OpenLLM-France/wikimedia huggingface dataset:
# Come, Sinners, to the Gospel Feast (version 1)

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
see also Come, Sinners, to the Gospel Feast
Come, sinners, to the Gospel feast; Let every soul be Jesus’ guest. Ye need not one be left behind, For God hath bid all humankind.
Sent by my Lord, on you I call; The invitation is to all. Come, all the world! Come, sinner, thou! All things in Christ are ready now.
Come, all ye souls by sin oppressed, Ye restless wanderers after rest; Ye poor, and maimed, and sick, and blind, In Christ a hearty welcome find.
Come, and partake the Gospel feast; Be saved from sin; in Jesus rest; O taste the goodness of your God, And eat His flesh, and drink His blood!
You vagrant souls, on you I call; (O that my voice could reach you all!) You all may now be justified, You all may live, for Christ hath died.
My message as from God receive; Ye all may come to Christ and live. O let His love your hearts constrain, Nor permit Him to die in vain.
His love is mighty to compel; His conquering love consent to feel, Yield to His love’s resistless power, And fight against your God no more.
See Him set forth before your eyes, That precious, bleeding Sacrifice! His offered benefits embrace, And freely now be saved by grace.
This is the time, no more delay! This is the Lord’s accepted day. Come thou, this moment, at His call, And live for Him Who died for all.
# Complete Encyclopaedia of Music/A/Ambrosine

Ambrosine. A first female singer about the year 1722, at the conservatory of La Pieta at Venice.
# Complete Encyclopaedia of Music/A/Amen

Amen. So be it ; or, taking the word in the sense in which it is frequently used in the Gospels, truly, verily. The word amen forms, generally, the conclusion of anthems, hymns, and other compositions ; and has so long been one of the principal themes of choral harmony as to have given birth to a distinct appellation for music adapted to its expression ; as when, using the word adjectively, we say, such an oratorio, or an-them, concludes with an Amen chorus.
# Complete Encyclopaedia of Music/A/Ambronn, Peter Christian

Ambronn, Peter Christian, chamber musician to the Duke of Saxe-Meiningen, was born in 1742. He is said to have been an eminent contrapuntist.
# Complete Encyclopaedia of Music/A/Ambrosch

Ambrosch. A celebrated singer at the German theatres, and a composer of vocal music, up to the year 1800.
# Complete Encyclopaedia of Music/A/Ambrose

Ambrose. An English composer of ballads. (Clementi's Catalogue.) He is a professor of music, resident at Chelmsford.
# Complete Encyclopaedia of Music/A/Ambrose, St

Ambrose, St., introduced what is called the "Cantus Ambrosianus" into his church at Milan, about the end of the fourth century. He is said by St. Augustine to have brought this manner of singing from Greece. Those who have written on the subject agree that St. Ambrose only used the four authentic modes, and that the four plagal were afterwards added by St. Gregory.
# Complete Encyclopaedia of Music/A/Ambrogi

Ambrogi. A bass singer at the Italian opera at Berlin, in 1823. He has been also received with great applause at Vienna.
# Complete Encyclopaedia of Music/A/Ambrosianus cantus

Ambrosianus cantus. (L.) Ambrosian Chant. A kind of chant used about 374, by order of St. Ambrose, Bishop of Milan.
# Complete Encyclopaedia of Music/A/Ame

Ame. The sound post of a violin, tenor, &c.
AME. A violinist and composer. He led the band at the Italian Opera at Paris in 1760.
# Complete Encyclopaedia of Music/A/Amedei

Amedei, an Italian composer in the beginning of the eighteenth century, composed, jointly with Orlandi, the opera of "Arsace."
# Complete Encyclopaedia of Music/A/Abelard, Peter

Abelard, Peter, famous for his learning and for his love of Heloise, was distinguished for his musical talent. He died 1142, aged 63.
# Complete Encyclopaedia of Music/A/Abel, Aamor Henry

Abel, Aamor Henry, chamber musician at Hanover, was born in Westphalia, and published a work in 1674, at Frankfort on the Maine, entitled "Erstlinge musicalishe Bl�men," (Early Spring Flowers.)
# Complete Encyclopaedia of Music/A/Abel, Thomas

