OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Sherwood, Mrs.

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SHERWOOD, MRS.,
Has written many books, and always with a worthy purpose. In the character of the Lady of the Manor she has, perhaps unconsciously, given us the key to her own. Like that good lady, Mrs. Sherwood, resides in the south of England; she is the widow of an ​English officer, and passed several years with her husband in India. Since his decease, which occurred when she was in the prime of life, Mrs. Sherwood has found her chief occupations and pleasures in her own home, instructing her children and writing works to assist in the Christian instruction of the young. The titles of her books show for whom they were prepared. "Little Henry and his Bearer" was her first literary production. Then followed "The History of John Martin," "The Fairchild Family," "The Infant's Progress," "The Indian Pilgrim," "Victoria Anzoomund," "Birthday Present," "Errand Boy," "The Young Foresters," "Juliana Oakley," "Erminia," "Emancipation," and a number of other stories. Her largest and most important work, however, is "The Lady of the Manor," in four volumes. Its design is to teach the doctrines of the Church of England to young females; and whatever opinion we may entertain as to the utility of the religious novel, we must confess that this author is entitled to our warmest esteem as a woman of sincere piety, who has laboured long and earnestly in the highest and holiest cause that can occupy a female pen—the advancement of Christ's kingdom on earth. In her literary claims Mrs. Sherwood is excelled by many living writers of her own sex; as a Christian, few could be found worthy to rank as her equal. Her works have been widely circulated in America.
# A Cyclopaedia of Female Biography/Siddons, Sarah

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SIDDONS, SARAH,
The most eminent English tragic actress, was born, in 1756, at Brecknock, and was the daughter of Roger Kemble, manager of company of itinerant players. At the age of fifteen she became attached to Mr. Siddons; and her parents refusing their consent to her marriage, she went to reside with Mrs. Greathead, of Gaft Cliff, as an humble companion. In her eighteenth year she married Mr. Siddons, and returned to the stage. In 1775, she made her first appearance on the London boards, but was unsuccessful. Time, however, matured her powers; and, after an absence of seven years, spent partly at Bath, where she was much admired, she reappeared at Drury Lane in 1782; and from that time her course was a perpetual triumph. In 1812, having acquired an ample fortune, she withdrew into private life. She died, June 9th., 1881. Mrs. Siddons possessed considerable talents as a sculptor. A medallion of herself, and a bust of her brother, John Kemble, are among her works. Her character was irreproachable.
# A Cyclopaedia of Female Biography/Shuck, Henrietta

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SHUCK, HENRIETTA,
Was born in Kilmarnock, Virginia, on the 28th. of October, 1817. She was the daughter of the Rev. Addison Hall, a Baptist clergyman of that place, and there her early days were spent. In 1831, Miss Hall was summoned from Fredericksburg, where she was at school, by her father to attend a camp-meeting which was held near her birth-place. She was converted on that occasion, and was baptized on the 2nd. of September, 1831, when she was hardly fourteen; but her extreme youth did not prevent her from keeping faithfully the vows she so early took upon herself. On the 8th. of September, 1835, Miss Hall was married to the Rev. J. Lewis Shuck, a missionary about to be sent by the Baptist church to China, for which country they embarked on the 22nd. of September. They reached Singapore in May, 1836, where their eldest son was born, and in the following September they arrived at Macao, where they remained till March. 1842, when they removed to Hong-kong. While at Macao, Mr. and Mrs. Shuck were allowed to prosecute the study of the Chinese language, the instruction of youth, and teaching the people. On their arrival at Hong-kong they renewed their labours on an enlarged scale, and without restraint. Mrs. Shuck interested herself ​principally in the schools. She possessed considerable knowledge of the written language, and still greater familiarity with the coloquial of the Chinese, and devoted joyfully and successfully be time and talents to the mission. During the last year of her life a new school-house had been erected, and a school gathered under her care of twenty Chinese boys and six girls, besides her own four children. Her prospects of usefulness had never been greater than during this year. But in the midst of her highest hope, which children were seeking instruction, and the heathen were inquiring the way to Christ, her life was suddenly cut short. She died on the 27th. of November, 1847, soon after the birth of her fifth child.
Under a secret conviction that her end was near, she had "set her house in order," and was prepared for the event, while, at the same time, she prosecuted her daily duties with her usual cheerfulness, and laid out plans for labour which would have required long life to perform. During Mrs. Shuck's eight years' residence in China she did much to help her husband in his work, besides giving direct instruction. Her aid and ready sympathy were always offered to the stranger or the afflicted, and she was constantly employed in acts of kindness and charity.
# A Cyclopaedia of Female Biography/Sidlar, Luise

