OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Isabella of Arragon

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ISABELLA OF ARRAGON
Daughter of Alphonso, Duke of Calabria, married, in 1480, John Galeazzo, Duke of Milan, who, yet in his minority, was under the protection of his uncle, Louis Sforza. When Isabella arrived at Milan, her beauty inspired the protector with a passion for her that proved fatal to her happiness. The lovers having been married only by proxy, Louis contrived to keep them apart, while he attempted to supplant the bridegroom. But Isabella repulsed him with disdain, and exhorted her husband to throw off the yoke of his uncle, and assert his rights.
The protector, artful and politic, attempted by negotiation, to annul the marriage in his own favour; but Alphonso threatened to arm Europe in his son-in-law's cause, and Louis was at length obliged to restore to his nephew his betrothed bride. His love for Isabella was now turned to hatred; and he endeavoured in every way to embitter her life. He married Alphonsina, daughter of the Duke of Ferrara, a woman as haughty and ambitious as Isabella. Compelled to reside under the same roof with her rival, and to see her station and privileges usurped, Isabella found her position so insupportable, that she wrote to her father, and grandfather, Ferdinand, King of Naples, protesting that if no means for her deliverance were devised, she would escape from her sufferings by relinquishing her life.
These princes, however, could not redress her grievances; and, in the mean time, her husband died of a slow poison, recommending his wife and children to his cousin, Charles the Eighth of France, who was passing through Pavia. Hardly had Galeazzo expired, than the party of Louis, saluting him as duke, ordered the bells to be set ringing. During this indecent and insulting display of joy, Isabella immured herself and her children, thus deprived it once of their father and their inheritance, in a dark chamber.
The French having taken Milan, Isabella fled to Naples; bat that city was at length compelled to surrender to the invaders. Isabella's only son was carried captive to France, where it was intended to compel him to become a monk, and where he died by a fall from his horse. Louis Sforza was also taken prisoner and carried to France, where he died.
Isabella retired to a town in Naples, which had been assigned to her as a dower, and where she still maintained an air of state and grandeur. Her daughter. Bona Sforza, married Sigismnnd, King of Poland. Some time previous to her death, Isabella made a journey of devotion to Rome, where she walked to the Vatican, attended by a train of ladies, dressed in bridal ornaments. Her reputation in her youth was unblemished, but in her later years she gave occasion for censure, by admitting the attentions of Prosper Colonua. She died February 11th., 1524.
# A Cyclopaedia of Female Biography/Ireton, Bridget

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IRETON, BRIDGET,
Eldest daughter of Oliver Cromwell, was baptized at St. John's church, Huntingdon, on the 4th. of August, 1624. She was a gloomy enthusiast, and such a bigoted republican, that she grudged her father his title of Protector. Nevertheless, she is spoken of as a person of great wisdom, "humbled and not exalted by her accession of greatness." January 15th., 1647, she was married, at Norton, to the saintly Henry Ireton, Lord Deputy of Ireland; and after his death to Fleetwood, who was appointed to the same high post. She seems to have cherished as much admiration for her first husband as she entertained contempt for the second. To Fleetwood, however, her strong sense and advice were of the greatest assistance. She died at Stoke Newington, where she was buried, September 5th., 1681.
# A Cyclopaedia of Female Biography/Irge

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IRGE,
A Japanese princess, born 858, whose writings are said still to be in great repute in Japan.
# A Cyclopaedia of Female Biography/Ingrida

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INGRIDA,
A nun of the convent of St. Brigitta, in Wadstena, Sweden, who lived in 1498, wrote an epistle to her lover, which is considered the most elegant and correct specimen of the Swedish language of that period, and indeed superior to any that appeared for a long time after This composition, full of eloquence and genuine passion, in which the sentiments of love and mystic devotion are intermingled, places Ingrida by the side of the more celebrated Heloise.
# A Cyclopaedia of Female Biography/Inglis, Esther

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INGLIS, ESTHER,
Is celebrated for her skill in calligraphy, or fine writing. In the beauty, exactness, and variety of her characters, she excelled all who preceded her. In the library of Christ-church in Oxford are the Psalms of David, written in French by Mrs. Inglis, who presented them in person to Queen Elizabeth, by whom they were given to the library. Two manuscripts, written by her, were also preserved with care in the Bodleian library: one of them is entitled "Le six vingt et six Quatrains de Guy de Tour, Sieur de Pybrac, escrits par Esther Inglis, pour son dernier adieu, ce 21 ejour de Juin, 1617," The following address is, in the second leaf, written in capital letters: "To the right worshipful my very singular friende, Joseph Hall, Doctor of Divinity, and Dean of Winchester, Esther Inglis wisheth all increase of true happiness, Junii xxi. 1617.". In the third leaf is pasted the head of the writer, painted upon a card. The other manuscript is entitled "Les Proverbes de Salomon; escrites en diverses sortes de lettres, par Esther Anglois, en Françoise. A. Lislebourge en Escosse," 1599. In the Royal Library, D. xvi. are "Esther Inglis's Fifty Emblems," finely drawn and written: A Lislebourg en Escosse, l'anne 1624.
Esther Inglis married, when about forty, a Scotchman, Bartholomew Kello, and had one son, who was a learned and honourable man. The time of her death is not known.
# A Cyclopaedia of Female Biography/Ingonde, or Ingundis

