OpenLLM-France/wikimedia huggingface dataset:
# 20th century Models/07

| Warner's FB 2. | Warner's FB 2.     Long Waist.      14-inch clasp.      Five hooks.      Three side steels.      Sizes, 18 to 30 in. Made of superfine sateen; boned with Coraline; boned bust; flossed with silk and trimmed with embroidery. White, drab and black.      $10.50 per doz. |
| Warner's Sunrise.      13½-inch clasp.      Five hooks.      Two side steels.      Sizes, 18 to 30 in. Made of jean, stripped with sateen; rust-proof bon- ing, which absolutely prevents rusting of bones and steels; boned bust; flossed with silk; trimmed at upper edge with silk embroidery. White and drab.      $6.00 per doz. | Warner's Sunrise. |
| Warner's Miss's Corset. | Warner's. Miss's Corset.      12-inch clasp.      Five hooks.      Sizes, 18 to 27 in. Adapted to misses from 12 to 15 years of age; with shoulder straps. Boned with Coraline; made of jean, stripped with sateen; light in weight, and soft, giving the figure full opportunity for development; flossed with silk and trimmed with lace; two bone buttons put on with tape for hose supporters. White or drab.      $5.50 per doz. |
# 20th Century Fox Film Corp. v. Cablevision Systems Corp.

Overturned on appeal, August 4, 2008. For the decision of the court of appeals, see Cartoon Network, LP v. CSC Holdings, Inc..
* Court Documents
* Opinion of the Court
478 F. Supp. 2d 607 (S.D.N.Y. 2007).
UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK
06 Civ. 3990 (DC) TWENTIETH CENTURY FOX FILM CORPORATION et al., Plaintiffs,
- against -
CABLEVISION SYSTEMS CORPORATION et ano, Defendants.
06 Civ. 4092 (DC) THE CARTOON NETWORK LP, LLLP et ano, Plaintiffs,
- against -
CSC HOLDINGS, INC. et ano, Defendants.
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
# 20th century Models

A product catalogue published in 1898-9.

### Pages

* I. Front page.
* II. INDEX.
* 1. Title page
* 2. Introductory and Terms,
* 3. La Reine Corset
* 4. Warner's 333, 222, 616,
* 5. Warner's AAA, FFF, 607,
* 6. Warner's 601, Eclipse Nursing, 600,
* 7. Warner's FB 2, Sunrise, Misses'
* 8. Warner's 620, 444, 609,
* 9. Warner's 608, 888, 999,
* 10. Warner's E02, 65, 67,
* 11. Warner's 69, 64, 62,
* 12. Warner's 52, 53, 50,
* 13. CORSET TALK.
* 14. Dr Warner's Coraline Corset.
* 15. Dr Warner's High Bust Health
* 16. Warner's KKK, AAA, Cold Wave,
* 17. Warner's 66, 617,68,
* 18. Warners, 55, 51, Sensation, Lenox
* 19. Warner's Record, Minerva, Triumph, Trophy
* 20. Warner's Seldom, La Violette, Good Luck Misses, Gem
* 21. Warner's Gleam, La Violette Summer, Truimph, Intrepid
* 22. Warner's Summer Corsets: Icicle, Wonder, Sprite, Sylph
* 23. Warner's Perfection Waists
* 24. Warner's Perfection Waists
* 25. Specimen Newspaper Advertisements
* 26. Back page.

### Images

* List of images
This work is in the public domain in the United States because it was published before January 1, 1929.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Baroni, (Leonora)

Was the daughter of Adriani Baroni, an excellent female singer of Mantua. With less beauty than her mother, Leonora excelled her in the sweetness and power of her voice, and had a more profound knowledge of music. She had a good understanding and a pleasing talent for poetry; and, what was still more, her conduct was without reproach. In a treatise on the Music of Italy, published at Paris, in 1672, she is said, from her knowledge of musical composition, perfectly to have understood what she sung, and to have pronounced the words clear and full. She sung with modest confidence ​and gravity. The powers of her voice were extensive, true, sweet, and clear; sinking and rising without effort and without grimace. Her whole deportment was dignified by a noble simplicity, neither contaminated by design or affectation, corrupted by the flatteries of the gay, or the poetical applauses of the learned.
Her poems appear in different collections.
F.C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Basseporte, (Magdalen)

