OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Dollar (Scotland)

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​DOLLAR, a town of Clackmannanshire, Scotland, 6 m. N.E. of Alloa by the North British railway, not far from the Devon. Pop. (1901) 1619. The village, which is beautifully situated, contains several handsome stone villas occupied by families attracted to the town by its educational facilities. The academy, housed in a fine mass of buildings of the Grecian order (opened about 1819), was founded by Captain John McNab (1732–1802), a native who began life as a herdboy, and afterwards became a rich shipowner. From the burn of Dollar (or Dolour), which runs through the ravine of Dollar Glen, the town draws its water-supply. On an isolated hill above the junction of the parent streams, named Sorrow and Care, stands the ruin of Castle Campbell, known also as Gloom Castle, an old stronghold of the Argyll family. The castle was burned by the Macleans in 1644, in the interest of the marquess of Montrose, and not again restored. Although a ruin it is carefully preserved. The Rev. Dr James Aitken Wylie (1808–1890), the historian of Protestantism, was a minister in Dollar for several years. Patrick Gibson, the etcher and landscape-painter, was drawing-master at the academy from 1824 to 1829, and William Tennant, the author of Anster Fair, was a teacher of classics from 1819 till 1834, when he was appointed to the chair of Hebrew in St Andrews University. Harviestoun Castle, about midway between Dollar and Tillicoultry, once belonged to the Tait family, and here Archibald Campbell Tait, archbishop of Canterbury, spent some of his boyhood.
# 1911 Encyclopædia Britannica/Dollond, John

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​DOLLOND, JOHN (1706–1761), English optician, was the son of a Huguenot refugee, a silk-weaver at Spitalfields, London, where he was born on the 10th of June 1706. He followed his father’s trade, but found time to acquire a knowledge of Latin, Greek, mathematics, physics, anatomy and other subjects. In 1752 he abandoned silk-weaving and joined his eldest son, Peter Dollond (1730–1820), who in 1750 had started in business as a maker of optical instruments. His reputation grew rapidly, and in 1761 he was appointed optician to the king. In 1758 he published an “Account of some experiments concerning the different refrangibility of light” (Phil. Trans., 1758), describing the experiments that led him to the achievement with which his name is specially associated, the discovery of a means of constructing achromatic lenses by the combination of crown and flint glasses. Leonhard Euler in 1747 had suggested that achromatism might be obtained by the combination of glass and water lenses. Relying on statements made by Sir Isaac Newton, Dollond disputed this possibility (Phil. Trans., 1753), but subsequently, after the Swedish physicist, Samuel Klingenstjerna (1698–1765), had pointed out that Newton’s law of dispersion did not harmonize with certain observed facts, he began experiments to settle the question. Early in 1757 he succeeded in producing refraction without colour by the aid of glass and water lenses, and a few months later he made a successful attempt to get the same result by a combination of glasses of different qualities (see Telescope). For this achievement the Royal Society awarded him the Copley medal in 1758, and three years later elected him one of its fellows. Dollond also published two papers on apparatus for measuring small angles (Phil. Trans., 1753, 1754). He died in London, of apoplexy, on the 30th of November 1761.
An account of his life, privately printed, was written by the Rev. John Kelly (1750–1809), the Manx scholar, who married one of his granddaughters.
# 1911 Encyclopædia Britannica/Dollar (coin)

