OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Campleshon (Leonard)

​CAMPLESHON (LEONARD), bookseller in York, Stonegate, 1661. Alice Broad printed for him the Good Husbands Jewel … The Fifth edition. [B.M. 779. b. 1.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chapman (Livewell)

​CHAPMAN (LIVEWELL), bookseller in London, (1) Crown in Pope's Head Alley, 1651-61; (2) In Exchange Alley in Cornhill, 1665. Son of Edward Chapman, of London, scrivener. Apprenticed to Benjamin Allen November 6th, 1643, for seven years. Married, between 1650 and 1653, the widow of Benjamen Allen. [Stat. Reg., Liber E, f. 249.] In 1655 Chapman was apprehended for printing seditious pamphlets, and amongst the Thurloe State Papers [vol. 4, p. 379] is an interesting letter from Col. Barkstead, in which he says that Chapman "is the owner or at least a sharer in the private press, that hath and doth soe much mischiefe …" He is said to have been the compiler of a notorious tract entitled The Phoenix of the Solemn League & Covenant in 1661, for the publication of which Thomas Brewster, Giles Calvert and others were punished. Amongst his other publications may be noticed an edition of Sir John Harrington's Oceana, published in 1655.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chatfield (Stephen)

​CHATFIELD (STEPHEN), bookseller in London, (1) In the middle of St. Dunstan's Churchyard in Fleet Street, 1654; (2) Under St. Dunstan's Church in Fleet Street, 1654. Only known from the imprint to the second edition of a book entitled Festorum Metropolis … by Allan Blayney, 1654. The first imprint is from the Bagford fragments [Harl. 5919 (294)], and belongs evidently to a different book or a different edition of the work noted.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cave (John)

​CAVE (JOHN), ? bookseller in London, 1642. Only known from the imprint to the two following pamphlets, Parliaments censure on Sir Richard Gurney, 1642, and True news from Portsmouth, 1642.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Chantler (James)

​CHANTLER (JAMES), bookseller in Newcastle, 1653–8. On November 10th, 1653, a daughter of James Chantler, "bookseller," was baptised at the Cathedral Church. On November 23rd (a fortnight later), Elizabeth, his wife, was buried there, and on June 6th, 1658, James Chantler, bookseller, himself was buried. There is no other record of him. (Information kindly supplied by Mr. Richard Welford).
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽia
### Kʽia.
#### 騎$^1$

    To stride; to ride on the back of an animal; a rider.

#### 隙$^4$

    A crevice; interstice; a cause; time of leisure.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽiak
### Kʽiak.
#### 怯$^4$

    Cowardly; timid; weak.

#### 𨚫$^4$郤$^4$

    Behold; denotes certainty and surprise; to refuse; thro away; really; truly; therefore.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽien
### Kʽien.
#### 乾$^{-1}$

    Heaven; firm; diligent; advancing; dry.

#### 拳$^{-1}$

    The fist; to grasp and hold fast; roll up; boxing.

#### 騫$^1$

    A girth for a horse; to fail, failure; disgraced.

#### 愆$^1$

    Error; transgression; excess; failure; disease.

#### 虔$^1$

    Firm; respectful; sincere; veneration; pious feeling.

#### 遣$^2$

    To send; commission; put away; reject; give liberty.

#### 繾$^2$

    Inseparably attached.

#### 譴$^2$

    To reprehend; blame; to scold. ​

#### 褰$^2$

    Garments that reach to the feet; to lift up the garments when stepping in water.

#### 蹇$^2$

    Lame; sick; crooked; stammering; difficult.

#### 畎$^2$

    A small stream; a watercourse in a field; to diffuse.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽin
### Kʽin.
#### 輕$^1$

    Light; of little consequence; to despise.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽim
### Kʽim.
#### 琴$^{-1}$

    A stringed instrument of music; to restrain.

#### 襟$^{-1}$

    The parts of a garment which fold over or overlap.

#### 禽$^{-1}$

    A fowl; feathered animal with two feet.

#### 擒$^{-1}$

    To sieze; take alive; take prisoner.

#### 欽$^1$

    Imperial; majestic; respect.

#### 衾$^1$

    A large coverlet; a covering; a shroud.

