DEVEREUX, Robert. See ESSEX, 3D EARL OF.

DEVERON, a river of Scotland, in Aberdeenshire and Banffshire, which flows into the sea at Banff. It is about 50 miles long. The salmon-fishery is very valuable.

DEVI, da've, in Hindu mythology, "the goddess," or Mahadevi "the great goddess," wife of the god Shiva and daughter of Himavit (that is, the Himalaya Mountains). She is represented as a being of two characters, one gentle, the other fierce, and it is under the latter aspect that she is generally worshipped. In the Mahabharata she appears under many forms, and her individuality is fully developed in the Puranas.

DEVIATION, in the law of marine insurance, an unnecessary departure from the course of the voyage insured. The legitimate reasons for departure from the course are stress of weather, want of repairs, joining convoy, succoring ships in distress, danger from an enemy, sickness and mutiny. Even in these cases the quickest courses must be taken. Deviation, from the moment at which it commences, discharges the underwriter from all liability.

DEVIATION OF THE COMPASS, the deviation of a ship's compass from the true magnetic meridian, caused by the proximity of iron. In wooden ships no magnetic deviation is perceptible so long as the ship is heading north or south. The greatest deviation is seen 'when the vessel heads east or west. In iron ships the magnetism is fixed by hammering and riveting, and the deviation manifests itself exactly in accordance with the point toward which the hull headed while these processes were going on. Armor-plated ships should be plated with their head in a different direction from that in which they lay when built. The mode now generally employed to correct deviation is by introducing on board ship masses of iron and magnets to exactly neutralize the action of the ship's magnetism. Compasses are sometimes carried on masts as a means of removing them from the disturbing influence of the iron of the hull. In this position they serve as standards of comparison for the binnacle compass. Wooden ships are also magnetized, so as to affect the compass, though in a far less degree, by the direction in which they lie when building.

DEVIATION OF THE PLUMB LINE. See DEFLECTION OF THE PLUMB LINE.

DEVICE, an emblem, with an accompanying motto or legend used to convey a hidden meaning of some particular conceit of the wearer. Such emblems became general in the 14th century, and were borne only by the person who assumed them, and not, like the crest, by the family or descendants. Louis

XIII of France had a falcon as a device, with the legend Aquila generosior ales (a nobler bird than the eagle), by which he claimed superiority to the emperor. Consult Radowitz, Die Devisen und Mottos des spätern Mittelalters (Stuttgart 1850).

DE VIGNY, de vē'nyē', Alfred, Comte, French novelist and poet: b. Loches, Indre-etLoire, 1799; d. 1863. He received his education in Paris and served in the army 12 years. In 1822 appeared his 'Poèmes) and in 1824

These

'Eloa'

26 his 'Poèmes antiques et modernes. were among the earliest attempts to deal in epic form with philosophic subjects. appeared in 1824 and served as model for Lamartine's Chute d'un Ange.' In 1826 De Vigny published his great historic novel (CinqMars, which though a falsification of history attained an immediate and splendid success. It was the forerunner of the historic tales of Hugo and Dumas. In 1829 he translated Shakespeare's 'Othello' and wrote the comedy Quitte pour la Peur.' These were followed by Stello'; 'Servitude et Grandeur militaires' (1835), military stories and his best work in fiction. His drama 'Chatterton' (1835) is his best despite its pessimistic tone throughout. After his death appeared the 'Destinées' (1864) and 'Le journal d'un poète) (1867), remarkable for their lyric strength. De Vigny's works were edited in 1863-66, in 1868-70 and in 1883-85. Consult the biography by A. France (Paris 1868); also Caro, 'Poètes et romanciers' (ib. 1888); Faguet, Emile, 'Dixneuvième siècle) (ib. 1890); Sainte-Beuve, 'Portraits littéraires' (Vol. III, ib. 1893); Séché, L., La vie litteraire politique et religeuse; la vie amoureuse d'Alfred de Vigny' (ib. 1913).

DEVIL (O. E. deofol; O. S. diubal; O. H. G. tiufal; M. G. Teufel; Gothic, diabolus, from Gk. Stásoλos, a slanderer), an evil spirit, Satan, the tempter, slanderer and tormentor of human beings, according to the Scriptures of the Old and New Testaments. Most of the old religions of the East acknowledged a host of demons not good or bad, but merely exercising a salutary or injurious influence. In the latter case they were looked upon as punishing spirits, without inimical or wicked purpose. Siva, the judging and destroying god of the Indian mythology, is a symbol of the great power of nature, which is alternately beneficent and injurious, but in itself neither good nor evil. Zoroaster named this evil principle Ahriman. The Greek mythology did not distinguish with the same precision between the good and bad spirits. Beelzebub, or Beelzebul, appears to have been regarded by the Jews as the prince of devils. According to the Mohammedans, who have derived their account from Jewish traditions, the devil, or, as they sometimes call him, Eblis, was an archangel, whom God employed to destroy the jinns or genii, a race intermediate between men and the angels, who tenanted the earth before the creation of Adam.

The Satan ("adversary") of the New Testament is a rebel against God. Endowed with the intellect and power of angels, he uses them since his fall to entangle men in sin, and obtain power over them.

