OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Dordogne (river)

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​DORDOGNE, a river of central and south-western France, rising at a height of 5640 ft. on the Puy-de-Sancy, a mountain of the department of Puy-de-Dôme, and flowing to the Garonne with which it unites at Bec d’Ambès to form the Gironde estuary. It has a length of 295 m. and the area of its basin is 9214 sq. m. Descending rapidly from its source, sometimes over cascades, the river soon enters deep gorges through which it flows as far as Beaulieu (department of Corrèze) where it debouches into a wide and fertile valley and is shortly after joined by the Cère. Entering the department of Lot, it abandons a south-westerly for a westerly course and flowing in a sinuous channel traverses the department of Dordogne, where it receives the waters of the Vézère. Below the town of Bergerac it enters the department of Gironde, where at Libourne it is joined by the Isle and widens out, attaining at its union with the Garonne 45 m. from the sea a width of nearly 3300 yds. A few miles above this point the river is spanned by the magnificent bridges of Cubzac-les-Ponts, which carry a road and railway. Below its confluence with the Vézère, over the last 112 m. of its course, the river carries considerable navigation. The influence of the highest tides is felt at Pessac, a distance of 100 m. from the ocean.
# 1911 Encyclopædia Britannica/Dordrecht

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​DORDRECHT (abbreviated Dordt, or Dort), a town and river-port of Holland, in the province of South Holland, on the south side of the Merwede, and a junction station 121/2 m. by rail S.E. of Rotterdam. Steam ferries connect it with Papendrecht and Zwyndrecht on the opposite shore, and it has excellent communication by water in every direction. Pop. (1900) 38,386. Dordrecht presents a picturesque appearance with its busy quays and numerous canals and windmills, its quaint streets and curiously gabled houses. The Groote Kerk, of Our Lady, whose massive tower forms a conspicuous object in the views of the town, dates from the 14th century and contains some finely carved stalls (1540) by Jan Terween Aertsz, a remarkable pulpit (1759), many old monuments and a set of gold communion plate. In the town museum is an interesting collection of paintings, chiefly by modern artists, but including also pictures by some of the older masters, among whom Ferdinand Bol, the two Cuyps, Nicolas Maes, Godefried Schalcken, and in later times Ary Scheffer, were all natives of Dordrecht. The celebrated 17th-century statesman John de Witt was also a native of the town. Close to the museum is one of the old city gates, rebuilt in 1618, and now containing a collection of antiquities belonging to the Oud-Dordrecht Society. The South African Museum (1902) contains memorials of the Boer War of 1899–1902. The harbour of Dordrecht still has a large trade, but much has been diverted to Rotterdam. Large quantities of wood are imported from Germany, Scandinavia and America. There are numerous saw-mills, shipbuilding yards, engineering works, distilleries, sugar refineries, tobacco factories, linen bleacheries and stained glass, salt and white lead works.
Dordrecht was founded by Count Dirk III. of Holland in 1018, becoming a town about 1200. One of the first towns in the Netherlands to embrace the reformed religion and to throw off the yoke of Spain, it was in 1572 the meeting-place of the deputies who asserted the independence of the United Provinces. In 1618 and 1619 it was the seat of the synod of Dort (q.v.).
# 1911 Encyclopædia Britannica/Doria-Pamphilii-Landi

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​DORIA-PAMPHILII-LANDI, a princely Roman family of Genoese extraction. The founder of the house was Ansaldo d’Oria, consul of Genoa in the 12th century, but the authentic pedigree is traced no further back than to Paolo d’Oria (1335). The most famous member of the family was Andrea Doria (q.v.), perpetual censor of Genoa in 1528 and admiral to the emperor Charles V., who was created prince of Melfi (1531) and marquis of Tursi (in the kingdom of Naples) in 1555. The marquisate of Civiez and the county of Cavallamonte were conferred on the family in 1576, the duchy of Tursi in 1594, the principality of Avella in 1607, the duchy of Avigliano in 1613. In 1760 the title of Reichsfurst or prince of the Holy Roman Empire was added and attached to the lordship of Torriglia and the marquisate of Borgo San Stefano, together with the qualification of Hochgeboren. That same year the Dorias inherited the fiefs and titles of the house of Pamphilii-Landi of Gubbio, patricians of Rome and princes of San Martino, Valmontano, Val di Toro, Bardi and Corupiano. The Doria-Pamphilii palace in Rome, a splendid edifice, was built in the 17th century, and contains a valuable collection of paintings. The Villa Doria-Pamphilii with its gardens is one of the loveliest round Rome. During the siege of 1849 it was Garibaldi’s headquarters.
# 1911 Encyclopædia Britannica/Dorislaus, Isaac

