OpenLLM-France/wikimedia huggingface dataset:
# Catholic Encyclopedia (1913)/Ambrogio Calepino

From volume 3 of the work.
An Italian lexicographer, born about 1440 at Calepio (province of Bergamo); died 1510 or 1511. He entered the Augustinian Order in 1458. His Latin dictionary, under the title of "Cornucopiæ", appeared first in 1502 at Reggio. It was reprinted many times during the sixteenth century, the Aldi alone giving no less than eighteen editions from 1542 to 1592. Later editions were considerably enlarged. To the Latin of the original were added equivalents in other languages. Thus we have the Basle edition (1590) which contains eleven languages: "Ambrosii Calepini dictionarium undecim linguarum: respondent autem latinis vocabulis hebraica, græca, gallica, italica, germanica, belgica, hispanica, polonica, ungarica, angelica". The edition in seven languages by Facciolati (Pavia, 1718) was reprinted many times. Calepinus became a common name, a synonym of dictionary or lexicon, and we find titles like the following: "Septem linguarum calepinus, hoc est, lexicon latinum". Calepino also wrote the life of St. John the Hermit which is found in the "Acta Sanctorum" for the 22nd of October (Oct. IX, 748-767).
TIRABOSCHI, Storia della letteratura italiana (Florence, 1812), VII, IV, 1552-1554; Nuova enciclopedia italiana (Turin, 1875----), IV, 636.
C.A. DUBRAY
# Catholic Encyclopedia (1913)/Ambrogio Foppa

From volume 6 of the work.
Generally known as CARADOSS0.
Italian goldsmith, sculptor, and die sinker, b. at Mondonico in the province of Como, 1445, according to some authorities, and according to others in Pavia, the same year; d. about 1527. It is possible that this artist is not correctly known as Ambrogio, but that his Christian name was Cristoforo. He was in the service of Lodovico Il Moro, Duke of Milan, for some years, and executed for him an exceedingly fine medal and several pieces of goldsmith's work. Later on he is heard of in Rome, working for Popes Julius II and Leo X. His will was executed in 1526 and he is believed to have died in the following year. Cellini refers at some length to a medal struck by him in Rome, having upon it a representation of Bramante and his design for St. Peter's, and he speaks of him as "the most excellent goldsmith of that time, who has no equal in the execution of dies". He is believed to have been responsible for the terra-cotta reliefs in the sacristy of San Satiro, works which in their remarkable beauty are almost equal to the productions of Donatello. In addition to the Bramante and Moro medals three others are attributed to him, one representing Julius II, another the fourth Duke of Milan, Francesco Sforza, and the third Gian Giacomo Trivulzio (1448-1518).
A large number of examples of fine goldsmith's work in the sacristies of the various churches of Italy are attributed to Foppa with more or less uncertainty. They especially include reliquaries, morses, and crosiers. He was responsible for a papal mitre. A drawing of this tiara, made for Julius II, is in the print room at the British Museum and was executed at the instance of an English collector named John Talman. An inaccurate engraving of it by George Vertue is also in existence, and this was reproduced by Muntz in his article on the papal tiara. He declares that the pope told his master of ceremonies that it cost two hundred thousand ducats. This wonderful work of art survived the sack of Rome through the accident of its being in pawn at the time, but was deliberately broken up and refashioned by Pope Pius VI. (See Thurston in the "Burlington Magazine" for October, 1895.) Foppa is believed to have designed several perdent jewels, but there is a good deal of uncertainty at present respecting his goldsmith's work, and but little can be attributed to him with anything like authority.
GEORGE CHARLES WILLIAMSON
# Canadian Singers and Their Songs/Alan Sullivan

ALAN SULLIVAN
LIEUTENANT IN ROYAL AIR FORCE
AUTHOR OF "BLANTYRE ALIEN" AND "THE INNER DOOR."
To the Grave of an unknown British Soldier
Knit thyself close, memorial grass, Green be and strong O sacred Sod And, lest a careless traveller pass Unmoved, let every hidden clod Enriched by this once radiant frame, Beneath the ripple of a mound, Pour out such echoes of his name That they shall reach him—underground:
Unmarked—save on the deathless page— He heard, he hastened, fought and fell For a swift perilled heritage So late perceived, but loved so well That this mute clay, half man, half boy, In some divine awakening caught, Set it against all dreams and joy And died in rapture at the thought:
Earth hath her dumb and poignant moods, Her ancient passions of regret, And with elusive pity broods, Though man himself too soon forget: No chill oblivion enters where Her slumberous eyes for death atone, Not solitary is he there— Who rests with her rests not alone
Alan Sullivan
# Canadian Singers and Their Songs/Albert Durrant Watson

