OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Gomer

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​GOMER, the biblical name of a race appearing in the table of nations (Gen. x. 2), as the “eldest son” of Japheth and the “father” of Ashkenaz, Riphath and Togarmah; and in Ezek. xxxviii. 6 as a companion of “the house of Togarmah in the uttermost parts of the north,” and an ally of Gog; both Gomer and Togarmah being credited with “hordes,” E.V., i.e. “bands” or “armies.” The “sons” of Gomer are probably tribes of north-east Asia Minor and Armenia, and Gomer is identified with the Cimmerians. These are referred to in cuneiform inscriptions under the Assyrian name gimmirā (gimirrai) as raiding Asia Minor from the north and north-east of the Black ​Sea, and overrunning Lydia in the 7th century B.C. (see Cimmerii, Scythia, Lydia). They do not seem to have made any permanent settlements, unless some such are indicated by the fact that the Armenians called Cappadocia Gamir. It is, however, suggested that this name is borrowed from the Old Testament.
The name Gomer (Gomer bath Diblaim) was also borne by the unfaithful wife of Hosea, whom he pardoned and took back (Hosea i. 3). Hosea uses these incidents as symbolic of the sin, punishment and redemption of Israel, but there is no need to regard Gomer as a purely imaginary person. (W. H. Be.)
* ↑ אגף Ăgaph, a word peculiar to Ezekiel, Clarendon Press Heb. Lex.
* ↑ A. Jeremias, Das A.T. im Lichte des alten Orients, pp. 145 f.
# 1911 Encyclopædia Britannica/Goltzius, Hendrik

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​GOLTZIUS, HENDRIK (1558–1617), Dutch painter and engraver, was born in 1558 at Mülebrecht, in the duchy of Jülich. After studying painting on glass for some years under his father, he was taught the use of the burin by Dirk Volkertsz Coornhert, a Dutch engraver of mediocre attainment, whom he soon surpassed, but who retained his services for his own advantage. He was also employed by Philip Galle to engrave a set of prints of the history of Lucretia. At the age of twenty-one he married a widow somewhat advanced in years, whose money enabled him to establish at Haarlem an independent business; but his unpleasant relations with her so affected his health that he found it advisable in 1590 to make a tour through Germany to Italy, where he acquired an intense admiration for the works of Michelangelo, which led him to surpass that master in the grotesqueness and extravagance of his designs. He returned to Haarlem considerably improved in health, and laboured there at his art till his death, on the 1st of January 1617. Goltzius ought not to be judged chiefly by the works he valued most, his eccentric imitations of Michelangelo. His portraits, though mostly miniatures, are master-pieces of their kind, both on account of their exquisite finish, and as fine studies of individual character. Of his larger heads, the life-size portrait of himself is probably the most striking example. His “master-pieces,” so called from their being attempts to imitate the style of the old masters, have perhaps been overpraised. In his command of the burin Goltzius is not surpassed even by Dürer; but his technical skill is often unequally aided by higher artistic qualities. Even, however, his eccentricities and extravagances are greatly counterbalanced by the beauty and freedom of his execution. He began painting at the age of forty-two, but none of his works in this branch of art—some of which are in the imperial collection at Vienna—display any special excellences. He also executed a few pieces in chiaroscuro.
His prints amount to more than 300 plates, and are fully described in Bartsch’s Peintre-graveur, and Weigel’s supplement to the same work.
# 1911 Encyclopædia Britannica/Golovnin, Vasily Mikhailovich

