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

See also Swaffham on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​SWAFFHAM, a market town in the south-western parliamentary division of Norfolk, England; 111 m. N.N.E. from London by the Great Eastern railway. Pop. of urban district (1901), 3371. The town lies high, in an open, healthy district. The church of St Peter and St Paul is Perpendicular, a handsome cruciform structure with central tower, and has a fine carved roof of wood. The town, which has a town-hall and assembly rooms, possesses iron foundries and a considerable agricultural trade, with cattle fairs. At Castle Acre, 4 m. N., are the picturesque ruins of a Cluniac priory, founded shortly after the Conquest by William de Warren. These comprise portions of the church, including the fine west front, arcaded, with three Norman doors and a Perpendicular window, with the chapter-house, cloisters and conventual buildings. The majority of the remains are Norman or Perpendicular. The castle of the same founder has left little but its foundations, but it was erected within the protection of a remarkable series of earthworks, which remain in good condition. These are apparently in part Roman, in part earlier. The site, on which Roman coins, pottery and other remains have been discovered, was on an ancient trackway running north and south. It may be noted that de Warren founded a similar castle and priory at Lewes in Sussex. The church of St James, Castle Acre, contains good Early English and Perpendicular work.
# A Dictionary of Music and Musicians/Cassation

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

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

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

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

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Casentini, Signora

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

​CASTELLAN, Jeanne Anaïs, born at Beaujeu (Rhone), Oct. 26, 1819, received instruction in singing from Bordogni and Nourrit at the Paris Conservatoire, where she remained six years; she obtained an accessit in solfeggio in '31, first premium '33, second premium in singing '35, and finally a first premium in singing and second premium in opéra comique in '36. She went on the operatic stage in Italy, and sang with success at Turin, Milan, and Florence (where in '40 she married Enrico Giampetro, a singer), also at Vienna, etc. She next sang in the United States and Mexico. She first appeared in England May 13, '44, at a Philharmonic concert, with such success that she was reengaged at a subsequent concert on June 10, also at concerts given by Sterndale Bennett, Benedict, etc. In the winter she sang in Italian opera in St. Petersburg. On April 1, '45, she first appeared at Her Majesty's as Lucia, with fair success, and remained there during that and the two next seasons, as the successor to Persiani, singing, among other parts, Zerlina ('Don Giovanni'), Fiordiligi ('Così fan Tutte'), Amina, Linda di Chamouni, Adina ('L'Elisire d'Amore'), and Isabella, on production in Italian of 'Robert le Diable,' May 4, '47, for Jenny Lind. From '48 to '52, except '49, when she was at the Grand Opera, Paris, where she was the original Bertha in 'Le Prophète,' she sang each season at Covent Garden, where she proved herself a pre-eminently ​useful singer in many parts of a different character, viz. Margaret of Valois, on the production in Italian of 'Les Huguenots,' July 20, '48, Juliet, Bertha, Isabella, Elvira ('Masaniello'), Agatha ('Der Freischütz'), Anais ('Mosè in Egitto'), Matilde ('Guillaume Tell'), Ninetta, Rosina, Abigail ('Nabuco'), Pamina, Glicera on production in England of Gounod's 'Saffo' (Aug. 12, '51), Cunegunda on production of Spohr's 'Faust,' July 15, '52 (the composer interpolated an air for her from his opera 'Der Zweikampf'), Pamina, and Leonora ('Fidelio'). Madame Castellan sang frequently at the Philharmonic and other concerts, and at the festivals at Norwich, Gloucester, Worcester, and at Birmingham four times, from '49 to '58, where in '55 she originally sang the soprano music in Costa's 'Eli,' and in '58 the same in Leslie's 'Judith.' Madame Castellan also played in Paris in Italian in 1847, and for the last time in 1859, as well as in Italy and elsewhere. She has long since retired from public life.
[ A. C. ]
# A Dictionary of Music and Musicians/Casini, Giovanni

