an off Douarnenez.

DOUBLE (from the Mid. Eng. _duble_, the form which gives the present
pronunciation, through the Old Fr. _duble_, from Lat. _duplus_, twice as
much), twice as much, or large, having two parts, having a part
repeated, coupled, &c. The word appears as a substantive with the
special meaning of the appearance to a person of his own apparition,
generally regarded as a warning, or of such an apparition of one living
person to another, the German _Doppelganger_ (see APPARITIONS). Another
word often used with this meaning is "fetch." According to the _New
English Dictionary_, "fetch" is chiefly of Irish usage, and may possibly
be connected with "fetch," to bring or carry away, but it may be a
separate word. The Corpus Glossary of the beginning of the 10th century
seems to identify a word _faecce_ with _maere_, meaning a goblin which
appears in "nightmare." "Double" is also used of a person whose
resemblance to another is peculiarly striking or remarkable, so that
confusion between them may easily arise.

DOUBLE BASS (Fr. _contrebasse_; Ger. _Kontrabass_, _Gross Bass Geige_;
Ital. _contrabasso_, _violone_), the largest member of the modern family
of stringed instruments played with a bow, known as the violin family,
and the lowest in pitch. The double bass differs slightly in
construction from the other members of the family in that it has
slanting shoulders (one of the features of the _viola da gamba_, see
VIOLIN); that is to say that where the belly is joined by the neck and
finger-board, it has a decided point, whereas in the violin, viola and
violoncello, the finger-board is at right-angles to the horizontal part
of a wide curve. It is probable that the shoulders of the double bass
were made drooping for the sake of additional strength of construction
on account of the strain caused by the tension of the strings. The
double bass was formerly made with a flat back--another characteristic
of the viol family--whereas now the back is as often found arched as
flat. The bow is for obvious reasons shorter and stouter than the violin
bow.

The technique of the double bass presents certain difficulties
inherent in an instrument of such large proportions. The stretches for
the fingers are very great, almost double those required for the
violoncello, and owing to the thickness of the strings great force is
required to press them against the finger-board when they are
vibrating. The performe