OpenLLM-France/wikimedia huggingface dataset:
# Spirella Catalogue (1933)/141
### GENERAL HELPS

NORMAL FIGURES AND THEIR VARIATIONS (THEIR USE IN SELECTION)
The illustrations and information on the following pages are to be used when studying the client's figure and ascertaining her needs in accordance with Steps 1 to 4 in Selection as taught in Spirella Principles, Part Two.
In order to use them intelligently and to strengthen and develop your own ability to give professional service, the illustrations, information and suggestions should be considered always in connection with what you have already learned about the Spirella System of Designing (Principles, Part One, Chapter 7), the Principles of Support and Control (Principles, Part Two, Chapter 1) and The Spirella Range of Figure Training Garments (Principles, Part Two, Chapter 2).
The illustrations and the information with them are not to be regarded as absolute rules, but as a good general guide in your selection.
Do not expect to find a client who is absolutely an exact duplicate of any illustration because no two figures are exactly alike in every detail.
Remember also that you may find more than one variation or imperfection on the same figure; as for example, Scant Bust with Pendulous Abdomen, Pronounced Gorilla Poise with Excessive Thigh Flesh, etc.
CHIEF CONSIDERATIONS AFFECTING SELECTION
* If the figure is normal or has only slight variations or imperfections, your selection will be mainly influenced by the kind of garment the client likes.
* If the figure has more pronounced variations or imperfections which call for more definitely corrective treatment, the kind of garments which may be used are listed with the illustrations in the order of their value as to service.
* If the figure has more than one variation or imperfection your selection will be influenced mainly by which of the conditions most seriously affects the client's health or appearance.
* In all cases you will be guided in your final selection by studying the Adaptability as given in the Catalogue for those series of designs that could apply.
# Spirella Catalogue (1933)/137
### GENERAL HELPS

STEPS IN SELECTING ANY FIGURE TRAINING AND SUPPORTING GARMENT
l. Classify the client as to type.
2. Study the client's figure and consider just what her needs are in the way of support or figure correction. Check the Description of Figure on the Order Form.
3. 'Determine what kind of garment or garments the client will require or desire—whether a brassiere-girdle, or a girdle and brassiere, a corset and brassiere, etc.
4. Decide on the series best suited to the client's needs, through a study of the Adaptability and the illustration as given in the Catalogue. Keep the Catalogue page before you as you proceed.
5. Prepare the foundation with the lower part of the Fitting Garment which is designed for the client's type. Endeavor to secure exactly the same results as the finished garment will give.
6. Take the measurements over the lower part of the Fitting Garment and compare them with the measurements of the garment as given in the Catalogue. (The centre front below measurement determines the style in the series, but whenever there is more than one style with the correct centre front below, the back below measurement determines which one of these styles to select.) As you decide on the measurements write them on the Order Form.
7. Prepare the foundation with the upper part of the Fitting Garment which is designed for the client's type. Endeavor to secure exactly the same results as the finished garment will give. In the selection of garments designed to produce the uplifted and accen- tuated bust effect use the special Fitting Garment front provided for this purpose.
8. Take the measurements and compare them with the Catalogue measurements of the garment you are considering for the upper part of the figure. (The waist to bust line measurement determines the top in the series in the selection of a brassiere-girdle, or the style in the series in the selection of a brassiere.) As you decide on the measurements write them on the Order Form.
9. Make final decisions on the Basic Features and changes required to meet the client's individual needs and write them on the Order Form. This completes your selection.
# Spirella Catalogue (1933)/136
### SANITARY BELTS

Style L
Made of specially woven elastic webbing. Washable. Self-adjusting. Light weight. Comfortable.
Even sizes only--22 to 40.
Should usually be ordered 1 or 2 inches larger than client's waist measurement. Consult client's preference.
Style F
Made of durable material. Light weight. Hygienic. Adjustable. Sizes 22 to 40.
Order by waist size.
| 136 | For prices, see Price List. |
# Spirella Catalogue (1933)/142
### GENERAL HELPS

