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DOME, a term applied to a covering of the whole or part of a building. The Germans call it Dom, and the Italians Duomo, and apply the term to the principal church of a city, although the building may not have any spherical or polygonal dome. From this and other circumstances we may infer the term to be derived from the Latin Domus, house. The remains of antient domes are generally spherical in their form, and built of stone or tufo.

The word dome is applied to the external part of the sphe

Cupola is derived from the Italian cupo, deep, whence also our word cup. But cupola and dome are often used synonymously, although perhaps incorrectly.

Ruins of numerous domes still exist in the neighbourhood of Rome and Naples. The principal in and near Rome are the Pantheon and the temples of Bacchus, Vesta, Romulus, Hercules, Cybele, Neptune, and Venus, and also some of the Chambers of the Thermæ.

simple than that of an arch. Imagine two vertical planes | For the demonstration of this formula, see Venturoli's Me passing through the axis of a dome, and making a small chanics (Creswell's translation), or Robison's Mechanical angle with each other. These planes intercept (as in the Philosophy. It is not necessary that p should be a concut) two symmetrically opposite slices of the dome, which stant: a reference to the work first cited will show how to tend to support each other at the crown. This support proceed on the supposition that it is a function of a greater might be made complete and effectual upon principles ex- than unity. plained in the article ARCH; so that in fact each small slice of the dome, with its opposite, might compose a balanced arch. Any slice of such a dome is supported by the opposite one only, so that all the rest might be taken away. Now suppose such a dome to be constructed upon an interior centering, of which however the arches are not separately balanced, in consequence of the weight of A P K being so great that the resultant of this weight and the horizontal thrust at A falls obliquely, not being, as in a balanced arch, perpendicular to P K, but cutting the line K Prical or polygonal roof, and cupola to the internal part. produced towards the axis. Still this dome cannot fall: for since every part of the horizontal course of stones has the same tendency to fall inwards, these pressures inwards cannot produce any effect, except a lateral pressure of each slice upon the two which are vertically contiguous. Hence the condition of equilibrium of a dome is simply this, that the weight of any portion A M PK must be too great for a balanced arch. Upon this same principle a dome may even be constructed with a concave exterior: and in a dome of convex exterior a portion of the crown may be removed, as is the case when the building is surmounted by a lantern. The tendency of the upper part to fall inwards being equal all round, each stone is supported by those adjacent. From the preceding it appears that it would be (in comparison with an arch) easy to construct a dome with perfectly polished stones, and without cement. The friction of the stones and the tenacity of the cements are of course additional securities. The part in which the construction is weakest will be near the base, more particularly if the joints become nearly horizontal at the base, or if the circumference at the base be very considerable. This weak point is generally secured in practice by bringing strong chains or hoops round the horizontal courses at the interior of the base. Dr. Robison says The immense addition of strength which may be derived from hooping largely compensates for all defects; and there are hardly any bounds to the extent to which a very thin dome vaulting may be carried when it is hooped or framed in the direction of the horizontal courses.' This system of internal hooping is every way preferable to reliance upon cements, and may, without interference with the ornamental part of the design, be carried to any length. Among other advantages, a dome may be made by means of it to rise vertically from the base, which cannot be the case in an arch.

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The thickness of a dome should increase towards the base. A perfectly spherical dome, that is, a segment of a hollow shell cut off by a plane, and therefore of uniform thickness, will stand securely if the arch of the generating circle subtend at the centre less than 51° 49'. The law of the thickness necessary to secure equilibrium is as follows:

