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

See also Veteran on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VETERAN, old, tried, experienced, particularly used of a soldier who has seen much service. The Latin veteranus (velus, old), as applied to a soldier, had, beside its general application in opposition to tiro, recruit, a specific technical meaning in the Roman army. Under the republic the full term of service with the legion was twenty years; those who served this period and gained their discharge (missio) were termed emeriti. If they chose to remain in service with the legion, they were then called veterani. Sometimes a special invitation was issued to the emeriti to rejoin; they were then styled evocati.
The base of Lat. vetus meant a year, as seen in the Gr. ἔτος (for Fετος) and Sanskrit vatsa; from the same base comes vitulus, a calf, properly a yearling, vitellus, a young calf, whence O. Fr. veel, modern, veau, English “veal,” the flesh of the calf. The Teutonic cognate of vitulus is probably seen in Goth, withrus, lamb, English “wether,” a castrated ram.
# 1911 Encyclopædia Britannica/Veuillot, Louis

See also Louis Veuillot on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VEUILLOT, LOUIS (1813-1883), French journalist and man of letters, was born of humble parents at Boynes (Loiret) on the 11th of October 1813. When Louis Veuillot was five years old his parents removed to Paris. After a very slight education he entered a lawyer's office, and was sent in 1830 to serve on a Rouen paper, and afterwards to Périgueux. He returned to Paris in 1837, and a year later visited Rome during Holy Week. There he embraced extravagant ultramontane sentiments, and was from that time an ardent champion of Catholicism. The results of his conversion appeared in Pèlerinage en Suisse (1839), Rome et Lorette (1841) and other works. In 1843 he entered the staff of the Univers religieux. His violent methods of journalism had already provoked more than one duel, and for his polemics against the university of Paris in the Univers he was imprisoned for a short time. In 1848 he became editor of the paper, which was suppressed in 1860, but revived in 1867, when Veuillot recommenced his ultramontane propaganda, which brought about a second suppression of his journal in 1874. When his paper was suppressed Veuillot occupied himself in writing violent pamphlets directed against the moderate Catholics, the Second Empire and the Italian government. His services to the papal see were fully recognized by Pius IX., on whom he wrote (1878) a monograph. He died on the 7th of March 1883.
Some of his scattered papers were collected in Mélanges religieux, historiques et littéraires (12 vols., 1857-75), and his Correspondance (6 vols., 1883-85) has great political interest. His younger brother, Eugene Veuillot, published (1901-4) a comprehensive and valuable life, Louis Veuillot.
# A Dictionary of Music and Musicians/Schirmacher, Dora

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Schladebach, Julius

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Schleifer

From volume 3 of the work.
​SCHLEIFER. See Slide.
# A Dictionary of Music and Musicians/Schmidt

​SCHMIDT. See Smith, Father.
# A Dictionary of Music and Musicians/Schlesinger

From volume 3 of the work.
​SCHLESINGER. A well-known musical-publishing house in Berlin. It was founded in 1795 by Martin Adolph Schlesinger, a man of very original character and great ability. Among the principal works issued by him is his edition of the Great Passion music (Matthew) of J. S. Bach, one of the fruits of Mendelssohn's revival of it, and an astonishingly bold undertaking for those days—which Schlesinger brought out, according to his favourite expression, 'for the honour of the house.' It was announced in Sept. 1829, and published soon afterwards both in Full and PF. score. He also founded the Berliner Allg. mus. Zeitung, which under the editorship of A. B. Marx had for 7 years ​(1824–30) much influence for good in Germany. [See vol. ii. 430.] He died in 1839.
His second son, Heinrich (born 1807), carried on the business till his death in 1879 [App. p.785 "Dec. 14."]. He founded the 'Echo' in 1851, a periodical which remained in his hands till 1865.
[ G. ]
# A Dictionary of Music and Musicians/Schloesser, Louis

