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

See also Winburg on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​Winburg, a town in the Orange Free State, 90 m. N .E. by rail of Bloemfontein. Pop. (1904) 2762, of whom 1003 were whites. It is built by the banks of a tributary of the Vet affluent of the Vaal, and is a trading centre for a large grain and pastoral district. It is joined to the trunk railway from Port Elizabeth to the Transvaal by a branch line from Smaldeel, 28 m. N .W. The town was founded in 1837 by Commandant H. Potgieter, one of the voortrekers, and was named by him in commemoration of a victory gained over the Matabele chief Mosilikatze. It became the capital of a quasi-independent Boer state, which included considerable areas north of the Vaal. In 1848 the town and district were annexed to Great Britain and thereafter followed the fortunes of the Orange river sovereignty (see Orange Free State). In the Boer War of 1809–1902 Winburg was one of the Boer centres in the guerrilla fighting which followed the fall of Pretoria.
# A Dictionary of Music and Musicians/Don Carlos

From volume 1 of the work.
​DON CARLOS, (1) An opera seria in 3 acts, words by Tarantini, music by Costa; produced at Her Majesty's Theatre, London, June 20, 1844. (2) Grand opera in 5 acts, words by Demèry [App. p.617 "Mery"] and Du Locle, music by Verdi; produced at the Grand Opéra, Paris, March 11, 1867, and in London, at Her Majesty's Theatre, June 4 of the same year.
# A Dictionary of Music and Musicians/Doles, Johann

​DOLES, Johann Friedrich, born in 1716 at Steinbach in Saxe-Meiningen, was educated at the Schleusingen Gymnasium, where he availed himself of instruction in singing and in playing on the violin, clavier, and organ. In 1738 he went to Leipzig for a course of theology at the University, and while there pursued his musical studies under J. S. Bach. His compositions, however, bear little trace of Bach's influence; though fluent and correct, they have none of that great master's depth and grandeur. Doles ​would seem to have been more affected by the Italian Opera, with which he became familiar by constant attendance at performances given for the Saxon court at Hubertsburg. His light, pleasing, and melodious compositions, together with the charm of his manners, rapidly brought him popularity at Leipzig. In 1743 he was appointed conductor of the first Gewandhaus Concerts; and on March 9, 1744, he was commissioned to write a Festival Cantata in celebration of the anniversary of their foundation. In that same year he was appointed Cantor at Freiburg, where he wrote, in 1748, on the occasion of the hundredth anniversary of the Peace of Westphalia, the Singspiel, out of which arose the famous dispute between Biedermann, Mattheson, and Bach. In 1755 he succeeded Gottlob Hasser as Cantor of the Thomasschule and also as director of the two principal churches, which posts he held until 1789, when old age and failing health compelled him to resign them. In the spring of 1789 Mozart visited Leipzig, and on April 22 he played on the organ at St. Thomas's Church, and made his well-known remark to Doles about Bach's music. [See Mozart, vol. ii. p. 392 b.] It was probably on the same occasion that J. C. Barthel played before Mozart at Doles's house. [See Barthel, J. C. ] And in the following year Doles published his cantata to Gellert's words, 'Ich komme vor dein Angesicht' (Leipzig, 1790), dedicated to his friends Mozart and Naumann. Special interest attaches to this work, because its preface records Doles's opinions as to the way in which sacred music should be treated, and those opinions have little in common with the traditions of J. S. Bach. It is plain, indeed, that although Doles was proud of having been Bach's pupil, and therefore unwilling to depreciate him openly, he took no pains whatever, during his directorship at Leipzig, to encourage and extend the taste for his great master's works. Bach's church-music was almost entirely neglected both by him and his successor, J. A. Hiller. Doles died at Leipzig on Feb. 8, 1797.
[ A. H. W. ]
* ↑ They were then called 'das grosse Concert' and were held in a private house; but almost immediately after their commencement they were interrupted by the outbreak of the Seven Years War. [See vol. i. p. 592, 3.]
* ↑ See Bitter's J. 8. Bach, iii. 229. and Spitta's J. S. Bach. iii. 255 f. {Engl. ed.)
# A Dictionary of Music and Musicians/Dominant

