OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Vance, Zebulon Baird

See also Zebulon Baird Vance on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VANCE, ZEBULON BAIRD (1830-1894), American political leader, was born in Buncombe county, North Carolina, on the 13th of May 1830. He was educated at Washington College, at Salem, Tennessee, and the university of North Carolina (1851-52). Entering politics as a Whig, he was elected solicitor ​of Buncombe county (1852) and a member of the state House of Commons (1854), and served in the national House of Representatives from December 1858 until the 3rd of March 1861. As captain of a company in the 14th and as colonel of the 26th North Carolina regiments, he took part in the Virginia campaigns of 1861–62. From 1862 until the close of the war he was governor of the state, and from the 20th of May to the 5th of July 1S65, when he was released on parole, was held as a prisoner by the United States authorities in Washington. Having been elected to the United States Senate in 1870 and been refused admission because his disabilities—due to his participation in the war—had not been removed, he took the lead in the fight against " carpet-bag " misrule and was chosen governor in the political revolution of 1876, serving in 1877-79. He was again elected to the Senate in 1878 and was re-elected in 1884 and 1890, serving from March 1879 until his death. Senator Vance was a typical Southern Whig. He disliked slavery and he hated secession. In common with other Whigs, he was forced to remain in the Democratic party after the war by the fear of negro domination. He died at Asheville, North Carolina, on the 14th of April 1894.
See the Life by Clement Dowd (Charlotte, N.C., 1897).
# 1911 Encyclopædia Britannica/Vancouver (Washington)

See also Vancouver, Washington on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VANCOUVER, a city and the county-seat of Clarke county, Washington, U.S.A., on the Columbia river about 100 m. from its mouth, about 5 m. E. of its confluence with the Willamette, and 8 m. N. of Portland, Oregon. Pop. (1890) 3545; (1900) 3126 (547 foreign-born); (1910) 9300. It is served by the Northern Pacino, the Great Northern, the Oregon & Washington, and the Spokane, Portland & Seattle railways, and by steamship lines, being accessible to sea-going vessels; a ferry connects with the Portland Electric railway. The city is the seat of St James College (Roman Catholic; 1856) and of the state school for defective youth (1886). Vancouver Barracks, east of the city, is an important U.S. military post (established in 1849) and the headquarters of the Military Department of the Columbia (including Washington, Oregon, Idaho, except the part in Yellowstone Park, and Alaska); the military reservation includes some 640 acres. The post commands an excellent view of the Columbia, and of the mountain peaks, Mt Hood, Three Sisters, Jefferson and St Helens. The city has a public library and a public park, and there is a U.S. Land Office here. Vancouver lies in a region of extensive forests and of fruit growing and farming lands; among its manufactures are lumber products, barrels, condensed milk, flour, beer and canned fruit. It was a post of the Hudson's Bay Company in 1828–1846, and was protected by a large stockade, to which settlers fled for protection when attacked by the Indians. It was made the county-seat in 1854, was incorporated as a village in 1858 and was chartered as a city in 1889.
# A Counterfeit—a Plated Person—

A Counterfeit — a Plated Person — I would not be — Whatever strata of Iniquity My Nature underlie — Truth is good Health — and Safety, and the Sky. How meagre, what an Exile — is a Lie, And Vocal — when we die —
# A Dictionary of Music and Musicians/Ferrabosco, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Ferté, Papillon de la

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

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Ferrel, Jean

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

From volume 1 of the work.
​FERRARA. The earliest and best-known musical academy in Ferrara was that of the 'Intrepidi,' founded in 1600 by Giambattista Aleotti d'Argenta for dramatic musical representation. The magistrates of the city allowed the academicians 100 scudi a year for public celebrations in their theatre. Previous to the founding of this academy, Ferrara could boast one of the most magnificent theatres of Italy, opened in 1484 by Ercole I, Duke of Ferrara, in which were celebrated the 'Feste Musicali,' those earliest forms of the musical drama universal in Italy in the 15th century. While the 'Orfeo' of Poliziano was represented at Mantua, the theatre of Ferrara witnessed the 'Cefalo' of Niccolò da Correggio, the 'Feast of Amphitrione ​and Sosia,' and others. The 'Intrepidi' in 1607 represented with great pomp the Pastorale called 'La Filla di Sciro' by Guidubaldo Bonarelli.
[ C. M. P. ]
# A Dictionary of Music and Musicians/Ferrari, Benedetto

