DAFFORNE, JAMES (d. 1880), writer on art, was for thirty-five years a diligent contributor to the ‘Art Journal.’ He joined the staff of that paper in 1845, and contributed to its pages till his death. His works are numerous, and chiefly in the nature of compilations which having first done duty in the journal were afterwards published as books. In this manner appeared the ‘Pictures of Daniel Maclise, R.A.,’ with descriptive biography and twelve plates; also the ‘Pictures of William Mulready,’ of ‘Leslie and Maclise,’ of ‘Clarkson Stansfield, R.A.,’ ‘Sir Edwin Landseer,’ and some more. He further compiled the ‘Pictorial Table-book.’ In 1878 he published a book upon the Albert Memorial. In 1879 his last book appeared, ‘The Life and Works of Edward Matthew Ward, R.A.’ He translated the ‘Arts of the Middle Ages,’ by De la Croix. He died on 5 June 1880 at the house of his son-in-law, the Rev. C. E. Casher, Upper Tooting.
[Art Journal, 1880, p. 248; Athenæum, 19 June 1880; The Artist, July 1880.]
DAFFY, THOMAS (d. 1680), inventor of Daffy's ‘elixir salutis,’ was a clergyman, who in 1647 was presented by the Earl of Rutland to the living of Harby in Leicestershire. His conduct as rector appears to have given offence to the Countess of Rutland, a lady of puritanical views, and in 1666 he was removed at her instigation to the inferior living of Redmile in the same county. There he remained to his death, which occurred in 1680. In what year the medicine by which Daffy's name has been handed down was invented is not now known, but the following passage from Adam Martindale's ‘Autobiography’ (Chetham Society's Publications, iv. 209) seems to show that in 1673 (the year in which Adam's daughter Elizabeth Martindale died of a severe cold and cough) it had already achieved considerable reputation: ‘That which seemed to doe her most good was elixir salutis, for it gave her much ease (my Lord Delamere having bestowed upon her severall bottles that came immediately from Mr. Daffie himself), and it also made her cheerful; but going forth and getting new cold she went fast away. I am really persuaded that if she had taken it a little sooner in due quantities, and been carefull of herself, it might have saved her life.’
In an advertisement inserted by Daffy's daughter Catherine in the ‘Post Boy,’ 1 Jan. 1707–8, it is stated that during the inventor's lifetime the elixir was sold by his son Daniel, an apothecary at Nottingham, and that the secret of its preparation was also imparted to his kinsman Antony Daffy. The widow of the latter seems to have disputed Catherine's right to call herself proprietress of the popular soothing syrup. Thomas Daffy's eldest son, who bore the same name, and in ‘Gent. Mag.’ vol. lxxxv. pt. ii. 493 is confused with his father, graduated M.A. at St. John's College, Cambridge, in 1673, and became headmaster of Melton Mowbray school.
[Nichols's Leicestershire, vol. ii. pt. i. pp. 302, 422; Notes and Queries, 3rd ser. iv. 77.]
D'AGAR, JACQUES (1640–1716), painter, was born in 1640 in Paris, where he learned his art, but spent the greater part of his life in Copenhagen, where he was appointed court painter during the reigns of Christian V and Ferdinand IV. About 1700 he obtained permission to visit London, where he remained for some years, and obtained considerable employment from the noblemen and gentry of Queen Anne. He returned to Denmark, and died in Copenhagen in 1716. A portrait of him dated 1673 is in the picture gallery of Florence. A portrait-painter of this name much employed in portraiture during the reign of George I, a contemporary though much inferior in merit to Dahl, died in 1723, at the age of 54, and is supposed to be D'Agar's son.
[Cooper's Biogr. Dict.; Redgrave's Dict. of Artists; Walpole's Anecd. (Wornum).]
DAGLEY, RICHARD (d. 1841), subject painter and engraver, was an orphan, and was educated at Christ's Hospital. Having a decided taste for the fine arts, and being a delicate child, he was apprenticed to Cousins, jeweller and watchmaker, which business then included painting of ornaments and miniatures. His taste and industry rendered him a valuable servant, and he married one of his master's daughters. Dagley was very intimate with Henry Bone [q. v.], with whom he worked for some considerable time, enamelling views on the backs of watches and other compositions on bracelets, rings, and brooches. In the course of time he took to water-colour drawing, made several medals, and published a work entitled ‘Gems selected from the Antique,’ with illustrations, 4to, London, 1804, with plates designed and engraved by him. This brought his name before the public, and led to his illustrations to ‘Flim-flams,’ a work of the elder D'Israeli. As all these pursuits did not yield him a living, he accepted an engagement as drawing master in a lady's school at Doncaster. He, however, returned to London, and lived in Earl's Court Terrace in 1815, and was much occupied in reviewing books on art and illus-