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INGONDE, or INGUNDIS,
Daughter of Siegbert the First, King of Austrasia, or Lorraine, and of his wife, the famous Brunehaut, was married about 670, to Brunechilde, or Ermencgild, second son of Leovigild, one of the Gothic kings of Spain. She was received with great pomp and tenderness by her husband and his grandmother Gosuinda. But the old queen had an aversion to Catholicism, and attempted, at first by persuasions and afterwards by threats, to convert Ingonde ​to Arianism, and to have her re-baptized; but Ingonde resolutely refused to consent. Grosuinda, enraged at her firmness, seized her by the hair, threw her down, stamped upon her, and had her plunged by force into the baptistry. Ingonde, however, at length, by her patience and piety, converted her husband to her own faith, which, when his father heard of it, made him so furious, that he had his son taken prisoner and beheaded. Ingonde fled, but was captured and taken to Sicily, where she died, about 585. She was venerated as a martyr.
# A Cyclopaedia of Female Biography/Irene

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IRENE,
Empress of Constantinople, was an Athenian orphan, distinguished only by her accomplishments, when, in 769, at the age of seventeen, she was married to Leo the Fourth, Emperor of Constantinople. She was banished by her husband on account of her attachment to image worship, of which the Greek church disapproved. On the death of Leo, in 780, she returned to Constantinople, and was associated in the government with her son Constantine the Sixth, then only ten years of age. Artful and cruel, Irene deposed her son in 797, and caused his eyes to be put out, and then reigned alone. On this occasion, she entered Constantinople in state, with a splendid retinue. She made Charlemagne, then Emperor of the West, a proposal of marriage, in order to preserve her Italian dominions from his grasp, and the marriage treaty was actually concluded, when Nicephorus, chancellor of the empire, conspired against her, seized her in her bed, and banished her to a nunnery in the Island of Lesbos. She was here so reduced, as to be forced to earn a scanty subsistance by her distaff, and died in the same year, 802. During her reign she submitted to be tributary to the Saracens. She governed under the direction of two ambitious eunuchs, who were perpetually plotting against each other.
# A Complete Course in Dressmaking/Lesson 3/Apply what you have learned

APPLY WHAT YOU HAVE LEARNED
Lesson III has carried you a few more steps. You are now more at home in using the block pattern which you first learned about in Lesson II. Why not try your hand at copying some styles that are not in the lesson?
Take your own favorite fashion magazine and pick out a pretty chemise that you want to copy. Even if you do not intend to make it up, copy the style in a pattern. It will give you excellent practice.
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# A Complete Course in Dressmaking/Lesson 3

A COMPLETE COURSE IN
DRESSMAKING
BY
ISABEL DeNYSE CONOVER
LESSON III
HOW TO MAKE UNDERWEAR
NEW YORK
EDWARD J. CLODE
COPYRIGHT, 1921, 1922, BY EDWARD J. CLODE
Entered at Stationers’ Hall
PRINTED IN THE UNITED STATES OF AMERICA
* How to make underwear
* Trimming for underwear
* (Patterns)
* Test questions
* Apply what you have learned
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This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1968, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 55 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Complete Course in Dressmaking/Lesson 2/Test questions

TEST QUESTIONS
Here are some test questions to enable you to see what progress you are making in your study. Go over them carefully and write out the answers to each one and then compare your written answers with the book to see if they are correct.
How much seam allowance do you plan when an edge is to be bound?
Is it necessary to finish an edge before putting on rickrack braid?
How do you make a waistline apron hang smoothly?
How do you allow for a piecing in laying the pattern on the goods?
​How do you cut a pretty neckline?
How do you make a pocket stand away from the material?
What is the foundation of a block pattern?
How do you make a kimono sleeve smaller?
How do you find the length of an apron or dress in the front and back?
How do you know what width to allow for the bottom of skirt or apron?
All the detailed information in this Lesson II can be used over and over again in making garments of all kinds. The directions for edges and mitered corners, for the making of pockets, waistbands and strings, for finding the individual lengths of aprons and dresses and depths of the neckline in front and back, the sloping of the top of the aprons and hems, with the block patterns and kimono sleeves, are used in some way in almost every garment. And now that the secrets of the foundation pattern and use of blocks patterns are revealed to you and the main points of finishing edges, necks and hems, you are ready to see garments with a larger vision and a more understanding eye, so that articles which have seemed intricate and far beyond your skill in the shops and magazines will wear a very different air when you know how to copy them.
​The following book, Lesson III, will be on the fascinating subject of undergarments, and you will readily see, as you study this lesson, how much of Lesson II applies on the new one. You will find that you can easily make your nightdresses and chemises from your block pattern, and the finishing edges will be used many times in making these dainty and individual garments.
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# A Complete Course in Dressmaking/Lesson 4

