OpenLLM-France/wikimedia huggingface dataset:
# A Naval Biographical Dictionary/Jennings, Edward

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​JENNINGS. (Lieut., 1813. f-p., 23; h-p., 19.)
Edward Jennings, born 28 Aug. 1793, at Kelvedon, co. Essex, is eldest son of David Jennings, Esq., of Ballingrove, Ireland, a Captain in the Army, by Mary, eldest daughter of Colin Campbell, Esq., of Jamaica.
This officer entered the Royal Naval College in Aug. 1805; and embarked in Jan. 1809, as Midshipman, on board the Valiant 74, Capts. John Bligh, Thos. Geo. Shortland, John Nash, and Robt. Dudley Oliver. After witnessing Lord Cochrane’s destruction of the shipping in Aix Roads, sharing also in the attack upon Flushing, and serving off Rochefort and L’Orient, he successively joined, in 1811-12, the Christian VII. and Impregnable, both flagships in the North Sea of Admiral Wm. Young, and the Inconstant 36, bearing the broad pendant of Commodore Edw. W. C. R. Owen. During a winter-cruize of three months in the latter ship among the Western Isles, in 1812-13, Mr. Jennings, who had passed his examination in Sept. 1812, had charge of a watch, and was employed, with the Dublin 74, in search of an American squadron. On 27 May, 1813, he was appointed Acting-Lieutenant of the Calliope 10, Capt. John M‘Kerlie, under whom we find him stationed in the river Elbe during the occupation of Hamburg and Cuxhaven by the French. In the following Sept. he joined the Richmond 12, Capt. Edw. O’Shaughnessy, into which vessel, it appears, he had been confirmed by commission bearing the same date as his acting order. Mr. Jennings’ next appointment was, 27 March, 1814, to the Niobe 38, commanded at first by Capt. •Wm. Augustus Montagu as an Active frigate on the Lisbon station, and afterwards as an hospital and troop ship by Capt. Henry Colins Deacon; under whom he conveyed the sick of the Russian Imperial Guards to Cronstadt, and, independently of a participation in several particular services, assisted at the reduction of Guadeloupe in 1815. The Niobe being paid off in March, 1816, he was afterwards employed in command – from 24 Nov. 1823 until June, 1828, again from 6 June, 1834, until Feb. 1839, and from the latter date until March, 1842 – of the Plover, Tyrian, and Alert packets, on the Mediterranean, North and South American, West India, and Lisbon stations.
Lieut. Jennings is the author of a nautical work of great practical utility, teeming with instruction to officers of all ages, stamped with the approbation ​of the Lords of the Admiralty, and adapted as well to the merchant as the naval service. He married, 17 Dec. 1818, Mary Jane, eldest daughter of Lieut.-Col. J. C. Tufnell, of Bath, by whom he has issue three sons and two daughters.
# A Naval Biographical Dictionary/Jephson, James Saumarez

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​JEPHSON. (Lieut, 1824. p-p.,12; h-p., 20.)
James Saumarez Jephson was born 15 Feb. 1802. This officer entered the Navy, 29 March, 1815, as Fst.-cl. Vol., on board the Contest 12, Capt. Jas. Rattray, on the Home station, where he continued to serve until Aug. 1818 in the Childers 16, Capts. Rattray and Rich. Wales, Madagascar and Maeander frigates, both commanded by Sir Jas. Alex. Gordon, and Impregnable 104, flag-ship of Lord Exmouth. He was then employed for nearly four years in the Mediterranean as Midshipman of the Révolutionnaire 46, Capt. Hon. Fleetwood Broughton Reynolds Pellew; and on 25 March, 1824, after having acted for several months in the Owen Glendower 42, Commodore Sir Robt. Mends, and Cyrené 20, Capt. Percy Grace, he was confirmed in the rank of Lieutenant. His last appointment was, on 18 Oct. in the latter year, to the Britannia 120, flag-ship at Plymouth of Sir Jas. Saumarez, with whom, if we mistake not, he served until paid off in 1827.
Lieut. Jephson is Secretary to the Carlton Club. He is married and has issue. Agent – J. Hinxman.
# A Naval Biographical Dictionary/Jerrard, Michael

