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

See also St Helens, Merseyside and St Helens#United Kingdom on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​ST HELENS, a market town and municipal, county, and parliamentary borough of Lancashire, England, 14 m. E.N.E. from Liverpool, on the London & North-Western and Great Central railways. Pop. (1891) 72,413; (1901) 84,410. A canal communicates with the Mersey. The town is wholly of modern development. Besides the town hall and other public buildings and institutions there may be mentioned the Gamble Institute, erected and presented by Sir David Gamble, Bart., for a technical school, educating some 2000 students, and library. Among several public pleasure grounds the principal are the Taylor Park of 48 acres, and the smaller Victoria and Thatto Heath Parks. This is the principal seat in England for the manufacture of crown, plate, and sheet glass; there are also art glass works, and extensive copper smelting and refining works, as well as chemical works, iron and brass foundries, potteries and patent medicine works. There are Collieries in the neighbourhood. To the north of the town are a few ecclesiastical ruins, known as Windleshaw Abbey, together with a well called St Thomas well, but the history of the foundation is not known. The parliamentary borough (1885) returns one member. The county borough was created in 1888. The town was incorporated in 1868, and the corporation consists of a mayor, 9 aldermen and 27 councillors. Area 7285 acres.
# A Dictionary of Music and Musicians/Da Capo

From volume 1 of the work.
​DA CAPO, or D.C.—'from the beginning'—is placed at the end of the second part of an air, or chorus ('O the pleasure"), or scherzo and trio, or other movement in two portions, to show that ​the first portion is to be played over again as a conclusion. In airs the direction is often Dal Segno—'from the sign'—the sign being a at the beginning of the first portion. In scherzos and minuets, with trios, the direction at the end of the trio is usually 'Scherzo, or Minuetto, D.C. senza repetizione.' The first known occurrence of Da Capo is in Tenaglia's opera of 'Clearco' (1661) [App. p.604 "Cavalli's opera of 'Giasone' (1655)"].
# A Dictionary of Music and Musicians/Dal Segno

From volume 1 of the work.
​DAL SEGNO, 'from the sign,' or al Segno, 'to the sign'; the 'sign' being a , probably a capital S. 'Da capo al Segno ' is the full direction, as at the end of the second part of 'Consider, fond shepherd' in 'Acis,' the being in bar 2 of the first part.
# A Dictionary of Music and Musicians/Dalayrac, Nicolas

From volume 1 of the work.
​DALAYRAC, Nicolas, a celebrated French composer, was born at Muret (Languedoc) in 1753 [App. p.604 "June 13"]. His father occupied a high civil appointment in his province, and in spite of his son's early passion for music destined him for the bar. His studies of the violin were put a stop to, and it is said that the young enthusiast, in order to play without interruption, used every night to ascend the roof of the house. This however interfered with the nocturnal exercises of a neighbouring nunnery. But the complaints of the pious damsels addressed to his father ultimately led to the fulfilment of young Dalayrac's dearest wish. His aversion to the law was considered conclusive, and he was sent in 1774 to Paris, where a commission in the guards of the Count of Artois had been obtained for him. But the love of his art was proof against the attraction of a military career. Immediately on his arrival in the capital he took lessons in harmony from Langlé, and soon made his début as a dramatic composer with a comic opera called 'Le petit Souper,' first performed at the French court in 1781. Encouraged by this success, he produced in the following year an opera, 'L' Eclipse totale,' at the Opera Comique. This also was successful, and secured Dalayrac's position amongst the best and most fertile composers of his time. He continued for the remainder of his life producing operas at the rate of one or two a year. Not even the Reign of Terror interrupted or in any way influenced the inexhaustible productiveness of his pen. Two of his most charming operas, 'L'actrice chez elle' and 'Ambroise, ou Voilà ma journée,' bear the terrible date of 1793. In 1790 he lost much of his property, but in spite of this misfortune he refused to avail himself of his father's will, which excluded his younger brother from a share in the family property. At the beginning of the century he was made a chevalier of the Legion of Honour by Napoleon, and he died in 1809 [App. p.604 "Nov. 27"] at Paris. Of the numerous works of Dalayrac none have survived. The titles of the more important ones may be cited:—'Le Corsaire' (1783), 'L'Amant Statue' (1785), 'Nina' (1786), 'Azeinia' (one of his best works, first performed on May 3, 1787), 'Raoul de Créqui' (1789), 'Fanchette' (same year), 'Adèle et Dorsan' (1794), 'Adolphe et Clara' (1799), 'Maison à vendre' (1800), 'Une Heure de Marriage' (1804), 'Le Poète et le Musicien' (first performed in 1811, two years after the composer's death), and many others.
[ F. H. ]
# A Dictionary of Music and Musicians/Dactyl

