OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Lely, Sir Peter

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​LELY, SIR PETER (1617–1680) English painter, was born at Soest, Westphalia, in 1617. His father, a military captain and a native of Holland, was originally called van der Vaes; the nickname of Le Lys or Lely, by which he was generally known, was adopted by his son as a surname. After studying for two years under Peter de Grebber, an artist of some note at Haarlem, Lely, induced by the patronage of Charles I. for the fine arts, removed to England in 1641. There he at first painted historical subjects and landscape; he soon became so eminent in his profession as to be employed by Charles to paint his portrait shortly after the death of Vandyck. He afterwards portrayed Cromwell. At the Restoration his genius and agreeable manners won the favour of Charles II., who made him his state-painter, and afterwards knighted him. He formed a famous collection, the best of his time, containing drawings, prints and paintings by the best masters; it sold by auction for no less than £26,000. His great example, however, was Vandyck, whom, in some of his most successful pieces, he almost rivals. Lely’s paintings are carefully finished, warm and clear in colouring, and animated in design. The graceful posture of the heads, the delicate rounding of the hands, and the broad folds of the draperies are admired in many of his portraits. The eyes of the ladies are drowsy with languid sentiment, and allegory of a commonplace sort is too freely introduced. His most famous work is a collection of portraits of the ladies of the court of Charles II., known as “the Beauties,” formerly at Windsor Castle, and now preserved at Hampton Court Palace. Of his few historical pictures, the best is “Susannah and the Elders,” at Burleigh House. His “Jupiter and Europa,” in the duke of Devonshire’s collection, is also worthy of note. Lely was nearly as famous for crayon work as for oil-painting. Towards the close of his life he often retired to an estate which he had bought at Kew. He died of apoplexy in the Piazza, Covent Garden, London, and was buried in Covent Garden church, where a monument was afterwards erected to his memory. Pepys characterized Lely as “a mighty proud man and full of state.” The painter married an English lady of family, and left a son and daughter, who died young. His only disciples were J. Greenhill and J. Buckshorn; he did not, however, allow them to obtain an insight into his special modes of work. (W. M. R.)
# 1911 Encyclopædia Britannica/Lemercier, Louis Jean Népomucéne

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​LEMERCIER, LOUIS JEAN NÉPOMUCÉNE (1771–1840), French poet and dramatist, was born in Paris on the 21st of April 1771. His father had been intendant successively to the duc de Penthièvre, the comte de Toulouse and the unfortunate princesse de Lamballe, who was the boy’s godmother. Lemercier showed great precocity; before he was sixteen his tragedy of Méléagre was produced at the Théâtre Français. Clarissa Harlowe (1792) provoked the criticism that the author was not assez roué pour peindre les roueries. Le Tartufe révolutionnaire, a parody full of the most audacious political allusions, was suppressed after the fifth representation. In 1795 appeared Lemercier’s masterpiece Agamemnon, called by Charles Labitte the last great antique tragedy in French literature. It was a great success, but was violently attacked later by Geoffroy, who stigmatized it as a bad caricature of Crébillon. Quatre métamorphoses (1799) was written to prove that the most indecent subjects might be treated without offence. The Pinto (1800) was the result of a wager that no further dramatic innovations were possible after the comedies of Beaumarchais. It is a historical comedy on the subject of the Portuguese revolution of 1640. This play was construed as casting reflections on the first consul, who had hitherto been a firm friend of Lemercier. His extreme freedom of speech finally offended Napoleon, and the quarrel proved disastrous to Lemercier’s fortune for the time. None of his subsequent work fulfilled the expectations raised by Agamemnon, with the exception perhaps of Frédégonde et Brunéhaut (1821). In 1810 he was elected to the Academy, where he consistently opposed the romanticists, refusing to give his vote to Victor Hugo. In spite of this, he has some pretensions to be considered the earliest of the romantic school. His Christophe Colomb (1809), advertised on the playbill as a comédie shakespirienne (sic), represented the interior of a ship, and showed no respect for the unities. Its numerous innovations provoked such violent disturbances in the audience that one person was killed and future representations had to be guarded by the police. Lemercier wrote four long and ambitious epic poems: Homère, Alexandre (1801), L’Atlantiade, ou la théogonie newtonienne (1812) and Moïse (1823), as well as an extraordinary Panhypocrisiade (1819–1832), a distinctly romantic production in twenty cantos, which has the sub-title Spectacle infernal du XVI $^e$ siècle. In it 16th-century history, with Charles V. and Francis I. as principal personages, is played out on an imaginary stage by demons in the intervals of their sufferings. Lemercier died on the 7th of June 1840 in Paris.
# 1911 Encyclopædia Britannica/Lemery, Nicolas

