OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of All Religions and Religious Denominations/Brethren & Sisters Of The Free Spirit

BRETHREN & SISTERS OF THE FREE SPIRIT. They, about the thirteenth century, gained ground imperceptibly in Italy, France, and Germany. They took their denomination from the words of Paul, (Rom. viii. 2—14.) and maintained that the true children of God were invested with the privilege of a full and perfect freedom from the jurisdiction of the law. They were called by the Germans and Flemish, Beghards and Beguttes, names given to those who made an extraordinary profession of piety and devotion.
The sentiments taught by this denomination were as follow :—That all things flowed by emanation from God, and were finally to return to their divine source :—That every man, by the power of contemplation, might be united to the Deity in an ineffable manner; and that they who, by long and assiduous meditation had plunged themselves, as it were, into the abyss of the divinity, acquired thereby a most glorious and sublime liberty; and were not only delivered from the violence of sinful lusts, but even from the common instincts of nature.
They treated with contempt every external act of religious worship; looking upon prayer, and the sacraments as the elements of piety, adapted to the capacity of children, and as unnecessary to the perfect man, whom long meditation had raised into the bosom and essence of the Deity.

## Original footnotes

* ↑ Mosheim, vol. iii. p. 122-124
# A Dictionary of All Religions and Religious Denominations/Brownists

BROWNISTS, the name given for some time to those who were afterwards known in England and Holland under the denomination of Independents. It arose from a Mr. Robert Brown, who about 1590 was a teacher amongst them in England, and at Middleburg, in Zealand. He was a man of education, zeal, and abilities. The separation, however, does not appear to have originated in him: for by several publications of those times, it is clear that these sentiments had, before his day, been embraced, and professed in England, and churches gathered on the plan of them. Nor did the sect call themselves Brownists; but considered it rather as a nick-name given them by their adversaries.
This denomination did not differ in point of doctrine from the church of England, or from the other puritans; but they apprehended that, according to scripture, every church ought to be confined within the limits of a single congregation, and have the complete power of jurisdiction over its members, to be exercised by the elders within itself, without being subject to the authority of bishops, synods, presbyteries, or any ecclesiastical assembly, composed of the deputies from different churches. See Independents.

## Original footnotes

* ↑ Examination of Barrow. Canne's Necessity of Separation, p. 153. Gifford's Plain Declaration, p. 1, 2. Also Neal's Puritans, p. 428.
# A Dictionary of All Religions and Religious Denominations/Bramins

*BRAMINS, (formerly called Brachmans,) the Priests of Brachma, the supreme God of the Hindoos, which see.
# A Dictionary of All Religions and Religious Denominations/Buchanites

*BUCHANITES, a Sect in Scotland which arose about 1783. They believed in a Mrs. Buchan of Glasgow, who gave herself out to be the Woman spoken of in the Apocalypse, and promised to conduct her followers to heaven without dying; but she died soon after, and with her the sect ended.

## Original footnotes

* ↑ Scotch Theolog. Dict.
# A Dictionary of All Religions and Religious Denominations/Budso

BUDSO, a form of Pagan worship, introduced into Japan, from China and Siam. Its author is supposed to have been Budha, whom the Indian bramins conceive to be their god Vishnu, who, they say, made his ninth appearance in the world, under the form of a man, so named. See Hindoos.
# 1911 Encyclopædia Britannica/Windischgrätz, Prince Alfred

