OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Greek and Roman Antiquities/Dalmatica

DALMA´TICA or DELMATICA (δαλματική, δελματική), a tunic furnished with long sleeves, full and flowing, introduced from Dalmatia (Isid. Or. 19.22). The name does not occur till the close of the 2nd century of the empire. This use of sleeves extending to the wrists was considered effeminate during the republic [Tunica], and even under the empire attracted attention in the instance of Heliogabalus ( “dalmaticatus in publico post cenam saepe visus est, Gurgitem Fabium et Scipionem se appellans, quod cum ea veste esset, cum qua Fabius et Cornelius a parentibus ad corrigendos mores adulescentes in publicum essent producti,” Lamprid. Heliog. 26). In this use of the dalmatic Heliogabalus was following the example of Commodus (Lamprid. Comm. 8; Capitol. Pertinax, 8, “chiridotas Dalmatarum.” The singiliones Dalmatarum in Treb. Poll. Claud. 17 may denote the same garment). From Diocletian's edict of A.D. 301 fixing the maximum (16-17), we learn that the dalmatic was then worn both by men and by women; that it was made both with and without purple stripes [Clavus Latus, Angustus]; sometimes it was woven with triple thread (τρίμιτος), sometimes of wool retaining the nap, sometimes of silk, sometimes of linen of various qualities and from various countries. In this edict and some other passages (Epiphan. Haer. 1.15, and later ecclesiastical writers), it appears to be identified with the colobion, which, however, was a sleeveless tunic (Serv. ad Verg. 9.616; Sozomen, 3.14), the dalmatic, on the contrary, having long sleeves. But, according to Waddington, the edict is here fixing the prices, not of the garments, but of the pieces of stuff from which they were made, and the same stuffs would naturally be used in making dalmatics and colobia.
For representations and a precise description of the garment we must turn to Christian sources. An illustration from a mosaic in the church of St. Vitalis at Ravenna has been given under Clavus (p. 455 b); and for a fuller account of the dalmatic as a church vestment, see Marriott (Vestiarium Christianum, p. lix) and Dict. of Christ. Ant. s. v.
# A Dictionary of Greek and Roman Antiquities/E
## Ebur – Emphyteusis

* Ebur
* Ecclesia
* Eccleti
* Ecdicus
* Ecdosis
* Ekecheiria
* Echinus
* Eclogeis
* Ecmartyria
* Ecphora
* Ecphyllophoria
* Ectypus
* Eculeus
* Edere actionem
* Edictum
* Edictum theodorici
* Eedna
* Effractor
* Eicoste
* Eiren
* Eiresione
* Eisagogeis
* Eisangelia
* Eisiteria
* Eisphora
* Ekecheiria
* Elaeothesium
* Elaphebolia
* Elaphebolion
* Electrum
* Elenchus
* Elephas
* Eleusinia
* Eleutheria
* Ellimenion
* Ellotia
* Ellychnium
* Emancipatio
* Emansor
* Embas
* Embateia
* Embates
* Emblema
* Embolum
* Emeriti
* Emissarium
* Emmeleia
* Emmenoi dikai
* Emphruri
* Emphyteusis

## Emplecton – Epimeletae

* Emplecton
* Emporikai dikai
* Emporium
* Empti
* Empio venditio
* Encaustica
* Enclema
* Encomboma
* Enctesis
* Endeixis
* Endromis
* Enechrya
* Engye
* Engyesis
* Ennata
* Enoikiou dike
* Enomotia
* Ensis
* Entasis
* Eora
* Epangelia
* Epaeiti
* Epaulia
* Epeunacti
* Ephebeum
* Ephebus
* Ephegesis
* Ephemeris
* Ephesia
* Ephesiae litterae
* Ephesis
* Ephestris
* Ephetae
* Ephippium
* Ephori
* Epibatae
* Epiblema
* Epibole
* Epicheirotonia
* Epichysis
* Epiclerus
* Epidauria
* Epideipnis
* Epidemiurgi
* Epidicasia
* Epidicus
* Epidoseis
* Epigamia
* Epigrapheis
* Epimeletae

