OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Rue, Pierre de la

[ J. R. S. B. ]
# A Diamond on the Hand

A Diamond on the Hand To Custom Common grown Subsides from its significance The Gem were best unknown — Within a Seller's Shrine How many sight and sigh And cannot, but are mad for fear That any other buy.
# A Dictionary of Music and Musicians/Études

From volume 1 of the work.
​ÉTUDES, studies, exercises, sonatas, caprices, lessons. The large number of works extant under these heads for pianoforte, violin, violoncello, and in sundry instances for other orchestral instruments, are in a large measure mere supplements to the respective instruction-books. They may be divided into two kinds—pieces contrived with a view to aid the student in mastering special mechanical difficulties pertaining to the technical treatment of his instrument, like the excellent pianoforte Études of Clementi and Cramer; and pieces wherein, over and above such an executive purpose, which is never lost sight of, some characteristic musical sentiment, poetical scene, or dramatic situation susceptible of musical interpretation or comment is depicted, as in certain of Moscheles' 'Characteristische Studien,' or the Études of Chopin, Liszt, or Alkan.
The distinction between these two classes of etudes closely resembles the difference recognised by painters between a tentative sketch for a figure, a group, or a landscape, which aims at rendering some poetical idea whilst attending particularly to the mechanical difficulties accruing from the task in hand, and a mere drawing after casts or from life with a view to practice and the attainment of manipulative facility.
An étude proper, be it only a mechanical exercise or a characteristic piece, is dintinguished from all other musical forms by the fact that it is invariably evolved from a single phrase or motif, be it of a harmonic or melodious character, upon which the changes are rung. Thus many of Bach's Preludes in the 'wohltemperirte Clavier,' and the like, could be called études without a misnomer.
​The most valuable études for the pianoforte are the following:—
I. CLASSICAL SCHOOL. BACH. Inventions—à deuz et à trois parties.
CLEMENTI. Gradus ad Parnassum. Préludes et exercises dans tous les tons. Toccata in B♭
CRAMER 100 Etudes.
M0SCHELES. 24 Studien, Op. 70. Characteristiche Studien, Op. 95.
II. MODERN SCHOOL. CHOPIN. 12 grandes Etudes. Op. 10. 12 Etudes. Op. 25. Trois Etudes. 24 Preludes. Prelude in C♯ minor.
HENSELT.
12 Etudes de concert. Op. 2. 12 Etudes de salon. Op. 5.
THALBERG. 12 Etudes.
LISZT. Grandes Etudes da Paganini, transcrites, etc. Etudes d'execution transcendante. Ab-Irato. Etude de perfectionnement. Trois grandes Etudes de concert. Zwei Etudien—Waldesrauschen; Gnomentanz.
C. V. ALKAN. 12 Etudes. 12 Grandes Etudes. Etude pour la main gauche.  " " " " droite.  " " " " les deux mains.
RUBINSTEIN. 6 Etudes. Zwei Etuden.
[ E. D. ]
Of Etudes for the Violin, the following four works are considered as indispensable for the formation of a good technique and correct style, by the masters of all schools of violin-playing:—
R. Kreutzer, 40 Etudes or Caprices.  Fiorillo, Etude de Violon, formant 36 caprices.  P. Rode, Vingt-quatre Caprices.  N. Paganini, 24 Caprices, op. 1.
to which may be added Gaviniés' 'Vingtquatre matinées.'
[ P. D. ]
# A Dictionary of Music and Musicians/Æolodion

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Ça Ira

From volume 1 of the work.
​ÇA IRA. The earliest of French revolutionary songs, probably first heard on Oct. 5, 1789, when the Parisians marched to Versailles. The words were suggested to a street-singer called Ladré by General La Fayette, who remembered ​Franklin's favourite saying at each progress of the American insurrection. The burden of the song was then as follows:—
'Ah! ça ira, ça ira, ça ira! Le peuple en ce jour sans cesse répète: Ah! ça ira, ça ira, ça ira! Malgré les mutins, tout réussira.'
At a later period the burden, though more ferocious, was hardly more metrical:—
'Ah! ça ira, ça ira, ça ira! Les aristocrat' à la lanterne; Ah! ça ira, ça ira, ça ira! Les aristocrat' on les pendra.'
The tune—the length and compass of which show that it was not composed for the song—was the production of a certain Bécour or Bécourt, a side-drum player at the Opera; and as a contre-danse was originally very popular under the title of 'Carillon national.'
[ G. C. ]
# A Dictionary of Printers and Printing

(transcription project)
Layout 2

# A DICTIONARY OF PRINTERS AND PRINTING,

WITH THE Progress of Literature, ANCIENT AND MODERN;
BIBLIOGRAPHICAL ILLUSTRATIONS. ETC. ETC.
BY C. H. TIMPERLEY.
"If asked, why Printers and Booksellers in particular?—I answer, they are a valuable class of the community—the friendly assistants, at least, if not the patrons of literature—and I myself one of the fraternity—let the members of other professions, if they approve of the suggestion, in like manner record the meritorious actions of their brethren."—John Nichols.
LONDON : H. JOHNSON, 49, PATERNOSTER-ROW; FRASER & CO. EDINBURGH; SYMINGTON & CO. GLASGOW; CURRY & CO. DUBLIN. AND BANCKS & CO. MANCHESTER.
MDCCCXXXIX.
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 Dictionary of Music and Musicians/fz

