OpenLLM-France/wikimedia huggingface dataset:
# Conway v. Taylor's Executor

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
66 U.S. 603
Conway v. Taylor's Executor
Appeal from the Court of Appeals for the State of Kentucky.
James Taylor, executor of James Taylor, deceased, and Robert Air, filed their bill in equity in the Circuit Court of Campbell county, Kentucky, against Peter Conway, John J. Simmons, John Sebree, Ernest Klinschmidt, Bernard Delmar, John Schenburg, Thomas Dodsworth, Daniel Wolff, and the Common Council of the city of Newport. The prayer of the bill was, that defendants might be enjoined from invading certain ferry rights claimed by plaintiffs as set forth in their bill. An account was also prayed for, and a decree against the fefendants, in respect of the moneys received by them in violation of the rights of complainants. The defendants filed answers to the bill, and after the taking of much testimony and hearing of the cause, a decree was passed for plaintiffs in accordance with the prayer of their bill. From this decree defendants appealed to the Court of Appeals of the State of Kentucky, where an order was entered modifying the decree of the court below, but still adverse to defendants. The cause was then removed to the Supreme Court of the United States upon a writ of error under the 25th section of the judiciary act.
All the leading facts of the case are stated in the opinion of Mr. Justice Swayne.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Cook Company v. Beecher

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
217 U.S. 497
Cook Company v. Beecher
Argued: March 14, 1910. --- Decided: May 16, 1910
Mr. Verenice Munger for plaintiff in error.
Mr. Talcott H. Russell for defendants in error.
Mr. Justice Holmes delivered the opinion of the court:

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Complete Encyclopaedia of Music/A/Agostini, Paolo

Agostini, Paolo, of Vallerano, pupil of Nanini, succeeded to F. Soriano, as chapel-master of St. Peter's at Rome. Padre Martini has inserted an "Agnus Dei" of this composer, in eight parts, which. is a truly curious production, three different canons being carried on at the same time, in a clear and natural manner, both as to melody and harmony. Agostini died at an advanced age, about the year 1660.
# Complete Encyclopaedia of Music/A/Agricola, Frederic Henry

Agricola, Frederic Henry. A chapel-master and composer towards the close of the seventeenth century. He died in Germany, in 1691.
# Complete Encyclopaedia of Music/A/Agricola, George Lewis

Agricola, George Lewis, born at a village near Sondershausen, in 1643, was chapel-master at Gotha, and died in 1676. He published sonatas, preludes, allemandes, &c., for two violins and two viols da gamba, and several other . works.
# Complete Encyclopaedia of Music/A/Agostini, Pietro Simone

Agostini, Pietro Simone, a knight, was born at Rome, and composed, at Venice, in 1688, "Il Ratto delle Sabine," an opera, which was not only represented in his own country, but in several other theatres of Italy.
# Complete Encyclopaedia of Music/A/Agrell, John

Agrell, John. Chapel-master at Nuremburg, where he died in 1767. His compositions were numerous, and highly esteemed in his time.
# Complete Encyclopaedia of Music/A/Agresta, Agostino

Agresta, Agostino, a composer of eminence, is mentioned in the " Treatise on Music" of Cerreto, published in 1601.
# Complete Encyclopaedia of Music/A/Agoge

Agoge. The name given by the ancient Greeks to one of the subdivisions of their melopoeia ; a species of melody, or modulation, in which the notes, both ascending and descending, proceeded by contiguous degrees. Of this modulation there are three species. The first is, when the sounds move from grave to acute, called by the Latins ductus rectus, and by the Italians conducimento recto ; the second, when they pass from acute to grave, called by the Latins ductus revertens, and by the Italians conducimento ritornante ; the third, when they rise by sharps, and fall by flats, called by the Latins ductus circumcurrens, and by the Italians conducimento circoncorrente.
# Complete Encyclopaedia of Music/A/Agostini, Rosa

Agostini, Rosa, was first female singer of the theatre at Florence, in the year 1777, when she particularly distinguished herself with Aprile, in the opera of "Croesus," by Borghi.
# Complete Encyclopaedia of Music/A/Agricola, Benedetta Emilia Molteni

Agricola, Benedetta Emilia Molteni, wife of J. F. Agricola, was a singer at the opera of Berlin, to which place she came in 1742. She had been a pupil of Porpora, Hasse, and Salimbeni. When fifty years of age, she still sang bravura airs in an astonishing manner.
# Complete Encyclopaedia of Music/A/Agostini, Ludovico