From volume 1 of the work.
​DOMINANT is the name now given to the 5th note of the scale of any key counting upwards. Thus G is the dominant in the key of C, F in that of B♭, and F♯ in that of B. It is so called because the key of a passage cannot be distinguished for certain unless some chord in it has this note for root; for which reason also it is called in German 'Der herrschende Ton.' The dominant plays a most important part in cadences, in which it is indispensable that the key should be strongly marked; and it is therefore the point of rest in the imperfect cadence or half close, and the point of departure to the tonic in the perfect cadence or full close. [Modes.]
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Dommer, Arrey von

[ G. ]
# A Dictionary of Music and Musicians/Don Quixote

From volume 1 of the work.
​DON QUIXOTE, a comic opera in 2 acts; words by G. Macfarren, music by G. A. Macfarren; produced at Drury Lane, Feb. 3, 1846.
# A Dictionary of Music and Musicians/Don Giovanni

From volume 1 of the work.
​DON GIOVANNI—or, full title, Il dissoluto punito, ossia il Don Giovanni—opera buffa in 2 acts; words by Da Ponte; music by Mozart. Produced at Prague Oct. 29, 1787 (the overture written the night before); at Vienna May 7, 1788, with 3 extra pieces, 'In quall,' 'Mi tradi,' 'Dalla sua pace'; in London, King's Theatre, April 12, 1817. Autograph in possession of Mme. Viardot Garcia.
# A Dictionary of Music and Musicians/Don Pasquale

From volume 1 of the work.
​DON PASQUALE, opera buffa in 3 acts; music by Donizetti. Produced Jan. 4, 1843, at the Italiens, Paris; in London, Her Majesty's Theatre, June 30, 1843.
# A Dictionary of Music and Musicians/Dolce

From volume 1 of the work.
​DOLCE, i. e. sweetly; a sign usually accompanied by piano, softly—p dol., and implying that a sweet melodious feeling is to be put into the phrase. Beethoven (op. 59, no. 1) has mf e dolce; and Schumann begins the Finale of his E♭ Symphony with f dolce, which is difficult to realise.
# A Dictionary of Music and Musicians/Domino Noir, Le

From volume 1 of the work.
​DOMINO NOIR, LE. Opéra comique in 3 acts, words by Scribe, music by Auber; produced Dec. 2, 1837. Translated by Chorley and produced in English (an earlier attempt had failed) Feb. 20, 1861, at Covent Garden.
# A Dictionary of All Religions and Religious Denominations/Davidists

DAVIDISTS, or David-Georgians, the followers of David George, of Delft, in the sixteenth century, who acquired great reputation by his prudent conversation. He deplored the decline of vital and practical religion, and endeavoured to restore it among his followers; but rejected, as mean and useless, the external services of the church. Many extravagancies are charged on him, which perhaps were founded on the unguarded expressions of his illiterate zeal. He was condemned for a heretic after his death, and his body burned; but he left disciples, which appear to be men of good report.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 164. Crosby, Eng. Bap. vol. i. p. 64.
# A Dictionary of All Religions and Religious Denominations/Damianists

DAMIANISTS, disciples of Damian, bishop of Alexandria in the sixth century. Their opinions were similar to those of the Angelites.
# A Dictionary of All Religions and Religious Denominations/Dissenters

*DISSENTERS, all who dissent from the doctrines of the church of England, of which the principal denominations are -Presbyterians, Independents, and Baptists; to which may be added Quakers, Methodists, and many others. See Nonconformists.
# A Dictionary of All Religions and Religious Denominations/Daleites

*DALEITES, the followers of David Dale, a very industrious manufacturer, a most benevolent Christian, and the humble pastor of an independent congregation at Glasgow. At first he formed a connexion with the Glassites, in may of whose opinions he concurred; he separated from them, chiefly on the ground of preferring practical to speculative religion and christian charity to severity of church discipline. As he grew rich by industry, he devoted all his property to doing good, and ranks high among the philanthropists of his age.

## Original footnotes

* ↑ Scotch Theolog. Dict.
# A Dictionary of All Religions and Religious Denominations/Diggers

DIGGERS, a name given to those in the fifteenth century, who, being persecuted, were obligated to hold their assemblies in caverns and caves dug in the earth. They are said to have despised the church of Rome and its ministers.

