irregular, the maximum demand being
about four times the mean demand.
The period during which the demand exceeds the mean is comparatively short, and does not exceed about 6 hours out of the 24, while for a portion of the time the demand may not exceed 120th of the maximum. This difficulty, at first regarded as somewhat grave, is substantially minimized by the provision of ample boiler capacity, or by the introduction of feed thermal storage vessels in which hot feed-water may be stored during the hours of light load (say 18 out of the 24), so that at the time of maximum load the boiler may be filled directly from these vessels, which work at the same pressure and temperature as the boiler. Further, the difficulty above mentioned will disappear entirely at stations where there is a fair day load which practically ceases at about the hour when the illuminating load comes on, thus equalizing the demand upon both destructor and electric plant throughout the 24 hours. This arises in cases where current is consumed during the day for motors, fans, lifts, electric tramways, and other like purposes, and, as the employment of electric energy for these services is rapidly becoming general, no difficulty need be anticipated in the successful working of combined destructor and electric plants where these conditions prevail. The more uniform the electrical demand becomes, the more fully may the power from a destructor station be utilized.
In addition to combination with electric-lighting works, refuse destructors are now very commonly installed in conjunction with various other classes of power-using undertakings, including tramways, water-works, sewage-pumping, artificial slab-making and clinker-crushing works and others; and the increasingly large sums which are being yearly expended in combined undertakings of this character is perhaps the strongest evidence of the practical value of such combinations where these several classes of work must be carried on.
For further information on the subject, reference should be made to William H. Maxwell, Removal and Disposal of Town Refuse, with an exhaustive treatment of Refuse Destructor Plants (London, 1899), with a special Supplement embodying later results (London, 1905).
See also the Proceedings of the Incorporated Association of Municipal and County Engineers, vols. xiii. p. 216, xxii. p. 211, xxiv. p. 214 and xxv. p. 138; also the Proceedings of the Institution of Civil Engineers, vols. cxxii. p. 443, cxxiv. p. 469, cxxxi. p. 413, cxxxviii. p. 508, cxxix. p. 434, cxxx. pp. 213 and 347, cxxiii. pp. 369 and 498, cxxviii. p. 293 and cxxxv. p. 300. (W. H. Ma.)
DE TABLEY, JOHN BYRNE LEICESTER WARREN, 3rd Baron (1835–1895), English poet, eldest son of George Fleming Leicester (afterwards Warren), 2nd Baron De Tabley, was born on the 26th of April 1835. He was educated at Eton and Christ Church, Oxford, where he took his degree in 1856 with second classes in classics and in law and modern history. In the autumn of 1858 he went to Turkey as unpaid attaché to Lord Stratford de Redcliffe, and two years later was called to the bar. He became an officer in the Cheshire Yeomanry, and unsuccessfully contested Mid-Cheshire in 1868 as a Liberal. After his father’s second marriage in 1871 he removed to London, where he became a close friend of Tennyson for several years. From 1877 till his succession to the title in 1887 he was lost to his friends, assuming the life of a recluse. It was not till 1892 that he returned to London life, and enjoyed a sort of renaissance of reputation and friendship. During the later years of his life Lord De Tabley made many new friends, besides reopening old associations, and he almost seemed to be gathering around him a small literary company when his health broke, and he died on the 22nd of November 1895 at Ryde, in his sixty-first year. He was buried at Little Peover in Cheshire. Although his reputation will live almost exclusively as that of a poet, De Tabley was a man of many studious tastes. He was at one time an authority on numismatics; he wrote two novels; published A Guide to the Study of Book Plates (1880); and the fruit of his careful researches in botany was printed posthumously in his elaborate Flora of Cheshire (1899). Poetry, however, was his first and last passion, and to that he devoted the best energies of his life. De Tabley’s first impulse towards poetry came from his friend George Fortescue, with whom he shared a close companionship during his Oxford days, and whom he lost, as Tennyson lost Hallam, within a few years of their taking their degrees. Fortescue was killed by falling from the mast of Lord Drogheda’s yacht in November 1859, and this gloomy