From volume 1 of the work.
​CASINI, Giovanni Maria, was a Florentine priest, and born towards the close of the 17th century. Fétis gives 1675 as the date of his birth, but it is not ascertained. He came to Rome early in life, but not before he had learnt the elements of counterpoint in his native town. At Rome he was successively the pupil of Matteo Simonelli and Bernardo Pasquini, under the last-named of whom he perfected himself as an organ player. The only post which he is known to have held was that of organist in the cathedral of Florence. He was simply a perverse man of talent who elected to join the ranks, and to add one or two more to the absurdities, of those musical reactionists who tried to stop the progress of the art in the 17th century. He followed in the wake of Doni Vicentino and Colonna in endeavouring to revive the three old Greek 'genera' of progression, viz. the diatonic, the chromatic, and the enharmonic. Fétis, indeed, says that, as several enthusiastic pedants of his class had done before him, he constructed a clavecin in which the notes represented by the black keys were subdivided, so as to obtain an exact equalisation of the semitones. Baini does not carry him this length, but only states him to have adopted the views of those who thus wasted their labour and ingenuity. In his account of Casini the last-named biographer tells us that the most celebrated of these instruments was one which he purchased himself from motives of patriotism to prevent such a curiosity being taken out of Italy. It was a cembalo, which had been constructed in 1606 at the ​expense of Camillo Gonzaga, Count of Novellara. It had four octaves, each divided into 31 notes, and as the highest of the treble was in octaves to the lowest of the bass, it had 125 keys in all, black and white. He bought with it a four-stringed instrument, noted to correspond with it, so that the two could easily be tuned in unison.
[ E. H. P. ]
# A Dictionary of Music and Musicians/Cassel, Guillaume

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

From volume 1 of the work.
​CASTANETS. A pair of castanets (or castagnettes) consists of two small pieces of hard wood, shaped somewhat like the bowl of a spoon, or a scallop shell. These are hinged together by a cord, the ends of which pass over the thumb and first finger of the performer. The remaining fingers strike the two halves together, either in single strokes or in trills; the instrument emitting a deep hollow click, which, although not a musical note, is nevertheless not disagreeable to the ear. The performer has usually a pair in each hand. It is a Moorish and Spanish instrument, and is intended for accompanying dances. Its use by ballet-dancers is well known.
When required to be played in the orchestra, to accompany dance music, it is best to attach a pair, half on each side, to a flat piece of hard wood, ending in a stick about eight inches long. By shaking this apparatus, the required effect is produced, without the necessity of fitting the castanets to the performer's fingers, who generally is playing some other instrument, and must suddenly take up the castanets to play a few bars.
[ V. de P. ]
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Part 2

PART II. CONVINCING.

## Section I.—Describing Formal Religion.

* Long have I seem’d to serve thee, Lord
* Still for thy loving kindness, Lord
* My gracious, loving Lord
* The men who slight thy faithful word

## Section II.—Describing Inward Religion.

* Author of faith, eternal Word
* How can a sinner know
* Thou great mysterious God unknown
* Upright, both in heart and will
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 45

HYMN 45. L. M.
1SHRINKING from the cold hand of death, I too shall gather up my feet; Shall soon resign this fleeting breath, And die, my father's God to meet.
2Number'd among thy people, I Expect with joy thy face to see: Because thou didst for sinners die, Jesus, in death, remember me!
3O that without a lingering groan I may the welcome word receive; My body with my charge lay down, And cease at once to work and live!
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 90

* HYMN 90. L. M.
1THUS saith the Lord of earth and heaven, The King of Israel and his God, Who hath for all a ransom given, And bought a guilty world with blood: "I am from all eternity; To all eternity I am: There is none other God but Me; Jehovah is my glorious Name.
2"The Rise and End, the First and Last, The Alpha and Omega I; Who could, like me, ordain the past, Or who the things to come descry? Foolish is all their strife, and vain, To' invade the property divine; 'Tis mine the work undone to' explain, To call the future now is mine.
3"Fear not, my own peculiar race; I have to thee my counsel show'd, The word of sure prophetic grace, And told thee all the mind of God. Ye are my witnesses, to you My name and nature are made known; Ye only can your seal set to, That I am God, and God alone."
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 46