Agostini, Ludovico, chapel-master to Duke Alphonse II., was born at Ferrara. He published. "Messe, Vespri, Motetti, Madrigali, e Sinfonie," Ancona 1588. He died in 1590, aged fifty-six.
# Complete Encyclopaedia of Music/B/Battle hymn

Battle hymn. During and previous to many of the battles of the ancients, they had hymns and war songs composed and dedicated to certain gods. At the expedition of Cyrus against the Babylonians, before he came within reach of the enemy, he gave the rallying word, which was "Jupiter, protector and conqueror," and then caused the war hymn to be sounded, to which the soldiers answered with a loud voice. This hymn was dedicated to Castor and Pollux, and whenever it was sung, it seemed to inspire the soldiers with both military and religious ardor. So also at the battle with the Persian army ; history says, "On the first signal of Cyrus, his troops faced about on every side, keeping a pro-found silence in expectation of the event. The prince now thought it time to sing the song of battle. The whole army answered it with loud shouts and invocations to the god of war." At the battle of Cunaxa, when the armies were not far distant from each other, "the Greeks began to sing the hymn of battle ; and after the death of young Cyrus, on seeing the victors approach, they sang a hymn." During the wars sustained by the ancients in Africa, Agathoies, desirous of putting his soldiers under the necessity of conquering, by leaving no other refuge than victory, resolved to burn every ship in his fleet. Therefore, "taking a flambeau in his hand, and causing the battle song to be sounded, he hastily led the way on board his own ship, and set fire to it. All the other officers did the like, and were cheerfully followed by the soldiers. The mu-sic sounded from every quarter, and the whole army resounded with joyful shouts and acclamations." Of the general treatment of captives by the Babylonians, we know but little. They were a musical people, and had taste enough to appreciate their poetical and musical talents ; and they were summoned occasionally to amuse the banquets of their masters, though it was much against their will that they sang the songs of Zion in a strange land. "By the rivers of Babylon, there they sat down and wept when they remembered thee, 0 Zion." No nation, perhaps, at that early period, were equal to the Babylonians either in vocal or instrumental music.
# Complete Encyclopaedia of Music/B/Baud, M

Baud, M., published at Paris, in 1803, observations on strings for musical instruments.
# Complete Encyclopaedia of Music/B/Bauer, Francois

Bauer, Francois, a violinist of extraordinary quickness and precision, was born in Bohemia. Mozart heard him at Prague, and is said to have much admired his playing.
# Complete Encyclopaedia of Music/B/Battuta

Battuta. (I.) The art of beating time.
# Complete Encyclopaedia of Music/B/Bauer, Catharine

Bauer, Catharine, an amateur pianist, pupil of Sterkel, published some piano-forte music in the years 1798 and 1799. She was born at Wurtzburg in 1785.
# Complete Encyclopaedia of Music/B/Bau

Bau. (G.) The structure, speaking of musical instruments, &c.
# Complete Encyclopaedia of Music/B/Bauck

Bauck. An organist in Saxony, and composer in 1799.
# Complete Encyclopaedia of Music/B/Batu

Batu. A composer of instrumental music at Paris in 1798.
# Complete Encyclopaedia of Music/B/Baudiot, Charles H

Baudiot, Charles H. An instrumental composer at Paris in 1802. He was also professor of the violoncello at the Conservatory, and one of the authors of the method for his instrument, approved by that body.
BAUDRON, ANTOINE LAURENT, first violin at the Th��tre Fran�ais, was born at Amiens in 1743. He composed the music of several operas, among others the new music to the "Pygmalion" of J. J. Rousseau.
# Complete Encyclopaedia of Music/B/Bauer, G

Bauer, G. CHARLES. A composer about the year 1785.
# Collier's New Encyclopedia (1921)/Caledonian Canal

Edition of 1921; disclaimer.
​CALEDONIAN CANAL, a chain of natural lakes united by artificial canals, running straight across the N. of Scotland in a S. W. line from the North Sea to the Atlantic, through Glenmore, or the Great Glen of Albin, in Invernessshire, and touching Argyllshire at its extremity.
# Collier's New Encyclopedia (1921)/California, Gulf of

