Roebuck, in which he sailed from the Downs on 14 Jan. 1698-9. After touching at the Canaries, Cape Verd Islands, and Bahia, he made a long sweep round the Cape of Good Hope, and sighted the coast of Australia on 26 July. A few days later he anchored in Shark's Bay, and during August searched along the coast, finding no convenient harbour or river, and not being able to get any good water or fresh provisions. As scurvy was rapidly establishing itself among his ship's company, he crossed over to Timor in the beginning of September. Having refreshed his men and cleaned the ship's bottom, he sailed for the coast of New Guinea, on which he came 3 Dec.; then, 'passing to the northward,' he says, 'I ranged along the coast to the easternmost part of New Guinea, which I found does not join to the mainland of New Guinea, but is an island, as I have described it in my map, and called it New Britain.' Of the north, east, and south coasts of this island he made a fairly correct running survey, though it was left for Carteret [see CARTERET, PHILIP] to discover that St. George's Bay was really St.George's Channel, dividing the island into two; and as Dampier did not visit the western side, he described the land as of much greater extent than it really is. He was prevented from doing more by the discontented state of his crew and the crazy condition of the ship. He anchored at Batavia on 4 July, and, having refitted and provisioned, sailed for England on 17 Oct. 1700. He refitted again at the Cape; but the ship was worn out, and on 21 Feb., when, fortunately, within sight of Ascension, she sprang a dangerous leak. On the morning of the 22nd she anchored in North West Bay, about half a mile from the shore; but after twentyfour hours' hard work all efforts to save her proved vain. She was therefore beached and abandoned, Dampier and the other officers staying on board till the 24th. Ascension was, at that time, an utterly desolate island. The shipwrecked party, however, discovered the remarkable spring of good water near the top of the mountain, and lived, comfortably enough, on goats and turtle, until 3 April, when they were relieved by a homeward-bound squadron of ships of war and East Indiamen.

Dampier, though an admirable observer and excellent hydrographer, was ignorant of discipline and quite unused to command. He had scarcely sailed from England before he quarrelled with his lieutenant, George Fisher, an old officer who had seen much service and was probably not quite pleased at being now put under the orders of an old pirate. The quarrel culminated in Dampier

beating Fisher with a cane, putting him in irons till the ship arrived at Bahia, and handing him over as a prisoner to the governor, who clapped him into the common gaol till an opportunity occurred for sending him to Lisbon and England. There Fisher laid charges of cruelty and oppression against his captain, and at a court-martial held on 8 June 1702, Dampier was found guilty of very hard and cruel usage towards Lieutenant Fisher;' nor did it appear to the court 'that there had been any grounds for this his illusage of Lieutenant Fisher.' The court therefore adjudged 'that Captain Dampier be fined all his pay to the chest at Chatham,' and further pronounced the opinion that Captain Dampier is not a fit person to be employed as commander of any of his majesty's ships' (Minutes of the Court-martial). Yet on 16 April 1703 Captain William Dampier, being prepared to depart on another voyage to the West Indies, had the honour to kiss her majesty's hand, being introduced by his royal highness the lord high admiral' (London Gazette, No. 3906).

Dampier was not really bound to the West Indies, but to the south seas, in command of the St. George privateer of 26 guns and 126 men, having also under his orders the Cinque Ports of 16 guns and 63 men; and after many delays got finally to sea from Kinsale on 11 Sept. 1703. From Dampier himself we have no account of this voyage; that which has been published, in form similar to his other voyages, and often sold as a fourth volume, being by one Funnell, who calls himself' mate to Captain Dampier,' but who, according to Dampier, was steward. The narrative is written in no very friendly spirit, and some of the statements were afterwards categorically denied by Dampier; especially those which referred to his frequent quarrels with his officers. Knowing, however, the truth of his former behaviour, we are justified in believing that his conduct in this command was marked by the same want of self-control. He is charged with being frequently drunk, with habitually using foul and abusive language, with oppression, and with gross cowardice. That part of these charges was true, we know; and though it is difficult to believe in actual cowardice, it may well have been that, in the new position of command in a sea-fight against a superior force, he was too keenly sensible of the danger and the responsibility. It appears certain that of the lieutenants of the St. George one was virtually 'marooned,' and the other, who had been a mate in the Roebuck, deserted; that there were frequent mutinies and desertions among the men of both ships; that the