BASSEPORTE, (MAGDALEN) a French Artist of the last Century,
From her childhood, followed the art of painting, and excelled in birds, plants, flowers, insects, reptiles, and almost all that belongs to natural history. Her works are regarded as chefs-d'œuvre, where art rivals nature for correctness in design, for delicacy and precision of colours. In 1788, though 78 years of age, this indefatigable artist still ventured to expose herself, for whole days, to the rays of the sun, in the most painful attitudes, to copy, for the cabinet of the king, any thing that nature offered to her view of beautiful or rare in the royal gardens.
F.C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Bartoli, (Minerva)

BARTOLI, (MINERVA) an Italian Poetess of Urbino,
Of repute at the end of the sixteenth and beginning of the seventeenth century.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Bassi, (Laura)

BASSI, (LAURA) an Italian Lady, Native of Bologna, of great Virtue and Learning,
Received a liberal education, not only in the more common accomplishments of the sex, but in the sciences and learned languages. Her singular attainments procured her, in 1732, the honourable title of Doctor of Philosophy. In 1745, she began to read lectures on experimental philosophy; which she continued to do till her death, in 1778. She married Dr. Joseph Verati.
Watkins's Biographical Dictionary.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Baux, (Huguette de)

BAUX, (HUGUETTE DE) a Provençal Poetess, Maid of Honour to Ermengarde, Countess of Foix, and afterwards Wife of the Lord of Aulps, in Provence.
She was much celebrated by a famous troubadour or minstrel, named Pere Roger; and, being suspected of looking upon him with too favourable an eye, he was assassinated by some of her relations.
F.C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Barre, (Madame)

BARRE, (MADAME) Mistress of Lewis XV, King of France,
A weak and licentious character, who became a victim to the guillotine, on account of her riches, which awakened the rapacity of the revolutionary faction.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Barri de S. Aunez, (Constance de Ceseli)

BARRI DE S. AUNEZ, (CONSTANCE DE CESELI) Wife of.
The town of Leucates, in Languedoc, being besieged by the faction of the league in 1590, M. de Barri, who was the governor, was taken prisoner, under pretence of demanding an interview with him. He, however, contrived, at the moment, to write to his wife, whose talents and courage he was well acquainted with. He begged her to take the command of the town, and to defend it to the last extremity. Not losing a moment's time, she obeyed him, maintaining order and shewing herself often upon the walls with a pike in her hand, encouraging the garrison by her example. When the assailants perceived her plans and intrepidity, they sought to intimidate her by threatening to put ​her husband to death, if she did not give up the place. She had large possessions, and offered all willingly to ransom him; but said she would not buy even his life by an act of perfidy, at which he would blush. They put him likewise to the most cruel tortures, that he might command his wife to open the gates to them; but he braved their menaces; and, being obliged to raise the siege, they were atrocious enough to strangle him.
On receiving this news, Madame de Barri was struck with grief and horror; but feeling that a Christian must not give way to vengeance, she opposed the wishes of the garrison to make reprisals on some gentlemen who were their prisoners; and, in the hour of anguish, exerted herself to save their lives.
To do honour to her virtue, Henry IV. commanded her still to enjoy the government of Leucates, which she held for twenty-seven years.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Batilda

This princess was stolen by the Danes or Normans, who ravaged all the maritime coasts of Europe, pillaged the houses of the inhabitants, and carried into captivity all they met with. She was taken to France, bought by Archambaud, mayor of the palace, and made cup-bearer at his table. The youth, the beauty, and modest graces of the young slave, awakened the warmest admiration in the bosom of her master: he gave her her liberty, and, on the death of his wife, offered her his hand. But, remembering her high birth, Batilda thought that of a subject unworthy of her. Yet she refused it with such address, that the pride which influenced her was not suspected. He redoubled his importunities, to avoid which she retired to a more distant situation, which she never left, till he took another wife. Visiting this lady, she was seen by the young king, who fell passionately in love with her. At that time they were not scrupulous about alliances. Clovis espoused the fair Batilda, whose beauty raised her to the throne, and whose merit deserved it. She became a mother to the poor and a consolation to the distressed; shewing her power only by her beneficence.
After the death of the king, Batilda was regent and guardian of her children; Clothair III. Childeric II. and Thierry III. She governed the kingdom wisely during the minority of the first; but suspicions, jealousies, and fatal enmities arising between her ministers, she became disgusted with the court and its intrigues, and executed a project she had long formed, of retiring into ​an abbey near Paris, which she had founded. She there took the habit of a nun, and submitted to the abbess she had established, with the greatest humility and cheerfulness. Batilda was canonised by Pope Nicholas I.
Letters of St. Foix; &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Baudonivia

