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* DEANE. 23 DEATH ADDER. (Hartford, 1891), and mueli of his diplomatic correspondence, together with a biographical eketch, may be fomid in Wharton (editor). The Kevohiiiomtr!/ Diplomatic Corresjjomlence of the United States (6 vols., 'Washington, 1889). Con- sult also The Deane Papers (5 vols., Xew York, 18SG-90), published by the Xew York Historical Society; and Papers in Relation to the Case of SUas Deane (Philadelphia, 1855), published by the Seventy-six Society. DEAN" OF GXriLD. Formerly the head of trade guilds in Scotch to^vns; now a corporation official. DEAN OF THE CHAPEL BOYAL. An olTice held by six (formerly three) clergymen of the Established Church of Scotland, to which they are appointed by the Crown. The benefice of the Cliapel PLoyal, which was instituted by James V., was richly endowed. The duties of the office used to be nearly nominal ; but on the foundation of a chair of bildical criticism in the Tniversity of Edinburgh, in 184G, it was en- dowed with one-third of the revenues, the profes- sor becoming one of the three deans. The Uni- versities Commission (1858) recommended that when the requisite vacancies occurred the reve- nues should be divided into six parts, attached respectiveh' to the chairs of divinity and biblical criticism in Edinburgh University (the latter receiving two-sixths of the whole), biblical criti- cism in Aberdeen University, biblical criticism in Glasgow University, and church history in Saint Andrews University. As a result of this arrangement, the revenues of the Chapel Royal are divided among the incumbents of the above- mentioned chairs." Besides these five deans, the dean of the Order of the Thistle bears the title of Dean of the Chapel Royal, but draws none of the revenues. DEANS, D.wiD, Effie, and Jeanie. The fam- ily abuut which centred the plot in Sir Walter Scott's novel The Heart of Midlothian. The father is a stern Cameronian. deeply shocked at the accusation made against his daughter, Effie. of having murdered her illegitimate child. Jeanie. who obtains pardon for her half-sister by walking all the way to London and securing the sympathy of the Duke of Arg^'ll, is the heroine of the tale. DEAR'BORN, Fort. See Fort Dearborn. DEARBORN, Henry (1751-1829). AnAmeri- ean soldier, lioni in Xorth Hampton, K. H. He studied medicine and became a physician, but left his practice upon receiving the news of Lex- ington, entered the army as captain in 1775. and ser-ed throughout the Revolution, and distin- guished himself at Quebec (where he was taken prisoner), Saratoga, Monmouth, and Yorktown. He was Secretary of War under .Jefferson from 1801 to 1809, and at the outbreak of the War of 1812 was appointed senior officer in the army, with the rank of major-general, and was assigned to the Northern Department, He cap- tured Toronto (then York) and Fort George, but in July, 1813, was recalled and placed in com- mand at Xew York. He resigned from the army in 1815. From 1822 to 1824 he was ISIinister to Portugal. DEARTH, Henry Goi.dex (186."?—). An American painter, born at Bristol, R. I. He was a pupil of Hehert and Aime iforot in Paris, and became a member of the Societv of American Artists in 1S89. There is much charm in his carefully painted evening scenes, and he has the quality of atmosphere tluit gives every subject touched by him individuality. The scenery of Long Island and Connecticut was the theme of many of Dearth's paintings. DEATH, Brethren of. The name given to the hermits of the Order of Saint Paul, an order formed in the thirteenth century, but suppressed by Pope Urban VIII. about 11)30. They dressed in a black habit marked with a skull, and saluted each other with the words, '■Renieml)er that you must die," DEATH, Dance of. A literary or pictorial representation of the power of death over the life of men. The subject was at first presented as a church play, preceded by an exhortation and ending with an appropriate sermon. (See MiR.v- CLE Play ; JIysteey : ;Mqjiality. ) Probably because of the importance of the Maccabee brothers and their mother in the earlier represen- tations, the French and other Latin peoples call it the 'Danse Macabre,' or some equivalent name. The play consisted of a dialogue between Death and representatives of the various classes, church- men and laymen, from the Pope and the Emperor down. Death invited them to follow him, and each tmfortunate representative, after long re- monstrances, sul)mitted to the call, invoking God's mercy. At first Death was represented in an earnest and soleum manner, but soon his attitude took the character of a dance. Such plays were given in all countries where the Latin Church prevailed, and in Italy we find another version of the same subject, rendered ])o]udar by Dante and Petrarch, the "Triumph of Death." It was soon found more efficacious, however, to have the subject portrayed by painters and sculptors upon the walls of the church or the cemetery. The most famous example of the ■'Triumph of Death" is the fresco of the Campo Santo of Pisa (fourteenth century), wrongfully ascribed to Andrea Orcagna. Among the oldest French examples of the 'Dance of Death' was that in the Cemetery of the Innocents, Paris (1425). Others still exist in France, as well as in England, Germany, and Spain. The subject is often pictorially represented in the manu- scripts of the fifteenth and sixteenth centuries, and in many woodcuts of the fifteenth and fol- lowing centuries. The most famous of the latter are the two designed by Holbein, the smaller engraved by Liitzelburger (1520). while the larger appeared in book-form in 1538 (at Lyons) and many times since. The subject has also been represented in the nineteenth century, the most famous representation being that of Rethel (1848), directed against the French Republic. It has also been admirably treated in music, especially by Saint-Saens in his Danse macabre, and in literature, as, for example, in Goethe's 1)allad, Der Todtentanr. Consult: Donee, The Daiwe of Death (London, 1833) ; Langlois, Essai siir les danses des marts (Rouen, 1851); Kastner, Les daiiscs des mortfi (Paris, 1852) ; Waekernagel, ''Der Todtentanz," in KIcinerc Sehj'iften, i, (Leipzig, 1874) ; Seel- mann. Die Todtentdnze des Mittelallers (Xorden, 1893) ; Vigo, Le dtinze macabre in Italia (Livor- no, 1878) ; Merino, La danza macabre (Madrid, 1884). DEATH ADDER. Any of several deadly elai)ine, Australasian viviparous snakes, espe-