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​LEMERY, NICOLAS (1645–1715), French chemist, was born at Rouen on the 17th of November 1645. After learning pharmacy in his native town he became a pupil of C. Glaser’s in Paris, and then went to Montpellier, where he began to lecture on chemistry. He next established a pharmacy in Paris, still continuing his lectures, but in 1683, being a Calvinist, he was obliged to retire to England. In the following year he returned to France, and turning Catholic in 1686 was able to reopen his shop and resume his lectures. He died in Paris on the 19th of June 1715. Lemery did not concern himself much with theoretical speculations, but holding chemistry to be a demonstrative science, confined himself to the straightforward exposition of facts and experiments. In consequence, his lecture-room was thronged with people of all sorts, anxious to hear a man who shunned the barren obscurities of the alchemists, and did not regard the quest of the philosopher’s stone and the elixir of life as the sole end of his science. Of his Cours de chymie (1675) he lived to see 13 editions, and for a century it maintained its reputation as a standard work. His other publications included Pharmacopée universelle (1697), Traité universel des drogues simples (1698), Traité de l’antimoine (1707), together with a number of papers contributed to the French Academy, one of which offered a chemical and physical explanation of underground fires, earthquakes, lightning and thunder. He discovered that heat is evolved when iron filings and sulphur are rubbed together to a paste with water, and the artificial volcan de Lemery was produced by burying underground a considerable quantity of this mixture, which he regarded as a potent agent in the causation of volcanic action.
His son Louis (1677–1743) was appointed physician at the Hôtel Dieu in 1710, and became demonstrator of chemistry at the Jardin du Roi in 1731. He was the author of a Traité des aliments (1702), and of a Dissertation sur la nature des os (1704), as well as of a number of papers on chemical topics.
# 1911 Encyclopædia Britannica/Lemaître, François Élie Jules

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​LEMAÎTRE, FRANÇOIS ÉLIE JULES (1853– ), French critic and dramatist, was born at Vennecy (Loiret) on the 27th of April 1853. He became a professor at the university of Grenoble, but he had already become known by his literary criticisms, and in 1884 he resigned his position to devote himself entirely to literature. He succeeded J. J. Weiss as dramatic critic of the Journal des Débats, and subsequently filled the same office on the Revue des Deux Mondes. His literary studies were collected under the title of Les Contemporains (7 series, 1886–1899), and his dramatic feuilletons as Impressions de théâtre (10 series, 1888–1898). His sketches of modern authors are interesting for the insight displayed in them, the unexpectedness of the judgments and the gaiety and originality of their expression. He published two volumes of poetry: Les Médaillons (1880) and Petites orientales (1883); also some volumes of contes, among them En marge des vieux livres (1905). His plays are: Révoltée (1889), Le député Leveau, and Le Mariage blanc (1891), Les Rois (1893), Le Pardon and L’Age difficile (1895), La Massière (1905) and Bertrade (1906). He was admitted to the French Academy on the 16th of January 1896. His political views were defined in La Campagne nationaliste (1902), lectures delivered in the provinces by him and by G. Cavaignac. He conducted a nationalist campaign in the Écho de Paris, and was for some time president of the Ligue de la Patrie Française, but resigned in 1904, and again devoted himself to literature.
# 1911 Encyclopædia Britannica/Lemery