From volume 1 of the work.
# A Dictionary of Music and Musicians/Dallam

From volume 1 of the work.
​DALLAM (spelt also Dalham, Dallum, and Dallans), the name of a family of English organ-builders in the 17th century. The eldest was employed in 1605–6 to build an organ for King's College, Cambridge, for which purpose he closed his workshop in London and removed his whole establishment to Cambridge. He and his men were lodged in the town, but boarded in the College Hall. Dr. Rimbault ('History of the Organ') gives a very curious account of every item paid for building this organ. It was destroyed in the time of the Long Parliament, but the case, with some alterations, remains to this day. This Dallam's Christian name does not appear in the 'college books, but he is most probably identical with Thomas Dallam, who built an organ for Worcester Cathedral in 1613. [App. p.604 "Thomas Dallam came to London from Dallam in Lancashire, and was apprenticed to a member of the Blacksmith's company, of which he afterwards became a liveryman. The organs which he built for King's College, Cambridge, and for Worcester Cathedral, were taken down at the time of the civil war; parts of the former are said to be contained in the existing instrument. He was in all probability the same Dallam who in 1615, 1632 and 1637 was employed to repair the organ of Magdalen College, Oxford."] The three following were probably his sons:—
Robert, born 1602, died 1665, and buried in the cloisters of New College, Oxford, for which college he built the organ; but his principal work was that of York Minster, since destroyed by fire. He also built similar organs for the cathedrals of St. Paul and Durham.
[ W. B. S. ]
[ V. de P. ]
# A Dictionary of Music and Musicians/D'Urfey, Thomas

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

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

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Dallery

​DALLERY. The eldest of these organ-builders was Charles, born at Amiens about 710, and was originally a cooper. His nephew Pierre, born 1735, after working with his uncle, was for a few years in partnership with Clicquot (see vol. i. p. 374). To the union of hese two clever men are due the organs of Notre-Dame and the Sainte Chapelle in Paris, that of the Palace of Versailles, and many others ​now destroyed or mutilated by ignorant workmen.
[ V. de P. ]
# A Dictionary of Music and Musicians/Dame Blanche, La

From volume 1 of the work.
​DAME BLANCHE, LA. Opera comique in 3 acts, founded on Scott's 'Monastery'; libretto by Scribe, music by Boieldieu; produced at the Opera Comique Dec. 10, 1825; played at the same theatre for the 1000th time on Dec. 16, 62. Produced in English as 'The White Maid' at Covent Garden Jan. 2, 1827.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Boulogne, (Genevieve and Madeleine)

BOULOGNE, (GENEVIEVE and MADELEINE)
Sisters and famous Painters.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Bourges, (Clementia de)

BOURGES, (CLEMENTIA DE) a celebrated Poetess of Lyons, in the sixteenth Century,
Was not inferior to Louisa Labé in poetical and musical talents, but much her superior in birth and virtue. They were cotemporaries, and esteemed the Sapphos of the age; living in the most perfect friendship, till Louisa's conduct made it necessary for Clementia to break the connexion; which she did, though with great pain to herself.
In the different fêtes given to the French kings at Lyons, she played before them. She has been called the flower and the pearl of Lyonese Damsels; a pearl truly oriental. She was promised in marriage to a young lieutenant of the province, who was killed fighting against the protestants in Dauphiny, 1561. Clementia died of grief at the end of the next year, in the flower of her age. She was celebrated by the best writers of the time. Her poetry is esteemed elegant and correct, her measure smooth and harmonious.
Memoirs of French Ladies, by Mrs. Thicknesse.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Bregi, (Charlotte Saumaise de Chasan, Madame le Count de)

A French lady of much wit, beauty, and vivacity; which qualities she preserved to an advanced age. A ​collection of her letters, to and from the most illustrious characters of the age, some of whom were crowned heads, and poems, were printed at Leyden, in 1668.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Broadstreet, (Anne)

They consisted chiefly of a description of the four elements, the four humours, the four ages, the four seasons, and the four monarchies.
Female Worthies, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Brohan, (Mademoiselle)

At the age of eighteen, she had published many ingenious works. Some little romances appeared in the French Mercury; but her chef d'œuvre is les Amans Philosophes.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Boussonet, (Stella)

BOUSSONET, (STELLA)
An excellent designer and engraver, whose works rank with those of the first artists.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Bridget

After the death of her husband, she went to Rome, where she founded the order of the monks of St. Saviour, to which she gave rules, written in thirty-one chapters. Towards the end of her life, she went to Palestine, to visit places sanctified, in her idea, by the holy men, who had formerly inhabited them. There is a volume of revelations, under her name, in eight books. She was canonized in 1415.
F.C.
# 1911 Encyclopædia Britannica/Subsidy

See also Subsidy on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SUBSIDY (through Fr. from Lat. subsidium, reserve troops, aid, assistance, from subsidere, literally “to sit or remain behind or in reserve”), an aid, subvention, assistance granted especially in money. The word has a particular use in economic history and practice. In English history it is the general term for a tax granted to the king by parliament, and so distinguished from those dues, such as the customs dues, which were raised by the royal prerogative; of these subsidies there were many varieties; such was the subsidy in excess of the customs on wool, leather, wine or cloth exported or imported by aliens, later extended to other articles and to native exporters and importers (see Tonnage and Poundage); there was also the subsidy which in the 14th century took the place of the old feudal levies. Apart from this application the term, in modern times, is particularly applied to the pecuniary assistance by means of bounties, &c., given by the state to industrial undertakings (see Bounty). Subsidies granted by the state to literary, dramatic or other artistic institutions, societies, &c., are generally styled “subventions” (Lat. subvenire, to come to the aid of).
# 1911 Encyclopædia Britannica/Sucher, Rosa