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​DORISLAUS, ISAAC (1595–1649), Anglo-Dutch lawyer and diplomatist, was born in 1595 at Alkmaar, Holland, the son of a minister of the Dutch reformed church. He was educated at Leiden, removed to England about 1627, and was appointed to a lectureship in history at Cambridge, where his attempt to justify the Dutch revolt against Spain led to his early resignation. In 1629 he was admitted a commoner of the College of Advocates. In 1632 he made his peace at court, and on two occasions acted as judge advocate, in the bishops’ war of 1640 and in 1642 in the army commanded by Essex. In 1648 he became one of the judges of the admiralty court, and was sent on a diplomatic errand to the states general of Holland. He assisted in preparing the charge of high treason against Charles I., and, while negotiating an alliance between the Commonwealth and the Dutch Republic, was murdered at the Hague by royalist refugees on the 10th of May 1649. His remains were buried in Westminster Abbey, and moved in 1661 to St Margaret’s churchyard.
# 1911 Encyclopædia Britannica/Doris

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​DORIS, in ancient geography, a small district in central Greece, forming a wedge between Mts. Oeta and Parnassus, and containing the head-waters of the Cephissus, which passes at the gorge of Dadion into the neighbouring land of Phocis. This little valley, which nowhere exceeds 4 m. in breadth and could barely give sustenance to four small townships, owed its importance partly to its command over the strategic road from Heracleia to Amphissa, which pierced the Parnassus range near Cytinium, but chiefly to its prestige as the alleged mother-country of the Dorian conquerors of Peloponnesus (see Dorians). Its history is mainly made up of petty wars with the neighbouring Oetaeans and Phocians. The latter pressed them hard in 457, when the Spartans, admitting their claim to be the Dorian metropolis, sent an army to their aid, and again during the second Sacred War (356–346). Except for a casual mention of its cantonal league in 196, Doris passed early out of history; the inhabitants may have been exterminated during the conflicts between Aetolia and Macedonia.
See Strabo, pp. 417, 427; Herodotus i. 56, viii. 31; Thucydides i. 107, iii. 92; Diodorus xii. 29, 33; W. M. Leake, Travels in Northern Greece, chap. xi. (London, 1835). (M. O. B. C.)
# 1911 Encyclopædia Britannica/Dorking

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​DORKING, a market town in the Reigate parliamentary division of Surrey, England, 26 m. S.S.W. of London, on the London, Brighton & South Coast and the South-Eastern & Chatham railways. Pop. of urban district (1901) 7670. It is pleasantly situated on the river Mole, in a sheltered vale near the base of Box Hill. It is the centre of an extensive residential district. The parish church of St Martin’s is a handsome edifice rebuilt in 1873. Lime of exceptionally good quality is burnt to a large extent in the neighbourhood, and forms an important article of trade; it is derived from the Lower Chalk formation. Dorking has long been famous for a finely flavoured breed of fowl distinguished by its having five toes. Several fine mansions are in the vicinity of the town, notably that of Deepdene, containing part of a gallery of sculpture collected here by Thomas Hope, the author of Anastasius. A Roman road, which crossed from the Sussex coast to the Thames, passed near the present churchyard of St Martin.
# 1911 Encyclopædia Britannica/Fantasia

