OpenLLM-France/wikimedia huggingface dataset:
# Althorpe railway station

Althorpe railway station serves the village of Althorpe in North Lincolnshire, England. The station is also very close to the villages of Keadby, Gunness and Burringham.
Most services are provided by Northern Trains who operate the station. Occasional services by TransPennine Express also call at this station.
The station is unstaffed and has very limited facilities. There is a shelter on each platform, with a telephone and a help point for contact with Customer Services and British Transport Police on Platform 1 (eastbound); train running information is also provided by timetable posters on each side. Platform 2 (westbound) is accessible only by a footbridge with 50 steps.
The station is on the west bank of the River Trent, to the west of the combined road-and-rail King George V Bridge, which was a lifting bridge until the late 1950s.

## History

The first Althorpe station, opened by the Manchester, Sheffield and Lincolnshire Railway, was on the original line over the Trent and replaced the terminus, Keadby, on the South Yorkshire Railway, which became Keadby Goods. This station was originally known as Keadby and Althorpe.
When the line was again moved to a new alignment to cross the river by the present "King George V" bridge a new station was opened which is still in use. It replaced two earlier stations, Althorpe and Gunness & Burringham, which had been about half a mile apart.
The station which now bears the name, became part of the London and North Eastern Railway during the Grouping of 1923. The station then passed to the Eastern Region of British Railways on nationalisation in 1948.
When Sectorisation was introduced in the 1980s, the station was served by Regional Railways until the Privatisation of British Railways.

## Services

Before the COVID-19 pandemic, Northern Trains ran an hourly service Monday-Saturday in both direction calling here between Doncaster and Scunthorpe. With no service on a Sunday.
That was reduced to a rail replacement bus service every 2 hours, again with no services on a Sunday after the pandemic. In the winter 2022 timetable the rail service has been reinstated, but still on a two-hourly service pattern.
A Monday-Saturday early morning TransPennine Express service between Cleethorpes and Liverpool Lime Street also calls here, as does the last corresponding service from Liverpool.
In February 2013 the line northeast of Hatfield and Stainforth station towards Thorne was blocked by the Hatfield Colliery landslip, with all services over the section halted. The line reopened in July 2013.
| Preceding station | National Rail | National Rail | National Rail | Following station |
| Crowle | | Northern TrainsSouth Humberside Main LineMonday-Saturday only | | Scunthorpe |
| Crowle | | TransPennine ExpressSouth Humberside Main Line South TransPennineLimited Service | | Scunthorpe |
# Nikolaus van Hoy

Nikolaas van Hoy, known in Austria as Nikolaus van Hoy (alternative spellings of family name: 'van Hoey' and 'van Hoj') (b. Antwerp, 1631 - d. Vienna, 25 June 1679) was a Flemish Baroque painter, draughtsman and etcher.

## Life

He was born in Antwerp. He likely trained in Antwerp. He worked in Brussels between 1647 - 1655. He is also reported to have spent some time in Rome. He went to Vienna in 1657, possibly with the Dutch painter Jan van Ossenbeeck whom he would have met in Rome and had later joined him in Brussels.
At about 1667 he became the court painter of Leopold I, Holy Roman Emperor and the Archduke Leopold Wilhelm of Austria. He retained this post until his death in Vienna in 1679.
He was succeeded at the court by his son Nickolaus Van Hoy the Younger (Antwerp 1660- Vienna ca. 1710).

## Work

He made landscapes and portraits.
He engraved religious scenes and mythological figures adapted from originals of Veronese, Barocci and Raphael. He was one of the artists and engravers who collaborated with David Teniers the Younger on the publication entitled "Theatrum Pictorium", a catalogue of the picture gallery of Archduke Leopold Wilhelm. Abraham Teniers published the first edition in 1658 as loose leaves and unnumbered. The first part with 244 etchings of Italian pictures was published in Brussels in 1660, while the gallery was already in Vienna. The publication ends with an engraving by Frans van der Steen after a drawing by Nicolaus van Hoy of a view of the Stallburg gallery of the Archduke. Van Hoy was also responsible for individual engravings in the publication.
He made a series of 13 engravings of cavalcades or equestrian ballets, which were later remade by Jan van Ossenbeeck. The prints of cavalcades by Nicolaus van Hoy were published in Francesco Sbarra's 'La Contessa dell' Aria e dell' Aqua festa a cavallo rappresentata nell' augustissime nozze dell M.M. dell'Imperatore Leopold e dell' Infante Margherita della Spagne' in 1667.
He collaborated with other painters in the production of garland paintings. Garland paintings are a special type of still life developed in Antwerp by artists such as Jan Brueghel the Elder, Hendrick van Balen, Andries Daniels, Frans Francken the Younger, Peter Paul Rubens and Daniel Seghers. They typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. Van Hoy made garland paintings with other painters, such as the Flemish émigré painter Jan Anton van der Baren, who painted the flowers while Van Hoy painted the devotional image. An example is the Garland of Flowers Surrounding the Holy Family in the Museum of Fine Arts (Budapest).
Some of his works can be seen at :
* Kunsthistorisches Museum in Vienna : two scenes of battles
* Augustinerkirche, Vienna : the chapel
* Dominikanerkirche (Vienna) : the oil paintings in the pendants of the dome
* Bezirksmuseum Stockerau (Austria) : the oil painting "Heiliger Stephan"
# Joséphine Houssay