## Epirredium – Exauctoratio

* Epirredium
* Episcepsis
* Episcopi
* Episkeuastae
* Epistates
* Epistola
* Epistoleus
* Epistomium
* Epistylium
* Epitaphium
* Epithalamium
* Epitimia
* Epitrierarchematos
* Epitropes
* Epitropus
* Epobelia
* Epomis
* Eponia
* Eponymus
* Epoptae
* Epulones
* Epulum jovis
* Equirria
* Equites
* Equuleus
* Equus october
* Erani
* Ergastulum
* Ericius
* Eroantheia
* Erogatio
* Erotia
* Errhephoria
* Eschara
* Essedarii
* Essedum
* Eucleia
* Evictio
* Eumolpidae
* Evocati
* Eupatridae
* Euripus
* Eustylos
* Euthyne
* Exagia
* Exagoge
* Exagoges graphe
* Exaireseos dike
* Examen
* Exauctoratio

## Exauguratio – Extraordinarii

* Exauguratio
* Exceptio
* Excubiae
* Excubitores
* Exedra
* Exegetes
* Exercitoria
* Exercitus
* Exetastae
* Exheres
* Exhibendum
* Exiteria
* Exodia
* Exomis
* Exomosia
* Exostra
* Exoules dike
* Exsequiae
* Exsilium
* Extispex
* Extraordinarii
# A Dictionary of Greek and Roman Antiquities/F
## Fabatarium – Fidepromissor

* Fabatarium
* Fabri
* Fabula
* Factiones aurigarum
* Factor
* Factorium
* Fala
* Falarica
* Falcula
* Falsarius
* Falsum
* Falx
* Familia
* Familiae erciscundae judicium
* Famosi libelli
* Fanatici
* Fanum
* Farreum
* Fartor
* Fas
* Fasces
* Fascia 1.
* Fascia 2.
* Fascinum
* Faselus
* Fasti
* Fastigium
* Fauces
* Fax
* Februum
* Feciales
* Feminalia
* Fenestra
* Fenus
* Feralia
* Ferculum
* Ferentarii
* Feretrum
* Feriae
* Ferrum
* Fescennina
* Festi dies
* Festuca
* Fetiales
* Fibula
* Fictile
* Fictio
* Fideicommissum
* Fidejussor
* Fidepromissor

## Fides – Frumentarii

* Fides
* Fidicula
* Fiducia
* Fiduciaria actio
* Figlina ars
* Figilus
* Filiusfamilias
* Fimbriae
* Finitores
* Finium regundorum
* Fiscales
* Fiscus
* Fistuca
* Fistula
* Flabellum
* Flagrum
* Flamen
* Flammearii
* Flammeolum
* Flammeum
* Flexumines
* Floralia
* Focale
* Focus
* Foederatae civitates
* Foedus
* Foenus
* Follis
* Fons
* Forceps
* Fordicidia
* Fores
* Forfex
* Fori
* Forma
* Formula
* Fornacalia
* Fornax
* Fornix
* Forpex
* Forum
* Fossa
* Framea
* Frenum
* Frigidarium
* Fritillus
* Frontale
* Fructus
* Frumentariae leges
* Frumentarii

## Frumentatio – Fusus

* Frumentatio
* Fucus
* Fuga lata
* Fuga libera
* Fugitivarius
* Fugitivus
* Fulcrum
* Fullo
* Fullonica
* Fumarium
* Funale
* Funalis
* Funalis equus
* Funambulus
* Funda
* Funditores
* Fundus
* Funus
* Furca
* Furcifer
* Furiosus
* Furnus
* Furor
* Furti actio
* Furtum
* Fuscina
* Fustuarium
* Fusus
# A Dictionary of Greek and Roman Antiquities/Fascinum

