OpenLLM-France/wikimedia huggingface dataset:
# 1922 Encyclopædia Britannica/D'Abernon, Edgar Vincent, 1st Baron

See also Edgar Vincent, 1st Viscount D'Abernon on Wikipedia, and the disclaimer.
​D'ABERNON, EDGAR VINCENT, 1st Baron (1857–), English politician, was born at Slinfold, Sussex, Aug. 19 1857, the youngest son of Sir Frederick Vincent, 11th Bart., of Stoke d'Abernon, Surrey. He was educated at Eton, and was intended for the diplomatic service, being in 1877 head of the examination list for the appointment of student dragoman at Constantinople. The same year, however, he entered the army, but in 1880 was appointed private secretary to Lord Edmond Fitzmaurice, at that time commissioner for Eastern Rumelia. The following year he became a member of the commission for the evacuation of territory ceded to Greece by Turkey, and in 1882 was sent to Constantinople as the representative of Great Britain, Holland and Belgium on the council of the Ottoman public debt, of which in 1883 he became president. In 1883 he was sent to Cairo as financial adviser to the Egyptian Government, remaining there until 1889, when he returned to Constantinople as governor of the Imperial Ottoman Bank, a post which he resigned in 1897. In 1887 he received the K.C.M.G. Sir Edgar Vincent entered Parliament in 1899 as Conservative member for Exeter, but lost this seat in 1906. He unsuccessfully contested Colchester in 1910. In 1914 he was raised to the peerage as Baron D'Abernon, and became very prominent during the World War as chairman of the Central Liquor Control Board. In 1920 he was appointed ambassador to Germany. Lord D'Abernon published in 1881 a Grammar of Modern Greek, which was adopted for use by the university of Athens. He married in 1890 Lady Helen Venetia Duncombe, daughter of the 1st Earl of Feversham.
# 1922 Encyclopædia Britannica/Dail Eireann

See also Dáil Éireann (Irish Republic) on Wikipedia, and the disclaimer.
​DAIL EIREANN: see Ireland, section Political History.
# A Dictionary of Music and Musicians/Castrucci, Pietro

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

From volume 1 of the work.
​CATCH originally meant simply a round for three or more voices (unaccompanied), written out at length as one continuous melody, and not in score. The catch was for each succeeding singer to take up or catch his part in time; this is evident not only from the manner in which they were printed, but also from the simple and innocent character of the words of the oldest catches, from which it would be impossible to elicit any ingenious cross-reading. But in course of time a new element was introduced into catches, and words were selected so constructed that it was possible, either by mis-pronunciation or by the interweaving of the words and phrases given to the different voices, to produce the most ludicrous and comical effects. The singing of catches became an art, and was accompanied by gesture, the skill with which they were sung has become a tradition, and certainly many old specimens are so difficult that they must have required considerable labour and practice to sing them perfectly. The oldest published collections containing catches were—
1. 'Pammelia: Musicke's Miscellanie, or mixed varietie of Pleasant Roundelayes and delightful Catches of 3, 4, 5, 6, 7, 8, 9, 10 parts in one. None so ordinarie as musicall, none so musicall as not to all very pleasing and acceptable. 1609.'
2. 'Deuteromelia: or second part of Musicke's Melodie, or Melodious Musick of Pleasant Roundelaies. K. H. Mirth, or Freemen's songs, and such delightful catches. 1609.'
3. 'Melismata: Musicall Phansies fitting the court, citie and countrey Humours. 1611.'
Catches were most in vogue in the reign of the dissolute Charles II, and as much of the popular literature of that period was sullied by indecency and licentiousness it is not surprising that catches were contaminated with the prevailing and fashionable vice; the more than questionable character of the words to which many of the catches of that age were allied has sufficed to ensure the banishment of a large amount of clever and learned musical contrivance. In later times Dr. William Hayes, S. Webbe, and Dr. Callcott have excelled in the composition of catches: 'Would you know my Celia's charms' by Webbe is a well-known example; 'Ah, how, Sophia,' and 'Alas cry'd Damon' by Callcott are also tolerably well known, and still occasionally performed.
[ W. H. C. ]
# A Dictionary of Music and Musicians/Catelani, Angelo