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​JERRARD. (Lieut., 1813. f-p., 10; h-p., 32.)
Michael Jerrard entered the Navy, 1 March, 1805, as Midshipman, on board the Pluto sloop, commanded, we believe, by Capt. Rich. Gaire Janvrin, on the Channel station; whence, in 1809, he sailed for the coast of Africa in the Hawk 16, Capt. Henry Bourchier. With his name on the books of the Revenge 74, bearing the flag of Hon. Arthur Kaye Legge, we find him actively employed in command of a gun-boat at the defence of Cadiz in 1811 and 12. He afterwards served for about 12 months as Master’s Mate of the same ship in the Mediterranean under Sir John Gore; and on 30 Dec. 1813 he was there made Lieutenant into the Royal George 100, bearing the flag of Vice-Admiral Fras. Pickmore. He has been on half-pay since July, 1814. Agent – J. Chippendale.
# A Dictionary of Music and Musicians/Masque

From volume 2 of the work.
[ W. H. H. ]
* ↑ In regarding these figures the difference In the value of money then and now must be home In mind.
* ↑ Many of his sketches for this purpose are in the possession of the Duke of Devonshire.
# A Dictionary of Music and Musicians/Massart, Lambert-Joseph

From volume 2 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Massenet, Jules

From volume 2 of the work.
[ G. C. ]
Appendix.
[ A. J. ]
# A Dictionary of Music and Musicians/Matelotte

From volume 2 of the work.
​MATELOTTE, a Dutch sailors' dance, somewhat similar to the English hornpipe. The dancers wore wooden shoes, and their arms were interlaced behind their backs. The music of the Matelotte consists of two parts in 2-4 time, and is remarkable for its short decided rhythm. There is a sabot dance in Lortzing's 'Czar und Zimmermann,' but it is not a true Matelotte, being written in waltz time. The following example is quoted by Schubert, Die Tanzmusik (Leipzig, 1867): it is there attributed to the 17th century, but no information is given as to whether it is a genuine dance tune or merely an adaptation. We quote the first strain only:—
[ W. B. S. ]
# A Dictionary of Music and Musicians/Mason, William

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Masson, Elizabeth

[ A. C. ]
# A Dictionary of Music and Musicians/Matassins

From volume 2 of the work.
​MATASSINS, MATACINS, or MATACHINS—also called Bouffons—a dance of men in armour, popular in France during the 16th and 17th centuries. It was probably derived from the ancient Pyrrhic dance, although the name has been traced to an Arabic root. Jehan Tabourot in his 'Orchésographie' (Langres, 1588) gives a long and interesting account of this dance, with six illustrations of the different positions of the dancers, 'qui sont vestus de petits corcelets, auec fimbries és espaules, et soubs la ceinture, une pente de taffetats soubz icelles, le morion de papier doré, les bras nuds, les sonnettes aux iambes, l'espee au poing droit, le bouclier au poing gaulche.' The Matassins were four in number, generally all men, but sometimes two men and two women. They danced several distinct figures, between which they performed mimic fights with one another. Molière has introduced Matassins into his comédie-ballet of M. de Pourceaugnac, and the dance is said to have been common at Bordeaux, Marseilles, and Strasburg as late as 1735. The following, according to Tabourot, is the air which usually accompanied the dance.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Massol, Jean