ALBERT DURRANT WATSON
AUTHOR OF "IN THE HEART OF THE HILLS," "THE WING OF THE WILD BIRD," "LOVE AND THE UNIVERSE," "THE SOVEREIGNTY OF CHARACTER," ETC.
From "The Aureole." Heart of the Hills.
By Albert Durrant Watson.
Friend of the steadfast heart, When day is done And night falls westward, After all these stern restraints of will, In that glad hour When kind, mysterious Death Rides down the wind And hurricanes of flames Unloose our wings To the great life beyond, Then crush me to your heart And I will fold you As a flower to mine Before the face of God. And we shall mount In chariot of the blast To heights of ecstasy and power, The stern, dark beauty of the sky Unveiled to open view In one tremendous storm-betrothal To Love's immortal youth. - - - - - - - - - - - - - - - - - - - In that new love-land of our dream, Where violet odours With the wild thrush-music blend Beside the singing streams, I'll lay Love's Aureole upon your brow And love you as I love you now.
Albert Durrant Watson
# Canadian Poems of the Great War/Editor's Foreword

Editor's Foreword
GREAT poets are the seers and prophets of a nation—of the world. Their function is to interpret life and nature in terms of beauty and passion, and through imagination and inspiration, reveal the Infinite and the True.
All writers of good verse cannot be great poets, and it is only the works of the latter that permanently endure; but those of minor qualities reflect and influence their own generation, and have an important mission in the evolution of national life.
In proportion as the individual or the nation despises or neglects poetry, there exists a state of moral and spiritual degeneracy. Materialism prevails, and loyal service and generous sacrifice give place to selfishness and unfair advantage. The memories of the young should be stored with beautiful and noble verse.
The centuries seem to mark distinct eras in the development and fashion of poetry. Wordsworth, Coleridge, Burns, Shelley, Keats, Byron, and later, Tennyson, were the dominating leaders of the remarkable school of English poets of the 19th century; and their standards are still potent. Browning cannot be classed with this school. He belongs to the 20th century. And today, Browning, Whitman and Kipling overshadow all others as leaders of poetic thought and expression.
More and more are the poets realizing that the quality of beauty is universal; and hence that there is nothing in this subjective-objective world, outside the pale of artistic expression. More and more are they seeking themes of intense human interest, and striving for climaxes of spiritual beauty.
​To me, the spirit and content of an inspired poem is potential form; and in its natural verbal expression, of necessity organic. The inspiration shapes and perfects the form. This is why I regard the actual form as only, at most, equal in importance to what is expressed.
The old saying, "There is nothing new under the sun," is an absurdity. Universal life is ever evolving or becoming, and new phases are constantly appearing. To detect and reveal these in original and artistic forms is the work of genius. Generally speaking, the world of art is the world of concepts, emotions and actions, illumined by the imagination.
This volume contains most of the Canadian poems of the Great War, which are worth preserving. They are two hundred and twenty in number, representing seventy-three poets. As the poetic expression of a young nation, involved for the first time in a life and death struggle, it is unique, and has psychological and historic value.
For valuable suggestions received the Editor's thanks are particularly due to R. H. Hathaway and M. O. Hammond, of Toronto; to Dr. J. D. Logan, of Halifax; to Alfred Buckley, M.A., of Ottawa; and to A. M. Pound, notary public, of Vancouver.
The Editor is also grateful to the following, for permission to use copyright poems: the poets included, or, in a few instances, the executors of their estates; G. P. Putnam's Sons; William Briggs; Thomas Allen; J. M. Dent & Sons; McClelland, Goodchild & Stewart; Punch, London, Eng.; Canadian Magazine; and University Magazine.
Toronto, Canada, November 1st, 1918
# Canadian Singers and Their Songs/Alexander McLachlan

ALEXANDER McLACHLAN
AUTHOR OF "THE EMIGRANT AND OTHER POEMS," " POEMS AND SONGS," ETC.
Written Beneath A Portrait of Robert Burns
1. Thou of the wild impassioned brain Who poured thy heart in bloody rain And was by thine own passions slain Oh who thy sorrow can compute O'er all the bitter bitter fruit Of instincts trampled underfoot For there’s an angel sits above Guarding the sanctities of love That doth all levity reprove 2 Cold natures never can compute The terrible lifelong dispute Souls such as thine wage with the brute And thus it is we often see Good men all void of charity For souls tossed on a raging sea For here we have had all along One standard measure for the weak and strong And surely surely we are wrong
Alexander McLachlan.
# Canadian Poems of the Great War/The Rose of a Nation's Thanks