See also Alfred I, Prince of Windisch-Grätz on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDISCHGRÄTZ, PRINCE ALFRED (1787-1862), Austrian field-marshal, entered the Austrian army in 1804, participated in all the wars against Napoleon and fought with distinction at Leipzig and in the campaign of 1814. In the following years of peace he held successive commands in Prague, being appointed head of the army in Bohemia in 1840. Having gained a reputation as a champion of energetic measures against revolution he was called upon to suppress the insurrection of March 1848 in Vienna, but finding himself ill-supported by the ministers he speedily threw up his post. Having returned to Prague he there showed firmness in quelling an armed outbreak of the Czech separatists (June 1848). Upon the recrudescence of revolt in Vienna he was summoned at the head of a large army and reduced the city by a formal siege (Oct. 20-29). Appointed to the chief command against the Hungarian rebels he gained some early successes and reoccupied Budapest (Jan. 1849), but by his slowness in pursuit he allowed the enemy to rally in superior numbers and to prevent an effective concentration of the Austrian forces. In April 1849 he was relieved of his command and henceforth rarely appeared again in public life.
See Fürst Windischgrätz. Eine Lebens-Skizze. Aus den Papieren eines Zeitgenossen der Sturm-Jahre 1848 und 1849 (2nd ed., Leipzig, 1898).
# 1911 Encyclopædia Britannica/Window Cornice

See also Window Cornice on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDOW CORNICE, an ornamental framework of wood or composition to which window curtains are attached by rods with rings or hooks. Cornices are often gilded and of elaborate design, but they are less fashionable in the 20th century than before it had been discovered that elaborate draperies harbour dust and microbes. Like other pieces of furniture, they have reflected taste as it passed, and many of the carefully constructed examples of the latter part of the 18th century are still in use in the rooms for which they were made. Chippendale provided a famous series still in situ for the gallery at Harewood House, the valances of which are, like the cornices themselves, of carved and painted wood.
# 1911 Encyclopædia Britannica/Windau

See also Windau on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDAU (Russian Vindava, Lettish Wentepils), a seaport and sea-bathing resort of western Russia, in the government of Courland, at the mouth of the Windau, on the Baltic Sea, 110 m. by rail N.W. of Riga. Pop. (1897), 7132. It has a castle built in 1290. The harbour, 20 and 25 ft. deep, is free from ice all the year round. Timber, grain and other commodities are exported to the annual value of two to three millions sterling; the imports range between three-quarters and one million sterling.
# 1911 Encyclopædia Britannica/Window Seat

See also Window seat (type of sofa) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDOW SEAT, a miniature sofa without a back, intended to fill the recess of a window. In the latter part of the 18th century, when tall narrow sash windows were almost universal, the window seat was in high favour, and was no doubt in keeping with the formalism of Georgian interiors. It differed much in decorative detail, but little in form. It stood as high from the floor as a chair; the two ends were identical, with a roll-over curve, more or less pronounced. The seats and ends were usually upholstered in rich fabrics which in many cases have remained intact. The legs followed the fashion in chairs and were square and tapered or, somewhat later, round and reeded. Hepplewhite and the brothers Adam designed many graceful window seats, but they were produced by all the cabinet-makers of the period.
# 1911 Encyclopædia Britannica/Windermere

See also Windermere on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDERMERE, the largest lake in England, in the south-eastern part of the Lake District (q.v.). It is in the county of Westmorland, the boundary with Lancashire running from the head southward along the western shore, round the foot and northward along about one-third of the eastern shore. It forms a narrow trough with a slightly curved axis of 10½ m. The width at right angles to the axis never reaches 1 m. The area is 5.69 sq. m. The shores are generally steep, beautifully wooded and fretted with numerous little sheltered bays. The hills immediately surrounding the lake rarely reach 1000 ft., but the distant views of the mountains to the north and west contrast finely with the sylvan beauty of the lake itself. The middle of the lake, immediately opposite Bowness, is especially beautiful, for here a group of islands (Belle Isle, Thompson's Holme, the Lilies and others) divide the lake into two basins, the water about them seldom exceeding 50 ft. in depth. On the other hand, the greatest depth sounded in the northern basin is 219 ft., and in the southern 134. The lake receives the Rothay and Brathay streams at the head; Trout Beck also flows into the north basin, and Cunsey Beck from Esthwaite into the south. The lake is drained by the Leven. Steamers belonging to the Furness Railway Company ply regularly on Windermere, the chief stations being Lakeside, the terminus of a branch railway, beautifully situated at the foot, Ferry on the west shore below the islands, Bowness on the east and Waterhead, at the head, for Ambleside. The lake contains perch, pike, trout and char; there are several large hotels at Bowness and elsewhere on its shores.
The town of Windermere, above the eastern shore adjacent to Bowness (q.v.), is in the Appleby parliamentary division of Westmorland, and is the terminus of a branch of the London and North-Western railway from Oxenholme junction. Numerous mansions and villas have grown up in the vicinity. Here, from Orrest Head, in the grounds of Elleray, where lived Professor Wilson (Christopher North), superb views over the whole lake and its surroundings are obtained. In 1905 Bowness and Windermere were united as a single urban district.
# 1911 Encyclopædia Britannica/Window Tax