FA´SCINUM (βασκανία), fascination, enchantment. The belief that some persons had the power of injuring others by their looks was prevalent among the Greeks and Romans, and, under the name jettatura, among the superstitious in modern Italy. The ὀφθαλμὸς βάσκανος, or evil eye, is frequently mentioned by ancient, writers. (Alciphr. Ep. 1.15; Heliod. Aeth. 3.7; compare Plin. Nat. 7.16.) Plutarch, in his Symposium (5.7), has a separate chapter περὶ τῶν καταβασκαίνειν λεγομένων, καὶ βάσκανον ἔχειν ὀφθαλμόν. The evil eye was supposed to injure children particularly, but sometimes cattle also; whence Virgil (Ecl. iii, 103) says: “Nescio quis teneros oculus mihi fascinat agnos.”
Various amulets were used to avert the influence of the evil eye. The most common of these appears to have been the phallus, called by the Romans fascinum, which was hung round the necks of children (turpicula res, Varr. L. L. 7.97, ed. Müller). Pliny (Plin. Nat. 19. §. 50) also says that Satyrica signa, by which he means the phallus, were placed in gardens and on hearths as a protection against the fascinations of the envious; and we learn from Pollux (8.118) that smiths were accustomed to place the same figures before their forges with the same design. Sometimes other objects were employed for this purpose. Peisistratus is said to have hung the figure of a kind of grasshopper before the Acropolis as a preservative against fascination. (Hesych. sub voce Καταλήνη.) Compare Amuletum, Bulla.
Another common mode of averting fascination was by spitting into the folds of one's own dress. (Theocr. 6.39; Plin. Nat. 28.39; Lucian, Navig. 15, p. 259 R.)
According to Pliny (Plin. Nat. 28.39), Fascinus was the name of a god, who was worshipped among the Roman sacra by the Vestal virgins, and was placed under the chariot of those who triumphed as a protection against fascination; by which he means in all probability that the phallus was placed under the chariot. (Müller, Archäol. der Kunst, § 436, [p. 1.828] 1, 2; Böttiger, Klein. Schr. iii. p. 111; Becker-Göll, Charikles, i. p. 287.)
# A Dictionary of Greek and Roman Antiquities/G
## Gabinus cinctus – Gustatio

* Gabinus cinctus
* Gaessum
* Galea
* Galericulum
* Galerus
* Galli
* Gallicae
* Gallinarium
* Gamelia
* Gamori
* Gamos
* Ganea
* Gausape
* Geleontes
* Gelotopoii
* Gemma
* Genesia
* Genius
* Genos
* Gens
* Gentiles
* Gentilitas
* Geomorri
* Geraerae
* Geranos
* Germani
* Gerousia
* Gerron
* Gladiatores
* Gladius
* Glandes
* Gnomon
* Gomphi
* Gorgyra
* Gradus
* Gradus cognationis
* Graecostasis
* Grannateus
* Grammatophylacium
* Graphe
* Graphiarium
* Graphis
* Graphium
* Grassatores
* Gregorianus codex
* Griphus
* Groma
* Grosphos
* Gubernaculum
* Gustatio

## Guttus – Gynaeconomi

* Guttus
* Gymnasiarches
* Gymnasium
* Gymnastes
* Gymnesii
* Gymnopaedia
* Gynaeconitis
* Gynaeconomi
# 1922 Encyclopædia Britannica/Anson, Sir William Reynell

See also Sir William Reynell Anson, 3rd Baronet on Wikipedia, and the disclaimer.
​ANSON, SIR WILLIAM REYNELL, 1st Bart. (1843–1914), English jurist (see 2.84), died at Oxford June 4 1914. In 1909 he signed the minority report of the Divorce Commission, in company with the Archbishop of York and Sir Lewis Dibdin.
# 1922 Encyclopædia Britannica/Arensky, Anton Stephanovitch

See also Anton Arensky on Wikipedia, and the disclaimer.
​ARENSKY, ANTON STEPHANOVITCH (1861–1906), Russian musical composer, was born at Novgorod July 31 1861, and after studying with various teachers finally became a pupil of Rimsky-Korsakov at the conservatoire of St. Petersburg. In 1882 he became a professor at the Moscow conservatoire, and from 1894 to 1901 was director of music in the imperial chapel at St. Petersburg. His works consist largely of chamber music, including the well-known trio, besides several operas, the chief of which are Ttie Dream on the Volga (1890); Raphael (1894); and Nal and Damayanti (1899). He died at Terioki, Finland, Feb. 25 1906.
# 1922 Encyclopædia Britannica/Ardilaun, Arthur Edward Guinness, 1st Baron

See also Sir Robert Arbuthnot, 4th Baronet on Wikipedia, and the disclaimer.
​ARDILAUN, ARTHUR EDWARD GUINNESS, 1st Baron (1840–1915), Irish philanthropist and politician, was born at St. Anne's, Clontarf, Nov. 1 1840, the eldest son of Sir Benjamin Lee Guinness, 1st bart., head of the famous brewing firm of Guinness. He was educated at Eton and Trinity College, Dublin, and in 1868 succeeded to the baronetcy on the death of his father. He then became head of the firm of Guinness, but shortly afterwards retired. He entered Parliament in 1874 as Conservative member for the city of Dublin, holding the seat till 1880, when he was raised to the peerage. In 1891 he bought St. Stephen's Green, Dublin, and converted it into a charming park, which he presented to the city. He also bought up various blocks of slum dwellings and converted them into model tenements, with the object of improving the conditions of the poorer classes of Dublin. Lord Ardilaun, who married in 1871 Lady Olivia White, daughter of the 3rd Earl of Bantry, died at Clontarf Jan. 20 1915.
# 1922 Encyclopædia Britannica/Annunzio, Gabriele D'

