Page:The New International Encyclopædia 1st ed. v. 05.djvu/886

* DANBURY. 768 DANCING. DAN'BURY. A cily and one of the county- seats of Fairfield County, Conn., 60 miles north- iiortheast of New York Citj': on the Berkshire and Highland divisions of the Xew York, New Haven and Hartford Railroad (ilap: Connecti- cut, 15 4). It contains a court-house, the county jail, a public library, parks, a beautiful ceme- tery, two soldiers' monuments, and one to Gen- eral Wooster. An annual agricultural fair is held here. The manufacture of hats, dating from 1780, represents a capital of about $3,000,- 000. Other products are machinery for making hats and cutting fur, paper and wooden boxes, shirts, silk, -ind silver-plated ware. The govern- ment, under a cliarter of 1889, is vested in a mayor, biennially elected, and a city council, which confirms the mayor's noriiinations to the police department and elects all other adminis- trative officials. The water-works are owned and operated by the municipality. Population. in 1890, 1G,.552;' 1900, 16,537. First settled in 1684, Danbury was organized as a town in 1687, was incorporated as a borough in 1822, and was chartered as a city in 1889, Supplies for the American army were stored here during the Eevolution, and in April, 1777, General Tryon entered the town, destroyed the stores, and burned a large number of the Ijuild- ings. An Anieriean force pursued, and, in a skirmish at Eidgefield, General Wooster (q.v.) was mortally wounded. Consult Bailey, Histon/ of Danbvrtj'. IGS'i-lSOG (New Y'ork, 1896.) DAN'BY, Francis (1793-1861), An Irish painter, born near Wexford, November 16, 1793. He entered the Royal Dublin Soeiet.y's school, and also studied under O'Connor. In 1812 he exhibited his first picture, "Landscape — Even- ing," in Dublin. In 1813 he visited London, but shortly left there and went to Bristol, where he lived until 1824, supporting himself by giving lessons in drawing. In 1824 he made his repu- tation by a large marine painting, "Sunset at Sea, After a Storm:" and his "Opening of the Sixth Seal," in 1828, at the Institution, secured his election to the Royal Academy. In the same year he removed to London. The following year he sent two pictures, subjects from the Revela- tion, to the Academy: but, on account of a quarrel with the authorities, he went to live in Switzerland, where he remained eleven years. He returned to London in 1841. and from that year exhibited annually both at the Academy and at the Institution. "The Evening Gun," ex- hibited in 1848, is one of his finest works. He died at Exmouth, February 10, 1861. His art showed high imagination, with the etTeet of solemnity and stillness, but his composition was often theatrical and his execvition smooth and thin. His son, James Francis Danby, was a landscape painter of some repute. DANBY, Thomas Osborne, Earl of (1631- 1712). An English statesman. In 1673 he was appointed Lord High Treasurer, and in 1674 was created first Earl of Danby. On the resig- nation of Clifford in 1673, he became Lord High Treasurer and Prime Minister of the Kingdom, and retained these positions until 1678. when he was accused of carrying on treasonable negotia- tions with France, and imprisoned in the Tower, with some interrujitions, for five years. The marriage of Mary, daughter of the Duke of Y'ork. to William of Orange was due mainly to his per- sistent efforts, and upon the accession of William III. in 1689 he became President of the Council. He was created Duke of Leeds in 1U94, but was impeached for bribery in the following year. The charge, however, was not pressed, DANCE, George, Jr. ( ? 1740-1825). An Eng- lish architect, born in London. He was asso- ciated with his brother Nathaniel in the founda- tion of the Royal Academy, of whose original members he was for several j'ears the last sur- vivor. Newgate Prison was rebuilt in 1770 from his plans, and the front of the Guildhall was also designed b_y him. In later life he exhibited chalk portraits. DANCE OF DEATH. See Death, Dance of. DANCETTE, drin-set' (Fr., irregular forma- tion from Lat. dens, tooth). One of the lines of partition in heraldry, which differs from in- dented (q.v.) only in the greater size of the notches. . The indentations where the division is per fess daiwette never exceed three in number. DANCING (from dance, from OF. dancer, danser, Fr. danser, to dance, from OHG. danson, to drag, from dinsan, OS. thiiisan, to drag: con- nected with Lat. tenus, cord, Gk. nlvetv, ieinein, Lith. tensti, Skt. tan, to stretch). The origin of dancing ma.y be traced to a universal desire of expressing emotion by action. At a later period comes the element of pantomime, the suggestion of an idea by means of motions. As far into antiquity as history reaches, every dance, wheth- er belonging to civilized or to savage nations, was accompanied by music, or by rhythmic beats on the drum, shells, rattle, sticks, or b.y clapping of hands. Frequently the dance was accompanied by chants or songs. Records show in a general way that in the very earliest times jjcople danced and sang at the same time: afterwards some danced while others sang an accomjianiment, and finally musical instruments took the place of voice accompaniment. Ultimately music and the dance separated, the former improving and the latter deteriorating. A consideration of savage dances as we find them at present (and it is remarkable how world- wide are the principal forms) will give us a general idea of dancing before the beginnings of civilization. Folk-dancing may be divided into three groujis — social, warlike, and relif/ioiis. Under the first may be included all comic and erotic dances. Under the second we have those dances which were used to inspire the warriors before a battle, to celebrate a victory, or to imi- tate the motions of animals after a successful hunt. The religious class comprises medicine, incantation, and mystery dances. Although this general classification does not by any means ex- haust the list of savage dances, it will be found that all others are derivative, or of merel.v local importance. In all forms of savage dancing exactness is insisted upon. Each dance has its particular step, and among certain tribes mis- takes on the part of the performer are often punished by death. Tliis insistence on absolute precision is characteristic of their idea of danc- ing. It is a serious business, and even in comic dances the performer maintains an air of abso- lute gravity. It is of interest to note that their dances are most numerous during the summer and winter solstices, and at such times the fig- ures danced are almost always circular. The separate forms of savage dances are too numer-