D I A 



726 



D I A 



Haidinger in the N. Abhandlungen der K. B'dhm 

 Geselhch. des Wissenschaflen, b. ii. s. 110. 



Jacquinin Crell's Annalen, 1796, b. ii. s. 641. 



Von Sternberg in Crell's Anna Ian, 1796, b. ii. s.577. 



Lampadius in Gren's N. Journal der Physik, b. iii. 

 s. 88. Also in his Sammlwng pralctisclt chemischer Ab- 

 handlungen, b. ii. s. 1 — 26. 



Smithson Tennant, Phil. Trans, for 1797. Part I. 

 p. 123. 



Guyton, Annates de Chimie, torn. xxxi. 



Sir George Mackenzie, Nicholson's Journal, vol. v. 

 p. 103. 



Mawe's Travels in the Interior of Brazil, 1812. 



Mawe's Treatise on Diamonds and Precious Stones, 

 1813. (?•) 



DIANA, in the ancient mythology, was the daughter 

 of Jupiter and Latona, and the twin-sister of Apollo. 

 Several characters are assigned to her by the classical 

 writers ; and she is clothed with various symbolical ap- 

 pendages, indicative of her different attributes: the 

 goddess of the woods and of hunting upon earth ; Luna, 

 or the moon, in heaven; and Hecate, or the power 

 presiding over witchcraft in the infernal regions. 



The Diana venatrix, or goddess of the chace, is fre- 

 quently represented in ancient sculpture; and she is 

 described by the Roman poets, as running, with her 

 vest shortened and girt up about her, yet flying back 

 with the wind ; she is tall of stature, and her counte- 

 nance, though handsome, is somewhat masculine ; her 

 legs are naked, well-formed and strong ; her feet are 

 sometimes bare, and sometimes adorned with a species 

 of buskin ; she has often a quiver en her shoulder, and 

 sometimes holds a javelin, but more commonly a bow, 

 in her right hand. 



When Diana is represented as presiding over the 

 moon, she appears in a car drawn by stags or does, but 

 more frequently by horses of a pure white colour, with 

 a lunar crown or crescent upon her forehead. In this 

 character she was invoked by women in childbed, un- 

 der the appellation of Juno Lucina, or Pronuba. 



The infernal Diana was distinguished by the name 

 of Hecate or Trivia ; in which character she was invo- 

 ked in enchantments, and represented as a fury, holding 

 instruments of terror in her hands, and grasping cords, 

 swords, serpents, or burning torches. The appellation 

 of trivia, or triformis, appears to have been derived 

 from the custom of representing her sometimes with 

 three bodies, or tlu-ee heads. 



Diana was known under several other names, most 

 of which appear to have originated from the different 

 places where she was worshipped ; but she is easily dis- 

 tinguished in the figures which represent her, either by 

 the crescent upon her head, or by her bow and arrows, 

 or by her hunting dress, or by the dogs that accompany 

 her. Among the Greeks, she was considered as the 

 goddess of chastity, and hence virgins were given her 

 for companions ; yet she is represented, in the ancient 

 fables, as by no means averse from gallantry ; and is 

 said to have bestowed her favours on Endymion, Pan, 

 and Priapus. The Greeks appear to have derived 

 their mythological system, in a great measure, from 

 the Egyptians; and Diana, the sister of Apollo, is 

 generally held to be the same with Isis, the sister of 

 Osiris.. 



Diana had many oracles in ancient times ; and many 

 temples were dedicated to her worship. Of these lat- 

 ter, the most celebrated was that atj^phesus, which, on 

 account of its size, structure, and embellishments, was 

 esteemed one of the seven wonders of the world. Some 



account of the construction of this famous temple has Diana 

 been transmitted to us by two ancient authors, Vitru- . II 

 vius and Pliny. The former tells us, that it had eight Dla P as0 "- 

 columns in the fore-front, and as many in the back- ~"" v ~ m ~ J ' 

 front ; that it had a double range of columns round it ; 

 and that it was of the Ionie order. Pliny states, (lib. 

 xxxvi. cap. 14.) that two hundred and twenty years 

 elapsed during its construction ; that it was 425 feet in 

 length, and '220 in breadth ; that it was adorned with 

 100 columns, each 60 feet high, &c. Of these columns, 

 27 were very curiously carved, and the rest polished. 

 The architect employed in executing this edifice was 

 Ctesiphon, or Ctesifonte ; and the bas-reliefs of one of 

 the columns were done by Scopas, the most celebrated 

 sculptor of antiquity. The altar was adorned with the 

 masterly performances of the famous Praxiteles. The 

 " great Diana of the Ephesians" was, according to 

 Pliny, a small statue of ebony, made by one Canitia, 

 though believed by the vulgar to have been sent down 

 from heaven by Jupiter. T he temple was several times 

 destroyed and rebuilt, until it was finally burnt by the 

 Goths, in the year 260. 



It would appear from- some reliques, that the worship 

 of Diana had prevailed, in ancient times, both in Gaul 

 and in Britain ; and Mr Camden thinks it not impro- 

 bable, that there was anciently a temple of Diana, where 

 St Paul's Cathedral now stands, from the great number 

 of ox heads which were found there in digging up the 

 church-yard, in the reign of Edward I. An ancient 

 MS. in the Cotton library informs us, that in the time 

 of Melitus, the first bishop of London, Ethelbert, king 

 of Kent, built a church in honour of St Pa^ul, on the 

 site where a temple of Diana previously stood; and 

 certain ceremonies continued to be performed by the 

 multitude, as far down as the days of Qween Elizabeth, 

 on the day of St Paul's conversion, which obviously al- 

 luded to the worship of Diana, (z) 



DIANDRIA. See Botany, p. 73, 75, and 85. 

 DIANELLA, a genus of plants of the class Hexan- 

 dria, and order Monogynia. See Brown's Prodromus 

 Plant. Nov. Holl. &c. p. 279, 280; and Botany, p. 

 194. 



DIANTHUS, a genus of plants of the class Decan- 

 dria, and order Digynia. See Botany, p. 21 6. 



DIAPASON, in Music, an interval so called by the 

 ancient writers, who supposed it to be full or com- 

 plete, and contain all other intervals ; its ratio is 4, 

 = 6122 -f- 12f + 53m; the octave VHIth, or Major 

 Eighth, which see. (^) 



DIAPASON Diaex, the greater, an interval whose 

 ratio is ^ = 10632 -f- 21 f -j- 92m ; the Thirteenth 

 Minor, (or 13th,) which see. 



DIAPASON Diaex, the lesser, an interval whose 

 ratio is ^ = 10272 + 20f + 89m; the Thirteenth 

 Major, or XIII. which see. 



DIAPASON Diapente, an interval whose ratio is 

 f, = 9702 + 19f + 81'in; the Twelfth Major, (or 

 XII. ) which see. This interval was supposed by Mr 

 Hoyle to be equal to nine tones and a semitone ; and 

 by M. Capella, to be equal to eight tones and a semi- 

 tone, the fallacy of which will, however, appear from 

 the following equations, in the characters used in Plate 

 XXX. Vol. II. viz. XII + 22 = 9T + cf, XII + 22 

 = 8T4.t + S, Xll-f-2 = 7T-f-2t + S, and XII -f 2 

 = 6T- r -3t-}-S. The same writer also maintained 

 this interval, the XII. to be equal to 19 semitones, and 

 38 diesis. See Diesis greater, of M. Capella. 



DIAPASON Diatesseron, an interval whose ratia 

 is ■§■ = 866s -f l7f + 75m ; tlie Eleventh Minor* 