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​DOLLAR, a silver coin at one time current in many European countries, and adopted under varying forms of the name elsewhere. The word “dollar” is a modified form of thaler, which, with the variant forms (daler, dalar, daalder, tallero, &c.), is said to be a shortened form of Joachimsthaler. This Joachimsthaler was the name given to a coin intended to be the silver equivalent of the gold gulden, a coin current in Germany from the 14th century. In 1516 a rich silver mine was discovered in Joachimsthal (Joachim’s dale), a mining district of Bohemia, and the count of Schlitz, by whom it was appropriated, caused a great number of silver coins to be struck (the first having the date 1518), bearing an effigy of St Joachim, hence the name. The Joachimsthaler was also sometimes known as the Schlickenthaler. The first use of the word dollar in English was as applied to this silver coin, the thaler, which was current in Germany at various values from the 16th century onwards, as well as, more particularly, to the unit of the German monetary union from 1857 to 1873, when the mark was substituted for the thaler. The Spanish piece-of-eight (reals) was also commonly referred to as a dollar. When the Bank of England suspended cash payments in 1797, and the scarcity of coin was very great, a large number of these Spanish coins, which were held by the bank, were put into circulation, after having been countermarked at the Mint with a small oval bust of George III., such as was used by the Goldsmiths’ Company for marking plate. Others were simply overstamped with the initials G.R. enclosed in a shield. In 1804 the Maundy penny head set in an octagonal compartment was employed. Several millions of these coins were issued. These Spanish pieces-of-eight were also current in the Spanish-American colonies, and were very largely used in the British North American colonies. As the reckoning was by pounds, shillings and pence in the British-American colonies, great inconveniences naturally arose, but these were to some extent lessened by the adoption of a tariff list, by which the various gold and silver coins circulating ​were rated. In 1787 the dollar was introduced as the unit in the United States, and it has remained as the standard of value either in silver or gold in that country. For the history of the various changes in the weights and value of the coin see Numismatics. The Spanish piece-of-eight was also the ancestor of the Mexican dollar, the Newfoundland dollar, the British dollar circulating in Hong Kong and the Straits Settlements, and the dollar of the South American republics, although many of them are now dollars only in name.
# 1911 Encyclopædia Britannica/Dolman

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​DOLMAN (from Turk. dōlāmān), originally a long and loose garment left unfastened in front, and with narrow sleeves. It is worn generally by the Turks, and is not unlike a cassock in shape. The name was given to the uniform jacket, worn by hussars, and slung from the shoulders with the sleeves hanging loose; and it is also used for a similar garment worn by ladies, with wide cape-like arrangements instead of sleeves.
# 1911 Encyclopædia Britannica/Delius, Nikolaus

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​DELIUS, NIKOLAUS (1813–1888), German philologist and Shakespearean scholar, was born at Bremen on the 19th of September 1813. He was educated at Bonn and Berlin, and took the degree of doctor in philosophy in 1838. After travelling for some time in England, France and Germany, he returned to Bonn in 1846, where in 1855 he was appointed professor of Sanskrit, Provençal and English literature, a post he held until his death, which took place at Bonn on the 18th of November 1888. His greatest literary achievement was his scholarly edition of Shakespeare (1854–1861). He also edited Wace’s St Nicholas (1850), a volume of Provençal songs (1853), and published a Shakspere-Lexikon (1852). His original works include: Über das englische Theaterwesen zu Shaksperes Zeit (1853), Gedichte (1853), Der sardinische Dialekt des dreizehnten Jahrhunderts (1868), and Abhandlungen zu Shakspere (two series, 1878 and 1888). As a critic of Shakespeare’s text he stands in the first rank.
See the biographical notice by J. Schipper in Englische Studien, vol. 14.
# 1911 Encyclopædia Britannica/Della Bella, Stefano

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​DELLA BELLA, STEFANO (1610–1664), Italian engraver, was born at Florence. He was apprenticed to a goldsmith; but some prints of Callot having fallen into his hands, he began to turn his attention entirely towards engraving, and studied the art under Canta Gallina, who had also been the instructor of Callot. By the liberality of Lorenzo de’ Medici he was enabled to spend three years in study at Rome. In 1642 he went to Paris, where Cardinal Richelieu engaged him to go to Arras and make drawings of the siege and taking of that town by the royal army. After residing a considerable time at Paris he returned to Florence, where he obtained a pension from the grand duke, whose son, Cosmo, he instructed in drawing. His productions were very numerous, amounting to over 1400 separate pieces.
# 1911 Encyclopædia Britannica/Della Porta, Giovanni Battista