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​FANTASIA (Italian for “fantasy,” a causing to be seen, from Greek, φαίνειν, to show), a name in music sometimes loosely used for a composition which has little structural form, and appears to be an improvization; and also for a combination or medley of familiar airs connected together with original passages of more or less brilliance. The word, however, was originally applied to more formal compositions, based on the madrigal, for several instruments. Fantasias appear as distinct compositions in Bach’s works, and also joined to a fugue, as in the “Great Fantasia and Fugue” in A minor, and the “Fantasia cromatica” in D minor. Brahms used the name for his shorter piano pieces. It is also applied to orchestral compositions “not long enough to be called symphonic poems and not formal enough to be called overtures” (Sir C. Hubert Parry, in Grove’s Dictionary of Music, ed. 1906). The Italian word is still used in Tunis, Algeria and Morocco, with the meaning of “showing off,” for an acrobatic exhibition of horsemanship by the Arabs. The riders fire their guns, throw them and their lances into the air, and catch them again, standing or kneeling in the saddle, all at a full gallop.
# 1911 Encyclopædia Britannica/Fanum Fortunae

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​FANUM FORTUNAE (mod. Fano), an ancient town of Umbria, Italy, at the point where the Via Flaminia reaches the N.E. coast of Italy. Its name shows that it was of Roman origin, but of its foundation we know nothing. It is first mentioned, with Pisaurum and Ancona, as held by Julius Caesar in 49 B.C. Augustus planted a colony there, and round it constructed a wall (of which some remains exist), as is recorded in the inscription on the triple arch erected in his honour at the entrance to the town (A.D. 9–10), which is still standing. Vitruvius tells us that there was, during Augustus’s lifetime, a temple in his honour and a temple of Jupiter, and describes a basilica of which he himself was the architect. The arch of Augustus bears a subsequent inscription in honour of Constantine, added after his death by L. Turcius Secundus, corrector Flaminiae et Piceni, who also constructed a colonnade above the arch. Several Roman statues and heads, attributable to members of the Julio-Claudian dynasty, were found in the convent of S. Filippo in 1899. These and other objects are now in the municipal museum (E. Brizio in Notizie degli scavi, 1899, 249 seq.). Of the temple of Fortune from which the town took its name no traces have been discovered.  (T. As.)
# 1911 Encyclopædia Britannica/Fancy

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​FANCY (a shortened form, dating from the 15th century, of “fantasy,” which is derived through the O. Fr. fantasie, modern fantaisie, from the Latinized form of the Gr. φαντασία, φαντάζειν, φαίνειν, to show), display, showing forth, as a philosophical term, the presentative power of the mind. The word “fancy” and the older form “fantasy,” which is now chiefly used poetically, was in its early application synonymous with imagination, the mental faculty of creating representations or images of things not present to the senses; it is more usually, in this sense, applied to the lighter forms of the imagination. “Fancy” also commonly means inclination, whim, caprice. The more learned form “phantasy,” as also such words as “phantom” and “phantasm,” is chiefly confined to visionary imaginings.
# 1911 Encyclopædia Britannica/Fantan

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​FANTAN, a form of gambling highly popular among the Chinese. The game is simple. A square is marked in the centre of an ordinary table, or a square piece of metal is laid on it, the sides being marked 1, 2, 3 and 4. The banker puts on the table a double handful of small coins—in China “cash”—or similar articles, which he covers with a metal bowl. The players bet on the numbers, setting their stakes on the side of the square which bears the number selected. When all have staked, the bowl is removed, and the banker or croupier with a small stick removes coins from the heap, four at a time, till the final batch is reached. If it contains four coins, the backer of No. 4 wins; if three, the backer of No. 3 wins, and so on. Twenty-five per cent is deducted from the stake by the banker, and the winner receives five times the amount of his stake thus reduced. In Macao, the Monte Carlo of China, play goes on day and night, every day of the week, and bets can be made from 5 cents to 500 dollars, which are the limits.
Fantan is also the name of a card game, played with an ordinary pack, by any number of players up to eight. The deal decided, the cards are dealt singly, any that are left over forming a stock, and being placed face downwards on the table. Each player contributes a fixed stake or “ante.” The first player can enter if he has an ace; if he has not he pays an “ante” and takes a card from the stock; the second player is then called upon and acts similarly till an ace is played. This (and the other aces when played) is put face upwards on the table, and the piles are built up from the ace to the king. The pool goes to the player who first gets rid of all his cards. If a player fails to play, having a playable card, he is fined the amount of the ante for every card in the other players’ hands.
# 1911 Encyclopædia Britannica/Fano