event plunged De Tabley into deep depression. Between 1859 and 1862 De Tabley issued four little volumes of pseudonymous verse (by G. F. Preston), in the production of which he had been greatly stimulated by the sympathy of Fortescue. Once more he assumed a pseudonym—his Praeterita (1863) bearing the name of William Lancaster. In the next year he published Eclogues and Monodramas, followed in 1865 by Studies in Verse. These volumes all displayed technical grace and much natural beauty; but it was not till the publication of Philoctetes in 1866 that De Tabley met with any wide recognition. Philoctetes bore the initials “M.A.,” which, to the author’s dismay, were interpreted as meaning Matthew Arnold. He at once disclosed his identity, and received the congratulations of his friends, among whom were Tennyson, Browning and Gladstone. In 1867 he published Orestes, in 1870 Rehearsals and in 1873 Searching the Net. These last two bore his own name, John Leicester Warren. He was somewhat disappointed by their lukewarm reception, and when in 1876 The Soldier of Fortune, a drama on which he had bestowed much careful labour, proved a complete failure, he retired altogether from the literary arena. It was not until 1893 that he was persuaded to return, and the immediate success in that year of his Poems, Dramatic and Lyrical, encouraged him to publish a second series in 1895, the year of his death. The genuine interest with which these volumes were welcomed did much to lighten the last years of a somewhat sombre and solitary life. His posthumous poems were collected in 1902. The characteristics of De Tabley’s poetry are pre-eminently magnificence of style, derived from close study of Milton, sonority, dignity, weight and colour. His passion for detail was both a strength and a weakness: it lent a loving fidelity to his description of natural objects, but it sometimes involved him in a loss of simple effect from over-elaboration of treatment. He was always a student of the classic poets, and drew much of his inspiration directly from them. He was a true and a whole-hearted artist, who, as a brother poet well said, “still climbed the clear cold altitudes of song.” His ambition was always for the heights, a region naturally ice-bound at periods, but always a country of clear atmosphere and bright, vivid outlines.
See an excellent sketch by E. Gosse in his Critical Kit-Kats (1896). (A. Wa.)
DETAILLE, JEAN BAPTISTE ÉDOUARD (1848–), French painter, was born in Paris on the 5th of October 1848. After working as a pupil of Meissonier’s, he first exhibited, in the Salon of 1867, a picture representing “A Corner of Meissonier’s Studio.” Military life was from the first a principal attraction to the young painter, and he gained his reputation by depicting the scenes of a soldier’s life with every detail truthfully rendered. He exhibited “A Halt” (1868); “Soldiers at rest, during the Manœuvres at the Camp of Saint Maur” (1869); “Engagement between Cossacks and the Imperial Guard, 1814” (1870). The war of 1870–71 furnished him with a series of subjects which gained him repeated successes. Among his more important pictures may be named “The Conquerors” (1872); “The Retreat” (1873); “The Charge of the 9th Regiment of Cuirassiers in the Village of Morsbronn, 6th August 1870” (1874); “The Marching Regiment, Paris, December 1874” (1875); “A Reconnaissance” (1876); “Hail to the Wounded!” (1877); “Bonaparte in Egypt” (1878); the “Inauguration of the New Opera House”—a water-colour; the “Defence of Champigny by Faron’s Division” (1879). He also worked with Alphonse de Neuville on the panorama of Rezonville. In 1884 he exhibited at the Salon the “Evening at Rezonville,” a panoramic study, and “The Dream” (1888), now in the Luxemburg. Detaille recorded other events in the military history of his country: the “Sortie of the Garrison of Huningue” (now in the Luxemburg), the “Vincendon Brigade,” and “Bizerte,” reminiscences of the expedition to Tunis. After a visit to Russia, Detaille exhibited “The Cossacks of the Ataman” and “The Hereditary Grand Duke at the Head of the Hussars of the Guard.” Other important works are: “Victims to Duty,” “The Prince of Wales and the Duke of Connaught” and “Pasteur’s Funeral.” In his picture of “Châlons, 9th October 1896,” exhibited in the Salon, 1898, Detaille painted the emperor and empress of Russia at a review, with M. Félix Faure. Detaille became a member of the French Institute in 1898.
See Marius Vachon, Detaille (Paris, 1898); Frédéric Masson, Édouard Detaille and his work (Paris and London, 1891); J. Claretie, Peintres et sculpteurs contemporains (Paris, 1876); G. Goetschy, Les Jeunes peintres militaires (Paris, 1878).