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The most magnificent dome of antiquity is that of the Pantheon, supposed to be a chamber of the great baths of Agrippa. The diameter of the dome internally is 142 ft. 8 in., with a circular opening at the top in the centre 28 ft. 6 in. in diameter. The height of the dome from the top of the attic is 70 ft. 8 in. Internally it is decorated with five rows of square compartments. Each row is considerably larger than that immediately above it, as they converge towards the top. The large squares, all of which are rather more than 12 feet each way, contain four smaller squares sunk one within the other. It is supposed that these squares were decorated with plates of silver, from some fragments of that metal having been found on them. The opening at the top of the dome was decorated with an ornamented bronze moulding, gilt. The external part of the dome appears also to have been decorated with bands of bronze. Constantius II. removed the silver and bronze with which the building was decorated. The base of the dome externally consists of a large plinth with six smaller plinths or steps above it; and in the curve of the dome a flight of steps is formed which leads to the opening at the top of the dome. From the drawings of the architect Serlio it appears that flights of steps were formed at intervals all round the dome, which are now covered with the lead placed there by order of Urban VIII. The dome is constructed of bricks and rubble. Sunk bands round the hollow squares or caissons appear to be formed in brick, and the other parts in tufo and pumice stone. The thickness of the dome of the Pantheon is about 17 ft. at the base, 5 ft. 14 in. at the top of the highest step, and 4 ft. 7 in. at the top of the dome. The circular wall which supports the dome is 20 ft. thick. This wall is however divided by several large openings, and is furnished with dis charging arches of brick. It is most probable that the dome of the Pantheon was executed by means of a centering of wood with the hollow squares formed in relief upon it, as was afterwards done in constructing the great vaulting of St. Peter's.

The dome of one of the chambers of the Thermæ of Caracalla was 111 feet in diameter. In the Thermæ of Titus there are two domes each 84 feet in diameter, and in the baths of Constantine there was one of 76 feet. There were three domes in the baths of Diocletian, of which two still remain; one is 73 feet 6 inches in diameter, and the other 62 feet 3 inches. Judging from those that remain, there is every from above, like the dome of the Pantheon. Near Pozzuoli reason to believe that in the Therma they were all lighted there is a very perfect circular building, with a dome 96 feet in diameter, built of volcanic tufo and pumice stone. temple of Minerva Medica, without the walls of Rome, was on the plan a polygonal dome of ten sides built of brick and pumice stone. This building does not appear to have had any opening at the top.

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The antients appear to have constructed domes on corbels. At Catania there is a spherical dome which covers

or e being the angle K GB, and p the radius of curvature a square vestibule, and in one of the octagonal rooms of

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the enclosure surrounding the baths of Caraca la the corbels still remain which most probably supported the dome of the

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The dome of Santa Sophia, at Constantinople, built in the

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Parallel Section of the four principal Domes of Europe, to the same scale; by Joseph Gwilt; published by Priestley and Weale, High Street, Bloomsbury. (With the permission of the Publishers.)

reign of Justinian, is the most remarkable and the earliest constructed after those of the Romans. Anthemius of Tralles and Isidorus of Miletus were the architects. The present dome, however, was reconstructed by the nephew of Isidorus. It rests on the square formed at the intersection of the arms of the Greek cross the diameter is about 111 feet, and the dome 40 feet high. The dome is supported by four corbellings placed in the angles of the square. The corbels are surmounted by a kind of cornice which supports a circular gallery. The lower part of the dome is pierced with a row of small windows adorned with columns on the exterior. Externally the dome is divided by projecting ribs, rounded and covered with lead. The top is surmounted by a lantern or finishing like a baluster, on which is a cross. The dome of Anthemius and Isidorus was not so high, and was partly destroyed twenty-one years after its construction by an earthquake during the lifetime of Justinian. In the reconstruction the nephew of Anthemius used very light white bricks, only one fifth the weight of common bricks, which are said to have been made in Rhodes. It appears from the history and description of the building of Santa Sophia, by Procopius, that the architects encountered many difficulties, which arose probably from not being thoroughly acquainted with the principles on which domes should be constructed. (Procopius, Tepi Krioμárov, lib. i. cap. 1.)