## Original footnotes

* ↑ Broughton, vol. i. p. ?28.
# A Dictionary of All Religions and Religious Denominations/Dancers

DANCERS, a sect which arose at Aix-la-Chapelle in 1373, whence they spread through Liege, Hainault, and other parts of Flanders. It was customary for persons of both sexes, publicly, as well as in private, to begin dancing of a sudden; and, holding each others' hands, to continue their motions with extraordinary violence, till they dropt breathless together. They affirmed, that during these intervals of agitation, they were favoured with wonderful visions. Like the Flagellants, they wandered about from place to place; had recourse to begging for their sustenance; and treated with the utmost contempt both the priesthood and the church.
The clergy supposed them to be possessed, and applied exorcism, as they say, with complete success. M. Bonnet, however, gives the honour of these holy dances to the Catholic church, and F. Menestrier says the choir originally received its name from being the part of the church where the priests used to dance together; and the custom of religious dancing was continued by the Brandons in France as low down as the beginning of the eighteenth century.

## Original footnotes

* ↑ Mosheim, vol. iii. p. 206.
* ↑ Burney's Hist. of Music, vol. ii. p. 27.
# A Dictionary of All Religions and Religious Denominations/Diaconoftschins

*DIACONOFTSCHINS, the followers of Alexander, a Deacon (hence their name) of the church of Vetka, from which he separated in 1706, from some dispute relative to the chrism and the sign of the cross; and this sect has since separated itself into three or four minor ones, all equally zealous dissenters. See Raskolniks.

## Original footnotes

* ↑ Pinkerton's Greek Church, p. 302.
# A Dictionary of All Religions and Religious Denominations/Dimoerites

DIMOERITES, See Apolinarians.
# A Dictionary of Music and Musicians/Persuis, Louis

From volume 2 of the work.
​PERSUIS, Louis Luc Loiseau de, born at Metz May 21, 1769, studied under his father, one of the musical staff of the Cathedral, and soon became a good violinist. Having entered the orchestra of the theatre, he fell in love with an actress, and followed her to Avignon. Here he had opportunities of completing his studies, and he also read a great deal of sacred music. Being of an ardent and impetuous character, he began to compose before he was 20, and his first work, an oratorio 'Le Passage de la Mer Rouge,' was produced at the Concerts Spirituels in 1787, but was not published. By this time he had settled in Paris, where his violin-playing was appreciated, especially in the orchestras of the Opéra and the Theatre National. Active, ambitious, and self-confident, he managed to produce his dramatic compositions, and on the foundation of the Conservatoire in 1795, succeeded in obtaining the professorship of the violin. This post he lost in 1802 on the dismissal of his friend Lesueur; but in 1804 he became chef du chant at the Opéra, and afterwards, through Lesueur's interest, was appointed conductor of the Emperor's court concerts, and (1810–15) conductor of the orchestra of the Académie. In this capacity he showed a high order of ability. He was indeed born to command, and the first lyric stage of Paris was never better administered than during the short time (1817–19) of his management. Prematurely exhausted by his feverish mode of life, he died in Paris on Dec. 20, 1819, of pulmonary consumption. A fortnight before his death he received the Order of St. Michel from Louis XVIII, as he had before received the Legion of Honour from Napoleon.
[ G. C. ]
# A Dictionary of Music and Musicians/Peschka, Minna

From volume 2 of the work.
[ A. C. ]
# A Dictionary of Music and Musicians/Perry, George

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

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Peters, Carl Friedrich

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Petreius, Johann

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

From volume 2 of the work.
[ G. C. ]
# A Dictionary of Music and Musicians/Perti, Jacopo

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Peter, St.

From volume 2 of the work.
[ G. ]
# A Cyclopaedia of Female Biography/Gleim, Betty

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GLEIM, BETTY,
Known as a writer on German literature and female education. ​was born in 1781. Her grandfather, J. L. W. Gleim, and several literary friends, contributed greatly to the development of her natural talents. From her earliest youth, she felt a strong bias towards the calling of a teacher. She considered herself in duty bound to devote her life to the amelioration of the mental condition of her sex. She established a female school, which continued to flourish for a long time as a model institution for the region of the country in which she lived. Her work on Cookery obtained for her quite a celebrity as a housekeeper, and went through seven or eight editions. She next published "The German Reader." Then followed "The Education of Females in the Nineteenth Century." Soon afterwards appeared "The Education of Women, and the assertion of their dignity in the various Conditions of Life." She also prepared several primary grammars, and a number of other school-books, upon various topics. Her works have proved of much utility, and her life was a lesson to all who wish to do good to their race. She died March 27th., 1807, at the Institution founded by herself, a fitting monument of her earnest philanthropy
# A Cyclopaedia of Female Biography/Girardin, Delphine de