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SIDLAR, LUISE,
An artist of Germany, is a native of Weimar. She has attained considerable celebrity in her profession.
# A Cyclopaedia of Female Biography/Zanardi-Bottioni, Speciosa

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ZANARDI-BOTTIONI, SPECIOSA,
Was born at Fontanellato, in the Parmesan territory, a place ​where there was nothing to awaken a thirst for knowledge, a place where emulation could not exist, and where the loudest blasts of Fame's trumpet are never heard. Genius, however, is not the slave of place or circumstance. Speciosá was accustomed from a child to aid her father, a petty apothecary, in the work of his shop; as the drugs passed through her hands, her thoughtful mind observed the chemical effects, which led to experiments, examination, reading. She chanced to become known to a lawyer of Parma, Signer Bottioni—a correspondence ensued, in which she displayed the utmost natural eloquence and grace. She afterwards became his wife, and went with him to live in Parma, where there is no want of learned men or libraries. Her first care was to select the best masters, and, after acquiring a knowledge of Italian literature, she would not be satisfied without studying the Latin and Greek authors in then original languages.
She has published several prose and poetical works, and some dramas, among which may be cited "Madame de Maintenon," which is formed on a well-managed plot—and developed by naturally sustained characters.
# A Cyclopaedia of Female Biography/Zappi, Faustina

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ZAPPI, FAUSTINA,
Was daughter of the painter Carlo Mazatti, and wife of Giambattista Zappi, who was born in 1668, and died in 1719. Faustina was beautiful, and a poetess. Some of her sonnets are very fine. She resided principally at Rome.
# A Cyclopaedia of Female Biography/Zoe

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ZOE,
Fourth wife of Leo the Sixth, Emperor of Constantinople, was mother of Constantine Porphyrogenitus, during whose minority, 912, she governed with great wisdom and firmness. She crushed the rebellion of Constantine Ducas, made peace with the Saracens, and obliged the Bulgarians to return to their own country. Though thus entitled to the gratitude of her son and the people, she was obliged, by the intrigues of the courtiers, to retire to a private station, and she died in exile.
# A Cyclopaedia of Female Biography/Zanardi, Gentile

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ZANARDI, GENTILE,
Was an artist, a native of Bologna, and flourished in the seventeenth century. She was instructed by Marc Antonio Franceschini, and had an extraordinary talent in copying the works of the great masters. She also painted historical subjects of her own design with equal taste and delicacy. The time of her death is not mentioned.
# A Cyclopaedia of Female Biography/Zanwiski, Constantia, Princess Czartonyska

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ZANWISKI, CONSTANTIA, PRINCESS CZARTONYSKA,
A noble and accomplished woman, was the wife of Andrzey Zanwiski, a distinguished defender of the rights of Poland. She died in 1797.
# A Cyclopaedia of Female Biography/la Ferte Imbault, Maria Theresa Geoffrin Marchioness de

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LA FERTE IMBAULT, MARIA THERESA GEOFFRIN MARCHIONESS DE,
Daughter of the celebrated Madame Geoffrin, was born at Pans in 1716. She married, In 1733, the Marquis de la Ferté ​great-grandson of the marshal of that name; and distinguished herself, not only by her literary talents, but also by her opposition to the philosophical party among the French literati of the last century, with whom her mother had been intimately connected. In 1771, the Marquis de Croismare, a man of wit, and a friend of Madame de la Ferté Imbault, founded the burlesque order of the Lanturelas, of which he appointed that lady the grand-mistress, while he was himself the grandmaster. This whimsical institution gave rise to a great many songs and lively verses; and it attracted so much attention that Catharine the Second was accustomed to advise all the Russian nobles who visited Paris, to become Lanturelas, an honour which was sought by several sovereign princes. The Marchioness drew up a series of extracts from the writings of the ancient Pagan and Christian Philosophers, for the instruction of the grand-children of Louis the Fifteenth; and she wrote a great number of letters to persons of rank and celebrity, which remain in manuscript in the hands of her husband's relations. She died at Paris, in 1791.
# A Cyclopaedia of Female Biography/Æmelia

