connected with Hepworth Dixon, the editor, and during Dixon's absences acted as his substitute. At the same period Doran began a series of popular works. In 1854 he published ‘Table Traits and Something on Them,’ and ‘Habits and Men,’ both exhibiting his command of a great store of miscellaneous anecdotes. In 1855 he published in 2 vols. ‘The Queens of the House of Hanover.’ In 1856 appeared ‘Knights and their Days.’ In 1857 Doran published, in 2 vols. 12mo, his historical compilation entitled ‘Monarchs retired from Business.’ In 1858 he published his ‘History of Court Fools,’ 8vo, and edited the ‘Bentley Ballads,’ which have since passed through several editions. In 1859 he produced ‘New Pictures and Old Panels,’ 8vo, prefixed to which was his portrait engraved by Joseph Brown from a photograph. Nearly at the same time he published for the first time from the original manuscripts, in 2 vols., ‘The Last Journals of Horace Walpole.’ In 1860 appeared his ‘Book of the Princes of Wales,’ and in 1861 his ‘Memoir of Queen Adelaide,’ 12mo. In 1860 Doran published his most elaborate work, ‘Their Majesties' Servants,’ an historical account of the English stage, of which a new edition was issued in 1887, revised by Mr. R. W. Lowe. ‘Saints and Sinners, or in the Church and about it,’ appeared in 1868. In the same year he edited Henry Tuckerman's ‘The Collector,’ being a series of essays on books, newspapers, pictures, inns, authors, doctors, holidays, actors, and preachers. In August 1869, upon the death of Sir Charles Wentworth Dilke, the first baronet, Doran for about a year succeeded Hepworth Dixon as editor of the ‘Athenæum.’ Immediately after the raising of the siege of Paris he brought out ‘A Souvenir of the War of 1870–1.’ On the retirement of Mr. William John Thoms, Doran was appointed to the editorship of ‘Notes and Queries.’ In 1873 he published ‘A Lady of the Last Century,’ 8vo, the well-known Mrs. Elizabeth Montagu. Three years later he published, in 2 vols. 8vo, ‘Mann and Manners at the Court of Florence, 1740–86,’ founded upon the letters of Sir Horace Mann to Horace Walpole. Another work from his hand, also in 2 vols. 8vo, appeared in 1877, entitled ‘London in the Jacobite Times.’ An amusing volume was produced by him in 1878, called ‘Memories of our Great Towns, with Anecdotic Gleanings concerning their Worthies and their Oddities,’ 8vo. His twenty-fourth publication was produced as a serial contribution to ‘Temple Bar,’ and published posthumously in 1885 as ‘In and about Drury Lane,’ a kind of appendix to ‘Their Majesties' Servants.’ Doran died at Notting Hill on 25 Jan. 1878, and was buried on 29 Jan. at Kensal Green. He left an only son, Alban Doran, F.R.C.S., and an only daughter, Florence, married to Andreas Holtz of Twyford Abbey, near Ealing.
[Information from Mr. Alban Doran; Times, 28 Jan. 1878; Illustrated London News, 9 Feb. 1878, with portrait; John Cordy Jeaffreson's paper in Temple Bar, April 1878, lii. 460–94; Annual Register for 1878, pp. 270–1.]
DORCHESTER, Duchess of (d. 1717). [See Sedley.]
DORCHESTER, Viscount. [See Carleton, Sir Dudley, 1573–1682.]
DORCHESTER, Lord. [See Carleton, Guy, 1724–1808.]
DORCHESTER, Marquis of. [See Pierrepont, Henry, 1606–1680.]
DORIGNY, Sir NICHOLAS (1658–1746), painter and engraver, born at Paris in 1658, was the second son of Michel Dorigny, a well-known painter and engraver, a member of the Academy at Paris and professor there; his mother was the daughter of the celebrated painter, Simon Vouet. He lost his father in 1665, and was brought up to the law, which he studied till he was about thirty years of age. He then found that, being inclined to deafness, he was unfitted for the legal profession, and determined to devote himself to painting. His elder brother, Louis Dorigny, had been for some years settled in Italy as a successful painter, and after a year's close application to the study of drawing, Nicholas Dorigny proceeded to Italy, and for some years studied painting under his brother's guidance. On the advice of a friend he tried etching, and soon gave up painting entirely. Having practised this art for some years, he chanced to study the works of Gérard Audran and others, which convinced him that he was pursuing a mistaken course, so that he began to engrave in close imitation of Audran, and soon acquired a great reputation. He resided at this time in Rome. After completing several important works he became dissatisfied with his performances, and was further discouraged by the hostility of Carlo Maratta, the painter then in vogue, who set up another engraver, Robert van Audenaerde, in opposition to him. Dorigny then determined to return to painting, and was with difficulty persuaded to continue engraving; however, after some lessons from a purely mechanical engraver, his success