From volume 3 of the work.
​SCHLOESSER, Louis, born at Darmstadt in 1800, learnt music there from Rinck, and in Vienna from Seyfried, Salieri, and Mayseder. In due time he entered the Conservatoire at Paris, and attended the violin class of Kreutzer and the composition class of Lesueur. He then went to Darmstadt and became first leader and then conductor of the Court band. His works comprise 5 operas, a melodrama, music to Faust, a mass, a ballet, and a quantity af instrumental music of all descriptions. His son, Carl Wilhelm Adolph, was born at Darmstadt Feb. 1, 1830. He was educated by his father, and in 1847 established himself at Frankfort. In 1854 he went to England, where he has been ever since settled in London as an esteemed teacher.
[ G. ]
# A Dictionary of Music and Musicians/Schmid, Anton

From volume 3 of the work.
​SCHMID, Anton, Custos of the Hofbibliothek in Vienna, born at Pihl, near Leipa in Bohemia, Jan. 30, 1787, entered the Imperial Library at Vienna in 1818, became Scriptor in 1819, Custos in 1844, and died at Salzburg, July 3, 1857. His department as a writer was the history and literature of music and hymns. He contributed to the following works:—Dr. Ferdinand Wolf's 'Ueber die Lais, Sequenzen, und Leiche' (Heidelberg, 1841); Becker's 'Darstellung der musikalischen Literatur' (supplement, Leipzig, 1839); A. Schmidt's 'Allg. Wiener musik. Zeitung' (from 1842 to 48); Dehn's 'Cäcilia' (from 1841 to 48; Mavence, Schott); and the 'Oesterreich. Blätter für Lit. und Kunst' (1844, 45). His independent works are 'Ottaviano dei Petrucci of Fossombrone, the inventor of moveable metal types for printing music, and his successors' (Vienna, Rohrmann, 1845); 'Joseph Haydn und Nicolo Zingarelli,' proving that Haydn was the author of the Austrian national hymn (Vienna, Rohrmann, 1847); 'Christoph Willibald Ritter von Gluck, his life and musical works. A biographical æsthetical study (Leipzig, Fleischer, 1854); also a work on chess, 'Tschaturanga-vidja' (Vienna, Gerold, 1847).
[ C. F. P. ]
# A Dictionary of Music and Musicians/Schmitt

From volume 3 of the work.
​SCHMITT, a German musical family. The founder of it was Cantor at Obernburg in Bavaria. His son Alois was born at Erlenbach on the Main in 1789, and taught to play by his father; he then learned composition from Andre of Offenbach, and in 1816 established himself in Frankfort as a PF. teacher. After a few successful years there—during which, among others, he had taught Ferdinand Hiller—and much travelling, he migrated to Berlin, then to Hanover, where he held the post of Court Organist, and lastly back to Frankfort, where he died July 25, 1860. His reputation as a teacher was great, though he had a passion for journeys, and his pupils complained of his frequent absences. He composed more than 100 works, chiefly instrumental, of all descriptions, including some useful PF. studies.
His brother Jakob, born at Obernburg Nov. 2, 1803 [App. p.785 "1796"], was a pupil of Alois. He settled in Hamburg, where he brought out an opera (Alfred the Great) and a prodigious amount of music, including many sonatas for the piano, solo and with violin, variations, three books of studies, etc., in all more than 300 works; and died June 1853.
[ G. ]
# A Dictionary of Music and Musicians/Hayes, Philip