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​LEMERY, a town of the province of Batangas, Luzon, Philippine Islands, on the Gulf of Balayan and the Pansipit river, opposite Taal (with which it is connected by a bridge), and about 50 m. S. of Manila. Pop. of the municipality (1903) 11,150. It has a fine church and convent. Lemery is situated on a plain in a rich agricultural district, which produces rice, Indian corn, sugar and cotton, and in which horses and cattle are bred. It is also a port for coasting vessels, and has an important trade with various parts of the archipelago. The language is Tagalog.
# 1911 Encyclopædia Britannica/Lemierre, Antoine Marin

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​LEMIERRE, ANTOINE MARIN (1733–1793), French dramatist and poet, was born in Paris on the 12th of January 1733. His parents were poor, but Lemierre found a patron in the collector-general of taxes, Dupin, whose secretary he became. Lemierre gained his first success on the stage with Hypermnestre (1758); Térée (1761) and Idoménée (1764) failed on account of the subjects. Artaxerce, modelled on Metastasio, and Guillaume Tell were produced in 1766; other successful tragedies were La Veuve de Malabar (1770) and Barnavelt (1784). Lemierre revived Guillaume Tell in 1786 with enormous success. After the Revolution he professed great remorse for the production of a play inculcating revolutionary principles, and there is no doubt that the horror of the excesses he witnessed hastened his death, which took place on the 4th of July 1793. He had been admitted to the Academy in 1781. Lemierre published La Peinture (1769), based on a Latin poem by the abbé de Marsy, and a poem in six cantos, Les Fastes, ou les usages de l’année (1779), an unsatisfactory imitation of Ovid’s Fasti.
His Œuvres (1810) contain a notice of Lemierre by R. Perrin and his Œuvres choisies (1811) one by F. Fayolle.
# 1911 Encyclopædia Britannica/Lemgo

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​LEMGO, a town of Germany, in the principality of Lippe, in a broad and fertile plain, 9 m. N. from Detmold and on the railway Hameln-Lage. Pop. (1900) 8840. Its somewhat gloomy aspect, enhanced by the tortuous narrow lanes flanked by gabled houses of the 15th century, has gained for it among countryfolk the sobriquet of the “Witches’ nest” (Hexen-Nest). It is replete with interest for the antiquarian. It has four Evangelical churches, two with curiously leaning, lead-covered spires; an old town-hall; a gymnasium; and several philanthropic and religious institutions. Among the latter is the Jungfrauenstift, of which a princess of the reigning house of Lippe-Detmold has always been lady superior since 1306. The chief industry of Lemgo is the manufacture of meerschaum pipes, which has attained here a high pitch of excellence; other industries are weaving, brewing and the manufacture of leather and cigars. The town was a member of the Hanseatic league.
# 1911 Encyclopædia Britannica/Trousers

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​TROUSERS, the name given to the article of dress worn by men, covering each leg separately and reaching from the waist to the foot. The word in its earlier forms is always found without the second r, e.g. trouses, trouzes, trooze, cf. the Lowland Scots word “ trews, ” and is an adaptation of the French trousses, trunk-hose, breeches, the plural of trousse, a bundle, pack, truss, from trousser, to pack, bundle up, tuck, tie up, girth, of which the origin is doubtful. In English the word “ trousers, ” when it first appears, was used of the leg-garments of the Irish, who Wore their breeches or trunk-hose and stockings in one piece, a custom to which there are many allusions in 17th-century literature. Knee-breeches and top-boots for out-of-door wear or stockings for indoor use lasted till the beginning of the 19th century as the regular costume for men. Pantaloons, loose trousers reaching to above the ankle, were worn in Venice by the poorer classes in the 17th century (for the origin of the name see Pantaloon). The characters of the Italian comedy made the style of garment familiar in France, but it was only seen in the fantastic costumes of the ballet. During the reign of Louis XVI. loose pantaloons became fashionable for the morning dishabille of men. Their adoption by the supporters of the Revolution was the origin of the name of sans-culottes applied to the revolutionaries. Beau Brummel, in England, was probably the first to make the “ Pantaloon ” popular. A striking feature of his dress were the tight-fitting black trousers reaching to the ankle, where they were buttoned. From this developed the true trousers, cut over the boot at the instep, at first open at the bottom and fastened by loops, later strapped tight under the boot. It is said that the duke of Wellington introduced this latter form after the Peninsular War. They were not recognized as correct for evening wear,
# 1911 Encyclopædia Britannica/Trowel