See also Gabriele d'annunzio on Wikipedia, and the disclaimer.
​ANNUNZIO, GABRIELE D': see D'Annunzio, Gabriele.
# A Dictionary of Music and Musicians/Senff, Bartholf

​SENFF, Bartholf, an eminent German music-publisher, was born at Friedrichshall, Coburg, Sept. 2, 1818. He founded the house which bears his name, in Leipzig, in 1850, and his catalogue contains original editions of Mendelssohn (ops. 104, 109, and 2 Clavierstücke), Schumann (ops. 82, 106, 117, 122, 134), Brahms (ops. 5, 6, Gavotte by Gluck, 5 Studien für PF.), Gade, Hiller, Reinecke, Rietz, Rubinstein (ops. 8, 42, 48, 51, 52, 54, 57, 59, 60, 63, 64, 65, 66, 67, 70, 72, 73–78, 80, 84, 86, 87–92, 94–102, 106, 107, 'Der Dämon,' 'Feramors,' 'Kalaschnikoff,' 'Die Kinder der Haide,' 'Nero,' etc.), and other masters. Also valuable republications, such as Pauer's 'Alte Claviermusik,' David's 'Concertstudien ' for the violin, Clauss-Szarvady's 'Clavierstücke'; and especially an edition of Schubert's ​songs in 20 volumes, edited by Julius Rietz. [See vol. iii. p. 356b, 371a.] Of Schubert he has further published Lachner's orchestration of 'Miriam,' a movement of a Quartet in C minor dating from 1820, etc., etc. Also the excellent educational works of Louis Köhler (ops. 47, 50, 79, 112, 128, 150, 151, 152, 175, 190, 270, 280).
[ G. ]
# A Dictionary of Music and Musicians/Semler, Franz

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

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Sennet

[ W. B. S. ]
# A Dictionary of Music and Musicians/Senza

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Semiramide

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

​SEMITONE (from the Greek ἡμιτόνιον). Half a tone; the smallest interval in the ordinary musical scales. The semitone may be of different kinds, each of which has a different theoretical magnitude.
Since the invention of the diatonic scale the natural interval of the fourth has been subdivided artificially into two tones and a semitone. In the ancient Greek time the two tones were both what are now called major tones, and the hemitone had a magnitude determined by the difference between their sum and the fourth: but when harmony began to prevail, one of the tones was diminished to a minor tone, and this gave the modern semitone a little greater value. The semitone, so formed, as belonging to the diatonic scale (from B to C, or from E to F for example) is called a diatonic semitone.
The introduction of chromatic notes gave rise to a third kind of semitone, as from C to C♯ or ​from G to G♭; this is called a chromatic semitone and has a less magnitude than the diatonic one.
Finally came the great simplification of music by dividing the octave into twelve equal intervals, each of which was called a mean semitone; thus abolishing practically the difference between the diatonic and the chromatic values. A semitone may now be considered, in practical music, as simply the interval between the sounds given by any two adjoining keys on a well-tuned piano.
[ W. P. ]
# A Dictionary of Music and Musicians/Semplice

