OpenLLM-France/wikimedia huggingface dataset:
# A Naval Biographical Dictionary/Dalton, James Robert

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​DALTON. (Ret. Capt., 1840. f-p., 11; h-p., 36.)
James Robert Dalton is second son of the late John Dalton, Esq., of Sleningford, co. York, and of Fillingham Castle, co. Lincoln, a Lieutenant-Colonel in the army, by Susanna, eldest daughter of General ​Robt. Prescott, of Rose Green, co. Sussex. Capt. Dalton, who has three brothers in the army, is brother-in-law of Lieut.-General Sir Jas. Chas. Dalbiac, K.C.B., and uncle of the present Duchess of Roxburghe.
This officer entered the Navy, 1 June, 1800, as Fst.-cl. Vol., on board the Stag 32, Capt. Robt. Winthrop, and after attending the expedition against Ferrol, was wrecked in Vigo Bay, 6 Sept. following. From that period until Nov. 1804 he next served with Capt. John Chambers White in the Mediterranean, as Midshipman of the Renown 74, flag-ship at first of Sir John Borlase Warren, and Kent 74. He then cruized for 18 months in the Ramillies 74, Capt. Fras. Pickmore; and, on 25 Aug. 1806, was promoted from the Foudroyant 80, flag-ship at Newfoundland of Sir J. B. Warren, to an Acting-Lieutenancy in the Namur 74, Capt. Lawrence Wm. Halsted. Being confirmed by the Admiralty 26 Nov. following, he subsequently joined – 1 Dec. in the same year, the Confiance 18, Capt. Jas. Lucas Yeo, off Cape Finisterre – 29 Sept. 1807, the Leonidas 38, Capts. Jas. Dunbar, Henry Hope, and Anselm John Griffiths, in which frigate he beheld the capture of Cephalonia, 4 Oct. 1809 – and, in Nov. of the latter year, the Delight sloop, Capts. John Brett Purvis and Lord Balgonie. He obtained a second promotal commission 30 April, 1810, and was afterwards in command, from 28 July, 1814, to 28 May, 1815, of the Spitfire 16, on the coasts of Spain, France, and Ireland. He retired with Post-rank 10 Sept. 1840. Agents – Messrs. Halford and Co.
# A Naval Biographical Dictionary/Dalling, John Windham

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​DALLING. (Captain, 1828. f-p., 19; h-p., 25.)
John Windham Dalling is youngest son of the late Sir John Dalling, Bart., a Colonel in the army, and Governor of Jamaica, by Louisa, daughter of Excelles Lawford, Esq.; brother of the present Sir Wm. Windham Dalling, Bart., of Burwood Park, co. Surrey; and brother-in-law of General Hon. Robt. Meade.
This officer entered the Navy, 4 Nov. 1803, as Fst.-cl. Vol., on board the Defence 74, Capt. Geo. Hope, and after sharing, as Midshipman, in the battle of Trafalgar, removed, in Dec. 1805, to the Amphion 32, Capt. Wm. Hoste. In the summer of 1806 we find him present at the debarkation of the troops immediately prior to the battle of Maida, as also at the capture of the town of Reggio, and of the important fortress of Cotrone, containing a garrison of 600 men. While subsequently employed in the same ship in the Adriatic, Mr. Dalling served in her boats on various occasions, but particularly on 27 Aug. 1809, when he aided, as Master’s Mate, in taking the strong fort of Cortellazzo, with a flotilla of six gun-boats, and a convoy of merchantmen lying under its protection. He next joined, for a few months, the Centaur 74, bearing the flag off Toulon of Sir Sam. Hood; and, on 18 Oct. 1810, he was confirmed to a Lieutenancy in the Ville de Paris 110, Capt. Geo. Burlton, on the same station. From Aug. 1812, until promoted to the rank of Commander, 15 June, 1814, he served at the Cape of Good Hope on board the Lion 64, and Semiramis 36, flag-ships of Rear-Admirals Hon. Robt. Stopford and Chas. Tyler; and he subsequently obtained command, 7 Jan. 1817, and 18 April, 1826, of the Nimrod and Raleigh sloops, on the Leith and Mediterranean stations. Assuming Post-rank 2 Jan. 1828, Capt. Dalling, from 15 Nov. 1838, until May, 1842, further served in the Daphne, first-class corvette, off Lisbon, and again in the Mediterranean. Since the latter date he has been unemployed.
Capt. Dalling married, 10 June, 1844, Frances Anne, eldest daughter of Colonel Fanshawe, R.E., C.B. Agents – Messrs. Stilwell.
# A Naval Biographical Dictionary/Dalrymple, James