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GIRARDIN, DELPHINE DE,
A daughter of the Celebrated Sophie Gay, and the wife of the poet Girardin, was born in Aix-la-Chapelle, in 1808. She has gained a high reputation among French poets. In 1820, she obtained the prize of the Academic Française; her theme was "An Eulogy on the Sacrifice and Devotion of the French Physicians and Kuns during the prevalence of the Cholera." In 1827, she was chosen a member of the Tiber Academy, at Rome, an honour never before conferred on a woman. Her larger poems are "Le Retour," and "Napoline." A collection of her smaller poems has been published under the title of "Essais Poetiques." But her prose works, written chiefly since her marriage, are now more popular than her poems. Perhaps she has gained, not only in intellectual culture, but in the art of using her resources to the best advantage, by her union with a man of such acknowledged talents as M. Emile de Girardin, who has shewn the real nobleness of genius—that which does not fear a rival in his wife. Certain it is, that her fictitious narratives evince intellectual powers of the highest order. She has a very striking originality of thought, while her skill in the development of characters, her penetration into motives, and her power of unravelling the twisted threads that impel human inconsistency, are really wonderful. "Le Marquise de Pontignac," "La Canne de M. de Balzac," "Contes d'une vielle Fille," and "L'Ecole des Jouraalistes," are among the best of her works.
# A Cyclopaedia of Female Biography/Glover, Julia

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GLOVER, JULIA,
The maiden name of this lady was Betterton; she was born in 1780, in the town of Newry, Ireland, where her father was the manager of a small provincial company. Her career as an actress extends over a period of half a century, and presents many interesting facts for the biographer, associated as it is with that of Mrs. Siddons, the Kembles, and all the theatrical notabilities of that histrionic era. At the age of ten. Miss Betterton was considered a kind of infant phenomenon; and at fifteen we find her taking such difficult characters as Miss Hoyde, Lydia Languish, Julia, and Imogen, with signal success. In 1797, she appeared on the Drury Lane stage, as Elwyna, in Hannah More's "Percy;" and from that time until quite recently, when she took her farewell at the same theatre, she has maintained her position as one of the most popular of English actresses. She has shone almost equally in tragedy and comedy, but her efforts in the latter line have been generally considered as most successful.
In 1800, Miss Betterton married Mr. Samuel Glover, who was supposed to be heir to a large fortune, but this proved a fallacy; he was an idle and dissolute man, and his extravagance and un​kindness rendered a separation necessary. Mrs. Glover has had the sole charge of rearing and educating her eight children, and has performed her maternal duties in an exemplary manner. One of her sons is distinguished as a popular musical composer, and another is a clever tragedian, as well as a good amateur painter; her daughter Phyllis came out at the Haymarket, and gave great promise, but she died young. "Looking back," says a contemporary reviewer, "upon Mrs. Glover's long and brilliant career on the stage, we may pronounce her one of the most extraordinary women and accomplished actresses that ever graced the profession of the drama."
# A Cyclopaedia of Female Biography/Glenorchy, Wilhelmina Maxwell, Lady

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GLENORCHY, WILHELMINA MAXWELL, LADY,
Distinguished for her piety and benevolence, was born at Preston, In North Britain, in 1742. Lovely, agreeable, wealthy, and allied to a noble house, her premature widowhood, and a severe illness, induced her in her twenty-third year to retire from the gaieties of the world, and devote her time wholly to religious duties. She exerted herself principally for the education of youth, and trained up hundreds of children to fill useful stations in society. She endowed a free-school at Edinburgh, built four chapels, and founded and endowed schools in different places, besides educating several young men for the ministry, and bestowing large sums in private acts of benevolence. To enable her to carry out these schemes, she denied herself luxuries, and in every way practised the greatest economy. She died in 1780, leaving the greater part of her property to charitable purposes.
# A Cyclopaedia of Female Biography/Glyn, Miss Isabella