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

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

[ M. ]
# A Dictionary of Music and Musicians/Catel, Charles

From volume 1 of the work.
​CATEL, Charles Simon, born June 1773 at l'Aigle (Orne); began his studies very early under Sacchini, Gobert, and Gossec, in the 'Ecole royale de chant et de déclamation,' at Paris, [Conservatoire de Musique.] In 1787 he was made accompanist and 'professeur-adjoint' of the School, and in 1790 accompanist at the Opera. The same year he became chief, conjointly with Gossec, of the band of the Garde Nationale, for which he wrote a vast quantity of military music, which was adopted throughout the revolutionary army. His first work of public note was a 'De profundis' for the funeral of Gouvion in 1792. Another was a Hymn of Victory on the battle of Fleurus (June 26, 94), written for chorus with wind accompaniment only. On the formation of the Conservatoire in 95 Catel was made professor of harmony. He immediately began the compilation of his 'Traité d'harmonie,' which was published in 1802, and remained for many years the sole text-book of France. In 1810 he became one of the Inspectors of the Conservatoire, a post which he retained till the suspension of that institution in 1814. In 17 he was elected Member of the Institut, in the room of Monsigny, and in 24 Chevalier of the Legion of Honour. He died at Paris Nov. 29, 1830. Catel wrote largely for the stage—'Semiramis' (1802), 'L'Auberge de Bagnères' (1807), 'Les Bayadères' (1810), and other operas in 1808, 1814, 1817, and 1818. These have the merit of elegance and purity, but they were not successful; the public insisted on recognising Catel as a savant and a professor, and prejudged his works as 'learned music.' On one occasion Napoleon, who had a singular taste for soft and ineffective music, had the 'Bayadères' performed with all the instruments muted and every mark of expression suppressed—a very severe trial for any opera. Besides his theatrical and military music Catel wrote Symphonies for wind only, Hymns and Choral Pieces, Quintets and Quartets for strings and wind, Songs, Solfeggi, etc.; but it is by his Treatise on Harmony, by his great practical sense and ability, and by his character for goodness and probity that he will be known to posterity.
[ G. C. ]
# A Dictionary of Music and Musicians/Castro, Jean de

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

From volume 1 of the work.
[ G. ]
# A Dictionary of All Religions and Religious Denominations/Carolostadians

CAROLSTADIANS, followers of Carolostadt, a colleague of Luther. He denied the real presence in the eucharist, and declaimed against human learning.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 28, 30.
# A Dictionary of All Religions and Religious Denominations/Calixtins

CALIXTINS, a branch of the Hussites, in Bohemia and Moravia, in the fifteenth century. The principal point in which they differed from the church of Rome, was the use of the chalice, (calix,) or communicating in both kinds. Calixtins was also a name given to those among the Lutherans, who followed the opinions of George Calixtus, a celebrated divine in the seventeenth century, who endeavoured to unite the Romish, Lutheran, and Calvinistic churches in the bonds of charity and mutual benevolence, taking the apostle's creed as his foundation of union.

## Original footnotes

* ↑ Broughton, vol. i. p. 192. Mosheim. vol. iv. p. 450, 451.
# A Dictionary of All Religions and Religious Denominations/Camisars

CAMISARS. See French Prophets.
# A Dictionary of All Religions and Religious Denominations/Caputiati

CAPUTIATI, a sect in the twelfth century; so called from wearing a singular kind of cap with a leaden image of the Virgin Mary. They declared publicly, that their purpose was to level all distinctions among mankind, and to restore their natural equality.

## Original footnotes

* ↑ Mosheim, vol. ii. p. 456, 457
# A Dictionary of All Religions and Religious Denominations/Carpocratians

CARPOCRATIANS, a denomination, which arose towards the middle of the second century; so called from Carpocrates, whose philosophical tenets agreed in general with those of the Egyptian Gnostics; but he is charge with licentious principles and conduct. See Gnostics.