BAUDONIVIA, a Nun at Poictiers, at the End of the 6th and beginning of the 7th Century,
Was educated in the monastery of St. Croix, at Poictiers, founded by Radegonda. This princess wished the nuns belonging to it, to be equally respectable for piety and knowledge; and Baudonivia, entering into the views of the foundress, attached herself to the sciences. On the death of Radegonda in 587, she was intreated to write her life, which had been already done by a bishop. Baudonivia confined herself merely to notice what he had omitted. Her work remains in the first volume of the Acts of the Saints of St. Benoit.
F. C.
# A Dictionary of Music and Musicians/Carter, Thomas

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

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

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

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

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Cartoni

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

From volume 1 of the work.
​CARPENTRAS, or IL CARPENTRASSO, the sobriquet of Eliazar Genet, born at Carpentras, Vaucluse, before 1500. Being in priest's orders he became a member of the Pope's Chapel, and wrote some Magnificats and Lamentations, the latter of which induced Leo X to make him Bishop in partibus in 1518. About the same time he became the Pope's Chapel-master. He was much employed in negotiations by both Leo and Clement VII, and died after the year 1532—the date of two out of four volumes of music which he published. Vol. 1 contains 5 masses, written on the most secular tunes—'A l'ombre d'un buissonet,' 'Encore irai-je jouer,' etc.; vol. 2, the Lamentations of Jeremiah; vol. 3 is Liber Hymnorum; vol. 4, Liber Magnificat. Carpentras' music enjoyed a great fame at the time, and was much published (see the list in Fétis). His Lamentations were so favourite as to keep those of Palestrina out of the Pope's Chapel for many years. M. Fétis had examined them, however, and finds them inferior not only to Palestrina but to Josquin des Près.
# A Dictionary of Music and Musicians/Cartier, Jean

From volume 1 of the work.
​CARTIER, Jean Baptiste, a French violinist, born at Avignon in 1765; the son of a dancing-master. His first teacher on the violin was an Abbé Walrauf. In 1783 he went to Paris and continued his studies under Viotti. His progress must have been rapid, as he very soon, on Viotti's recommendation, obtained the post of accompanyist to Marie Antoinette, which he held up to the outbreak of the Revolution. In 1791 he entered the band of the opera as assistant-leader and solo-player. From 1804 he was member of the Emperor Napoleon's private band under Paisiello and, after the Restoration, of the Royal band till 1830. He died at Paris in 1841. Cartier was a good violinist, and it was his great merit ​to have revived the noble traditions of the old Italian school of violin -playing by publishing new editions of the works of Corelli, Tartini, Nardini and other great masters, which at that time were all but unknown in France. He thereby caused not only his own numerous pupils but all the young French violinists of his time to take up the study of these classical works for the violin. In his work 'L'art du violon' (Paris 1798 and 1801) Cartier gives a comprehensive selection from the violin music of the best Italian, French, and German masters, which is rightly regarded as a practical history of violin-literature in the 17th and 18th centuries.
[ P. D. ]
# A Dictionary of Music and Musicians/Carvalho, Marie

