OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Creswick, Thomas

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​CRESWICK, THOMAS (1811–1869), English landscape-painter, was born at Sheffield, and educated at Hazelwood, near Birmingham. At Birmingham he first began to paint. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy the two pictures named “Llyn Gwynant, Morning,” and “Carnarvon Castle.” About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape-painter, and had a career of uniform and encouraging, though not signal success. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then too much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, colour rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial—a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, on the 28th of December 1869, after a few years of declining health. Among his principal works may be named “England” (1847); “Home by the Sands, and a Squally Day” (1848); “Passing Showers” (1849); “The Wind on Shore, a First Glimpse of the Sea, and Old Trees” (1850); “A Mountain Lake, Moonrise” (1852); “Changeable Weather” (1865); also the “London Road, a Hundred Years ago”; “The Weald of Kent”; the “Valley Mill” (a Cornish subject); a “Shady Glen”; the “Windings of a River”; the “Shade of the Beech Trees”; the “Course of the Greta”; the “Wharfe”; “Glendalough,” and other Irish subjects, 1836 to 1840; the “Forest Farm.” Frith for figures, and Ansdell for animals, occasionally worked in collaboration with Creswick.
In 1873 T. O. Barlow, the engraver, published a catalogue of Creswick’s works.
# 1911 Encyclopædia Britannica/Crespi, Giuseppe Maria

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​CRESPI, GIUSEPPE MARIA (1665–1747), Italian painter, called “Lo Spagnuolo” from his fondness for rich apparel, was born at Bologna, and was trained under Angelo Toni, Domenico Canuti and Carlo Cignani. He then went through a course of copying from Correggio and Barocci; this he followed up with a journey to Venice for the sake of Titian and Paul Veronese; and late in life he proclaimed himself a follower of Guercino and Pietro da Cortona. He was a good colourist and a facile executant, and was wont to employ the camera obscura with great success in the treatment of light and shadow; but he was careless and unconscientious. He was a clever portrait-painter and a brilliant caricaturist; and his etchings after Rembrandt and Salvator are in some demand. His greatest work, a “Massacre of the Innocents,” is at Bologna; but the Dresden gallery possesses twelve examples of him, among which is his celebrated series of the Seven Sacraments.
# 1911 Encyclopædia Britannica/Cressent, Charles

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​CRESSENT, CHARLES (1685–1768), French furniture-maker, sculptor and fondeur-ciseleur. As the second son of François Cressent, sculpteur du roi, and grandson of Charles Cressent, a furniture-maker of Amiens, who also became a sculptor, he inherited the tastes and aptitudes which were likely to make a finished designer and craftsman. Even more important perhaps was the fact that he was a pupil of André Charles Boulle. Trained in such surroundings, it is not surprising that he should have reached a degree of achievement which has to a great extent justified the claim that he was the best decorative artist of the 18th century. Cressent’s distinction is closely connected with the regency, but his earlier work had affinities with the school of Boulle, while his later pieces were full of originality. He was an artist in the widest sense of the word. He not only designed and made furniture, but created the magnificent gilded enrichments which are so characteristic of his work. He was likewise a sculptor, and among his plastic work is known to have been a bronze bust of Louis, duc d’Orléans, the son of the regent, for whom Cressent had made one of the finest examples of French furniture of the 18th century—the famous médaillier now in the Bibliothèque Nationale. Cressent’s bronze mounts were executed with a sharpness of finish and a grace and vigour of outline which were hardly excelled by his great contemporary Jacques Caffieri. His female figures placed at the corners of tables are indeed among the most delicious achievements of the great days of the French metal worker. Much of Cressent’s work survives, and can be identified; the Louvre and the Wallace collection are especially rich in it, and his commode at Hertford House with gilt handles representing Chinese dragons is perhaps the most elaborate piece he ever produced. The work of identification is rendered comparatively easy in his case by the fact that he published catalogues of three sales of his work. These catalogues are highly characteristic of the man, who shared in no small degree the personal bravoura of Cellini, and could sometimes execute almost as well. He did not hesitate to describe himself as the author of “a clock worthy to be placed in the very finest cabinets,” “the most distinguished bronzes,” or pieces of “the most elegant form adorned with bronzes of extra richness.” He worked much in marqueterie, both in tortoiseshell and in brilliant coloured woods. He was indeed an artist to whom colour appealed with especial force. The very type and exemplar of the “feeling” of the regency, he is worthy to have given his own name to some of the fashions which he deduced from it.
# 1911 Encyclopædia Britannica/Crest

