OpenLLM-France/wikimedia huggingface dataset:
# Come, My Soul, Thy Suit Prepare

Ask what I shall give thee by John Newton
    Come, my soul, thy suit prepare:
    Jesus loves to answer prayer;
    He Himself has bid thee pray,
    Therefore will not say thee nay.
    Thou art coming to a King,
    Large petitions with thee bring;
    For His grace and power are such,
    None can ever ask too much.
    With my burden I begin:
    Lord, remove this load of sin;
    Let Thy blood, for sinners spilt,
    Set my conscience free from guilt.
    Lord, I come to Thee for rest,
    Take possession of my breast;
    There Thy blood bought right maintain,
    And without a rival reign.
    As the image in the glass
    Answers the beholder’s face;
    Thus unto my heart appear,
    Print Thine own resemblance there.
    While I am a pilgrim here,
    Let Thy love my spirit cheer;
    As my Guide, my Guard, my Friend,
    Lead me to my journey’s end.
    Show me what I have to do,
    Every hour my strength renew:
    Let me live a life of faith,
    Let me die Thy people’s death.
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
# Catholic Encyclopedia (1913)/Wipo

From volume 15 of the work.
(WIPPO).
Apparently a native of Burgundy, lived in the first half of the eleventh century. He was chaplain to Emperor Konrad II, whose biography he wrote in chronicle form, "Gesta Chuonradi II imperatoris", and presented to Konrad's son, Henry III, in 1046 not long after the latter was crowned. Wipo fully understands his subject, is fresh and animated, and, though affectionate, not a mere eulogist or a flatterer, for he sees Konrad's failings clearly. But he does not fully grasp the general conditions of the age, especially the emperor's manifold relations to the ruling princes and the Church. His style is simple and fluent, and his language well-chosen. Among his extant writings are the maxims, "Proverbia" (1027 or 1028), and "Tetralogus Heinrici" in rhymed hexameters. Presented to Emperor Henry in 1041. It is a eulogy of the emperor mixed with earnest exhortations, emphasizing that right and law are the real foundations of the throne. He wrote the beautiful Easter sequence, "Victimae paschali laudes", and a touching lament in Latin on Konrad's death. The best edition of his works is that of Breslau, "Wiponis Gesta Chuonradi II ceteraque quae supersunt opera" (Hanover, 1878; German tr. by Pfluger, Berlin, 1877; by Wattenbach, Leipzig, 1892).
POTTHAST, Bibl. hist., II (Berlin, 1896), 1118 sq.; WATTENBACH, Deutschlands Geschichtsquellen, II (Berlin, 1894), 10-16.
PATRICIUS SCHLAGER
# Catholic Encyclopedia (1913)/Winifred Maxwell

From volume 10 of the work.
Countess of Nithsdale, d. at Rome, May, 1749. She was the daughter of William, first Marquis of Powis, who followed James II into exile. She is famous in history for the heroic deliverance of her husband from the Tower on 23 Feb., 1716. Her married life was passed chiefly at the family seat of Terregles, and here she received the fatal news of her husband's defeat at Preston. After concealing the family papers in a spot still pointed out, she hastened to London to intercede for her husband, having little hope however, for, to use her own words: "A Catholic upon the borders and one who had a great following and whose family had ever upon all occasions stuck to the royal family, could not look for mercy". And so it proved; even her personal appeal to George I was disregarded, and Lord Nithsdale was to owe his safety to her alone. With great courage and ingenuity she contrived his escape from the Tower in female dress — on the eve of the day appointed for his execution, according to Lady Cowper's "Diary," 1st ed., p. 85, a reprieve was signed for Lord Nithsdale on the very night of his escape — and after concealing him in London and arranging for his journey to France, this heroic lady returned again to Scotland to secure the family papers which she knew would be of vital importance to her son. In fact her zeal made Lady Nithsdale's position a hazardous one, and King George declared she had done him "more mischief than any woman in Christendom". As soon as she was able she joined Lord Nithsdale abroad and they spent their long exile in Rome, where she survived her husband for about five years. The autograph letter in which Lady Nithsdale gives the account of her husband's escape, and the brown cloak worn by him on the occasion, are now in possession of the Duchess of Norfolk, who represents the Nithsdales in the female line.
FRASER, Book of Caerlareroch (Edinburgh, 1873); PAUL, The Scots Peerage (Edinburgh, 1909), VI; MAXWELL SCOTT, The Making of Abbotsford and Incidents in Scottish History (London, 1897).
M. M. Maxwell Scott.
# Complete Encyclopaedia of Music/A/Aldrighetti, Antonio Lodovico