​CARVALHO, Marie Caroline Félix, née Miolan, born Dec. 31, 1827, at Marseilles, received instruction from her father, Felix Miolan, an oboe player, and from Duprez at the Conservatoire, Paris (1843–47), where she obtained the first prize in singing. She made her début in the first act of 'Lucia,' and in the trio of the second act of 'La Juive,' at Duprez's benefit Dec. 14, '49. In 1849–56 she sang at the Opéra Comique, and made her reputation as Isabelle in 'Le Pré aux Clercs,' as the heroines on the respective productions of 'Giralda' and 'Les Noces de Jeannette,' July 20, '50, and Feb. 4, '53. In the latter year she married Carvalho, then engaged at the same theatre. From 1856–69 she sang at the Lyrique, where she first appeared in a new opera, 'La Fanchonnette' (Clapisson), and where she increased her reputation as the foremost female lyric artist of the French stage. She appeared as Cherubino, Zerlina ('Don Giovanni'), with Nilsson (Elvira) and Charton-Demeur (Donna Anna), as Pamina to the Astrifiammante of Nilsson, and in new operas of Massé and Gounod, i. e. 'La Reine Topaze,' Dec. 27, '56, 'Faust,' March 19, '59, 'Philémon et Baucis,' Feb. 18, '60, 'Mireille,' March 19, '64, and 'Roméo et Juliette,' April 27, '67. 'The opera stage has rarely seen a poet's imagining more completely wrought than in the Marguerite of Mme. Miolan-Carvalho … I had … watched the progress of this exquisitely finished artist with great interest … finding in her performances a sensibility rarely combined with such measureless execution as hers—and it has been fancied hardly possible to a voice in quality like hers, a high and thin soprano with little volume of tone—but I was not prepared for the delicacy of colouring, the innocence, the tenderness of the earlier scenes, and the warmth of passion and remorse and repentance which one then so slight in frame could throw into the drama as it went on. Rarely has there been a personation more complete or more delightful. Those know only one small part of this consummate artist's skill that have not seen her in this remarkable Faust.' (Chorley). In '69–70 and later she sang alternately at the Grand Opera and the Opéra Comique until her final retirement, which took place in scenes from 'Faust' and 'Mireille' at the Opéra Comique, June 9, 1885. She sang in a duet from the latter opera, with Faure, at the concert given at the Trocadéro on June 8, 1887, for the benefit of the sufferers in the fire at the Opéra Comique. She first appeared in England at the Royal Italian Opera as Dinorah, with great success, on the production of that opera ('Pardon de Ploërmel') July 26, '59. She sang every season until '64 inclusive, and again in '71–72, and worthily maintained her reputation—viz. as Margaret on the production of 'Faust,' Oscar ('Ballo in Maschera'), the Zerlinas (Mozart and Auber), Matilde, Donna Elvira, Rosina ('Barbiere' and 'Nozze'), Catarina ('L'Etoile du Nord'), etc., and in the small part of the Happy Shade in 'Orfeo.' Mme. Carvalho has also sung at Berlin, St. Petersburg, and elsewhere.
[ A. C.]
# A Dictionary of Music and Musicians/Casali, Giovanni

From volume 1 of the work.
[ G. ]
# A Continuation of a Voyage to New Holland

* information about this edition.
* related portals: Australia.
* sister projects: Wikidata item.
Dampier's journal detailing his travelings in Timor, New Guinea, and surrounding areas.
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
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
# A Contemplation upon Flowers

BRAVE flowers—that I could gallant it like you, And be as little vain! You come abroad, and make a harmless show, And to your beds of earth again. You are not proud: you know your birth: For your embroider'd garments are from earth.
You do obey your months and times, but I Would have it ever Spring: My fate would know no Winter, never die, Nor think of such a thing. O that I could my bed of earth but view And smile, and look as cheerfully as you!
O teach me to see Death and not to fear, But rather to take truce! How often have I seen you at a bier, And there look fresh and spruce! You fragrant flowers! then teach me, that my breath Like yours may sweeten and perfume my 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
# A Constantine Czarowicz in Warsaw

Serial article in Once a Week.
* Part 1
* Part 2
* Part 3
# A Dictionary of Music and Musicians/Kellogg, Clara