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​CREST (Lat. crista, a plume or tuft), the “comb” on an animal’s head, and so any feathery tuft or excrescence, the “cone” of a helmet (by transference, the helmet itself), and the top or summit of anything. In heraldry (q.v.) a crest is a device, originally borne as a cognizance on a knight’s helmet, placed on a wreath above helmet and shield in armorial bearings, and used separately on a seal or on articles of property.
Cresting, in architecture, is an ornamental finish in the wall or ridge of a building, which is common on the continent of Europe. An example occurs at Exeter cathedral, the ridge of which is ornamented with a range of small fleurs-de-lis in lead.
# 1911 Encyclopædia Britannica/Creston

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​CRESTON, a city and the county-seat of Union county, Iowa, U.S.A., about 60 m. S.W. of Des Moines, at the crossing of the main line and two branches of the Chicago, Burlington & Quincy railway. Pop. (1890) 7200; (1900) 7752; (1905, state census) 8382 (753 foreign-born); (1910) 6924. The city is on the crest of the divide between the Mississippi and the Missouri basins at an altitude of about 1310 ft.—whence its name. It is situated in a fine farming and stock-raising region, for which it is a shipping point. The site was chosen in 1869 by the Burlington & Missouri River Railroad Company (subsequently merged in the Chicago, Burlington & Quincy Railroad Company) for the location of its shops. Creston was incorporated as a town in 1869, and was chartered as a city in 1871.
# 1911 Encyclopædia Britannica/Cressy, Hugh Paulinus de

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​CRESSY, HUGH PAULINUS DE (c. 1605–1674), English Benedictine monk, whose religious name was Serenus, was born at Wakefield, Yorkshire, about 1605. He went to Oxford at the age of fourteen, and in 1626 became a fellow of Merton College. Having taken orders, he rose to the dignity of dean of Leighlin, ​Ireland, and canon of Windsor. He also acted as chaplain to Lord Wentworth, afterwards the celebrated earl of Strafford. For some time he travelled abroad as tutor to Lord Falmouth, and in 1646, during a visit to Rome, joined the Roman Catholic Church. In the following year he published his Exomologesis (Paris, 1647), or account of his conversion, which was highly valued by Roman Catholics as an answer to William Chillingworth’s attacks. Cressy entered the Benedictine Order in 1649, and for four years resided at Somerset House as chaplain to Catherine of Braganza, wife of Charles II. He died at West Grinstead on the 10th of August 1674. Cressy’s chief work, The Church History of Brittanny or England, from the beginning of Christianity to the Norman Conquest (1st vol. only published, Rouen, 1668), gives an exhaustive account of the foundation of monasteries during the Saxon heptarchy, and asserts that they followed the Benedictine rule, differing in this respect from many historians. The work was much criticized by Lord Clarendon, but defended by Antony à Wood in his Athenae Oxoniensis, who supports Cressy’s statement that it was compiled from original MSS. and from the Annales Ecclesiae Britannicae of Michael Alford, Dugdale’s Monasticon, and the Decem Scriptores Historiae Anglicanae. The second part of the history, which has never been printed, was discovered at Douai in 1856. To Roman Catholics Cressy’s name is familiar as the editor of Walter Hilton’s Scale of Perfection (London, 1659); of Father A. Baker’s Sancta Sophia (2 vols., Douai, 1657); and of Juliana of Norwich’s Sixteen Revelations on the Love of God (1670). These books, which would have been lost but for Cressy’s zeal, have been frequently reprinted, and have been favourably regarded by a section of the Anglican Church.
For a complete list of Cressy’s works see J. Gillow’s Bibl. Dict. of Eng. Catholics, vol. i.
# 1911 Encyclopædia Britannica/Creswick

