Page:Imperialdictiona02eadi Brandeis.pdf/158

DOW was the chagrin of the reformers that "it was apprehended an attempt would have been made on the life of Dowdall;" but statements equally strong have been advanced on the other side in the Harleian Miscellany, by Usher, Leland, and others. In January, 1547, on the accession of Edward, the see of Armagh was handed over to Hugh Goodacre, and Dowdall lived in exile until, by the accession of Mary, he was recalled, and restored to the archbishopric and primacy. Mary intrusted to him the task of deposing all the married bishops in Ireland, and, having convened a national synod at Drogheda, with one stroke of his pen he hurled all the protestant prelates from their sees. Dowdall did not long survive his restoration to ecclesiastical power. He proceeded shortly after on primatial business to London where he died on August 15, 1551. "He was," writes Ware, "a man of gravity and learning, and a very assiduous preacher."—(Ware's Bishops; Rymer, tom. xv.; Hist. Cath. tom. ii.; Ware's Annals; Brennan's Ecclesiastical History; the Harleian Miscellany; Dalton's Archbishops of Dublin, &c.)—W. J. F.  DOWLAND,, the friend of Shakspeare, the companion of the greatest poets, and "the rarest musician that the age ever beheld," was born in the city of Westminster in the year 1562, where, says Fuller, "he had his longest life and best livelihood." His first musical instructor is not known. At the age of twenty-two he visited the chief parts of France and Germany. At the latter place he was kindly entertained by Henry Julio, duke of Brunswick, and the learned Maurice, landgrave of Hessen, the same whom Henry Peacham commends as an excellent musician. Here he became acquainted with Alessandro Orologio, a musician of great eminence in the service of the Landgrave Maurice, and, with George Howet, lutenist to the duke of Brunswick. Having spent some months in Germany, he passed over the Alps into Italy, and saw Venice, Padua, Genoa, Ferrara, Florence, and many other places. At Venice he became acquainted with the celebrated Giovanni Croce, who was at that time vice-master of the chapel of St. Mark. The exact time of his return to England is not known, but it is assumed to have been before the year 1588, as in that year the university of Oxford conferred on him the degree of bachelor in music. In 1592 Dowland was engaged, in conjunction with some of the principal musicians of the day, to harmonize the psalm-tunes in four parts, which were published by Thomas Este in that year; and in 1597 he produced his first work, a collection of "Songs or Ayres of Foure Parts, with Tablature for the Lute." This work was favourably received, and a second edition was called for in 1600. In this latter year he also produced his second book of "Songs or Ayres." Dowland was then residing in Denmark, where he enjoyed the post of lutenist to the king. Fuller tells us that Christian IV., coming over into England, requested him of King James, who "unwillingly willing parted with him." The work is dedicated to the celebrated Lucy Countess of Bedford, and dated from "Helsingnoure in Denmark, the 1st of June, 1600." In 1603 he was still in Denmark, when he printed his third book of songs. In the epistle to the reader he says—"My first two books of ayres speed so well that they have produced a third, which they have fetched far from home, and brought even through the most perilous seas, where, having escaped so many sharp rocks, I hope they shall not be wrecked on land by curious and biting censures." In 1605 he visited England, and published his "Lachrymæ, or Seven Teares, figured in Seven Passionate Pavans, &c., set forth for the Lute, Viols or Violins, in five Parts." This work is dedicated to Anne, the queen of James I., and sister to Christian IV., king of Denmark. In the epistle the author tells us, that, hastening his return to her brother and his master, he was by contrary winds and frost forced back again, and compelled to winter in England, during his stay wherein, he had presumed to dedicate to her hands a work that was begun where she was born, and ended where she reigned. The first pavan in this book was the celebrated one known, and so often alluded to, by Ben Jonson, Fletcher, Middleton, Massinger, and the other great dramatists of the Elizabethan era. In 1609 Dowland published a translation of the Micrologus of Andreas Ornithoparcus, and it appears had then quitted the service of the king of Denmark; for he styles himself "lutenist, lute-player, and bachelor of music in both universities," and dates the preface from his "house in Fetter-lane, this 10th of April, 1609." In the following year he printed his "Observations on Lute-Playing," prefixed to his son Robert Dowland's Varietie