## Original footnotes

* ↑ Mosheim, vol. i. p. 184, 185.
# A Dictionary of All Religions and Religious Denominations/Cabbalists

CABBALISTS, certain doctors among the Jews, who pretend to derive from tradition an acromatic or secret science, called the Cabbala. This science is divided into three sorts. By the first kind, the Jews extract recondite meanings from the word of scripture. The second is a kind of magic, in employing the words and letters of scripture in certain combinations, which they suppose have power over the good and evil spirits of the invisible world familiar with them. The third, which is properly ,the Cabbala, is an art, by which they profess to raise mysterious expositions of the scriptures upon the letters of the sentences, to which they apply them.
The cabbalists suppose every letter, point, or accent of the law to contain some hidden mystery, which was revealed to Moses on Mount Sinai, but not written, (whence it is called the oral law,) but handed down by tradition among these mystic doctors.
It is said, that the cabbalistic mysteries are at present despised by the more intelligent part of the Jewish nation.

## Original footnotes

* ↑ Butler's Hopae Biblicae..
# A Dictionary of All Religions and Religious Denominations/Cainians

CAINIANS, a denomination which sprang up about the year 130, so on account of their great respect for Cain. They pretend that the virtue which had produced Abel was of an order inferiour to that which had produced Cain; and that this was the reason why Cain had the victory over Abel and killed him.
The morals of this denomination were said to be very defective.

## Original footnotes

* ↑ Ency. Brit.
# A Dictionary of All Religions and Religious Denominations/Burghers

*BURGHERS, a numerous and respectable class of seceders, from the church of Scotland, originally connected with the Associate Presbytery; but some difference arising about the lawfulness of the Burgess oath, a separation took place in 1739, and those who refused the oath, were called Antiburgers. See Seceders.

## Original footnotes

* ↑ Scotch Theolog. Dict.
# A Dictionary of All Religions and Religious Denominations/Cameronians

CAMERONIANS, a party in Scotland, who took their denomination from Richard Cameron, a famous field preacher, who refused to accept the indulgence to tender consciences granted by Charles II. as such an acceptance seemed an acknowledgement of the king's supremacy, and that he had before a right to silence them. Cameron made a separation from his Presbyterian brethren, in 1666, and afterwards headed a rebellion, in which he was killed. His party were never entirely reduced till the revolution, when they, voluntarily submitted to King William.
CAMERONIANS, (or Cameronites) is also the denomination of a party of moderate Calvinists in France, who asserted that God does not move the will physically, but only morally, in virtue of its dependence on the judgment of the mind. They derived this name from John Cameron, a famous professor, first at Glasgow, where he was born in 1580, and afterwards at Bordeaux and Saumur ; at which last place he promulgated his doctrine of grace and free will, which was followed by Amyraut, Cappel, Bochart, Daille, and other learned reformed ministers, who judged Calvin's doctrines on these points too harsh.

## Original footnotes

* ↑ Scoth Theol. Dict.
* ↑ Encyclopaedia, vol. iv. p. 61.
# A Dictionary of Music and Musicians/Cox and Box

From volume 1 of the work.
​COX AND BOX, a triumviretta. A musical farce, altered from Madison Morton's 'Box and Cox' by F. C. Burnand, music by A. Sullivan. Produced at the Adelphi, May 11, 1867.
# A Dictionary of Music and Musicians/Cramer and Co

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

From volume 1 of the work.
​CREATION, THE. Haydn's first oratorio, written at the suggestion of Salomon. The book of words was selected—originally for Handel—from Genesis and Paradise Lost by Mr. Lidley or Liddell, and translated into German, as 'Die Schöpfung,' with modifications, by Baron van Swieten. The music occupied Haydn from 1796 to April 1798, and was produced by a body of Dilettanti at the Schwartzenberg Palace, Vienna, April 29 [App. p.601 "2"], 1798. 500 ducats were subscribed for Haydn. In 1800 it was published in score at Vienna with German and English words, the latter re-translated by Van Swieten; 510 copies were subscribed for, of which nearly half were for England. It was first performed in London at Covent Garden, March 28, 1800, and in Paris Dec. 24, 1800, when Napoleon I. escaped the infernal machine in the Rue Nicaise. A great performance by the same society as before took place at the University Hall, Vienna, on March 27, 1808, in Haydn's presence, a year and two months before his death. Its popularity in England dates from March 17, 1813, and reached its climax some 20 years ago.
# A Dictionary of Music and Musicians/Creed

