1735. Jacquemart says, “Doccia now inundates Europe with spurious

majolica of the 16th century, and with false porcelain of Capo di Monte, of which she possesses the moulds.” =Dodecahedron=, Gr. A solid figure of twelve equal sides. =Dodecastyle=, Gr. and R. (δώδεκα, twelve, and στῦλος, pillar). A building, the arrangement of which admits of twelve columns in front. A dodecastyle pediment is a pediment supported by twelve columns. =Dodra=, R. (_dodrans_, nine parts). A kind of beverage, or rather soup, composed of nine ingredients. We learn from Ausonius that it was made of bread, water, wine, oil, broth, salt, sweet herbs, honey, and pepper. =Dodrans=, R. (i. e. three-fourths). Nine _unciæ_, or three-quarters of an _as_. There was no coin of this value. As a measure of _length_, nine inches. (See AS.) =Doff= or =Deff=, Egyp. The square tambourine of the ancient Egyptians; the _toph_ of the Hebrews, still in use among the Arabs, especially in the Barbary States. =Dog.= An emblem of fidelity and loyalty. In mediæval art, the attribute of St. Roch; also of St. Dominic, the founder of the Dominican order; of St. Bernard, St. Wendelin, and St. Benignus. As an emblem of fidelity, it is placed at the feet of the effigies of married women upon sepulchres. It was common to represent, in painting or mosaic, a chained watch-dog at the doors of Roman houses. The DOG OF FO is a sacred emblem in China, sometimes called a _Chimera_; it is placed as the guardian of the thresholds of temples, and of the Buddhist altars. In the Chinese zodiacal system the dog is the sign for the month of September. =Dog Latin.= Barbarous Latin; e. g. “Verte canem ex” (turn the dog out). =Dog’s-nose=, O. E. A cordial used in low life, composed of warm porter, moist sugar, gin, and nutmeg. (_Halliwell._) =Dog’s-tooth Moulding=, Arch. A characteristic ornament of Early English architecture, formed of four leaves with small spiral fillets, which bear some resemblance to teeth. (See TOOTH-ORNAMENT.) [Illustration: Fig. 255. Bronze Dolabra or hatchet (Celtic).] [Illustration: Fig. 256. Hatchet, flint-stone.] [Illustration: Fig. 257. Gallic hatchet.] =Dolabra=, R. (_dolo_, to hew). An instrument like a pick or hatchet, which varied in form according to the different purposes for which it was employed. The _dolabra_ was used for digging, cutting, breaking, and chopping, and was thus a pick, a hatchet, an adze or _ascia_, &c. Dolabra of flint or other hard stone, called Celts, are of remote antiquity. (See CELT.) (Figs. 255 to 257.) =Doliolum.= Dimin. of DOLIUM (q.v.). =Dolium= or =Culeus=, Gr. and R. A large earthenware vessel with a wide mouth, and of rounded, spherical form. It was used to contain wine and oil when first made, before they were transferred into smaller vessels for keeping. [Illustration: Fig. 258. Dolmen.] =Dolmen=, Celt. A term which, in the Celtic language, means literally a stone table. It consists of a number of stones, of which some are fixed in the ground, and the others laid transversely over them. These structures were used as sepulchres. Figs. 258 and 259 represent two different types of dolmens. (See CROMLECH.) [Illustration: Fig. 259. Dolmen, in the forest of Rennes.] =Dolon= or =Dolo=, R. (δόλων). (1) A long stick armed with an iron point. (2) A cane, in the hollow of which a poniard was concealed. (3) The fore-topsail of a vessel. [Illustration: Fig. 260. Heraldic Dolphin.] =Dolphin=, Her. A favourite fish with heralds. It is best known as the armorial ensign of the Dauphin, the eldest son and heir apparent of the kings of France—_Or_, a Dolphin _az_. In Christian archæology the dolphin is the symbol of swiftness, diligence, and love; it is often met with entwined with an anchor. The first Christians often wore these two symbols united in a ring, which was known as a _nautical anchor_. (See also DELPHIN.) =Dome=, It. (1) Literally, the _house_ of God. When a city possesses several churches, the name is applied to the cathedral only. (2) The interior of a _cupola_. =Dominions=, in Christian art. (See ANGELS.) [Illustration: Fig. 261. Plan of a Greek house.] =Domus=, Gr. and R. (Gr. δόμος, οἶκος). A house, in contradistinction to _insula_, a group of houses. The Greek house is divided into two parts by the central chambers. The external, the ANDRONITIS, contains the men’s, and the inner, or GYNÆCONITIS, the women’s apartments. The whole building was generally long and narrow, occupying a comparatively small frontage to the street, and the outside wall was plain without windows. Outside the door was often an altar of Apollo Agyieus, or an obelisk, or sometimes a laurel-tree, or a bust of the god Hermes. A few steps, called ANABATHMOI, led up to the house door (αὐλεία θύρα), over which there was generally a motto inscribed: the passage (θυρωρεῖον, πυλὼν, θυρὼν) (A B in the plan) had the stables on one side, and the porter’s lodge opposite, and led to C, the PERISTYLE or AULA of the men’s quarters, a HYPÆTHRAL, or open air court, surrounded by porticoes called STOAI, and by the men’s apartments, which were large banqueting-rooms (οἶκοι, ἀνδρῶνες), smaller sitting-rooms (ἐξέδραι), and sleeping-chambers (δωμάτια, κοιτῶνες, οἰκήματα). The door to the passage D was called μέταυλος or μέσαυλος (i. e. the middle of the aulæ), and gave admission to E, the peristyle or aula of the Gynæconitis. The rooms numbered 10 to 17 were the chambers of the women; P P were called the Thalamos and Amphithalamos; H H and G were the ἱστῶνες, or rooms for working in wool; and at I was the garden door (κηπαία θύρα). There was usually an upper story where guests and slaves were lodged (ὑπερῷον, διῆρες), the stairs leading to which were outside the house. The roofs were flat, and it was customary to walk upon them. The floors were of stone, in later times ornamental or coloured. The construction and decoration varied with the ages; painted ceilings were a late