See also Rosa Sucher on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SUCHER, ROSA (1849–), German opera singer, née Hasselbeck, was the wife of Josef Sucher (1844–1908), a well-known conductor and composer. They were married in 1876, when she had already had various engagements as a singer and he was conductor at the Leipzig city theatre. Frau Sucher soon became famous for her performances in Wagner’s operas, her seasons in London in 1882 and 1892 proving her great capacity both as singer and actress; in 1886 and 1888 she sang at Bayreuth, and in later years she was principally associated with the opera stage in Berlin, retiring in 1903. Her magnificent rendering of the part of Isolde in Wagner’s opera is especially remembered.
# 1911 Encyclopædia Britannica/Sucre

See also Sucre on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SUCRE, or Chiquisaca, a city of Bolivia, capital of the department of Chuquisaca and nominal capital of the republic, 46 m. N.E. of Potosi in 19° 2′ 45″ S., 65° 17′ W. Pop. (1900), 20,967; (1906, estimate), 23,416, of whom many are Indians and cholos. The city is in an elevated valley opening southward on the narrow ravine through which flows the Cachimayo, the principal northern tributary of the Pilcomayo. Its elevation, 8839 ft., gives it an exceptionally agreeable climate. There are fertile valleys in the vicinity which provide the city’s markets with fruit and vegetables, while the vineyards of Camargo (formerly known as Cinti), in the southern part of the department, supply wine and spirits of excellent quality. The city is laid out regularly, with broad streets, a large central plaza and a public garden, or promenade, called the prado. Among its buildings are the cathedral, dating from 1553 and once noted for its wealth; the president’s palace and halls of congress, which are no longer occupied as such by the national government; the cabildo, or town-hall; a mint dating from 1572; the courts of justice, and the university of San Xavier, founded in 1624, with faculties of law, medicine and theology. There is a pretty chapel called the “Rotunda,” erected in 1852 at the lower end of the prado by President Belzú, on the spot where an attempt had been made to assassinate him. Sucre is the seat of the archbishop of La Plata and Charcas, the primate of Bolivia. It is not a commercial town, and its only noteworthy manufacture is the “clay dumplings” which are eaten with potatoes by the inhabitants of the Bolivian uplands. Although the capital of Bolivia, Sucre is one of its most isolated towns because of the difficult character of the roads leading to it. It is reached from the Pacific by way of Challapata, a station on the Antofagasta & Oruro railway.
The Spanish town, according to Velasco, was founded in 1538 by Captain Pedro Angules on the site of an Indian village called Chuquisaca, or Chuquichaca (golden bridge), and was called Charcas and Ciudad de la Plata by the Spaniards, though the natives clung to the original Indian name. It became the capital of the province of Charcas, of the comarca of Chuquisaca, and of the bishopric of La Plata and Charcas, and in time it became the favourite residence and health resort of the rich mine-owners of Potosi. The bishopric dates from 1552 and the archbishopric from 1609. In the latter year was created the Real Audiencia de la Plata y Charcas, a royal court of justice having jurisdiction over Upper Peru and the La Plata provinces of that time. Sucre was the first city of Spanish South America to revolt against Spanish rule—on the 25th of May 1809. In 1840 the name Sucre was adopted in honour of the patriot commander who won the last decisive battle of the war, and then became the first president of Bolivia. The city has suffered much from partisan strife, and the removal of the government to La Paz greatly diminished its importance.
# 1911 Encyclopædia Britannica/Suczawa

See also Suczawa on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
# A Dictionary of Music and Musicians/Varsoviana

​VARSOVIANA. A dance very similar in character to the Polka, Mazurka, and Redowa. It is probably of French origin, and seems to have been introduced by a dancing-master named Désiré in 1853. Somewhat later it was much danced at the Tuileries balls, and is said to have been a favourite with the Empress Eugénie. The music is characterised by strong accents on the first notes of the second and fourth bars, corresponding to marked pauses in the dance. The tempo is rather slow. The following is the tune to which the Varsoviana was generally danced:—
[ W. B. S. ]
# A Dictionary of Music and Musicians/Vanini

​VANINI. [See Boschi.]
# A Dictionary of Music and Musicians/Varney, Pierre

[ M. ]
# A Dictionary of Music and Musicians/Vaucorbeil, Auguste

[ G. C. ]
# A Dictionary of Music and Musicians/Variante

[ G. ]
# A Dictionary of Music and Musicians/Vascello-Fantasma, La

[ G. ]
# 1911 Encyclopædia Britannica/Vol 3:11

See also our 1911 Encyclopædia Britannica disclaimer.
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