From volume 1 of the work.
​CREED. There are three creeds in use in the services of the English church—the Apostles' Creed, the Nicene, and that known by the name of St. Athanasius.
The first of these is the most ancient, and of unknown origin, and was probably used in early times. It is found in the ancient breviaries of the churches of England, such as those of Sarum and York, in much the same position as it now occupies. In the first Prayer Book of Edward VI it was ordered to be said or sung like the other creeds, but in later revisions the word 'sung' has been removed [App. p.601 omits "but … removed"] and it has become the custom only to intone it, and in some churches the intonation is supported by harmonies on the organ, but it has not been definitely set to music for English use.
The Nicene Creed is distinguished in the English church by an extensive musical treatment. It cannot be ascertained when it came into use in the ancient English offices. It is in the breviaries of Sarum, York and Hereford, for use on feasts and solemn occasions. It was looked upon to some extent as a hymn, whence its universal musical treatment. Marbeck's setting of it in the 'Book of Common Praier noted' of 1552 for the use of the English reformed church follows the Roman originals much less closely than most of the other parts of his setting of the service, and is consequently much more free and melodious. Tallis's setting of it is said to resemble the Gregorian Descants of the creed in the Missa de Angelis. Further settings of it both ancient and modern are extremely numerous. Among the ancient ones may be mentioned settings by Bird (in 6 parts), Farrant, Gibbons, Child, Aldrich, Blow, Purcell, Rogers and Bevin. Attempts have been made with very fair success to adapt it to a kind of free chant form, which renders it more available for musical performance by parish choirs and general congregations.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Crang and Hancock

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

From volume 1 of the work.
​CRESCENDO—increasing, i. e. in loudness. One of the most important effects in music. It is expressed by cresc. and by the sign . Sometimes the word is expanded—cres … cen … do—to cover the whole space affected. As with so many other things now familiar, Beethoven was practically the inventor of the crescendo. In the works of his predecessors, even in such symphonies as the G minor and 'Jupiter' of Mozart, it is very rarely to be found. Among the most famous instances in Beethoven are that in the 'working out' (after the double bar) of the first movement of the Symphony in B♭ (No. 4). This immortal passage, which so excited the wrath of Weber, begins in the strings and drum ppp, and continues so for 13 bars; then a shade louder, pp, for 31 bars; and then a crescendo of 8 bars with the same instruments, ending in the reprise of the subject fortissimo, and with full orchestra.
Another instance, on a still more extended scale, is in the coda to the last movement of Schubert's Symphony in C (No. 9), where the operation is divided into distinct steps—first 8 bars ppp; then 24 bars pp; then 12 bars p; then 16 bar crescendo to mf; then 12 bars crescendo to f; then a crescendo of 8 bars to ff fz; and lastly a final advance of 36 more to fff.
[ G. ]
# A Dictionary of Music and Musicians/Credo

From volume 1 of the work.
​CREDO is the first word of the Nicene Creed in Latin, and is the name by which it is well known to musicians by reason of the magnificent music to which it has been set by the greatest composers for the use of the Roman Church in the Service of the Mass. The traditional figure to which the first sentence is given out by the priest is
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Cremona

From volume 1 of the work.
​CREMONA, a considerable town in Lombardy, on the river Po, was for the space of two centuries, from about 1550 to 1750, the seat of the famous Cremona school of violin-makers. The shape and construction of the violin, and the other instruments belonging to the tribe, having been finally settled by the great makers of Brescia, Caspar de Salo and Paolo Maggini (see those names), It was at Cremona that the last step in the art of violin-making was made, which led to that point of perfection from which no further progress has yet been possible or perhaps desirable. The numerous makers of the Amati family (see that name) chronologically head the list of the masters of Cremona: Antonio Stradivari and Josef Guarnerius (see those names) are the greatest of all, and their instruments have never been rivalled. The names of Andreas, Petrus, and Josef Guarnerius (brother of Andreas), Carlo Bergonzi, Guadagnini, Montagnana, Ruggieri, Storione, and Testore (see all these names) make up the list of the masters of this school, whose violins are still highly valued.
The term 'a Cremona,' or 'a Cremonese violin' is often incorrectly used for an old Italian instrument of any make.
[ P. D. ]
# A Dictionary of Music and Musicians/Crequillon