​MASSOL, Jean Étienne Auguste, born 1802 at Lodève, Hérault, was taught singing at the Paris Conservatoire from 1823–25, and gained a first prize there. He made his début at the Opera as Licinius ('Vestale'), Nov. 17, 1825, and remained there until Oct. 8, 1845. He first played second tenor parts in several new operas—Rodolphe ('Tell'); Herald ('Robert'); Kalaf (in Cherubini's Ali Baba '); Tavannes ('Huguenots'); Quasimodo (in Louise Bertin's 'Esmeralda'); Forte Braccio (in Haléy's 'Guido et Ginevra'); Mocenigo ('Reine de Chypre'); and the baritone parts of Tell and Jolicoeur ('Philtre'), etc. He played for a time in Brussels, London, etc., and returned as principal baritone to the Opera in 1850, where he remained until his farewell benefit Jan. 14, 1858. The Emperor was present on that occasion, immediately after the attempt made on his life by Orsini on his arrival at the theatre. His best new parts were Reuben (Auber's 'Enfant Prodigue'), Dec. 6, 1850, and Ahasuerus (Halévy's 'Juif Errant'), April 23, 1852. He was a good singer, admirably suited for heroic drama, having the proper figure and height, and a splendid voice. 'In secondary characters no one was Massol's superior, aad when he played the principal parts he did so with the happiest results. Thus he made the success of the Juif Errant.… His Quasimodo did him the greatest honour.…' (Jules Janin in the 'Débats.') He became for a time Director of the Royal Theatres at Brussels; he subsequently went into business, and, retiring, resided at Versailles, and finally in Paris, where he died Oct. 30, 1887.
[ A. C. ]
# A Dictionary of Music and Musicians/Massé, Felix

From volume 2 of the work.
​MASSE, Felix Marie Victor, born at Lorient March 7, 1822; entered the Conservatoire at 12, obtained the first prizes for piano, harmony, and fugue, and in 1844, after some years study with Halévy, the 'Grand prix de Rome' for composition. His cantata 'Le Rénégat' was given 3 times at the Opéra (Feb. 1845), a rare event. During his stay in Rome he composed a 'Messe Solennelle,' performed at the church of St. Louis des Francais (May 1, 1846), a careful and clever work, though wanting in religious sentiment—never Massé's strong point. The unpublished score is in the library of the Conservatoire. After his two years in Rome he travelled through Italy and Germany, and returned to Paris, where he was much appreciated in society. Publishers readily accepted his 'Mélodies' and 'Romances,' and he gained access to the stage with little delay. 'La Chanteuse voilée,' 1 act (Opéra Comique, Nov. 26, 1850), was followed by 'Galathée,' 2 acts (April 14, 1852), and 'Les Noces de Jeannette' (Feb. 4, 1853), a charming lyric comedy in 1 act. These early successes justified the hope that in Massé the French stage had found a composer as fruitful and melodious, if not as original, as Auber; but his later efforts have been less fortunate. 'La Reine Topaze' (Dec. 27, 1856) indeed succeeded completely, and has kept the boards, but 'La Fiancée du Diable' (June 3, 54); 'Miss Fauvette' (Feb. J 3> 55); 'Les Saisons' (Dec. 22, 55); 'Les Chaises à porteurs' (April 28, 58); 'La Fée Carabosse' (March 7, 59); 'La Mule de Pedro' (March 6, 63); 'Fior d'Aliza' (Feb. 5, 66); and 'Le Fils du Brigadier' (Feb. 25, 67), though fairly received, soon disappeared. Some however contain good music, especially 'Les Saisons' and 'Fior d'Aliza.' In 1860 he became chorus-master to the Académie de Musique, and in 66 succeeded Leborne as professor of composition at the Conservatoire—gratifying appointments as showing the esteem of his brother artists, although the work they entailed left him little time for composition. On June 20, 1872, he was elected to the Institut as successor to Auber.
After a long period of silence Massé produced 'Paul et Virginie,' 3 acts (Nov. 15, 1876; given in Italian at Covent Garden Opera-house, June i, 1878). In spite of its success and its ​evident ambition, this opera seems less original .and less homogeneous in style than 'Galathée' or 'Les Noces de Jeannette,' and its best parts, us in all his operas, are the short pieces and the simple romances.
To complete the list of his operas we may mention 'La Favorita e la Schiava' (Venice, 1855), and 'Le Cousin Marivaux' (Baden, 1857); also two drawing-room operettas 'Le Prix de Famille' and 'Une loi Somptuaire.' He has published 3 'Recueils' of 20 songs each, selected from his numerous romances. Many of these are charming little pieces.
[ G. C. ]
Appendix.
[ A. J. ]
# A Dictionary of Music and Musicians/Rouget de Lisle, Claude