OTHER CONSIDERATIONS WHICH MAY AFFECT SELECTION
1. The client's age, vocation or activities.
    The client may be so advanced in years or confirmed in her habits; or her work may be such that you can only hope to give her a comfortable garment with as pleasing lines as possible.
    A young girl who has been wearing little or nothing in the way of a figure training garment, even though she needs one badly, may have to be gradually brought up to the idea by first wearing a girdle and bandeau or a brassiere-girdle.
2. The client's personal prejudices, based on previous experience.
    In some cases, even though you feel that the client really needs a corset, her mind may have been prejudiced against corsets in general, because of unfortunate previous experiences with ordinary corsets and she may want to insist on having a girdle or brassiere-girdle because of that. Even though the kind of garment she desires to have is not exactly what you would select, you will naturally accede to her wishes if you are quite satisfied that by so doing you can still give her better service than she could get elsewhere.
    If, however, her choice would not give a reasonable measure of Spirella Service it is best to tell her frankly that you would rather not accept the order than to give her a garment which could not possibly give her service. Some clients will consent to a corset with accompanying brassiere when correction is needed, if a brassiere-girdle is suggested for dress wear.
EXCEPTIONAL PHYSICAL CONDITIONS WHICH MAY AFFECT SELECTION
    Such physical conditions as ptosis, sacro-iliac strain, or weakness following operations cannot of course always be ascertained by a study of the figure. Some clients will discuss these troubles with you quite freely; others will be sensitive about them. When you learn of such conditions, you will give them special consideration in your selection, being guided by the Adaptability in the Catalogue.
These illustrations are intended only for the use of Corsetieres. Do not on any account show them to clients or discuss them with clients.
# Spirella Catalogue (1933)/144
### GENERAL HELPS
#### SLENDER FIGURE—20-TYPE

Angular
    An angular slender figure with very prominent hip bones.
    This figure requires a garment to soften her lines and make a pleasing foundation over which to wear her outer clothing.
Garments for Use:—
    This client can wear any 20-type garment which she prefers—
    Brassiere-Girdle
    Girdle and Brassiere or Bandeau
    Corset and Brassiere or Bandeau
# Spirella Catalogue (1933)/145
### GENERAL HELPS
#### SLENDER FIGURE—20-TYPE

Small—Well Rounded
    A normal figure, well rounded yet still slender.
    A normal figure requires a garment only for the preservation of her good lines and as a foundation over which to wear her outer clothing.
Garments for Use:—
    This client can wear any 20-type garment which she prefers—
    Brassiere-Girdle
    Girdle and Bandeau or Brassiere
    Corset and Bandeau or Brassiere
# Spirella Catalogue (1933)/138
### GENERAL HELPS

THE SPIRELLA SYSTEM OF MEASURING THE BODY OVER THE FITTING GARMENT
| Measurements Over the Lower Part of Fitting Garment | { | 1. Waist— | taken smoothly, directly over the black stitching indicating the waist line |
| Measurements Over the Lower Part of Fitting Garment | { | 2. Hip— | taken snugly, not cutting in through the loops 6½ inches below the waist |
| Measurements Over the Lower Part of Fitting Garment | { | 3. Centre Front Below— | taken from the top of the pelvic arch to the waistline, as indicated by sliding steel taken in sitting position |
| Measurements Over the Lower Part of Fitting Garment | { | 4. Back Below— | taken about 2 inches to one side of centre back from the waist line of the garment straight down over the back hip to the leg, covering the curve |
| Measurements Over the Lower Part of Fitting Garment | { | 5. Hose Supporter Lengths— | and side hip, down to the point where the end of the hose supporter tip should come |
| Measurements Over the Lower Part of Fitting Garment | { | 6. Skirt Flare— | taken smoothly around the body, at a point 3 inches below the client's centre front below measurement (placing pins for the tape measure to rest in) |
| Measurements Over the Upper Part of Fitting Garment | { | 7. Waist to Bust Line— | taken from the centre of the tape measure around the waist, following the outline of the body, up to the level of the centre of the loop over the fullest part of the bust |
| Measurements Over the Upper Part of Fitting Garment | { | 8. Bust— | taken smoothly, around the fullest part of the bust, through the loops —the same distance from the waist all around the body, placing the slides on the shoulder straps in the back to receive the tape measure at the height of the waist to bust line measurement |
| Measurements Over the Upper Part of Fitting Garment | { | 9. Under Bust (for the selection of garments containing an under bust measurement)— | taken from the centre of the tape measure around the waist, following the outline of the body, up to the point where the bust begins to curve away from the trunk of the figure |
| Measurements Over the Upper Part of Fitting Garment | { | 10. Waist to Top (over bust)— | taken from the centre of the tape measure around the waist, following the outline of the body, up over the centre bust, to the height to which the top of the brassiere-girdle or brassiere should come |
| Measurements Over the Upper Part of Fitting Garment | { | 11. Under Arm— | taken from the centre of the tape measure around the waist, at under arm, up to the height to which the brassiere-girdle or brassiere should come |
| Measurements Over the Upper Part of Fitting Garment | { | 12. Top Measurement (for Spirella Girdle, Corset or Belt)— | taken smoothly, around the body at the height where the top of the new garment will come (placing pins for the tape measure to rest in) |
# Stevirmac Oil Gas Company v. Dittman