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GLYN, MISS ISABELLA,
Celebrated for her great and versatile talent as an actress, was born In Edinburgh, in 1828; her parents were strict presbyterians, and strongly opposed her inclination for the stage; but from this decided bent of her genius she was not to be turned; and having, when on a visit to England, been solicited to undertake the leading female character in a performance got up at St. James' Theatre, by a company of amateurs, she made so successful a debût, that it decided her future path in life. After this she went to Paris, and studied for a while under M. Michelot, of the Conservatoire, but circumstances obliged her to return home in 1846, and she then determined to devote herself entirely to the English drama. Her growing reputation attracted the attention of Charles Kemble, who interested himself in her advancement, aided her in the study of Shakspere, and finally procured for her a hearing at the Theatre Royal, Manchester: this was in 1847, the character being that of Lady Constance, in King John. This successful representation obtained for her an engagement at the Olympic, where she appeared as Lady Macbeth; and Juliana, in "The Honeymoon."
In 1848, we find her at Sadlers Wells Theatre, taking the leading tragic characters; and she continued adding to her reputation by each fresh performance. Her progressive steps of characterization were Volumnia, in "Coiolanus;" Hermoinc, Belvidera, Queen Catharine, Margaret of Anjou, and Portia; Isabella, in "Measure for Measure;" Emilia, in "Othello;" Julia, in "The Hunchback;" Isabella, in Southern's tragedy, one of the greatest tests to which the powers of an actress can be put; Bianca, in "Fazio;" and Webster's Duchess of Malfi; in her performance of which, in 1852, she is said to have "put the crowning point to her professional fame."
For majesty of deportment, and purity as well as power of tragic expression. Miss Glyn now stands unrivalled; she is a worthy pupil of the Kemble school, and her private life is irreproachable. If all actresses were like her, the drama might be, and would be indeed a great moral teacher; as influential for good as it, alas I too often is now for evil.
# A Cyclopaedia of Female Biography/Godiva

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GODIVA,
The name of a beautiful lady, sister of Therald de Burgenhall, sheriff of Lincolnshire, and wife of Leofric, Earl of Leicester, who was the eldest son of Algar, the great Earl of Mercia. This lady, having an extraordinary affection for Coventry, solicited her husband to release the inhabitants of that city from a grievous tax laid on them. He consented, on condition that she would ride naked through the streets of Coventry in noon-day. This she did, first enjoining every one to keep within their houses, the doors and windows of which were to be closely shut. She then partially veiled herself with her flowing hair, mounted her palfrey, and made the circuit of the city. Leofric kept his promise, and the city of Coventry was relieved from the oppression. This adventure was painted in one of the windows of Trinity-church, in Coventry, with these lines,
"I, Leofric, for the love of thee, Do make Coventry toll-free."
# A Cyclopaedia of Female Biography/Godewyck, Margaretta

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GODEWYCK, MARGARETTA,
Was born at Dort, in 1627, and was instructed in design and drawing by Nicholas Maas, by whose instructions she acquired a fine taste in painting landscapes, which she ingeniously diversified with views of rivers, cascades, villages, groves, and distant hills, that rendered her compositions very pleasing. This lady was not more admired for her paintings in oil, than for her needle-work, executing the same kind of subjects which she expressed with her pencil, and with an equal appearance of nature and truth, in embroidery. She died in 1677.
# A Cyclopaedia of Female Biography/Giselle

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GISELLE,
Sister of Charlemagne, Emperor of France, sympathized with that great monarch and his eldest daughter, Rotrude, in the protection and encouragement they afforded to learned and scientific men. She induced the celebrated Alcuin to compose several works; Alcuin dedicated to Giselle and Rotrude his Commentary on St. John. Giselle died about the year 810. She was abbess of Chelles at her death.
# A Cyclopaedia of Female Biography/Glauber, Diana

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GLAUBER, DIANA,
Was sister of John and Gottleib Glauber, and was born at Utrecht, in 1650. John Glauber instructed his sister in the principles and practice of his art; and she devoted herself chiefly to painting portraits. Her style became quite distinguished; and she also designed historical subjects, until she was accidentally deprived of her sight. She died at Hamburg about 1720.