of the lantern was a
very important consideration, and is responsible for the repeated
repairs required and the introduction of additional ties.

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 Pantheon 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