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# A Cyclopaedia of Female Biography/Beatrice Portinari

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BEATRICE PORTINARI,
Is celebrated as the beloved of Dante, the Italian poet She was born at Florence, and was very beautiful. The death of her noble father, Folca Portinari, in 1289, is said to have hastened her own. The history of Beatrice may be considered as an affection of Dante—in that lies its sole interest. All that can be authenticated of her is that she was a beautiful and virtuous woman. She died in 1290, aged twenty-four; and yet she still lives in Dante's immortal poem, of which her memory was the inspiration.
It was in his transport of enthusiastic love that Dante conceived the idea of the Divina Commedia," his great poem, of which Beatrice was destined to be the heroine. Thus to the inspiration of a young, lovely, and noble-minded woman, we owe one of the grandest efforts of human genius.
# A Character (Tennyson)

* "A Character", in Poems, Chiefly Lyrical (1830)
* "A Character", in Poems, Volume I (1843)
# A Charge to Keep I Have

A charge to keep I have, A God to glorify, A never-dying soul to save, And fit it for the sky.
To serve the present age, My calling to fulfill; O may it all my powers engage To do my Master's will!
Arm me with jealous care, As in thy sight to live, And oh, thy servant, Lord, Prepare a strict account to give!
Help me to watch and pray, And on thyself rely, Assured, if I my trust betray, I shall forever die.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Charm

* information about this edition.
* sister projects: Wikidata item.
From Rewards and Fairies (1910).
Take of English earth as much As either hand may rightly clutch. In the taking of it breathe Prayer for all who lie beneath. Not the great nor well-bespoke, But the mere uncounted folk Of whose life and death is none Report or lamentation.  Lay that earth upon thy heart,  And thy sickness shall depart!
It shall sweeten and make whole Fevered breath and festered soul. It shall mightily restrain Over-busied hand and brain. It shall ease thy mortal strife 'Gainst the immortal woe of life, Till thyself, restored, shall prove By what grace the Heavens do move.
Take of English flowers these -- Spring's full-faced primroses, Summer's wild wide-hearted rose, Autumn's wall-flower of the close, And, thy darkness to illume, Winter's bee-thronged ivy-bloom. Seek and serve them where they bide From Candlemas to Christmas-tide,  For these simples, used aright,  Can restore a failing sight.
These shall cleanse and purify Webbed and inward-turning eye; These shall show thee treasure hid Thy familiar fields amid; And reveal (which is thy need) Every man a King indeed!
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 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 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.
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# A Character

* Search for titles containing or beginning with: "A Character."
* 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 Character" by Samuel Carter Hall
* "A Character" by Alfred Tennyson
* "A Character" by William Wordsworth

## See also

* Character
# A Dictionary of Music and Musicians/Mortier de Fontaine

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Mose in Egitto

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Mosel, Ignaz

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Moses

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Moskowa

From volume 2 of the work.
​MOSKOWA. See Prince de la Moskowa.
# A Dictionary of Music and Musicians/Mornington, Garrett

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Mosewius, Johann Theodor

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Moszkowski, Moritz

From volume 2 of the work.
[ J. A. F. M. ]
# 1911 Encyclopædia Britannica/Toreador

See also Torero on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOREADOR, a Spanish word derived from torear, to engage in a bull-fight, toro, a bull, Latin taurus, for one of the principal performers in the national sport of bull-fighting (q.v.).
# 1911 Encyclopædia Britannica/Toplady, Augustus Montague