of Lessons; and concluded his publications with an appropriate one, under the title of "A Pilgrime's Solace, wherein is contained musical Harmony of three, four, and five parts, to be sung and played with Lute and Viols." On the title-page he styles himself, "Lutenist to the Lord Walden." In the preface to the work he says that he had "received a kingly entertainment in a foreign climate, though he could not attaine to any, though never so mean, place at home." He says, that "some part of his poor labours had been printed in eight most famous cities beyond the seas, viz., Paris, Antwerpe, Collein, Nuremburg, Frankfort, Leipzig, Amsterdam, and Hamburge;" but that, notwithstanding, he had found strange entertainment since his return by the opposition of two sorts of people—the first, simple cantors, or vocal singers; the second, young men, professors of the lute, against whom he vindicates himself. He adds, that he is entered into the fiftieth year of his age; and because he wants both means, leisure, and encouragement, recommends to the "learneder sort of musicians, who labour under no such difficulties," the defence of their lute profession. Dowland's complaint of want of patronage at home, which is corroborated by the evidence of Henry Peacham, does not accord with the statement handed down to us by Anthony Wood or by Fuller, who tell us that he was a gentleman of the chapel-royal to Queen Elizabeth and King James. According to Fuller, "he was the rarest musician that his age did behold. Having travailed beyond the seas, and compounded English with foreign skill in that faculty, it is questionable whether he excelled in vocal or instrumental musick." Fuller and Wood suppose Dowland to have died in Denmark, and Sir John Hawkins tells us that the event took place in 1615; but we have evidence to show that he was alive in 1625, and in the service of the English court. A privy seal, preserved in the chapter-house, Westminster, exempting the musicians in the service of the king from the payment of subsidies, includes among the "musicians for the lutes" the names of "Nick Laniere, Rob. Johnson, Timothy Collins, Maurice Webster, John Dowland, and Tho. Warwick." In the British museum (Addit. MS., No. 5750) is preserved a warrant, appointing Robert Dowland to succeed his father as one of his majesty's musicians. The document is dated April 26, 1626, from which it may be inferred that Dowland died at the end of 1625, or early in the following year. From the praise of the poets who were his contemporaries, it appears that Dowland was chiefly famous for his vocal abilities, and for his performance on the lute. Nevertheless, he was a charming writer of part songs, and perhaps it would be difficult to point out three more pleasing specimens of Elizabethan music in this kind than "Now, O now! I needs must part;" "Go, crystal tears;" and "Awake, sweet love!"—E. F. R.  DOWNING,, an American horticulturist, was born at Newburgh, New York, October 30, 1815. He received only a common school education, and at the age of sixteen joined his brother in the management of a nursery. He had a fine natural taste, and enough of scientific knowledge to turn what he knew to practical uses. No one ever had a finer appreciation than he of what would add to the comforts and embellishments of rural life, and no one contributed more effectually to elevate and direct the public taste in these respects. His writings had an immense circulation, and may be said to have formed the style of landscape gardening and rural architecture which now prevails in the United States. He was a good writer, easy and perspicuous in his style, and not without some of the higher graces of composition. He began by writing descriptions of some of the fine country seats on the banks of the Hudson, and the beautiful scenery around them, for some of the New York journals. In 1841 he published a treatise on the "Theory and Practice of Landscape Gardening adapted to North America, with Remarks on Rural Architecture." It was very popular, and was followed four years afterwards by a practical work, a thick volume, on "The Fruits and Fruit-trees of America." In 1846 he became the editor of the Horticulturist, a monthly magazine, and wrote for it to the end of his life. In 1849 he caused Wightwick's Hints to Young Architects to be reprinted at New York, and prefixed to it additional notes and hints to persons about building in this country. The next year he visited England to obtain aid in his architectural pursuits, and also to visit some of the splendid country seats in that country, from which he derived much pleasure and instruction. On his return he published his "Architecture of Country Houses, including designs, &c.," one of his ablest and most useful 