OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Faustina, Annia Galeria

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FAUSTINA, ANNIA GALERIA,
Called the elder Faustina, was the daughter of Annius Verus, Prefect of Rome, and wife of the Emperor Titus Antoninus Pius. Her beauty and wit were of the highest order, but her conduct has been represented as dissolute in the extreme. Still the emperor built temples and struck coins to her honour; yet it is reported even when he discovered her debaucheries he favoured without resenting them. Such a course of conduct in a man represented as the wisest of sovereigns, and a model of private and domestic virtues, is hardly credible. That he loved her with constancy and confidence during her life, and raised temples to her virtues, and altars to her divinity after her death, are matters of history. There is a beautiful medal of his reign still extant, representing Antoninus Pius on one side, and on the reverse Faustina ascending to heaven, with a lighted torch, under the figure of Diana. Surely Antoninus must himself have had faith in the virtues of his wife. But she was beautiful and witty: such women will be envied and slandered, as well as loved and praised. She died in 141, at the age of about thirty-seven.
Her daughter Annia became the wife of the Emperor Marcus Aurelius. She was lively, witty, and therefore attractive, although less beautiful than her mother, than whom she was even more dissolute in her manners. She, too, had her temples and her priests, and Marcus, in his Meditations, thanks the gods for a wife so tractable, so loving, and so unaffected. She attended him into Asia, where he went to suppress the revolt of Cassius, and there died, near Mount Laurus, in 175. There was a third Faustina, grand-daughter of this one, who was the third wife of Heliogabalus, but was soon neglected by him. She was very unlike her female ancestors, except in beauty.
# A Cyclopaedia of Female Biography/Faucit, Helen

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Faucit, Helen
This lady is the most deservedly popular of living English tragic actresses, and has for a long series of years maintained her pre-eminence as such. Sir Archibald Alison, in the volume of his "History of Europe" devoted to Literature and the Fine Arts, gives the following mental and physical picture of her:—
"If powers of the very highest order, united to fascinating beauty, and the most lofty conceptions of the dignity and moral objects of her art, could have arrested the degradation of the stage, Miss Helen Faucit would have done so. She is a combination of Mrs. Siddons and Miss O'Keil; with the majestic air and lofty thoughts, but not the commanding figure of the former, and as great pathetic power, and not less winning grace, but without the regular features of the latter. Variety is her great characteristic, versatility her distinguishing feature. Like Garrick, she excels equally in tragedy or elegant comedy: it is hard to say whether her "Rosalind" is the more charming, or her "Lady Teazle" the more fascinating, or her "Juliet" the more heart-rending. Dark raven locks, a fine figure, and singularly expressive countenance, bestow on her all the advantages which, in addition to the highest mental gifts, beauty never ceases to confer on woman; and a disposition marked by deep feeling, alternately lively and serious, sportive and mournful, playful and contemplative, gives her that command of the expression of different emotions, and that versatility of power, which constitute her great and unequalled charm. She has the highest conception of the dignity and moral capabilities of her art, and by the uniform chasteness and delicacy of her performances, does the utmost to uphold it in its native purity."
# A Cyclopaedia of Female Biography/Farnese, Franccesca

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FARNESE, FRANCESCA,
Commonly called Sister Francesca, was born at Rome. She was a nun, and founded a convent. Her poems are united to those of her sister, also a nun, named Sister Isabella. She was learned in her native literature, in Latin, and in theology. She has left many poems of a very chaste and correct style. Before taking vows she wrote a romance and much miscellaneous poetry, which, under a sense of duty, she burned. She died in 1651.
# A Cyclopaedia of Female Biography/Fatimee

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FATIMEE,
The only daughter of Mahomet, and mother of all Mahommedan dynasties, was born at Mecca. In the year 623, she married her cousin All, who afterwards became Caliph. Turkish writers assert that the archangels Michael and Gabriel acted as guardians to the bride, and that seventy thousand angels joined the procession. One of her descendants founded the dynasty known by the name of the Fathemir Caliphs, who reigned in Africa and Syria. Fatimeh died a few months after her father.
# A Cyclopaedia of Female Biography/Faugere, Miss