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ÆMELIA,
Was, according to Dionysius, and Valerius Maximus, a vestal virgin, who being condemned to die for her negligence in allowing the sacred fire, which it was her duty to watch and feed, to become extinguished, rekindled the embers miraculously by throwing her veil over them.
# A Cyclopaedia of Female Biography/Æmelia Juliana

Emilie Juliane of Barby-Mühlingen
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ÆMELIA JULIANA,
Countess of Schwarzburg-Rudolstadt, was the daughter of Abul Fredrick, Count of Barby; she was born on the 10th. of August, 1637, and in 1665, married Count Abert Anton, whose title she bore. She died on the 2nd. of December, 1706, and left behind her a reputation for great piety and benevolence, and some poetical talent, resting in some spiritual poems composed during her hours of leisure; many of these were subsequently adopted into the hymn books used in the Protestant churches of Saxony and Thuringia.
# A Cyclopaedia of Female Biography/Zobeide, or Zoebd-el-Khematin

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ZOBEIDE, or ZOEBD-EL-KHEMATIN,
That is, the flower of women, was the cousin and wife of the celebrated caliph Haroun al Raschid. She was a beautiful, pious, and benevolent woman, and is said to have founded the city of Tauris, in Persia. She is frequently mentioned in the "Arabian Nights." She died in 831.
# A Dictionary of Music and Musicians/Tempo Ordinario

[ F. T. ]
# A Dictionary of Music and Musicians/Tempo Rubato

​TEMPO RUBATO (Ital., literally robbed or stolen time). This expression is used in two different senses; first, to denote the insertion of a short passage in duple time into a movement the prevailing rhythm of which is triple, or vice versa, the change being effected without altering the time-signature, by means of false accents, or accents falling on other than the ordinary places in the bar. Thus the rhythm of the following example is distinctly that of two in a bar, although the whole movement is 3-4 time.
Schumann, Novellette, Op. 21, No. 4.
[ F. T. ]
# A Dictionary of Music and Musicians/Tempo di Ballo

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

​TEMPUS PERFECTUM, TEMPUS IMPERFECTUM. See articles Mode, Notation, Prolation, Time.
# A Dictionary of Music and Musicians/Tenducci, Giusto

​TENDUCCI, Giusto Ferdinando, a celebrated sopranist singer, very popular in this country, was born at Siena, about 1736, whence (like a still greater singer) he was sometimes called Senesino. His earliest stage-appearances in Italy were made at about twenty years of age, and in 1758 he came to London, where he first sang in a pasticcio called 'Attalo.' But it was in the 'Ciro riconosciuto' of Cocchi that he first attracted special notice. Although he had only a subordinate part, he quite eclipsed, by his voice and style, the principal singer, Portenza, and from that time was established as the successor of Guadagni. In company with Dr. Arne, in whose 'Artaxerxes' he sang with great success, he travelled to Scotland and Ireland, returning to London in 1765, where he was the idol of the fashionable world, and received enormous sums for his performances. In spite of this, his vanity and extravagance were so unbounded that in ​1776 he was forced to leave England for debt. In a year, however, he found means to return, and remained in London many years longer, singing with success as long as his voice lasted, and even when it had almost disappeared. In 1785 he took part in a revival of Gluck's 'Orfeo,' and appeared at Drury Lane Theatre as late as 1790. He also sang at the Handel Commemoration Festivals at Westminster Abbey, in 1784 and 1791. Ultimately he returned to Italy, and died there early in this century.
[ F. A. M. ]
# A Dictionary of Music and Musicians/Tenebræ

