OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of All Religions and Religious Denominations/Eutychians

EUTYCHIANS, a denomination in the fifth century, so called from Eutyches, abbot of a certain convent of monks at Constantinople, and the very opposite of the Nestorians. He maintained, that there was only one nature in Jesus Christ. The divine nature, according to them, had so entirely swallowed up the human, that he latter could not be distinguished; so that it was inferred our Lord had nothing of humanity but the appearance. See Jacobites.
Eutychus began to propagate his opinions about the year 448, when he was rather advanced in years, and they were immediately condemned by a synod held by Flavian at Constantinople; the next year, they were justified by the council of Ephesus, and again condemned two years after by the council of Caledon; such is the fallibility of human nature!

## Original footnotes

* ↑ Mosheim, vol. i. p. 413.
# A Dictionary of All Religions and Religious Denominations/Farvonians

FARVONIANS, a branch of the Socinians; so called from Farvonius, who flourished in the sixteenth century. He asserted, that Christ had been produced out of nothing by the Supreme Being, before the creation of the world; and warned his disciples against paying religious worship either to the son or Spirit. See Socinians.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 291, 202.
# A Dictionary of All Religions and Religious Denominations/Flacians

FLACIANS, the disciples of M. Flacius Illyricus in the sixteenth century; who was a learned and zealous disciple of Luther, and one of the authors of the German Ecclesiastical History, called Centuriae Magdeburgensis. He maintained that original sin is 'the very substance of human nature.' See Calvinists.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 48.
# A Dictionary of All Religions and Religious Denominations/Eustathians

EUSTATHIANS, a rigid denomination in the fourth century, so called from Eustathius, a monk. He prohibited marriage, the use of wine and flesh, and obliged his followers to quit all they had as incompatible with the hopes of heaven.

## Original footnotes

* ↑ Mosheim, vol. i. p. 313.
# A Dictionary of All Religions and Religious Denominations/Eutuchites

EUTUCHITES, a kind of religious stoics in the third century, who held that our souls are placed in our bodies to honour the angles, who created them; and that we ought to rejoice equally in all events, because to grieve, would be to dishonour our creators.

## Original footnotes

* ↑ Broughton, vol. ii. p. 532.
# A Dictionary of All Religions and Religious Denominations/Fifth Monarchy Men

Fifth Monarchy-Men, a denomination which arose in the seventeenth century. They derived their name from maintaining that there will be a fifth universal monarchy under the personal reign of Jesus Christ upon earth. Their leader was Thomas Venner, a cooper, who, in his conventicle in Coleman Street, having warned the passions of his audience, sallied forth toward St. Paul's Church Yard, on Sunday jan. 6, 1660, determined to set up the new monarchy, and vainly expecting Jesus Christ from heaven to their support. The military were called out against them, but it was three days before they were subdued, many being killed, and of the rest, Venner and ten others were hanged in different part of the city.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 538.
# A Dictionary of All Religions and Religious Denominations/Flagellants

FLAGELLANTS, a denomination which sprang up in Italy in the 1260, and was thence propagated through almost all the countries of Europe. They derive their name from the latin, flagello, to whip. The society that embraced this new discipline, ran in multitudes, composed of persons of both sexes, and of all ranks and ages, through the public streets, with whips in their hands, lashing their naked backs with astonishing severity, thinking to obtain the divine mercy for themselves and others, by their voluntary mortification and penance was of equal virtue with the sacraments; that the forgiveness of all sins was to be obtained thereby; that the law of Christ was soon to be abolished; and that a new law, enjoining the baptism of blood, to be administered by whipping, was to be substituted in its place.