THE ROSE OF A NATION'S THANKS
A WELCOME? Oh, yes, 'tis a kindly word, but why will they plan and prate Of feasting and speeches and such small things, while the wives and mothers wait? Plan as ye will, and do as ye will, but think of the hunger and thirst In the hearts that wait; and do as ye will, but lend us our laddies first. Why, what would ye have? There is not a lad that treads in the gallant ranks Who does not already bear on his breast the Rose of a Nation's Thanks!
A welcome? Why, what do you mean by that, when the very stones must sing As our men march over them home again; the walls of the city ring With the thunder of throats and the tramp and tread of feet that rush and run?— I think in my heart that the very trees must shout for the bold work done! Why, what would ye have? There is not a lad that treads in the gallant ranks Who does not already bear on his breast the Rose of a Nation's Thanks!
A Welcome? There is not a babe at the breast won't spring at the roll of the drum That heralds them home—the keen, long cry in the air of 'They Come! They Come!' And what of it all if ye bade them wade knee-deep in a wave of wine,
And tossed tall torches, and arched the town in garlands of maple and pine? All dust in the wind of a woman's cry as she snatches from the ranks Her boy who bears on his bold young breast the Rose of a Nation's Thanks! A welcome? There's a doubt if the lads would stand like stone in their steady line When a babe held high on a dear wife's hands, or the stars that swim and shine In a sweetheart's eyes, or a mother's smile, flashed far in the welded crowd, Or a father's proud voice, half-sob and half-cheer, cried on a son aloud. O the billows of waiting hearts that swelled would sweep from the martial ranks The gallant boys who bear on their breasts the Rose of a Nation's Thanks! A welcome? O Joy, can they stay your feet, or measure the wine of your bliss? O Joy, let them have you alone to-day-a day with a pulse like this! A welcome? Yes, 'tis a tender thought, a green laurel that laps the sword- But Joy has the wing of a wild white swan, and the song of a free wild bird! She must beat the air with her wing at will, at will must her song be driven From her heaving heart and tremulous throat through the awful arch of heaven. And what would ye have? There isn't a lad will burst from the shouting ranks But bears like a star on his faded coat the Rose of a Nation's Thanks!
—Isabella Valancy Crawford.
# Canadian Singers and Their Songs/Agnes Maule Machar

AGNES MAULE MACHAR (FIDELIS)
AUTHOR OF "LAYS OF THE TRUE NORTH," ETC.
The Warders of The Seas.-Aug, 4-5 1914
I
In the solemn midnight watches, while the land lays fast asleep, And silence broods o'er peaceful fields and farms, The battleships of Britain ride forth upon the deep, To meet the bristling Titans-the boast of Teuton arms;— —And Britain's troth to keep! They guard a nation's honour,—an Empire's future hold, Millions of hearts are praying for their prowess and their power, With human hopes full-freighted for ages yet untold, Of Peace and Freedom wrested from Eagle's fateful hour —They speed on-stern and bold! "Lord of Nations! Who dids't shatter a proud Armada`s might, Be their shield and unseen Vanguard"—with one voice a nation cries, "God and the Right" —their war-cry-to nerve them for the fight, To win-for Man and Freedom, where'er their standard flies, The triumph of the Right!
II— Four years later.
Oh mariners of Britain!—Four fateful years ago, Ye heard the sudden summons to the strife That sped you to the trackless seas to curb the haughty foe To guard Britannia's honour—and her life! Your charge ye took whole-hearted;—one trust before you lay, Great Dreadnought or small fishing-smack— the freedom of the sea! To hearts of struggling nations ye strove for strength and stay, Never failing as the bulwark of the free! On quarterdeck or masthead-fog-bound, or tempest tossed While the mountain waves surged hissing o'er the deck, Unhasting and unresting-your brave men held their post, Or calmly went down, singing, mid the wreck! Through moonlight or though starlight, your task was never done, Never-ending was your faithful watch and ward; From the flush of rose dawn, till sank the golden sun, 'Neath the mighty waste of waters that ye guard. For you there's no Trafalgar to strike one fateful blow For the flag that braves the battle and the breeze; Best ye keep, undimmed, the glory of Britain's island story, And—by God's grace,—the freedom of the Seas!
Agnes Maule Machar.
# Canadian Singers and Their Songs/Albert E. S. Smythe