A COMPLETE COURSE IN
DRESSMAKING
BY
ISABEL DeNYSE CONOVER
LESSON IV
HOW TO MAKE BLOUSES
NEW YORK
EDWARD J. CLODE
COPYRIGHT, 1921, 1922, BY EDWARD J. CLODE
Entered at Stationers’ Hall
PRINTED IN THE UNITED STATES OF AMERICA
* How to make blouses
* Blouse trimmings
* Pattern making
* Fitting
* Test questions
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This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1968, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 55 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Complete Course in Dressmaking/Lesson 3/Test questions

TEST QUESTIONS
Do you allow seams on appliqued flowers?
Is a facing necessary when you are finishing with embroidered edging?
How do you know the amount of material to take out in the darts of a brassiere?
Can you use a waist pattern as a block pattern in working out a chemise design?
What new measurement is necessary in making an envelope chemise pattern?
What is the proper way to stitch brassiere seams?
​What seam do you use at the shoulder and underarm of a fine chemise?
How do you use the pattern in working out a fancy design for insetting lace?
In sewing on lace edging do you place it on the right or wrong side of the goods?
How do you shape the shoulder straps of an undergarment to make them stay on the shoulders?
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# A Complete Course in Dressmaking/Lesson 3/How to make underwear

LESSON III
HOW TO MAKE UNDERWEAR
It's a short step from aprons to underwear. Many of the things which you have learned about aprons you can start right in and apply in making nightgowns, chemises, camisoles and bloomers.
You will pick up needed practice, too, in working on undermuslins. You won't be afraid to test the pattern which you have made yourself in inexpensive muslin. You won't hesitate to turn the seam a new way, or apply a new hand touch or finish the edge differently, if the cost of the material is only the matter of a few cents. Underwear offers one of the best opportunities to become an efficient sewer.
Then, too, you will probably enjoy having a few new pieces of underwear. Every woman always has room for just one more dainty chemise or nightdress. If you are thinking ​of economy, I suggest buying a bolt of nainsook and tinting lengths of it pink, light blue, mauve and yellow. It will make the prettiest kind of chemises and nightdresses or bloomers, drawers and camisoles, if you happen to prefer them. All it needs for trimming is a touch of hand work, an applique of contrasting color, an inset of white or black net or an edge of filet, crochet or Valenciennes lace.
Batiste is another favorite for underwear that is inexpensive and it offers many possibilities. Medium weight muslin and handkerchief linen is used, too, with satin stitch embroidery or appliqued trimming. If it is midsummer of which you are thinking, voile and mulle also are possibilities.
As you become more proficient you will be likely to want to try your hand at silk. You will find that it will take only a few minutes to make a pattern and run up a crepe de chine combination. You will be able to have two wash satin petticoats for what one ready-made would cost. And won’t it be nice to have a very best set of georgette crepe—nightgown, chemise and knickers that exactly match. Perhaps you know a bride-to-be who would welcome such a gift.
You can put all kinds of pretty little indi​vidual touches on the underwear you make. Here are a few suggestions. You will find other trimmings in other of the Lessons that you can use on underwear, too.
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# A Dictionary of Music and Musicians/Beaulieu, Marie Désiré