Aldrighetti, Antonio Lodovico, an Italian nobleman, born at Padua, was profess-or of law there, and wrote a work on music and poetry. He died in 1660.
# Complete Encyclopaedia of Music/A/Aldrich, Rev

Aldrich, Rev. DR. HENRY, appointed dean of Christ's Church, Oxford, in 1389, was a , singular instance of an unprofessional musician. At the same time that he was greatly distinguishing himself as a polemical writer, a polite scholar, a theologian, a profound critic, an architect, and a man of sound judgment and exquisite taste in arts, science, and literature in general, he became so profound and skilled in the theory and practice of harmony, that his compositions, particularly for the church, equal in number and excellence those of the greatest masters of his time. Though not more than five or six of his choral productions continue to be performed, except at Ox-ford, yet he composed nearly forty services and anthems, which are preserved in the third volume of Dr. Tudway's collection, in the British Museum. Besides these, Dr. Aldrich enriched the cathedrals with many admirable compositions, by adapting English words, from the psalms or liturgy, to anthems and motets of Tallis, Bird, Palestrina, Carissimi, Graziani, and Bassani, which were originally set to Latin words, for the Roman Catholic service. Among his compositions of a lighter kind, he amused himself' with setting rounds and catches, of which eight or ten are inserted in the two books of the "Catch Club," or " Merry Companion." The smoking catch, "Good ! good indeed," and the round, "Hark the bonny Christchurch Bells," have been always admired; the first for humor and contrivance, and the second for its pleasing melody and general effect. The admirable choral discipline Dr. Aldrich preserved in his college, at Oxford, for up-wards of twenty years, is still remembered. Indeed, without neglecting more important concerns, he seems to have interested himself in the cultivation and prosperity of the musical art, with as much zeal and diligence as if his studies and pursuits had been circumscribed to that alone. He bequeathed to his college, at his decease, in 1710, an admirable collection of music. Dr. Burney says that, having, in 1778 and 1779, made a catalogue of these musical works, he can venture to say, that, for masses, motets, madrigals, and anthems of the sixteenth and seventeenth centuries, the collection is the most complete of any that he had an opportunity of consulting.
# Complete Encyclopaedia of Music/A/Aleman

Aleman. Amongst the ancient bards of Greece was one Aleman, who was a native of Saris, and lived about 670 years before the Christian era. He was a celebrated composer of love songs ; is remarkable, also, for a most voracious appe, being the greatest glutton of his time.
# Complete Encyclopaedia of Music/A/Aldrovandini

Aldrovandini. See ALDOVANDRINI.
# Complete Encyclopaedia of Music/A/Aleotti, Vittoria

Aleotti, Vittoria. A female composer of madrigals, in the latter part of the sixteenth century.
# Complete Encyclopaedia of Music/A/Alessandro, Romano

Alessandro, Romano, a singer admitted into the pope's chapel in 1560, was like-wise so exquisite a performer on the viol, that he obtained the cognomen of Alessandro della Viola. He composed motets accompanied by many instruments, which seem to have been the first of the kind. Adami says that Alessandro Romano also invented canzonets for four and five voices.
# Complete Encyclopaedia of Music/A/Alexander

Alexander, a native of Asia Minor, was the founder of a sect of persons who thought it a religious duty to keep awake day and night to sing music ; believing that constant singing would fit them for heaven. He died 430.
# Complete Encyclopaedia of Music/A/Alembert, Jean Le Rond D'

Alembert, Jean Le Rond D'. Between the years 1690 and 1711, composed, for Bologna and Venice, several operas. He also published some sacred music.
# Complete Encyclopaedia of Music/A/Aleotti, Rafaele Argenta

Aleotti, Rafaele Argenta, an Augustine monk at Ferrara, published some motets and madrigals in the seventeenth century.
# Complete Encyclopaedia of Music/A/Alessandri, Felice