See also Augustus Toplady on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOPLADY, AUGUSTUS MONTAGUE (1740–1778), Anglican divine, was born at Farnham, Surrey, and educated at Westminster and Trinity College, Dublin. Although originally a follower of Wesley, he in 1758 adopted extreme Calvinist opinions. He was ordained in 1762 and became vicar of Harpford with Fenn-Ottery, Devonshire, in 1766. In 1768 he exchanged to the living of Broadhembury, Devonshire. He is chiefly known as a writer of hymns and poems, including “Rock of Ages,” and the collections entitled Poems on Sacred Subjects (Dublin, 1759) and Psalms and Hymns for Public and Private Worship (London, 1776). His best prose work is the Historic Proof of the Doctrinal Calvinism of the Church of England (London, 1774). Some comments by Wesley upon Toplady’s presentation of Calvinism led to a controversy which was carried on with much bitterness on both sides. Toplady wrote a venomous Letter to Mr Wesley (1770), and Wesley repeated his comments in The Consequence Proved (1771), whereupon Toplady replied with increased acridity in More Work for Mr Wesley (1772). From 1775 to 1778, having obtained leave of non-residence at Broadhembury, he lived in London, and ministered at a Calvinist church in Orange Street.
# 1911 Encyclopædia Britannica/Topography

See also Topography on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOPOGRAPHY (Gr.τόπος, place, γράφειν, to write), a description of a town, district or locality, giving details of its geographical and architectural features. The term is also applied in anatomy to the mapping out of the surface of the human body, either according to a division based on the organs or parts lying below certain regions, or on a superficial plotting out of the body by anatomical boundaries and landmarks.
# 1911 Encyclopædia Britannica/Torch

See also Torch on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TORCH (O. Fr. torche, from Med. Lat. tortia, derived from tortus, twisted, torquere, to twist), a light or illuminant that can be carried in the hand, made of twisted tow, hemp or other inflammable substance. Torches or “links” were, till the general introduction of street lighting, necessary adjuncts for passengers on foot or in carriages in towns at night, and many of the older houses in London and elsewhere still retain the iron stands outside their doors, in which the torches might be placed.
# 1911 Encyclopædia Britannica/Toran

See also Torana on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TORAN, the name in Hindustani (Skr. torana, from tor, pass) of a sacred or honorific gateway in Buddhist architecture. Its typical form is a projecting cross-piece resting on two uprights or posts. It is made of wood or stone, and the cross-piece is generally of three bars placed one on top of the other; both cross-pieces and posts are usually sculptured.
# 1911 Encyclopædia Britannica/Torcello

See also Torcello on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TORCELLO, an island of Venetia, Italy, in the lagoons about 6 m. to the N.W. of Venice, belonging to the commune of Burano. It was a flourishing city in the early middle ages, but now has only a few houses and two interesting churches. The former cathedral of S. Maria was founded in the 7th century. The present building, a basilica with columns, dates from 864; the nave was restored in 1008, in which year the now ruined octagonal baptistery was built. It contains large mosaics of the 12th century, strongly under Byzantine influence; those on the west wall represent the Resurrection and Last Judgment. The seats for the priests are arranged round the semicircular apse, rising in steps with the bishop’s throne in the centre—an arrangement unique in Italy. Close by is S. Fosca, a church of the 12th century, octagonal outside, with colonnades on five sides and a rectangular interior intended for a dome which was never executed, beyond which is a three-apsed choir. In the local museum are four Mycenaean vases, one found in the island and another on the adjacent island of Mazzorbo, proving direct intercourse with the Aegean Sea in prehistoric times.
See R. M. Dawkins, in Journal of Hellenic Studies (1904), xxiv. 125.
# 1911 Encyclopædia Britannica/Topiary

See also Topiary on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TOPIARY, a term in gardening or horticulture for the cutting and trimming of shrubs, such as cypress, box or yew, into regular and ornamental shapes. It is usually applied to the cutting of trees into urns, vases, birds and other fantastic shapes, which were common at the end of the 17th century and through the 18th, but it also embraces the more restrained art necessary for the laying out of a formal garden. Yew and holly trees cut into fantastic objects may still be seen in old-fashioned cottage or farmhouse gardens in England. The Lat. topiarius meant an ornamental or landscape gardener, and was formed from topia (Gr. τόπος, place), a term specially employed for a formal kind of landscape painting used as a mural decoration in Roman houses.
# 1911 Encyclopædia Britannica/Torbernite