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
245 U.S. 210
Stevirmac Oil Gas Company v. Dittman
Argued: Oct. 22, 1917. --- Decided: Dec 10, 1917
Messrs. George S. Ramsey, Edgar A. de Meules, and Malcolm E. Rosser, all of Muskogee, Okl., for plaintiff in error.
Mr. Jesse H. Wise, for defendant in error.
Mr. Justice DAY delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# System Federation No. 91, Railway Employes' Department v. Wright

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.

## Dissenting Opinion

    Douglas
United States Supreme Court
364 U.S. 642
System Federation No. 91, Railway Employes' Department v. Wright
Argued: Dec. 5, 1960. --- Decided: Jan 16, 1961
Mr. Richard R. Lyman, Toledo, Ohio, for petitioners.
Mr. Marshall P. Eldred, Louisville, Ky., for respondents.
Messrs. John P. Sandidge, Woodward, Hobson & Fulton, H. G. Breetz, W. L. Grubbs, M. D. Jones and Joseph L. Lenihan, Louisville, Ky., for Louisville & Nashville R. Co.
Mr. Justice HARLAN delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Tales and Legends from the Land of the Tzar/Introduction

INTRODUCTION.
In presenting to the English Public this little volume of Russian stories, I give the result of some years' experience in Russia, where I was born, and where I spent my childhood. Some of these tales were dictated in the original Russian at school, others were related to me by my nurse and other servants of my father's household, while some are translations which I have made from various collections of Russian stories current among the people. Russian humour is peculiar, and it is not always easy to know whether Ivan is laughing at or with you. In this respect he resembles "Pat," whose affected simplicity is in nine cases out of ten a mere cloak for unfathomable shrewdness.
The perfect recklessness regarding possibility (to say nothing of probability) lends a special charm to the Russian story. Nothing stops the progress of events. The most startling phenomena occur in the most every-day sort ot way, and none of the characters seem surprised at occurrences of which the bare narration almost deprives one of breath.
I hope that my work may not only prove amusing ​to children, but interesting to students of folk-lore, who may be able to find some useful hints in these pages. They may be able to trace the connection between some of our own most beloved fairy tales and those of a country so little known in England as Russia.
Edith Hodgetts.
London, 1890.
# Summa Theologiae/First Part of the Second Part/Prologue
### Prologue

Since, as Damascene states (De Fide Orthod. ii.), man is said to be made to God's image, in so far as the image implies an intelligent being endowed with free-will and self-movement: now that we have treated of the exemplar, i.e., God, and of those things which come forth from the power of God in accordance with His will; it remains for us to treat of His image, i.e., man, inasmuch as he too is the principle of his actions, as having free-will and control of his actions.
# Tales of My Landlord (1st Series)/Volume 4/Peroration

