DOMENECH
102
DOMENICHINO
the only true Gothic dome in existence. The central
octagon of the Houses of ParHanient, London, is the
best specimen of a modern Gothic dome. Arab domes
are mostly of the pointed form such as are derived
from the rotation of the Gothic arch or bulbous, the
section being a horse-shoe arch. Very beautiful ex-
amples are seen in the buildings known
as the tombs of the caliphs at Cairo.
Among the finest examples of domed
buildings in the East are the Tombs
of Mohammedan sultans in the south
of India and at Agra. The largest
dome in America is that of the Cap-
itol at Washington. It is built of
iron.
Fletcher, A Histon/ of Architecture (New York. 190.3); BoxD, Gothic Architecture in England (New York, 1906); CuM^aNGS. A History of Architecture in Italy (Boston, 1901); Brown, From Schola to Cathedral (Edinburgh, 1SS6); Smith, Architecture, Gothic and Renaissance (London, 1898); Simpson, A History of Architectural De- velopment (New York, 1905); Walcott, Sacred Archeeoloffy (London, 1868).
Thomas H. Poole.
Domenech, Emm.^nuel - Henri - DiEUDONNE. Abb6, missionary and author, b. at Lyons, France, 4 Novem- ber, 1S26; d. in France, June, 1SS6. In the spring of 1846, before completing his seminary studies and when not yet twenty years of age, he left France in response to an urgent appeal for missionaries to help develop the Church in the wilds of Texas, then rapidly filling up with American and European immi- gration. He went first to St. Louis, where he spent two years completing his theological course, studying English and Ger- man, and gathering knowl- edge of missionarj' require- ments. In May, 184S, he was assigned to duty at the new German settlement of Castroville in Texas, from which he was transferred later to Brownsville. The war with Mexico was just concluded ; raiding bands of Mexicans and rangers were ravaging on both sides of the Rio Grande, while outlaws from the border States and almost equally lawless discharged soldiers filled the new towns, and hostile Indians hovered con- stantly in the background. A cholera epidemic added its horrors. Nevertheless, the yoimg priest went brave- ly to work with such en- ergy- that he soon became an efficient power for good throughout all Southern Texas. In 1850 he visited Europe and was received by the pope. Returning to Texas, he continued in the mission field two years longer, when he returned to France with health broken and was appointed titulary canon of Montpellier. A\'hen the French troops were dispatched to Mexico in 1861 he was selected to .accompany the expedition as almoner to the army and chaplain to the Emperor Maximilian. After the return to France he devoted his remaining years to European travel, study, and writing, and the exercise of his ecclesiastical fimctions. In 1882-3 he again visited America.
DoM
By himself, Uffi:
Among his numerous works dealing with travel,
history, and theology, may be noted: "Journal d'un
missionnaire au Te.xas et au Mexique" (Paris, 1857);
"Voj'age dans les solitudes americaines" (Paris,
1858); "Histoire du jansenisme"; "Histoire du Mex-
ique" (Paris, 1868); "Souvenirs d'outre-mer" (Paris,
1884). His principal works have ap-
peared also in English translation. In
regard to his much-controverted
" iianuscrit pictographiciue am6-
ricain" (Paris, 1860), an examination
of the supposed Indian pictographs
leaves no doubt that in this case the
unsuspecting missionary was grossly
deceived.
Consult his own works, with introductions; also Petzholdt, Le livre des sauvages (Brus- sels, 1861).
James Mooney.
Domenichino, properly Domenico Zampiehi, an Italian painter, b. in Bologna, 21 Oct., 15S1 ; d. in Naples, 16 April, 1(341. He began his art studies in the school of Calvaert, but being ill- treated there, his father, a poor shoe- '• "'^ maker, placed him in the Carracci
Academy, where Guido Reni and Al- bani were also students. Domenichino was a slow, thoughtful, plodding youth whom his companions called the " Ox", a nickname also borne by his master Ludovico. He took the prize for drawing in the Carracci Academy, gaining thereby both fame and hatred. Stimulated by success, he studied unremit- tingly, particularly the expression of the human face, so that Bellori says "he could delineate the soul".
His student days over, he first visited Parma and Modena to study Correggio, and then went to Rome, where his earliest friend and patron, Cardinal Agucchi, commissioned him to decor- ate his palace. In Rome he assisted the Carracci with their frescoes in the palace of Cardinal Farnese, who be- came such an admirer of Domenichino that he had him execute many of the pictures in the BasUian Abbey of Grotta Ferrata. Donienichmo's best frescoes are in this church. With Guido he painted, for Car- dinal Borghese, in S. Gre- gorio; for Cardinal Aldo- brandini he executed ten frescoes at Villa Frascati; for Cardinal Mont alto he decorated S. Andrea della Valle ; and for Cardinal Bandini he painted four pic- tures for S. Silvestro which rank among his best pro- ductions. ^ „ ^, He immortalized his name
(.allery. Florence ^,y painting (1614) for
the altar of S. Girolamo della (T'arita, the " Commimion of St. Jerome", a copy of which, in mosaics, is in St. Peter's. This is one of the great pictures of the world and was considered second only to Raphael's "Trans- figuration". He received about fifty dollars for it. Napoleon took it to Paris but the Allies returned it. Jealousy of Domenichino long accumulating now burst forth, and he was accused of copying his master- piece from Agostino Carracci. Weary of attacks, the