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​GOLOVNIN, VASILY MIKHAILOVICH (1776–1831), Russian vice-admiral, was born on the 20th of April 1776 in the village of Gulynki in the province of Ryazan, and received his education at the Cronstadt naval school. From 1801 to 1806 he served as a volunteer in the English navy. In 1807 he was commissioned by the Russian government to survey the coasts of Kamchatka and of Russian America, including also the Kurile Islands. Golovnin sailed round the Cape of Good Hope, and on the 5th of October 1809, arrived in Kamchatka. In 1810, whilst attempting to survey the coast of the island of Kunashiri, he was seized by the Japanese, and was retained by them as a prisoner, until the 13th of October 1813, when he was liberated, and in the following year he returned to St Petersburg. Soon after this the government planned another expedition, which had for its object the circumnavigation of the globe by a Russian ship, and Golovnin was appointed to the command. He started from St Petersburg on the 7th of September 1817, sailed round Cape Horn, and arrived in Kamchatka in the following May. He returned to Europe by way of the Cape of Good Hope, and landed at St Petersburg on the 17th of September 1819. He died on the 12th of July 1831.
Golovnin published several works, of which the following are the most important:—Journey to Kamchatka (2 vols., 1819); Journey Round the World (2 vols., 1822); and Narrative of my Captivity in Japan, 1811–1813 (2 vols., 1816). The last has been translated into French, German and English, the English edition being in three volumes (1824). A complete edition of his works was published at St Petersburg in five volumes in 1864, with maps and charts, and a biography of the author by N. Grech.
# 1911 Encyclopædia Britannica/Goltz, Bogumil

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​GOLTZ, BOGUMIL (1801–1870), German humorist and satirist, was born at Warsaw on the 20th of March 1801. After attending the classical schools of Marienwerder and Königsberg, he learnt farming on an estate near Thorn, and in 1821 entered the university of Breslau as a student of philosophy. But he ​soon abandoned an academical career, and, after returning for a while to country life, retired to the small town of Gollub, where he devoted himself to literary studies. In 1847 he settled at Thorn, “the home of Copernicus,” where he died on the 12th of November 1870. Goltz is best known to literary fame by his Buch der Kindheit (Frankfort, 1847; 4th ed., Berlin, 1877), in which, after the style of Jean Paul, and Adalbert Stifter, but with a more modern realism, he gives a charming and idyllic description of the impressions of his own childhood. Among his other works must be noted Ein Jugendleben (1852); Der Mensch und die Leute (1858); Zur Charakteristik und Naturgeschichte der Frauen (1859); Zur Geschichte und Charakteristik des deutschen Genius (1864), and Die Weltklugheit und die Lebensweisheit (1869).
Goltz’s works have not been collected, but a selection will be found in Reclam’s Universalbibliothek (ed. by P. Stein, 1901 and 1906). See O. Roquette, Siebzig Jahre, i. (1894).
# 1911 Encyclopædia Britannica/Cesarotti, Melchiore

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​CESAROTTI, MELCHIORE (1730–1808), Italian poet, was born at Padua in 1730, of a noble but impoverished family. At the university of his native place his literary progress procured for him at a very early age the chair of rhetoric, and in 1768 the professorship of Greek and Hebrew. On the invasion of Italy by the French, he gave his pen to their cause, received a pension, and was made knight of the iron crown by Napoleon I., to whom, in consequence, he addressed a bombastic and extravagantly flattering poem called Pronea. Cesarotti is best known as the translator of Homer and Ossian. Much praise cannot be given to his version of the Iliad, for he has not scrupled to add, omit and modernize. Ossian, which he held to be the finest of poems, he has, on the other hand, considerably improved in translation; and the appearance of his version attracted much attention in Italy and France, and raised up many imitators of the Ossianic style. Cesarotti also produced a number of works in prose, including a Course of Greek Literature, and essays On the Origin and Progress of the Poetic Art, On the Sources of the Pleasure derived from Tragedy, On the Philosophy of Language and On the Philosophy of Taste, the last being a defence of his own great eccentricities in criticism. His weakness was a straining after novelty. His style is forcible, but full of Gallicisms.
A complete edition of his works, in 42 vols. 8vo, began to appear at Pisa in 1800, and was completed in 1813, after his death. See Memoirs, by Barbieri (Padua, 1810), and Un Filosofo delle lettere, by Alemanni (Turin, 1894).
# 1911 Encyclopædia Britannica/Cesena