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​CRESWICK, a borough of Talbot county, Victoria, Australia. 85½ m. by rail N.W. of Melbourne. Pop. (1901) 3060. It is the centre of a mining, pastoral and agricultural district. Gold is found both in alluvial and quartz formations, the quartz being especially rich. The surrounding country is fertile and well-timbered, and there is a government plantation and nursery in connexion with the forests department.
# 1911 Encyclopædia Britannica/Hatch

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​HATCH. 1. (In Mid. Eng. hacche; the word is of obscure origin, but cognate forms appear in Swed. häcka, and Dan. hackke; it has been connected with “hatch,” grating, with possible reference to a coop, and with “hack” in the sense “to peck,” of chickens coming out of the shell), to bring out young from the egg, by incubation or other process, natural or artificial. The word is also used as a substantive of a brood of chickens brought out from the eggs. “Hatchery” is particularly applied to a place for the hatching of fish spawn, where the natural process is aided by artificial means. In a figurative sense “to hatch” is often used of the development or contrivance of a plot or conspiracy.
2. (From the Fr. hacher, to cut, hache, hatchet), to engrave or draw by means of cutting lines on wood, metal, &c., or to ornament by inlaying with strips of some other substance as gold or silver. Engraved lines, especially those used in shading, are called “hatches” or “hachures” (see Hachure).
3. (O.E. hæc, a gate, rack in a stable; found in various Teutonic languages; cf. Dutch hek, Dan. hekke; the ultimate origin is obscure; Skeat suggests a connexion with the root seen in “hook”), the name given to the lower half of a divided ​door, as in “buttery-hatch,” the half-door leading from the buttery or kitchen, through which the dishes could be passed into the dining-hall. It was used formerly as another name for a ship’s deck, and thus the phrase “under hatches” meant properly below deck; the word is now applied to the doors of grated framework covering the openings (the “hatchways”) which lead from one deck to another into the hold through which the cargo is lowered. In Cornwall the word is used to denote certain dams or mounds used to prevent the tin-washes and the water coming from the stream-works from flowing into the fresh rivers.
# 1911 Encyclopædia Britannica/Hatchment

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​HATCHMENT, properly, in heraldry, an escutcheon or armorial shield granted for some act of distinction or “achievement,” of which word it is a corruption through such forms as atcheament, achement, hachement, &c. “Achievement” is an adaptation of the Fr. achèvement, from achever, à chef venir, Lat. ad caput venire, to come to a head, or conclusion, hence accomplish, achieve. The term “hatchment” is now usually applied to funeral escutcheons or armorial shields enclosed in a black lozenge-shaped frame suspended against the wall of a deceased person’s house. It is usually placed over the entrance at the level of the second floor, and remains for from six to twelve months, when it is removed to the parish church. This custom is falling into disuse, though still not uncommon. It is usual to hang the hatchment of a deceased head of a house at the universities of Oxford and Cambridge over the entrance to his lodge or residence.
If for a bachelor the hatchment bears upon a shield his arms, crest, and other appendages, the whole on a black ground. If for a single woman, her arms are represented upon a lozenge, bordered with knotted ribbons, also on a black ground. If the hatchment be for a married man (as in the illustration), his arms upon a shield impale those of his surviving wife; or if she be an heiress they are placed upon a scutcheon of pretence, and crest and other appendages are added. The dexter half of the ground is black, the sinister white. For a wife whose husband is alive the same arrangement is used, but the sinister ground only is black. For a widower the same is used as for a married man, but the whole ground is black; for a widow the husband’s arms are given with her own, but upon a lozenge, with ribbons, without crest or appendages, and the whole ground is black. When there have been two wives or two husbands the ground is divided into three parts per pale, and the division behind the arms of the survivor is white. Colours and military or naval emblems are sometimes placed behind the arms of military or naval officers. It is thus easy to discern from the hatchment the sex, condition and quality, and possibly the name of the deceased.
In Scottish hatchments it is not unusual to place the arms of the father and mother of the deceased in the two lateral angles of the lozenge, and sometimes the 4, 8 or 16 genealogical escutcheons are ranged along the margin.
# 1911 Encyclopædia Britannica/Hatfield