HYMN 46. L. M.
1THE morning flowers display their sweets, And gay their silken leaves unfold, As careless of the noontide heats, As fearless of the evening cold.
2Nipt by the wind's unkindly blast, Parch'd by the sun's directer ray, The momentary glories waste, The short-lived beauties die away.
3So blooms the human face divine, When youth its pride of beauty shows: Fairer than spring the colours shine, And sweeter than the virgin rose.
​4Or worn by slowly-rolling years, Or broke by sickness in a day, The fading glory disappears, The short-lived beauties die away.
5Yet these, new rising from the tomb, With lustre brighter far shall shine; Revive with ever-during bloom, Safe from diseases and decline.
6Let sickness blast, and death devour, If heaven must recompense our pains Perish the grass, and fade the flower, If firm the word of God remains.
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 728

HYMN 728. C. M.
The heavenly Canaan.
1THERE is a land of pure delight, Where saints immortal reign: Infinite day excludes the night, And pleasures banish pain.
2There everlasting spring abides, And never-withering flowers: Death, like a narrow sea, divides This heavenly land from ours.
3Sweet fields beyond the swelling flood Stand dress'd in living green: So to the Jews old Canaan stood, While Jordan roll'd between.
4But timorous mortals start and shrink To cross this narrow sea; And linger, shivering on the brink, And fear to launch away.
5O could we make our doubts remove, Those gloomy thoughts that rise, And see the Canaan that we love, With unbeclouded eyes!
6Could we but climb where Moses stood, And view the landscape o'er, Not Jordan's stream, nor death's cold flood, Should fright us from the shore.
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 46 (2)

HYMN 46. P. M.
1COME, let us anew Our journey pursue, Roll round with the year, And never stand still till the Master appear.
2His adorable will Let us gladly fulfil, And our talents improve, By the patience of hope, and the labour of love
3Our life is a dream; Our time, as a stream, Glides swiftly away; And the fugitive moment refuses to stay.
4The arrow is flown; The moment is gone; The millennial year Rushes on to our view, and eternity's here.
5O that each in the day Of his coming may say, "I have fought my way through; I have finish'd the work thou didst give me to do."
6O that each from his Lord May receive the glad word, "Well and faithfully done; Enter into my joy and sit down on my throne."
# A Collection of Hymns, for the Use of the People Called Methodists (1830)/Hymn 727

HYMN 727. 8's.
"I long to be dissolved."
1O WHEN shall we sweetly remove, O when shall we enter our rest, Return to the Sion above, The mother of spirits distrest! That city of God the great King, Where sorrow and death are no more; But saints our Immanuel sing, And cherub and seraph adore.
2Not all the archangels can tell The joys of that holiest place, Where Jesus is pleased to reveal The light of his heavenly face; When caught in the rapturous flame, The sight beatific they prove, And walk in the light of the Lamb, Enjoying the beams of his love.
3Thou know'st, in the spirit of prayer, We long thy appearing to see, Resign'd to the burden we bear, But longing to triumph with thee: 'Tis good at thy word to be here, 'Tis better in thee to be gone, And see thee in glory appear, And rise to a share in thy throne.
4To mourn for thy coming is sweet, To weep at thy longer delay; But thou, whom we hasten to meet, Shalt chase all our sorrows away. ​The tears shall be wiped from our eyes, When thee we behold in the cloud, And echo the joys of the skies, And shout to the trumpet of God.
# 1911 Encyclopædia Britannica/Van der Stappen, Charles