Abel, Thomas, taught music and grammar to Queen Catharine, with of Henry VIII. Having written a treatise "De non dissolvendo Henrici et Catharine Matrimonio," he was hanged and quartered, July 30, 1550.
# Complete Encyclopaedia of Music/A/Abeille

Abeille, a French composer. In the year 1710, he published, at Paris, "Recueil d'Airs serieux et � boire," (Collection of Serious and Drinking Airs.)
# Complete Encyclopaedia of Music/A/Abeille, Louis

Abeille, Louis, was born in the year 1765, it is believed, at Bayreuth. In 1802 he was appointed musician to the Duke of Wurtemberg, at Stuttgard. He composed many esteemed works, both vocal and instrumental, between the years 1788 and 1810.
# Complete Encyclopaedia of Music/A/Abbreviation

Abbreviation. A stroke which, placed over or under a note, divides it into quavers, if there be only one ; if two, into semiquavers ; if three, into demisemiquavers. Persons who are accustomed to reading music which has been written or copied with the pen, will perhaps have considered abbreviations, as they frequently occur in such music, as a kind of SHORT HAND, as it is the art of reducing something to a smaller compass, and occurs alike in music and in speech. The marks of abbreviation are generally written with strokes, thus : =, which are representatives of ties, and signify that as many notes are to be played as tied notes as are contained in the written note.
# Complete Encyclopaedia of Music/A/Abbreviations

Abbreviations are letters used for words ; as, A., Alto ; Ped., Pedal ; B. C., Basso Continuo ; Leg., Legato ; V., Violin ; M. F., Mezzo Forte, &c.; but we shall notice each abbreviation under its proper head. There are certain abbreviations which, although of modern introduction, are not in general use. This mark, -, set against a note, divides it into quavers ; this, =, divides it into semiquavers ; and this, [triple horizontal bars] into demisemiquavers. This mark, -, by itself, implies that the quavers preceding it in the same bar are to be repeated ; this, =, that the semiquavers preceding it are to be repeated ; and this, [triple horizontal bars], that the demisemiquavers preceding it are to be repeated. The Italian word segue, set against any of these abbreviations, signifies a repetition of the same notes, or passage. Abbreviations were invented to save time and space many of them are indeterminate and uncertain, on which account manuscripts of others cannot always be read with ease, except by practised musicians. The immortal Handel was the first who used a short hand in musical notation. It may easily be conceived as the result of his rapid imagination, which could not stop to write out its fluent fancies by the ordinary method.
[Image TO DO : Examples of Abbreviations, p11]
These abbreviations form a musical brachygraphy, or short hand, highly useful both to the composer and copyist, and are now so generally adopted, wherever admissible, as to have become a necessary object of attention to the pupil. When the same note or similar passages are to be repeated, much time is saved to the composer or copyist by the use of abbreviations. A single stroke, over or under a semibreve, or through the stem of a minim or crotchet, divides them into quavers ; a double stroke, into semiquavers ; and a triple stroke into demisemiquavers. See examples, here and above.
[Image TO DO : p11]
These passages, in Italian music, had formerly the word crome, (quavers,) or semi-crome, (semi-quavers,) annexed to them. At present we often use the term segue to signify that we must perform the following notes in the manner in which the first are marked. Another kind of abbreviation is very frequently used in modern music, viz. grouping the stems of minims like those of quavers, thus : -
[Image TO DO : p11]
Most of these abbreviations are exclusively confined to orchestral and band music ; but every performer and student of music should be made acquainted with them, for they are frequently made use of at the present time, as well in piano-forte music as in the accompaniments to vocal music.
# Complete Encyclopaedia of Music/A/Abel, Leopold Augustus

Abel, Leopold Augustus, a violin pupil of Benda, was born at Coethen in 1720. He was musician to several German princes.
# Chronological Table and Index of the Statutes/Chronological Table/Will&Mary