The dome of San. Vitale, at Ravenna, which is considered to be more antient than that of Santa Sophia, is curiously constructed. The lower part of the plan of the dome is a regular octagon, which is supported by eight piers placed at the angles of the dome. Between these angles are seven tall niches divided into two stories. The lower part of these niches is open, and ornamented with columns, like Santa Sophia. The eighth side of the dome is pierced with a great arch forming an entrance. This arch is of the same diameter and the same elevation as the niches. The

wall above the niches and arch, which is without openings, sustains a hemispherical dome, the plan being a circle described within a regular octagon. Corbels are not employed as at Santa Sophia, but the arches support the gathering over, or corbelling, which forms the circular base of the dome. The base of the dome is pierced with eight windows, each divided in the middle by a column which supports two small arches. The dome itself is built with a double row of pipes, hollow at one end and pointed at the other, the point of one being placed in the hollow of the preceding. They are thus continued in a gentle spiral line until they finish at the top. Between the top of the small arched windows and the pipes there is a construction formed with vases, not unlike the system adopted in the circus of Caracalla. [CIRCUS, vol. vii., p. 197.] The dome itself is covered with mortar both within and without.

The church of San Marco at Venice, built in the tenth century, by order of Pietro Orseolo, the then doge, is decorated with five domes. One of these, placed in the centre of the church, is much larger than the others. Each dome is enclosed within four pieces of semi-cylindrical vaulting, together forming a square, in the angles of which are four corbels, which gather in the circular base of each dome. The lower part of the dome is pierced with small windows. The interior is covered with mosaic, and the top of the dome is terminated with a finishing on which is a cross. In 1523 the doge, Andrea Gritti, caused the domes to be repaired, and Sansovinus, the architect, restored in a great measure the supports, and placed (at about one third of its height) a great circle of iron round the large dome to prevent its falling; a precaution which has been completely successful. The other domes are not so well preserved. In 1729 one of the smaller domes was in danger of falling, from the decay which had taken place in a circular bond placed at the base of the dome. Stone was however substituted for

the wooden bond, and a circle of iron placed without the dome near its base. In 1735 Andrew Tirali, the architect to the church, placed an iron circle round the dome which is near the great gate, on account of some small fractures which were then perceived. If, however, the other domes are constructed with a wooden bond, it is very probable that they will eventually fall unless steps be taken in time to remove the timber. By the use however of corrosive sublimate, now used in Kyan's patent for preserving wood from the dry rot, wood may be used in the construction of domes with much more security as regards durability.

The celebrated dome of Santa Maria del Fiore, built by Bruneleschi, is far superior in construction to the domes of Santa Sophia and San Marco. Bruneleschi first constructed the octagon tower which supports the dome. Each face of the tower is pierced with a circular window; the walls are 17 feet thick, and the cornice which terminates the tower is 175 feet from the ground. From this cornice rises the double dome.

Giacomo della Porta as a colleague Domenico Fontana, by whom the dome was constructed.

On the constructions of Michel Angelo a circular attic was first formed, 19 ft. 2 in. high and 9 ft. 7 in. thick. This attic is strengthened externally by 16 projections, 2 ft. 11 in. deep and 6 ft. 4 in. wide, placed over the buttresses of the dome. On the attic rises the double dome, the internal diameter of which, at the base, is 138 ft. 5 in. The curve externally is an arc of a circle whose radius is 84 ft. 162 in. To the height of 27 ft. 8 in. from the attic the dome is solid. At the base the thickness is 9 ft. 7 in.; and as the external dome is raised higher than the internal dome, the thickness is increased as the curve ascends, so that where the dome is divided the thickness is 11 ft. 4 in. The circular space which divides the two domes is 3 ft. 24 in. wide; the internal dome is 6 ft. 4 in. thick; and the height from the attic to the opening of the lantern is 83 ft. 10 in. The diameter of the lantern is 24 ft. 10 in. The external dome is 2 ft. 10 in. thick where it separates itself from the internal dome; and it is strengthened externally by 16 projecting bands of the same thickness. The dome is pierced with three rows of small windows. As the curves of the dome are not concentric, the space between them becomes wider as it rises; so that at the opening of the lantern the space is 10 feet wide. These domes are joined together by 16 walls or spurs, diminishing in thickness as they ascend to the lantern; at the base they are 8 ft. thick, and at the summit 3 ft. The base of the lantern is arched, and pierced with small windows. Above the two domes is a circular platform, surrounded with an iron gallery. In the centre rises the lantern, on a stylobate broken into 16 parts, forming projecting pedestals, above which are buttresses similar to the buttresses of the drum, decorated externally with coupled Ionic columns, 17 in. in diameter. The space between the buttresses is filled with arched openings, which give light to the lantern. The external diameter of the lantern is 39 ft.; the internal diameter 25 ft. 16 in.; and the height from the platform to the top of the cross is 89 ft. 7 in. The whole height, from the external plinth of the dome to the cross, is 263 ft. The total height from the pavement is 437 ft. 5 in. The total height internally, to the top of the dome of the lantern, is 387 ft.

