OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Scena

From volume 3 of the work.
​SCENA (Gr. Σκηνα; Lat. Scena; Ital. Scena, Teatro, Palco; Ger. Bühne, Auftritt; Fr. Scène, Théâtre; Eng. Scene, Stage). A term, which, in its oldest and fullest significance, applies equally to the Stage, to the Scenery it represents, and to the Dramatic Action which takes place upon it. Hence, the long array of synonyms placed at the beginning of this article.
I. Classical authors most frequently use the word in its first sense, as applying to that part of a Greek or Roman Theatre which most nearly answers to what we should now call the Stage; and the classical tendencies of the Renaissance movement led to its similar use in the 16th century. Thus, in Peri's 'Euridice,' printed in 1600, we find the following direction: 'Tirsi viene in Scena, sonando la presente Zinfonia con un Triflauto'—'Thyrsis comes upon the Stage, playing the present Symphony upon a Triple Flute. [See Opera.]
II. In its second sense, the word is commonly applied, in England, to those divisions of a Drama which are marked by an actual change of Scenery; a method of arrangement which is even extended to English translations of foreign works.
III. In the Italian, German, and French Theatres, the word is more frequently used, in its third sense, to designate those subordinate divisions of an Act which are marked by the entrance, or exit, of one or more members of the 'Dramatis personæ'; a new Scene being always added to the list, when a new Character appears upon, or quits the Stage, though it be only a Messenger, with half-a-dozen words to say, or sing. The ostensible number of Scenes, therefore, in an Italian, or German Opera, is always far greater than that indicated in an English version of the same work. For instance, in the original Libretto of 'Der Freischütz' 7 Scenes are enumerated in the First Act, 6 in the Second, and 17 in the Third; whereas the popular English translation only recognises 1 in Act I, 2 in Act II, and 3 in Act III. An attempt to introduce the Continental practice to the English Theatre was made, some years ago, in the collection of Operas called 'The Standard Lyric Drama' (Boosey & Co.); and, as it has been revived in the excellent 8vo editions now publishing by Messrs. Novello, it is to be hoped that uniformity of custom may be eventually established, at least in all translated works.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Scenario

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

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

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

From volume 3 of the work.
​SCHARWENKA, Xaver, was also born at Samter, Jan. 6, 1840 [App. p.781 "1850"]; and like his brother was at Kullak's Academy at Berlin, where he was known, while still a pupil, for his PF. playing and his compositions. He made his first appearance in public at Berlin, in 1869, and remained for some time in the Academy as a teacher, until compelled to leave it for his military duties in 1873. After this he began to travel, and was soon renowned as a fine and brilliant player, and a 'young composer of remarkable endowments.' In 1877 he produced his first Concerto for the PF. (in B♭ minor, op. 32), playing it to the meeting of German musicians at Hanover in May; it was played in England for the first time by Mr. Dannreuther at the Crystal Palace (both place and player well-known in this country for their chivalrous welcome of new works) Oct. 27, 1877. In 1878, Feb. 14, Scharwenka himself played it at the Gewandhaus, Leipzig. In 1879 he made his first appearance in England, played the same work at the Crystal Palace, March 1, and played at the Musical Union, April 29. In 1880 he returned and played at the Philharmonic Feb. 19, and elsewhere. In 1881 he made a third visit and played his second Concerto (in C minor, op. 56, which he had produced at the Gesellschafts concert at Vienna Dec. 12, 1880)—at the Philharmonic, Feb. 24. His stay was shortened by his recall to Germany for his military duties (a cruel anomaly for an artist!), but he found time to appear several times, and deepened the favourable impression which he had previously made.
[ G. ]
# A Dictionary of Music and Musicians/Scarlatti, Giuseppe

From volume 3 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Schachtner, Johann Andreas

From volume 3 of the work.
[ C. F. P. ]
* ↑ Dated April 24, 1792. Given in full by Jahn, i. 19.
* ↑ Completed by André as 'Zaïde.' Jahn thinks it was most likely adapted from the French.
# A Dictionary of Music and Musicians/Schack, Benedict