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

From volume 1 of the work.
​HAYM, Nicolo Francesco, born at Rome, of German parents, came to England in 1704. A little later, he engaged with Clayton and Dieupart in an attempt to establish Italian opera in London; and played the principal cello in Clayton's 'Arsinoe.' 'Camilla' was Haym's first opera, produced at Drury Lane, April 30, 1706. His next performances were the alteration of Buononcini's 'Thomyris' for the stage, and the arrangement of 'Pyrrhus and Demetrius' [see Nicolini], which, in his copy of his agreement (in the writer's possession), he calls 'my opera,' though in reality composed by A. Scarlatti. For the latter he received £300 from Rich, while he was paid regularly for playing in the orchestra, and bargained for a separate agreement for every new opera he should arrange or import. The principal parts in 'Pyrrhus and Demetrius' were sung by some of the performers in Italian, and by the rest in English; but this absurd manner of representing a drama was not peculiar to England. These operas continued to run from 1709–11, and in the latter year his 'Etearco' was produced; but the arrival of Handel seems to have put Haym to flight. In Nos. 258 and 278 of the Spectator, for Dec. 26, 1711, and Jan. 18, 1712, are two letters, signed by Clayton, Haym, and Dieupart, in which they protest against the new style of music, and solicit patronage for their concerts at Clayton's house in York-buildings. Haym was ready however to take either side, and in 1713 he reappears as the author of the libretto of Handel's 'Teseo,' a position which he filled again in 'Radamisto,' 'Ottone,' 'Flavio,' 'Giulio Cesare,' 'Tamerlano,' 'Rodelinda,' 'Siroe,' 'Tolomeo,' etc. for Handel; 'C. M. Coriolano,' and 'Vespasiano,' for Ariosti; and 'Calfuruia' and 'Astianatte,' for Buononcini. He seems to have been no more particular about claiming the words than the music of others; for he claims the book of 'Siroe,' though it is the work of Metastasio (see Burney, iv. 329). His merit as a musician, however, entitled him to better encouragement than he received; he published 2 sets of Sonatas for a violins and a bass, which show him to have been an able master, and his talent for dramatic music may be appreciated from an air printed by Sir. J. Hawkins in his History (chap. 174).
[ J. M. ]
# A Dictionary of Music and Musicians/Hayes, Catharine

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Haydn in London

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

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Head-voice

From volume 1 of the work.
[ J. H. ]
# A Dictionary of Music and Musicians/Hayden, George

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

From volume 1 of the work.
​HAYES, WILLIAM, Mus. Doc., born at Gloucester [App. p.670 "Hexham"] in 1707, became a chorister of the cathedral there under William Hine. He was articled to Hine, and soon became distinguished as an organist. After the expiration of his articles he obtained the appointment of organist at St. Mary's Church, Shrewsbury. In 1731 he ​became organist of Worcester Cathedral, which he resigned in 1734 on being appointed organist and master of the choristers at Magdalen College, Oxford. He graduated at Oxford as Mus. Bac. July 8, 1735. On Jan. 14, 1742, he succeeded Richard Goodson as Professor of Music in the University. On the opening of the Radcliffe Library Hayes directed the performance, and was on that occasion created Doctor of Music, April 14, 1749. In 1763 Dr. Hayes became a competitor for the prizes then first offered by the Catch Club, and obtained three for his canons, 'Alleluja' and 'Miserere nobis,' and his glee, 'Melting airs soft joys inspire.' He conducted the music at the Gloucester Festival in 1763. His compositions comprise 'Twelve Arietts or Ballads and Two Cantatas,' 1735; 'Collins's Ode on the Passions'; 'Vocal and Instrumental Music containing I. The Overture and Songs in the Masque of Circe, II. A Sonata or Trio and Ballads, Airs, and Cantatas, III. An Ode being part of an Exercise performed for a Bachelor's Degree in Music,' 1742; 'Catches, Glees, and Canons'; 'Cathedral Music' (Services and Anthcms), 1795; 'Instrumental Accompaniments to the Old Hundredth Psalm, for the Sons of the Clergy'; and 'Sixteen Psalms from Merrick's Version.' He was author of 'Remarks on Mr. Avison's Essay on Musical Expression,' 1762. He died at Oxford July 30 [App. p.670 "July 27"], 1777, and was buried in the Churchyard of St. Peter in the East.
[ W. H. H. ]
# A Library Primer (1899)/Chapter XXVIII