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FAUGERE, MISS,
Was born in the year 1709, in the neighbourhood of Avignon. She was compelled by her parents to take the veil; but, with an utter repugnance to the life of a nun, she strained every nerve to free herself from the thraldom imposed upon her. Ten years elapsed, however, before her efforts were crowned with success, when she received a papal permission to leave the sisterhood. But even then she was looked upon by her family as having disgraced herself and them. She, however, removed to Paris, and from their ​to London. Wholely dependent upon her literary labours, she was compelled to write too much, and her writings are of very unequal merit. The best of her works are "Le Triumphe de I'Amitié," published in 1761; "Abassaï, Histoire Orientale," in 1753; "Contes du Serail," in 1753; and "Les Zelindiens," in 1758. She also wrote "Dialogues Moraux et Amusans," published in 1777.
# A Cyclopaedia of Female Biography/Faugeres, Margaretta V.

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FAUGERES, MARGARETTA V.,
An American lady, born in 1777, the daughter of Anne Elizabeth Bleeker, was distinguished for her literary accomplishments. Her youth was spent in the country; but she afterwards married, and lived in New York. Many of her poetical pieces were published in the periodicals of the day, and much admired. She also wrote the tragedy of "Belisarius" and some other works. By the profligacy of her husband, Peter Faugeres, a physician, she was reduced to extreme poverty; and after his death was obliged to resort to teaching for support. Her fine talents were wasted in her struggles with misfortune, and she never accomplished what her genius promised. She died in 1801.
# A Cyclopaedia of Female Biography/Farley, Harriet

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FARLEY, HARRIET,
Well and widely known in America as editor of "The Lowell, or New England Offering," a monthly magazine of industry, the contributors being factory girls, employed in the mills at Lowell, Massachusetts. This work has been re-printed in England, and has excited much interest here, as in other parts of Europe, because it is entirely unparalleled in the annals of factory life; and in no country, except America, is such a proof of female intellect perhaps possible. As one of the pioneers in this new development of mental culture and moral progress, and the chief agent by whom it has been upheld. Miss Farley deserves the good celebrity she has gained. She has told her own story in a letter as remarkable for its simple frankness as its true modesty, by which we learn that she is the sixth of ten children, of "the genuine New Hampshire stock." Her father was a congregational pastor of the town of Claremont, in that state. He afterwards removed to a smaller place, called Atkinson, and combined the labours of preceptor with his parochial duties. Harriet was herself intended for a teacher, and, as she says, learned something of French, drawing, needlework, and the usual accomplishments; but not relishing this kind of life, she betook herself, as many respectable females in America do, to factory labour. With great care and frugality she was enabled lo assist in the liberal education of a brother, and minister to the wants of other members of her family. When the "Lowell, or New England Offering" was started, she became a contributor, and ultimately editor and proprietor.
"I now," she says, "do all the publishing, editing, canvassing, and, as it is bound in my office, I can, in a hurry, help to fold, cut ​covers, stitch, etc. I have a little girl to assist me in the folding, stitching, etc.; the rest, after it comes from the printer's hand, is all my own work. I employ no agents, and depend upon no one for assistance. My edition is four thousand."
The greater portion of all Harriet Farley has written has appeared in the "Offering;" but in 1847 she selected from these pieces, and added a few original, making a volume, published in Boston under the title of "Shells from the Strand of the Sea of Genius." In the dedication of this book. Miss Farley touches a string which should make every parental heart vibrate—"To my Father and Mother, who gave me that education which has enlivened years of labour; and, while constituting my own happiness, has enabled me to contribute to the enjoyment of others." Let those who think education unnecessary for "operatives," consider what it has done for Harriet Farley, and what sweet reward she has rendered to those who trained her!
Miss Farley stands at the head of her collaborateurs, not only In her capacity of editor, but in her superiority as a writer; yet she has many and talented assistants, contributors, who deserve to share with her in the honour of this new literature. "Mind among the Spindles," is the title given to a handsome volume, selected from the "Lowell Offering," and published in London in 184&.
# A Dictionary of Music and Musicians/Saul