From volume 3 of the work.
​ROUGET DE LISLE, Claude Joseph, author of the Marseillaise, born at Montaigu, Lons-le-Saulnier, May 10, 1760. He entered the School of Royal Engineers ('Ecole royale du génie') at Mezières in 1782, and left it two years later with the rank of 'aspirant-lieutenant.' Early in 1789 he was made second lieutenant, and quartered at Joux, near Besançon. At Besançon, a few days after the taking of the Bastille (July 14, 1789), he wrote his first patriotic song to the tune of a favourite air. In 1790 he rose to be first lieutenant, and was moved to Strassburg, where he soon became very popular in the triple capacity of poet, violin-player, and singer. His hymn, 'à la Liberté' composed by Ignace Pleyel, was sung at Strassburg at the fete of Sept. 25, 1791. While there he wrote three pieces for the theatre, one of which, 'Bayard en Bresse,' was produced at Paris Feb. 21, 1791, but without success. In April 1792 he wrote the Marseillaise, of which an account has been given elsewhere. [See vol. ii. p. 219.] As the son of royalist parents, and himself belonging to the constitutional party, Rouget de Lisle refused to take the oath to the constitution abolishing the crown; he was therefore stripped of his military rank, denounced, and imprisoned, only to escape after the fall of Robespierre. After this he re-entered the army, and made the campaign of La Vendée under General Hoche; was wounded, and at length, under the Consulate, returned to private life at Montaigu, where he remained in the depth of solitude and of poverty till the second Restoration. His brother then sold the little family property, and Rouget was driven to Paris; and there would have starved but for a small pension granted by Louis XVIII. and continued by Louis Philippe, and for the care of his friends Béranger, David d'Angers, and especially M. and Mad. Voiart, in whose house at Choisy-le-Roi he died, June 27, 1836.
Besides the works already mentioned, he published in 1797 a volume of 'Essais en vers et en prose' (Paris, F. Didot, an V de la République) dedicated to Méhul, and now extremely rare; so also is his 'Cinquante chants Français' (1825, 4to.), with PF. accompaniment. One of these songs, 'Roland à Roncevaux,' was written in 1792, and its refrain—
Mourir pour la patrie, C'est le sort le plus beau, le plus digne d'envie—
was borrowed by the authors of the 'Chant des Girondins,' which was set to music by Varney, and played a distinguished part in the Revolution of 1848. [See Varney.] [App. p.766 "omit the reference to Varney."] The 'Cinquante chants' is his most important work, but we must not omit to mention two others, 'Macbeth,' a lyrical tragedy (1827, 8vo), and 'Relation du désastre de Quiberon,' in vol. ii. of the 'Mémoires de tous.'
[ G. C. ]
# A Dictionary of Music and Musicians/Rovedino, Carlo

From volume 3 of the work.
​ROVEDINO, CARLO, an excellent bass-singer, born in 1751, appears on the Italian Opera stage in London as early as 1778, and remained there, distinguished in serious and comic opera alike, for many years. He was also greatly in request for concerts, and his name is frequent in the best bills of the last decade of the century, both in town and country. He sang at Haydn's last benefit concert, May 4, 1795. He is said to have sung in Paris in 1790, and he probably divided his time between the two capitals. England, however, was his home; he died in London, Oct. 6, 1822, and was buried in the churchyard of Chelsea New Church.
[ G. ]
# A Dictionary of Music and Musicians/Row of Keys