See next tab for 7 & 8 William III and &c.
* ↑ Will. & Mar. Sess. 1., Ruff.
* ↑ 2 Will. & Mar. Sess. 1.Ruff.
# Chronological Table and Index of the Statutes/Chronological Table/Ric2

* ↑ This chapter in Ruff. includes the last par. of this Statute
* ↑ c.8. Ruff
# Chronological Table and Index of the Statutes/Chronological Table/Temp Incert

* ↑ 51 Hen 3. Sts. 4, 5., Ruff.
* ↑ The following words in c. (or s. 7) of St. 5., Ruff.:—"and the treasurer and barons of the exchequer shall be charged by oath, that they shall not attend to hear the pleas or matters of other men while they have to do with the king's business, if it be not a matter that concerneth the king's own debt."
* ↑ 51 Hen. 3. St. 4., Ruff.
* ↑ 51 Hen. 3. St. 1., Ruff.
* ↑ 51 Hen. 3. St. 6., Ruff.
* ↑ 31 Edw. 1., Ruff.
* ↑ 33 Edw. 1. St. 6., Ruff.
* ↑ 51 Hen 3. St. 2., Ruff.
* ↑ 51 Hen. 3. St. 3., Ruff.
* ↑ 14 Edw. 1. Stat. Exon. & Art. Stat. Exon., Ruff.
* ↑ Not in Ruff.
* ↑ 18 Edw. 1. St. 4., Ruff.
* ↑ 15 Edw. 2, Ruff.
* ↑ 33 Edw 1. St. 3, Ruff.
* ↑ 33 Edw. 1. St. 1, Ruff.
* ↑ 12 Edw. 2. St. 2., Ruff.
* ↑ 20 Edw. 1. Sts. 4, 6., Ruff.
* ↑ 20 Edw 1. St. 5., Ruff.
* ↑ 35 Edw. 1. St.2., Ruff.
* ↑ Stat. de Judeisomo, Ruff.
* ↑ 10 Edw. 2., Ruff.
* ↑ Not in Ruff.
* ↑ 17 Edw. 2. St. 1., Ruff.
* ↑ cc. 4–6., Ruff.
* ↑ c. 7., Ruff.
* ↑ c. 8., Ruff.
* ↑ c. 9., Ruff.
* ↑ c. 10,, Ruff.
* ↑ c. 11., Ruff.
* ↑ c. 12., Ruff.
* ↑ c. 13., Ruff.
* ↑ c. 14., Ruff.
* ↑ c. 15., Ruff.
* ↑ c. 16., Ruff.
* ↑ 17 Edw. 2. St. 2., Ruff.
* ↑ 28 Edw. 1. St. 1., Ruff.
* ↑ 1 Edw. 2. St. 1., Ruff.
* ↑ Articuli et Sacramenta, &c., Ruff.
* ↑ Inclusive of the part headed "Incipiunt Capitula Nova," &c) No part of this Instrument is in Ruff.
* ↑ Not in Ruff.
* ↑ 4 Edw. 1. St. 1., Ruff.
* ↑ 34 Edw. 1. St. 2., Ruff.
* ↑ 18 Edw. 2., Ruff.
* ↑ 34 Edw. 1., Ruff.
# Chronological Table and Index of the Statutes/Chronological Table/Will3

* ↑ c. 41., private, Ruff.
* ↑ In Ruff, 8 Will. 3. in the general heading, and to c. 8. inclusive in the running headings.
* ↑ 9 & 10 in the running headings. Ruff.
* ↑ c. 35., Ruff.
* ↑ c. 36., Ruff.
* ↑ c. 37., Ruff.
* ↑ c. 32., Ruff.
* ↑ c. 33., Ruff.
* ↑ c. 34., Ruff.
* ↑ 10 & 11 in the running headings, Ruff.
* ↑ cc. 10, 11. are cc. 21, 22., Ruff.
* ↑ c. 23., Ruff.
* ↑ c. 24., Ruff.
* ↑ c. 25., Ruff.
* ↑ c. 26., Ruff.
* ↑ c. 10., Ruff.
* ↑ c. 11., Ruff.
* ↑ c. 12., Ruff.
* ↑ c. 13., Ruff.
* ↑ c. 14., Ruff.
* ↑ c. 15., Ruff.
* ↑ c. 16., Ruff.
* ↑ c. 17., Ruff.
* ↑ c. 18., Ruff.
* ↑ cc. 19, 20., Ruff.
* ↑ From c. 2. inclusive, 11 & 12., Ruff.
* ↑ 13., Ruff.
# Chronological Table and Index of the Statutes/Table of Variances