#### 衿$^1$

    A small girdle or string; to fasten clothes; the collar.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽiong
### Kʽiong.
#### 窮$^{-1}$

    To the last degree; to exhaust; impoverish; poor; the utmost. ​

#### 卭$^{-1}$

    Labor; weariness; sickness; name of a place.

#### 蛩$^{1-}$

    Name of an insect; mournful.

#### 穹$^1$

    Lofty and vast, as the canopy of heaven; to deprive of entrace.

#### 恐$^2$

    Fear; suspicion; anxious thought; to suppose; reckon.

#### 鞏$^2$

    To bind fast; maintain firmly; well secured; to dry.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽiet
### Kʽiet.
#### 孑$^4$

    Single; one; only; a remnant; short; behind.

#### 厥$^4$

    An engine to throw stones; he; she; it; his hers; its.

#### 譎$^4$

    False; intriguing; crafty; to impose upon.

#### 喫$^4$

    To eat; drink; receive an impression; to bear with.

#### 楔$^4$

    The two side posts of a door; a pillar; name of a wood.

#### 恝$^4$

    Without sorrow; dismissing whatever annoys.

#### 挈$^4$

    To take hold of with the hand; support; adjust.

#### 𪗾$^4$

    Noise of the teeth gnashing or grinding on each other.

#### 攫$^4$

    To take hold of; grasp.

#### 躩$^4$

    A short, quick, respectful step.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽio
### Kʽio.
#### 磽$^{-1}$

    Stony, stiff, barren land.

#### 翹$^{-1}$

    Long feathers of a tail; numerous; to elevate; excite.

#### 蹺$^{-1}$

    A strong martial appearance; prancing; to climb.

#### 喬$^{-1}$

    High; curved; bent; proud; idle and dissipated.

#### 㪣$^1$

    To beat or strike as a drum; a stout club or cudgel.

#### 蹻$^2$

    To raise the feet and walk or climb high.

#### 竅$^{3-}$

    A cavity; interstice; apperture; orifice; fit time.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽiok
### Kʽiok.
#### 克$^4$

    Able; adequate; to sustain; subdue; repress.

#### 曲$^4$

    Crooked; bent down; oppressed; accused falsely.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽiam
### Kʽiam.
#### 箝$^{-1}$

    To lock; shut and fasten; a lock; nippers.

#### 鉗$^{-1}$

    Tongs; pincers; forceps; to pinch; gripe; injure.

#### 緘$^{-1}$

    To bind with cords; close or fold up, as a letter; an envelope.

#### 謙$^1$

    Respectful; yielding; humble; quiet.

#### 嗛$^2$

    Deficiency; failure; a bird's craw; contents of the mouth.

#### 慊$^2$

    Indignation; dissatisfied; cherishing ill-will to.

#### 歉$^2$

    Deficiency; debt; to covet; not satisfied.

#### 儉$^{-3}$

    Economical; sparing; niggardly.

#### 欠$^{3-}$

    Want; insufficiency; to owe; be deficient.
# A Dictionary of Music and Musicians/Nanini, Giovanni Bernardino

From volume 2 of the work.
​NANINI, Giovanni Bernardino, was born, about the middle of the 16th century, at Vallerano, where he studied Counterpoint under his elder brother, Giovanni Maria. Removing, at a later period, to Rome, he held the appointment of Maestro di Cappella, first at the Church of S. Luigi de' Francesi, and afterwards at that of S. Lorenzo in Damaso. Beyond this, little is known of his personal history; though it is certain that he took a prominent part in the management of his brother's Music School,—an institution to which some of the most celebrated Composers of the period were indebted for their early training. The exact date of his death has not been ascertained, and can only be surmised from that of his latest publication, which was printed in 1620.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Naldi, Giuseppe

From volume 2 of the work.
​NALDI, Giuseppe, born at Bologna, Feb. 2, 1770, was the only son of Giuseppe Naldi, of the same city, who held a government appointment of high trust. The son was educated in the universities of Bologna and Pavia, where he made very rapid progress in his studies for the law, the profession of his choice. Finding this, however, uncongenial after a short time, he obtained, at the personal request of the Marchese Litta, a secretary's place in a government department, where he gave promise of ability and distinction; but the Italian Revolution put an end to his career in this direction, and he left the country.
[ J. M. ]
# A Dictionary of Music and Musicians/Nalson, Valentine