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Ferrari, Giacomo

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Ferrarese del Bene

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

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

From volume 1 of the work.
​FERRI, Baldassare, one of the most extraordinary singers who ever lived, was born at Perugia, Dec. 9, 1610. He owed to an accident in his boyhood the operation by which he became a sopranist. At the age of 11 he entered the service of the Bishop of Orvieto as a chorister, and remained there until 1625, when Prince Vladislas of Poland, then on a visit at Rome, carried him off to his father's Court. In 1665 he was transferred to Ferdinand III, Emperor of Germany, whose successor, Leopold I, loaded him with riches and honours. This prince had a portrait of Ferri, crowned with laurels, hanging in his bed-chamber, and inscribed, 'Baldassare Perugino, Re dei Musici.' At the age of 65 he received permission to retire to his native country, with a passport, the terms of which indicated sufficiently the consideration in which he was held. He reached Italy in 1675, and died at Perugia, Sept. 8, 1680.
Ferri was made a Knight of S. Mark of Venice in 1643; and, therefore, probably visited Italy at that time. He aroused the greatest enthusiasm wherever he appeared; hundreds of sonnets were written in his honour, he was covered with rosss in his carriage after simply singing a cantata, and at Florence a number of distinguished persons went three miles out of the town, to escort him into it. (Ginguené.) He is said also to have visited London, and to have sung here the part of 'Zephyr': but this must be a fable, as Italian opera did not begin here till 1692,—12 years after his death. It is true that in M. Locke's 'Psyche' (1671) there is a character called 'Zephyr'; but he has only four lines to speak, and none to sing. Ferri had, nevertheless, made one journey (before 1654) to Sweden, to gratify Queen Christina's wish to hear him. Ginguené says that his portrait was engraved with the inscription 'Qui fecit mirabilia multa'; but such a portrait (as far as the present writer knows) has never been seen. A medal was struck, bearing on one side his head crowned with bays, and on the other the device of a swan dying by the banks of Meander. Ferri was tall and handsome, with refined manners; and he expressed himself with distinction. He died very rich, leaving 600,000 crowns for a pious foundation.
[ J. M. ]
# A Dictionary of Music and Musicians/Jones, William

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Joshua

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

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Joseph

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jubilee Overture, The

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

[ V. de P. ]
# A Dictionary of Music and Musicians/Judas Maccabæus

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

From volume 2 of the work.
​JOTA (pronounced Hota, with a strong guttural aspirate). One of the most characteristic of the North Spanish national dances. It is a kind of waltz, always in three-time, but with much more freedom in the dancing than is customary ​in waltzes. 'It is danced,' says atraveller, 'in couples, each pair being quite independent of the rest. The respective partners face each other; the guitar twangs, the spectators accompany, with a whining, nasal drawling refrain, andclapping of hands. You put your arm round your partner's waist for a few bars, take a waltz round, stop, and give her a fling round under your raised arm. Then the two of you dance, backward and forward, across and back, whirl round and chassez, and do some nautch-wallah-ing, accompanying yourselves with castanets or snapping of fingers and thumbs. The steps are a matter of your own particular invention, the more outrés the better; and you repeat and go on till one of you tires out.' Every province in the North has its own Jota, the tune and style of which have existed from time immemorial. Thus there is a Jota Aragonesa and a Jota Navarra, quite different in melody and accompaniment, but always in three-time. Of the former, a better example could hardly be given than that which forms the chief subject of Glinka's orchestral overture or piece 'Jota Aragonese.'
Of the Jota Navarra, an equally good and simple specimen is to be found in the second part of Sarasate's Spanish Dances (op. 22).
[ G. ]
* ↑ Major Campion. 'On Foot In Spain.' 1879, p. 157.
* ↑ This is quite Oriental.
# A Dictionary of Music and Musicians/Jubilate

From volume 2 of the work.
​JUBILATE—the first word of the Vulgate version—is the Psalm (100th) which is given as an alternative to the Benedictus, to follow the second lesson in the morning service of the Anglican Church. The ancient custom of the church was to read lessons and psalms alternately, and psalms so used were called responsories. The Jubilate was specially used in this manner in the offices of Salisbury and York, so its adoption in the reformed service was only a perpetuation of ancient custom in the churches of England. Amalaritis also (A.D. 820) speaks of it as used in Lauds apart from its ordinary occurrence in the order of the Psalms. Nevertheless it did not appear in Cranmer's Prayer-book of 1549, but was added in the revised edition which was made in the reign of Edward VI, 1552. Consequently there is no chant given for it in Marbeck's first adaptation of ancient chants to the English service called 'The Book of Common Praier Noted,' which was published in 1550.
It is curious that the Jubilate is much oftener used than the Benedictus, which is looked upon quite as the exception. One of the most distinguished clerical writers on the choral service of the church, Mr. Jebb, has observed that the Benedictus is so infinitely preferable in every respect that it is impossible to attribute the preference which is given to the Jubilate to any other motive than its being shorter. In confirmation of this view it is interesting to note that while the enthusiasm of the Reformation was still hot, the great musicians of that time, Tallis, Byrd, and Farrant, chose the incomparably more beautiful and more appropriate, but longer, Benedictus; but when that enthusiasm was worn away hardly anything but the shorter Jubilate is to be met with. If we take for instance the most famous collections of the ancient services of the church in their order, we find three settings of the Jubilate in Barnard's collection, eight in Boyce's, and no less than fifteen in Arnold's.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Galin