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​TROWEL (Med. Eng. truel, O. Fr. truelle, Low Lat. truella, a variant of trulla, diminutive of trua, stirring spoon, ladle, Gr. τορύνη, from the root tar, to turn round and round; cf. τορεύς, borer), a tool or implement, varying in shape according to the use to which it is put, but consisting of a blade of iron or steel fitted with a handle. The bricklayers' or plasterers trowel, used for mixing, spreading and smoothing the mortar or plaster, has a flat, triangular, oval or rectangular blade; the gardeners' trowel, for digging plants, laying or mixing mould, &c., has a semi-cylindrical blade. Highly ornamental trowels made of, or decorated with, the precious metals are presented to royal, official or other personages who formally lay the foundation stones of buildings.
# 1911 Encyclopædia Britannica/Troubridge, Sir Thomas

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​TROUBRIDGE, SIR THOMAS, Bart. (c. 1758-1807), English admiral, was educated at St Paul's School, London, and entered the navy in 1773. Having seen some service in the East Indies, he was taken prisoner by the French in 1794, but his captivity was only a short one and in February 1797 he commanded his ship, the " Culloden," at the battle of Cape St Vincent. In the following July he assisted Nelson in the unsuccessful attack on Santa Cruz, and in August 1798, when getting into position foi the attack on the French fleet, the " Culloden " ran aground and was consequently unable to take any part in the battle of the Nile. He then served in the Mediterranean and was created a baronet in 1799; from 1801 to 1804 he was a lord of the admiralty, being made a rear-admiral just before his retirement. In 1805 Troubridge was given a command in the East and he went out in the " Blenheim." In January 1807 in this ship, an old and damaged one, he left Madras for the Cape of Good Hope, but off the coast of Madagascar the " Blenheim " foundered in a cyclone and the admiral perished. His only son, Sir Edward Thomas Troubridge, bart. (d. 1852), entered the navy in 1797 and was present at the battle of Copenhagen. From 1831 to 1847 he was member of parliament for Sandwich and from 1835 to 1841 he was a lord of the admiralty. His son, Sir Thomas St Vincent Hope Cochrane Troubridge, bart. (1815-1867), entered the army in 1834, and was severely wounded at the battle of Inkerman.
# 1911 Encyclopædia Britannica/Trouville

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​TROUVILLE, a seaside town of north-western France, in the department of Calvados, on the English Channel, 34 m. N.E. of Caen by rail. Pop. (1906), 5684. Trouville is situated on the slopes of well-wooded hills at the mouth of the Touques on its right bank opposite Deauville. Its fine stretches of sand and excellent bathing, a spacious casino and beautiful villas, are among the attractions which make it the most frequented French resort on the channel. Deauville is well known for its racecourse and villas, exceeding those of Trouville in luxury, but except during the race fortnight in August (la grande quinzaine) it is quiet and comparatively deserted. The port shared with Deauville and formed by the Touques is entered by a channel between jetties with a depth at high tide of 18½ ft. This leads on the one side to a tidal harbour, on the other to an outer and an inner basin. Timber, coals and cement are imported. The ​London & South Western Railway Company have a daily steamboat service from Havre to Trouville in connexion with their Southampton and Havre boats. Besides trawling and the provisioning of ships, in which Deauville is also engaged, Trouville carries on boat-building and has rope and briquette works.
# 1911 Encyclopædia Britannica/Troy, Jean François de