See also Window tax on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDOW TAX, a tax first levied in England in the year 1697 for the purpose of defraying the expenses and making up the deficiency arising from clipped and defaced coin in the recoinage of silver during the reign of William III. It was an assessed tax on the rental value of the house, levied according to the number of windows and openings on houses having more than six windows and worth more than £5 per annum. Owing to the method of assessment the tax fell with peculiar hardship on the middle classes, and to this day traces of the endeavours to lighten its burden may be seen in numerous bricked-up windows.
The revenue derived from the tax in the first year of its levy amounted to £1,200,000. The tax was increased no fewer than six times between 1747 and 1808, but was reduced in 1823. There was a strong agitation in favour of the abolition of the tax during the winter of 1850–1851, and it was accordingly repealed on the 24th of July 1851, and a tax on inhabited houses substituted. The tax contributed £1,856,000 to the imperial revenue the year before its repeal. There were in England in that year about 6000 houses having fifty windows and upwards about 275,000 having ten windows and upwards, and about 725,000 having seven windows or less.
In France there is still a tax on doors and windows, and this forms an appreciable amount of the revenue.
# 1911 Encyclopædia Britannica/Windebank, Sir Francis

See also Francis Windebank on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​WINDEBANK, SIR FRANCIS (1582-1646), English secretary of state, was the only son of Sir Thomas Windebank of Hougham, Lines., who owed his advancement to the Cecil family. Francis entered St John's College, Oxford, in 1599, coming there under the influence of Laud. After a few years' continental travel (1605-1608), he was employed for many years in minor public offices, and became clerk of the council. In June 1632 he was appointed by Charles I. secretary of state in succession to Lord Dorchester, his senior colleague being Sir John Coke, and he was knighted. His appointment was mainly due to his Spanish and Roman Catholic sympathies. The first earl of Portland, Francis, Lord Cottington, and Windebank formed an inner group in the council, and with their aid the king carried on various secret negotiations, especially with Spain. In December 1634 Windebank was appointed to discuss with the papal agent Gregorio Panzani the possibility of a union between the Anglican and Roman Churches, and expressed the opinion that the Puritan opposition might be crippled by sending their leaders to the war in the Netherlands. Windebank's efforts as treasury commissioner in 1635 to shield some of those guilty of corruption led to a breach with Archbishop Laud, and the next year he was for a time disgraced for issuing an order for the conveyance of Spanish money to pay the Spanish troops in the Netherlands. In July 1638 he urged upon the king instant war with the Scots, and in 1640, when tumults were breaking out in England, he sent an appeal from the queen to the pope for money and men. He was elected in March 1640 member of the Short Parliament for Oxford University, and he entered the Long Parliament in October as member for Corfe. In December the House learnt that he had signed letters of grace to recusant priests and Jesuits, and summoned him to answer the charge, but with the king's connivance he fled to France. From Calais he wrote to the first Lord Hatton, defending his integrity, and affirming his belief that the church of England was the purest and nearest the primitive Church. He remained in Paris until his death on the 1st of September 1646, shortly after he had been received into the Roman communion.
# A Dictionary of Music and Musicians/Albeniz, Pedro (1795–1855)

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

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Albinoni, Tomasso

From volume 1 of the work.
[ E. H. D. ]
# A Dictionary of Music and Musicians/Albertazzi, Emma