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​CESENA (anc. Caesena), a town and episcopal see of Emilia, Italy, in the province of Forlì, 12 m. S.E. by rail from the town of Forlì, on the line between Bologna and Rimini, 144 ft. above sea-level. Pop. (1905) 12,245 (town); 43,468 (commune). The town is picturesquely situated at the foot of the slopes of the Apennines, and is crowned by a medieval fortress (Rocca), begun by the emperor Frederick I. (Barbarossa) probably, but altered and added to later. The cathedral has two fine marble altars by the Lombardi of Venice (or their school). The library, built for Domenico Malatesta in 1452 by Matteo Nuzio, is a fine early Renaissance building, and its internal arrangements, with the original desks to which the books are still chained, are especially well preserved (see J. W. Clark, The Care of Books, Cambridge, 1901, p. 199). In it are valuable MSS., many of which were used by Aldus Manutius. It also contains a picture gallery with a good “Presentation in the Temple” by Francesco Francia. There are some fine palaces in the town. Three-quarters of a mile south-east on the hill stands the handsome church of S. Maria del Monte, after the style of Bramante, with carved stalls of the 16th century. Wine, hemp and silk are the main articles of trade. About the ancient Caesena little is said in classical authors: it is mentioned as a station on the Via Aemilia and as a fortress in the wars of Theodoric and Narses. During the middle ages it was at first independent. In 1357 it was unsuccessfully defended by the wife of Francesco Ordelaffi, lord of Forlì, against the papal troops under Albornoz. In 1377 it was sacked by Cardinal Robert of Geneva (afterwards Clement VII., antipope). It was then held by the Malatesta of Rimini until 1465, when it came under the dominion of the church. Both Pius VI. (1717) and Pius VII. (1742) were born at Cesena.  (T. As.)
# 1911 Encyclopædia Britannica/Cess

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​CESS (a shortened form of “assess”; the spelling is due to a mistaken connexion with “census”), a tax; a term formerly more particularly applied to local taxation, in which sense it still is used in Ireland; otherwise it has been superseded by “rate.” In India it is applied, with the qualifying word prefixed, to any taxation, such as “irrigation-cess” and the like, and in Scotland to the land-tax.
# 1911 Encyclopædia Britannica/Cesari, Giuseppe

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​CESARI, GIUSEPPE, called Il Cavaliere d’ Arpino (born in or about 1568 and created a “Cavaliere di Cristo” by Pope Clement VIII.), also named Il Giuseppino, an Italian painter, much encouraged at Rome and munificently rewarded. His father had been a native of Arpino, but Giuseppe himself was born in Rome. Cesari is stigmatized by Lanzi as not less the corrupter of taste in painting than Marino was in poetry; indeed, another of the nicknames of Cesari is “Il Marino de’ Pittori” (the pictorial Marino). There was spirit in Cesari’s heads of men and horses, and his frescoes in the Capitol (story of Romulus and Remus, &c.), which occupied him at intervals during forty years, are well coloured; but he drew the human form ill. His perspective is faulty, his extremities monotonous, and his chiaroscuro defective. He died in 1640, at the age of seventy-two, or perhaps of eighty, at Rome. Cesari ranks as the head of the “Idealists” of his period, as opposed to the “Naturalists,” of whom Michelangelo da Caravaggio was the leading champion,—the so-called “idealism” consisting more in reckless facility, and disregard of the common facts and common-sense of nature, than in anything to which so lofty a name could be properly accorded. He was a man of touchy and irascible character, and rose from penury to the height of opulence. His brother Bernardino assisted in many of his works.
# 1911 Encyclopædia Britannica/Cespedes, Pablo de

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​CESPEDES (in Ital. Cedaspe), PABLO DE (1538–1608), Spanish poet, painter, sculptor and architect, was born at Cordova, and was educated at Alcalá de Henares, where he studied theology and Oriental languages. On leaving the university, he went to Rome, where he became the pupil and friend of Federigo Zuccaro, under whose direction he studied particularly the works of Raphael and of Michelangelo. In 1560, while yet in Rome, proceedings were taken against him by the Inquisition at Valladolid on account of a letter which, found among the papers of the archbishop of Toledo, had been written by Cespedes during the preceding year, and in which he had spoken with great freedom against the holy office and the inquisitor-general, Fernando de Valdés. Cespedes remained in Rome at this critical moment, and he appears rightly to have treated the prosecution with derision. It is not known how he contrived to bring the proceedings to an end; he returned, however, to Spain a little before 1577, and in that year was installed in a prebend of the cathedral at Cordova, where he resided till his death. Pablo de Cespedes has been called the most savant of Spanish artists. According to his friend Francisco Pacheco, to whom posterity is indebted for the preservation of all of Cespedes’s verse that is extant, the school of Seville owes to him its introduction to the practice of chiaroscuro. He was a bold and correct draughtsman, a skilful anatomist, a master of colour and composition; and the influence he exerted to the advantage of early Spanish art was considerable. Cristobal de Vera, Juan de Peñalosa and Zambrano were among his pupils. His best picture is a Last Supper at Cordova, but there are good examples of his work at Seville and at Madrid. Cespedes was author of several opuscules in prose on subjects connected with his profession. Of his poem on The Art of Painting enough was preserved by Pacheco to enable us to form an opinion of the whole. It is esteemed the best didactic verse in Spanish; and it has been compared, not disadvantageously, with the Georgics. It is written in strong and sonorous octaves, in the majestic declamatory vein of Fernando Herrera, and is not altogether so dull and lifeless as is most didactic verse. It contains a glowing eulogy of Michelangelo, and some excellent advice to young painters, insisting particularly on hard work and on the study of nature. The few fragments yet remaining, amounting in all to some six hundred lines, were first printed by Pacheco in his treatise Del arte de la pintura, in 1649.
# 1911 Encyclopædia Britannica/Cessio Bonorum

