Modern Poetry (1701), perhaps his most important work; The Grounds of Criticism in Poetry (1704), in which he argued that the ancients owed their superiority over the moderns in poetry to their religious attitude; an Essay upon Publick Spirit . . . (1711), in which he inveighs against luxury, and servile imitation of foreign fashions and customs; and Essay on the Genius and Writings of Shakespeare in three Letters (1712).
Dennis had been offended by a humorous quotation made from his works by Addison, and published in 1713 Remarks upon Cato. Much of this criticism was acute and sensible, and it is quoted at considerable length by Johnson in his Life of Addison, but there is no doubt that Dennis was actuated by personal jealousy of Addison’s success. Pope replied in The Narrative of Dr Robert Norris, concerning the strange and deplorable frenzy of John Dennis . . . (1713). This pamphlet was full of personal abuse, exposing Dennis’s foibles, but offering no defence of Cato. Addison repudiated any connivance in this attack, and indirectly notified Dennis that when he did answer his objections, it would be without personalities. Pope had already assailed Dennis in 1711 in the Essay on Criticism, as Appius. Dennis retorted by Reflections, Critical and Satirical . . ., a scurrilous production in which he taunted Pope with his deformity, saying among other things that he was “as stupid and as venomous as a hunch-backed toad.” He also wrote in 1717 Remarks upon Mr Pope’s Translation of Homer . . . and A True Character of Mr Pope. He accordingly figures in the Dunciad, and in a scathing note in the edition of 1729 (bk. i. 1. 106) Pope quotes his more outrageous attacks, and adds an insulting epigram attributed to Richard Savage, but now generally ascribed to Pope. More pamphlets followed, but Dennis’s day was over. He outlived his annuity from the customs, and his last years were spent in great poverty. Bishop Atterbury sent him money, and he received a small sum annually from Sir Robert Walpole. A benefit performance was organized at the Haymarket (December 18, 1733) on his behalf. Pope wrote for the occasion an ill-natured prologue which Cibber recited. Dennis died within three weeks of this performance, on the 6th of January 1734.
His other works include several plays, for one of which, Appius and Virginia (1709), he invented a new kind of thunder. He wrote a curious Essay on the Operas after the Italian Manner (1706), maintaining that opera was the outgrowth of effeminate manners, and should, as such, be suppressed. His Works were published in 1702, Select Works . . . (2 vols.) in 1718, and Miscellaneous Tracts, the first volume only of which appeared, in 1727. For accounts of Dennis see Cibber’s Lives of the Poets, vol. iv.; Isaac D’Israeli’s essays on Pope and Addison in the Quarrels of Authors, and “On the Influence of a Bad Temper in Criticism” in Calamities of Authors; and numerous references in Pope’s Works.
DENOMINATION (Lat. denominare, to give a specific name to), the giving of a specific name to anything, hence the name or designation of a person or thing, and more particularly of a class of persons or things; thus, in arithmetic, it is applied to a unit in a system of weights and measures, currency or numbers. The most general use of “denomination” is for a body of persons holding specific opinions and having a common name, especially with reference to the religious opinions of such a body. More particularly the word is used of the various “sects” into which members of a common religious faith may be divided. The term “denominationalism” is thus given to the principle of emphasizing the distinctions, rather than the common ground, in the faith held by different bodies professing one sort of religious belief. This use is particularly applied to that system of religious education which lays stress on the principle that children belonging to a particular religious sect should be publicly taught in the tenets of their belief by members belonging to it and under the general control of the ministers of the denomination.