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

From volume 2 of the work.
​KELLY, Michael, was born in Dublin about 1764, was taught singing by Passerini, Peretti, and St. Giorgio, and ultimately by Rauzzini, on whose advice his father sent him to Naples to study. Before quitting Dublin, however, a fortuitous circumstance led to his appearance on the stage as the Count in Piccinni's 'Buona Figliuola,' and that again to his performing the hero in Michael Arne's 'Cymon,' and Lionel in 'Lionel and Clarissa.' On May 1, 1779, he quitted Dublin, and arrived in Naples May 30. He placed himself under the tuition of Finaroli, head of the Conservatorio of La Madonna di Loreto. He subsequently studied under Aprile, with whom he visited Palermo, and then went successively to Leghorn, Florence, Bologna, and Venice, ultimately reaching Vienna, where he was engaged at the Court theatre. There he remained four years, enjoying the intimate friendship of Mozart, who on the production of his 'Nozze di Figaro' allotted to Kelly (whose name he spells 'Occhely ' in his MS. catalogue) the parts of Basilio and Don Curzio. Being anxious to visit England Kelly obtained leave of absence from the Emperor, and in Feb. 1787 quitted Vienna in company with Stephen Storace, his mother and sister—Signora Storace—and Attwood. He appeared at Drury Lane on April 20, in his old part of Lionel, and continued there as first tenor until he quitted the stage. He also sang at the Concert of Ancient Music, the Handel performances in Westminster Abbey, and in the provinces. In 1789 he made his first appearance as a composer by the production of the music to two pieces called 'False Appearances' and 'Fashionable Friends,' and from that date till 1820 furnished the music for 62 dramatic pieces, besides writing a considerable number of English, Italian and French single songs, etc. In 1793 he was engaged at the King's Theatre, of which he was for many years acting manager. On Jan. 1, 1802, he opened a music shop in Pall Mall adjoining the Opera House, but this promising speculation failed owing to his inattention, and in 1811 he was made a bankrupt. He also engaged in the wine trade, and this circumstance, combined with the suspicion that some of Kelly's compositions were derived from foreign sources, led Sheridan to propose that he should inscribe over his shop, Michael Kelly, Composer of Wines and Importer of Music.' On Sept. 5, 1811, at Dublin, Kelly made his last appearance on the stage. In 1826 he published his 'Reminiscences' in 2 vols. 8vo. This entertaining work, which reached a second edition in the same year, was written by Theodore Hook from materials furnished by Kelly. Its personal notices of Mozart are both interesting and important, and have been done justice to by Otto Jahn (2nd ed. ii. 242, etc.) Kelly died at Margate, Oct. 9, 1826. The following is a list of the pieces for which he composed the music:—
[ W. H. H. ]
# A Dictionary of Music and Musicians/Kemp, Joseph

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

[ G. ]
# A Dictionary of Music and Musicians/Keiser, Reinhard

From volume 2 of the work.
​KEISER, Reinhard, an eminent German opera-composer, born 1673 near Weissenfels, Leipzig. He was grounded in music by his father, a sound church composer, and afterwards attended the Thomas-schule and the University of Leipzig, at the same time coming frequently before the public at the many concerts renowned even then for their excellence. In 1692 he was commissioned to set a pastoral, 'Ismene,' for the court of Brunswick, and its success procured him the libretto of 'Basilius.' In 1694 he removed to Hamburg, and there remained for 40 years a favourite with the public. 'Irene' (1697) was the first of a series of 116 operas composed for the Hamburg theatre, each containing from 40 to 50 airs, besides operas in collaboration with others, and sacred music. Keiser was luxurious and self-indulgent, and led an adventurous life, but without sacrificing his love of art or his taste for intellectual enjoyments. In 1700 he opened a series of winter-concerts, which formed a remarkable combination of intellectual and sensual gratification; the most accomplished virtuosi, the finest and best-looking singers, a good orchestra, and carefully selected programmes, furnishing the former, and a banquet of choice viands and wines the latter. In 1703 he assumed the direction of the opera in conjunction with Drüsicke, but his partner absconded, and the whole burden fell upon the shoulders of Keiser. He proved equal to the emergency, for in one year (1709) he composed 8 operas, married the daughter of a Hamburg patrician, and musician to the municipality 'Oldenburg,' and having completely reinstated his affairs, plunged into all his former extravagant indulgence. In 1716 he resumed his concerts; in 1722 visited Copenhagen and was appointed Capellmeister to the King of Denmark; in 1728 was made Cantor and Canon of the cathedral, and again turned his attention to sacred music. He composed his last opera, 'Circe,' in 1734, and died in 1739 [App. p.689 "Sept. 12"]. His wife and daughter are said to have been accomplished singers.
[ A. M. ]