OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Stresa

See also Stresa on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​STRESA, a village of Piedmont, Italy, in the province of Novara, situated on the west side of Lago Maggiore, on the Simplon railway, 10 m. N. of Arona, 673 ft. above sea-level. Pop. (1901), 1477. It is remarkable for the beauty of its scenery and for its fine villas, and is a favourite resort in spring, summer and autumn.
# 1911 Encyclopædia Britannica/Striegau

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​STRIEGAU, a town of Germany, in the Prussian province of Silesia, on the Striegau Water (Striegauer Wasser), 30 m. by rail S.W. of Breslau. Pop. (1905), 13,427. It contains four Roman Catholic churches, among which is that of St Peter and St Paul, with a vaulted roof 100 ft. in height, the highest in Silesia; a Protestant church and numerous educational and charitable institutions. The chief industries of the place are the making of cigars, malt and machinery; also of albums, portfolios and other articles in leather. Granite is quarried in the neighbourhood and there is an extensive trade in grain. It was near Striegau that Frederick the Great gained the important victory usually named after the village of Hohenfriedberg, on the 4th of June 1745. The town rights of Striegau date from 1242.
# 1911 Encyclopædia Britannica/Streator

See also Streator, Illinois on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​STREATOR, a city of La Salle county, Illinois, U.S.A., on the Vermilion river, in the N. part of the state, about 95 m. S.W. of Chicago. Pop. (1890), 11,414; (1900), 14,079, of whom 13740 were foreign-born; (1910 census) 14,253; land area, ​2.97 sq. m. It is served by the Atchison, Topeka & Santa Fe, the Chicago, Burlington & Quincy, the Chicago & Alton, the Chicago, Indiana & Southern and the Wabash railways. Streator has a public library and a Chautauqua auditorium. It is in the Vermilion coal region, and clay for brick and tile is abundant in its vicinity. The city’s manufactures include glass, brick, tile, foundry and machine-shop products, &c. In 1905 the factory product was valued at $1,888,894, being 51.4% greater than in 1900. Streator was laid out in 1868, was incorporated as a village in 1870 and was chartered as a city in 1882.
# 1911 Encyclopædia Britannica/Streatham

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​STREATHAM, a large residential district in the south of London, England, within the municipal borough of Wandsworth. The name appears to indicate its position on an ancient " street " or highway. According to Domesday, Streatham included several manors, two of which, Tooting and Balham (to follow the modern nomenclature), belonged to the abbot of St Mary de Bee in Normandy. One of several public grounds in the neighbourhood of Streatham is called Tooting Bee Common. The parish church of St Leonard, Streatham, contains among its memorials that of Henry Thrale (d. 1781), with an inscription by Samuel Johnson, who was a constant visitor at Thrale's house, Streatham Park, which is no longer standing.
# A Dictionary of Music and Musicians/Basso Ostinato

From volume 1 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Bateson, Thomas

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Bastardella

From volume 1 of the work.
​BASTARDELLA, or BASTARDINA. See Agujari.
# A Dictionary of Music and Musicians/Bastien et Bastienne

From volume 1 of the work.
​BASTIEN ET BASTIENNE, a German operetta or pastoral in one act (15 Nos.), words by Schachtner from the French, the music by Mozart 'in his 12th year,' 1768; performed in a Garden-house at Vienna belonging to his friends the Messmers. (Köchel, No. 50; Jahn, 1st ed. i. 122). The subject of the Intrade (in G) is by a curious coincidence all but identical with the principal theme of the first movement of Beethoven's 'Eroica' Symphony:—
# A Dictionary of Music and Musicians/Bates, Joah

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Basso Continuo

From volume 1 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Basso di Camera

From volume 1 of the work.
​BASSO DI CAMERA, Italian for a chamber-bass; that is, a small double-bass, such as is generally used by double-bass players for solo performances.
# A Dictionary of Music and Musicians/Baston, Josquin

From volume 1 of the work.
[ J. R. S. B. ]
# A Dictionary of Music and Musicians/Bates, William