[ J.A.F.M. ]
# A Dictionary of Music and Musicians/Senfl, Ludwig

​SENFL or SENFEL, Ludwig, born at Basel or Basel Augst (Basle) towards the end of the 15th century. A volume of MS. songs in the Vienna library contains some verses, written and set to music by Senfl himself, describing his early enthusiasm for music, his education under Heinrich Isaac, and his gratitude to that master. At an early age he entered the Court chapel of Maximilian I., ultimately succeeded Isaac as chapelmaster, and held that office till the emperor's death (Jan. 1519), on which occasion he wrote music to the words 'Quis dabit oculis nostris fontem lacrimarum.' In 1520 he was at Augsburg, received a present of 50 gulden from Charles V. on Feb. 19, and in the following November personally edited the 'Liber selectarum Cantionum,' one of the first music books printed in Germany. Thence he went to Munich, though in what capacity is uncertain. On one title-page (1526) he is called 'Musicus intonator,' on another (1534) 'Musicus primarius,' of the duke of Bavaria, while in his own letters he subscribes himself simply 'Componist zu München.' The date of his death is unknown. In Forster's collection of Liedlein (preface dated Jan. 31, 1556) he is spoken of as 'L. S. seliger' (i.e. dead); and if the title 'musicus primarius' stands for 'chapelmaster' he must have died or retired some years before, since Ludwig Daser had held that office for some years when Lassus went to Munich in 1557.
The well-known letter from Luther to Senfl is no evidence that the composer had worked specially for the Reformed Church, though the existence of the correspondence has given rise to that idea. Indeed his connection with the strictly Catholic court of Munich would, as Fétis points out, render it most improbable. Four letters written by Senfl to the Margrave Albrecht of Brandenburg and to Georg Schultheis are printed in the 'Allgemeine Musik. Zeitung' for Aug. 12, 1863.
A portrait engraved on a medal by Hagenauer of Augsburg, with the inscription 'Ludovvicus Senfel,' and on the reverse 'Psallam deo meo quamdiu fuero 1529,' is in the collection of coins and medals at Vienna.
[ J. R. S.-B. ]
* ↑ Dated Coburg, Oct. 4, 1530. The letter is printed in 'Dr. M. Luther's Gedanken über die Musik,' F. A. Beck (Berlin 1823), p. 58.
* ↑ 'Biographie des Musiciens,' vi. 44.
* ↑ 'Bibliographie' (Berlin 1877).
# A Dictionary of Music and Musicians/Barnett, John Francis

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

From volume 1 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Barnby, Joseph

From volume 1 of the work.
[ E. F. R. ]
[ M. ]
# A Dictionary of Music and Musicians/Baron, Ernst

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Bargaglia, Scipione

From volume 1 of the work.
​BARGAGLIA, Scipione, a Neapolitan composer and contrapuntist, mentioned by Cerreto, lived in the second half of the 16th century. According to Burney the word 'Concerto' occurs for the first time in his work 'Trattenimenti … da suonare' (Venice, 1587).
# A Dictionary of Music and Musicians/Bargiel, Woldemar

From volume 1 of the work.
​BARGIEL, Woldemar, son of a teacher of music at Berlin, and step-brother of Mme. Clara Wieck-Schumann (his mother being the divorced wife of Friedrich Wieck), was born at Berlin, Oct. 3, 1828. He was made to play the piano, the violin, and organ at home, and was instructed in counterpoint by Dehn. As a youth of 18, and in accordance with the advice of his brother-in-law, Robert Schumann, he spent two years at the Conservatorium of Leipzig, which was then (1846) under Mendelssohn's supervision: and, before leaving it, he attracted general attention by an octet for strings, which was performed at one of the public examinations.
After his return to Berlin, in 1850, he commenced work as a teacher, and increased his reputation as a composer by the publication of various orchestral and chamber works, as well a pianoforte pieces. In 1859 he was called to a professorship at the Conservatorium of Cologne, which, in 1865, he exchanged for the post of Capellmeister, and director of the school of music at Rotterdam. Latterly (1874), he has found a field still more fit for his powers, at the Königliche Hochschule für Musik, which is now flourishing under the leadership of Joachim, at Berlin.
[ E. D. ]
[ M. ]
# A Dictionary of Music and Musicians/Barker, Charles

From volume 1 of the work.
[ W. H. H. ]
[ V. de P. ]
# A Dictionary of Music and Musicians/Barnard, Charlotte

From volume 4 of the work.
[ W. B. S. ]
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Centlivre, (Susannah)