what he himself has told us in his New Voyage round the World (1697), dedicated to Charles Montague; Voyages and Descriptions (1699), the supplement to the former, with other interesting matter, dedicated to the Earl of Orford; and the Voyage to New Holland in the year 1699 (in two parts, 1703, 1709), dedicated to the Earl of Pembroke. These three, with Funnell's Narrative, are now often catalogued as Dampier's Voyages in 4 vols. Captain Dampier's Vindication of his Voyage (4to, 1707) is a contradiction of some of Funnell's statements, of which an Answer to Captain Dampier's Vindication, by J. Welbe, maintains the truth in a manner much more explicit and condemnatory. There have been many popular biographies, little more than imperfect abstracts of the Voyages: the only one which can be considered in any sense original is attributed to Captain (afterwards Admiral) W. H. Smyth, in United Service Journal, July-November 1837. The Letters referred to respecting his Voyage to New Holland are in the Public Record Office, Captains' Letters, D. 1; and the minutes of the courtsmartial in Courts-Martial, vol. 10. Besides these, bearing less directly on the subject, are Hacke's Collection of Original Voyages (8vo, 1699); Voyage and Adventures of Captain Bartholomew Sharp (8vo, 1684); Dangerous Voyage and Bold Attempts of Captain Bartholomew Sharp, by Basil Ringrose (8vo, 1699); A Cruising Voyage round the World, by Woodes Rogers (8vo, 1712); and a Voyage to the South Sea, by Edward Cooke (8vo, 1712). Many of the original manuscripts are in the British Museum, being Sloane 46 a and b, 49, 54, 3236, 3820.]

J. K. L.

DANBY, EARLS OF. [See DANVERS, HENRY, 1573-1643; OSBORNE, SIR THOMAS, d. 1712.]

DANBY, FRANCIS (1793-1861), painter, third son of James Danby, a farmer and small landed proprietor at Common, near Wexford, was born there 16 Nov. 1793. In a letter to the publishers of a biographical dictionary (Brit. Mus. Add. MS. 28509) he gives the date of his birth as 1792, but this document contains so many unquestionable chronological errors that it will be safer to follow the received account. The insurrection of 1798 drove Danby's family to Dublin, and his father died about the time that he became of an age to choose a calling in life. He had studied drawing in the classes of the Royal Dublin Society, and conceived a strong wish to be a painter. With his mother's consent, he continued his studies under O'Connor, a neglected landscape painter of considerable genius, but little older than Danby himself. Both were intimate friends of George Petrie, the distinguished archæologist, at that time devoted to painting. Danby's first picture, 'An Evening Landscape,' was exhibited at Dublin in 1812, and sold, Mr. S. C. Hall says, for fifteen

guineas. In the following year the three friends proceeded on an expedition to London. Danby says that this occurred in 1811, but the evidence of date in Petrie's biography is decisive, and Danby himself speaks of having then seen Turner's 'Frosty Morning, which was not exhibited till 1813. Danby and O'Connor remained in London after Petrie had left them, and notwithstanding the latter's generosity in presenting them with two valuable rings, their means ran so short that on arriving at Bristol they were unable to pay for a night's lodging. Danby raised the means by selling two sketches of the Wicklow mountains for eight shillings to Mintorn, a stationer on College Green, and, by the persuasion of Mintorn's son, remained at Bristol to sketch the neighbourhood, O'Connor returning to Ireland. Danby of the name of Fry, through whose son he was largely patronised by a Bristol citizen made an acquaintance which resulted in a hasty and imprudent marriage, unknown, as he declares, to his relatives. He visited Norway and Scotland, and a view in the latter country was his first contribution to the Royal Academy, in 1817. Becoming conscious of his powers, he successively exhibited three important pictures: 'The Upas Tree' (British Institution, 1820), Disappointed Love (Royal Academy, 1821), and Clearing up after a Shower" (Royal Academy, 1822); all fully and sympathetically described by the brothers Redgrave (A Century of Painters, i. 438443). 'Disappointed Love,' now in the Sheepshanks Collection at South Kensington, is adduced in R. H. Horne's 'Exposition of the False Medium' as a remarkable instance of the triumph of imaginative genius over technical defects. In 1824 Danby established his reputation by his grand marine painting 'Sunset at Sea after a Storm,' which was purchased by Sir Thomas Lawrence at a much higher price, it is said, than the painter's own. Danby removed to London, partly, it has been stated, at the instance of the academicians, who wished to oppose him to their antagonist Martin. His next picture, 'The Delivery of Israel out of Egypt,' now in the Duke of Sutherland's collection, is certainly in Martin's style, and a victory over him. Like its successor in the same style, 'The Opening of the Sixth Seal,' it is well known from engravings. The latter work was purchased by Beckford. Danby had already exhibited (1825) The Enchanted Island,' celebrated in the verse of L. E. L., and (7 Nov. 1825) had been elected an associate of the Academy. The road to the highest honours of his profession seemed open before him, when he struck on the rock of domestic difficul