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​CESSIO BONORUM (Latin for a “surrender of goods”), in Roman law, a voluntary surrender of goods by a debtor to his creditors. It did not amount to a discharge unless the property ceded was sufficient for the purpose, but it secured the debtor from personal arrest. The creditors sold the goods in satisfaction, pro tanto, of their claims. The procedure of cessio bonorum avoided infamy, and the debtor, though his after-acquired property might be proceeded against, could not be deprived of the bare necessaries of life. The main features of the Roman law of cessio bonorum were adopted in Scots law, and also in the French legal system. (See further Bankruptcy.)
# 1911 Encyclopædia Britannica/Cestius, Lucius

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​CESTIUS, LUCIUS, surnamed Pius, Latin rhetorician, flourished during the reign of Augustus. He was a native of Smyrna, a Greek by birth. According to Jerome, he was teaching Latin at Rome in the year 13 B.C. He must have been living after A.D. 9, since we are told that he taunted the son of Quintilius Varus with his father’s defeat in the Teutoburgian forest (Seneca, Controv. i. 3, 10). Cestius was a man of great ability, but vain, quarrelsome and sarcastic. Before he left Asia, he was invited to dinner by Cicero’s son, then governor of the province. His host, being uncertain as to his identity, asked a slave who Cestius was; and on receiving the answer, “he is the man who said your father was illiterate,” ordered him to be flogged (Seneca, Suasoriae, vii. 13). As an orator in the schools Cestius enjoyed a great reputation, and was worshipped by his youthful pupils, one of whom imitated him so slavishly that he was nicknamed “my monkey” by his teacher (Seneca, Controv. ix. 3, 12). As a public orator, on the other hand, he was a failure. Although a Greek, he always used Latin in his declamations, and, although he was sometimes at a loss for Latin words, he never suffered from lack of ideas. Numerous specimens of his declamations will be found in the works of Seneca the rhetorician.
See the monograph De Lucio Cestio Pio, by F. G. Lindner (1858); T. Brzoska in Pauly-Wissowa’s Realencyclopädie, iii. 2 (1899); Teuffel-Schwabe, Hist, of Roman Lit. (Eng. tr.), § 268, 6; M. Schanz, Geschichte der römischen Litteratur, ii.
# 1911 Encyclopædia Britannica/Cesarevich

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​CESAREVICH, or more properly Tsesarevich, the title of the heir-apparent to the Russian throne. The full official title is Nasliednik Tsesarevich, i.e. “heir of Caesar,” and in Russia the heir to the throne is commonly called simply Nasliednik, the word Tsesarevich never being used alone. Tsarevich, a form now much used in England, means simply any “king’s son”; it is an antiquated term now out of use in Russia, and was last borne as heir to the throne by the unfortunate Alexius, son of Peter the Great. The style of the wife of the tsesarevich is Tsesarevna. The Cesarewitch handicap race at Newmarket, founded in 1839, was named after the prince who was afterwards Alexander II. of Russia, who paid a state visit to England that year.
# 1911 Encyclopædia Britannica/Cesnola, Luigi Palma di

