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-