## Original footnotes

* ↑ <osheim, vol. iii. p. 94, 206, 277.
# A Dictionary of All Religions and Religious Denominations/Eunomians

EUNOMIANS. See Arians.
# A Dictionary of All Religions and Religious Denominations/Familists

FAMILISTS, or family of Love, a denomination which appeared in Holland about the year 1555, and derive their origin from one Henry Nicholas, of Westphalia. He pretended that there was no knowledge of Christ, nor of the scriptures, but in his family. He quoted 1. Cor. xiii. 9, 10. For we know but in part, and we prophecy in part; but when that which is perfect is come, then that which is in part shall be done away; and hence inferred that the doctrine of the apostles was imperfect, and be superseded by the more perfect revelation made to The Family of Love.
This denomination taught, (1.) That the essence of religion consisted in the feelings of divine love; and that it was a matter of indifference what opinions Christians entertained concerning points of faith, provided their hearts burned with the sacred flame of piety and love. (2.) That the union of the soul with Christ transforms it into the essence of the Deity. (3.) That the letter of the scripture is useless; and those sacred books ought to be interpreted in a spiritual or allegorical manner. (4.) That it was lawful on some occasions to prevaricate in evidence.
This sect appeared in England about the year 1580; where, when their founder was discovered, their books were ordered to be publicly burnt, and the society was dispersed.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 165. Broughton, vol. ii. p. 60. More's Mystery Godliness, p. 356. Fulfilling of the Scriptures, vol. i. p, 166.
# A Dictionary of Music and Musicians/Förster, Emanuel

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Führer, Robert

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

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

From volume 1 of the work.
​FUNDAMENTAL BASS is the root note of a chord, or the root notes of a succession of chords, which might happen to be the actual bass of a short succession of chords all in their first positions, but is more likely to be partly imaginary, as in the following short succession of complete chords, which has its fundamental bass below on a separate stave:—
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Fux, Johann

From volume 1 of the work.
​FUX, Johann Joseph, born 1660 of a peasant family in the hamlet of Hirtenfeld, near Gratz in Styria. Nothing is known of his early life or studies, as he refused to give information on the subject even to Mattheson for his 'Grundlage einer Ehrenpforte' (Hamburg 1740; see p. 340, letter dated 1718). From 1696, however, all is clear. In that year he was appointed organist to the ecclesiastical foundation 'Zu den Schotten' in Vienna; and married a Viennese, by whom he had no children. In 1698 he became court composer, and in 1705 Capellmeister to the cathedral of St. Stephen. He was also appointed vice-Capellmeister to the court, and in 1713 Capellmeister to the Dowager Empress Wilhelmine Amalie. This post he resigned in 1718, as he had done that at the cathedral in 1715 upon his promotion to be head Capellmeister to the court. He received many proofs of court favour. To the King of the Romans—Arch-duke, afterwards Emperor, Joseph I—he dedicated his first opus 'Concentus musico-instrumentalis,' in 7 parts (Felsecker, Nuremberg 1701), and the 'Missa Canonica' (1718); and to the Emperor Charles VI his most important work 'Gradus ad Parnassum' (1725). In 1723, when laid up with gout, the Emperor Charles had him conveyed in a litter to Prague, that he might be present at the performance of his opera 'Costanza e Fortezza,' written for the coronation. Fux died at Vienna Feb. 13, 1741, and was buried at St. Stephen's. Among his best pupils were Zelenka, Muffat, Tuma, and Wagenseil. An oil-painting of him in the costume of the period is in the museum of the 'Gesellschaft der Musikfreunde' at Vienna. Fux considered his art in a serious light, and was held in general respect. He was courteous to all, and eminently kind and just in his dealings with the musicians under him. As a composer he was most industrious; 405 works by him are still in existence—50 masses; 3 requiems; 57 vespers and psalms; 22 litanies and completoria; 12 graduals; 14 offertoriums; 22 motets; 106 hymns; 2 Dies iræ; 1 Domine; 1 Libera (290 church-works in all); 10 oratorios; 18 operas (of which 6 were grand operas—'dramme per musica'—and the other 12 'componimenti per camera' and 'feste teatrali per musica'); 29 partitas and overtures; and 8 pieces for clavier. The greater part of these compositions, either copied or in autograph, are in the Imperial Library at Vienna; and the 'Gesellschaft der Musikfreunde' also possesses a considerable number.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Förstemann, Carl