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

From volume 3 of the work.
​SAVART, Felix, a French philosopher, who distinguished himself by researches in acoustics. He was born at Mézières June 30, 1791, and was the son of a mathematical instrument maker of some repute. He at first practised medicine, but subsequently devoted himself in preference to general philosophical pursuits, obtained the post of professor at the College of France, and was admitted a member of the French Academy of Sciences in November 1827.
Following in the steps of Chladni, whose labours had particularly attracted his attention, he made many investigations in acoustics, which are recorded in the several publications bearing his name. He appears particularly to have thrown light on the nature of that complicated relation between a vibrating body which is the source of sound, and other bodies brought into connexion with it, by virtue of which the original sound is magnified in intensity and modified in quality; well-known examples of such an arrangement being furnished by the soundboards of the violin tribe and the pianoforte.
Savart's name is also connected with an ingenious little device for measuring, in a manner easily appreciable by a lecture-audience, the number of vibrations corresponding to a given musical note. A wheel, caused to rotate quickly by ordinary mechanical contrivances, is furnished on its circumference with teeth or ratchets, against which a tongue of pasteboard or some other elastic substance is brought into contact. The passage of each tooth gives a vibration to the tongue, and if the wheel revolve fast enough, the repetition of these vibrations will produce a musical sound. Hence, as the number of rotations of the wheel in a given time can be easily counted, the number of vibrations corresponding to the note produced can be experimentally ascertained, with tolerable precision. This mode of determining vibration numbers has been since superseded by the more elegant instrument, the Syren, and by other modes known to modern acoustic physicists, but from the simplicity of its demonstrations it is still often used.
[ W. P. ]
# A Dictionary of Music and Musicians/Savile, Jeremy

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Savonarola

[ M. ]
# A Dictionary of Music and Musicians/Savoy Chapel Royal

From volume 3 of the work.
[ H. F. F. ]
# A Dictionary of Music and Musicians/Sauret, Emile

From volume 3 of the work.
​SAURET, Emile, violinist, born at Dun le Roi, Cher, France, May 22, 1852, soon attracted the notice of De Bériot, and became his pupil, the last he ever had. He began to travel at an early age, playing in the chief towns of France and Italy, in Vienna and in London, where he made his first appearance at Alfred Mellon's Concerts, Covent Garden, in Aug. 1866. In 1872 he made his first visit with Strakosch to the United States, and his second in 1874, remaining there till Jan. 1876. In New York he made the acquaintance of von Bülow and Rubinstein, and on his return to Leipzig was welcomed by the latter, then engaged in the rehearsals of his 'Paradise Lost.' Sauret made his début in the Gewandhaus in May 1876 in Mendelssohn's Concerto, and was most warmly received. He however returned immediately to America, and it was not till he came back again in 1877, and went through Germany and Austria in two long and most successful tournées, that his reputation was established in his native country. He has played at the Gewandhaus every year since 1876, and is a great and desired favourite with that very critical audience. In Holland also he is well known. In England he reappeared in 1880, and played at the Crystal Palace, April 24, and Philharmonic (Bruch's Concerto No. 1) on the 28th.
Liszt has shown him much kindness, and they have often made music together. In 1879 Sauret married Miss Emma Hotter of Dusseldorf, and since that date has taken up his abode in Berlin, where he is teacher of the violin in Kullak's Academy.
[ G. ]
# A Dictionary of Music and Musicians/Sauzay, Charles

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

From volume 3 of the work.
​SAVOY. [See Old Hundredth, The.]
# A Dictionary of Music and Musicians/Cantabile

From volume 1 of the work.
​CANTABILE, i.e. singable, a direction placed against an instrumental phrase when it is to be 'sung' with feeling. Beethoven does not often use it, and when he does it is always with special intention, as in the 2nd subject of the Larghetto of the B♭ Symphony, and in the semiquaver figure in the working out of the first movement of the 9th Symphony:—
He has before marked it 'expressivo'—but now it is as if he said 'you may see no special melody in this group, but I do, and will have it played accordingly.'
# A Dictionary of Music and Musicians/Cannabich, Christian