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

From volume 1 of the work.
​BEAT. The movement of the hand or baton by which the rhythm of a piece of music is indicated, and by which a conductor ensures perfect agreement in tempo and accent on the part of the orchestra or chorus; also, by analogy, the different divisions of a bar or measure with respect to their relative accent.
Among the ancients the ordinary method of beating time was by striking the foot upon the ground. The person who exercised this function, corresponding to our modern conductor, was called by the Greeks Coryphaeus (principal), and by the Romans Pedarius or Pedicularius, from the custom of employing the foot to beat with, and it was usual for him to wear sandals of wood or metal, called pedicula or scabella, in order by their percussion to render the rhythm more evident. Sometimes the measure was marked by clapping the hands—in which case the timebeater was called Manuductor; and sometimes by the striking together of oyster-shells, bones, etc.
To our ears this incessant and noisy percussion would be unendurable, and a modern conductor would be severely criticised who could not keep his performers in tune by the noiseless movements of his baton; nevertheless, the improvement is of comparatively recent date, for we find Rousseau in 1768 complaining that the listener at the Paris opera should be 'shocked by the continual and disagreeable noise made by him who beats the measure.'
The method of beating now commonly in use in England, France, and Germany is as follows:—the first note of each bar (which has always the strongest accent) is indicated by a downward movement of the hand or baton, and this part of the bar is therefore usually known as the 'down-beat'; in triple time this is followed by two unaccented beats, which are shown by a movement first to the right and then upwards, unless in scherzos or other movements in rapid time, where it is usual to give merely a down beat at the beginning of the bar. In common time there may be either one or three non-accents, in the first case the simple up-beat suffices, in the latter the beats following the down-beat are to the left, to the right, and then upwards. In all cases ​the movement immediately preceding the down-beat is an up-beat.
In beating compound time (that is, time in which each beat is made up of three parts) it is customary to give each beat three times in succession, thus in 12-8 time there would be three down, three left, three right, and three up-beats, except in rapid tempo, when the ordinary number of beats will suffice, one beat being equivalent to three notes.
In the greater part of Italy a somewhat different method ot beating is adopted, there being no beats to the right or left; when therefore there are more than two beats in a bar, two down-beats are given in succession, followed in triple time by one and in common time by two up-beats.
[ F. T. ]
# A Dictionary of Music and Musicians/Beaumavielle

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

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

From volume 1 of the work.
​BEATRICE DI TENDA. Italian opera, the libretto by F. Romani, the music by Bellini; produced at Venice in 1833, and at the Théâtre des Italiens, Paris, Feb. 8, 1841, and in London, at the King's Theatre, March 22, 1836.
# A Dictionary of Music and Musicians/Becher, Alfred

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

From volume 1 of the work.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Beat (Ornament)

From volume 1 of the work.
​BEAT. The name given in English to a melodic grace or ornament, but with considerable uncertainty as to which particular ornament it denotes, the word having been very variously applied by different writers.
With some authors it signifies the Acciacatura, but it appears to be most generally understood to mean the Mordent (Ger. Beisser) (Ex. 1), in which connection it seems not impossible that its English name may have been originally 'bite.' Dr. Callcott however, in his Grammar of Music, speaks of the beat as a reversed shake, and derives its name from Battement, giving an example as in Ex. 2. Battement again, according to Rousseau (Dictionnaire de Musique), is a shake beginning on the upper instead of the principal note (Ex. 3)
[ F. T. ]
# A Dictionary of Music and Musicians/Bebung

From volume 1 of the work.
​BEBUNG (Ger.; Fr. Balancement; Ital. Tremolo), a certain pulsation or trembling effect given to a sustained note in either vocal or instrumental music, for the sake of expression. On stringed instruments it is effected by giving an oscillating movement to the finger while pressing the string; on wind instruments and in singing by the management of the breath.
The word Bebung refers, however, more particularly to an effect peculiar to the old clavichord, but not possible on the modern pianoforte, in which the continuous and uninterrupted repetition of a note was produced not by a fresh blow, but by a movement of the tip of the finger without leaving the key. This effect was formerly held in high estimation as a means of expression, and Emanuel Bach in the introduction to his 'Versuch über die wahre Art das Clavier zu spielen,' says, comparing the then newly-invented pianoforte with the clavichord, 'I believe, nevertheless, that a good clavichord possesses—with the exception that its tone is weaker—all the beauties of the former (the pianoforte), and in addition the Bebung and the power of sustaining the tone, inasmuch as after striking each note I can give a fresh pressure.'
[ F. T. ]
# 1911 Encyclopædia Britannica/Tarn (river)

See also Tarn (river) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TARN, a river of southern France, tributary to the Garonne, watering the departments of Lozere, Aveyron, Tarn, Haute-Garonne and Tarn-et-Garonne. Length, 234 m. Area of basin, 5733 sq. m. Rising on the southern slope of Mt. Lozere at a height of 5249 ft., the Tarn flows westward and, having received the Tarnon, enters the gorge, famed for its beauty, which separates the Causse de Sauveterre from the Causse Mejan. Emerging from this canon after a course of 37 m. it receives the Jonte on the left and, still flowing through gorges, passes between the Causse Noir, the Larzac plateau and the Causse de St Affrique (at the foot of which it receives the Dourdou de Vabre) on the left and the Levczou range and the Plateau of Segala on the right. In this part of its course the most important town is Millau, where it receives the Dourbie. At the cascade of Sabo, above Albi, the river enters the plains and, ​flowing in a deep bed, passes Albi and Gaillac, some distance below which, at the confluence of the Agout, it exchanges a west-south-westerly for a north-westerly course. At Montauban the Tarn receives the Tescou and 6 m. farther on unites with the Aveyron. It then reaches Moissac, 2% m. below which it flows into the Garonne.