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​DELLA PORTA, GIOVANNI BATTISTA (c. 1538–1615), Italian natural philosopher, was born of a noble and ancient family at Naples about the year 1538. He travelled extensively not only in Italy but also in France and Spain, and he was still a youth when he published Magia naturalis, sive de miraculis rerum naturalium lib. IV. (1558), the first draft of his Magia naturalis, in twenty books, published in 1589. He founded in Naples the Academia Secretorum Naturae, otherwise known as the Accademia dei Oziosi; and in 1610 he became a member of the Accademia dei Lincei at Rome. He died at Naples on the 4th of February 1615.
The following is a list of his principal writings:—De miraculis rerum naturalium, in four books (1558); De furtivis litterarum notis, in five books (1563, and frequently afterwards, entitling him to high rank among the early writers on cryptography); Phytognomonica (1583, a bulky treatise on the physiology of plants as then understood); Magia naturalis (1589, and often reprinted); De humana physiognomonia, in six books (1591); Villa, in twelve books (1592, an interesting practical treatise on farming, gardening and arboriculture, based upon his own observations at his country-seat near Naples); De refractione, optices parte, in nine books (1593); Pneumatica, in three books (1601); De coelesti physiognomonia, in six books (1601); Elementa curvilinea (1601); De distillatione, in nine books (1604); De munitione, in three books (1608); and De aëris transmutationibus, in four books (1609). He also wrote several Italian comedies Olimpia (1589); La Fantesca (1592); La Trappolaria (1597); I’ Due Fratelli rivali (1601); La Sorella (1607); La Chiappinaria (1609); La Carbonaria (1628); La Cintia (1628). Among all the above-mentioned works the chief interest attaches to the Magia naturalis, in which a strange medley of subjects is discussed, including the reproduction of animals, the transmutation of metals, pyrotechny, domestic economy, statics, hunting, the preparation of perfumes. In book xvii. he describes a number of optical experiments, including a description of the camera obscura (q.v.).
# 1911 Encyclopædia Britannica/Delitzsch

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​DELITZSCH, a town of Germany, in the Prussian province of Saxony, on the Lober, an affluent of the Mulde, 12 m. north of Leipzig at the junction of the railways, Bitterfeld-Leipzig and Halle-Cottbus. Pop. (1905) 10,479. Its public buildings comprise an old castle of the 14th century now used as a female penitentiary, a Roman Catholic and three Protestant churches, a normal college (Schullehrerseminar) established in 1873 and several other educational institutions. Besides Kuhschwanz, a peculiar kind of beer, it manufactures tobacco, cigars, shoes and hosiery; and coal-mining is carried on in the neighbourhood, ​It was the birthplace of the naturalist Christian Gottfried Ehrenberg (1795–1876), and the political economist Hermann Schulze-Delitzsch (1808–1883), to the latter of whom a statue has been erected. Originally a settlement of the Sorbian Wends, and in the 12th century part of the possessions of the bishops of Merseburg, Delitzsch ultimately passed to the Saxe-Merseburg family, and, on their extinction in 1738, was incorporated with Electoral Saxony.
# 1911 Encyclopædia Britannica/Della Quercia, Jacopo