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Alberti bass

From volume 4 of the work.
​ALBERTI BASS. A familiar formula of accompaniment which first came prominently into fashion early in the 18th century, and has since been the frequent resource of hundreds of composers from the greatest to the meanest. It derives its distinctive name from Domenico Alberti, a musician who is supposed to have been born during the second decade of the 18th century at Venice, where he became a pupil of Lotti. He won fame both as a singer and as a player on the harpsichord, and wrote some operas and a considerable number of sonatas, some of which were very popular with musical amateurs. It is not very probable that he actually invented the formula, but he certainly brought it into undue prominence in his sonatas, and therefore did his best to deserve a notoriety which is not altogether enviable. A set of eight sonatas of his, which was published by Walsh in London, affords good illustrations of his love of it. He uses it plentifully in every sonata of the set, sometimes in both movements, and occasionally almost throughout a whole movement. For instance, in the first movement of the second sonata it persists through thirty-seven bars out of a total of forty-six; and in the first movement of the sixth sonata it continues through thirty-six whole bars and four half bars out of a total of forty-four. The following quotation from the beginning of the sixth sonata illustrates his style, and his manner of using the formula.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Albani, Mathias

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Albeniz, Pedro (1755–1821)

From volume 1 of the work.
​ALBENIZ, Pedro, born in Biscay about 1755, died about 1821; a Spanish monk, conductor of the music at the Cathedral of St. Sebastian, and (1795) at that of Logrono; composed masses, vespers, motetts, and other church music, never published, and a book of solfeggi (St. Sebastian, 1800).
# A Dictionary of Music and Musicians/Albergati, Pirro

From volume 1 of the work.
​ALBERGATI, Count Pirro Capacelli, of an ancient family in Bologna, lived in the end of the 17th and beginning of the 18th centuries, an amateur, and distinguished composer. His works include the operas 'Gli Amici' (1699), 'Il Principe selvaggio' (1712), the oratorio 'Giobbe' (Bologna, 1688), sacred cantatas, masses, motetts, etc., and compositions for various instruments.
# A Dictionary of Music and Musicians/Batiste, Antoine-Edouard

[ A. J. ]
# A Dictionary of Music and Musicians/Battle of Prague, The

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

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

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

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Baton

From volume 1 of the work.
​BATON (Fr. Bâton), the stick with which the conductor of an orchestra beats the time. Hence the expression 'under Mr. ——'s baton,' i. e. under his direction. The first baton employed in England was probably the 'Taktirstäbchen' used by Spohr at the Philharmonic in 1820 (Selbstbiog. ii. 87). Batons are usually turned out of maplewood for lightness, 21 or 22 inches long, and tapering from 3-4ths to 3-8ths of an inch in diameter. They are occasionally given as 'testimonials,' in which case they are made of metal or of ivory ornamented with silver or gold.
[ G. ]
# A Dictionary of Music and Musicians/Baton, Charles

From volume 1 of the work.
​BATON, Charles, called 'le jeune' to distinguish him from his elder brother Henri, who performed on the musette. Was a player on the Vielle or hurdy-gurdy in Paris in the middle of the 18th century. He published an 'Examen de la lettre de M. Rousseau sur la musique Française' (Paris, 1754), and a 'Memoire sur la Vielle' in the 'Mercure' for 1757. He improved his instrument, and composed much for it—Suites for two vielles, musettes, etc. Baton died at Paris in 1758.
# A Dictionary of Music and Musicians/Batten, Adrian