​GALIN. See Chevé in App. vol. iv. p.585.
# A Dictionary of Music and Musicians/Gallenberg, Wenzel

From volume 1 of the work.
​GALLENBERG, Wenzel Robert, Graf von, of an old Carinthian family, born at Vienna Dec. 28, 1783, died at Rome March 13, 1839, has his place in musical history as a prolific composer and in virtue of his indirect connexion with Beethoven.
His passion for music, manifested at a very early age, led him to forego the advantages of an official career and to devote himself to the art. His master in the science was Albrechtsberger. On November 3, 1803, being then not quite twenty, he married the Countess Julie Guicciardi, who had been the object of one of Beethoven's transient but violent passions. [Guicciardi.]
During the winter following, young Gallenberg made his appearance in Würth's Sunday Concerts as author of several overtures, which made no impression. In 1805 we find the youthful couple in Naples, where at the great festival of May 31, 1805, in honour of Joseph Bonaparte, Gallenberg prepared the music, which was mostly of his own composition—3 overtures, 8 pieces for wind band, and dances for full orchestra. It was greatly applauded, and was doubtless one cause of his being appointed a year or two later to the charge of the music in the court theatre. The ballet troupe was one of the finest in Europe, and Gallenberg embraced the opportunity of improving the Neapolitan school of instrumental music by giving frequent adaptations of the best German productions—complete movements from Mozart, Haydn, Cherubini, and others, which opened new sources of delight, and afforded young composers new standards of excellence. Thus what the Neapolitan school had done for opera in Germany during the last century, was in some degree repaid by Gallenberg in this.
When Barbaja undertook the management of the court theatre at Vienna (Dec. 21, 1821), he introduced Gallenberg to assist in the management an arrangement which, however, existed but two years. In Jan. 1829 Gallenberg himself became lessee of this theatre on a contract for 10 years, which, though at first successful, soon came to an end from want of capital. From the autumn of 1816 to the spring of 1838 we again find him in Naples employed by Barbaja as ballet composer and director; and in March, 1839, we read of his death at Rome at the age of 56.
Gallenberg wrote from forty to fifty ballets, but the local records alone retain even the names of most. We add the titles of a few which in their day were reported as of some interest to the general musical public.
[ A. W. T. ]
# A Dictionary of Music and Musicians/Galli, Signora

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Galli-Marié, Celestine

​GALLI-MARIÉ, Celestine, born Nov. 1840 in Paris, was taught singing by her father, Mécène Marié de l'Isle, formerly a singer at the Paris Opera under the name Marié. In 1859 she made her début at Strasburg, and next sang in Italian at Lisbon. About this time she married a sculptor named Galli, who died soon after in 1861. In April 1862, on the production in France of the 'Bohemian Girl,' she attracted the attention of the late Émile Perrin by her performance of the Gipsy Queen, and obtained from him an engagement at the Opéra Comique, of which he was then director. Here she made her début Aug. 12 in 'La Serva Padrona,' revived for the first time for a hundred years. She made a great success in this, and in a revival of Grisar's 'Les Amours du Diable' (1863), since which time she has remained at that theatre to the present time, with the exception ​of engagements in the provinces, in Italy, Belgium, and elsewhere. Among the operas in which she has appeared may be named:—March 24, 1864, 'Lara' (Maillart); Dec. 29, 1864, 'Capitaine Henriot' (Gevaert); Feb. 5, Massé's 'Fior d'Aliza,' and Nov. 17, 1866, 'Mignon'; Nov. 23, 1867, 'Robinson Crusoé,' and Jan. 18, 1872, 'Fantasio' (Offenbach); April 24, 1872, Paladilhe's 'Passant,' at Chollet's farewell benefit; Nov. 30, 1872, Massenet's 'Don César'; March 3, 1875, 'Carmen'; April 11, 1876, Guiraud's 'Piccolino'; Oct. 31, 1877, Poise's 'Surprise de l'Amour,' etc., and in revivals of Hérold's 'Marie,' Grisar's 'Les Porcherons,' Mireille,' singing the parts of Taven and Andrelun, and as the heroine Rose Friquet in Maillart's 'Dragons de Villars.' As Mignon and Carmen she has earned for herself world-wide celebrity. In 1886 she played with a French company for a few nights at Her Majesty's Theatre as Carmen, in which she made her début Nov. 8, and as the Gipsy in 'Rigoletto.' She was well received, but would doubtless have appeared to greater advantage with the support of a better company.
[ A. C. ]
# A Dictionary of Music and Musicians/Gallia

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

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

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

From volume 1 of the work.
[ J. M. ]
# 45th Annual National Thanksgiving Turkey presentation