ALBERT E. S. SMYTHE
Easter Eve.
Lines for Lehar's Waltz Strain.
Golden rose the moon of March that still mild night; Silver white through purple pierced
the star: points bright, Not a whisper murmured in the
pines above, Silence lived like music in a dream of love.
Thirty years have vanished like the sunset gleam, Life and death the shadows falling on a stream; Good and ill betrayed us—wrought us passing pains, Peace the only perfect gift the soul attains
Birth has taught us yearning for
Eternal Day; Births to come will set us far that Shining Way; Beauty clothes the pageant, Love preserves it whole; All the mighty magic serves the Sun led soul
Albert E. S. Smythe.
# Canadian Singers and Their Songs/Alexander Louis Fraser

ALEXANDER LOUIS FRASER
AUTHOR OF "SONNETS AND OTHER VERSES," "AT LIFE'S WINDOWS," "FUGITIVES," "THE INDIAN BRIDE," ETC.
"Kin Unknown."
No mother wept when thou didst take thy leave, No home hopes now in vain for thy return, No saddened family for months shall grieve, When from some messenger thy fate they learn.
Still thou art not unclaimed, for Britain knows That thou didst cross the world for sake of her, And thou, brave boy, art brother to all those Whom freedom doth in these scarred fields inter.
What was it made thee quit thy customed task, When wars shrill bugle woke thy quiet vale? Wouldst thou begin anew?—In vain we ask, But now where worth is known they bid thee, 'Hail'.
And what if to this old world thou wast strange, Down storied fields with heroes thou dost range.
Alexander Louis Fraser.
# Canadian Poems of the Great War/Maitland, George H.

Written by the municipal editor of the Toronto Star, November 11, 1918.
George H. Maitland
Municipal Editor of the Toronto Star. Born in Stratford, Ontario, February 25th, 1881, son of George F. and Mary A. Maitland, the latter the author of verses familiar to magazine readers of some decades ago. Won the $50 prize in Victory Loan Contest.
THE BOY WHO LIES OUT YONDER
THESE are the fathers and mothers who wept when the whistles blew, Visioning over and visioning over a little lad they knew; Visioning over and visioning over, and seeing once and again The little lad they had cherished march off—a man—with men; Broken of heart, undone, visioning now in their tears An empty chair . . . and the lonely, empty years.
What shall repay the service which nought on earth can repay? How shall a nation render the thanks in its heart this day? Whistle and horn and clamour, trumpet and shout and song— But the boy who lies out yonder . . . he will sleep long. And the father and mother who lost him steal up to an empty place, The mother with lips a-tremble, the man with his stony face— HIS room, she had kept it ready to welcome him back again, Since the little lad they had cherished marched off—a man—with men.
What shall requite their service which nought on earth can requite? Who shall appraise or name it, who measure its worth aright? Out from the noise and clamour, now while the siren blows, ​What shall a nation whisper, knowing the debt it owes? When the father and mother who lost him steal up to his room to weep, What word shall a nation send them, to lighten the watch they keep? For not in whistles or trumpets, and not in the tunes they play, Shall the broken heart of a mother find comfort and strength this day.
Not in the horns and trumpets—but e'en as the mourners kneel, Thus shall a nation whisper: 'Know ye the pride we feel. Ye who have paid our ransom, paid it in blood and tears, Your sons have bought us freedom. Look! They have cleansed the years. And the thing they have bought us is finer than palace or jewels or gold, The right of the weak to flourish as the strong have flourished of old. Ye—ye have sown in your tears that a world may reap in its joy, Ye also have cleansed the years . . . with the life of your boy.'
These are the fathers and mothers who wept when the whistles blew, Visioning over and visioning over a little lad they knew: Visioning over and visioning over, and seeing once and again The little lad they had cherished march off—a man—with men. They have bought freedom—theirs are the holiest tears— They and that sleeping boy, who have cleansed the years.
The Toronto Star Office, Monday, November 11, 1918.
# Castes and Tribes of Southern India/Dakkala

​Dakkala. — Dakkala or Dakkali is the name of a class of mendicants who beg from Mādigas only. In the Kurnool district they are said to have divided the district with the Mushtis, and not to beg except within their own limits.
The following story is told as regards the origin of the Dakkalas. A smith was asked to make a bottu (marriage badge) for Siva's wedding, and for this purpose required bellows, firepot, hammer, etc. Jāmbuvadu called his eldest son, and prepared the various implements from sundry parts of the body, except the backbone. Being highly pleased at this, the gods endowed the backbone with life, and the son went to his father Jāmbuvadu, who failed to recognise him, and refused to admit him. He was told that he must live as a beggar attached to the Mādigas, and was called Dakkala because he was brought to life from a vertebral column (dakka).
The Dakkalas wander from place to place. They may not enter Mādiga houses, outside which meals are ​given to them by males only, as females are not allowed to serve them. Mādiga women may not tread on the footsteps of the Dakkalas.
# Castes and Tribes of Southern India/Dara