From volume 1 of the work.
[ W. H. H. ]
# 1911 Encyclopædia Britannica/Vendace

See also Vendace on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VENDACE, the name of a freshwater fish of the genus Coregonus, of which two other species are indigenous in the fresh waters of the British Islands, the gwyniad and the pollan. The vendace (C. vendesius) is restricted to some lochs in Dumfriesshire, Scotland; it is, however, very similar to a species (C. albula) which inhabits some of the large and deep lakes of northern Europe. From its general resemblance to a dace the French name of the latter, vandoise, was transferred to it at the period when French was the language of the court and aristocracy of Scotland. So great is the local celebrity of the fish that a story has been invented ascribing to Mary Queen of Scots the merit of having introduced it into the Lochmaben lochs. It is considered a great delicacy, and on favourable days when the shoals rise to the surface, near the edges of the loch, great numbers may be taken. It spawns in November. In length it scarcely exceeds 8 in.
# 1911 Encyclopædia Britannica/Venafrum

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​VENAPRUM, an ancient town of Campania, Italy, close to the boundaries of both Latium adjectum and Samnium. Its site is occupied by the modern Venafro, a village with 4716 inhabitants (1901), on the railway from Isernia to Caianello, 15 m. S.W. of the former, 658 ft. above sea-level. Ancient authors tell us but little about it, except that it was one of those towns governed by a prefect sent yearly from Rome, and that in the Social War it was taken by the allies by treachery. Augustus founded a colony there and provided for the construction of an aqueduct (cf. the long decree relating to it in Carp. Inscr. Lat. x. No. 4842). It seems to have been a place of some importance. Its olive oil was the best in Italy, and Cato mentions its brick works and iron manufactures. The original line of the Via Latina probably ran through Venafrum, making a détour, which the later road seems to have avoided (cf. Latina, Via). Rufrae was probably dependent on it. Roads also ran from Venafrum to Aesernia and to Telesia by way of Allifae. Of ancient remains hardly anything is left—some traces of an amphitheatre and fragments of polygonal walls only.  (T. As.)
# 1911 Encyclopædia Britannica/Vendetta

See also Feud on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VENDETTA (Ital. from Lat. vindicta, revenge, vindicate, to defend oneself), the term applied to the custom of the family feud, by which the nearest kinsman of a murdered man was obliged to take up the quarrel and avenge his death. From being an obligation upon the nearest, it grew to be an obligation on all the relatives, involving families in bitter private wars among themselves. It is a development of that stage in civilization common to all primitive communities, when the injury done was held to be more than personal, a wrong done to the whole gens. ​The term originated in Corsica, where the vendetta has long played an important part in the social life. If the murderer could not be found, his family were liable to fall victims to the vendetta. The feud was sometimes complicated by the vendetta transfer sale, when each of two branches of a family had a murder to revenge on the other. In Corsica it was regarded as the most sacred family duty. Mediators (parolanti) sometimes intervened successfully to end the feuds, and extort an oath to forgo vengeance. The custom still survives in Corsica in its complete form, and partially in Sardinia, Sicily, Montenegro, Afghanistan, among the Mainotes of Greece, the Albanians, Druses and Bedouins.
# 1911 Encyclopædia Britannica/Velvet

See also Velvet on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VELVET, a silken textile fabric having a short dense piled surface. In all probability the art of velvet-weaving originated in the Far East; and it is not till about the beginning of the 14th century that we find any mention of the textile. The peculiar properties of velvet, the splendid yet softened depth of dye-colour it exhibited, at once marked it out as a fit material for ecclesiastical vestments, royal and state robes, and sumptuous hangings; and the most magnificent textures of medieval times were Italian velvets. These were in many ways most effectively treated for ornamentation, such as by varying the colour of the pile, by producing pile of different lengths (pile ​upon pile, or double pile), and by brocading with plain silk, with uncut pile or with a ground of gold tissue, &c. The earliest sources of European artistic velvets were Lucca, Genoa, Florence and Venice, and Genoa continues to send out rich, velvet textures. Somewhat later the art was taken up by Flemish weavers, and in the 16th century Bruges attained a reputation for velvets not inferior to that of the great Italian cities.
# 1911 Encyclopædia Britannica/Vendémiaire

