pictorial Satire he himself has set forth or suggested the points both of resemblance and of difference. Like Keene, though Keene's marvellous technique was his despair, Du Maurier was a much more finished draughtsman than John Leech, but in other respects he had less in common with the younger

Just as

than with the older humorist. He shows himself, in the best sense, a man of feeling in all his work. He is clearly himself in love with "his pretty woman," as he calls herevery pen-stroke in his presentment of her is a caress. How affectionate, too, are his renderings of his fond young mothers and their big, handsome, simple-minded husbands; his comely children and neat nurserymaids; even his dogs -his elongated dachshunds and magnificent St Bernards! And how he scorns the snobs and philistines-Sir Gorgius. Midas and Sir Pompey Bedell, Grigsby and Cadby, Soapley and Toadson! How merciless is his ridicule of the æsthetes of the 'eighties-Maudle and Postlethwaite and Mrs Cimabue Brown! Even to Mrs Ponsonby de Tomkyns, his most conspicuous creation, his satire is scarcely tempered, despite her prettiness. He shows up unsparingly all her unscrupulous little ways, all her cynical, cunning little wiles. Like Leech, he revelled in the lighter aspects of life—the humours of the nursery, the drawing-room, the club, the gaieties of the country house and the seasidewithout being blind to the tragic and dramatic. Leech could rise to the height of the famous cartoon "General Février turned Traitor," so it was Du Maurier who inspired Tenniel in that impressive drawing on the eve of the Franco-Prussian War, in which the shade of the great Napoleon is seen warning back the infatuated Emperor from his ill-omened enterprise. In his tender drawings in Once a Week, also, and in his occasional excursions into the grotesque in Punch, such as his picture of "Old Nickotin stealing away the brains of his devotees," he has given ample proof of his faculty for moving and impressive art. The technique of Du Maurier's work in the 'eighties and the 'nineties, though to the average man it seems a marvel of finish and dexterity, is considered by artists a falling off from what was displayed in some of his earlier Punch drawings, and especially in his contributions to the Cornhill Magazine and Once a Week. His later work is undoubtedly more mannered, more "finicking," less simple, less broadly effective. But it is to his fellow-craftsmen only and to experts that this is noticeable.

A quaint tribute has been paid to the literary talent shown in Du Maurier's inscriptions to his drawings, by Mr F. Anstey, his colleague on the staff of Punch. "In these lines of letterpress," says Mr Anstey, "he has brought the art of précis-writing to perfection." They are indeed singularly concise and to the point. It is the more curious, therefore, to note that in his novels, and even in his critical essays, Du Maurier reveals very different qualities : the précis-writer has become an improvisatore, pouring out his stories and ideas in full flood, his style changing with every mood-by turn humorous, eloquent, tender, gay, sometimes merely "skittish," sometimes quite solemn, but never for long; sometimes, again, breaking into graceful and haunting verse. He writes with apparent artlessness; but, in his novels at least, on closer examination, it is found that he has in fact exerted all his ingenuity to give them what such flagrantly untrue tales most requireverisimilitude. It is hard to say which of the three stories is the more impossible: that of Trilby, the tone-deaf artist's model who becomes a prima donna, that of Barty Josselin and his guardian angel from Mars, or that of the dream-existence of Peter Ibbetson and the Duchess of Towers. They are all equally preposterous, and yet plausible. The drawings are cunningly made to serve the purpose of evidence, circumstantial and direct. These books cannot be criticized by the ordinary canons of the art of fiction. They are a genre by themselves, a blend of unfettered day-dream and rose-coloured reminiscence.

For the dramatic version of Trilby by Mr Paul Potter Du Maurier would accept no credit. The play was proS. III. — 69