ties. A story ill to tell,' says Redgrave, 'with faults, and no doubt recriminations, which the grave has partly closed over, and which we will not venture to re-open.' There seems no doubt that Danby himself was chiefly culpable, and highly culpable. In 1829 he left England for the continent, and until 1841 lived principally on the Lake of Geneva, yachting, boat-building, and supporting himself mainly by the sale in England of drawings executed for albums. During this period he only contributed two unimportant pictures to the Academy, but his great gallery painting of 'The Deluge,' afterwards the chief artistic feature of the Dublin Exhibition of 1853, was exhibited separately in 1840. In 1841 he exhibited 'The Sculptor's Triumph' and other pictures at the Academy, and, returning to England, took up his residence at Lewisham. In 1847 he removed to Shell House, Exmouth, and lived there until his death. From 1841 onwards he was a constant contributor to the Academy, but the scandal he had caused was never forgiven, and he never attained the full artistic honours so richly merited by his genius. He made no further attempts in the style of Martin, but produced a number of highly poetical landscapes, usually effects of sunset or early morning. Of these The Fisherman's Home' in the Vernon Gallery is a good though small example; "The Evening Gun' (1848) and 'The Wild Sea Shore' (1853) were among the most characteristic and successful; The Departure of Ulysses from Ithaca' (1854) and "Venus rising from the Sea' (1860) were classical landscapes of larger scale and more ambitious purpose. To these Academy works may be added Calypso lamenting the Departure of Ulysses' and 'The Grave of the Excommunicated,' exhibited at the British Institution. His principal patron during this period was the late Mr. Gibbons of Hanover Terrace, who acquired some of his finest works. Danby died at Exmouth 10 Feb. 1861, after a brief illness; his last picture, 'A Dewy Morning,' had left his easel only a few days previously.

As a painter of imaginative effects Danby has lost ground in an age when minute observation is chiefly demanded; but so long as his pictures subsist ('The Painter's Holiday' in the Fitzwilliam Museum is an utter wreck) he will be esteemed by men of poetical feeling. We have scarcely ever seen a work by him,' says Thackeray, in regarding which the spectator does not feel impressed by something of that solemn contemplation and reverent worship of nature which seem to pervade the artist's mind and pencil. One may say of Mr. Danby that he paints morning

and evening odes.' Disraeli speaks in 'Coningsby' of 'the magic pencil of Danby.' 'His pictures,' says Redgrave, are true poetry as compared with the prose-noble prose it may be of many who have great reputation as landscape painters.' He was not content to transcribe nature, he combined and reproduced his impressions in an imaginative form, generally aiming at an effect of solemnity and stillness. Out of forty-six pictures exhibited at the Academy, the titles of only three bear any relation to actual scenery. His range was certainly limited; he became too exclusively identified in the public mind with glowing sunsets; his composition was sometimes formal or theatrical, and the smoothness of his execution occasionally degenerated into 'teaboardiness.' But the mind of a poet inspired all he did. As a man he lived and died under a cloud, the deeper perhaps because the imputations cast upon him were never made publicly known. It is doubtful, however, if he would have gained by publicity. Redgrave, kindly disposed to him both as man and artist, is unable to acquit him of moral perversity, not to say obliquity. He nevertheless possessed many estimable qualities. He is described by an intimate associate, writing in the 'Bristol Daily Press,' as remarkable for the warmth of his friendships and his freedom from prejudice, and his kindness to young artists of talent is still remembered at Exmouth. He maintained a lifelong friendship with Petrie, and some interesting specimens of his correspondence are given in the latter's biography. 'Let us,' he says, writing in 1846,exult in the confidence that we belong to that class of our fellow-men who by the elixir you describe, "the true enjoyment of nature," retain the heart of youth, though the eye grow dim, the hand tremble, and the hair turn grey.'

[Danby's Letter to Messrs. Griffin, Brit. Mus. Add. MS. 28509; Redgraves' Century of Painters of the English School, ii. 437-49; Stokes's Life of Petrie, pp. 7-10; Men of the Time, 1st edit.; Bristol Daily Press, 13, 20 Feb. 1861; Athenæum and Art Journal for 1861.]

R. G.

DANBY, JAMES FRANCIS (18161875), painter, eldest son of Francis Danby [q. v.], was born at Bristol in 1816, and first exhibited at the Royal Academy in 1847. His subjects were usually scenes of sunrise or sunset, resembling his father's in execution, but not emulating his ideality. He was a frequent exhibitor at the Royal Academy and British Institution, and died of apoplexy on 22 Oct. 1875.