The external dome is 7 ft. 10 in. thick at the base. The internal dome, which is connected at the angles with the external dome, is 139 ft. in diameter and 133 ft. high from the top of the internal cornice of the tower to the eye of the lantern. This dome has eight angles, forming a species of Gothic vault, and was the first double dome with which we are acquainted. Some time after the dome was finished, several fractures were perceived in it, which were owing to settlements in the masonry; but the fractures were filled up, and no new signs of settlement have showed themselves

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Sixtus V. covered the external dome with lead, and the bands with bronze gilt. One hundred thousand large pieces of wood were used in making the centering of the domes, which was so admirably constructed, that it appeared suspended in the air. (See the drawings in the work by Fontana, on the construction of this dome.) This centering was more for the purpose of a scaffolding for the materials and workmen, than to sustain the weight of the double dome. During the construction of the dome it is believed that only two circles of iron were placed round the masonry, one of which was placed on the outside of the internal dome, at about 36 feet from its springing, and one foot above the division of the domes. The bands of iron of which this circle is composed are 3 in. wide by 1 in. thick. A similar circle is placed about the middle of the solid part of the dome, at about 17 feet 6 inches above the springing of the internal dome. Near the top of the internal dome there are several holes, at the bottom of which upright iron bars appear. These bars are said to be the connecting rods which keep together other circles of iron placed at different heights within the masonry, which are finally terminated by a circle round the eye of the dome.

The first modern dome constructed in Rome was that of the Church of Our Lady of Loretto. It was commenced in 1507 by Antonio Sangallo. The dome, which is double, is circular on the plan. The internal dome is constructed on double consoles, instead of corbellings. The double consoles are crowned with a small cornice, forming an impost for eight arches, from the upper part of which springs the dome. On the top is a lantern light, which is not apparent externally. Up to this time domes had been constructed on walls and corbellings; but in St. Peter's at Rome a new plan was adopted. The dome of St. Peter's stands upon four piers, 61 ft. 11 in. high, and 30 ft. 10 in. thick, measured in a straight line with the arches. From the arches spring the corbellings, which are finished by an entablature. Upon this entablature is a plinth. The plinth is externally an octagon, and internally a circle. The external diameter of the octagon is 192 ft. 9 in., and the internal circle 134 ft. 8 in.; the thinnest part of the wall, between the octagon and the circle, is 29 ft. 3 in. On the plinth is a circular stylobate, 28 ft. 6 in. thick. This thickness is divided into three parts by a circular passage, 5 ft. 10 in. wide the two walls on each side of this passage are, respectively, the internal wall 14 ft. 7 in. thick, and the external 8 ft. In the internal wall are other smaller passages, 2 ft. 10 in. wide, forming flights of steps communicating with the four spiral staircases formed in the thickness of the wall of the drum of the dome. Above the circular stylobate, which is 12 ft. 4 in. high, is placed the drum of the dome, which is 10 ft. 1 in. thick, measured to the inside line of the pilasters, which decorate the interior of the dome. The pilasters themselves are 178 ft. thick in addition. The construction is formed of rubble and fragments of brick. The interior is lined with bricks stuccoed. Externally the work is faced with thin slabs of travertine stone. The drum is pierced with 16 windows, 9 ft. 3 in. wide and 17 ft. high. The walls are strengthened on the outside, between the windows, with 16 buttresses, constructed with solid masonry. These buttresses are 13 ft. 3 in. wide and 51 ft. 6 in. in height from the base to the top of the entablature. Each buttress is decorated and strengthened with half pilasters, and terminates with two coupled columns engaged, the diameter of which is 4 ft.: the order is Corinthian. When the base of the dome had been built to the height of the entablature of the drum, Michel Angelo died; but some time before his death he had caused a wooden model to be made, with ample details, to which he added drawings and instructions. After his death Pirro Ligorio and Vignola were appointed the architects. Giacomo della Porta, the pupil of Vignola, followed his master as architect to the cathedral; but though the designs of Michel Angelo were strictly followed, the dome itself was constructed under the pontificate of Sixtus V. Sixtus gave