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​FANO (anc. Fanum Fortunae, q.v.), a town and episcopal see of the Marches, Italy, in the province of Pesaro and Urbino, 8 m. S.E. of the former by rail, and 46 ft. above sea-level, on the N.E. coast of Italy. Pop. (1901), town 10,535, commune 24,730. The cathedral has a 13th century portal, but the interior is unimportant. The vestibule of S. Francesco contains the tombs of some members of the Malatesta family. S. Croce and S. Maria Nuova contain works by Giovanni Santi, the father of Raphael; the latter has also two works by Perugino, the predella of one of which is attributed to Raphael. S. Agostino contains a painting of S. Angelo Custode (“the Guardian Angel”), which is the subject of a poem by Robert Browning. The fine Gothic Palazzo della Ragione (1299) has been converted into a theatre. The palace of the Malatesta, with fine porticos and Gothic windows, was much damaged by an earthquake in 1874. S. Michele, built against the arch of Augustus, is an early Renaissance building (1475–1490), probably by Matteo Nuzio of Fano, with an ornate portal. The façade has an interesting relief showing the colonnade added by Constantine as an upper storey to the arch of Augustus and removed in 1463.
Fano in the middle ages passed through various political vicissitudes, and in the 14th century became subject to the Malatesta. In 1458 Pius II. added it to the states of the Church. Julius II. established here in 1514 the first printing press with movable Arabic type. The harbour was restored by Paul V. but is now unimportant.
# 1911 Encyclopædia Britannica/Fantin-Latour, Ignace Henri Jean Théodore

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​FANTIN-LATOUR, IGNACE HENRI JEAN THÉODORE (1836–1904), French artist, was born at Grenoble on the 14th of January 1836. He studied first with his father, a pastel painter, and then at the drawing school of Lecoq de Boisbaudran, and later under Couture. He was the friend of Ingres, Dalacroix, Corot, Courbet and others. He exhibited in the Salon of 1861, and many of his more important canvases appeared on its walls in later years, though 1863 found him with Harpignies, Monet, Legros and Whistler in the Salon des Refusés. Whistler introduced him to English artistic circles, and he lived for some time in England, many of his portraits and flower pieces being in English galleries. He died on the 28th of August 1904. His portrait groups, arranged somewhat after the manner of the Dutch masters, are as interesting from their subjects as they are from the artistic point of view. “Hommage à Delacroix” showed portraits of Whistler and Legros, Baudelaire, Champfleury and himself; “Un Atelier à Batignolles” gave portraits of Monet, Manet, Zola and Renoir, and is now in the Luxembourg; “Un Coin de table” presented Verlaine, Rimbaud, Camille Peladan and others; and “Autour du Piano” contained portraits of Chabrier, D’Indy and other musicians. His paintings of flowers are perfect examples of the art, and form perhaps the most famous section of his work in England. In his later years he devoted much attention to lithography, which had occupied him as early as 1862, but his examples were then considered so revolutionary, with their strong lights and black shadows, that the printer refused to execute them. After “L’Anniversaire” in honour of Berlioz in the Salon of 1876, he regularly exhibited lithographs, some of which were excellent examples of delicate portraiture, others being elusive and imaginative drawings illustrative of the music of Wagner (whose cause he championed in Paris as early as 1864), Berlioz, Brahms and other composers. He illustrated Adolphe Jullien’s Wagner (1886) and Berlioz (1888). There are excellent collections of his lithographic work at Dresden, in the British Museum, and a practically complete set given by his widow to the Louvre. Some were also exhibited at South Kensington in 1898–1899, and at the Dutch gallery in 1904.
A catalogue of the lithographs of Fantin-Latour was drawn up by Germain Hédiard in Les Maîtres de la lithographie (1898–1899). A volume of reproductions, in a limited edition, was published (Paris, 1907) as L’Œuvre lithographique de Fantin-Latour. See A. Jullien, Fantin-Latour, sa vie et ses amitiés (Paris, 1909).
# 1911 Encyclopædia Britannica/Ferdinand III. (emperor)