[Bryan's Dict. of Painters; Men of the Reign.] R. G.

DANBY, JOHN (1757-1798), musician, was born (according to the date on his tombstone) in 1757, but nothing is known of his parentage or education. He was probably a member of the Yorkshire family of the same name. He seems to have been connected with the musical performances at Vauxhall and Ranelagh, for which many of his earlier songs were written. At this time he was living at 8 Gilbert's Buildings, Lambeth, but he afterwards moved to 26 Henrietta Street, Covent Garden. On 6 March 1785 he was elected a member of the Royal Society of Musicians. Between 1781 and 1794 Danby gained ten prizes from the Catch Club for his glees and canons; his best known composition of the former class, 'Awake, Æolian lyre,' gained a prize medal in 1783. Danby, who was a catholic, held the post of organist to the chapel of the Spanish embassy, for which he wrote several masses, motets, and magnificats, which are preserved in the chapel music library. These works are mostly written for two or three parts, and are inferior to his glees, which are some of the best of their kind. During the latter part of his life he lost the use of his limbs, from having slept in a damp bed. A concert was given for his benefit at Willis's Rooms on 16 May 1798, but at half-past eleven the same night Danby died at Upper John Street, Fitzroy Square. He was buried near the south wall of the western part of Old St. Pancras churchyard. The inscription on his tombstone is now nearly illegible, but it was printed in Roffe's British Monumental Inscriptions' (i. No.44), in the appendix to which a sketch of the grave is given.

Danby published several songs; the following are his most important works: Glees, book i. [op. 1]; La Guida alla Musica Vocale,' op. 2; Glees, book ii. op. 3; book 3, op. 4; La Guida della Musica Instrumentale,' op. 5; Glees, op. 6. The last collection of glees was published posthumously by subscription for the benefit of his widow and four infant children.

[Grove's Dict. of Music, i. 429 a; Europ. Mag. xxxiii. 359; Gent. Mag. lxviii. i. 448; Georgian Era, iv. 521; Morning Herald, 18 May 1798; Danby's Works; information from the Rev. R. B. Sankey:]

W. B. S.

DANBY, THOMAS (1817?-1886), painter, was the younger son of Francis Danby [q. v.] He followed his father to the continent about 1830, and, the latter being unable or unwilling to support him, young Danby, though only a lad of thirteen, earned his living by copying pictures at the Louvre. He thus became an earnest student

of Claude, whose aerial effects he sought to imitate. Returning to England about the same time as his father, he first exhibited at the British Institution in 1841, and afterwards frequently at the Academy. He lived much with Paul Falconer Poole, and imbibed not a little of his romantic feeling for nature. The subjects of his landscapes were usually taken from Welsh scenery; his pictures for the most part were not, like his father's, ideal compositions, but actual scenes pervaded by a truly poetical spirit. 'He was always trying,' says the writer of the obituary notice in the Times,' 'to render his inner heart's feeling of a beautiful view rather than the local facts received on the retina.' He came, it is said, within one vote of election as A.R.A., but, failing eventually to attain Academy honours, devoted himself in his latter years chiefly to water-colour painting. He was elected an associate of the Society of Painters in Watercolours in 1867, and a full member in 1870; and until his death his contributions were among the chief ornaments of the society's exhibitions. He died of a chest complaint, terminating in dropsy, 25 March 1886. [Times, 30 March 1886.]

R. G.

DANBY, WILLIAM (1752-1833), miscellaneous writer, was the only son of William Danby, D.D., of Swinton Park, Yorkshire, by Mary, daughter of Gilbert Affleck of Dalham, Suffolk. He was the representative of that branch of the ancient family of Danby which acquired the lordship of Masham and Mashamshire in the reign of Henry VIII, by marriage with one of the heiresses of the Lords Scrope of Masham. In 1784 he served the office of high sheriff of Yorkshire. He almost entirely rebuilt his mansion of Swinton from designs by James Wyatt and John Foss of Richmond. It includes a handsome library and a richly furnished museum of minerals. Southey, in describing a tour which he made in 1829, says: "The most interesting person whom I saw during this expedition was Mr. Danby of Swinton Park, a man of very large fortune, and now very old. He gave me a book of his with the not very apt title of "Ideas and Realities," detached thoughts on various subjects. It is a book in which his neighbours could find nothing to amuse them, or which they thought it behoved them to admire; but I have seldom seen a more amiable or a happier disposition portrayed than is there delineated' (Life and Correspondence, vi. 78). Danby died at Swinton Park on 4 Dec. 1833. He was twice married: first to Caroline, daughter of Henry Seymour, and secondly to Anne Holwell, second daughter of William Gater; but left