From volume 3 of the work.
[ C. F. P. ]
* ↑ The others were Mozart's brother-in-law, Hofer, the violinist, and Franz Xaver Gerl, a bass-singer, and the first Sarastro. Mozart himelf sang the alto.
* ↑ Jahn's 'Mozart,' ii. 510.
* ↑ Gerl sang Osmin in 1787 at the same theatre in the Freihaus, where was produced in 1797 his comic opera in 3 acts 'Die Maskerade,' by 'a former member of this theatre.'
# A Dictionary of Music and Musicians/Schauroth, Delphine

From volume 3 of the work.
[ G. ]
* ↑ 'Familie Mendelssohn.' Letters, June 11, 26, 1830.
* ↑ Letter of Oct. 6. 1831.
# A Complete Course in Dressmaking/Lesson 4/Test questions

TEST QUESTIONS
Check up your own work and see how much you have really learned from the lesson. Make sure that you know the important ​points. Writing out the answers to the following questions and then referring to the lesson to see if your answers are correct, is one of the best ways of finding out your weak points.
Is it necessary for a block pattern to have a high neck line?
In allowing for a lapped closing, how much of the lap extends beyond the center-front?
Does the curve at the neck edge of a collar influence its set?
Does the top of a plain sleeve measure the same as the armhole?
Is a raglan sleeve similar to a kimono? Which one is easiest to fit?
Where there is a pleat, do you fold the pleat in the paper before cutting out the pattern.
Can you add fullness through the center of a piece?
What makes wrinkles appear from the neck to the underarm?
If a waist is gathered too much at the center-back what happens?
​Does the sleeve affect the general fit of the waist?
The next lesson that you take up is skirts. Here you will have more practice in working with a block pattern and copying different styles. You will find, too, that you can apply some of the blouse information to skirt, or in in fact, any garment. The adding of tucks and pleats is the same whether it is blouses, skirts or dresses on which you are working.
The principle of adding fullness, too, applies to all patterns.
If you have studied BLOUSES carefully and understand each step in the lesson you will find the lessons to come easy to understand and apply.
Layout 2
# A Complete Course in Dressmaking/Lesson 5

A COMPLETE COURSE IN
DRESSMAKING
BY
ISABEL DeNYSE CONOVER
LESSON V
MAKING SKIRTS THAT
HAVE STYLE
NEW YORK
EDWARD J. CLODE
COPYRIGHT, 1921, 1922, BY EDWARD J. CLODE
Entered at Stationers’ Hall
PRINTED IN THE UNITED STATES OF AMERICA
* Making skirts that have style
* Making pockets
* Test questions
Layout 2
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 1968, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 55 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
# A Complete Course in Dressmaking/Lesson 5/Test questions

TEST QUESTIONS
Write out the answers to the following questions and then compare your answers carefully with the material in the lesson. It will help you to find out your weak points.
What makes a skirt poke out in the front?
On what kind of a figure is this apt to happen?
What ought you to do to correct the fault when a skirt binds across the knees?
How can you make a skirt ripple at the sides?
Why should a woman with large hips avoid wearing a circular skirt?
​What kind of a skirt makes the best block pattern? Why?
How do you change the size at the lower edge of a skirt pattern?
Why should a pocket lining be made smaller than the outside?
When do you cut the opening in a slashed pocket?
What is a welt pocket?
Layout 2
# A Complete Course in Dressmaking/Lesson 4/Fitting

FITTING
When a person's shoulders are sloping, wrinkles are apt to appear diagonally from the neck to the underarm of the garment that is cut from a standard size pattern. It is a good plan to baste the shoulder and underarm seams and try on the garment before stitching.
To fit a sloping shoulder, take up the shoulder seams to conform to the slope of the shoulders. This means that the garment will be taken up deepest at the armhole and probably only the seam allowance at the neck.
Of course this makes the armhole smaller. Slash the material under the arm until the garment is comfortable, being careful not to slash too deeply. The armhole is enlarged by the seam taken in sewing in the sleeve.
When a person's shoulders are unusually square, the wrinkles come crosswise below the neck, front and back of a garment cut from a standard size pattern. In this case, too, take up the shoulder seams, but take them up deepest at the neck. If the neck of the garment is too small, slash it with the points of the shears.
​When a woman's chest is unusually broad in proportion to the width of her back, it is a good plan to buy two sizes of the pattern, using one for the back and one for the front. The same plan can be carried out when a person is narrow chested and wide across the back.
Copying Any Style: You have the foundation principles now that will enable you to copy any blouse style. When you see a style you want to copy, first decide the class to which it belongs. Study the diagram in the book that is nearest to the style and decide what changes you will have to make.
The diagrams in the lesson are not just to read about and look at. Copy each diagram three or four times. See if you can work each one out without looking at the book.
Go beyond the styles shown in this lesson. Hunt up pictures of a dozen or so collars of different design and copy each of them. Do the same with front closings and sleeves.
It's practice you know that makes perfect.
Layout 2
# A Complete Course in Dressmaking/Lesson 6

