Page:The New International Encyclopædia 1st ed. v. 06.djvu/198

DESHINA. important part. Consult Giiflis, Religions of Ju/iuii I London, IS'.'jJ. DESHNEFF, ili>shnyt>f'. The present oflicial luuiK- ( Ka.-l Cape, the most northeasterly point in Asia, named after the Russian explorer Uesli- netr ulio in l»i48 discovered the strait named by Hi-riii'_' ill 172!>.

DESHOULIERES, dftziiolyar', Axtoixette vv LiuitB UE L.v G.BDE (lOaS-lU). A French poet, born in Paris. She was married very young (Itiol) to the Seigneur Desliouli&res, a gentleman attached to the Prince of Coiulc. and for eight years was separated from her husband, he following the Prince into Flanders, where she rejoined him in 1007. After 1072 she lived in Paris, holding a kind of a salon and gathering about her the poets, philosophers, and wits of the day. She was the head of the cabal against Racine's Phidrc (1C77), and composed a cruel epigram on the subject. Boileau. who never forgave her, has described her in his tenth satire. Her plays are weak, ami her reputation rests upon several poems. The best edition of her works was published in 1740.

DESICCANTS (for etinology, see Desicca- tion i . ill medicine, the substances with as- tringent properties which are serviceable in checking secretion from a mucous membrane or causing scabbing over or cicatrization of an ulcer or wovmd.

DESICCA'TION (Lat. </<-, down from, away -f- sill III r, to dry 1 . The process of drjing by the em])loyiiient of lieat, dry air, or chemical agents which have an affinity for water. Examples of the class of desiccaiits or drying substances are fused chloride of calcium. <|ulckliine, fused car- bonate of potash, and oil of vitriol. The latter is eiii]iloyed by being placed in a separate vessel near the substance to be dried, and under a bell jar. For the use of this process to preserve foods, see Foons, Presebv.tiox of.

DESIDERIO DA SETTIGNANO, dft's^-dft'- Te-i'i d:'i -et't.-My-i'iio, 1)1 liMiiuLoMMKO 1)1 Fr.X- CESco (1428-04). An Italian sculptor, born at Settignano, near Florence. He was a pupil of Donatello, and died young, according to Vasari, who [iraisps his works in the highest terms. His masterpiece, and one of the most beautiful of Florentine monuments of the fifteenth century, is the tomb of Carlo Marsuppini in the Church of Santa Croce, It represents Marsuppini lying on a sarcophagus while nngels hold his portrait in the recess over the tomb, the group surrounded by wonderful ornate carving of the most exqui- site detail and elaborate invention. He has that naive sincerity, and a kind of meagreness of out- line, so characteristic of the charming group of contemporary sculptors, ino <la Fiesole, Bene- detto da Najano. and .Andrea Rossellino, among whom he holds a peculiar place.

DESIDE'RIUS. The last King (A.n. 7.50- 774 1 iii the l.iimbards (q.v.). Me was liesieged in Pavia by Charlemagne, and carried captive to Fr.inie. where he died.

DESIGN (OF, rfz-ssriH, from Lat. dr, out + siiniiirr, to mark). A preliminary motive or sketch in either outline or lolor embodying the artlsfs thought in the illustration of a given theme. It is. however, more than a sketch. a.s the proportions, quantities, and spaee.s receive in a der.ign more nceurate treatment than would be bestowed in a sketch of the same subject. Designs are often carried to a great degree of cumplelion, for it is sometimes necessarj' to make what is called a "working design,' and so com- plete is this that the subject may be largely linished from the design by assistants. Such a design is usually of small size, destined for en- largement. In architecture, the term is applied to a drawing mathematically correct, but in which the etlWts to the eye which will ultimately be jiroduced by distance and by light and shade are allouether ignored. See Puvx : Klevatiox.

DESIGN, Schools of. In ancient times every master of an art or artistic industry was accus- tomed to impart the secrets of his craft to a number of pupil.s, who in return gave him .such help as they could, working upon his master- jiieees and learning by practice. und"r his super- vision, his particular niethoils as well as the established traditions of the craft. In the Mid- dle Ages this system of teaching was highly de- veloped bv the guilds, which controlled all the arts and trades, particularly in Florence and Xorth Italy, in Gennany and Flanders, and to a considerable extent also in Fiance and F.ngland. The governing councils of these guilds regulated the terms of apprenticeship and the course of instruction, prescribed the tests for promotion from one grade to another, and instituted prize competitions to stimulate proficiency.

The Italian Renaissance, however, brought about a return from corporate to individual teaching. The guilds lost their controlling in- fluence because of the personal preeminence of great artists like Perugino, Raphael. Da Vinci, and Michelangelo. These attracted groups of apprentice artists, who became their ardent dis- ciples and imitators, reproducing often for a while not only the general style, but even the tricks and mannerisms of their masters. The term schools applied to these personal or local coteries and groups (School of Raphael. Vene- tian School) does not designate organized insti- tutions at all.

The teaching of design by systematic instruction in organized schools is a comparatively modern idea. In the mediipval guilds, though the in- struction was systematic in a measure, it was not given in sehools or classes bv specially ap- pointed teachers. The first school of design to embody the new conception was the Royal .cad- em,v of Fine Arts, fcninded in 1048. in the reign of Louis XIV., in Paris. In this famous school, which has liccn in continuous operation ever .since, five departments were established — those of painting, sculpture, architecture, engraving, and the cutting of gems and metals — in w hieli in- struction was given by regularly appointed jiro- fessors, anil profieiency encouraged by an elalx)- rate system of awards, culminating in the Grand Prize of Rome in each department. Sec EcOLB I)ES REArx-.XHT.s.

In this sebonl, to which France owes the training of many of her most illustrious artists_ the first step was taken toward a scientific system of teaching clesigii. by aniilyzing the training required into its essential elements, and teaching these separately by lectures anil clas^-work, with test examinations. Composition and the theory of design, the history of art. perspective, costume, and classical archa-ology, and in architecture the orders and the elements of constructive science are the chief divisions of this teach-