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Nanini, Giovanni Maria

From volume 2 of the work.
​NANINI, Giovanni Maria, elder brother of the preceding, was also a native of Vallerano, where he is believed to have been born, about 1540. In early youth he studied Counterpoint, at Rome, under Claude Goudimel, in whose Music School he and Palestrina are said to have been, for a time,fellow-students. His education completed, he returned to his birth-place, as Maestro di Cappella: but when, in consequence of Palestrina's acceptance of office at the Vatican Basilica, it became necessary, in 1571, to elect a new Maestro di Cappella for the Basilica Liberiana (S. Maria Maggiore), he was invited to Rome, as the fittest person upon whom the vacant preferment could be bestowed; and he continued to hold the appointment, until 1575, when he resigned it in favour of Ippolito Tartaglini.
Finding his talents now fairly appreciated, Giov. Maria established a public Music School—the first ever opened in Rome by an Italian in the management of which he was assisted by his brother, Giov. Bernadino, as well as by Palestrina himself, who constantly gave instruction to the pupils, and took a lively interest in the institution. The School prospered exceedingly; and was frequented by more than one talented youth whose genius afterwards bore abundant fruit. Nanini's reputation as a learned Contrapuntist, and gifted Composer, was secured. His work were received at the Sistine Chapel with marks of special approbation; and on Oct. 37, 1577, he ​was elected a member of the Pontifical Choir, to which he contributed, during the last 30 years of his life, many valuable compositions. His death took place on March 11, 1607; and his remains were deposited in the Church of S. Luigi de' Francesi.
Nanini was one of the brightest ornaments of the great Roman School, the highest qualities of which he cultivated in a remarkable degree. His Motet, for six Voices—'Hodie nobis coelorum rex'—annually sung, in the Sistine Chapel, on the morning of Christmas Day, is a noble composition; and he has left us many others, of equal merit, a large proportion of which still remain in MS. among the Archives of the Pontifical Choir, the Vatican Basilica, the Collegium Romanum, the Oratory of S. Maria in Vallicella, and other noted collections. P. Martini mentions a MS. collection of Canons, entitled 'Cento cinquanta sette Contrappunti e Canoni à 2, 3, 4, 5, 6, 7, 8, e 11 Voci, sopra del Canto fermo intitolato La Base di Costanzo Festa,' which contains some miracles of ingenuity and learning. Some of these, at least, have already appeared among his published works: but, a dissertation on Counterpoint, called 'Regole di Giov. Maria e di Bernardino Nanini, per fare contrappunto a mente sopra il Canto fermo,' written, conjointly, by himself, and his younger brother, exists only in a MS. copy—unhappily, imperfect—transcribed by Orazio Griffi, and preserved in the Library of the Palazzo Corsini alla Lungara.
[ W.S.R. ]
# A Dictionary of Music and Musicians/Nantier-Didiée, Constance

From volume 2 of the work.
​NANTIER-DIDIÉE, Constance Betsy Rosabella, was born at St. Denis in the Isle of Bourbon (now He de la Réunion) Nov. 16, 1831. Mdlle. Nantier, who derived her second name from her marriage with a singer named Didiée, received instruction in singing at the Paris Conservatoire under Duprez, from 1847 to 1849, and obtained an accessit in the latter year in his class, and the first prize in the Opera class. She made her début on the stage at the Carignan Theatre, Turin, in Mercadante's 'La Vestale.' She played in Paris at the Salle Ventadour in 1851, and afterwards joined an Italian company, of which Giuglini was one, and who played at Lyons, Nimes, Montpelier, etc.
[ A. C. ]
# A Dictionary of Music and Musicians/Napoleon, Arthur

[ A. J. H. ]
# A Dictionary of Music and Musicians/Nardini, Pietro

From volume 2 of the work.
​NARDINI, Pietro, an eminent violinist and composer, was born at Fibiana, a village in Tuscany, in 1722. He received his first musical instruction at Leghorn, and afterwards studied for several years under Tartini at Padua. We know nothing further of his early career. About the year 1753 he was appointed Solo-violinist at the Ducal court at Stuttgardt, where he remained for fifteen years. In 1767 he returned to Italy, settled at Leghorn, and stayed with his old master Tartini during his last illness. In 1770 he accepted an appointment as director of the music at the court of the Duke of Tuscany, and died in 1793 [App. p.728 "May 7"] at Florence.
Nardini was the most eminent of Tartini's disciples. Leopold Mozart, the best possible judge in matters of violin-playing, writes of him: 'the beauty, purity, and equality of his tone, and the tastefulness of his cantabile-playing, cannot be surpassed; but he does not execute great difficulties.' The well-known poet-musician Schubart relates in his flowery style: 'his playing brings tears into the eyes of stony-hearted courtiers nay, his own tears run down on his violin!'
That Nardini was not a mere executant, but a thorough musician, is evident from the character of his compositions for the violin. Vivacity, grace, a sweet sentimentality, are the main characteristics of his style, which is altogether more modern in form and feeling than Tartini's. His Allegros are often largely developed, and already display the full sonata-form, while his slow movements are not unlike Viotti's. If nevertheless the greater part of his works appear to us old-fashioned and antiquated compared with those of Tartini, the reason is, that he has neither the depth of feeling, the grand pathos, nor the concentrated energy of his great master.
His published compositions (according to Fétis) are: 6 Concertos, op. 1 (Amsterdam); 6 Sonatas pour violon et bassi, op. 2 (Berlin, 1765; a new edition published by Cartier, Paris); 6 Trios pour flute (London); 6 Solos pour violon, op. 5 (London); 6 Quartets (Florence, 1782); 6 Duos pour deux violons (Paris).
[ P. D. ]
# A Dictionary of Music and Musicians/Nares, James

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

From volume 2 of the work.
[ W. H. H. ]
# A Cyclopaedia of Female Biography/Julia, virgin and martyr of Carthage

Layout 2
JULIA,
A virgin and martyr of Carthage. At the sack of Carthage by Genseric, King of the Vandals, Julia was sold to a heathen merchant, and carried to Syria. Here she was discovered to be a Christian, by her refusal to take a part in some of the festivals instituted in honour of the female deities, and was put to death, in 440.
# A Cyclopaedia of Female Biography/Julia Domina

Layout 2
JULIA DOMINA
Was the daughter of a noble Phoenician, a high priest of the temple of the sun, at Emesa. Nature had blessed her with great intellectual and personal endowments; and the high gifts of beauty wit, imagination, and discernment, were augmented by all the ​advantages of study and education. She is said to have been well acquainted with history, moral philosophy, geometry, and other sciences, which she cultivated through life; and her mental accomplishments won her the friendship of all the most distinguished among the learned in Rome, "where," says one of her modern historians, "elle vint, dans I'intention de faire fortune, et y reussit."
From the time of her union with Severus, (twenty years before his elevation to the throne,) he almost always adopted her counsels, and mainly owed to them that high reputation with his army, which induced his troops in Illyria to proclaim him emperor. Although Julia Domina has been accused, by the scandal of ancient history, of gallantly in her early days, (the common accusation of the compilers of anecdotes, who pass for historians,) all writers acknowledge that the follies of her youth were effaced by the virtues and the genius which glorified her maturity; and that, when seated on the throne of the empire, she surrounded it by whatever the declining literature and science of the day still preserved of the wise, able, and eminent.
Her husband esteemed her genius, and consulted her up<m all affairs; and she, in some measure, governed during the reign of her sons, though she had the misfortune of seeing one slain by his execrable brother, whose excesses she inwardly murmured at, when she dared not openly condemn.
To the last hour of her son's life, Julia Domina, who had accompanied him to the East, administered all that was moral or intellectual in the government of the empire; and the respectful civility of the usurper Macrinus to the widow of Severus, might have flattered her with the hope of an honourable if not a happy old age, in the society of the lettered and the scientific, whom to the last she served and protected.
But the heart, if not the spirit of this great woman, and most unfortunate of mothers, was broken. "She had experienced all the vicissitudes of fortune. From an humble station she had been raised to greatness, only to taste the superior bitterness of an exalted rank. She was doomed to weep over the death of one of her sons, and over the life of another. The terrible death of Caracalla, though her good sense must have long taught her to expect it, awakened the feelings of a mother and an empress. She descended with a painful struggle into the condition of a subject, and soon withdrew herself, by a voluntary death, from an anxious and a humiliating dependence." She refused all food, and died of starvation, some say of poison, A.D. 217.
# A Cyclopaedia of Female Biography/Julia Mammea

Layout 2
JULIA MAMMEA,
Mother of Alexander Severus, Emperor of Rome, in 222, was possessed of equal genius and courage. She educated her son very carefully for the throne, rendering him a man of virtue and sensibility. Severus thought so highly of his mother, that he consulted her in everything, and followed her advice. Julia having heard of Origen, sent for him, and is supposed to have been converted by him to Christianity. She was murdered, with her son, in Gaul, by the discontented soldiery, in 235.
# A Cyclopaedia of Female Biography/Juliana, court of the Mogul Emperors of Hindostan

Layout 2
JULIANA,
A woman who possessed great influence at the court of the Mogul Emperors of Hindostan, in the early part of the last century. She was born in Bengal, in 1658, and was the daughter of a Portuguese named Augustin Diaz d'Acosta. Being shipwrecked, she went to the court of the great Mogul, Aurengzebe, whose favour she conciliated by presenting him with some curiosities. Being appointed superintendent of the harem of that prince, and governess of his son, Behadur Shah, she rendered important services to the latter, who succeeded to the crown in 1707, under the title of Shah Aulum. He was obliged to defend his authority against his brothers by force of arms; and in the battle, Juliana, mounted on an elephant by his side, encouraged and animated both him and his troops, and he was indebted to her for the complete victory he obtained. Her services were rewarded with the title of princess, the rank of the wife of Seu Omrah, and a profusion of riches and honours. Shah Aulum often said, "If Juliana were a man, she should be my vizier." Jehander Shah, who became Emperor of Hindostan in 1712, was equally sensible of her merit; and though she experienced some persecution when that prince was deposed, in 1713, by his nephew, she speedily recovered her influence, and retained it till her death in 1733.
# A Cyclopaedia of Female Biography/Jullienne, Madame Dejeun

Layout 2
JULLIENNE, MADAME DEJEUN,
The date of whose birth we have not been able to ascertain, was born at Rouen, and not originally intended for the stage; but her singing-master, M. Molliot, being struck with her magnificent voice, by his persuasions overcame the scruples of her family, and gained their consent to her appearance as a public singer; this occurred for the first time at a charitable benefit as Alice, in Meyerbere's "Robert le Diable," and as Leonora, in Donizetti's "Favourita." So decided was her success, that she was induced to prosecute her professional studies with great seventy, which led to her engagement at the Academie Royale de Musique. In September, 1845, she came out at the Grand Opera as the successor of the celebrated Falcom, in such characters as Rachel, in Halevy's "Juive;" Valentine, in Meyerbere's "Huguenots;" and Alice, in "Robert le Diable." From Paris she went to Marseilles, and by her popularity there raised the affairs of the theatre from a precarious to a flourishing condition; ​then after performing at the principal towns of France with decided success, she returned to Paris, and took her place as prima donna on the boards of the Grand Opera. At the conclusion of her engagement there, in 1850, she went to Florence, and studied under the best Italian professors of singing. In May, 1852, she came to England, and performed for the first time before the Queen and Prince Albert, as Rachel, in "La Juive," and completely established her fame as a great lyric artiste. "In all operas," says a contemporary critic, "in which a powerful soprano is required for strong passions, Madame Jullienne is invaluable. She is never fatigued, or, at all events, she has the ars celare artem, for, at the conclusion of a long and trying work, her voice seems to be as fresh and as vigorous as at the opening. She is yet but young in the profession, and her coming in contact with the refined school of Italian vocalisation cannot fail to develop ultimately the liberal gifts with which she has been endowed by nature, in a still higher degree. It has been already remarked, that, since her first night of singing at the Royal Italian Opera, her method has been much improved. We have heard her in all the characters of the French Grand Opera, Alice, Valentine, &c, and in Verdi's 'Jerusalem,' ('I Lombardi,') but we understand that her Norma has been also highly successful in the great towns in France. With the noble voice she possesses, and with the disposition to study and improve, a brilliant future presents itself to Madame Jullienne on the Italian lyric stage."