DENON, DOMINIQUE VIVANT, Baron de (1747–1825), French artist and archaeologist, was born at Chalon-sur-Saône on the 4th of January 1747. He was sent to Paris to study law, but he showed a decided preference for art and literature, and soon gave up his profession. In his twenty-third year he produced a comedy, Le Bon Pére, which obtained a succès d’estime, as he had already won a position in society by his agreeable manners and exceptional conversational powers. He became a favourite of Louis XV., who entrusted him with the collection and arrangement of a cabinet of medals and antique gems for Madame de Pompadour, and subsequently appointed him attaché to the French embassy at St Petersburg. On the accession of Louis XVI. Denon was transferred to Sweden; but he returned, after a brief interval, to Paris with the ambassador M. de Vergennes, who had been appointed foreign minister. In 1775 Denon was sent on a special mission to Switzerland, and took the opportunity of visiting Voltaire at Ferney. He made a portrait of the philosopher, which was engraved and published on his return to Paris. His next diplomatic appointment was to Naples, where he spent seven years, first as secretary to the embassy and afterwards as chargé d’affaires. He devoted this period to a careful study of the monuments of ancient art, collecting many specimens and making drawings of others. He also perfected himself in etching and mezzotinto engraving. The death of his patron, M. de Vergennes, in 1787, led to his recall, and the rest of his life was given mainly to artistic pursuits. On his return to Paris he was admitted a member of the Academy of Painting. After a brief interval he returned to Italy, living chiefly at Venice. He also visited Florence and Bologna, and afterwards went to Switzerland. While there he heard that his property had been confiscated, and his name placed on the list of the proscribed, and with characteristic courage he resolved at once to return to Paris. His situation was critical, but he was spared, thanks to the friendship of the painter David, who obtained for him a commission to furnish designs for republican costumes. When the Revolution was over, Denon was one of the band of eminent men who frequented the house of Madame de Beauharnais. Here he met Bonaparte, to whose fortunes he wisely attached himself. At Bonaparte’s invitation he joined the expedition to Egypt, and thus found the opportunity of gathering the materials for his most important literary and artistic work. He accompanied General Desaix to Upper Egypt, and made numerous sketches of the monuments of ancient art, sometimes under the very fire of the enemy. The results were published in his Voyage dans la basse et la haute Égypte (2 vols, fol., with 141 plates, Paris, 1802), a work which crowned his reputation both as an archaeologist and as an artist. In 1804 he was appointed by Napoleon to the important office of director-general of museums, which he filled until the restoration in 1815, when he had to retire. He was a devoted friend of Napoleon, whom he accompanied in his expeditions to Austria, Spain and Poland, taking sketches with his wonted fearlessness on the various battlefields, and advising the conqueror in his choice of spoils of art from the various cities pillaged. After his retirement he began an illustrated history of ancient and modern art, in which he had the co-operation of several skilful engravers. He died at Paris on the 27th of April 1825, leaving the work unfinished. It was published posthumously, with an explanatory text by Amaury Duval, under the title Monuments des arts du dessin chez les peuples tant anciens que modernes, recueillis par Vivant Denon (4 vols, fol., Paris, 1829). Denon was the author of a novel, Point de lendemain (1777), of which further editions were printed in 1812, 1876 and 1879.
See J. Renouvier, Histoire de l’art pendant la Révolution; A. de la Fizelière, L’Œuvre originale de Vivant-Denon (2 vols., Paris, 1872–1873); Roger Portallis, Les Dessinateurs d’illustrations au XVIII e siècle; D. H. Beraldi, Les Graveurs d’illustrations au XVIII e siècle.
DENOTATION (from Lat. denotare, to mark out, specify), in logic, a technical term used strictly as the correlative of Connotation, to describe one of the two functions of a concrete term. The concrete term “connotes” attributes and “denotes” all the individuals which, as possessing these attributes, constitute the genus or species described by the term. Thus “cricketer” denotes the individuals who play cricket, and connotes the qualities or characteristics by which these individuals are marked. In this sense, in which it was first used by J. S. Mill, Denotation is equivalent to Extension, and Connotation to Intension. It is clear that when the given term is qualified by a limiting adjective the Denotation or Extension diminishes, while the Connotation or Intension increases; e.g. a generic term like “flower” has a larger Extension, and a smaller Intension than “rose”: “rose”