See also Vendémiaire on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VENDÉMIAIRE (from Lat. vindemia, vintage), the name given during the French Revolution to the first month of the year in the Republican Calendar. Vendemiaire began on the 22nd, 23rd or 24th of September, and ended on the 22nd, 23rd or 24th of October according to the year, and was the season of the vintage in the wine districts of northern France. In accordance with the suggestion of Fabre d'Eglantine, each of the days of the republican year was consecrated to some useful object. For' instance, 1 Vendemiaire was the festival of the grape, 10 Vendemiaire of the vat, 13 Vendemiaire of the pumpkin, 15 Vendemiaire of the ass, 20 Vendemiaire of the wine-press, and 30 Vendemiaire of the cask. The most important event in this month was the quelling of the royalist rising on 13 Vendemiaire year IV. (4th of October 1795), in which General Bonaparte (afterwards the emperor Napoleon) distinguished himself by his energy and skill in using artillery.
See Baron R. de Larcy, Le 13 Vendemiaire (Paris, 1872).
# 1911 Encyclopædia Britannica/Vellore

See also Vellore on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VELLORE, a town of British India, in the North Arcot district of Madras, on the river Palar and the South Indian railway, 87 m. W. of Madras city. Pop. (1901) 43,537. It has a strongly built fortress, which was famous in the wars of the Carnatic. It dates traditionally from the 13th century, but more probably only from the 17th. It is a fine example of Indian military architecture, and contains a temple adorned with admirable sculptures. In 1780 it withstood a siege for two years by Hyder Ali. After the fall of Seringapatam (1799) Vellore was selected as the residence of the sons of Tippoo Sahib, and to their intrigues has been attributed the mutiny of the sepoys here in 1806. An American: mission manages a high school, raised to the rank of a college in 1898; and the police training school for the presidency is also situated here. Vellore has a large grain trade, and flowers are cultivated in the vicinity.
# 1911 Encyclopædia Britannica/Velveteen

See also Velveteen on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VELVETEEN, a cotton cloth. made in imitation of velvet. The term is sometimes applied to a mixture of silk and cotton. Some velveteens are a kind of fustian, having a rib of velvet pile alternating with a plain depression. The velveteen trade varies a good deal with the fashions that control the production of velvet. 'Velveteens are commonly woven in sheeting looms, and manufacturers are able to alternate the two kinds of goods according to the demand.
# A Dictionary of Music and Musicians/Holmes, George

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holstein, Franz von

[ M. ]
# A Dictionary of Music and Musicians/Holder, Joseph

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holmes, Alfred

From volume 1 of the work.
​HOLMES, Alfred, born in London, Nov. 9, 1837, son of Thomas Holmes, of Lincoln, a self-taught man, was at the age of 7 initiated by his father in the practice of violin playing. With no other instruction than that of his parent and Spohr's 'Violin School,' he soon became distinguished, and especially noted for the performance of duets with his younger brother, Henry. At a later period their father made them study the classic French school of Rode, Baillot, and Kreutzer. When about 10 years of age Alfred became principal soprano boy at the Oratory, then newly established in King William Street, Strand, in the building theretofore the Lowther Rooms, and now the Folly Theatre. On July 13, 1847, the two brothers made their first appearance in public at the Haymarket Theatre at the benefit of F. Webster, and played Auber's overture to 'Masaniello,' arranged as a violin duet. They did not again appear in public until 1853, in the summer of which year they played at a concert at the Beethoven Rooms, assisted by W. H. Webb, Piatti, and Lindsay Sloper. In 1855 they made their first visit to the continent and went to Brussels, where they remained for several months performing with great success. In 1856 they visited Wiesbaden, Frankfort, Darmstadt, Leipsic, Mayence, and Cassel. In 1857 they went to Vienna; after that to Sweden, where they remained for two years, and then to Copenhagen in 1860 and Amsterdam in 1861, meeting everywhere with great success. In 1864 Alfred Holmes settled in Paris, where in 1866 he established a quartet party. In 1867 he made a tour in Belgium, Holland, Germany, and Russia. At St. Petersburg he produced his 'Jeanne d'Arc,' symphony with solos and chorus, which was performed for the first time in England at the Crystal Palace, Feb. 27, 1875. Returning to Paris he gave some fragments of a symphony called 'The Youth of Shakspere,' and an opera, 'Inez de Castro.' He afterwards produced two symphonies entitled 'Robin Hood' and 'The Siege of ​Paris,' and composed two others under the names of 'Charles XII' and 'Romeo and Juliet.' He died, after a short illness, at Paris, March 4, 1876. Shortly after his death two overtures, 'The Cid' and 'The Muses,' his last works, were produced in London. [App. p.678 replace last sentence with "His last works were two Overtures, of which 'The Cid' was played at the Crystal Palace, Feb. 21, 1874, and The Muses' in London later."]
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holmes, Edward