A COMPLETE COURSE IN
DRESSMAKING
BY
ISABEL DeNYSE CONOVER
LESSON VI
HOW TO MAKE DRESSES
NEW YORK
EDWARD J. CLODE
COPYRIGHT, 1921, 1922, BY EDWARD J. CLODE
Entered at Stationers’ Hall
PRINTED IN THE UNITED STATES OF AMERICA
* How to make dresses
* Trimmings you can make
* Pattern making
* Test questions
Layout 2
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 1968, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 55 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
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Woodhall (Humphrey)

​WOODHALL (HUMPHREY), bookseller (?) in London, 1617-41. Took up his freedom May 20th, 1617. [Arber, iii. 684.] Mentioned in a list of stationers who paid their proportion of the poll tax on August 5th, 1641. [Domestic State Papers, Charles I, vol. 483 (11).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wright (J)

​WRIGHT (J), bookseller in London; Next door to the Globe in Little Britain, 1667. His name is found on the imprint to the following book: Garden of Spiritual Flowers, 1667. [Ames Collection, 3332.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wodenothe, Woodenothe, or Woodnorth (Richard)

​WODENOTHE, WOODENOTHE, or WOODNORTH (RICHARD), bookseller and haberdasher in London, (1) Star under St. Peter's Church in Cornhill; (2) Leadenhall Street, next to the Golden Heart, 1645-56. First entry in the Stationers' Registers under his name July 26th, 1645. Is described in the Parish Registers of St. Peter's, Cornhill, as a stationer and haberdasher.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wright (John), junior

​WRIGHT (JOHN), junior, bookseller in London; Kings Head, Old Bailey, 1634-67. Son of John Wright, senior, and in partnership with him. On June 13th, 1642, he took over the copyrights, sixty-two in number, which had belonged to Robert Bird and Edward Brewster. In addition to theological literature it included The History of Gargantua, A Book of Riddles, and Robinson's Citharine book. [Stationers' Registers.] Either he or his father was a large holder in the ballad stock of the Company, and with Fr. Coles, T. Vere, and W. Gilbertson was the chief publisher of this class of literature.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wood (Ralph)

​WOOD (RALPH), printer in London, 1642-65. Printer of ballads and popular literature. He was also the printer of Richard Flecknoe's Poems, 1660, and John Bunyan's Sighs from Hell, 1658. His largest work was apparently the folio edition of the romance called Cloria, which he printed for W. Brooke. His address has not been found, but he may have been in partnership with Robert Wood.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wright (John), senior

​WRIGHT (JOHN), senr., bookseller in London; Kings Head in the Old Bailey, 1605-58. Took up his freedom in 1602 and became the publisher of many notable books, including Shakespeare's Sonnets and Marlowe's Faustus. On January 2nd, 1642/3, he was committed to the Compter in Wood Street for publishing a scandalous book against the Parliament [Commons Journals, vol. 2, p. 910], but he quickly made his peace with the Government, and when next heard of, he is found to be one of the official printers to the Parliament. On May 11th, 1643, in company with Thomas Bates, he started a news-sheet called Mercurius Civicus, which was distinguished by each issue having on the first page a woodcut, or ​sometimes two, intended to illustrate some event mentioned in it. This news-sheet ran till the close of the year 1646. Wright and Bates were also the publishers of another news-sheet, The True Informer. John Wright married Katherine, the daughter of Christopher Hatfield, citizen and cutler of London, and is mentioned in his will [P.C.C. 83, Soame.] He had a son, John Wright, junior. John Wright, senior, died in May, 1658, being buried on the 11th of that month. [Smyth, Obituary, p. 47; Library, April, 1905, pp. 184-207.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Withrington (C )