It was mine earnest wish, most courteous Reader, that the "Tales of my Landlord" should have reached thine hands in one entire succession of tomes, or volumes. But as I sent some few more manuscript quires, containing the continuation of these most pleasant narratives, I was apprised, somewhat unceremoniously, by my publisher, that he did not approve of novels (as he injuriously called these real histories) extending beyond four volumes, and, if I did not agree to the first four being published separately, he threatened to decline the article (O, ignorance! as if the vernacular article of our mother English were capable of declension!) Whereupon, ​somewhat moved by his remonstrances, and more by heavy charges for print and paper, which he stated to have been already incurred, I have resolved that these four volumes shall be the heralds or avant-couriers of the Tales which are yet in my possession, nothing doubting that they will be eagerly devoured, and the remainder anxiously demanded, by the unanimous voice of a discerning public. I rest, esteemed Reader, thine as thou shalt construe me,
Jedediah Cleishbotham.
Gandercleugh, Nov. 15, 1816.
Edinburgh: Printed by James Ballantyne & Co.
Layout 2
# Tales of Old Lusitania

TALES of OLD LUSITANIA
FROM
The Folk-Lore of Portugal
BY
COELHO.
TRANSLATED BY
HENRIQUETA MONTEIRO.
LONDON:
SWAN SONNENSCHEIN & CO.,
PATERNOSTER SQUARE.
1888.
When the white rabbit returned from the garden, she found the door locked on the inside, and she knocked and thumped till some one cried, "Who is there?"
[Frontispiece.
CONTENTS.
PAGE
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Tales of Mystery & Imagination

Short story collection
* Tales of Mystery and Imagination, illustrated by Harry Clarke (1919) (start transcription)
* Poe's Tales of Mystery and Imagination, illustrated by Arthur Rackham (1935) (transcription project)
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
# Terræ-filius: or, the Secret History of the University of Oxford

(Upload an image to replace this placeholder.)
page
TERRÆ-FILIUS:
Or, The SECRET
HISTORY
OF THE
University of Oxford;
IN
Several ESSAYS.
To which are added,
In Two Volumes.
Newton's Univ. Educ.
LONDON:
Printed for R. Francklin, under Tom's Coffee-House, in Russel-Street, Covent-Garden.
M. DCC. XXVI.
page
Volume One:
* Dedication
* Preface
* Advertisement
* Terræ Filius No. I
* Terræ Filius No. II
* Terræ Filius No. III
* Terræ Filius No. IV
* Terræ Filius No. V
* Terræ Filius No. XI
Volume Two:
* Terræ Filius No. XXXI
* Terræ Filius No. XXXII
* Terræ Filius No. L (p.335)
* Appendix (p.346)
* Postscript (p.397)
* Index (p.399)
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
# Terræ-filius: or, the Secret History of the University of Oxford/Advertisement

Published London 1726.
​Advertisement.
WHereas I have frequently declared, according to the full intention of my heart, that I should be always ready to correct any mistakes, which I have inadvertently fallen into, through the course of these papers, I think my self obliged to acknowledge, that I have received intelligence from a gentleman, whose veracity I can never distrust, that I gave too much credit to a letter dated from Wadham college, concerning the publick lecturers at Oxford, there being two or three of those gentlemen, besides those whom I have mentioned, who ought to be excepted out of the general censure. As I received this information too late to make these exceptions in their proper places, I must desire the reader to accept of this general acknowledgement and apology, together with my promise, that if the publick continue their favour so far as to bring these sheets to a third impression, I will not only correct those mistakes, but all others, of which I shall be duly appriz'd; it being my determined resolution not to persist in any known errors, but to pare away every thing of that nature, and reduce these volumes to a series of the most incontestable Truths.
# Terry v. Tubman

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
92 U.S. 156
Terry v. Tubman
ERROR to the Circuit Court of the United States for the Southern District of Georgia.
Mr. Harvey Terry for the plaintiff in error.
Mr. William H. Hull, contra.
MR. JUSTICE HUNT delivered the opinion of the court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# St. Nicholas/Volume 40/Number 4/Nature and Science

* The significance of birds’ feet
* Some little Clay Jugs
* Tiny insects most beautiful
* The impatient touch-me-not
* A beautiful February constellation
* Saturn and the Pleiades
* Because we want to know
# St. Nicholas/Volume 40/Number 4/Letter-Box