See also Torbernite on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TORBERNITE (or cupro-uranite), a mineral which is one of the “uranium micas”; a hydrous uranium and copper phosphate, Cu(UO$_2$)$_2$(PO$_4$)$_2$+12H$_2$O. Crystals are tetragonal and have the form of square plates, which are often very thin. There is a perfect micaceous cleavage parallel to the basal plane, and on this face the lustre is pearly. The bright grass-green colour is a characteristic feature of the mineral. The hardness is 21/2 and the specific gravity 3.5. The radio-activity of the mineral is greater than that of some specimens of pitchblende. It was first observed in 1772 at Johanngeorgenstadt in Saxony, but the best examples are from Gunnislake near Calstock and Redruth in Cornwall. The name torbernite is after Torbern Bergman; chalcolite is a synonym. (L. J. S.)
# 1911 Encyclopædia Britannica/Torchère

See also Torchère on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​TORCHÈRE, a candelabrum mounted upon a tall stand of wood or metal, usually with two or three lights. When it was first introduced in France towards the end of the 17th century the torchère mounted one candle only, and when the number was doubled or tripled the improvement was regarded almost as a revolution in the lighting of large rooms.
# A Dictionary of Music and Musicians/Ball, William

From volume 1 of the work.
​BALL, William, an English litterateur, who died in London on May 14, 1869, aged 85, and deserves a place in a Dictionary of Music for having adapted to English words the librettos of various great musical compositions—Masses of Haydn, Mozart, and Beethoven (No. 1), Mozart's 'Requiem,' Rossini's 'Stabat Mater,' to entirely fresh words, and especially Mendelssohn's 'St. Paul.'
# A Dictionary of Music and Musicians/Ballabile

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

From volume 4 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Ballade

From volume 1 of the work.
​BALLADE, a name adopted by Chopin for four pieces of pianoforte music (op. 23, 38, 47, 52) which, however brilliant or beautiful, have no peculiar form or character of their own, beyond being written in triple time, and to which the name seems to be no more specially applicable than that of 'Sonnet' is to the pieces which Liszt and others have written under that name. Brahms has also published four 'Balladen' (op. 10) and Liszt two.
# A Dictionary of Music and Musicians/Balelli

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

From volume 1 of the work.
​BALDENECKER, Nicolaus, member of an extensive family of musicians, born at Mayence 1782, first violin at the Frankfort theatre from 1803 to 51, and joint-founder with Schelble of the amateur concerts which resulted in the famous 'Cäcilien-Verein' of that city.
# A Dictionary of Music and Musicians/Baldi

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

From volume 1 of the work.
​BALINO, see Fabri.
# A Dictionary of Music and Musicians/Note

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Notot, Joseph

[ C. H. P. ]
# A Dictionary of Music and Musicians/Nottebohm, Martin

From volume 2 of the work.
​NOTTEBOHM, Martin Gustav, composer, teacher, and writer on music, born Nov. 12, 1817, at Lüdenscheid near Arnsberg in Westphalia, son of a manufacturer. In 1838 and 39, when in Berlin as a volunteer in the Garde-Schützenbataillon, he took lessons on the piano and composition from L. Berger and Dehn. In 1840 he removed to Leipzig, where he became intimate with Mendelssohn and Schumann, particularly the latter. A testimonal from Mendelssohn, stating his qualifications as a musician, procured his discharge from the army, and in Sept. 1846 he settled finally in Vienna. In 1847 he went through a course of counterpoint with Sechter, and has since been esteemed as an able and conscientious teacher of the pianoforte and composition. But it is as a solid and scientific writer on music that his name will live; indeed his critical researches on Beethoven's works constitute him an authority of the first rank. His cooperation in the revised editions of the works of Bach, Handel, Beethoven, Mendelssohn, and Mozart, is of the highest value as a guarantee for the thoroughness with which undertakings so important should be conducted. If not the first to explore Beethoven's sketch-books, he has certainly investigated them more thoroughly and to more purpose than any one else, and his works on this subject deserve the gratitude of every student of the great composer. [See vol. i. p.174.] It is to be regretted that so far no public institutution has been inclined to offer a man of his great attainments a position commensurate with his services.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Novelletten

