oil picture, Battle of the Alma, which was followed in 1857 by Battle of Inkermann; but he did not attract notice until 1863, when his Paolo and Francesca da Rimini drew the attention of the critics. Though he executed other ambitious works he too often yielded to the temptation of multiplying work at the expense of thought and finish, and failed to win fame as an historical painter. None deny the wealth of his imagination, or the astounding facility of his hand, but those who best appreciate his powers regret that they were not better directed. As a sculptor he possessed considerable ability. L. of Honour, 1861; Officer, 1879. Works: Tobit and the Angel (1865), Luxembourg Museum; Evening in the Country of Granada, Savoy, Rebellious Angels Cast Down, Titans (1866); Mountebank's Family, Neophyte, Siesta, Andromeda, Triumph of Christianity (1868); The Alps, A Valley (1869); Alms, Savoy (1870); Alsace, Massacre of Innocents (1872); Prayers, Darkness or Night of the Crucifixion, The Desert (1873); Christian Martyrs, Dream of Pilate's Wife (1874); Dante and Virgil in the Seventh Circle, House of Caïphas, Vagabonds (1875); Jesus Condemned (1876); Christ's Entry into Jerusalem (1877); Ecce Homo, Moses before Pharaoh (1878); The Ascension, Death of Orpheus (1879); Twilight, Souvenir of Loch Corron (1880); Day Dream, Vale of Tears, The Garry in Perthshire, Valley in the Alps (1882). Illustrations of books: Rabelais (1854); Wandering Jew (1855); Balzac's Contes drôlatiques (1862); Dante's Inferno (1861); Attala, Don Quixote (1862); Bible (2 vols., 1865-66); Paradise Lost (1866); La Fontaine's Fables (1867); Tennyson's Idyls of the King (1867-68); Hood's Poems (1870); Baron Davillier's Espagne (1873); Coleridge's Ancient Mariner (1876); Enault's London (1877); Ariosto's Orlando Furioso (1879); Poe's Raven (1883).—Portfolio (1883), 64; L'Art (1883), i. 115; Gaz. des B. Arts, Dec., 1883; Chronique des Arts, 1883; Illustr. Zeitg. (1878), ii. 390; Kunst-Chronik, xviii. 320; Hamerton, Painting in France; Larousse; Jarves, Art Thoughts; Perrier, Études, 153; Claretie, Peintres, etc. (1884), ii. 105; Bruno Meyer, Studien und Kritiken, 92; Zeitschr. f. b. K, i. 31.
DOREUR, LE (The Gilder), Rembrandt,
William Schaus, New York; canvas, H. 2 ft.
5 in. × 1 ft. 11 in.; signed, dated 1646. Portrait
of a man about forty-five years old, face
seen in a three-quarter view, with dark beard
and moustaches; wears a large slouched hat
and a brown jacket; right hand in the breast
of his vest. A masterpiece, of great brilliancy
of colour. Painted in 1640. From De
Morny Collection.—Gaz. des B. Arts (1863),
xiv. 292; Smith, vii. 121.
DORIA, ANDREA, portrait, Sebastian del
Piombo, Palazzo Doria, Rome; wood, a little
more than life-size. Standing by a window,
on the stone sill of which are two galleys,
symbols of his rank as admiral. Painted
about 1528. One of the finest portraits in
the world.—Vasari, ed. Mil., v. 576; C. &
C., N. Italy, ii. 346; Burckhardt, 724.
DORIGNY, LOUIS, born in Paris in June,
1654, died in Verona in 1742. French
school; history painter, pupil of his father,
Michel D., and of Lebrun. Dissatisfied
with the verdict of the Academy, which
awarded him the second prize in 1671, he
went to Rome, where he studied four years;
then painted at Gubbio and Foligno, and, for
ten years, in Venice. Married there, and
settled in Verona; visited Paris in 1704, and
Naples in 1706, on his return to Verona,
whence he was called to Vienna in 1711 by
Prince Eugene to decorate his palace;
painted also in Prague. Excelled as a fresco
painter. Works: Susanna at the Bath,
Bordeaux Museum; Two Miracles of St.
Zeno, Daniel justifying Susanna, Annunciation,
College Church, Verona; Dream of
Maccabæus, Scenes in Life of Louis de Gonzaga,
S. Sebastino, ib.; St. Christopher carrying
the Child Jesus, S. Eufemia, ib.; Rape
of Sabines, Combat of Horatii and Curatii,
Palazzo Giusti, ib.; Theological and Cardinal
Virtues, Palazzo Pelegrini, ib.; Feast of