Joséphine Houssay (or, by mistake Joséphine Houssaye; 1840 – 1914) was a French painter.
She was a pupil of Tony Robert-Fleury at the Académie Julian. Houssaye exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois.
Her painting The Lesson, was included in the 1905 book Women Painters of the World.
# Bernard Dubourdieu

Rear-Admiral Bernard Dubourdieu (28 April 1773 – 13 March 1811) was a French Navy officer who led a Franco-Italian fleet at the Battle of Lissa in 1811, during which he was killed in action.

## Life

A native of Bayonne, Dubourdieu started sailing on a merchantman at 16, before joining the Navy in 1792. He quickly rose to ensign aboard the Entreprenant. He transferred to the frigate Topaze the next year in Latouche-Tréville's squadron.
Captured at Toulon by the British and transferred to Gibraltar, he escaped to Lorient. Promoted to enseigne de vaisseau, Dubourdieu sailed on the corvette Gaieté. Gaieté was captured and Dubourdieu was imprisoned again until 1799.
Captured a third time in Alexandria in 1800, he was exchanged and promoted to lieutenant de vaisseau. In 1805, he was made a capitaine de frégate. In 1807, he took command of the frigate Pénélope and captured thirteen British merchantmen. In the action of 27 February 1809, along with the frigate Pauline, he captured HMS Proserpine blockading Toulon.
On 23 October 1810, he raided Lissa and captured six ships in the harbour. He was then tasked to capture the island and establish a base there. Promoted to contre-amiral, Dubourdieu set sail with six frigates. In the ensuing Battle of Lissa, the French were routed and Dubourdieu was killed.
# Michiel Carree

Michiel Carree or Carré (1657 – October 1727) was a Dutch Golden Age painter.
Carree was born in The Hague. He received his first instructions from his elder brother Hendrik Carré, and afterwards became the scholar of Nicolaas Berchem, but unfortunately did not profit by the example and practice of so excellent a master, but preferred to follow the style of a much inferior artist named Gabriel van der Leeuw. According to Houbraken he was in England and knew Pieter Gerritsz van Roestraten. Houbraken also stated Carree was the teacher of the painter Jan de Visscher, and mentioned him again as his informant about a portrait by Katharina Rozee. Houbraken also stated that Michiel Carré resided some time in England, and that his works were not popular here, but Horace Walpole makes no mention of him in his 'Anecdotes.' He was a landscape painter of some celebrity, since at the death of Abraham Begeyn he was invited to Berlin by the King of Prussia, who appointed him one of his painters. On the death of Frederick he returned to Holland, and resided chiefly at Alkmaar, where he died in 1728. His greatest merit was the uncommon facility and baldness of his pencil, which was well suited to the works upon which he was principally engaged, the decoration of halls and large apartments. One of his best productions is to be seen in a saloon at the Hague, where he has represented in a large landscape, the History of Jacob and Esau. Some of his easel paintings, landscapes with cattle, are very good. Examples of these can be found in the Brunswick Gallery, and the Rotterdam Museum. He died in Alkmaar.
Jacob Campo Weyerman mentioned his daughter Alida Carree, who was a good watercolor painter and ivory fan painter. He also mentioned a son Hendrik Carré the Younger who died in the Hague in 1726.
According to the RKD he was the son of Franciscus Carré and he worked in Amsterdam 1686-1692, England 1692-1695, and Berlin 1697-1713. He is known for Italianate landscapes and was court painter in Berlin to Frederick III of Brandenburg.
# Jan van Bunnik

Jan van Bunnik (1654–1727) was a Dutch Golden Age landscape painter.