The domes were constructed with such haste, that sufficient time was not allowed to the work to form solid beds as it was carried up, in consequence of which a great number of vertical settlements took place, and the circle of iron round the internal dome was fractured. To obviate the danger arising from these settlements, six circles of iron were placed round the external dome at different heights, and the broken circle of the internal dome was repaired. The first circle was placed above the cornice of the external stylobate, or continuous plinth, on which the buttresses stand; the second circle was placed above the cornice of the buttresses, the third above the attic at the springing of the external dome, the fourth half way up the external dome, and the fifth under the base of the lantern. A sixth was shortly after placed at one foot below where the dome divides itself. The iron bands are flat, from 16 to 17 feet long, 34 inches wide, and 2 in. thick. At one end of the pieces of iron a hole is made; the other end is turned

up and passed through the eye of the next band. The whole of these bands are fixed with iron wedges, driven into the rubble with mallets. Sheets of lead are placed under the iron circles. In the Encyclopédie Méthodique' there is a detailed account of the various fractures of the dome, and the means employed to repair them. (Coupole,' Encyclopédie Méthodique, Architecture.')

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The dome of St. Paul's cathedral, London, is placed over the intersection of the four naves. The ground plan is a regular octagon, each face of which is 44 feet 8 inches wide: four of these sides are formed by the four great arches of the naves; the other four sides are formed by false arches of the same size; in each of these arches there is a great niche, the base of which is pierced with two arches. By this means eight supports are obtained instead of four, and the corbellings do not project too much, as in other similar constructions. The corbellings gather in a circle, the diameter of which is 104 feet 4 inches, the octagon base being 107 feet. The corbellings are surmounted by a complete entablature 8 feet 3 inches high, decorated with consoles. The drum is set back 3 feet 2 inches from the face of the frieze, and this intermediate space is occupied by two steps and a seat. The cornice is 98 feet 9 inches from the pavement. The height of the drum from the top of the seat is 62 feet 6 inches to the springing of the internal dome. The wall forming the drum is inclined internally 4 feet 11 inches, or about the 12th part of its height. This was designed by the architect to increase the resistance of the walls to the united pressure of the large internal vault and the conical dome which carries the lantern.

stylobate, above which are coupled pilasters of the composite order, and the wall is pierced with 12 windows. The dome, which is double, rises from a springing common to both. The lower or internal dome, constructed with masonry, is spherical, and is 83 feet in diameter, with an opening or eye at the top 53 feet 3 inches in diameter, through which part of the outer dome can be seen. The outer dome is of a spheroidal form, and constructed of stone at the base, and of brick above. Externally the dome is formed with a stylobate, on which is a Corinthian order of columns, over which is an attic with pilasters, and buttresses in the form of consoles. The drum is fortified externally by eight projections, placed two and two above each pier of the dome. The external dome is framed of wood, and covered with lead, like St. Paul's, London, but the construction is much heavier. The external diameter of the dome is 85 feet 4 inches, and its height is 57 feet 24 inches. The finishing of the dome is decorated with consoles, on which is formed a circular balcony round the base of the lantern, constructed of wood, which is 39 feet 4 inches high; the lantern above it, with the cross, is 35 feet 4 inches high. The total height from the ground is 330 feet.