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

From volume 1 of the work.
​FÜRSTENAU, a family of distinguished flutists and good musicians.
1. Caspar, born Feb. 26, 1772, at Münster, where his father was in the Bishop's band; was early left an orphan under the care of A. Romberg, who tried to force him to learn the bassoon, as well as the oboe, which he had been already taught; but his preference for the flute asserted itself, and he shortly became so proficient, as to support his family by playing in a military band, and in that of the Bishop. In 1793–4 he made a professional tour through Germany, and settled at Oldenburg, where he entered the Court band, and gave lessons to the Duke. In 1811 the band was dispersed, and Caspar again travelled with his son. He died at Oldenburg May 11, 1819.
2. Anton Bernhard, a finer flutist than his brother [App. p.643 "father"], born Oct. 20, 1792, at Münster; first appeared at a Court concert in Oldenburg when only 7. He remained with his father, the two taking long journeys together. In 1817 he was engaged for the municipal orchestra of Frankfort, from whence he removed in 1820 to Dresden, where he remained in the service of the King of Saxony till his death, Nov. 18, 1852. In 1826 he accompanied Weber on his last sad journey to London, tended him with anxious care, and assisted him to undress the night before his death. (See Max Maria von Weber's Life of his father, ii. 703.) He composed several pieces and two Methods for the flute.
[ F. G. ]
# A Dictionary of Music and Musicians/G

From volume 1 of the work.
​G. The fifth note of the natural scale—the dominant of C, the relative major of E minor. It is sol in French and in solfaing. It has F♯ for its signature. G minor has B♭ and E♭ for the signature, and is the relative minor of B flat major. G gives its name to the treble clef, the sign for which is nothing but a corruption of the letter. The Greek G gives its name to the gamut or scale.
As to its use in composition—two of Haydn's 12 Grand Symphonies are in G, and there are several others of note in the same key ('Oxford,' 'Letter V,' etc.), but there is no remarkable one by Mozart, and not one by Beethoven, nor by Schubert, Schumann, or Mendelssohn. Of Beethoven's 16 Quartets one (No. 2), and of his 11 Overtures one (Ruins of Athens), the Sonata op. 31, No. 1, two Violin Sonatas, and the P.F. Concerto No. 4, do something to restore the balance, but it is singular how much he avoids the key.
[ G. ]
# A Dictionary of Music and Musicians/Gabriel, Mary

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Bass (stave)

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

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Baryton (instrument)

From volume 1 of the work.
​BARYTON, also Viola di Bardone or BORDONE. Bordone is the Italian for 'drone,' and Leopold Mozart, in his 'Violin-School,' contends that the tone of this instrument, owing probably to the vibration of the sympathetic metal-strings, was suggestive of the hum of the bee.
The Baryton, a stringed instrument not unlike the viola da gamba, played with a bow, was in use up to the end of the 18th century, but owing probably to its complicated mechanism and to the weakness of its tone, which rendered it unfit for use in orchestral playing, is now entirely obsolete. Its neck was very broad, hollowed out, and open at the back. It was usually mounted with six or seven catgut strings, stretched over the finger-board, and played on with the bow; while the metal strings, varying in number from nine to twenty-four, and running underneath the fingerboard, were pinched with the thumb of the left hand, and acted at the same time as sympathetic strings. The catgut strings were tuned as follows:—
​Leopold Mozart considered it one of the loveliest of instruments; and when we hear that Haydn for a considerable time tried hard to learn to play it, we must regret its being now so entirely neglected.
C. F. Pohl, in his Biography of Haydn (Berlin, 1875), gives us the following notices concerning the baryton.
1. Makers:—M. Feldlen (1656), H. Kramer (1714), D. A. Stadlmann (1732), J. Stadlmann (1750), all of Vienna; Joachim Tielke at Hamburg (1686), maker of the fine specimen in the S. Kensington Museum, from which our cut is taken; and Andreas Stainer, of Absom in the Tyrol (1660).
2. Performers:—M. A. Berti, Vienna (1721–1740); Signor Farrant, London (1744); Abell, London (1759–87). Anton Kraft, Karl Franz and Andreas Lidl, members of Prince Esterhazy's private band under Haydn (Lidl played in concerts in England in 1776); Friedel, member of the royal band at Berlin at the end of the last and beginning of the present century. Fauner (1794) and V. Hauschka (1795-1823) are named as accomplished amateur-performers.
[ P. D. ]
# A Dictionary of Music and Musicians/Baryton (voice)