## Biography

He was born at Utrecht in 1654 where he was sent to learn draftsmanship from Herman Saftleven in 1668, under whom he studied three years; he afterwards spent some time in the Duchy of Cleves and met Gerard Hoet, who convinced him to visit Italy. According to Houbraken, who devoted three pages to his biography, he started his trip to Italy in Rees, Germany with a Opperste Sales, and then set off for Frankfurt on foot, where he spent some time with his art colleague Merian; either Maria Sibylla Merian, or a son of Matthäus Merian he had met in Utrecht, who would then have been studying with his stepfather Jacob Marrel in Frankfurt. From there he travelled to Heidelberg, and from there to Speyer, where he worked for Charles I Louis, Elector Palatine and Raadsheer Jonkmans. From there he travelled to Strasbourg, from there to Zurich, and from there over the alps to Milan. From Milan he travelled to Genoa, where he had lessons from Pieter de Molijn, a member of the Bentvueghels with the nickname Tempeest. From there he travelled to Livorno where he worked for the Dutch Consul or local ambassador, and from there travelled to Rome.
On his arrival at Rome he met several of the artists (and Bentvueghels) of his country, who received him with kindness, particularly Abraham Genoels, Adriaen Honich, Nicolaas Piemont, Jacob Ferdinand Voet, and the engraver Cornelis Bloemaert. In their society he greatly improved himself, meeting Carlo Maratta and learning to design the fine scenery in the environs of Rome in the popular manner of Italianate landscapes. On leaving Rome he went back and forth to Naples, and only stopped in Rome on his way to Bologna, Ferrara, and Venice, where he visited Johann Carl Loth. He then passed through Milan again on the way to Modena, where his works were so admired that he became court painter to Francesco II d'Este, Duke of Modena, who gave him a yearly stipend for 8 years wherein he made decorations for his various homes and buildings. When the Duke made a pilgrimage to Loreto, Marche, Van Bunnik accompanied him there and onwards to Rome, where this being his third trip there, he allowed himself to be accepted into the Bentvueghels with the nickname keteltrom. Soon afterwards, the Duke returned to Modena and stopped traveling, so Van Bunnik requested dismissal so he could return North.
The Duke gave him a pass to travel unhindered through France to his homeland, which he did, but in Turin he met Jacob Ferdinand Voet, whom he had earlier met in Rome in the company of Cornelis Bloemaert. From Turin they set out together for Lyon, where they met Adriaen van der Cabel, Peter van Bloemen, and Gillis Weenix. They set off for Paris in the company of Jan's brother Jacob van Bunnik who was a good painter of "bataljes" or battle scenes.
On his return to Holland he was employed by King William III, then Prince of Orange, to ornament his palace at Loo. He died in Utrecht in 1727.
# Jan van Ravesteyn

Jan Anthonisz van Ravesteyn (c. 1572 – buried 21 June 1657) was a successful portrait painter to the Dutch court in The Hague.

## Biography

Van Ravesteyn was born in The Hague. It is unknown who taught him how to paint, but he was a follower of the Delft portrait painter Michiel Jansz van Mierevelt. Van Ravesteyn is mentioned there in the city archives 1597. From 1598 until his death he lived in the Hague, where in 1598 he became a member of the Guild of St. Luke of the Hague. In 1604 he married Anna Arentsz van Berendrecht and in the same year he was mentioned as a good painter by Karel van Mander (though his earliest dated works are from 1611). In 1608 he bought a house on the Molstraat and in 1628 he moved in the Molstraat. In 1640 his wife was buried and in the same year his daughter Marie married one of his pupils, the painter Adriaen Hanneman. In 1654 he moved to the Nobelstraat next to the house of his daughter. In 1656 he left the guild with a group of dissatisfied painter friends and was one of the founders of the Confrerie Pictura. He was a Catholic and his name occurs often as a witness in the records of the church in the Molstraat, such as for the marriage of his daughter Agnes in 1641 with Willem van Culemborgh. His portrait was painted by Sir Anthony van Dyck and he produced Schutterstuk works. His workshop produced many portraits for the royal house of Nassau and he competed with Miereveld for several commissions.
Van Ravesteyn was in turn, the teacher of Dirck Abrahamsz., Leendert Barthouts, Johannes Harmensz. Borsman, Aelbert Dircksz. Coeppier, Pieter Craen, Jacob Dirksz. van den Enden, Fransise de Goltz, Adriaen Hanneman, Barent Jansz., Thomas Ouwater, Clement Ram, Jan Rassenbourch, Frederick Sonnius, Dirck Verlaer, Jan Pous Voet and Pauwels Willemsz.