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​HATFIELD, a town in the Mid or St Albans parliamentary division of Hertfordshire, England, 171/2 m. N. of London by the Great Northern railway. Pop. (1901), 4754. It lies picturesquely on the flank of a wooded hill, and about its foot, past which runs the Great North Road. The church of St Etheldreda, well situated towards the top of the hill, contains an Early English round arch with the dog-tooth moulding, but for the rest is Decorated and Perpendicular, and largely restored. The chapel north of the chancel is known as the Salisbury chapel, and was erected by Robert Cecil, first earl of Salisbury (d. 1612), who was buried here. It is in a mixture of classic and Gothic styles. In a private portion of the churchyard is buried, among others of the family, the third marquess of Salisbury (d. 1903). In the vicinity is Hatfield House, close to the site of a palace of the bishops of Ely, which was erected about the beginning of the 12th century. From this palace comes the proper form of the name of the town, Bishop’s Hatfield. In 1538 the manor was resigned to Henry VIII. by Bishop Thomas Goodrich of Ely, in exchange for certain lands in Cambridge, Essex and Norfolk; and after that monarch the palace was successively the residence of Edward VI. immediately before his accession, of Queen Elizabeth during the reign of her sister Mary, and of James I. The last-named exchanged it in 1607 for Theobalds, near Cheshunt, in the same county, an estate of Robert Cecil, earl of Salisbury, in whose family Hatfield House has since remained. The west wing of the present mansion, built for Cecil in 1608–1611, was destroyed by fire in November 1835, the dowager marchioness of Salisbury, widow of the 1st marquess, perishing in the flames. Hatfield House was built, and has been restored and maintained, in the richest style of its period, both without and within. The buildings of mellowed red brick now used as stables and offices are, however, of a period far anterior to Cecil’s time, and are probably part of the erection of John Morton, bishop of Ely in 1478–1486. The park measures some 10 m. in circumference. From the eminence on which the mansion stands the ground falls towards the river Lea, which here expands into a small lake. Beyond this is a rare example of a monks’ walled vineyard. In the park is also an ancient oak under which Elizabeth is said to have been seated when the news of her sister’s death was brought to her. Brocket Park is another fine demesne, at the neighbouring village of Lemsford, and the Brocket chapel in Hatfield church contains memorials of the families who have held this seat.
# 1911 Encyclopædia Britannica/Hatherton, Edward John Littleton, 1st Baron

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​HATHERTON, EDWARD JOHN LITTLETON, 1st Baron (1791–1863), was born on the 18th of March 1791 and was educated at Rugby school and at Brasenose College, Oxford. He was the only son of Moreton Walhouse of Hatherton, Staffordshire; but in 1812, in accordance with the will of his great-uncle Sir Edward Littleton, Bart. (d. 1812), he took the name of Littleton. From 1812 to 1832 he was member of parliament for Staffordshire and from 1832 to 1835 for the southern division of that county, being specially prominent in the House of Commons as an advocate of Roman Catholic emancipation. In January 1833, against his own wish, he was put forward by the Radicals as a candidate for the office of speaker, but he was not elected and in May 1833 he became chief secretary to the lord-lieutenant of Ireland in the ministry of Earl Grey. His duties in this capacity brought him frequently into conflict with O’Connell, but he was obviously unequal to the great Irishman, although he told his colleagues to “leave me to manage Dan.” He had to deal with the vexed and difficult question of the Irish tithes on which the government was divided, and with his colleagues had to face the problem of a new coercion act. Rather hastily he made a compact with O’Connell on the assumption that the new act could not contain certain clauses which were part of the old act. The clauses, however, were inserted; O’Connell charged Littleton with deception; and in July 1834 Grey, Althorp (afterwards Earl Spencer) and the Irish secretary resigned. The two latter were induced to serve under the new premier, Lord Melbourne, and they remained in office until Melbourne was dismissed in November 1834. In 1835 Littleton was created Baron Hatherton, and he died at his Staffordshire residence, Teddesley Hall, on the 4th of May 1863. In 1888 his grandson, Edward George Littleton (b. 1842), became 3rd Baron Hatherton.
See Hatherton’s Memoirs and Correspondence relating to Political Occurrences, June–July 1834, edited by H. Reeve (1872); and Sir S. Walpole, History of England, vol. iii. (1890).
# 1911 Encyclopædia Britannica/Hatch, Edwin

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​HATCH, EDWIN (1835–1889), English theologian, was born at Derby on the 14th of September 1835, and was educated at King Edward’s school, Birmingham, under James Prince Lee, afterwards bishop of Manchester. He had many struggles to pass through in early life, which tended to discipline his character and to form the habits of severe study and the mental independence for which he came to be distinguished. Hatch became scholar of Pembroke College, Oxford, took a second-class in classics in 1857, and won the Ellerton prize in 1858. He was professor of classics in Trinity College, Toronto, from 1859 to 1862, when he became rector of the high school at Quebec. In 1867 he returned to Oxford, and was made vice-principal of St Mary Hall, a post which he held until 1885. In 1883 he was presented to the living of Purleigh in Essex, and in 1884 was appointed university reader in ecclesiastical history. In 1880 he was Bampton lecturer, and from 1880 to 1884 Grinfield lecturer on the Septuagint. In 1883 the university of Edinburgh conferred on him the D.D. degree. He was the first editor of the university official Gazette (1870), and of the Student’s Handbook to the University. A reputation acquired through certain contributions to the Dictionary of Christian Antiquities was confirmed by his treatises On the Organization of the Early Christian Churches (1881, his Bampton lectures), and on The Influence of Greek Ideas and Usages on the Christian Church (the Hibbert lectures for 1888). These works provoked no little criticism on account of the challenge they threw down to the high-church party, but the research and fairness displayed were admitted on all hands. The Bampton lectures were translated into German by Harnack. Among his other works are The Growth of Church Institutions (1887); Essays in Biblical Greek (1889); A Concordance to the Septuagint (in collaboration with H. A. Redpath); Towards Fields of Light (verse, 1889); The God of Hope (sermons with memoir, 1890). Hatch died on the 10th of November 1889.
An appreciation by W. Sanday appeared in The Expositor for February 1890.
# 1911 Encyclopædia Britannica/Hatchet

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​HATCHET (adapted from the Fr. hachette, diminutive of hache, axe, hacher, to cut, hack), a small, light form of axe with a short handle (see Tool); for the war-hatchet of the North American Indians and the symbolical ceremonies connected with it see Tomahawk.
# 1911 Encyclopædia Britannica/Hatchettite

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​HATCHETTITE, sometimes termed Mountain Tallow, Mineral Adipocire, or Adipocerite, a mineral hydrocarbon occurring in the Coal-measures of Belgium and elsewhere, occupying in some cases the interior of hollow concretions of iron-ore, but more generally the cavities of fossil shells or crevices in the rocks. It is of yellow colour, and translucent, but darkens and becomes opaque on exposure. It has no odour, is greasy to the touch, and has a slightly glistening lustre. Its hardness is that of soft wax. The melting point is 46° to 47° C., and the composition is C. 85.55, H. 14.45.