​WITHRINGTON (C), bookseller (?) in London (?), 1648. His name is found on several political pamphlets issued in that year. [Hazlitt, ii. 103; E. 473 (29).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wood (Robert)

​WOOD (ROBERT), printer in London, (1) White Hind, without Cripplegate; (2) Near ye Flying Horse in Grub Street. 1642-67. Took up his freedom September 4th, 1637. [Arber, iii. 688.] Printed numerous political pamphlets in which he was associated with J. Greensmith and Edward Christopher. He was possibly a relative of Ralph Wood, and they may have been in partnership together.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wren (Joseph)

​WREN (JOSEPH), bookseller (?) in London, 1642. The Poets Recantation … by John Bond. London, Printed for T. A. and Joseph Wren, 1942 (sic). [E. 142 (13).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Wright (Francis)

​WRIGHT (FRANCIS), bookseller (?) in London (?) 1643. Only known from the imprint to a broadside entitled Good Newes from Plymouth. [Hazlitt, iii. 64.]
# A Dictionary of Music and Musicians/Santa Chiara

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

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Sandys, William

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Santley, Charles

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Sandoni

​SANDONI. See Cuzzoni in Appendix.
# A Dictionary of Music and Musicians/Samson

From volume 3 of the work.
​SAMSON. Oratorio by Handel, words compiled by Newburgh Hamilton from Milton's Samson Agonistes, Hymn on the Nativity, and Lines on a Solemn Musick. The autograph of the work is in the Buckingham Palace Library, and contains the following dates:—end of 1st part, 'Sept. 29, 1741' (N.B. Messiah was finished 14th of same month); end of 2nd part '☉ (i.e. Sunday) Oct. 11, 1741'; end of chorus 'Glorious hero,' 'Fine dell' Oratorio, S.D.G., London, G. F. Handel, ♃ (i.e. Thursday) Oct. 29, 1741'; then the words 'Fine dell' Oratorio' have been struck out, and 'Come, come,' 'Let the bright,' and 'Let their celestial' added, with a note at end, 'S.D.G.—G.F.Handel, Oct. 12, 1742.' It was produced at Covent Garden, Lent 1743—the first after Handel's return from Ireland.
[ G. ]
# A Dictionary of Music and Musicians/San Carlo

From volume 3 of the work.
​SAN CARLO, the largest and most beautiful theatre of Naples, has almost the same proportions as La Scala of Milan, with which it contends for the theatrical primacy in Italy. It was built in 1737 by the architect Carasale, on plans by Medrano, a General of the R. E., and was completed with extraordinary celerity in only nine months. Some alterations and improvements were made in it by Fuga and Niccolini towards the end of the last century. It was completely burnt down in 1816, and rebuilt even more elegantly and quickly than before, in six months, by the said Antonio Niccolini. In 1844 San Carlo underwent a thorough restoration and considerable improvement. It has now 6 tiers of boxes, each tier numbering 32, without reckoning the large and handsome royal box in their centre. The theatre has also attached to it a large ridotto or hall, notorious in former times for the reckless gambling which took place there.
The best days of San Carlo were those in which it was under the management of the great impresario Domenico Barbaja from 1810 to 1839. During that period the greatest singers appeared on its stage, amongst whom we need only name Colbran, Sontag, Grisi, Tamburini, Rubini and Lablache. Of many operas written expressly for San Carlo and first produced there, we may mention, besides those named under Rossini, Bellini's first [App. p.780 "second"] opera, 'Bianca and Fernando,' in 1826; Donizetti's 'Lucia di Lammermoor' in 1835, and his last opera 'Caterina Cornaro,' in 1844; Mercadante's 'L'Apoteosi d'Ercole' in 1819; and Ricci's 'L'Orfanella di Ginevra' in 1829, and 'La Festa di Piedigrotta' in 1852.
The true cause of the decadence of this great theatre is to be found in the inability of the Neapolitan public to pay sufficiently high prices for the services of the great artists of our days. The writer of this notice still remembers with what uproar and protest the rise in the prices of the stalls to 4s. was received by the public of Naples in 1860. Previously to that date the ticket for a stall cost only the ridiculous sum of 2s. Thus, notwithstanding the annual subvention granted by the municipality of Naples to the lessee of San Carlo, he is unable to engage a great star, the theatre not paying sufficiently for him to incur such great expense.
[ L. R. ]
# A Dictionary of Music and Musicians/Santini, Fortunato