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Nowell

From volume 2 of the work.
​NOWELL. [See Noël.]
# A Dictionary of Music and Musicians/Danby, John

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

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

From volume 1 of the work.
​DANCE, William. An English musician whose name deserves preservation as one of the founders of the Philharmonic Society. He was born in 1755, was in the orchestra of the Opera from 1775 to 93, and led the band at the Handel Commemoration of 1790 in the absence of Cramer. He died full of years and credit in 1840. The circular proposing the meeting which led to the formation of the Philharmonic, was issued by 'Messrs. Cramer, Corri, and Dance,' from Mr. Dance's house, 17 Manchester Street, on Sunday, Jan. 17, 1813. He was afterwards one of the Directors, and Treasurer. His son Henry was secretary to the society for the first year, 1813.
# A Dictionary of Music and Musicians/Damoreau, Laure

From volume 1 of the work.
​DAMOREAU, Laure Cinthie Montalant, born at Paris Feb. 6, 1801, was admitted into a vocal class at the Conservatoire Nov. 28, 1808. She made quick progress, and soon began to study the piano. In 1814 she left the piano-class to enter that of vocalisation. She began her career by giving some concerts which were not successful. Engaged at the Théâtre Italien in second parts at the age of 18, Mlle. Cinti, as she now called herself, made her first appearance as Cherubino in 'Le Nozze.' She played the part with great charm and grace, but her time was not yet come. It was not till 1821 that she attempted principal parts. In 22 she was engaged by Ebers for the London opera, at a salary of £500. She was young and pretty, her manners pleasing and elegant, and her acting correct and unaffected, if not forcible; but her voice was not strong enough for the size of the theatre, and she created little sensation. She returned to Paris, where she soon began to take a higher place; her salary was raised, and the arrival of Rossini was a fortunate event for her. She made her début at the Grand Opéra Feb. 24, 1826, in 'Fernand Cortez,' and her success was complete. Rossini wrote for her the principal female parts in the 'Siege de Corinthe' and 'Moise,' which contributed to her reputation. In consequence, however, of some misunderstanding with the management, Cinti quitted the theatre abruptly in 27, and went to Brussels, where she excited the greatest enthusiasm. Concessions having been made she returned to Paris; but, before leaving Brussels, was married to Damoreau, an unsuccessful actor. This union was not happy. Returned to Paris she resumed her career, singing in 'La Muette de Portici,' 'Le Comte Ory,' 'Robert le Diable,' and 'Le Serment,' in each more excellent than before. In 29 she took part, with Sontag and Malibran, in the 'Matrimonio Segreto.' Never was there a more brilliant combination; nor did Cinti suffer by comparison. Fétis boldly declares that she now became one of the best singers the world has known. In 32 she came over with a French company, and sang at Covent Garden in Meyerbeer's 'Robert le Diable.' Her engagement was not renewed in 1835, and she was gladly welcomed at the Opéra Comique, where Auber wrote for her such works as the 'Domino noir,' 'L'Ambassadrice,' and 'Zanetta.' Cinti retired from the stage in 1843, sang again in London in that year, then at the Hague, at Ghent in 1845, at St. Petersburg, at Brussels in 1846, and made a tour in the United States with the violinist Artot [App. p.605 "1843"]. In 1834 she had been appointed professor of singing at the Conservatoire in Paris; this place she resigned in 1856, and retired to Chantilly, and died in 1863.
[ J. M. ]
# A Dictionary of Music and Musicians/Dando, Joseph