TABLE
EXPLANATORY OF
VARIANCES BETWEEN THE STATUTES OF THE REALM AND RUFFHEAD'S EDITION, WITH RESPECT TO YEARS, STATUTES, AND CHAPTERS.
* ↑ That is in the general headings, and to c. 8 inclusive in the running headings.
* ↑ 9 & 10 in the running headings.
* ↑ 10 & 11 in the running headings.
* ↑ The edition of Ruffhead is that by Serj. Runnington, 1786.
* ↑ Where the year is the same in both editions a slight difference in the titles or otherwise is not usually noticed as a variance.
# The Semi-detached House

THE
SEMI-DETACHED HOUSE.
page
THE
SEMI-DETACHED HOUSE.
EDITED BY LADY THERESA LEWIS.
LONDON: RICHARD BENTLEY, NEW BURLINGTON STREET. 1859.
page
LONDON: Printed by A Schulze, 13, Poland Street.
page
* Chapter I.
* Chapter II.
* Chapter III.
* Chapter IV.
* Chapter V.
* Chapter VI.
* Chapter VII.
* Chapter VIII.
* Chapter IX.
* Chapter X.
* Chapter XI.
* Chapter XII.
* Chapter XIII.
* Chapter XIV.
* Chapter XV.
* Chapter XVI.
* Chapter XVII.
* Chapter XVIII.
* Chapter XIX.
* Chapter XX.
* Chapter XXI.
* Chapter XXII.
* Chapter XXIII.
Layout 2
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
# The Semi-attached Couple/Preface

PREFACE
This story was partly written nearly thirty years ago, before railroads were established, and travelling carriages-and-four superseded; before postage-stamps had extinguished the privilege of franking, and before the Reform Bill had limited the duration of the polling at borough elections to a single day. In re-writing it I might easily have introduced these and other modern innovations; but as I believe the manners of England to be as much changed as her customs, there would have been discrepancies between my scenes and characters: the background would not have harmonized with the figures.
When I wrote it, I thought it a tolerably faithful representation of modern society; but some young friends who are still living in the world, from which I have long retired, and who have read it with the indulgence of happy youth, condescendingly assure me that it is amusing, inasmuch as it is a curious picture of old-fashioned society. Therefore, in giving it to the world, I trust that to my own contemporaries it may have the charm of reminding them of their youth, and that to the young it may have the recommendation of being a strange Chronicle of the Olden Time.
E. E.
Layout 2
# Complete Encyclopaedia of Music/A/Angier, J. H

Angier, J. H. An English musician of merit, who flourished about 1810.
# Complete Encyclopaedia of Music/A/Angiolelli

Angiolelli. A celebrated singing master and singer in Portugal, in 1822.
# Complete Encyclopaedia of Music/A/Angelini

Angelini. ORAZIO, a fine performer on the organ, lived in Italy in 1580.
# Complete Encyclopaedia of Music/A/Angelo, Michael

Angelo, Michael, of Bologna. Principal soprano at Munich in 1786.
# Complete Encyclopaedia of Music/A/Angelo, Count

Angelo, Count, born at Venice, was author of several musical dramas performed at Venice about the year 1654. Among these are "Cleopatra," "Demetrio," and "Aureliano."
# Complete Encyclopaedia of Music/A/Angelo Da Paccitono

Angelo Da Paccitono, a Franciscan, published at Venice, in 1547, a work on music.
# Complete Encyclopaedia of Music/A/Angerstein, Johann Karl

Angerstein, Johann Karl, a priest at Bretkow, published a work on singing, in 1798 at Stendal.
# Complete Encyclopaedia of Music/A/Angiolini, Gasparo