From volume 3 of the work.
[ F. G. ]
# A Christmas Carol (Dickens, 1843)/end matter

WORKS OF MR. CHARLES DICKENS.
Nos. I. to XIII., to be completed in Twenty Monthly Numbers, price 1s. each,
THE LIFE AND ADVENTURES
OF
MARTIN CHUZZLEWIT.
ILLUSTRATED BY "PHIZ."
In two volumes, post 8vo, price One Guinea,
AMERICAN NOTES
FOR GENERAL CIRCULATION.
Fourth Edition.
In one volume, price 13s. cloth,
BARNABY RUDGE;
A TALE OF THE RIOTS OF 'EIGHTY.
With Seventy-eight Illustrations.
BY G. CATTERMOLE AND H. K. BROWNE.
In one volume, price 13s. cloth,
THE OLD CURIOSITY SHOP.
WITH
Seventy-five Illustrations.
BY G. CATTERMOLE AND H. K. BROWNE.
In one volume 8vo, price 1l. 1s. cloth,
SKETCHES BY "BOZ."
A New Edition.
WITH FORTY ILLUSTRATIONS BY GEORGE CRUIKSHANK.
In one volume 8vo, price 1l. 1s. cloth,
THE PICKWICK PAPERS.
WITH
FORTY-THREE ILLUSTRATIONS BY "PHIZ."
In three volumes, post 8vo, price 25s. cloth,
OLIVER TWIST.
WITH
FORTY-TWO ILLUSTRATIONS BY GEORGE CRUIKSHANK.
In one volume 8vo, price 1l. 1s. cloth,
NICHOLAS NICKLEBY.
WITH
FORTY ILLUSTRATIONS, BY "PHIZ."
# A Christmas Carol (Dickens, 1843 facsimile)

This is the 1920 facsimile edition published by Little, Brown and Company -- a reproduction of the first edition copy possessed by Mr. H.C. Nichols of New York. Contains an introduction by Alfred Edward Newton.
A CHRISTMAS CAROL
IN PROSE
BEING
A GHOST STORY OF CHRISTMAS
BY
CHARLES DICKENS
BOSTON
LITTLE, BROWN, AND COMPANY
By special arrangement with Mr. H. S, Nichols, of New York, The Atlantic Monthly Press issues this reproduction of the first edition of "A Christmas Carol." When it was brought out by Mr. Nichols in 1914, it bore the following "Indorsement," signed by him:
"This is a genuine copy of my fac-simile edition of the excessively rare and almost unobtainable earliest issue of the original edition, to which has been prefixed an introduction and bibliographical data."
Copyright, 1920, by
The Atlantic Monthly Press, Inc.
* THE ATLANTIC MONTHLY PRESS PUBLICATIONS
* ARE PUBLISHED BY
* LITTLE, BROWN, AND COMPANY
* IN ASSOCIATION WITH
* THE ATLANTIC MONTHLY COMPANY
A CHRISTMAS CAROL.
IN PROSE.
BEING
A Ghost Story of Christmas.
IN PROSE.
BEING
A Ghost Story of Christmas.
BY
CHARLES DICKENS
WITH ILLUSTRATIONS BY JOHN LEECH.
LONDON
MDCCCXLIII
LONDON.
BRADBURY AND EVANS, PRINTERS, WHITEFRIARS.
* Introduction
* Preface
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 Christmas Carol (Dickens, 1843 facsimile)/Preface

PREFACE.
I have endeavoured in this Ghostly little book, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no one wish to lay it.
Their faithful Friend and Servant,
C. D.
December, 1843.
# A Christmas Carol (Dickens, 1843)/Preface

PREFACE.
I have endeavoured in this Ghostly little book, to raise the Ghost of an Idea, which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their houses pleasantly, and no one wish to lay it.
Their faithful Friend and Servant,
C. D.
December, 1843.