Save all pamphlets having to do with local history, and save also those of a general nature which promise ever to be of any importance. In a small library, however, or in any library in which money for salaries is limited, and the work to be done in the regular matter
L.B. pamphlet case. (Various sizes.)
of attending to the public, lending books, etc., is great, do not waste time in trying to arrange or catalog pamphlets. Simply let them accumulate, arranging them roughly in classes. Bind at once only those that seem absolutely to demand it. In the history of almost any library the time will come when it will be possible to sort out pamphlets, arrange them properly, catalog such as are worth it, bind them singly or in groups, and incorporate them into the library. But any system of arranging and sorting pamphlets which does anything more than very roughly to arrange and store them, and attempts to make them, without much labor, accessible to the general public, is almost sure to be a failure. This is not true of pamphlets to which the public has not access. But pamphlets not fully cataloged and not accessible to the public are, no matter how scientifically arranged, almost useless plunder. To keep them clean and in order nothing is as good as a pamphlet case, which any boxmaker can make, of cardboard about 9 inches high, 7 inches deep, and 2 inches thick, open at the back. They will cost from 4 to 12 cents each, according to quality of board used and quantity ordered. For holding a few pamphlets together temporarily Ballard's "klips" are best. Sold by H.H. Ballard, Pittsfield, Mass.
# A Library Primer (1899)/Chapter XXX

Check the library over occasionally. It need not be done every year. It is an expensive thing to do, in time, and is not of great value when done; but now and then it must be gone through with. It is not necessary to close the library for this purpose. Take one department at a time and check it by the shelf-list. Make a careful list of all books missing. Check this list by the charging slips at the counter. For those still missing make a general but hasty search through the library. Go over each part of the library in this way. Then compile all lists of missing books into one list, arranged in the order of their call-numbers. Once or twice a week for several months go over the library with this list, looking for missing books. Even with access to the shelves, and with great freedom in matters of circulation, not many books will be found missing, under ordinary circumstances, at the end of a six months' search. Such books as are still missing at the end of any given period, together with those that have been discarded as worn out, and those that have been lost by borrowers, should be properly marked on the shelf-list, and should have an entry in the accession book, stating what has become of them. If they are not replaced, it will be advisable to withdraw the cards representing them from the card catalog, or to write on the cards the fact of withdrawal and the cause.
Keep a record of all books withdrawn from the library for whatever reason.
# A Library Primer (1899)/Chapter XXXIX

There is still too much of superstition and reverence mingled with the thought of books and literature, and study and studentship in the popular mind. Books are tools, of which here and there one is useful for a certain purpose to a certain person. The farmer consults his farm paper on the mixing of pig-feed; the cook takes from the latest treatise the rules for a new salad; the chemist finds in his journal the last word on the detection of poisons; the man of affairs turns to the last market reports for guidance in his day's transactions; and all have used books, have studied literature. The hammer and the poem, the hoe and the dictionary, the engine and the encyclopedia, the trowel and the treatise on philosophy—these are tools. One and all, they are expressions of the life of the race. But they are not, for that reason, to be reverenced. They are proper for man's service, not man for theirs. Approach books, then, as you would a sewing machine, a school, or a factory.
Literature, after all, is simply all that's printed. In print are found the sum of the experience and observation of the whole race. Out of this print it is the librarian's business to help his fellows to draw such facts and suggestions as may aid them in their work.
# A Library Primer (1899)/Chapter XXXI

Give the public access to the card catalog if possible. If a dictionary catalog is made it will prove to be most helpful to the serious students. For the average reader, the person who wishes to get a recent book, the latest novel, etc., prepare lists of additions from month to month, post them up in some convenient place in the library, and put them in a binder to be left on desk or table in the delivery room.
Print lists of additions, if possible, in the local papers; also publish reference lists having to do with current events and matters of popular interest. Oftentimes the newspapers will furnish, for a small sum, extra copies of the lists which they have printed. If the means warrant the expenditure, a periodical bulletin, appearing once a month, or even oftener, containing information about the library, notes on recent additions, suggestions as to the use of books, lists on special subjects, and lists of books lately added may prove useful. Such a bulletin can often be maintained without cost to the library by having it published by some one who will pay its expenses by means of advertisements. The very best way of bringing new books to the attention of readers is to print a list of additions, with call-numbers, as condensed as possible, and with no other matter, for free distribution in the library.
In printing lists of books, make the classes covered special, not general. Give lists suitable for as many different needs and occasions as possible. There can't be too many of them. For instance, a teacher would find thoroughly helpful and practicable such classified lists of books as, for beginners in third and fourth grades, for the intermediate pupils, for boys, for girls, numerous references to the current events of the day; historical readings divided into periods and adapted to different grades; historical fiction under several forms of classification; biographies and biographical sketches suited to different ages; geographical aids, including travel, description, life, scenes, and customs in different countries; natural history and elementary science; the resources of the library available for the purpose of illustrating topics in history, art, and science; material for theme studies; special lists for anniversary days now so generally observed in schools, and so on.
Lists in which the titles of the books come first are better liked by the general public than are author-lists. People commonly know books by name, not by author.
Don't make the mistake of spending much money, at the library's beginning, for a printed catalog. A printed catalog, as stated in chapter 25, is not a necessity. It is useful, particularly for home use, to tell whether the library owns certain books; but with a good card catalog, newspaper lists, special lists, and the like, it is not a necessity. Few large libraries now publish complete catalogs.
# A Library Primer (1899)/Chapter XXXIII