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​DALRYMPLE. (Retired Commander, 1845.)
James Dalrymple was made a Lieutenant 17 Nov. 1800. He became a Retired Commander on the Junior List, 15 Dec. 1830; and on the Senior, 8 Sept. 1845.
# A Naval Biographical Dictionary/Dalgleish, James Ogilvy

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​DALGLEISH. (Lieut., 1823. f-p., 11; h-p., 22.)
James Ogilvy Dalgleish, born in May, 1800, at Scotscraig House, co. Fife, is cousin of the late Commander Jas. Dalgleish, R.N.
This officer entered the Navy, 18 Jan. 1814, as Fst.-cl. Vol., on board the Barfleur 98, Capt. John Maitland, stationed off Toulon; and on removing, in Jan. following, to the Liverpool 40, Capt. Arthur Farquhar, visited Quebec, the Cape of Good Hope, and the Isle of France. He became, in March, 1818, Midshipman of the Tiber 38, Capt. Jas. Rich. Dacres; served next, from Sept. in the same year until Nov. 1822, in the Liffey 40, Capts. Hon. Henry Duncan and Chas. Grant, on the Home, Mediterranean, and East India stations; and then joined, as Acting-Lieutenant, the Termagant 28, Capt. Robt. Graham Dunlop, to which ship he was confirmed by the Admiralty, 26 July, 1823. His subsequent appointments were, 28 Nov. 1823, and 15 March, 1824, to the Rattlesnake 28, and Brisk 10, Capts. Hugh Patton and Chas. Hope, on the Home station. Since Oct. 1825, Lieut. Dalgleish has been on half-pay.
He married, 20 July, 1831, Isabella Marshall, daughter of David Martin, Esq., of Dundee, by whom he has issue three children.
# A Treatise on Painting/Chapter 31

Chap. XXXI.—Of the small Bones in several Joints of the human Body.
There are in the joints of the human body certain small bones, fixed in the middle of the tendons which connect several of the joints. Such are the patellas of the knees, and the joints of the shoulders, and those of the feet. They are eight in number, one at each shoulder, one at each knee, and two at each foot under the first joint of the great toe towards the heel. These grow extremely hard as a man advances in years.
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# A Treatise on Painting/Chapter 304

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AERIAL PERSPECTIVE.
Chap. CCCIV.—Aerial Perspective.
There is another kind of perspective called aerial, because by the difference of the air it is easy to determine the distance of different objects, though seen on the same line; such, for instance, as buildings behind a wall, and appearing all of the same height above it. If in your picture you want to have one appear more distant than another, you must first suppose the air somewhat thick, because, as we have said before, in such a kind of air the objects seen at a great distance, as mountains are, appear blueish like the air, by means of the great quantity of air that interposes between the eye and such mountains. You will then paint the first building behind that wall of its proper colour; the next in point of distance, less distinct in the outline, and participating, in a greater degree, of the blueish colour of the air; another which you wish to send off as much farther, should be painted as much bluer; and if you wish one of them to appear five times farther removed beyond the wall, it must have five times more of the azure. By this rule these buildings which appeared all of the same size, and upon the same line, will be distinctly perceived to be of different dimensions, and at different distances.
# A Treatise on Painting/Chapter 306

Chap. CCCVI.—Small Figures ought not to be too much finished.
Objects appear smaller than they really are when they are distant from the eye, and because there is a great deal of air interposed, which weakens the appearance of forms, and, by a natural consequence, prevents our seeing distinctly the minute parts of such objects. It behoves the painter therefore to touch those parts slightly, in an unfinished manner; otherwise it would be against the effect of Nature, whom he has chosen for his guide. For, as we said before, objects appear small on account of their great distance from the eye; that distance includes a great quantity of air, which, forming a dense body, obstructs the light, and prevents our seeing the minute parts of the objects.
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# A Treatise on Painting/Chapter 307