THE LETTER-BOX
Our readers will remember with pleasure the excellent photograph of the distinguished Governor of New Jersey, new President-elect of the United States, which appeared at the heading of the article in the November St. Nicholas, entitled, “What Woodrow Wilson did for American Foot-ball.” By an oversight, which is much regretted, the words, “Copyright by Pach Brothers, New York,” were not printed beneath the picture as they should have been; and we now make the earliest amends possible by calling attention to our failure to give the photographers the credit for their picture and the notice of their copyright that should have appeared with it.
Dover, N. J.
At the party there were Mother Goose, Mother Hubbard, Little Miss Muffett, Little Bo-peep, Mary, Mary, Quite Contrary, Mary Had a Little Lamb, the Queen of Hearts, and many others.
We played games, danced (the music being given by the club girls, who took turns playing, and one boy, who made all our feet fly to the tune of his ‘‘fiddle’’), and had a lovely time. The Queen of Hearts was, of course, the girl whose birthday we were celebrating.
We had favors in the first dance—little funny figures, etc., and I (I think I got a boy’s favor) received a huge cigar made out of some kind of stiff paper or cardboard, with a place for candy in the middle. Also we were given by our charming hostess, the Queen of Hearts, little paste-board boxes in the shape of hearts, filled with candy; and she also gave us each a heart from her dress.
The party was a great success, and we all had a perfectly lovely time; and all the girls are so thankful to “J. E. L.,” who wrote ‘‘The Mother Goose Holiday Tea.”
I have taken your magazine for years, and have enjoyed it immensely. Your most interested reader,
Gladys E. Jenkins.
Redlands, Cal.
Dear St. Nicholas: I am spending the winter in California, although it is n’t much like winter, with all the oranges and flowers about. I am going to tell you a funny story. My Uncle John in Kentucky found a Confederate stamp on an old letter one day, and thought he would send it to me for my collection. He soaked the stamp off the envelop and put it gum side up on his desk to dry, when along came a big fly. The fly lit on the stamp, and his legs stuck fast, and before Uncle John could grab him he had flown with the stamp out of the window. I was sorry to lose the stamp, but if the fly had n’t carried it off, I should not have had any story to tell.
Wester Clay Powell (age 13).
Utica, N. Y.
Dear St. Nicholas: I have taken you for two years, and enjoy you very much. Among my favorites are Mr. Barbour’s stories. I always look forward to the day when you come. I have a little bull-terrier, named “Fi-fi.” The postman always gives Fi-fi the St. Nicholas when it arrives, and he comes running up to me, bringing it in his mouth.
Hoping you will have a long life.
Your loving reader,
Ruth Barnveld Weed.
# St. Nicholas/Volume 40/Number 4/Nature and Science/Clay Jugs

SOME LITTLE CLAY JUGS
Attached to the under side of a protecting leaf and gently rocked by the summer breezes, hang three little jugs. They resemble Mexican water-bottles, but are not made by human hands. Strange as it may seem, they are the work of an insect, the potter-wasp, and are really mud cells that serve as the nest, or home, for the young wasps. While those shown in the illustration were fastened to a maple leaf, they are not al-​ways so found, but often are attached singly to twigs.
These little jugs are made of wet clay which the parent wasp gathers for the purpose, and, when thoroughly dry, are hard and enduring. When a jug is finished, it is filled with small spiders or caterpillars, that are first made dormant by the sting of the wasp, but not killed, and in each jug an egg is laid, after which the opening is sealed with a little clay cork.
In a few days, the egg hatches, making a small grub with a big appetite which it at once begins to satisfy with the dormant spiders. The feast THE CURIOUS NESTS OF THE POTTER-WASP. continues for about two weeks, when the grub, now grown to a good size, spins a cocoon, and in this state remains for perhaps a few weeks, after which it changes to a full-fledged wasp, and, being no longer content in its confined quarters, it deliberately pushes out the little clay plug that has closed the jug, and goes into the world to take up its work in the great realm of nature. And the little jugs are left deserted and empty.
George A. King.