See also Charles van der Stappen on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VAN PER STAPPEN, CHARLES (1843-1910), Belgian sculptor, was born in Brussels, September 1843. His first contribution to the Brussels Salon was " The Faun's Toilet " of 1869, and thereafter he began to produce work of a high and novel order in every class of sculpture, and soon, along with Paul de Vigne, became recognized as the leader of the section of the new Belgian school of sculpture which, while aiming at truth to life, allowed itself nevertheless to be inspired by the classic perfection of the art of Greece and the spirit of the Italian Renaissance. Van der Stappen has shown his greatest power in decorative sculpture) such as we see in the decoration on the Palais des Postes, Brussels (1872), as well as the pediment "Orchestration" for the Conservatoire de Musique, and the noble bronze group, "The Teaching of Art," on the facade of the Palace of Fine Arts, Brussels. Among his other decorative work are the statues for the Alhambra Theatre and the caryatides for the house of the architect M. de Curte (1874). His best-known monuments are those to "Alexandre Gendebien" (1874) and "Baron Coppens," at Sheel (1875). His statues include "William the Silent," set up in the Square du Petit Sablon, "The Man with the Sword," and "The Sphinx"—the last two in the Brussels Museum. The bronze group "Ompdrailles " was acquired by the Belgian government (1892). In 1893 the sculptor began his collaboration with Constantin Meunier for the elaborate decoration of the botanical gardens of Brussels, and the result of the connexion may be ​seen in “The Builders of Cities,” a group which might almost have come from his companion, so strongly is it imbued with the sentiment and illustrative of the types of the "socialistic art" of Meunier.
See Charles van der Stappen, by Camille Lemonnier; Les Artistes belges contemporains, by E. L. de Taye; The Renaissance of Sculpture in Belgium, by O. G. Destree (London, 1895).
# 1911 Encyclopædia Britannica/Vanadinite

See also Vanadinite on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VANADINITE, a mineral consisting of lead chloro-vanadate, (PbCl)Pb$_4$(VO$_4$)$_3$, crystallizing in the hexagonal system and isomorphous with pyromorphite and mimetite (q.v.). The crystals are usually six-sided prisms terminated by the basal planes, but are sometimes modified by numerous pyramidal planes which exhibit parallel hemihedrism. Rounded crystals and groups also occur. The colour is usually light brown or yellow, but crystals from Arizona are bright red. Owing to isomorphous replacement of the vanadium by phosphorus and arsenic, the specific gravity varies from 6.6 to 7.2; a variety containing much arsenic is called endlichite. The hardness is 3. The mineral is one of secondary formation in veins of lead ore. It was first found in Mexico, and in 1801 was asserted to contain a new element, which was called "erythronium"; this was later proved to be identical with the subsequently discovered element vanadium. Other well-known localities are Wanlockhead in Dumfriesshire, Kappel (Eisen-Kappel), near Klagenfurt in Carinthia, Arizona and New Mexico.  (L. J. S.)
# 1911 Encyclopædia Britannica/Van der Weyden, Roger

See also Roger Van der Weyden on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VAN DER WEYDEN, ROGER (c. 1400–1464), Flemish painter, also known as Roger de la Pasture, Rogier de Bruxelles, &c, was born at Tournay, where in 1427 he entered the studio of Robert Campin. He established himself in Brussels about 1435. He was in Italy in 1440–1450, but his visit shows no result on his style, which owes nothing to Italian models; and he returned to Brussels, where he died on the 18th of June 1464. His vigorous, subtle and expressive painting and popular religious conceptions had considerable influence on the art of Flanders and Germany. Memlinc was his greatest pupil; and his place in the early Flemish school is second only to that of the Van Eycks. He was not a pupil of Jan van Eyck, as was at one time supposed. His principal paintings were: a "Descent from the Cross" (1440), now in Madrid, and another (1443) in the church of St Pierre at Louvain; a triptych (1438–1440), now in the Berlin Museum; "Madonna with Saints" (1450), at the Stadel Institute, Frankfort; a "Last Judgment" (1451), in the hospital of Beaune, France; the portraits of Philip the Good (Antwerp Museum) and Charles the Bold (Brussels Museum), painted about 1456–1458; the "Altarpiece of St John" and the triptych from Middelburg (Berlin Museum); an "Entombment of Christ" (National Gallery); a "Woman Crying" (Brussels Museum); "Descent from the Cross" (Louvre); "Adoration of the Magi" (Old Pinakothek at Munich); "Descent from the Cross" (the Hague); "Seven Sacraments" (Antwerp Museum); "Descent from the Cross" (Brussels Museum). Some of these latter, and others, are only doubtfully attributed to the master. The “Crucifixion” in the Brussels Museum, assigned either to him or to Memlinc, and containing portraits of the Sforzas, probably represents Roger van der Weyden in some of the principal figures at least, though Memlinc may have completed the picture.
There was a younger Roger van der Weyden (c. 1450–1529), to whom a brilliant "Mary Magdalen" in the National Gallery is attributed.
There are Lives of the elder Van der Weyden by A. Wauters (1856) and Alex. Pinchart (1876).
# 1911 Encyclopædia Britannica/Vancouver (Canada)