Edition of 1921; disclaimer.
​CALIFORNIA, GULF OF, or SEA OF CORTES, an arm of the Pacific Ocean, separating Lower California from the Mexican mainland. It is 700 miles in length and varies in width from 40 to 100 miles. There is but little navigation carried on there. On the W. coast are pearl fisheries. The gulf was discovered by Cortes, and for some time was called after him. The river Colorado empties into the N. extremity. The principal ports are San Felipe, San José, and La Paz on the W. shore, and Mazatlán, and Guaymas on the E. shore.
# Collier's New Encyclopedia (1921)/California, Lower

Edition of 1921; disclaimer.
​CALIFORNIA, LOWER, a territory of Mexico, comprising a peninsula jutting into the Pacific Ocean, and separated from the mainland throughout its entire length by the Gulf of California. It is nearly 800 miles in length, and from 30 to 120 miles wide; area 58,328 square miles. It is largely mountainous and arid, but possesses valuable agricultural and mineral resources. The chief towns are Ensenada de Todos, Santos, and La Paz, the capital. Pop. about 55,000, of whom perhaps a half are Indians.
# Collier's New Encyclopedia (1921)/Caledonia

Edition of 1921; disclaimer.
​CALEDONIA, the name given by the Romans to that part of Scotland which lay between the Friths of Forth and Clyde, and which was partially inhabited by the tribe of Caledonii, The name Caledonii disappears about the beginning of the 4th century, when the inhabitants of Scotland begin to be spoken of as Scots and Ficts. The word Caledonia has been retained as a kind of poetical name for Scotland.
# Collier's New Encyclopedia (1921)/Calends

Edition of 1921; disclaimer.
​CALENDS, the first day of the month among the Romans. The Greek Calends, a time that never occurred; an ancient Roman phrase which originated in the fact that the Greeks had nothing corresponding to the Roman calends.
# Collier's New Encyclopedia (1921)/California, University of

Edition of 1921; disclaimer.
​CALIFORNIA, UNIVERSITY OF, a non-sectarian coeducational seat of learning in Berkeley, Cal. The undergraduate department is located at Berkeley, 9 miles from San Francisco; the astronomical department and Lick Observatory at Hamilton, Santa Clara co., and the professional schools at San Francisco. Tuition is free. The principal benefactor of the university, from 1896, was Mrs. Phœbe A. Hearst, widow of Senator Hearst. Her gifts reach millions of dollars. As a result of these and other resources of endowment, the institution has become one of the richest of American universities.
In the fall of 1919 there were 5,276 men and 4,002 women enrolled as students. The teaching staff had 696 members. There were 458,000 bound volumes and 185,000 pamphlets in the library. David P. Barrows, Ph. D., professor of Political Science at the university, was elected President of the institution, to fill the vacancy created by the resignation of Dr. Benjamin Ide Wheeler in June, 1919.
# Collier's New Encyclopedia (1921)/Calderon de la Barca, Pedro

Edition of 1921; disclaimer.
​CALDERON DE LA BARCA, PEDRO (dā lä bär'kä), a Spanish dramatist; born in Madrid, Spain, Jan. 17, 1600; educated in the Jesuits' College, Madrid, and at Salamanca. Before his 14th year he had written his third play. Leaving Salamanca in 1625, he entered the army and served with distinction for 10 years in Milan and the Netherlands. In 1636 he was recalled by Philip IV., who gave him the direction of the court entertainments. The next year he was made knight of the order of Santiago, and served in 1640 in the campaign in Catalonia. In 1651 he entered the clerical profession, and in 1653 obtained a chaplain's office in the archiepiscopal church at Toledo. But as this situation removed him too far from court, he received, in 1663, another at the king's court chapel; and at the same time a pension was assigned him from the Sicilian revenue. His fame greatly increased his income, as he was solicited by the principal cities of Spain to compose their "Sacremental Acts." for which he was liberally paid, and on which he specially prided himself. Besides heroic comedies and historical plays, some of which merit the name of tragedies, Calderon left 95 sacramental acts, 200 preludes, and 100 farces. He wrote his last play in the 80th year of his age. His smaller poems are now forgotten, but his plays have maintained their place on the stage even more than those of Lope de Vega. Their number amounts to 127. He wrote, however, many more, some of which were never published. He died in Madrid, May 25, 1681.
# Collier's New Encyclopedia (1921)/Calendula

Edition of 1921; disclaimer.
​CALENDULA, a genus of plants, of which C. officinalis, the Garden Marigold, is a species. They are showy plants, and are in some places used in cookery.
# Darkwater/Almighty Death