Angiolini, Gasparo, ballet master to the Emperor of Russia, wrote, about the year 1789, several works in Italian, on his art.
# Complete Encyclopaedia of Music/A/Angiolini, Giovanni Frederigo

Angiolini, Giovanni Frederigo. A good composer, born at Sienna, lived chiefly in Prussia and Russia, and published much music for the harp and piano-forte.
# Complete Encyclopaedia of Music/A/Angeli, Le Pere

Angeli, Le Pere, lived at the end of the seventeenth century. He published, in 1691, a work on counterpoint.
# The Trail of the White Mule

Ryan's misadventures with the bootleggers are even funnier than his earlier troubles with the goats. —The Bookman, Nov 1922
THE TRAIL OF THE WHITE MULE
By B. M. Bower
* Good Indian
* Lonesome Land
* The Ranch at the Wolverine
* The Flying U's Last Stand
* The Phantom Herd
* The Heritage of the Sioux
* Starr, of the Desert
* Cabin Fever
* Skyrider
* Rim o' the World
* The Quirt
* Cow-Country
* Casey Ryan
* The Trail of the White Mule
Casey was the more venturesome. He raised himself to see if he could discover where the bullet had come from. frontispiece. See page 32.
THE TRAIL OF THE WHITE MULE
BY B. M. BOWER
WITH FRONTISPIECE BY FRANK TENNEY JOHNSON
BOSTON LITTLE, BROWN, AND COMPANY 1922
Copyright, 1922, By Little, Brown, and Company
All rights reserved
Published, September, 1922
Printed in the United States of America
* Chapter 1 3
* Chapter 2 19
* Chapter 3 31
* Chapter 4 47
* Chapter 5 64
* Chapter 6 101
* Chapter 7 115
* Chapter 8 126
* Chapter 9 133
* Chapter 10 141
* Chapter 11 160
* Chapter 12 174
* Chapter 13 183
* Chapter 14 190
* Chapter 15 206
* Chapter 16 214
* Chapter 17 224
* Chapter 18 235
* Chapter 19 246
* Chapter 20 260
* Chapter 21 266
* Chapter 22 273
Advertisements
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 1940, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 83 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
# The Trees of Great Britain & Ireland/1 - Plates/Thuya

The Trees of Great Britain & Ireland was a multi-volume work, privately published between 1906 and 1913. The first volume was published 1906. The plates of this volume were published separately
Plate 56.
GIANT THUYA IN VANCOUVER'S ISLAND
Plate 57.
GIANT THUYA AT FONTHILL
Plate 58 represents the trunk of what I believe to be the finest beech in Gloucestershire, which is known as "The Gladstone Beech," having been specially admired by the late Mr. Gladstone when staying at Cirencester House. It grows near Pinbury Park, formerly the seat of Sir Robert Atkyns, author of The History of Gloucestershire, and now the summer residence of Earl Bathurst. It measures about 110 feet high by 19 feet 9 inches in girth at the smallest part of the trunk, and though a very old tree, past its prime, is still a magnificent object. I am indebted for the negative to Mr. T.A. Gerald Strickland.
Plate 58.
THE GLADSTONE BEECH AT PINBURY PARK
Plate 59.
WESTERN HEMLOCK GROWING ON FALLEN LOG OF GIANT THUYA IN AMERICA
Plate 60.
THUJOPSIS DOLOBRATA IN JAPAN
# The Sexual Question/Preface to the First Edition