From volume 1 of the work.
​CANNABICH, Christian, a violin-player, composer, and renowned orchestral conductor, was born at Mannheim in 1731. He was a pupil first of his father, a flute-player, and afterwards of Stamitz (see that name), the celebrated violinist at the head of the Mannheim orchestra. The Elector afterwards sent him to Italy, where he studied composition under Jomelli. In 1765 he was appointed leader, in 1775 conductor, of the orchestra at Mannheim; and in 1778 followed the Elector in the same capacity to Munich. He died in 1798 at Frankfort, while on a visit to his son.
Cannabich was a very good violinist and a fair composer, but all contemporary writers on musical matters lay most stress on his great skill as a leader and conductor. Mozart in many letters to his father praises the perfect ensemble in the orchestral performances at Mannheim, and speaks of Cannabich as the best conductor he ever met with. Burney, in his 'Tour through Germany,' is not less hearty in his praise, and Schubart, a German writer of considerable authority, reports upon the Mannheim orchestra in the flowery style of the period as follows: 'Here the forte is a thunder, the crescendo a cataract, the diminuendo a crystal streamlet babbling away into the far distance, the piano a breeze of spring.'
There can be no doubt that the performances at Mannheim under Cannabich enjoyed a special reputation for refinement and observance of nuances, somewhat like those of the Paris Conservatoire concerts at a later period. And although it has been suggested with much probability, that Cannabich had in this respect derived his experience from Italy, where his master Jomelli had introduced more refinement into orchestral playing, he must still be considered as one of the first and most successful promoters of that exact style of performance, which alone can do justice to the works of the great modern composers. He was also a successful teacher. Most of the violinists at Mannheim,—some of them artists of reputation,—were his pupils. That he was not only a fervent admirer of Mozart's genius, when it was by no means universally recognised, but also for many years a true and useful friend to the great master, is another point which secures him a lasting place in history, and in the hearts of all lovers of music.
He composed a number of operas, which however were not particularly successful. Some ballets and a considerable number of symphonies and quartets were much liked at the time, but appear to have been of little importance.
[ P. D. ]
# A Dictionary of Music and Musicians/Canniciari, Don Pompeo

From volume 1 of the work.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Canticle

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

From volume 1 of the work.
​CANCRIZANS. This is a name given to canons by retrogression, on account of their crab-like motion—from the Latin word cancer, a crab. The German term is krebsweis. An example (from A. Andre's 'Lehrbuch der Tonsetzkunst') will best explain their construction.
Sometimes a canon is both cancrizans and by contrary motion—'Retrograde-inverse,' of which we give an example from Fétis's 'Traite du Contrepoint et de la Fugue.'
[ F. A. G. O. ]
# A Dictionary of Music and Musicians/Canterbury Pilgrims, The

[ M. ]
# A Dictionary of Music and Musicians/Cantilena

[ A. H. W. ]
# A Dictionary of Music and Musicians/Cantate Domino

From volume 1 of the work.
​CANTATE DOMINO is the name by which the 98th Psalm is known in its place as an alternative to the Magnificat in the evening service of the Anglican church. The title is formed of the first words of the Vulgate version, according to the practice of the Anglican Psalter. The 17th canon of the council of Laodicea appointed lessons and psalms to be read alternately; and on this principle the 'Cantate' is to be considered as a 'responsory psalm' coming between the lessons. It has no history attached to it in the position it now occupies, as it was not used specially in the ancient church. It was not in the Prayer-Book of Craniner, which was published in 1549, and consequently does not appear in Marbeck's 'Book of Common Praier Noted,' published in 1550. But it was introduced in the revision of 1552, probably to obviate the recurrence of the Magnificat when that canticle happened to be in the second lesson of the day.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Rossi, Francesco

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

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

From volume 3 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Rosin

From volume 3 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Ross, John

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rossi, Lauro

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

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rossi, Luigi

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rossi-Scotti, Giovanni

From volume 3 of the work.
[ G. ]
# A Dictionary of Saintly Women/Ludvina

​St. Ludvina, Lidwina.
# A Dictionary of Saintly Women/Matidia

​St. Matidia, Mattidia.
# A Naval Biographical Dictionary/Leckie, Charles Taylor

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​LECKIE. (Lieutenant, 1845.)
Charles Taylor Leckie is nephew of Vice-Admiral Sir Chas. Malcolm.
This officer entered the Navy In 1834; passed his examination 14 Dec. 1840; served as Mate, from 1842 until 1844, in the Thalia 42, Capt. Chas. Hope, on the Pacific station; and next joined, in that capacity, the Hibernia 104, bearing the flag in the Mediterranean of Sir Wm. Parker, who promoted him, 12 Nov. 1845, to a death vacancy in the Inconstant 36, Capt. Chas. Howe Fremantle, and, on presenting him with his commission on the quarterdeck of the Hibernia, informed him that he did so on account of his invariably good conduct, and because he possessed qualities which would do honour to the service. The Inconstant returned home and was paid off in 1847.
# A Naval Biographical Dictionary/Lee, William Alfred Rose