The dome of the Pantheon at Paris is constructed entirely of stone, and is placed in the centre of a Greek cross. It is supported by four triangular piers strengthened by engaged columns of the Corinthian order. The four piers with the lines of the intermediate arches form externally a large square, each side of which is 74 feet 9 inches.

These four piers are pierced above with arched openings, and between the piers with the openings are large arches, the diameter of which is 44 feet 11 inches, and the height 85 feet 5 inches. Between these arches rise the corbellings, which are gathered in to form the circular plan of the drum. The arches and the corbellings are crowned with a large entablature 13 feet 4 inches high. The upper part of the cornice of the entablature is raised 101 feet above the pavement of the nave. The diameter taken at the frieze is 66 feet. The internal drum which is constructed on this entablature is 55 feet 7 inches in height to the springing of the internal dome. The interior of this drum is decorated with a continuous stylobate, which is the basement of a colonnade of 16 Corinthian columns almost isolated from the wall. These columns are 35 feet 2 inches in height. Between the columns are 16 windows; four of which are false, and placed above the four piers of the dome. The colonnade is

The interior of the drum is decorated with a continuous stylobate, on which is an order of Corinthian pilasters. The 32 spaces between the pilasters are filled with 24 windows and eight large niches. Externally the drum is decorated with an order of 32 Corinthian columns engaged, which are united to the wall of the drum by eight solid constructions in masonry. In each space between the constructions there are three intercolumnations, the columns being joined at their bases by walls pierced with arches. The external colonnade is surmounted by an entablature, with a mutuled cornice, on which is a balustrade; behind this is a terrace, formed by the recessing back. The attic is 22 feet 4 inches high from the top of the balustrade to the under side of the cornice of the attic. Above the internal order of the drum rises the interior dome, the diameter of which at the spring-crowned with an entablature, above which is a large plinth ing is 102 feet 24 inches by 51 feet in height. The top of the dome has a circular opening 14 feet 10 inches in diameter. Above the attic are two steps, from which the external dome springs. The external dome is constructed of wood, covered with lead, and decorated with projecting ribs forming pannels, curved at the ends. This dome terminates with a finishing which joins the base of the lantern: the circular gallery formed on the finishing is 274 feet 9 inches above the pavement of the nave. The lantern is supported on a conical tower, terminated by a spherical dome. This tower, which is joined to the internal dome at its base, disengages tself from it at the height of 8 feet 6 inches above the springing of the same. The perpendicular height of this tower is 86 feet 9 inches, and the walls are inclined 24 degrees from the perpendicular: the diameter of the base is 100 feet 1 inch measured externally, and 34 feet 1 inch at the springing of the spherical dome which finishes it. The wall of this tower is built of brick, and is 1 foot 7 inches thick, with circular rings of masonry, fastened with iron bands. The spherical dome at the top of the tower has an opening 8 feet in diameter at the summit. Between the attic and the wall of the tower are 32 walls or buttresses, which also serve to bear the ribs of the wooden external dome.