The doctrine of Scripture on this subject soon became blended with numerous fictions of human imagination, with the various superstitions of different countries and the mythology of the pagans. The gods of the ancients became evil spirits, seeking every opportunity to injure mankind. The excited imaginations of people frequently led them to suppose Satan visibly present; and innumerable stories were told of his appearance, and his attributes distinctly described. The writings of the fathers of the Church also contain several passages re

specting the appearance of the devil. In many works or appearances of an extraordinary character, the devil was supposed to be concerned. Thus, many a dam, bridge, etc., has been built in one night with his assistance, and everyone knows that superstitious writers of former days, applying the legends that had become connected with Dr. Faust, the reputed worker of magic, to Fust, to whom the invention of printing has frequently been ascribed, taught that he invented the art by the help of Satan. The modern tendency is to regard the personal Devil as a part of the mythology of carly times when men conceived the world forces as endowed with personal form. This is due to the advance of medical and natural science, better methods of historical criticism and modern philosophy. Consult Carus, 'History of the Devil (Chicago 1900); Conway, 'Demonology and Devil Lore (London 1878); Grimm, 'Deutsche Mythologie) (4th ed., Berlin 1878); Horst, 'Dämonologie (Frankfort 1818); Lecanu, 'Histoire de Satan, sa chute, son culte, ses manifestations, ses œuvres (Paris 1861); Mayer, 'Historia Diaboli' (Tübingen 1780). See DEMONOLOGY.

DEVIL, Tasmanian, or DEVIL-DEVIL. See DASYURE.

DEVIL, The, a tavern which once stood near Temple Bar, in Fleet street, London, where the Apollo Club met. Its site is now occupied by Child's Bank.

DEVIL IN ART AND SYMBOLISM. All representations of the Devil during the first four centuries of our era appear to have been that of a serpent tempting Eve. In a fresco in the cemetery of Sainte-Agnes Satan is figured in the form of a human bust terminating in a serpent's tail. On several early Christian sarcophagi is seen a serpent twined around the trunk of a tree, the head is erect and threatens some doves, whose nest reposes on the tree, M. Le Blant declares that it is an error to consider this, as is frequently done, as a representation of the Devil threatening Innocence; this scene, he says, has nothing of the symbolic, but is an ornamental motif borrowed from antiquity by Christian art. As a rule, in the temptation of Adam and Eve, the serpent, with his body encircling a tree, is depicted with an apple in his jaws. In the Middle Ages artists frequently placed the head of a young man or woman on the serpent form. Again, in the Bibliothèque Nationale, Paris, is an Italian miniature which displays a serpent with two human heads, one looking at Adam, the other at Eve. In a 14th century manuscript ("Speculum humanæ salvationis") Didron found the "tree of the Knowledge of Good and Evil" surrounded by two serpents, each offering a fig, one to Adam, the other to Eve. The use of the serpent form to symbolize the Devil is confined to the "temptation" scene, the depiction otherwise being given the conventional demon of grotesque form. Hulme describes an illustration of the Devil in a 14th century missal, in which Satan has great tusks protruding from his mouth and curling up nearly to the eyes; his ears are long and pointed. Other heads appear at shoulders and thighs, and from the mouths of these heads issue the figure's arms and legs; the arms terminate in bear's claws, the legs in

eagle's talons. This figure's body is open at the waist exposing a nest of serpents darting forth; large scales cover the rest of the body. In old works of art we find the Devil given the same form as his imps, half man, half beast, and furnished with a tail and horns. Incidents in the lives of the saints are generally depicted with the devil in such form. Horses' hoofs or a cloven foot are commonly a part of the personality; and the wings of a bat are often added to increase the Satanic hideousness. When picturing the Devil as "the devouring monster" he generally takes on the form of a dragon. In pictures of Saint Michael in combat with the Devil Satan is depicted in a dragon's form; except rarely, when he is a two-legged creature having a monstrous head with a bird's beak, and is covered with scales. The German Renaissance artists were fond of giving the Devil a crow or raven form. In order to give Satan a special personality the painters of the Middle Ages frequently depicted him as black, but he is found also as red, blue and even green. Besides the above impersonations the evil spirit has been portrayed as lion, hog, boar and monkey, also basilisk. Another variation used in the Middle Ages was that of a monster with three heads each devouring one of the damned; a statue dating from the 12th century_in_Sainte-Basile d'Etampes has this form. Byzantine artists frequently pictured Satan as "cast out of Heaven" in which case he takes on a personality of black-winged demon. More adapted to modern conceptions are the depictions of the Devil in the form of a young gallant, or of a young girl. A few pictures by great masters which contain Satan are: One by Niccola of Pisa, in which the Devil has the form of a satyr; Orcagna's 'Hell' in Saint Maria Novelle, Florence, depicts the prince of demons as Pluto; Saint Michael's combat with Satan has been painted by Raphael (in Louvre); by Guido (in the Capuchine Church, Rome); by Jacobello del Fiore (in Berlin Museum); by Lucas Giordano (in Belvedere, Vienna). Another favorite subject with artists is the 'Temptation of Christ.'

According to Husenbeth the following saints have been_pictured in connection with the Devil: Saint Demetrius (martyr) has been represented with the Devil appearing to him in prison as a scorpion; Saint Goar (confessor) has been depicted with the Devil on his shoulder; Saint Albert (Carmelite) has been pictured driving away the Devil in the form of a young woman, but with horns and a fish's tail; Saint Anthony (abbot) has been portrayed having the Devil at his feet, or with the Devil in the form of a goat; Saint Apollinaris (bishop martyr) has been represented beating the Devil with a club, as also Saint Nicholas of Tolentinum; Saint Hilarion has been depicted mounted on an ass, driving the Devil away with the sign of the cross; Saint Hidulphus has been pictured casting the Devil out of a boy; Saint Zeno of Verona has been portrayed casting the Devil out of a woman; Saint Hermes has been represented on horseback casting the Devil out of a woman led by a man with a rope, or with the Devil issuing out of the mouth of a child; Saint Melanius also has been depicted driving out the Devil; Saint Germanianus has been pictured casting