​TENEBRÆ (Literally, Darkness). The name of a Service appointed, in the Roman Breviary, for the three most solemn days in Holy Week, and consisting of the conjoined Matins and Lauds, for the Thursday, Friday, and Saturday, which are sung 'by anticipation' on the afternoons of the Wednesday, Thursday and Friday. The name is taken from the opening sentence of the Responsorium which follows the Fifth Lesson on Good Friday, Tenebræ factæ sunt—There was darkness.
The Service begins with three Nocturns, each consisting of three Psalms, with their doubled Antiphons, a Versicle and Response, and three Lessons, each followed by its appropriate Responsorium. The Psalms and Antiphons are sung in unisonous Plain Chaunt; and, at the conclusion of each, one of the fifteen candles on the huge triangular Candlestick by which the Chapel is lighted is ceremoniously extinguished. The Lessons for the First Nocturn on each of the three days are the famous 'Lamentations,' which have already been fully described. The Lessons for the Second and Third Nocturns are simply monotoned. Music for the Responsoria has been composed by more than one of the greatest Polyphonic Masters; but most of them are now sung in unisonous Plain Chaunt. The Third Nocturn is immediately followed by Lauds, the Psalms for which are sung in the manner, and with the ceremonies, already described. Then follows the Canticle, 'Benedictus,' during the singing of which the six Altar Lights are extinguished, one by one. And now preparation is made for the most awful moment of the whole—that which introduces the first notes of the 'Miserere.' The fifteenth candle, at the top of the great Candlestick, is removed from its place, and hidden behind the Altar. The Antiphon, 'Christus factus est obediens,' is sung by a single Soprano Voice; and, after a dead silence of considerable duration, the Miserere is sung, in the manner, and with the Ceremonies described in vol. ii. pp. 335–338. The Pope then says an appointed Prayer; the Candle is brought out from behind the Altar; and the Service concludes with a trampling of feet, sometimes said to represent the passage of the crowd to Calvary, or the Jews seizing our Lord.
The Services proper for Holy Week are described, in detail, in the 'Manuel des Cérémonies qui ont lieu pendant la Semaine Sainte,' formerly sold annually in Rome, but now very difficult to obtain. The Music was first published by Dr. Burney, in 'La Musica della Settimana Santa,' now very scarce, and has since been reprinted, by Alfieri, in his 'Raccolta di Musica Sacra.'
[ W. S. R. ]
* ↑ See Matins, and Lauds.
* ↑ See Lamentations.
* ↑ See Miserere.
# A Dictionary of Music and Musicians/Teneramente

​TENERAMENTE; CON TENEREZZA—'tenderly'; a term slightly stronger and used more emphatically than dolce, but having very much the same meaning and use in music. A good instance of the distinction between the terms is found in the lovely second movement of Beethoven's Sonata in E minor, op. 90, where the subject, at its first entry labelled dolce, is subsequently directed to be played teneramente. From the whole character of the movement it is evidently intended to become slightly more impassioned as it goes on; and it is generally understood that the second and following entries of the subject should be played with more feeling, and perhaps in less strict time, than the opening bars of the movement.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Slur

From volume 3 of the work.
​SLUR. This word, taken in its original and widest sense, signifies an effect of phrasing which is more commonly expressed by the Italian term legato, i.e. connected. The sign of the slur is a curved line (Ger. Schleifbogen; Fr. Liaison) drawn over or under a group of notes, and the notes included within its limits are said to be slurred, and are performed with smoothness, if on a stringed instrument, by a single stroke of the bow, or in singing, on a single syllable. [See Legato, vol. ii. p. 112.] But although this was originally the meaning of the word, it is now used in a more restricted sense, to denote a special phrasing effect, in which the last of the notes comprised within the curved line is shortened, and a considerable stress laid on the first. This effect has already been fully described in the article Phrasing [vol. ii. p. 707.] In vocal music the slur is employed to indicate the use of ​Portamento (see the word), and it is also very generally placed over two or more notes which are sung to a single syllable. In this case however the sign is superfluous, since if the passage consists of quavers or shorter notes, the connection can be shown by writing them in groups instead of separate [see Quaver, p. 60], while even if the notes are crotchets, the fact of there being but a single syllable sufficiently indicates the legato. Moreover an effect analogous to the slur in instrumental music, whereby the second of two notes is curtailed and weakened, is perfectly possible in singing, and may very probably have been intended by the earlier composers where the sign of the slur is employed. This view is insisted upon by Mendelssohn, who in a letter to Mr. G. A. Macfarren strongly objects to the engravers of his edition of 'Israel in Egypt' placing the slur over two quavers or semi-quavers which are to be sung to one word.
[ F. T. ]
# A Dictionary of Music and Musicians/Sketch