24 November 1992
Thank you, kids. Thank you very much. Please be seated. And let me just say I want to welcome all of you. Certainly Mr. Cuddie, who is the president of the National Turkey Federation; Stuart Proctor, the executive vice president. I want to especially welcome all the kids: From Kent Gardens Elementary, now, where are you? Hold up your -- there they are, right over – this group, good. Amidon Elementary? Yep. Holy Cross, and maybe some strays out there from other schools. Anyway, everyone is really welcome.
And of course, the special guest of honor, the bird over here. I hope you guys have seen him. After participating in this ceremony year after year, I've come to learn a little about the turkey. For instance, it's hand fed. It gets lots of personal attention. And it's over-weight and reminds me of Ranger, who you may have seen running around here, our dog. We're trying to avoid a confrontation between the turkey and our springer.
But I want to set the guests at ease and especially tell the kids something. After all, this turkey represents America's 45 million turkeys who will begin making their irreplaceable contribution to our Thanksgiving celebration. So take it easy, turkey, we're just here to serve you.
We all know that Thanksgiving is more than just an occasion to stuff yourself. It's a uniquely American holiday, a time for remembering all the good things that we've been given or asking ourselves what good we can find to do. After all, only America would set aside a special holiday just for the purpose of giving thanks. George Washington, in the first Presidential Thanksgiving Day proclamation, spoke of, and here's the quotation, "the duty . . . to acknowledge the providence of Almighty God, to obey His will, to be grateful for His benefits, and humbly to implore His protection and favor . . ."
Well, this turkey must have said some prayers of his own. And we're going to grant him a special Presidential pardon. He will be going into early retirement, I'm told, living out his years on a Virginia children's farm.
I want to thank all of you for being here on this special occasion, welcome all our new friends to the White House. God bless you, and may you have a happy Thanksgiving.

## References

* ↑ Proclamation: a National Thanksgiving," George Washington, 3 October 1789
# A Cyclopaedia of Female Biography/Howard, Catharine

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HOWARD, CATHARINE
Fifth wife of Henry the Eighth, of England, was daughter of Lord Edmund Howard and Joyce, his wife. This marriage proved prejudicial to the Reformation, as Catharine was no friend to the Protestants. She gained such an ascendency over the king, that he gave public thanks to God for the happiness he enjoyed with her. But the next day. Archbishop Cranmer came to him with information that the queen was unfaithful to him. Henry would not at first believe this; and on Catharine's guilt being clearly proved, he wept. She was tried, found guilty, and executed on Tower-hill, in 1542, about seventeen months after her marriage. Catharine acknowledged that she was not innocent at the time of her marriage, having been seduced by a retainer of her aunt's the Duchess of Northumberland, who had taken charge of her at her parents' death, when she was only fourteen; but persisted in asserting her fidelity to the king since their marriage. She was young and beautiful at the time of her death.
# A Cyclopaedia of Female Biography/Howard, Anne, Viscountess Irwin

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HOWARD, ANNE, VISCOUNTESS IRWIN,
Was daughter of the Earl of Carlisle, and married first the Viscount Irwin, and afterwards Colonel Douglas. She was a poetess, and wrote in a very spirited style. She died in 1760. The best ​known of her poems is the one in reply to Pope's sarcastic reflections on the sex, in his "Characters of Women."
# A Cyclopaedia of Female Biography/Huber, Theresa

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HUBER, THERESA,
Daughter of the celebrated philologist Heyne, was married to Louis Ferdinand Huber, son of Michael Huber, professor at Leipsic. ​She was born in 1764, at Göttingen, and was a popular German novelist. During her husband's life, she published several novels under his name. She also edited for some time the Morgenblatt. She died a few years since.
# A Cyclopaedia of Female Biography/Houdetot, Sophie de la Briche, Countess d'

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HOUDETOT, SOPHIE DE LA BRICHE, COUNTESS D',
Was born at Paris, in 1730. Her father was an officer of the government; and she married the Count d'Houdetot in 1748. This lady was the friend of St. Lambert, and was highly esteemed by Rousseau and Marmontel.
The power by which Madame d'Houdetot captivated the gay, handsome, dissipated St. Lambert, or kindled the imagination of Rousseau, was not that of beauty. Her face was plain, and slightly marked with the small-pox; her eyes were not good; she was extremely short-sighted, which made her often appear ungraceful; she was small in person, and, but for her warm kindness of heart and cheerful sunshine of spirit, would have been quite overlooked in the world. To her singular power of charming, Madame d'Houdetot added talents of no common order, though never much cultivated. She was a musician, a poet, a wit; but every thing "par la grace de Dieu" However, all these gifts, and her benevolence of her nature, will not make amends for her bad morals. She died in 1813, aged eighty-three. Her poems were only published as fugitive pieces.