Alessandri, Felice. Born at Rome in 1742. e went to England in the year 1768, and composed two comic operas for the English stage, "Le Moglie Fedele," and "Il re alla Caccia," which are not devoid of merit. He was the hue. band of Signora Guadagni, an excellent Italian singer. On his return to the continent, he composed many other operas, up to the year 1792.
# Complete Encyclopaedia of Music/A/Accompaniment obligato

Accompaniment obligato. This expression carries with it a sense directly opposite to that of Accompaniment ad Libitum ; and when written at the beginning of a song, solo, sonata, &c., signifies that the accompaniment is indispensable to the just performance of the piece.
# Complete Encyclopaedia of Music/A/Accompany

Accompany. To perform an accessory and subordinate part, calculated to set off and improve the effect of the principal part.
# Complete Encyclopaedia of Music/A/Accompaniment ad libitum

Accompaniment ad libitum, or AD LIB. Accompaniment at pleasure. This phrase implies that the movement, or piece, at the head of which it is placed, may be performed with or without the accompaniment. It does not, however, mean that the performance will be as perfect without as with the accompaniment ; but that the accompaniment may be omitted without any material detriment to the intended effect.
# Complete Encyclopaedia of Music/A/Accomp

Accomp. Accompaniment, abbreviated. A separate instrumental part added to any composition by way of embellishing the piece and enriching the effect.
# Complete Encyclopaedia of Music/A/Accompanist

Accompanist. The performer in music who takes the accompanying part. One who accompanies, or plays the accompaniment to any piece of music for the voice. A person who undertakes to play an accompaniment should be a skilful musician, and ought perfectly to understand the music ; he must possess a quick ear and good taste, or he will mar the beauties of the music. As he will have the pitch to sustain, he must restrike firmly any notes where the voice falters. There should never be any attempt at display, except in the symphony.
# Complete Encyclopaedia of Music/A/Accompaniments

Accompaniments. Those instrumental parts in a composition which do not include the principal or principals, but which are added to relieve them, to supply the necessary chasms, fill up the harmony, decorate and variegate the motive, and heighten the general effect.
# Complete Encyclopaedia of Music/A/Accidentals

Accidentals. Sharps, flats, and naturals are called accidentals because they are used tc change the sound of letters, as the chord, of which these letters are a part, may require ; and because they affect the sound of the letters upon which they are set no farther than the compass of the bar in which they are enclosed. If there be occasion for them in a succeeding bar, they must be again renewed ; but if one measure ends and the next begins with the same note, the accidental character which alters the first note is understood to affect the second. Those flats, and sharps, and naturals which are seen al the commencement of a movement are not accidentals, but are called the Signature, and denote the key in which the piece is to be performed. A sharp, flat, or natural, frequently implies some change of key, or different modulation from that in which the piece commenced, and some consider these signs as equally affecting the key, whether found at the commencement or in the progress of the tune. But we generally designate the flats, sharps, &c., at the beginning, as the signature, and such as come afterwards in the music as accidentals.
EXAMPLES OF THE USE OF THE ACCIDENTAL.
In turns, sometimes the first of the four notes composing it, and at other times the third, are required to be semitones; in which case they must be expressed by an accidental either above or below the sign of the turn, thus: ♯/, /♯, ♭/. The German theorists place the accidental above when the first note is required to be a semitone, and when the third note is a semitone they place the accidental below, as in the above example.
# Complete Encyclopaedia of Music/A/Accolade

Accolade. That brace which binds or includes all the parts of a score. The brace at the beginning of a tune, which shows how many parts move together.
# Complete Encyclopaedia of Music/A/Accompagnamento

Accompagnamento. (I.) An accompaniment.
# Charity in Thought

To praise men as good, and to take them for such, Is a grace which no soul can mete out to a tittle;— Of which he who has not a little too much, Will by Charity's gauge surely have much too little
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
# Charles Comiskey Affidavit/end matter

​Telephones: Central 8075 Automatic 42-351
F. H. STEPHENS
Law and General Reporter
1309 Ashland Block
CHICAGO
* U. S. Dist Court In Equity No. 373
* Fed. League of Prof. Baseball Clubs
* vs.
* Nat. League of Prof. Baseball Clubs, et al.
* Affidavid of Charles A. Comiskey
* FILED JAN 16 1915 AT...........O'CLOCK...........M. J. C. MacMillan
* CLERK
# Charles Baudelaire (James)