About the same time that Wren built the dome of St. Paul's, Hardouin Mansard, a French architect, constructed the dome of the Invalidos at Paris. The plan of this dome is a square, in which is inscribed a Greek cross; in the angles of the square there are four chapels. The dome is raised in the centre of the Greek cross; the base supporting it is an octagonal figure, with four large and four small sides. The four small sides form the faces of the piers of the dome; the large sides are the arched openings of the nave and transverse aisles. A circular entablature is placed over the corbellings, and on the entablature is raised the drum of the dome, the diameter of which is 79 feet 9 inches. The interior of the drum is decorated with a continuous

which rises to the springing of the internal dome. The internal dome is 66 feet 84 inches in diameter at the springing, and is decorated with octagonal caissons or sinkings with a rose in the centre of each. The eye at the top of the dome is 31 feet 3 inches in diameter. Through this eye is seen the upper part of another or intermediate dome. The external dome is placed on a circular base 108 feet 7 inches in diameter and square at the bottom. The angles are strengthened by flying buttresses. Above the corbellings a circular wall is constructed, forming an external continuous stylobate which supports an external colonnade. The external colonnade constructed on the stylobate forms a peristyle round the dome, and is composed of 32 isolated columns of the Corinthian order 36 feet 5 inches high. This colonnade is divided into four parts by the solid constructions in masonry raised over the four piers. The external colonnade is surmounted with an entablature and balustrade above it. There is an attic constructed above the circular wall of the drum, set back 13 feet 10 inches, and pierced with 16 windows, twelve of which light the space between the internal dome and the intermediate dome which bears the lantern. This attic is terminated with a cornice with a step or plinth above. The external dome 77 feet 8 in diameter, measured on the outside, is

constructed with masonry; the height is 45 feet 9 inches from the top of the attic to the underside of the finishing against which the curve terminates. The outside of the dome is covered with lead, and is equally divided vertically by 16 projecting ribs. The intermediate dome, built for the purpose of carrying the lantern, was intended to be decorated with subjects by the painter, and we believe it has since been decorated. The form of this dome resembles the small end of an egg: its springing commences at the base of the attic at the point where the internal dome begins to disengage itself. This dome is 50 feet inch high, and 70 feet 3 inches in diameter, and is pierced with four great openings at the lower part 37 feet 3 inches high,

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Very full details of the most remarkable domes in Europe are given in the Encylopédie Méthodique' (Architecture), from which this brief notice is in a great measure taken. For an account of the construction of wooden-ribbed domes, see Nicholson's Architectural Dictionary; also the section of the Pantheon dome by Taylor and Cressy; and the work on St. Peter's, by Fontana.

The following admeasurements of most of the principal domes of Europe are from Mr. Ware's 'Tracts on Vaults and Bridges.'

Domes of Antiquity.

Dome of the Pantheon

Minerva Medica at Rome

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DOMENICHI'NO, DOMENICO ZAMPIERI, called DOMENICHINO, was born at Bologna, in 1581, of poor parents. According to some authorities, his first master was Denis Calvart; but Bellori gives him Fiammingo for his first teacher. The latter, entertaining a jealous dislike (says the biographer) to the Caracci, beat his pupil, and turned him out of doors, because he found the boy copying a design by Annibale. On the occasion of his dismissal being made known to Agostino Caracci, he was admitted to the study of the Caracci, and he soon gained one of the prizes which Lodovico customarily distributed, to the surprise of his fellow-students, who had expected little from a youth of his bashful, retiring, awkward manners. After visiting Parma, Domenichino went to Rome, where he studied and worked for some time under Annibale Caracci. He afterwards obtained the patronage of Cardinal Gieronimo Agucchi, and while he lived in his house painted

as he was, he did not leave it until he had completed it. It is said that he had many maxims which justified his slowness: such as, that no line was worthy of an artist which was not in his mind before it was traced by his hand. He entered so fully into his subject, that he was once surprised acting the scene which he had to paint, in person, by Annibale Caracci, who burst into raptures at so instructive a lesson. Annibale ever sympathized with enthusiasm and activity of will in painting. Domenichino only left his retired study to make sketches and observations upon expression in active life, and spent much of his time in reading history and poetry.