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​LEE. (Lieutenant, 1845.)
William Alfred Rose Lee entered the Navy in 1828; passed his examination 26 Dec. 1837; and served as Mate, between 1840 and the early part of 1845, in the Tweed 20, Capt. Hugh Donald Cameron Douglas, Excellent gunnery-ship, Capt. Sir Thos. Hastings, and Hecla steam-sloop, Capt. John Duffill, on the North America and West India, Home, and Mediterranean stations. He obtained his commission 30 Aug. 1845; and, from 3 of the following Sept. until the commencement of 1847, was employed ​in the Kingfisher 12, Capts. Chas. Foreman Brown and Fred. Wilmot Horton, on the coast of Africa.
# A Naval Biographical Dictionary/Leathart, Alfred

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​LEATHART. (Lieut., 1833. f-p., 13; h-p., 11.)
Alfred Leathart entered the Navy, 13 June, 1823, as Fst.-cl. Vol., on board the Windsor Castle 74, Capts. Chas. Dashwood, Hugh Downman, and Edw. Durnford King, employed at first in the Channel and off Lisbon, and then as a guard-ship at Plymouth. In July, 1827 (he had attained the rating of Midshipman in 1824) he removed to the Vigilant 10, Lieut.-Commander Meredith; and he was next, between July and Aug. 1828, employed, again in the Windsor Castle, Capt. Hon. Duncombe Pleydell Bouverie, on the Mediterranean station; where, in the Downs, and on the coast of Portugal during the Pedro and Miguel disputes, he further, until promoted to the rank of Lieutenant 27 Aug. 1833, served on board the Ramillies and Talavera 74’s, and Caledonia 120, Capts. Hugh Pigot, David Colby, and Thos. Brown. Mr. Leathart, who had passed his examination 7 Oct. 1829, was subsequently appointed – 21 Feb. 1834, to the Coast Guard – and (on leaving the latter service) 13 Oct. 1836, to the Wolverene 16, Capt. Hon. Edw. Howard. He invalided home from the Mediterranean about June, 1837, and has since been on half-pay. Agents – Coplands and Burnett.
# A Naval Biographical Dictionary/Lechmere, Edmund

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​LECHMERE. (Lieutenant, 1815.)
Edmund Lechmere died 30 Jan. 1841, at Hereford. He was a relative of the present Lieut. John Lechmere, R.N.
This officer entered the Navy, 1 Feb. 1806, as Midshipman, on board the Prince 98, Capt. Wm. Lechmere, stationed off Cadiz. Removing, in the following Dec, to the Acasta 40, Capt. Philip Beaver, he was for nearly three years employed in that ship on the West India station, where, in Feb. 1809, he witnessed the reduction of Martinique. After a short servitude in the Basque Roads on board the Scipion 74, flag-ship of Hon. Robt. Stopford, he rejoined Capt. Beaver, in May, 1810, in the {{sc|Nisus} 38, and in the following Dec. was present, as Master’s Mate, at the capture of the Isle of France, as also, in 1811, in the operations against Java. Quitting the {{sc|Nisus}, which had been latterly commanded by Capt. Chas. Marsh Schomberg, in May, 1813, Mr. Lechmere next, for a few months in 1814, served off Lisbon in the Rodney 74, flag-ship of Vice-Admiral Geo. Martin. He attained the rank of Lieutenant 3 Feb. 1815, and was lastly, from April in that year until July, 1816, and from April, 1828, until March, 1829, employed in the Mediterranean in the Spartan 38, Capt. Phipps Hornby, and in the Coast Blockade as Supernumerary-Lieutenant of the Ramillies 74, Capt. Hugh Pigot.