​SKETCH (Ital. Schizzo; Germ. Skizze, Fr. Esquisse). A short Movement, usually written for the Pianoforte, and deriving its name, in some cases, from its vividly descriptive character, in others, from the slightness of its construction.
Among Sketches of the purely descriptive class, the most perfect examples we possess are Sterndale Bennett's three well-known Movements, entitled, 'The Lake,' 'The Mill-stream,' and 'The Fountain' (op. 10). In freshness of conception, and finished delicacy of treatment, these delicious little inspirations stand absolutely alone, in their own peculiar sphere. Their truthfulness to Nature is as remarkable as their loyal submission to the laws of Art. Though rightly called Sketches, because each one presents a single feature, only, selected from the infinite variety of detail comprised within the limits of a beautiful landscape, they are, in reality, elaborately finished pictures, reminding us of three little water-colour drawings by Turner, or three bright flashes from the pencil of Girtin. And, like the works of the last-named Painter, they are so thoroughly English, that we should seek in vain for the realisation of their poetical imagery in he scenery of any other country than our own. As surely as Schubert's 'Forelle' lived in a German trout-stream—and, who can hear the Song, and doubt it?—so surely does the rush of Bennett's flashing wavelets turn an English mill-wheel.
Mendelssohn's three little Capriccios, written, in Wales, for the cousins of Professor Taylor, and now known as op. 16, have also been published under the title of Sketches, and may fairly lay claim to it, though it was not given to them by the Composer himself. The first of these, in A minor, was suggested by the perfume of a carnation; the second, in E minor, by the fairy trumpets of the Ecremocarpus, a spray of which the Composer drew upon the margin of the original autograph; and the third, in E major, by a little Welsh Rivulet—a 'real actual Rivulet'—at Coed-du, near Mold, in Flintshire, which particularly struck Mendelssohn's fancy, and the tiny waterfalls, smooth reaches, and other details of which he painted, so carefully, from Nature, that, years afterwards, his manner of performing the Music suggested to Schirmer the idea of a charming little water-colour drawing.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Slow Movement

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Smetana, Friedrich

From volume 3 of the work.
​SMETANA, Friedrich, born March 2, 1824, at Leitomischl in Bohemia, between Olmütz and Prague, was a pupil of Proksch at Prague, and afterwards, for a short time, of Liszt, under whose tuition he became a remarkable pianist. He then opened a musical school of his own at Prague and married Katharina Kolàr. In 1856 he took the post of conductor to the Philharmonic Society at Gothenburg in Sweden, where he lost his wife in 1860. In 1866 he became conductor to the National Theatre of Prague. He is eminently a Bohemian composer, and the list of his operas in that language is large—'Married for money'; 'The Brandenburger in Bohemia'; 'Dalibor'; 'Two widows'; 'The Kiss.' Also a symphonic poem, entitled 'Mein Vaterland,' in 3 sections—'Vysehrad' (the Visegrad fortress), 'Vltava' (the Moldau), and 'Libussa.' The first two of these, very picturesque and striking pieces, were performed at the Crystal Palace on Nov. 11, 1882, and March 5, 1881, respectively. Smetana has also published a quartet, many dances, and other pianoforte pieces, etc. In 1874 he was compelled to give up the National Opera-house on account of his deafness, which has since in-creased so far as to deprive him of all power of hearing. But he still composes. One of his claims to notice is that he was the teacher of Dvorshák. [App. p.794 "Among his works mention should be made of the symphonic poems 'Wallensteins Lager,' 'Richard III,' and 'Hakou Jarl,' as well as of his successful 'Lustspielouverture' brought out shortly before his death, which took place May 12, 1884."]
A medallion with an inscription in his honour was recently affixed to the house in which Smetana was born, on which occasion there were great festivities, and he was presented with the freedom of the town.
[ G. ]