Domenichino was profoundly studied in his drawing, rich and natural in his colouring, and, above all, correct and lifesome in his expression. Annibale is said to have been decided in his judgment between two pictures of the Scourging of St. Andrew, painted in competition by Domenichino and Agostino Caracci, by hearing an old woman point out with much earnestness the beauties of Domenichino's to a little child, describing every part as if it were a living scene, while she passed the other over in silence. To the graver design of the Bolognese school Domenichino added something of the ornamental manner of the Venetian, his pictures being rich in the accessaries of architecture and costume. His genius, however, is not characterized by great invention, and he has been accused of borrowing too directly from the works of others; and his draperies have been confessed by his admirers to be harsh and too scanty in the folds. Nevertheless, he has been esteemed by the best judges (and among them are the Caracci and Nicholas Poussin) as one of the first of painters, and by some second only to Raphael. Such, however, he will never be thought by the world at large.

Domenichino excelled also in landscape, and was famous
for his admirable execution of the figures with which he
enlivened them. His principal works are at Rome and
Naples; among them the Communion of St. Jerome and
the Martyrdom of St. Agnes are the most celebrated. (Bel-
lori.)

DOMESDAY BOOK, the register of the lands of Eng-
land, framed by order of King William the Conqueror. It
was sometimes termed Rotulus Wintonia, and was the book
from which judgment was to be given upon the value, te-
nures, and services of the lands therein described. The
original is comprised in two volumes, one a large folio, the
other a quarto. The first begins with Kent, and ends with
Lincolnshire; is written on three hundred and eighty-two
double pages of vellum, in one and the same hand, in a
small but plain character, each page having a double column;
it contains thirty-one counties. After Lincolnshire (fol.
373), the claims arising in the three ridings in Yorkshire
are taken notice of, and settled; then follow the claims in
Lincolnshire, and the determinations of the Jury upon them
(fol. 375); lastly, from fol. 379 to the end there is a recapi-
tulation of every wapentake or hundred in the three ridings
of Yorkshire; of the towns in each hundred, what number
of carucates and ox-gangs are in every town, and the names
of the owners placed in a very small character above them.
The second volume, in quarto, is written upon four hundred
and fifty double pages of vellum, but in a single column,
and in a large fair character, and contains the counties of
Essex, Norfolk, and Suffolk. In these counties the 'liberi
homines' are ranked separate; and there is also a title of

many pictures for him. Besides painting, he studied archi-Invasiones super Regem.'
tecture, and was appointed architect to the apostolic palace These two volumes are preserved, among other records of
by Gregory XV. After the death of that pontiff,nding the Exchequer, in the Chapter House at Westminster: and,
himself somewhat reduced in circumstances, a, a. eiving at the end of the second, is the following memorial in capi-
an invitation to Naples, he removed thithe docks wife
and children. He died in 1641. During his fe he was
much respected. He formed a particularly strict friendship
with Albano, in whose house he lived for two years when
he first arrived in Rome.

tal letters of the time of its completion: Anno Millesimo
Octogesimo Sexto ab Incarnatione Domini, vigesimo vero
regni Willielmi, facta est ista Descriptio, non solum per
hos tres Comitatus, sed etiam per alios." From internal evi-
dence there can be no doubt but that the same year, 1086,
is assignable as the date of the first volume.

Domenichino was so slow in his early progress as to dis-
appoint many of his friends, and he had the appellation of In 1767, in consequence of an address of the House of
Bue (ox) among his fellow-students; but Annibale Caracci, Lords, George III. gave directions for the publication of
who perceived in him the marks of that genius which he this Survey. It was not, however, till after 1770 that the
afterwards developed, told the jeerers that their nickname work was actually commenced. Its publication was en
was only applicable to the patience and fruitful industry of trusted to Mr. Abraham Farley, a gentleman of learning as
the laborious student. He retained the utmost delibera-well as of great experience in records, who had alm It
tion in his mode of working to the last; and it was his daily recourse to the book for more than forty years.
custom, if he had anything to design, not to proceed at
was completed early in 1783, having been ten years in

once to work with his pencil, but to reflect some time upon passing through the press, and thus became generally ac

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