If the public is not admitted to the shelves, it will be necessary to supply catalogs for public use as well as slips on which lists of books wanted can be made out; but the fullest possible catalogs and the finest appointments in the delivery room cannot take the place of direct contact between librarian or assistants and the public. Wherever possible, the person to whom the borrower applies for a book should go himself to the shelves for it.
The stranger in the library should be made welcome. Encourage the timid, volunteer to them directions and suggestions, and instruct them in the library's methods. Conversation at the counter having to do with wants of borrowers should be encouraged rather than discouraged. No mechanical devices can take the place of face to face question and answer.
The public like to handle and examine their books, and it is good for them to do it. They like the arrangements in the library to be simple; they object to red tape and rules. They like to have their institutions seem to assume—through, for example, the absence of signs—that they know how to conduct themselves courteously without being told. They don't like delays. They like to be encouraged to ask questions. They like to be consulted as to their wants, and as to changes in arrangements and methods. They like to feel at home in their library.
# A Library Primer (1899)/Chapter XXXV

[From Public Libraries, June, 1897]
As a matter of fact the position of librarian is more of an executive business affair than a literary one. Let me give you fair warning—it is in no sense your business to dictate to others as to what they may or may not, should or should not, read, and if you attempt to assume such responsibility you will make unnumbered enemies, and take upon yourself a thankless and uncalled-for task.
Frankly, do you know what is good for me to read? Are you not very much in doubt what is best for yourself? Isn't there a doubt in the best and most candid minds upon this same subject? Let the board of directors assume the responsibilities, work carefully and cautiously for the things that are considered best by persons of some authority, the people with sound, healthy bodies and clean minds, and thoroughly distrust the literary crank. Don't be too sure of your own judgment; the other fellow may be right, especially as to what he wants and needs.
Hang on to your tastes and prejudices for yourself, but don't impose them upon others. Cultivate your own tastes carefully by reading but little, and that little of the best; avoid the latest sensation until you are quite sure it is more than a sensation; if you have to buy it to please the patrons, have some convenient (literary) dog of good appetite and digestive organs, and try it on him or her and watch the general effect. You will be astonished how much you will find out about a book, its morals and manners, by the things they don't say. Our mutual friend's father, Mr D——, used to utterly damn a book to me when he said it was Just fair, and his It's a likely story, put things in the front ranks. Just get the confidence of as many readers as you can, grapple some of the most divergent minds with hooks of steel; and in finding out how little you know that is of any real value to anyone else, you will begin to be of some little value to yourself. Don't try to direct. The fellow that wants your direction will cause you to ooze out the information he needs, and you will hardly know that you have told him anything.
I may be, and doubtless am, saying much that is quite unnecessary, but I have tried to bear in mind some of my own mistakes, and of others around me. I have been impressed with the fact that librarians seem to think that they must or ought to know everything, and get to think they do know. It is a delusion. One can't know it all, and only a hopeless case tries.
Be more than content to be ignorant on many things. Look at your position as a high-grade business one, look after the working details, have things go smoothly, know the whereabouts and classification of the books, and let people choose their own mental food, but see to it that all that is put before them is wholesome.