Chap. CCCVII.—Why the Air is to appear whiter as it approaches nearer to the Earth.
As the air is thicker nearer the earth, and becomes thinner as it rises, look, when the sun is in the east, towards the west, between the north and south, and you will perceive that the thickest and lowest air will receive more light from the sun than the thinner air, because its beams meet with more resistance.
If the sky terminate low, at the end of a plain, that part of it nearest to the horizon, being seen only through the thick air, will alter and break its natu​ral colour, and will appear whiter than over your head, where the visual ray does not pass through so much of that gross air, corrupted by earthy vapours. But if you turn towards the east, the air will be darker the nearer it approaches the earth; for the air being thicker, does not admit the light of the sun to pass so freely.
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# A Treatise on Painting/Chapter 308

Chap. CCCVIII.—How to paint the distant Part of a Landscape.
It is evident that the air is in some parts thicker and grosser than in others, particularly that nearest to the earth; and as it rises higher, it becomes thinner and more transparent. The objects which are high and large, from which you are at some distance, will be less apparent in the lower parts; because the visual ray which perceives them, passes through a long space of dense air; and it is easy to prove that the upper parts are seen by a line, which, though on the side of the eye it originates in a thick air, nevertheless, as it ascends to the highest summit of its object, terminates in an air much thinner than that of the lower parts; and for that reason the more that line or visual ray advances from the eye, it becomes, in its progress from one point to another, thinner and thinner, passing from a pure air into another which is purer; so that a painter who has mountains to represent in a landscape, ought to observe, that from one hill to another, the tops will appear always clearer than the bases. In proportion as the distance from one to another is greater, the top will be ​clearer; and the higher they are, the more they will shew their variety of form and colour.
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# A Treatise on Painting/Chapter 302

Chap. CCCII.—Why the Colour and Shape of Objects are lost in some Situations apparently dark, though not so in Reality.
There are some situations which, though light, appear dark, and in which objects are deprived both ​of form and colour. This is caused by the great light which pervades the intervening air; as is observable by looking in through a window at some distance from the eye, when nothing is seen but an uniform darkish shade; but if we enter the house, we shall find that room to be full of light, and soon distinguish every small object contained within that window. This difference of effect is produced by the great brightness of the air, which contracts considerably the pupil of the eye, and by so doing diminishes its power. But in dark places the pupil is enlarged, and acquires as much in strength, as it increases in size. This is proved in my second proposition of perspective.
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# A Treatise on Painting/Chapter 309

Chap. CCCIX.—Of precise and confused Objects.
The parts that are near in the fore-ground should be finished in a bold determined manner; but those in the distance must be unfinished, and confused in their outlines.
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# A Treatise on Painting/Chapter 303

Chap. CCCIII.—Various Precepts in Painting.
The termination and shape of the parts in general are very little seen, either in great masses of light, or of shadows; but those which are situated between the extremes of light and shade are the most distinct.
Perspective, as far as it extends in regard to painting, is divided into three principal parts; the first consists in the diminution of size, according to distance; the second concerns the diminution of colours in such objects; and the third treats of the diminution of the perception altogether of those objects, and of the degree of precision they ought to exhibit at various distances.
​The azure of the sky is produced by a mixture composed of light and darkness; I say of light, because of the moist particles floating in the air, which reflect the light. By darkness, I mean the pure air, which has none of these extraneous particles to stop and reflect the rays. Of this we see an example in the air interposed between the eye and some dark mountains, rendered so by the shadows of an innumerable quantity of trees; or else shaded on one side by the natural privation of the rays of the sun; this air becomes azure, but not so on the side of the mountain which is light, particularly when it is covered with snow.
Among objects of equal darkness and equal distance, those will appear darker that terminate upon a lighter ground, and vice versâ.
That object which is painted with the most white and the most black, will shew greater relief than any other; for that reason I would recommend to painters to colour and dress their figures with the brightest and most lively colours; for if they are painted of a dull or obscure colour, they will detach but little, and not be much seen, when the picture is placed at some distance; because the colour of every object is obscured in the shades; and if it be represented as originally so all over, there will be but little difference between the lights and the shades, while lively colours will shew a striking difference.
* ↑ See chap. ccxcii.
* ↑ See chap. ccxii. ccxlviii. cclv.
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# A Treatise on Painting/Chapter 305

Chap. CCCV.—The Parts of the Smallest Objects will first disappear in Painting.
Of objects receding from the eye the smallest will be the first lost to the sight; from which it follows, that the largest will be the last to disappear. The painter, therefore, ought not to finish the parts of those objects which are very far off, but follow the rule given in the sixth book.
How many, in the representation of towns, and other objects remote from the eye, express every part of the buildings in the same manner as if they were very near. It is not so in nature, because there is no sight so powerful as to perceive distinctly at any great distance the precise form of parts or extremities of objects. The painter therefore who pronounces the outlines, and the minute distinction of parts, as several have done, will not give the representation of distant objects, but by this error will make them appear exceedingly near. Again, the angles of buildings in distant towns are not to be expressed (for they cannot be seen), considering that angles are formed by the concurrence of two lines into one point, and that a point has no parts; it is therefore invisible.
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# A Treatise on Painting/Chapter 301

Chap. CCCI.—Of the Colour of Mountains.
The darker the mountain is in itself, the bluer it will appear at a great distance. The highest part will be the darkest, as being more woody; because woods cover a great many shrubs, and other plants, which never receive any light. The wild plants of those woods are also naturally of a darker hue than cultivated plants; for oak, beech, fir, cypress, and pine trees are much darker than olive and other domestic plants. Near the top of these mountains, where the air is thinner and purer, the darkness of the woods will make it appear of a deeper azure, than at the bottom, where the air is thicker. A plant will detach very little from the ground it stands upon, if that ground be of a colour something similar to its own; and, vice versâ, that part of any white object which is nearest to a dark one, will appear the whitest, and the less so as it is removed from it; and any dark object will appear darker, the nearer it is to a white one; and less so, if removed from it.
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# A Short Biographical Dictionary of English Literature/Rawlinson, George

​Rawlinson, George (1812-1902).—Historian, b. at Chadlington, Oxfordshire, and ed. at Oxf., took orders, and was Canon of Canterbury from 1872. He held the Camden Professorship of Ancient History at Oxf. from 1861. Among his works are a translation of Herodotus (1858-62) (with his brother, Sir Henry R., q.v.), Historical Evidences of the Truth of the Scripture Records, The Five Great Monarchies of the Ancient Eastern World (1862-67), Manual of Ancient History (1869), The Sixth and Seventh Great Oriental Monarchies (1873-77), History of Ancient Egypt (1881), Histories of the Phoenicians and Parthians, Memoirs of Sir H. C Rawlinson (1898).
# A Short Biographical Dictionary of English Literature/Raspe, Rudolf Eric-

​Raspe, Rudolf Eric- (1737-1794).—B. in Hanover, was a prof. in Cassel, and keeper of the Landgrave of Hesse's antique gems and medals, in the purloining of some of which he was detected, and fled to England. Here he won for himself a certain place in English literature by the publication in 1785 of Baron Munchausen's Narrative. Only a small portion of the work in its present form is by R., the rest having been added later by another hand. He appears to have maintained more or less during life his character of a rogue, and is the prototype of Douster-swivel in Scott's Antiquary.
# A Short Biographical Dictionary of English Literature/Ray, John

​Ray, John (1627-1705). Naturalist, s. of a blacksmith at Black Notley, Essex, was at Camb., where he became a Fellow of Trinity, and successively lecturer on Greek and mathematics. His ​first publication was a Latin catalogue of plants growing near Cambridge, which appeared in 1660. Thereafter he made a tour of Great Britain, and pub. in 1670 his Catalogue of the Plants of England and the adjacent Isles. In 1663 he had travelled on the Continent or three years with his pupil-friend, F. Willughby, and in 1673 appeared Observations on his journeys, which extended over the Low Countries, Germany, Italy, and France, with a catalogue of plants not native to England. On the death of Willughby, R. ed. his sons, and in 1679 retired to his native village, where he continued his scientific labours until his death. These included the ed. of W.'s History of Birds and Fishes, a collection of English proverbs, Historia Plantarum Generalis (1686-1704), and Synopsis Methodica Animalium. He was for long popularly known by his treatise, The Wisdom of God manifested in the works of the Creation (1691), a precursor of Paley's Natural Theology. R. is the father of English botany, and appears to have grasped the idea of the natural classification of plants, afterwards developed by Jussieu and other later naturalists. His greatest successors, including Cuvier, highly commended his methods and acquirements.
# A Short Biographical Dictionary of English Literature/Ramsay, Edward Bannerman

​Ramsay, Edward Bannerman (1793-1872).—A clergyman of the Scottish Episcopal Church, and Dean of Edinburgh in that communion from 1841, has a place in literature by his Reminiscences of Scottish Life and Character, which had gone through 22 ed. ​at his death. It is a book full of the engaging personality of the author, and preserves many interesting and entertaining traits and anecdotes which must otherwise, in all probability, have perished. The Dean was deservedly one of the most popular men in Scotland.
# A Short Biographical Dictionary of English Literature/Rapin De Thoyras, Paul

​Rapin de Thoyras, Paul (1661-1725).—Historian, b. at Castres, Languedoc, belonged to a Protestant Savoyard family, and came to England on the revocation of the Edict of Nantes in 1686. He afterwards served with William III. in Holland, and accompanied him to England in 1688. His History of England, written in French, was translated into English, and continued by various writers, and was the standard history until the appearance of Hume's.
# A Short Biographical Dictionary of English Literature/Read, Thomas Buchanan

​Read, Thomas Buchanan (1822-1872).—American poet, was a portrait-painter, and lived much abroad. He wrote a prose romance, The Pilgrims of the Great St. Bernard, and several books of poetry, including The New Pastoral, The House by the Sea, Sylvia, and A Summer Story. Some of the shorter pieces included in these, e.g., "Sheridan's Ride," "Drifting," and "The Closing Scene," have great merit.
# A Short Biographical Dictionary of English Literature/Rawlinson, Sir Henry Cresswicke

​Rawlinson, Sir Henry Cresswicke (1810-1895).—Brother of the above, entered the service of the East India Company, and held many important diplomatic posts. He studied the cuneiform inscriptions, and pub. The Cuneiform Inscriptions of Western Asia (1861-80), Outlines of the History of Assyria (1852), He deciphered most of the inscriptions discovered by Sir A. H Layard (q.v.).
# A Short Biographical Dictionary of English Literature/Reade, Charles

​Reade, Charles (1814-1884).—Novelist, s. of a country gentleman of Oxfordshire, ed. at Oxf., and called to the Bar at Lincoln's Inn 1843. He did not, however, practise, but began his literary career with some dramas, of which the most remarkable were Masks and Faces, Gold, and Drink. He afterwards rewrote the first of these as a novel, Peg Woffington (1852), which attained great popularity. It is never too late to Mend appeared in 1856, his historical novel, The Cloister and the Hearth, generally regarded as his masterpiece (1861), Hard Cash (1863), Griffith Gaunt (1867), Foul Play (1869), Put Yourself in his Place (1870), and A Terrible Temptation (1871). Critics have differed very widely as to the merits of R. as a novelist, and have attributed to, and denied him the same qualities; but it will be generally admitted that, while very unequal, he was at his best a writer of unusual power and vivid. Nearly all are agreed as to the great excellence of The Cloister and the Hearth, Mr. Swinburne placing it "among the very greatest masterpieces of narrative." Many of his novels were written with a view to the reformation of some abuse. Thus Hard Cash exposes certain private asylums, and Foul Play, written in collaboration with Dion Boucicault, is levelled against ship-knackers.
# A Short Biographical Dictionary of English Literature/Ramée, Louise De La

​Ramée, Louise de la ("Ouida") (1840?-1908).—Novelist, b. at Bury St. Edmunds, dau, of an English f. and a French mother. For many years she lived in London, but about 1874 she went to Italy, where she d. She wrote over 40 novels, which had considerable popularity. Among the best known of them are Under Two Flags, Puck, Two Little Wooden Shoes, In a Winter City, In Maremma. She also wrote a book of stories for children, Bimbi. Occasionally she shows considerable power, but on the whole her writings have an unhealthy tone, want reality, and are not likely to have any permanent place in literature.
# A Short Biographical Dictionary of English Literature/Randolph, Thomas

​Randolph, Thomas (1605-1635).—Poet and dramatist, ed. at Westminster School and Camb., was a friend of Ben Jonson and led a wild life in London. He wrote six plays, including The Jealous Lovers, Amyntas, and The Muses' Looking-glass, and some poems. He was a scholar as well as a wit, and his plays are full of learning and condensed thought in a style somewhat cold and hard