​Dara (stream of water). — An exogamous sept of Māla.
# Castes and Tribes of Southern India/Dakni

​Dakni. — Dakni or Deccani is defined in the Madras Census Report, 1901, as "a territorial name meaning a Musalman of the Deccan; also a name loosely applied to converts to Islam." In the Tanjore district, Muhammadans who speak Hindustani, and claim pure Muhammadan descent, are spoken of as Daknis or Dakanis. In other Tamil districts they are called Patānigal, to distinguish them from Labbais and Marakkāyars. The Daknis follow the Muhammadan ritual except in their marriages, which afford an example of a blend between Hindu and Muhammadan ceremonials. Like Hindus, they erect, at times of marriage, a milk-post of bamboo, to which are tied a two-anna piece, and a bit of sugar-candy done up in a Turkey red cloth. The post is handed to the headman, who decorates it with a garland of flowers and a roll of betel, and places it in a hole made in the court-yard of the house, wherein milk has been sprinkled. On the following day, two big pots are placed near the milk-post, and filled with water by four married couples. Around the pots, nine kinds of seed grains are sprinkled. On the third day, the bridegroom's party proceeds to the house of the bride with thirteen trays of betel, fruits, flowers, sandal paste,and a paste made of turmeric and henna (Lawsonia alba) leaves. The bride is decorated, and sits on a plank. Women smear the face and hands of the bridal couple with the pastes, and one of them, or the bridegroom's sister, ties a string of black beads round the bride's neck. While this is being done, no one should sneeze. Wrist threads (kankanam) are tied on the ​wrists of the bride and bridegroom. On the fourth day, the nikka rite is celebrated, and the newly-married couple sit together while the nalagu ceremony of smearing them with sandal, and waving coloured water (ārati), is performed. The two pots containing water are kept for forty days, and then examined. If the water remains sweet, and does not "teem with vermin," it is regarded as a good omen. The seed grains, too, should by this time have developed into healthy seedlings.
# Castes and Tribes of Southern India/Dammula

​Dammula. — Recorded, in the Madras Census Report, 1901, as a small class of Telugu beggars, and priests in the temples of village goddesses.
# Castes and Tribes of Southern India/Dandi

​Dandi (a staff). — A house name of Korava.
# Castes and Tribes of Southern India/Chōvatton

​Chōvatton. — Priests of Mūttans and Tarakans.
# Castes and Tribes of Southern India/Daivampati

​Daivampati.— Recorded in the Travancore Census Report, 1901, as a caste included among Ambalavāsis,and a sub-division of Nāyar.
# Castes and Tribes of Southern India/Dakku

​Dakku (fear).— An exogamous sept of Māla.
# Castes and Tribes of Southern India/Dandu

​Dandu (army). — A sub-division of Īdiga, and an exogamous sept of Bōya and Kāpu. It has been suggested that the name is not Dandu but Dandē, meaning pole, in reference to the apparatus used by the Īdigas in climbing palm trees for the extraction of toddy. Dandu Agasa, indicating army washerman, occurs as a name for some Marātha Dhōbis in Mysore, whose forefathers probably accompanied armies in times of war.
# CMH 60-3: Infantry, Part I: Regular Army

U.S. Army Center for Military History publication
* ARMY LINEAGE SERIES
* INFANTRY
* Part I:
* Regular Army
* by
* John K. Mahon
* and
* Romana Danysh
* OFFICE OF THE CHIEF OF MILITARY HISTORY
* UNITED STATES ARMY
* WASHINGTON, D.C., 1972
________________________________________
* Library of Congress Catalog Card Number: 74-610219
* First Printing
________________________________________
* Foreword
* The Authors
* Preface
* History of the Organization of the Infantry
** The Era of Revolution
** Through the Second War With England
** The Germinal Period, 1816-1860
** The Civil War
** A Diverse Half Century, 1866-1915
** The First World War
** Between World Wars, 1919-1941
** The Second World War
** World War II to Korea
** The Korean War
** The Pentomic Concept and the Combat Arms Regimental System
** ROAD and Flexible Response
** The War in Vietnam

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse