DAGUPAN, a town and the most important commercial centre of the province of Pangasinán, Luzon, Philippine Islands, on a branch of the Agno river near its entrance into the Gulf of Lingayen, 120 m. by rail N.N.W. of Manila. Pop. (1903), 20,357. It is served by the Manila & Dagupan railway. Dagupan has a healthy climate. It is the chief point of exportation for a very rich province, which produces sugar, indigo, Indian corn, copra, and especially rice. There are several rice mills here. Salt is an important export, being manufactured in salt water swamps and marshes throughout the province of Pangasinán (whose name, from asin, “salt,” means “the place where salt is produced”). In these, marshes grows the nipa palm, from which a liquor is distilled—there are a number of small distilleries here. Dagupan has a small shipyard in which sailing vessels and steam launches are constructed. The principal language is Pangasinán.
DAHABEAH (also spelt dahabīya, dahabīyeh, dahabeeyah, &c.), an Arabic word (variously derived from dahab, gold, and dahab, one of the forms of the verb to go) for a native passenger boat used on the Nile. The typical form is that of a barge-like house-boat provided with sails, resembling the painted galleys represented on the tombs of the Pharaohs. Similar state barges were used by the Mahommedan rulers of Egypt, and from the circumstance that these vessels were ornamented with gilding is attributed the usual derivation of the name from gold. Before the introduction of steamers dahabeahs were generally used by travellers ascending the Nile, and they are still the favourite means of travelling for the leisured and wealthy classes. The modern dahabeah is often made of iron, draws about 2 ft. of water, and is provided with one very large and one small sail. According to size it provides accommodation for from two to a dozen passengers. Steam dahabeahs are also built to meet the requirements of tourists.
DAHL, HANS (1840- ), Norwegian painter, was born at Hardanger. After being in the Swedish army he studied art at Karlsruhe and at Düsseldorf, being a notable painter of landscape and genre. His work has considerable humour, but his colouring is hard and rather crude. In 1889 he settled in Berlin. His pictures are very popular in Norway.
DAHL, JOHANN CHRISTIAN (1778-1857), Norwegian landscape painter, was born in Bergen. He formed his style without much tuition, remaining at Bergen till he was twenty-four, when he left for the better field of Copenhagen, and ultimately settled in Dresden in 1818. He is usually included in the German school, although he was thus close on forty years of age when he finally took up his abode in Dresden, where he was quickly received into the Academy and became professor. German landscape-painting was not greatly advanced at that time, and Dahl contributed to improve it. He continued to reside in Dresden, though he travelled into Tirol and in Italy, painting many pictures, one of his best being that of the “Outbreak of Vesuvius, 1820.” He was fond of extraordinary effects, as seen in his “Winter at Munich,” and his “Dresden by Moonlight;” also the “Haven of Copenhagen,” and the “Schloss of Friedrichsburg,” under the same condition. At Dresden may be seen many of his works, notably a large picture called “Norway,” and a “Storm at Sea.” He was received into several academic bodies, and had the orders of Wasa and St Olaf sent him by the king of Norway and Sweden.
DAHL, MICHAEL (1656-1743), Swedish portrait painter, was born at Stockholm. He received his first professional education from Ernst Klocke, who had a respectable position in that northern town, which, however, Dahl left in his twenty-second year. His first destination was England, where he did not long remain, but crossed over to Paris, and made his way at last to Rome, there taking up his abode for a considerable time, painting the portraits of Queen Christina and other celebrities. In 1688 he returned to England, and became for some years a dangerous rival to Kneller. He died in London. His portraits still exist in many houses, but his name is not always preserved with them. Nagler (Künstler-Lexicon) says those at Hampton Court and at Petworth contest the palm with those of the better known and vastly more employed painter.