Almighty Death
Softly, quite softly—
For I hear, above the murmur of the sea,
Faint and far-fallen footsteps, as of One
Who comes from out beyond the endless ends of Time,
With voice that downward looms thro' singing stars;
Its subtle sound I see thro' these long-darkened eyes,
I hear the Light He bringeth on His hands—
Almighty Death!
Softly, oh, softly, lest He pass me by,
And that unquivering Light toward which my longing soul
And tortured body through these years have writhed,
Fade to the dun darkness of my days.
Softly, full softly, let me rise and greet
The strong, low luting of that long-awaited call;
Swiftly be all my good and going gone,
And this vast veiled and vanquished vigor of my soul
Seek somehow otherwhere its rest and goal,
Where endless spaces stretch,
Where endless time doth moan,
Where endless light doth pour
Thro' the black kingdoms of eternal death.
Then haply I may see what things I have not seen,
Then I may know what things I have not known;
Then may I do my dreams.
Farewell! No sound of idle mourning let there be ​To shudder this full silence—save the voice
Of children—little children, white and black,
Whispering the deeds I tried to do for them;
While I at last unguided and alone
Pass softly, full softly.
# Darkwater/A Hymn to the Peoples

A Hymn to the Peoples
O Truce of God!
And primal meeting of the Sons of Man,
Foreshadowing the union of the World!
From all the ends of earth we come!
Old Night, the elder sister of the Day,
Mother of Dawn in the golden East,
Meets in the misty twilight with her brood,
Pale and black, tawny, red and brown,
The mighty human rainbow of the world,
Spanning its wilderness of storm.
Softly in sympathy the sunlight falls,
Rare is the radiance of the moon;
And on the darkest midnight blaze the stars—
The far-flown shadows of whose brilliance
Drop like a dream on the dim shores of Time,
Forecasting Days that are to these
As day to night.
So sit we all as one.
So, gloomed in tall and stone-swathed groves,
The Buddha walks with Christ!
And Al-Koran and Bible both be holy!
Almighty Word!
In this Thine awful sanctuary,
First and flame-haunted City of the Widened World,
Assoil us, Lord of Lands and Seas!
We are but weak and wayward men,
Distraught alike with hatred and vainglory; ​Prone to despise the Soul that breathes within—
High visioned hordes that lie and steal and kill,
Sinning the sin each separate heart disclaims,
Clambering upon our riven, writhing selves,
Besieging Heaven by trampling men to Hell!
We be blood-guilty! Lo, our hands be red!
Not one may blame the other in this sin!
But here—here in the white Silence of the Dawn,
Before the Womb of Time,
With bowed hearts all flame and shame,
We face the birth-pangs of a world:
We hear the stifled cry of Nations all but born—
The wail of women ravished of their stunted brood!
We see the nakedness of Toil, the poverty of Wealth,
We know the Anarchy of Empire, and doleful Death of Life!
And hearing, seeing, knowing all, we cry:
Save us, World-Spirit, from our lesser selves!
Grant us that war and hatred cease,
Reveal our souls in every race and hue!
Help us, O Human God, in this Thy Truce,
To make Humanity divine!
# Darkwater

DARKWATER
DARKWATER
VOICES FROM WITHIN THE VEIL
BY
W. E. BURGHARDT DU BOIS
author of "the souls of black folk," "the quest of the silver fleece," etc.
NEW YORK
HARCOURT, BRACE AND HOWE
1920
COPYRIGHT, 1920, BY HARCOURT, BRACE AND HOWE, INC.
THE QUINN & BODEN CO. PRESS
RAHWAY, N. J.
AD NINAM MAY 12, 1896
CONTENTS
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1963, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 60 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Curious Myths of the Middle Ages (1876)/Appendix B