* "Charles Baudelaire" in The Nation 22 (April 27, 1876): 279—?.
    — First publication in any form.
* "Charles Baudelaire" in French Poets and Novelists (London: Macmillan & Co., 1878): 72–83.
    — First English book edition.
* "Charles Baudelaire" in French Poets and Novelists (Leipzig: Bernhard Tauchnitz, 1883): ?–?.
    — First Continental book edition.
* "Charles Baudelaire" in French Poets and Novelists (London: Macmillan & Co., 1884): ?–?.
    — Second English book edition.
# Charles Darwin

* Search for titles containing or beginning with: "Charles Darwin."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* The Autobiography of Charles Darwin
* Charles Darwin in the Falklands, 1833
* C. R. Darwin, F.R.S. in Cartoon portraits and biographical sketches of men of the day
* Charles Darwin, Controversial Scientist, Dies at 73
* Obituary Notice of Charles Robert Darwin in Transactions & Proceedings of the Botanical Society of Edinburgh
* "Darwin, Charles Robert," in Encyclopædia Britannica (11th ed., 1911)
* "Darwin, Charles Robert," in The New Student's Reference Work, Chicago: F.E. Compton and Co. (1914)
* "Darwin, Charles Robert," in A Short Biographical Dictionary of English Literature, by John William Cousin, London: J. M. Dent & Sons (1910)

## The Times

* "Obituary: Charles Darwin," in The Times (1882)
* "Funeral of Charles Darwin," in The Times (1882)
* "Editorial: Death of Charles Darwin," in The Times (1882)
* "Editorial: Burial of Charles Darwin," in The Times (1882)

## Littell's Living Age

* "The Late Charles Darwin" in Littell's Living Age, 156 (2015)
* "Charles Darwin and Agnosticism" in Littell's Living Age, 176 (2280)

## Popular Science Monthly

* "Charles Robert Darwin" in Popular Science Monthly, 2 (February 1873)
* "Sketch of Charles R. Darwin, LL.D." in Popular Science Monthly, 21 (June 1882)

### See also

* Author:Charles Robert Darwin
# Charlemagne

* Search for titles containing or beginning with: "Charlemagne."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.

## Reference material

* "Charlemagne," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
* "Charlemagne," in Encyclopædia Britannica (11th ed., 1911)
# Charles Baudelaire

* Search for titles containing or beginning with: "Charles Baudelaire."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Charles Baudelaire, French author
* Charles Baudelaire, literary critical essay by Henry James
# Charles Campbell v. Northwest Eckington Improvement Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
229 U.S. 561
Charles Campbell v. Northwest Eckington Improvement Company
Argued: and submitted April 23 and 24, 1913. --- Decided: June 9, 1913
Mr. John Ridout for appellant.
Mr. Holmes Conrad for appellees.
Mr. Justice Pitney delivered the opinion of the court:

## 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
# Charles Baker

* Search for titles containing or beginning with: "Charles Baker."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
# Complete Encyclopaedia of Music/B/Balthazarini, Beaujoyeuy

Balthazarini, Beaujoyeuy. An Italian musician, who composed several ballads and pieces of music in the reign of Henry III.
# Complete Encyclopaedia of Music/B/Balziani, Leonardo

Balziani, Leonardo. A violin composer at the beginning of the last century.
# Complete Encyclopaedia of Music/B/Bamberger, Madame

Bamberger, Madame. A celebrated German singer at Frankfort.
# Complete Encyclopaedia of Music/B/Band

Band, or BANDA. A company of practical musicians, associated for the purpose of performing together on their respective instruments. Some bands use brass instruments only, and are called brass bands ; others use various instruments, and such as are common in orchestras.
# Complete Encyclopaedia of Music/B/Baltzar, Thomas

Baltzar, Thomas, was born at Lubeck, and was esteemed the finest performer on the violin of his time. He went to England in the year 1658, and lived about two years in the house of Sir Anthony Cope, of Hanwell, in Oxford-shire. He was the great competitor of Davis Mell, who, though a clockmaker by trade, was, till Baltzar went there, allowed to be the finest performer on the violin in England ; and after his arrival, he divided with him the public applause, it being agreed that Mell excelled in the fineness of his tone and the sweetness of his manner, and Baltzar in the power of execution and command of the instrument. Moreover it is said o~ the latter, that he first taught the English the prac tice of shifting, and the use of the upper part of the finger board. Baltzar was given to .tltem peranco, and is said to have shortened h days by excessive drinking. He was buried in Westminster Abbey, in the year 1663.
# Complete Encyclopaedia of Music/B/Banchieri, Ariano