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​DELLA QUERCIA, or Della Fonte, JACOPO (1374–1438), Italian sculptor, was born at Siena. He was the son of a goldsmith of repute, Pietro d’Agnolo, to whom he doubtless owed much of his training. There are no records of his early life until the year 1394, when he made an equestrian statue of Gian Tedesco. He is next heard of at Florence in 1402, when he was one of six artists who submitted designs for the great gates of the baptistery, in which competition Ghiberti was the victor. From Florence he seems to have gone to Lucca, where in 1406 he executed one of his finest works, the monument of Ilaria del Caretto, wife of Paolo Guinigi. It is uncertain if he visited Ferrara in 1408; but at the end of that year he was engaged in negotiations which resulted in his acceptance of the commission for the famous Fonte Gaia, at Siena, early in 1409. This work was not seriously begun by him until 1414, and was only finished in 1419. In 1858 the remains of the fountain were removed to the Opera del Duomo, where they are now preserved; a copy of the original by Sarrocchi being erected on the site. After another visit to Lucca in 1422, he returned to Siena, and in March 1425 undertook the contract for the doors of S. Petronio, Bologna. He is known, in following years, to have been to Milan, Verona, Ferrara and Venice; but the rest of his life was chiefly divided between his native city and Bologna. In 1430 he finished the great font of S. Giovanni at Siena, which he had begun in 1417, contributing himself only one of the bas-reliefs, “Zacharias in the Temple,” the others being by Ghiberti, Donatello and other sculptors. Among the work known to have been done by Jacopo, may be mentioned also the reliefs of the predella of the altar of S. Frediano at Lucca (1422); and the Bentivoglio monument which was unfinished at the time of his death on the 20th of October 1438. Jacopo della Quercia’s work exercised a powerful influence on that of the artists of the later Italian Renaissance. He himself reflects not a little of the Gothic spirit, admirably intermixed with some of the best qualities of neo-classicism. He was an artist whose powers have hardly yet received the recognition they undoubtedly deserve.
See C. Cornelius, Jacopo della Quercia: eine Kunsthistorische Studie (1896), and works relating generally to the arts in Siena. (E. F. S.)
# 1911 Encyclopædia Britannica/Delitzsch, Franz

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​DELITZSCH, FRANZ (1813–1890), German Lutheran theologian and orientalist, of Jewish descent, was born at Leipzig on the 23rd of February 1813. He studied theology and oriental languages in the university of his native town, and in 1850 was appointed professor ordinarius of theology at Erlangen, where the school of theologians became almost as famous as that of Tübingen. In 1867 he accepted a call to Leipzig, where he died on the 4th of March 1890. Delitzsch was a strict Lutheran. “By the banner of our Lutheran confession let us stand,” he said in 1888; “folding ourselves in it, let us die” (T. K. Cheyne, Founders, p. 160). Greatly interested in the Jews, he longed ardently for their conversion to Christianity; and with a view to this he edited the periodical Saat auf Hoffnung from 1863, revived the “Institutum Judaicum” in 1880, founded a Jewish missionary college for the training of theologians, and translated the New Testament into Hebrew. He acquired such a mastery of post-biblical, rabbinic and talmudic literature that he has been called the “Christian Talmudist.” Though never an advanced critic, his article on Daniel in the second edition of Herzog’s Realencyklopädie, his New Commentary on Genesis and the fourth edition of his Isaiah show that as years went on his sympathy with higher criticism increased—so much so indeed that Prof. Cheyne has included him among its founders.
He wrote a number of very valuable commentaries on Habakkuk (1843), Genesis (1852, 4th ed. 1872), Neuer Kommentar über die Genesis (1887, Eng. trans. 1888, &c.), Psalms (4th ed. 1883, Eng. trans. 1886, &c.), Job (2nd ed., 1876), Isaiah (4th ed. 1889, Eng. trans. 1890, &c.), Proverbs (1873), Epistle to the Hebrews (1857, Eng. trans. 1865, &c.), Song of Songs and Ecclesiastes (4th ed., 1875). Other works are Geschichte der jüd. Poesie (1836); Jesus und Hillel (1867, 3rd ed. 1879); Handwerkerleben zur Zeit Jesu (1868, 3rd ed. 1878, Eng. trans. in the “Unit Library,” 1902); Ein Tag in Kapernaum (1871, 3rd ed. 1886); Poesieen aus vormuhammedanischer Zeit (1874); Iris, Farbenstudien und Blumenstücke (1888, Eng. trans. 1889); Messianische Weissagungen in geschichtlicher Folge (1890, 2nd ed. 1898). His Hebrew New Testament reached its eleventh edition in 1891, and his popular devotional work Das Sakrament des wahren Leibes und Blutes Jesu Christi its seventh edition in 1886.
His son, Friedrich Delitzsch (b. 1850), became well known as professor of Assyriology in Berlin, and the author of many books of great research and learning, especially on oriental philology. Among other works of importance he wrote Wo lag das Paradies? (1881), and Babel und Bibel (1902, 1903, Eng. trans. 1903).
# 1911 Encyclopædia Britannica/Della Casa, Giovanni