From volume 3 of the work.
[ J. S. ]
# A Dictionary of Music and Musicians/Rousseau's Dream

From volume 3 of the work.
​ROUSSEAU'S DREAM. A very favourite air in England in the early part of this century. Its first appearance under that name is presumably as 'an Air with Variations for the Pianoforte, composed and dedicated to the Rt. Hon. the Countess of Delaware, by J. B. Cramer. London, Chappell' [1812].
[ G. ]
App. p.776:
​For the last two sentences of the article read as follows:—The melody occurs in the 'Pantomime' in Scene 8 of the 'Devin du Village,' where its form is as follows:—
[ M. ]
# A Dictionary of Music and Musicians/Rovescio, Al

From volume 3 of the work.
​ROVESCIO, AL. A term used, in instrumental music, to express two different things, (1) An imitation by contrary motion, in which every descending interval in the leading part is imitated by an ascending one, and vice versa; see Moscheles's Etude 'La Forza,' op. 51. (2) A phrase or piece which may be played backwards throughout. It is then synonymous with Cancrizans. An interesting example occurs in the minuet of a Sonata for PF. and violin by Haydn, in which, on the repetition after the Trio, the minuet is played backwards, so as to end on the first note, Haydn's indication being Menuetto D.C. wird zurückgespielt. [See Recte et Retro.]
[ F. T. ]
# A Dictionary of Music and Musicians/Rousselot, Scipion

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rovelli

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Round, Catch, and Canon Club

From volume 3 of the work.
​ROUND, CATCH, AND CANON CLUB. A society founded in 1843, by the late Enoch Hawkins, for the purpose of singing the new compositions of the professional members and others written in the form of Round, Catch, and Canon; hence the title of the Club. Among the original members were Messrs. Enoch Hawkins, Hobbs, Bradbury, Handel Gear, Henry Phillips, Addison, D'Almaine, and F. W. Collard. The meetings were originally held at the Crown and Anchor Tavern, whence the Club removed to Freemasons' Tavern, thence to the Thatched House, again to Freemasons' Tavern, and lastly to St. James's Hall, where it still assembles every fortnight from the first Saturday in November until the end of March, ten meetings being held in each season. In the earlier years of ​its existence the number both of professional and non-professional members at each dinner rarely exceeded eighteen, but now from sixty to seventy dine together. The management of the Club devolves upon the professional members, each of whom in turn takes the chair, and is alone responsible for the entertainment. The musical programmes now consist mainly of glees, although an occasional catch is introduced.
[ C. M. ]
# A History of Wood-Engraving/List

A LIST OF THE PRINCIPAL WORKS upon WOOD-ENGRAVING USEFUL TO STUDENTS.
Speculum Humanæ Salvationis. Le plus ancien Monument de la Xylographie et de la Typographie réunies. Reproduit en Facsimile, avec Introduction historique et bibliographique. Londres, 1861. Folio.
Known as Jackson (John) and Chatto's History.
# A History of the Australian Ballot System in the United States

Published July 1917.
The University of Chicago
A HISTORY OF THE AUSTRALIAN BALLOT
SYSTEM IN THE UNITED STATES
A DISSERTATION
SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF ARTS AND LITERATURE IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY
(DEPARTMENT OF POLITICAL SCIENCE)
BY
ELDON COBB EVANS
A Private Edition
Distributed By
The University of Chicago Libraries
A Trade Edition Is Published By
THE UNIVERSITY OF CHICAGO PRESS
CHICAGO. ILLINOIS
1917
TABLE OF CONTENTS
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Garfield (John)