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holmes, Augusta

[ A. J. ]
# A Dictionary of Music and Musicians/Holmes, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holmes, William Henry

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Holder, William

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Holdich, George

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Drouet, Louis

From volume 1 of the work.
​DROUET, Louis François Philippe, one of the most eminent of flute-players, born at Amsterdam 1792. At seven years old he played at the Conservatoire and the Opera-house, Paris. From 1807–10 he was teacher to King Louis of Holland, and claims to have put 'Partant pour la Syrie' into shape for Queen Hortense. His serious study of the flute began in 1807, after an extraordinary success which he achieved at a concert of Rode's in Amsterdam. In 1811 he was appointed solo flute to Napoleon I, a post which he retained after the Restoration. He appeared in London at the Philharmonic March 35, 1816, and this was probably the commencement of a lengthened tour, during which he resided for some time at Naples and the Hague. He played again at the Philharmonic May 17, 1830. From 1836 to 54 he was Court-Capellmeister at Coburg, after which he visited America. Since his return thence he has lived at Gotha and Frankfort. Drouet was eminently a flute player, not remarkable for tone, but with extraordinary skill in rapid passages and in double tongueing. He left some 150 works of all kinds, admirably written for the flute, and greatly esteemed by players, but of little account as music. He died 1873 [App. p.618 "Sept. 30"].
# A Dictionary of Music and Musicians/Dubois, Clément

[ A. J. ]
# A Dictionary of Music and Musicians/Drechsler, Karl

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Dreyshock, Alexander

From volume 1 of the work.
[ E. D. ]
# A Dictionary of Music and Musicians/Droghierina

From volume 1 of the work.
​DROGHIERINA. See Chimenti.
# A Dictionary of Music and Musicians/Dreher

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Drury Lane

From volume 1 of the work.
[ H. S. E. ]
# A Dictionary of Music and Musicians/Drechsler, Josef

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Drone

From volume 1 of the work.
​DRONE. A name given to the three lower pipes of the bagpipe, which each emit only a single tone; usually two octaves of the key-note D, and the fifth A. They are distinguished from the Chaunter, which has the power of producing a melodious succession of notes. [See Bagpipe.]
The term has hence been transferred to continuous bass in a composition, usually of a pastoral kind, as in the 'Hirten-melodie' in Schubert's 'Rosamunde,'
the 'Leyermann' in Schubert's 'Winterreise' or the Danse des Juives in the ballet of Gounod's 'Reine de Saba':—
[ W. H. S. ]
# A Dictionary of Music and Musicians/Lloyd, Charles