Banchieri, Ariano. A celebrated Italian composer between the years 1598 and 1638.
# Complete Encyclopaedia of Music/B/Banczakewic

Banczakewic, a chapel-master at Warsaw, composed some sacred music, and was a warm promoter of that style of composition.
# Complete Encyclopaedia of Music/B/Balvansky

Balvansky published twelve Hongroises at Vienna in 1795.
# Complete Encyclopaedia of Music/B/Bambini, F

Bambini, F., of Bologna, went to France, when ten years of age, with his father, who was manager of a company of Italian comedians. They performed about the year 1760 in Paris. F. Bambini composed several operas, also some instrumental music.
# Complete Encyclopaedia of Music/B/Band ore

Band ore. (I.) A stringed instrument of the lute kind, used many years ago, but now abandoned.
# Complete Encyclopaedia of Music/B/Bell of a horn

Bell of a horn. The large, open part of the horn, from which the sound ultimately issues.
# Complete Encyclopaedia of Music/B/Bellamy, Thomas Ludford

Bellamy, Thomas Ludford, was born in the parish of St. John, Westminster, in 1770. He was the son of Richard Bellamy, the celebrated bass singer of his day, from whom he received his first musical education. his next instruction was from Dr. Cooke ; and afterwards, when his voice changed to a bass, he became a pupil of the celebrated Tasca, with whom he was to have gone abroad in the year succeeding to that in which Tasca died. Thus disappointed Bellamy pursued his studies in London for some time, and was appointed deputy to his father, and others, in the King's Chapel at St. James's, and in St. Paul's and Westminster Abbey. He was also employed, from time to time, at the Ancient Concerts ; on one of which occasions, and some time preceding the last commemoration of Handel, in 1791-2, he was particularly noticed by Joah Bates, who kindly volunteered giving him a series of lessons in singing ancient music. In consequence of such instruction, Bellamy's performance at those concerts was soon crowned with the most flattering success. In the year 1794, finding little hopes of promotion but in the event of deaths, Bellamy resolved on accepting an offer made him to go to Ireland, as agent to a nobleman's estates, which he enjoyed but a short time, as certain mortgages were foreclosed, and he was superseded, and left to speculate in a theatrical career, which commenced by his being appointed stage manager to the Dublin Theatre, in the year 1797. Here he was extremely successful, and in the year 1800 purchased into the Manchester, Chester, Shrewsbury, and Litchfield theatres, as joint proprietor ; which property he sold in the y ears 1803-4, and purchased the Belfast, Londonderry, and Newry theatres, becoming sole proprietor. This last speculation proving unfortunate, Bellamy accepted an engagement at Covent Garden Theatre for five years, and was also appointed a member of the Ancient and Vocal Concerts, Oratorios, he. In 1812 he was engaged at Drury Lane for five years, retaining his concert engagements and the country meetings, in conjunction with Bartleman, who was his friend and contemporary (man and boy) until the day of his death ; upon which event Bellamy was appointed principal bass singer of the Ancient Concerts. The also held the appointment of master of the choir
of his Catholic majesty's chapel, under the Spanish embassy, to which he was nominated in the year 1819. Bellamy had not time to write for publication, all his hours unoccupied in public performances having been engaged in tuition, in the conduct of his music academy, established upon the Logierian system, since the year 1818.
# Complete Encyclopaedia of Music/B/Bellanda, Ludovico

Bellanda, Ludovico. A very celebrated Italian vocal composer about 1590.
# Complete Encyclopaedia of Music/B/Bel metallo di voce

Bel metallo di voce. An expression used by the Italians to signify a clear and brilliant-toned soprano voice.
# Complete Encyclopaedia of Music/B/Bella, Domenico Dalla

Bella, Domenico Dalla. A performer on the violoncello, and composer in Italy, in the beginning of the eighteenth century.
# Complete Encyclopaedia of Music/B/Bellaver, Vincent

Bellaver, Vincent. A poet and composer of madrigals at Venice in 1568.
# Complete Encyclopaedia of Music/B/Bellerman, Constantin

Bellerman, Constantin, born at Erfurt in 1696, published many vocal and instrumental musical works between the years 1726 and 1735.