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

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

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

​BILLET, Alexandre. See vol. ii. 732a.
# A Dictionary of Music and Musicians/Bind

From volume 1 of the work.
​BIND (Ger. Bindebogen; Fr. Liaison; Ital. Legatura). A curved line (also called tie) placed between two notes of the same degree, to denote the continuance of the sound during the value of both, instead of the repercussion of the second note. The employment of the bind is a necessity whenever a sound is required to be of a duration which cannot be expressed by any single note, as for example five or seven quavers (Ex. i), and it is also convenient, and in modern music invariably adopted, when the duration of a note extends beyond the limits of the bar (Ex. 2). This is, however, an improvement of comparatively recent date, such passages having been formerly written in the inconvenient form shown in Ex. 3.
It is difficult to ascertain with anything like certainty the precise date of the invention of the bind, but it appears probable that it had its origin in the endeavours which were continually made by the earlier composers (before the 15th century) to give rhythmic variety to their counterpoint. Morley (Practical Music, 1597) describes two kinds of counterpoint, which he calls 'long and short' and 'short and long' in each of which a single note alternates with two notes bound together, the sign of the bind being formed thus , as in Ex. 4; and the fourth of the five orders of counterpoint established by Fux (1725), and adopted by all his successors, consists of syncopation—that is, of a non-accented note bound to the accented note of the next bar (Ex. 5).
[ F. T. ]
# A Dictionary of Music and Musicians/Bini, Pasqualino

From volume 1 of the work.
[ E. H. D. ]
# A Dictionary of Music and Musicians/Bioni, Antonio

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Bilhon, Jean de

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

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

[ W. H. H. ]
# A Dictionary of Music and Musicians/Birchall, Robert

From volume 1 of the work.
[ R. E. L. ]
# 1D Nanomaterials: Synthesis, Properties, and Applications

Published in Journal of Nanomaterials. Converted from xml doi:10.1155/2013/101836
One-dimensional (1D) nanostructured materials, including nanotubes, nanofibers, and nanowires, have attracted much attention due to their interesting properties and wide range of potential applications. Considerable research has been conducted on new routes to controllable synthesis of 1D nanomaterials. The unique properties of as-obtained 1D nanomaterials can lead to applications in various fields such as electronics, magnetism, optics, and catalysis. Therefore, researchers working in the 1D nanomaterials are constantly striving to develop new fundamental science as well as potential applications. The importance of a platform that allows active researchers in this field to present their new development in a timely and efficient manner is, therefore, necessary.
This special issue focuses on the recent progress in production techniques, novel properties, and applications of various 1D nanomaterials including oxides/metals/nitrides with 1D nanostructures, carbon nanotubes, and nanofibers.
A total of 11 articles are presented in the current issue and they are all research papers. They involve spin transport properties of AlN nanowires, photoluminescence of ZnO nanorods, heating efficiency of iron nanowires, optical properties and thermal stability of poly(vinyl alcohol) composite nanofibers, electrical properties of half-doped manganite single nanowire, carbon nanotube yarns, and pristine and functional single-wall carbon nanotubes. Production techniques include a hydrothermal reaction, reducing method, chemical vapor deposition, spinning method, and microemulsion system. Carbon nanotubes have attracted most research interest, maintaining their comfortable leading positions.
We are pleased to see the progress in synthesis and properties of 1D nanomaterials. We hope that this special issue will promote further development of large-scale economically feasible 1D nanomaterial-making technologies and also contribute to their wide use.

## Acknowledgments

The editors gratefully thank the authors for their contributions to this special issue and the reviewers for their constructive comments and dedication.
This work is licensed under the Creative Commons Attribution 3.0 Unported License. This page must provide all available authorship information.
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