In this respect Sir Christopher Wren solved the difficulty at St Paul's cathedral, London, in another way: he provided three shells, the lower one with an eye in the centre forming the inner dome as seen from the interior; the middle one of conical form, and the outer one framed in timber and covered with lead. The conical shell carries the lantern, the weight of which is carried direct to the base, bound with iron ties, with such additional strength as may be given by the portico round.
In all these cases these domes are built on lofty drums, so that externally they present quite a different appearance to those of the Pantheon at Rome, or Sta Sophia in Constantinople.
Of other examples, the domes of the Invalides in Paris, by Mansard (1706), and of the Panthéon by Soufflot (1735), have each three shells, the former having a graceful outline. In Spain the dome of the cathedral at Granada (1530) and the Escurial (1563); in Italy those of Sta Maria della Salute at Venice, the small example of Bramante at Todi (1480) and of the Carignano at Genoa, are worth recording, as also the dome of the Suleimanie mosque at Constantinople (1550). See plates illustrating ARCHITECTURE; and INDIAN ARCHITECTURE. (R. P. S.)
DOMENICHINO (or DOMENICO), ZAMPIERI (1581-1641), Italian painter, born at Bologna, on the 21st of October 1581, was the son of a shoemaker. The diminutive form of Christian name by which he is constantly known indicates his short stature. He was placed, when young, under the tuition of Denis Calvart; but having been treated with great severity by that master, he left him, and became a pupil in the academy of the Caracci, under Agostino. Towards the beginning of the 17th century he went to Rome, at the invitation of his fellow-pupil and intimate Albani, and prosecuted his studies under Annibale Caracci. The faculty of Domenichino was slow in its development. He was at first timid and distrustful of his powers; while his studious, unready and reserved manners were misunderstood by his companions for dulness, and he obtained the nickname of the "Ox" (Bue). But Annibale Caracci, who observed his faculties with more attention, predicted that the apparent slowness of Domenichino's genius would in time produce what would be an honour to the art of painting. When his early productions had brought him into notice, he studied with extreme application, and made such advance as to raise his works into a comparison with those of the most admired masters of the time. From his acting as a continual censor of his own works, he became distinguished amongst his fellow-pupils as an accurate and expressive designer; his colours were the truest to nature; Mengs, indeed, found nothing to desire in his works, except a somewhat larger proportion of elegance. That he might devote his whole powers to the art, Domenichino shunned all society; or, if he occasionally sought it in the public theatres and walks, this was in order better to observe the play of the passions in the features of the people--those of joy, anger, grief, terror and every affection of the mind--and to commit them vividly to his tablets; thus, says Bellori, it was that he succeeded in delineating the soul, in colouring life, and calling forth heartfelt emotions, at which all his works aim. In personal character he is credited with temperance and modesty; but, besides his want of sociability, he became somewhat suspicious, and jealous of his master.