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

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

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Bass-Bar

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

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

From volume 1 of the work.
​BASS CLARINET, an instrument of the same construction as the ordinary clarinet, but speaking an octave lower. The one most generally used is that in B♭, but Wagner writes for one in A, and a third in C has been employed. They are all slow-speaking hollow-toned instruments, rather wanting in power. The clarinet quality is less marked than in the acuter forms of the instrument, insomuch that they more resemble an organ pipe of bourdon tone. Meyerbeer, from his friendship with Sax, who paid particular attention to this instrument, has introduced it in his operas and other works. In the fifth act of 'The Huguenots' there is a fine declamatory passage for it in B♭, exhibiting its extreme lower compass:—
[ W. H. S. ]
# A Dictionary of All Religions and Religious Denominations/Gaianitae

GAIANITAE, a denomination which sprang from the Eutychians. They derive their name from Gaian, a bishop of Alexandria, in the sixth century, who is said to have denied that Jesus Christ, after the hypostatical union, was subject to any of the infirmities of human nature.
# A Dictionary of All Religions and Religious Denominations/Gentiles

*GENTILES, a term which the Jews applied to all foreigners; so the Greeks called all other nations barbarians.
# A Dictionary of All Religions and Religious Denominations/Gentoos

GENTOOS. See Hindoos.
# A Dictionary of All Religions and Religious Denominations/Glassites

*GLASSITES, the followers of Mr. John Glass of Perth. He was a minister of the established church at Tealing, near Dundee, but expelled for preaching against the Scotch league and covenant, and maintaining the pure spirituality of Christ's kingdom, with some other points afterwards taught by Sandeman. (See Sandemanians.) His principal work is entitled,'The Testimony of the King of Martyrs.'
# A Dictionary of All Religions and Religious Denominations/Gaulanites

GAULANITES. See Galileans.
# A Dictionary of All Religions and Religious Denominations/Gazares

GAZARES, a denomination which appeared about the year 1197, at Gazare, a town of Dalmatia. They held almost the same opinions with the Albigenses; but their distinguishing tenet was, that no human power had a right to sentence men to death for any crime whatever.
# A Dictionary of All Religions and Religious Denominations/Galileans

GALILEANS. or GAULITES, a political sect, or rather party among the Jews, the followers of Judas, a native of Gaulan in Galilee, who in the tenth year of Jesus Christ excited his countrymen, the Galileans, and many other Jews, to take arms, and venture upon all extremities, rather than pay tribute to the Romans. The principles he instilled into his party were, not only that they were a free nation, and ought not to be in subjection to any other; but that they were the elect of God, that he alone was their governour, and that therefore they ought not to submit to any ordinance of man. Though Judas was unsuccessful, and his party in their very first attempt was entirely routed and dispersed; yet so deeply had he infused his own enthusiasm into their minds, that they never rested, until in their own destruction they involved the city and temple.

## Original footnotes

* ↑ Acts v. 37. See Calmet's Dict. in Judas, vol. i. new ed.
# A Dictionary of All Religions and Religious Denominations/Georgians