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

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

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

From volume 1 of the work.
​DANCE MUSIC. Music designed as an accompaniment to dancing, national, social or on the stage—the ballet; also music written in dance rhythms though not for dancing purposes, such as the Polonaises of Beethoven, Weber, and Chopin; Schulhoff's 'Valses de Concert,' Liszt's 'Galop Chromatique.'
The music of the individual dance tunes has been examined under the separate heads of Allemande, Bolero, Courante, Gigue, Minuet, Waltz, etc. The influence of the dance on music in general, and the manner in which it gradually communicated the rhythm and accent which are its very essence to the unrhythmical and unaccented strains of church music, and thus built up the fabric of modern composition, will be examined under the head of Rhythm. The more direct and material connexion between the Suite—a mere string of dances in one key—and the modern Sonata and Symphony, which grew out of the Suite, will be most conveniently discussed under the last-named headings.
# 1911 Encyclopædia Britannica/Ura-Tyube

See also Ura-Tyube on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​URA-TYUBE, or Ora-tepe, a town of Russian Turkestan, in the province of Samarkand, lying 37 m. S.W. of Khojent, on the road from Ferghana to Jizak across the Zarafshan range. Pop. (1900) 22,088, chiefly Uzbegs. It is surrounded by a wall and has a citadel. The inhabitants carry on trade in horses and camel-wool cloth, and manufacture cottons, boots and shoes, oil, and camel’s-hair shawls. Ura-tyube is supposed to have been founded by Cyrus under the name of Cyropol, and was taken in 329 B.C. by Alexander the Great of Macedon. Later it was the capital of an independent state, though often held by either Bokhara or Kokand. The Russians took it in 1866.
# 1911 Encyclopædia Britannica/Upper Sind Frontier

See also Upper Sind Frontier on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​UPPER SIND FRONTIER, a district of British India, in the Sind province of Bombay, with administrative headquarters at Jacobabad. Area, 2621 sq. m. In the north-east the country is hilly; the remainder consists of a narrow strip of level plain, one half being covered with jungle and subject to inundation, from which it is protected by artificial embankments. The land is watered by canals from the Indus, of which the chief are the Begari and Desert canals. The district contains several thriving timber plantations. The climate is remarkable for its dryness and for its extraordinary variations of temperature. The annual rainfall at Jacobabad averages less than 5 in. In 1901 the population was 232,045, showing an increase of no less than 33% in the decade, chiefly due to immigration from Baluchistan. The principal crops are millets, oil-seeds, pulses, wheat and rice. The internal trade is principally in grain, the greater part of which is sent to the sea-board; the transit trade from Central Asia into Sind crosses the district, bringing wool and woollen goods, fruits, carpets and horses. The district is crossed by the Quetta branch of the North-Western railway. The wild Baluchi inhabitants were pacified by General John Jacob between 1847 and his death in 1858.
# 1911 Encyclopædia Britannica/Uppingham

See also Uppingham on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​UPPINGHAM. a market town of Rutland, England, 98 m. N.N.E. of London, on a branch of the London & North-Western railway. Pop. (1901) 2588. The church of St Peter ​and St Paul has Decorated portions in the nave, tower and spire. The pulpit is of the 17th century. Jeremy Taylor was rector here at the outbreak of the Civil War. The principal institution of Uppingham is the school. It is coeval with the grammar school of Oakham (1584), and had the same founder, Robert Johnson, archdeacon of Leicester. It rose in the last half of the 19th century to a place of distinction among English public schools, owing to the exertions of its headmaster (1853–77), the Rev. Edward Thring. A new group of school-buildings, with chapel, was erected in 1863 from the designs of G. E. Street. New (Tercentenary) class-rooms we reopened in 1890, and a memorial chapel, containing a statue of Edward Thring, by T. Brock, R.A., was erected in 1891. The Victoria Building, containing museum, laboratory and lecture theatre, was opened in 1897. The quadrangle is by T. G. Jackson, R.A., and over the gateway is a statue of the founder, by G. J. Frampton, R.A. The school contains about 450 boys. There are general exhibitions to the universities, and also several, in which scholars of this school and Oakham school have preference, at St John's, Clare, Emmanuel and Sidney Sussex colleges, Cambridge. The town of Uppingham has some agricultural trade.