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​FERDINAND III. (1608–1657), Roman emperor, was the elder son of the emperor Ferdinand II., and was born at Gratz on the 13th of July 1608. Educated by the Jesuits, he was crowned king of Hungary in December 1625, and king of Bohemia two years later, and soon began to take part in imperial business. Wallenstein, however, refused to allow him to hold a command in the imperial army; and henceforward reckoned among his enemies, the young king was appointed the successor of the famous general when he was deposed in 1634; and as commander-in-chief of the imperial troops he was nominally responsible for the capture of Regensburg and Donauwörth, and the defeat of the Swedes at Nördlingen. Having been elected king of the Romans, or German king, at Regensburg in December 1636, Ferdinand became emperor on his father’s death in the following February, and showed himself anxious to put an end to the Thirty Years’ War. He persuaded one or two princes to assent to the terms of the treaty of Prague; but a general peace was delayed by his reluctance to grant religious liberty to the Protestants, and by his anxiety to act in unison with Spain. In 1640 he had refused to entertain the idea of a general amnesty suggested by the diet at Regensburg; but negotiations for peace were soon begun, and in 1648 the emperor assented to the treaty of Westphalia. This event belongs rather to the general history of Europe, but it is interesting to note that owing to Ferdinand’s insistence the Protestants in his hereditary dominions did not obtain religious liberty at this settlement. After 1648 the emperor was engaged in carrying out the terms of the treaty and ridding Germany of the foreign soldiery. In 1656 he sent an army into Italy to assist Spain in her struggle with France, and he had just concluded an alliance with Poland to check the aggressions of Charles X, of Sweden when he died on the 2nd of April 1657. Ferdinand was a scholarly and cultured man, an excellent linguist and a composer of music. Industrious and popular in public life, his private life was blameless; and although a strong Roman Catholic he was less fanatical than his father. His first wife was Maria Anna (d. 1646), daughter of Philip III. of Spain, by whom he had three sons: Ferdinand, who was chosen king of the Romans in 1653, and who died in the following year; Leopold, who succeeded his father on the imperial throne; and Charles Joseph (d. 1664), bishop of Passau and Breslau, and grand-master of the Teutonic order. The emperor’s second wife was his cousin Maria (d. 1649), daughter of the archduke Leopold; and his third wife was Eleanora of Mantua (d. 1686). His musical works, together with those of the emperors Leopold I. and Joseph I., have been published by G. Adler (Vienna, 1892–1893).
See M. Koch, Geschichte des deutschen Reiches unter der Regierung Ferdinands III. (Vienna, 1865–1866).
# 1911 Encyclopædia Britannica/Ferdinand II. of Naples

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​FERDINAND II. (1469–1496), king of Naples, was the grandson of the preceding, and son of Alphonso II. Alphonso finding his tenure of the throne uncertain on account of the approaching invasion of Charles VIII. of France and the general dissatisfaction of his subjects, abdicated in his son’s favour in 1495, but notwithstanding this the treason of a party in Naples rendered it impossible to defend the city against the approach of Charles VIII. Ferdinand fled to Ischia; but when the French king left Naples with most of his army, in consequence of the formation of an Italian league against him, he returned, defeated the French garrisons, and the Neapolitans, irritated by the conduct of their conquerors during the occupation of the city, received him back with enthusiasm; with the aid of the great Spanish general Gonzalo de Cordova he was able completely to rid his state of its invaders shortly before his death, which occurred on the 7th of September 1496.
For authorities see under Ferdinand I. of Naples; for the exploits of Gonzalo de Cordova see H. P. del Pulgar, Crónica del gran capitano don Gonzalo de Cordoba (new ed., Madrid, 1834).