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​CESNOLA, LUIGI PALMA DI (1832–1904), Italian-American soldier and archaeologist, was born near Turin on the 29th of July 1832. Having served in the Austrian and Crimean Wars, in 1860 he went to New York, where he taught Italian and French and founded a military school for officers. He took part in the American Civil War as colonel of a cavalry regiment, and at Aldie (June 1863) was wounded and taken prisoner. He was released from Libby prison early in 1864, served in the Wilderness and Petersburg campaigns (1864–65) as a brigadier of cavalry, and at the close of the war was breveted brigadier-general. He was then appointed United States consul at Larnaca in Cyprus (1865–1877). During his stay in the island he carried on excavations, which resulted in the discovery of a large number of antiquities. The collection was purchased by the Metropolitan Museum of New York, and Cesnola became director in 1879. Doubt having been thrown by Gaston L. Feuerdant, in an article in the New York Herald (August 1880), upon the genuineness of his restorations, the matter was referred to a special committee, which pronounced in his favour. He is the author of Cyprus, its ancient Cities, Tombs and Temples (1877), an interesting book of travel and of considerable service to the practical antiquary; and of a Descriptive Atlas of the Cesnola Collection of Cypriote Antiquities (3 vols., 1884–6). He died in New York on the 21st of November 1904. He was a ​member of several learned societies in Europe and America, and in 1897 he received a Congressional medal of honour for conspicuous military services.
His brother, Alessandro Palma di Cesnola, born in 1839, conducted excavations at Paphos (where he was U.S. vice-consul) and Salamis on behalf of the British government. The results of these are described in Salaminia (1882).
# 1911 Encyclopædia Britannica/Cesti, Marc' Antonio

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​CESTI, MARC’ ANTONIO (1620?–1669?), Italian musical composer, was born at Florence about 1620. He was a pupil of Carissimi, and after holding a post somewhere in Florence as maestro di cappella entered the papal chapel in 1660. In 1666 he became Vice-Kapellmeister at Vienna, and died at Venice in 1669. Cesti is known principally as a composer of operas, the most celebrated of which were La Dori (Venice, 1663) and Il Pomo d’ oro (Vienna, 1668). He was also a composer of chamber-cantatas, and his operas are notable for the pure and delicate style of their airs, more suited to the chamber than to the stage.
# 1911 Encyclopædia Britannica/Compurgation

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​COMPURGATION (from Lat. compurgare, to purify completely), a mode of procedure formerly employed in ecclesiastical courts, and derived from the canon law (compurgatio canonica), by which a clerk who was accused of crime was required to make answers on the oath of himself and a certain number of other clerks (compurgators) who would swear to his character or innocence. The term is more especially applied to a somewhat similar procedure, the old Teutonic or Anglo-Saxon mode of trial by oath-taking or oath-helping (see Jury).
# 1911 Encyclopædia Britannica/Comus

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​COMUS (from κῶμος, revel, or a company of revellers), in the later mythology of the Greeks, the god of festive mirth. In classic mythology the personification does not exist; but Comus appears in the Εἰκόνες, or Descriptions of Pictures, of Philostratus, a writer of the 3rd century A.D. as a winged youth, slumbering in a standing attitude, his legs crossed, his countenance flushed with wine, his head—which is sunk upon his breast—crowned with dewy flowers, his left hand feebly grasping a hunting spear, his right an inverted torch. Ben Jonson introduces Comus, in his masque entitled Pleasure reconciled to Virtue (1619), as the portly jovial patron of good cheer, “First father of sauce and deviser of jelly.” In the Comus, sive Phagesiposia Cimmeria; Somnium (1608, and at Oxford, 1634), a moral allegory by a Dutch author, Hendrik van der Putten, or Erycius Puteanus. the conception is more nearly akin to Milton’s, and Comus is a being whose enticements are more disguised and delicate than those of Jonson’s deity. But Milton’s Comus is a creation of his own. His story is one
“Which never yet was heard in tale or song From old or modern bard, in hall or bower.”
Born from the loves of Bacchus and Circe, he is “much like his father, but his mother more”—a sorcerer, like her, who gives to travellers a magic draught that changes their human face into the “brutal form of some wild beast,” and, hiding from them their own foul disfigurement, makes them forget all the pure ties of life, “to roll with pleasure in a sensual sty.”