## Works

* Hugo Grotius at the age of sixteen (1599)
* Portrait of Justinus of Nassau
* Portrait of a Woman (1620)
* An unknown officer (1634)
* Portrait of a lady (1635)
# Ikō-ji

Ikō-ji (医光寺) is a Buddhist temple located in the Somebachō neighborhood of the city of Masuda, Shimane Prefecture, Japan. The temple belongs to the Tōfuku-ji branch of the Rinzai school. The temple's full name is Ryūzō-san Ikō-ji (滝蔵山 医光寺).

## History

A Tendai sect temple called Sukan-ji (崇観寺) was built slightly to the north of this location in 1363. Sukan-ji was patronized by the powerful Masuda clan for generations. The 15th generation chieftain of the clan, Masuda Kanehiro invited Sesshū Tōyō to become the fifth chief priest of Sekan-ji, and in the Bunmei era (1469-1487) Sesshū laid out its gardens. The semi-circumferential pond garden, which retains the characteristics of the Muromachi period, is centered on a pond shaped like Japanese crane with outspread wings in front of the shoin study, with a small island. Using the slope of the hill in the background, azaleas are planted in a stepped pattern, and weeping cherry trees are arranged. This is said to be one of the most famous of Sesshū's gardens. In the last years of Sesshū's life, he continued to live in Masuda to study Japanese Zen. In 1506, at 87 years old, Sesshū died at Toko-ji temple, but his remains were taken to Igō-ji, where he was cremated. Sukan-ji fell into ruins in the Sengoku period, but in the Tenmon era (1532-1555), the 17th chieftain of the Masuda clan, Masuda Munekane, constructed Iko-ji on the hill to the south of Sukan-ji, and the two temples were merged. The buildings that remains today were rebuilt after a fire in 1729.
The main gate of Ikō-ji was originally a portion of the Ōtemon Gate of Nanao Castle, but was relocated here after the 1600 Battle of Sekigahara. It is a designated Shimane Prefectural Tangible Cultural Property.
The temple was designated a National Historic Site and its gardens a National Place of Scenic Beauty in 1928.
Ikō-ji is located approximately three kilometers east of Masuda Station JR West San'in Main Line.
# Mabel Beardsley

Mabel Beardsley (24 August 1871 – 8 May 1916) was an English Victorian actress and elder sister of the famous illustrator Aubrey Beardsley, who according to her brother's biographer, "achieved mild notoriety for her exotic and flamboyant appearance".

## Life

Mabel was born in Brighton on 24 August 1871. Her father, Vincent Paul Beardsley (1839–1909), was the son of a tradesman; Vincent had no trade himself, however, and instead relied on a private income from an inheritance that he received from his maternal grandfather when he was 21. Vincent's wife, Ellen Agnus Pitt (1846–1932), was the daughter of Surgeon-Major William Pitt of the Indian Army. The Pitts were a well-established and respected family in Brighton, and Beardsley's mother married a man of lesser social status than might have been expected. Soon after their wedding, Vincent was obliged to sell some of his property in order to settle a claim for his "breach of promise" from another woman who claimed that he had promised to marry her.
Mabel and her family were living in Ellen's familial home at 12 Buckingham Road at the time of her brother Aubrey Beardsley’s birth. The number of the house in Buckingham Road was 12, but the numbers were changed, and it is now 31. In 1883, her family settled in London, and in the following year, she appeared in public playing at several concerts with her brother Aubrey. Speculation about Aubrey’s sexuality includes rumors of an incestuous relationship with Mabel, who may have become pregnant by her brother and miscarried.
In 1902, she married fellow actor George Bealby Wright, then about 25 years old, who acted under the name George Bealby.
She died on 8 May 1916, and is buried in St. Pancras Cemetery, London.

## Friend of W. B. Yeats

Yeats' biographer David Pierce notes of Mabel that:
    "According to Yeats, in reference to the Rhymers' Club, she was 'practically one of us'; later, she used to attend Yeats's Monday evenings at Woburn Buildings. From 1912, when she was diagnosed as suffering from cancer, until her death in 1916, Yeats was a frequent visitor to her bedside and composed a series of poems on her titled 'Upon a Dying Lady'".
W. B. Yeats' poem "Upon a Dying Lady" is about Mabel.

## Media portrayals

In 1982 Playhouse drama Aubrey, written by John Selwyn Gilbert, Mabel was portrayed by actress Rula Lenska.