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​VANCOUVER, a city and port in the province of British Columbia, Canada, on the southern side of Burrard Inlet. Pop. (1906) about 45,000. It is the western terminus of the Canadian Pacific railway. The harbour of Vancouver is one of the finest natural harbours in the world. The city is the largest in British Columbia, and is the chief Canadian shipping port for Japan, China, Australia and the islands at which the C.P.R. mail steamers call. There are regular lines of steamers running between Vancouver and Alaska and the points of connexion with the Yukon territory, as well as lines to Puget Sound and San Francisco in the United States. The port also has regular and frequent communication by steamer with Victoria, and is the headquarters of an extensive coasting trade. In 1886, soon after its establishment, a fire swept, the whole town out of existence, but the inferior wooden buildings at first erected have been largely replaced by stone and brick structures, giving a handsome appearance to the principal streets. Vancouver has well-paved streets and is well supplied with water, electric lighting, electric cars and all the improvements of a modern City. Stanley Park, a large reserve of 900 acres, is one of the principal pleasure resorts. There is also fine sea-bathing at English Bay on the outskirts of the city. The " McGill University College of British Columbia ” at Vancouver is one of the colleges of McGill University (Montreal). There are a sugar refinery and cooperage works, as well as large sawmills, shingle factories and many other industrial concerns. A large wholesale trade is carried on with all the settlements of the province. Vancouver is the centre of the important timber industry of British Columbia.
# 1911 Encyclopædia Britannica/Vancouver Island

See also Vancouver Island on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VANCOUVER ISLAND, the largest of an archipelago of innumerable islands which fringes the Pacific coast of Canada, being at the same time the largest island on the west coast of North America. It forms part of British Columbia. It extends from 48° 20' to 51° N. and from 123° to 128° 30' W., and is thus 285 m. long and from 40 to 80 m. wide, with an area of about 20,000 sq. m., being nearly the size of Nova Scotia, which occupies a corresponding position on the Atlantic coast. It is bounded on the south by the Strait of Juan de Fuca, and is separated from the mainland of the province by the Strait of Georgia and Queen Charlotte Sound. A partially submerged range of mountains, which has been termed the Vancouver Range, runs parallel to the coast of British Columbia; a portion of this range ​forms Vancouver Island, and it again rises above the level of the sea farther north, forming the Queen Charlotte Islands. The coast-line is generally precipitous. The west coast is much broken by bays and inlets—the transverse valleys of the sunken range—which penetrate far inland. Among these may be mentioned the Alberni Canal, which is 20 m. long with a fine harbour at its head, the width of the inlet varying from a half to .one mile; Nootka Sound, 6 m. wide, and sending three arms inland which are from 40 to 160 fathoms deep, as well as Clayoquot, Esperanza, Kyuquot and Quatsino Sounds, which also penetrate deeply into the island. The general height of the mountain-range on Vancouver Island is from 2000 to 3000 ft.; some peaks are 6000 ft.; and Victoria Peak is 7484 ft. high. The island is composed largely of crystalline and metamorphic rocks, but contains some cretaceous areas which hold extensiveibeds of coal, especially on the east coast. These are mined at Nanaimo, Ladysmith and other points. The island is covered everywhere with an exceedingly dense forest, which makes its interior very difficult to traverse, so that there are still portions of the island which have not been thoroughly explored. These forests yield immense supplies of magnificent timber, which together with the coal-field and fisheries constitute the chief resources of the island. There are some level tracts on the south-east coast, as well as in the narrow, well-watered valleys of the interior, which afford excellent agricultural land on which cereals of all kinds, as well as all the fruits of the temperate zone, flourish, and which are also suitable for raising sheep and cattle; The climate of Vancouver Island, especially in the south, is wonderfully mild for the latitude—as mild as that of Great Britain, with dryer summers. The mean temperature of December at Victoria in the south of the island is about 41° Fahr., while that of July is about 60°. In the north and west the rainfall is greater than on the south and east coasts.  (F. D. A.)