​GARFIELD (JOHN), printer (?) & bookseller in London; The Rolling Press for Pictures, near the Royal Exchange in Cornhill, over against Pope's Head Alley, 1656-1659. On the title-page of George Thornley's Daphnis and Chloe, 1657. [B.M. E. 1652 (2) ], is a plate of Garfield's press, labelled "The Printing Press for Pictures," showing three men at work, one employed with hands and feet in pulling the levers, one inking, and one removing the prints. The books sold by Garfield were printed for him by others.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Garway (John)

​GARWAY (JOHN), bookseller in London; White-Lion near Py-Corner, 1660. Associated with John Andrews, q.v., in the publication of John Reading's Christmas Revived, 1660.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Garrett (William)

​GARRETT (WILLIAM), bookseller in London; Foster Lane, over against Goldsmiths' Hall, at the sign of the White Bear, 1622-74. Took up his freedom March 5th, 1621. [Arber, iii. 685.] Dealt largely in school books, but in March, 165 8/9, he took over from W. Humble, q.v., all his copyrights in Speed's works. His address is given in a letter sent by T. Milbourne to the Secretary of State. [Domestic State Papers, Charles II, 182 (69).] He may have been the Mr. William Garrett described as "my loveinge freind" in the will of John Bill, the King's Printer, who died in 1630. [Plomer, Wills, p. 52.] He died between June 17th, 1674, and January 16th, 167 4/5.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Gamage (Nicholas)

​GAMAGE (NICHOLAS), bookseller in London, (1) On London Bridge neere the Gate, 1646; (2) Three Bibles on London Bridge, next the Gate, 1648. From a deed of assignment dated January 10th, 1645, it appears that Nicholas Gamage was the son of Thomas Gamage, of Walden, in Essex. He had a brother John and a sister Mary. The earliest book found with his name is The World's Prospect … by John Emersone, 1646. [E. 1183 (2).] He also published Thomas Decker's English Villanies [Ninth Edition], 1648. This is probably the same house, afterwards occupied by C. Tyus and T. Passinger, q.v.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Garthwaite (Timothy)

​GARTHWAITE (TIMOTHY), bookseller in London, (1) George in Little Britain, 1650; (2) King's Head in St. Paul's Churchyard, 1664; (3) Golden Lion in St. Bartholomew's Hospital, 1668 (1650-69). Associated for a short time with J. Allestree, q.v. Dealt chiefly in theological literature. His death took place on November 18th, 1669. [Smyth's Obituary, p. 84.] His will was proved in the Prerogative Court of Canterbury on the 24th of the same month, by which he left the profits of his £80 share in the stock of the Company of Stationers to his wife Mary, who was the daughter of Geo. Latham, q.v. He left no son, and was succeeded in the business by his widow. [P.C.C. 140 Coke.] The inventory of his effects is printed in the Bibliographical Register. [Autumn, 1905, pp. 20-22.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Gascoigne (Robert)

​GASCOIGNE (ROBERT) bookseller at Oxford, 1665. His name is found on Sir Balthazar Gerbier's Subsidium Pereginantibus, 1665. [B.M. 1049, a. 25 (1).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Gammon (Richard)

​GAMMON (RICHARD), bookseller in London; Over against Excester [i.e., Exeter] house in the Strand, 1661-62. His imprint has been found in the following books: {{w:Arthur Brett|Brett (Arthur)}}, Patientia Victrix; or the Book of Job in Lyrick Verse, 1661; Hemings (W.), Fatal contract, a French comedy, 1661; Davenport (Robert), King John and Matilda. A Tragedy, 1662.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Garthwaite (Roger)

​GARTHWAITE (ROGER), (?) bookseller in London. His name occurs in the imprint to the following: A Royal letter from the King of France to the King of England … First printed in Paris by Peter de Boys and now reprinted in London for Roger Garthwaite. [E. 137 (30).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Gaye (William)

​GAYE (WILLIAM), bookseller in London, (1) Hosier Lane, at the sign of the Axe; (2) Goldsmiths' Alley (21 June 1642). Publisher of political tracts. [Hazlitt, iii. 36, 310.]