From volume 1 of the work.
​BATTEN, Adrian, the date of whose birth is not known, was brought up in the Cathedral Choir of Winchester, under John Holmes the organist, and in 1614 appointed vicar-choral of Westminster Abbey. In 1624 he removed to St. Paul's Cathedral, where he held the same office in addition to that of organist. Batten's name is well known in our cathedral choirs from his short full anthem 'Deliver us, O Lord.' Burney says of him: 'He was a good harmonist of the old school, without adding anything to the common stock of ideas in melody or modulation with which the art was furnished long ​before he was born. Nor did he correct any of the errors in accent with which former times abounded.' This criticism is hardly just. Batten's anthem, 'Hear my prayer,' is, in point of construction and effect, equal to any composition of his time. He composed a Morning, Communion, and Evening Service in the Dorian Mode, and a large number of anthems; the words of thirty-four may be found in Clifford. Six are printed in Barnard, two more in Boyce, and 18 others are comprised in Barnard's MS. collection in the library of the Sacred Harmonic Society.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Battery

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

From volume 1 of the work.
​BATTLE SYMPHONY. The ordinary English name for Beethoven's 'Wellingtons Sieg, oder die Schlacht bei Vittoria.' It was first performed in London, under the direction of Sir George Smart, at Drury Lane Theatre on Feb. 10, 1815.
# A Dictionary of Music and Musicians/Richard Cœur de Lion

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

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

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

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

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

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

From volume 3 of the work.
​RICHAULT, Charles Simon, head of a family of celebrated French music-publishers, born at Chartres, May 10, 1780, came early to Paris, and served his apprenticeship in the music-trade with J. J. Momigny. From him he acquired a taste for the literature of music and chamber compositions; and when he set up for himself at No. 7, Rue Grange Bateliere in 1805, ​the first works he published were classical. He soon perceived that there was an opening in Paris for editions of the best works of German musicians, and the early efforts of French composers of promise. His calculation proved correct, and his judgment was so sound that his business increased rapidly, and he was soon obliged to move into larger premises in the Boulevard Poissonnière, first at No. 16, and then at No. 26. Here he published Mozart's Concertos in 8vo score, and other works of the classical composers of Germany, and acquired the bulk of the stock of the firms of Frey, Naderman, Sieber, Pleyel, Petit, Erard, and Delahante. He moved in 1862 to No. 4 in the Boulevard des Italiens, at the precise spot where the Boulevard Haussmann would have come in if it had been finished. In this house he died, Feb. 20, 1866, well-known as a publisher of judgment and ability, a man of keen intellect, and a pleasant social companion. His son,
Guillaume Simon, born in Paris Nov. 2, 1806, had long been his father's partner, and continued in the old line of serious music. At the same time he realised that in so important a business it was well that the Italian school should be represented, and accordingly bought the stock of the publisher Pacini. On the death of this good man, Feb. 7, 1877, his son,
Leon, born in Paris Aug. 6, 1839, resolved to give a fresh impetus to the firm, which already possessed 18,000 publications. Bearing in mind that his grandfather had been the first to publish Beethoven's Symphonies and Mozart's Concertos in score; to make known in France the oratorios of Bach and Handel, and the works of Schubert, Mendelssohn, and Schumann; to bring out the first operas of Ambroise Thomas and Victor Massé; to encourage Berlioz when his 'Damnation de Faust' was received with contempt, and to welcome the orchestral compositions of Reber and Gouvy; M. Léon Richault above all determined to maintain the editions of the German classical masters which had made the fortune of the firm. Retaining all the works—didactic, dramatic, sacred, vocal, and instrumental—which still do honour to his establishment, he has carefully eliminated all obsolete and forgotten music. He has moreover already begun to issue new editions of all compositions of value of which the plates are worn out. His intelligent administration of his old and honourable business procured him a silver medal at the International Exhibition of 1878, the highest recompense open to music-publishers, the jury having refused them the gold medal.
[ G. C. ]
# A Dictionary of Music and Musicians/Richter, Ernst

From volume 3 of the work.
[ F. G. ]
# A Child's Faith

* Search for titles containing or beginning with: "A Child's Faith."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "A Child's Faith", a poem by Martha Julia Elliott
* "A Child's Faith", a poem by Jeannie Copes White
# A Charm invests a face

* "A charm invests a face" in Poems: Second Series (1891)
* "A charm invests a face" in The Complete Poems of Emily Dickinson (1924)