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​DELLA CASA, GIOVANNI (1503–1556), Italian poet, was born at Mugillo, in Tuscany, in 1503. He studied at Bologna, Florence and Rome, and by his learning attracted the patronage of Alexander Farnese, who, as Pope Paul III., made him nuncio to Florence, where he received the honour of being elected a member of the celebrated academy, and then to Naples, where his oratorical ability brought him considerable success. His reward was the archbishopric of Benevento, and it was believed that it was only his openly licentious poem, Capitoli del forno, and the fact that the French court seemed to desire his elevation, which prevented him from being raised to a still higher dignity. He died in 1556. Casa is chiefly remarkable as the leader of a reaction in lyric poetry against the universal imitation of Petrarch, and as the originator of a style, which, if less soft and elegant, was more nervous and majestic than that which it replaced. His prose writings gained great reputation in their own day, and long afterwards, but are disfigured by apparent straining after effect, and by frequent puerility and circumlocution. The principal are—in Italian, the famous Il Galateo (1558), a treatise of manners, which has been translated into several languages, and in Latin, De officiis, and translations from Thucydides, Plato and Aristotle.
A complete edition of his works was published at Florence in 1707, to which is prefixed a life by Casotti. The best edition is that of Venice, 1752.
# 1911 Encyclopædia Britannica/Della Colle, Raffaellino

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​DELLA COLLE, RAFFAELLINO, Italian painter, was born at Colle, near Borgo San Sepolcro, in Tuscany, about 1490. A pupil of Raphael, whom he is held to have assisted in the Farnesina and the Vatican, Della Colle, after his master’s death, was the assistant of his chief scholar, Giulio Romano, at Rome and afterwards at Mantua. In 1536, on the occasion of the entry of Charles V. into Florence, he took service in that city under Vasari. In his later years Della Colle resided at Borgo San Sepolcro, where he kept a school of design; among his many pupils of note may be mentioned Gherardi and Vecchi. His works, which are to be found at Urbino, at Perugia, at Pesaro and at Gubbio, are fine examples of the Roman school of Raphael. The best are a painting of the Almighty supported by angels, a Resurrection and an Assumption, all preserved in churches at Borgo San Sepolcro.
# 1911 Encyclopædia Britannica/Drama/6

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6. Dramatic Elements in Egyptian Culture
The civilization and religious ideas of the Egyptians so vitally influenced the people of whose drama we are about to speak that a reference to them cannot be altogether omitted. The influence of Egyptian upon Greek civilization has probably been overestimated by Herodotus; but while it will never be clearly known how much the Greeks owed to the Egyptians in divers branches of knowledge, it is certain that the former confessed themselves the scholars of Egypt in the cardinal doctrine of its natural theology. The doctrine of the immortality of the soul there found its most solemn expression in mysterious recitations connected with the rites of sepulture, and treating of the migration of the soul from its earthly to its eternal abode. These solemnities, whose transition into the Hellenic mysteries has usually been attributed to the agency of the Thracian worship of Dionysus, undoubtedly contained a dramatic element, upon the extent of which it is, however, useless to speculate. The ideas to which they sought to give utterance centred in that of Osiris, the vivifying power or universal soul of nature, whom Herodotus simply identifies with the Dionysus of the Greeks. The same deity was likewise honoured by processions among the rural Egyptian population, which, according to the same authority, in nearly all respects except the absence of choruses resembled the Greek phallic processions in honour of the wine-god.
That the Egyptians looked upon music as an important science seems fully established; it was diligently studied by their priests, though not, as among the Greeks, forming a part of general education, and in the sacred rites of their gods they as a rule permitted the use of flute and harp, as well as of vocal music. Dancing was as an art confined to professional persons; but though the higher orders abstained from its practice, the lower indulged ​in it on festive occasions, when a tendency to pantomime naturally asserted itself, and licence and wanton buffoonery prevailed, as in the early rustic festivals of the Greek and Italian peoples. Of a dance of armed men, on the other hand, there seems no satisfactory trace in the representations of the Egyptian monuments.