PREFACE TO THE FIRST EDITION
This book is the fruit of long experience and reflection. It has two fundamental ideas—the study of nature, and the study of the psychology of man in health and in disease.
To harmonize the aspirations of human nature and the data of the sociology of the different human races and the different epochs of history, with the results of natural science and the laws of mental and sexual evolution which these have revealed to us, is a task which has become more and more necessary at the present day. It is our duty to our descendants to con- tribute as far as is in our power to its accomplishment. In recognition of the immense progress of education which we owe to the sweat, the blood, and often to the martyrdom of our predecessors, it behoves us to prepare for our children a life [f] happy than ours.
I am well aware of the disproportion which exists between the magnitude of my task and the imperfections of my work. I have not been able to study as much as should be done the innumerable works which treat of the same subject. Others, better versed than myself in the literature of the subject, will be able later on to fill this regrettable lacuna. I have endeavored, above all things, to study the question from all points of view in order to avoid the errors which result from any study which is made from one point of view only. This is a thing that has generally been neglected.
I must express my thanks to my friend, Professor Mahaim, and especially to my publisher and cousin, S. Steinheil, for the help and excellent advice which they have given me in the revision of my work; also to Professor Boveri, who has been kind enough to revise the figures, 1 to 17.
Dr. A. Forel.
    Chigny près Morges (Suisse).
# The Sexual Question

* information about this edition.
* sister projects: Commons category, Wikidata item.
THE
SEXUAL QUESTION
A SCIENTIFIC, PSYCHOLOGICAL, HYGIENIC AND SOCIOLOGICAL STUDY FOR THE CULTURED CLASSES
BY
AUGUST FOREL, M.D., PH.D., LL.D.
Formerly Professor of Psychiatry and Director of the
Insane Asylum in Zurich (Switzerland)
ENGLISH ADAPTION
BY
C. F. MARSHALL, M.D., F.R.C.S.
Late Assistant Surgeon to the Hospital for Disieases of the Skin, London
ILLUSTRATED
LONDON
REBMAN LIMITED
129 SHAFTESBURY AVE., W. C.
Copyright, 1908, by
REBMAN COMPANY
New York
Entered at Stationers' Hall, London, England, 1908
All rights reserved
Printed in America
* Translator's Preface
* Preface to the First Edition
* Preface to the Second Edition
* Introduction
CONTENTS
# The Shadow (Andersen)

English-language translations of Skyggen include:
* "The Shadow" in Hans Andersen's Fairy Tales (1888), translated by Mrs. Henry H. B. Paull
* "The Shadow" in The Fairy Tales of Hans Christian Andersen (1899), translated by Mary Howitt, illustrated by Helen Stratton
* "The Shadow" in Fairy Tales and Stories (1900), translated by H. L. Brækstad, illustrated by H. Tegner
* "The Shadow" in Fairy Tales and Other Stories (1914), translated by W. A. Craigie and J. K. Craigie
# The Sexual Question/Translator's Preface

TRANSLATOR'S PREFACE
Professor Forel is well known to English readers through the medium of English translations of his other works, on Psychiatry and kindred subjects. The present work has already been translated into several European languages. Whether we agree with all Professor Ford's conclusions or not, we must admit that he has dealt with a difficult and delicate subject in a masterly and scientific manner.
C. F. Marshall.
    27 New Cavendiah Street, London, W.
# The Shade of Theseus

* The Shade of Theseus, in The New Monthly Magazine Volume 7, 1823.
* The Shade of Theseus, in The Forest Sanctuary, and Other Poems (Lays of Many Lands), 1825.
# The Shadow (Stringer)

For Blake did not intend to give up the trail. He could no more surrender his quarry than the python's head, having once closed on the rabbit, could release its meal. With Blake, every instinct sloped inward, just as every python-fang sloped backward. The actual reason for the chase was no longer clear to his own vision. It was something no longer to be reckoned with. The only thing that counted was the fact that he had decided to "get" Binhart, that he was the pursuer and Binhart was the fugitive. It had long since resolved itself into a personal issue between him and his enemy.
Layout 2
THE SHADOW
BY
ARTHUR STRINGER
NEW YORK
THE CENTURY CO.
1913
Copyright, 1913, by
The Century Co.
Published, January, 1913
THE SHADOW
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 1950, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 73 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
# The Voice of Age

First published in the periodical Harper's Weekly
* "The Voice of Age", in The Man Against the Sky; a Book of Poems (1916)
* "The Voice of Age", in Collected Poems (1921)
# The Voice of El-Lil

* "The Voice of El-Lil," in Oriental Stories (October-November 1930, vol. 1, no. 1)
* The Voice of El-Lil (unknown)