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​TROY, JEAN FRANCOIS DE (1679-1752), French painter, was born at Paris in 1679. He received his first lessons from his father, himself a skilful portrait painter, who afterwards sent his son to Italy. There his amusements occupied him fully as much as his studies; but his ability was such that on his return he was at once made an official of the Academy, and obtained a large number of orders for the decoration of public and private buildings, executing at the same time a quantity of easel pictures of very unequal merit. Amongst the most considerable of his works are thirty-six compositions painted for the hotel of De Live (1729), and a series of the story of Esther, designed for the Gobelins whilst De Troy was director of the school of France at Rome (1738-1751)—a post which he resigned in a fit of irritation at court neglect. He did not expect to be taken at his word, and was about to return to France when he died on the 24th of January 1752. The life-size painting (Louvre) of the “First Chapter of the Order of the Holy Ghost held by Henry IV.,” in the church of the Grands Augustins, is one of his most complete performances, and his dramatic composition, the “Plague at Marseilles,” is widely known through the excellent engraving of Thomassin. The Cochins, father and son, Fessard, Galimard, Bauvarlet, Herisset, and the painters Boucher and Parrocel, have engraved and etched the works of De Troy.
# 1911 Encyclopædia Britannica/Trover

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​TROVER (O. Fr. trover, to find, mod. trouver), or “trover and conversion,” the name of a form of action in English law no longer in use, corresponding to the modern action of conversion. It was brought for damages for the detention of a chattel, and differed from detinue in that the latter was brought for the return of the chattel itself. The name trover is due to the action having been based on the fictitious averment in the plaintiff's declaration that he had lost the goods and that the defendant had found them. The necessity for this fictitious averment was taken away by the Common Law Procedure Act 1852. An action of trover lay (as an action of conversion still lies) in every case where the defendant was in possession of a chattel of the plaintiff and refused to deliver it up on request, such refusal being prima facie evidence of conversion. The damages recoverable are usually the value of the chattel converted. In an action for detention of a chattel (the representative of the old action of detinue), the plaintiff may have judgment and execution by writ of delivery for the chattel itself or for its value at his option. An action for conversion or detention must be brought within six years. The corresponding action in Scots law is the action of spuilzie. It must be brought within three years in order to entitle the pursuer to violent profits, otherwise it prescribes in forty years.
# 1911 Encyclopædia Britannica/Trowbridge

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​TROWBRIDGE, a market town in the Westbury parliamentary division of Wiltshire, England, 97¼ m. W. by S. of London by the Great Western railway. Pop. of urban district (1901), 11,526. It is unevenly built on a slope at the foot of which flows the Biss or Mere, a tributary of the Avon. The parish church of St James is a fine Perpendicular building, with a lofty spire, and a beautiful open-work roof over the nave. It was rebuilt on the original plan in 1848. George Crabbe, the poet, was rector from 1813 to 1831.
Trowbridge (Trubrig, Trobrigg, Trowbrigge) was probably mentioned in Domesday under the name of Straburg, a manor held by one Brictric together with Staverton and Trowle, now both included within its limits. The first reference to the “town” of Trowbridge occurs early in the 16th century; previous to that date mention is made of the manor and castle only. The latter, round which the town probably grew up, is said to have been built by the de Bohuns, who obtained possession of the manor by marriage with the daughter of Edward de Sarisbury. Later it passed to William de Longespée, son of Henry II., to the Lancasters, to the protector Somerset (by grant of Henry VIII.) and then to the Rutlands, and Trowbridge is now a non-corporate town. In 1200 John granted a weekly market on Tuesday, Thursday and Saturday; also a yearly fair on the 24th, 25th and 26th of July, on which days it continued to be held until at the end of the 18th century it was changed to the 5th, 6th and 7th of August. The manufacture of woollen cloths has long been the staple trade of Trowbridge. It was introduced before the 16th century, for Leland, writing in the reign of Henry VIII., says: “The town flourisheth by drapery.” In 1731 the trade was of some note, and by 1813 had attained such proportions that the whole area of the castle site was sold for the erection of dyeworks, cloth manufactories and other industrial buildings.