APPENDIX B
Mountain of Venus
(Extract from Vincent of Beauvais: Speculum Historiale, I. xxvi.)
THE youth having returned for his ring to the statue, “videt digitum statuæ usque ad volam manus recurvatum, et quantumvis conatus annulum recuperare, nec digitum inflectare nec annulum valuit extrahere. Redit ad sodales, nec illis ea de re quicquam indicavit. Nocte intempesta cum famulo ad statuam revertitur, et extensum ut initio digitum repperit, sed sine annulo; jactura dissimulata domum se confert ad novam nuptam. Cumque thorum genialem ingressus sponsæ se jungere vellet, sensit impedire sese et quiddam nebulosum ac densum inter suum conjugisque corpus volutari; sentiebat id tactu, videre tamen nequiebat. Hoc obstaculo ab amplexu prohibebatur, audiebat etiam vocem dicentem: ‘mecum concumbe, quia hodie me desponsasti. Ego sum Venus, cui digito annulum inseruisti, nec reddam.’ Territus ille tanto prodigio nihil referre ausus est vel potuit; insomnem duxit noctem illam, multum secum deliberans.
“Sic factum est per multum tempus ut quacunque hora cum sponsa concumbere vellet, illud idem sentiret et audiret. Erat sane alias valens et domi aptus et militiæ. Tandem ​uxoris querelis commonitus, rem parentibus detulit. Illi habito concilio Palumbo cuidam, presbytero suburbano, rem pandunt. Is autem erat necromanticus et in maleficiis potens. Illectus ergo promissis multis compositam epistolam dedit juveni dicens: ‘Vade illa hora noctis ad compitum, ubi quatuor viæ conveniunt, et stans tacite considera. Transient ibi figuræ hominum utriusque sexus, omnisque ætatis et conditionis, equites et pedites, quidam læti quidam tristes; quicquid audieris non loquaris. Sequetur illam turbam quidam statura procerior, forma corpulentior, curru sedens; huic tacitus epistolam trades legendam, statimque fiet quod postulas.’ Ille autem juvenis totum implevit prout edoctus erat. Viditque inter cæteros ibi mulierem in habitu meretricio mulam inequitantem, crine soluto per humeros jactato, vitta aurea superius constricto, auream virgam gerentem in manibus, qua mulum regebat; præ tenuitate vestium pene nuda apparebat, gestus exsequens impudicos. Ultimus dominus turbæ terribiles in juvenem oculos exacuens, ab axe superbo smaragdis et unionibus composito causas viæ ab eo exquirebat. Nihil ille contra, sed protenta manu epistolam ei porrigit; dæmon notum sigillum non audens contemnere legit scriptum, moxque brachiis in cœlum elevatis; ‘Deus,’ inquit, ‘omnipotens, quamdiu patieris nequitias Palumbi presbyteri?’ Nec mora, satellites suos a latere mittit qui annulum extorquerent a Venere. Illa multum tergiversata vix tandem reddidit. Ita juvenis voti compos sine obstaculo potitus est diu suspiratis amoribus. Palumbus autem, ubi dæmonis clamorem ad Deum audivit de se, intellexit sibi præsignari finem dierum. Quocirca omnibus in membris ultro truncatis miserabili pœna defunctus est.”
# Curious Myths of the Middle Ages (1876)/Appendix C

APPENDIX C
Pre-Christian Crosses
I HAVE said that the phallic origin attributed to the cross is destitute of evidence. In a work like this, which will be in the hands of general readers, it is impossible to enter into the subject.
I believe I have conscientiously examined the question. If I saw that there was sufficient evidence to substantiate the theory, I would adopt it without hesitation. But I think a better claim may be made for the lightning, and a better still for the ancient instrument of two sticks used for producing fire by friction.
An article on Sun worship in the “English Leader,” copied into “Public Opinion” (Sept. 14, 1867), assumes the identity of the cross with the phallus. The article is full of assertions, rather bold and reckless than well supported by evidence.
It asserts on the authority of the Abbé Pluche that the crux ansata was the symbol of the annual inundation of the Nile. The speculations of the learned on the signification of the Egyptian hieroglyphics, previous to the discoveries of Champollion, are, however, devoid of weight. “The crux ansata,” it adds, “that is, the cross and circle, was the sign of Venus or sensual love,—the goddess from whose name our word venery is derived,—and it is still the astronomical ​symbol of the planet which bears her name.” As we have already seen, the crux ansata was not exclusively the symbol of Astarte; it was a sign of divinity and was placed near every god to indicate him as being Divine. It appears beside Baal as well as Astarte.
If used more frequently with her than with other deities, it was because it symbolized her power over moisture, she being the Moon. The cross did not belong to her as a goddess of sensuality, but as presiding over the month and its rains; to Baal it belonged as a year-god guiding the seasons.
The same article refers to the Indian cross as though its were a phallus; whereas the symbols are entirely and radically distinct, as may be seen by reference to the plates of Müller’s “Glauben, Wissen, und Kunst der Hindus.”