GEORGIANS. See Iberians.
# A Dictionary of Music and Musicians/Agostini, Paolo

From volume 1 of the work.
​AGOSTINI, Paolo, an Italian composer, who stands out in relief from too many of his contemporary countrymen. He was born at Vallerano in 1593, and was a pupil, at Rome, of Bernardino Nanini, whose daughter he married. After being organist of S. Maria in Trastevere, and Maestro di Cappello at S. Lorenzo in Damaso, he succeeded Ugolini as Maestro at the Vatican Chapel, in 1629. Unhappily for his art, he died a few months after his preferment, in the 36th year of his age.
Pitoni, who would seem to be nothing if not inaccurate, has a story to the effect that Agostini owed his appointment at the Vatican to an unanswered challenge to a musical encounter, which he sent to Ugolini, who had been his fellow-pupil under Nanini; the Chapter conceived that, if their Maestro shunned a professional duello with Agostini, he ought to give up his place to him. But this is hardly probable, and Baini, with unnecessary perseverance, exposes its improbability. A more pleasant anecdote is that Urban VIII happened to enter the Basilica at the moment when a work of Agostini's, for forty-eight voices, after the fashion then in vogue, was being performed by the choir. The Pope stopped to hear it out; and, at its conclusion, rose and bowed pointedly to its composer, to mark his sense of its beauty.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Agrell, Johann

From volume 1 of the work.
​AGRELL, Johann, born at Löth in Sweden; studied at Linköping and Upsal. Appointed court musician at Cassel in 1723, and in 1746 conductor at Nuremberg, where he died, 1767. He left nine published works (Nuremberg), concertos, sonatas, etc., and many more in manuscript.
# A Dictionary of Music and Musicians/Agricola, Alexander

From volume 1 of the work.
​AGRICOLA, Alexander, a composer of great celebrity living at the end of the 15th century and beginning of the 16th. Crespel's lament on the death of Ockenheim mentions Agricola as a fellow-pupil in the school of that master; and the dates of his published works, together with an interesting epitaph printed in a collection of motetts published at Wittenberg in 1538, furnish us with materials for briefly sketching his life. The words of the epitaph, which bears the title 'Epitaphium Alex. Agricolae Symphoniastae regis Castaliae [App. p.519 "Castiliae"] Philippi,' are as follows:—
'Musica quid defles? Periit mea aura [App. p.519 "cura"] decusque. Estne Alexander? Is meus Agricola. Dic age qualis erat? Clarus vocum manuumque. Quis locus hunc rapuit? Valdoletanus ager. Quis Belgam hunc [App. p.519 "huc"] traxit? Magnus rex ipse Philippus. Quo morbo interiit? Febre furente obiit. Aetas quae fuerat? Jam sexagesimus annus. Sol ubi tunc stabat? Virginio [App. p.519 "in"] capite.'
[ J. R. S.-B. ]
# A Dictionary of Music and Musicians/Agricola, Martin

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

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Agricola, Johann Friedrich

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

From volume 1 of the work.
​AGOSTINI, Ludovico, born 1534 at Ferrara. In holy orders, and both poet and composer. Became chapel-master to Alfonso II, Duke of Este, and died Sept. 20, 1590. A collection of his masses, motetts, and madrigals, appeared shortly before his death.
# A Dictionary of Music and Musicians/Agricola, Johann

From volume 1 of the work.
​AGRICOLA, Johann, born at Nuremberg about 1570, professor of music in the Gymnasium at Erfurt in 1611, and composer of three collections of motetts {Nuremberg, 1601–1611).
# A Dictionary of Music and Musicians/Agnesi, Louis

From volume 4 of the work.
​AGNESI, Louis Ferdinand Leopold, the famous bass, whose real name was Agniez, was born July 17, 1833, at Erpent, Namur. He studied at the Brussels Conservatoire, under Bosselet and Fétis, and in 1853–55 gained the concours de Rome. He brought out an opera, 'Harold le Normand,' with indifferent success, and subsequently abandoned composition for singing. For the latter purpose in 1861 he received instruction from Duprez, and became a member of Merelli's Italian Opera Company, under the name Luigi Agnesi, during a tour through Germany, Holland, and Belgium. On Feb. 10, 1864, he first appeared at the Italiens, Paris, as Assur in 'Semiramide,' with the sisters Marchisio, and was engaged there for several seasons. In 1865 he was engaged at Her Majesty's theatre, where he first appeared with Murska May 22, as the Prefect in 'Linda di Chamouni,' and during the season he played Assur and Figaro (Le Nozze), and also sang at the Philharmonic, on each occasion with fair success.
[ A. C. ]
# A Dictionary of Music and Musicians/Agricola, Georg

From volume 1 of the work.
[ F. G. ]