​LLOYD, Charles Harford, born Oct. 16, 1849, at Thornbury, Gloucestershire, son of Edmund Lloyd, a solicitor, was educated at Thornbury Grammar School and Rossall School. From the latter he went to Magdalen Hall (now Hertford College), Oxford, in Oct. 1868 as the holder of an open classical scholarship. He graduated Mus.B. 1871, B.A. 1872, M.A. 1875, taking a second class in the Final Theological School. While an undergraduate he was instrumental in establishing the Oxford University Musical Club, and was elected its first president. This society (see vol. iv. p. 206) has done a great deal for the advancement of classical music in the University. It still flourishes, and up to June 1887 over 380 performances of chamber music had been given. Mr. Lloyd was appointed organist of Gloucester Cathedral in June 1876 as successor to Dr. S. S. Wesley. In this capacity he conducted the Festivals of the Three Choirs in 1877 and 1880. In Sept. 1882 he succeeded Dr. C. W. Corfe as organist of Christ Church Cathedral, Oxford, and in the same year became conductor of the Choral Society in succession to Mr. Parratt. His works, though few in number, have obtained well-deserved success. His themes are original and beautiful, and their treatment shows much experience and knowledge of effect. His part-writing is excellent, and in the structure of his compositions he displays a moderation and self-restraint which ​cannot be too highly commended. His published works are as follows:—
Cantatas.—'Hero and Leander,' for soli, chorus and orchestra (Worcester Festival, 1884): 'Song of Balder,' for soprano solo and chorus (Hereford Festival, 1885): 'Andromeda,' for soli, chorus and orchestra (Gloucester Festival, 1886): 'The Longbeards' Saga,' male chorus and PF. acct., 1887.
Choruses and Incidental music to Alcestis (see Greek Plays in Appendix), for male chorus, flutes, clarinets and harp, 1887. 'The Gleaner's Harvest' for female chorus.
Services in E♭ (full Cathedral), in F and G (Parochial). Magnificat and Nunc Dimittis in F, soli, chorus and orchestra (Gloucester Festival, 1880).
Anthems.—'Art thou weary?' 8 voices unaccompanied. 'Blessed is he,' with full orchestral accompaniment (Gloucester Festival, 1883). 'Fear not, O land,' and 'Give the Lord the honour.'
Duo concertante for clarinet and piano.
Organ.—Sonata in D minor, and two other pieces.
[ M. ]
# A Dictionary of Music and Musicians/Lisley, John

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lisbeth

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lischen et Fritzchen

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Litaniæ Lauretanæ

From volume 2 of the work.
​LITANIÆ LAURETANÆ (Litany of Loreto). A solemn Litany, sung in honour of the Blessed Virgin Mary.
It is no longer possible to ascertain when, where, or by whom, this Litany was originally written: but, if we may trust the very generally received tradition that it was first chaunted at Loreto, and carried thence, by Pilgrims, to all parts of the world, it cannot be of earlier date than the closing years of the 13th century. It has, undoubtedly, been chaunted there, every evening, from time immemorial. In other places, it is most frequently sung, either in solemn Processions, or, during the Exposition of the Blessed Sacrament at Benediction: but its use—especially on the Continent—is by no means restricted to those particular occasions. In Rome, for instance, it is constantly sung, at almost every popular Service, to a simple Plain Chaunt melody, familiar to all Italians, and printed, in its purest form, in the new Ratisbon edition of the 'Directorium Chori.' This is, probably, the oldest music to which the words were ever adapted. Its date, like theirs, is uncertain: but it is at least old enough to have attracted the attention of the great Polyphonic Composers of the 16th century, some of whom have treated it in their best, and most devout style, and, when adopting it as a Canto fermo, have carefully abstained from destroying the simplicity of its character by the introduction of vain and irrelevant conceits.
Palestrina was especially devoted to the Litany; and, in 1593, published a volume, containing, in two books, ten different settings, of exquisite beauty, composed for the use of the 'Confraternity of the Holy Rosary.' One of the most beautiful divisions of the work is reprinted in the fourth volume of Proske's 'Musica Divina': but a great number of the Composer's finest Litanies still remain in MS.
Another volume of Litanies, by various authors, was published at Munich, in 1596, by Georgius Victorinus, under the title of 'Thesaurus Litaniarum.' We here find, among other interesting works, a charming Litany, by Orlando di Lasso, founded entirely upon the Plain Chaunt Canto fermo, and so simple in construction that the most modest Choir need feel no hesitation in attempting it. This Litany is also reprinted, entire, in the fourth volume of 'Musica Divina,' together with some others from the same rare work, which, fortunately, is not the only collection that has been preserved to us from the 16th century. Under the title of Litaniæ Catholicæ ad Christum, Beatam Virginem, et Sanctos, a highly interesting work was printed by Wolfgang Eder, at Ingolstadt, in 1589. Another, called Sacræ Litaniæ variæ, was published at Antwerp, in 1595. A precious volume, believed to be unique, wanting the title and first nine pages—and, therefore, without date—is preserved in the Library bequeathed by Dr. Proske to the cathedral of Ratisbon. And many other printed collections are still extant, containing quite a little treasury of Art.
[ W. S. R. ]