## Appearances

* Four Little Girls by Walter Stokes Craven, opened at the Criterion Theatre, 17 July 1897.
* The Queen's Proctor, Royalty Theatre, June 1896
# Iran International Exhibitions Company

The Iran International Exhibitions Company (IIEC) oversees and operates all international and specialized exhibitions held in Iran. Site features exhibitions calendar and provides trade laws and regulations. IIEC is affiliated with the Ministry of Industry, Mine and Trade. IIEC is located at the Tehran permanent fairground.
# John H. Brown (Medal of Honor)

John H. Brown (1842 – August 7, 1898) was a United States soldier who fought with the 47th Ohio Infantry during the American Civil War. He received the country's highest award for bravery during combat, the Medal of Honor, for his action during the Battle of Vicksburg in Mississippi on May 19, 1863. He was honored with the award on August 24, 1896.

## Biography

John Brown was born in Boston, Massachusetts in 1842. He enlisted with the 47th Ohio Infantry at Cincinnati, Ohio.
Sometime after returning home from the war, he wed Ohio native Latvian B. Davis (1849–1926), a Cincinnati native who was a daughter of William Washington Davis and Catherine J. (Shields) Davis. By 1870, he was employed as a letter carrier for the U.S. Postal Service, and resided in the 16th Ward of Cincinnati, Ohio with his wife, Latvian, and their one-year-old daughter, Lillie, a native of Colorado, and a servant, 17-year-old Katherine Gotten. In 1877, they greeted the arrival of daughter, Grace Ella, who died the same year on April 14. At the Spring Grove Cemetery in Cincinnati, Ohio.
John Brown died in Dear born County, Indiana on August 7, 1898, and was laid to rest at the Spring Grove Cemetery in Cincinnati, Ohio.
# Jaisalmer Fort Jain temples

Jaisalmer Fort Jain temples is a group of seven Śvetāmbara Jain temples inside Jaisalmer Fort in state of Rajasthan. The Jaisalmer Fort is UNESCO World Heritage Site as part of Hill Forts of Rajasthan and is famous for its ancient Jain temples. The temples are well known for their intricate carvings and attract many tourists and religious devotees.

## History

Jaisalmer Fort has a complex of seven Jain temples built by yellow sandstone during 12-16th century. Chandraprabha temple was built in 1509 CE. Askaran Chopra of merta built a huge temple dedicated to Sambhavanatha housing more than 600 idols and Gyan Bhandar (grand library) with oldest hand written books scripted on Bhojpatra and Tadputra. There are about 1,000 old manuscripts written on palm leaf with painted wooden covers. These manuscripts dates back to 12th century. The library also contains paintings, astrological charts, and a copy of dronacharya's Oghaniryaktivritti. Chopra Panchaji built Ashtapadh temple inside the fort.
Sambhavanatha temple and Parshvanath temple houses inscription dated 1440 CE and 1416 CE installed during the reign of Rawal Dūdā.

## Architecture

Jaisalmer Fort has a large complex of seven Jain temples. These Jain temples of Jaisalmer are considered architectural wonders. The group of Jain temple consist of Parsvanatha temple, Sambhavanatha temple, Shitalanatha temple, Shantinatha and Kunthunatha temple, Chandraprabha temple and Rishabhanatha temple.
The temple contains frescoes, mirrors and other forms of detailing, the temples boast exquisite designs, with the walls of the temples features intricate carvings of animals and human figures similar to Dilwara temples.
The Parshvanatha temple is the oldest and the most beautiful temple in the complex. The temple houses a black marble idol of Parshvanatha with a hood of a serpent with multiple heads over his head, similar to that of in Lodhurva Jain temple. The temple is rich in craftsmanship and exquisite carvings. The garbhagriha wall bears carvings of animals and human figures. The shikhar of the temple is crowned with amalaka. The temple features an ornate porch and the main shrine is surrounded by 52 small shrines.
Chandraprabha temple plan consists of the mandapa with iconic architecture. Rishabhanatha temple houses an idol of Rishabhanatha safeguarded with glass cabinets. The remaining two temples i.e. Shantinath and Kunthunath contain beautiful carvings. Ashtapadh temple features images of Vishnu, Kali and Lakshmi along with Jain deities.

## Photo gallery

* Chandraprabha temple
* Interior
* Intricate carvings on wall
* Detail of carving
* Temple ceiling
* Pillars inside temple
* Carving of devkulika on roof