CENTLIVRE, (SUSANNAH) Daughter of Mr. Freeman, of Holbeach, in Lincolnshire. Born 1667, died 1723; aged 56;
A celebrated comic writer; was of a respectable family, who suffered much for their attachment to whig principles. Her education was entirely of her own acquiring, with the assistance of a neighbouring French gentleman, who undertook to instruct her in the French language, wherein she made such a rapid progress, that, before she was twelve years of age, she could read Moliere with vivacity and interest. After the death of her father, the ill-usage of her step-mother induced her to leave home to seek her fortune, on foot and unprotected. Her beauty struck a young man of the university of Cambridge, who persuaded her to become his mistress, and to reside there with him in the disguise of a boy. Afterwards she came to London, and married, in her sixteenth year, a nephew of Sir ​Stephen Fox; and, afterwards, a young officer, named Carrol, who was likewise shortly after killed in a duel.
On his death she became an author for subsistence, and wrote fifteen plays, three farces, and several little poems; for some of which she is said to have received considerable complimentary presents from very great personages. Her most popular plays are, The Busy Body; The Wonder, a Woman keeps a Secret; and A Bold Stroke for a Wife. Their character is bustle, spirit, and plot. She afterwards went upon the stage, and at Windsor, in 1706, when she was acting the part of Alexander the Great, Mr. Joseph Centlivre, who had been one of Queen Anne's cooks, fell in love with and married her. She unfortunately wrote a song against Pope's Homer, before he published it, which made him give her a place in the Dunciad. She corresponded, for many years, with several men of wit, particularly with Steele, Rowe, Budgell, Sewell, Amherst, &c.
New Biographical Dictionary, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Casalina, (Lucia)

CASALINA, (LUCIA) a Female Fainter, of Bologna. Born 1677.
Who studied under Gioseffo dal Sole, and married Felix Touselli, a painter of the same school, where her works were exhibited.
Abec. Pitt.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Caylus, (Madame de)

CAYLUS, (MADAME DE),
A beautiful and ingenious French lady; wrote a work, entitled, Les Souvenir, which relate many interesting anecdotes of the reign of Lewis XIV. and clear up many historical doubts.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Catherine

CATHERINE, (canonized) a Virgin and Martyr of Alexandria, in the Persecution under Maximin, illustrious for her Learning, Eloquence, and Piety.
There are two other Catherines distinguished by the same qualities: one of Sienna, who died in 1380; and the other of Bologna, died 1463, who wrote many religious works in Latin and Italian.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Castro, (Anne de)

CASTRO, (ANNE DE) a Spanish Lady.
Author of many ingenious works; amongst others, one entitled Eternidad del Rei Felippe III. printed at ​Madrid, 1629. The famous Lope de Vega has celebrated this lady in his writings.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Catherine de Medicis

CATHERINE DE MEDICIS.—See Medicis.
# A Dictionary of Music and Musicians/Ortigue, Joseph

From volume 2 of the work.
​ORTIGUE, Joseph Louis D', born at Cavaillon, May 22, 1802, died suddenly in Paris, Nov. 20, 1866, one of the most conscientious musical litterateurs of modern France. He studied at first merely as an amateur, under the Castil Blazes, father and son. He went to Aix in Provence to study law, but music proved more powerful, and he finally resolved to abandon the law for musical literature. With this view he came to Paris in 1829, and began by writing musical critiques in the 'Mémorial Catholique'; then, becoming intimate with La Mennais, he wrote for 'L'Avenir,' and, after its failure, for 'La Quotidienne,' besides the 'Gazette musicale' and 'La France musicale.' After his marriage in 1835 he redoubled his exertions and contributed to half a score of periodicals, including the 'Temps,' 'Revue des deux Mondes,' 'National,' 'L'Univers,' 'L'Université Catholique,' 'L'Opinion Catholique,' and above all the 'Journal des Débats.' To this last paper he mainly owed his reputation, and his place in several commissions, historical and scientific, to which he was appointed by government.
[ G. C. ]
# A Dictionary of Music and Musicians/Ossia

From volume 2 of the work.
​OSSIA, OPPURE, OVVERO. These words (the meaning of which is respectively 'Or it may be,' 'Or besides,' 'Or else') are used indifferently to mark a passage, generally printed above the treble or below the bass, which may be substituted for that written in the body or text of the work, being in most cases an easier version of the same kind of effect. For instance, 'ossia' is so used by Beethoven in the first movement of the Pianoforte Concerto in E♭ op. 73, 21 bars from the end. The same direction also occurs frequently in the pianoforte works of Schumann, Chopin, and Brahms. Liszt sometimes gives the easier passage in the text, and writes the more difficult one over it. These words were also used when the compass of the piano was in process of alteration; thus Moscheles sometimes adapts passages originally written for a full-sized piano, to the smaller compass, writing the passage for the smaller piano above that of the full-sized one.
[ J. A. F. M. ]