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/de la Borde, Jean

[ M. ]
# A Dictionary of Music and Musicians/Œdipus

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

From volume 1 of the work.
[ E. P. ]
# A Dictionary of All Religions and Religious Denominations/Libertines

LIBERTINES, a sect which arose in Flanders about 1525, probably from the remains of the "Brethren of the free spirit," mentioned above. They published no books; but the doctrines they taught, according to Calvin and others, were the following: 1. That the Deity was the sole operating cause in the mind of man, and the immediate author of all human actions. 2. That consequently the distinctions of good and evil that had been established with respect to those actions, were false and groundless; and that men could not, properly speaking, commit sin. 3. That religion consisted in the union of the spirit, or rational soul, with the supreme Being. 4. That all those who had attained to this happy union by sublime contemplation and elevation of mind, were then allowed to indulge, without exception or restraint, their appetites and passions, as all their actions were then perfectly innocent. 5. That after the death of the body, they were to be united to the Deity.

## Original footnotes

* ↑ Broughton, vol. ii. p. 543. Mosheim, vol. iv. p. 122, 123.
# A Dictionary of All Religions and Religious Denominations/Lampetians

LAMPETIANS, the followers of Lampetius, a Syrian monk, who in the seventeenth century taught that, as man is born free, a christian, in order to please God, ought ot do nothing by necessity; and that it is therefore unlawful to make vows, even those of obedience. To this system he is said to have added certain tenets of the Carpocratians, &c.

## Original footnotes

* ↑ Broughton, vol. ii. p. 31.
# A Dictionary of All Religions and Religious Denominations/Men of Understanding

MEN OF UNDERSTANDING.
This title distinguished a sect, which appeared in Flandera and Brussels in the year 1511. They owed their origin to an illiterate man, named Egidius Cantor, and to William of Hildcnison, a Carmelite monk. They pretended to be li6noui*cd with celestial visions ; and declared the approach of a new revelation more perfect than that of the gospel. They held that the resurrection was accomplished in the person of Jesus, and no other was to be expected ; that the inward man was not defiled by the outward actions, wiiatevcr they were; and that the pains of hell were to have an end.
This denomination seems to have been a branch of the brethren and sisters of the Free Spirit; and their system embraced some peculiarities both of die Mustics and Universalists.
# A Dictionary of All Religions and Religious Denominations/Menandrians

MENANDRIANS, a denomination in the first century from Menander, a supposed disciple of Simon Magus. He pretended to be one of the aions sent from the pleroma, or celestial regions, to succour the souls that lay groaning under oppression; and to support them against the demons that hold the reins of empire, in this sublunary world.

## Original footnotes

* ↑ Mosheim, vol. i. p.116. Formey's Eccles. Hist. vol. i. p. 21.
# A Dictionary of All Religions and Religious Denominations/Ktistolatrae

KTISTOLATRAE, certain of the Monophysites, who maintained that the body of Christ, before his resurrection, was corruptible, like that of other men.

## Original footnotes

* ↑ Mosheim, vol. i. p. 471, 472.
# A Dictionary of All Religions and Religious Denominations/Latitudinarians

LATITUDINARIANS, a name which distinguished those in the seventeenth century, who attempted to bring episcopalians, presbyterians, and independents, into one communion, by compromising the difference between them. The chief leaders of this party were the great Chillingworth, and John Hales, to whom may be added More, Cudworth, Gale, Tillotson, and Whitchcot. They were zealously attached to the church of England; but did not look upon episcopacy as indispensable to the constitution of the christian church: hence they maintained, that those who followed other forms of government and worship, were not on that account to be excluded from the communion, or to forfeit the title of brethren. They reduced the fundamental doctrines of christianity to a few points. By this way of proceeding they showed that neither the episcopalians, who, generally speaking, were Arminians, nor the presbyterians and independents, who as generally adopted the doctrines of Calvin, had any reason to oppose each other with such animosity and bitterness, since the subjects of their debates were matters of an indifferent nature, with respect to salvation; and might be variously explained and understood without any prejudice to their eternal interests.

## Original footnotes

* ↑ Mosheim, vol. iv. p. 535. Burnet's History of his own times, p. 186.
# A Dictionary of All Religions and Religious Denominations/Meletians

MELETIANS, the followers of Meletius, an Egyptian bishop, who, being deposed for sacrificing to idols, affected great seveirity against apostates, and like the Novatians refused to re-admit them after their repentance.

## Original footnotes

* ↑ Mosheim, vol. i. p. 384, 385, new ed.
# A Dictionary of All Religions and Religious Denominations/Labbadists

LABBADISTS, a denomination in the seventeenth century. Their founder, John Labbadie, was a native of France, and remarkable for his natural eloquence and warm enthusiasm. He was educated in the bosom of the church of Rome, but in 1630 he embraced the protestant religion, and became a member of the reformed church, and performed with reputation the ministerial functions in France, Switzerland, and Holland. He at length erected a new community, who, according to the accounts of the Labbadists, did not differ from the reformed church so much in their tenets and doctrines, as in their manners and rules of discipline. Labbadie, however, maintained, that the holy scriptures were not sufficient to lead men to salvation, without certain particular illuminations and revelations from the holy spirit; and that in reading the scriptures, we ought to give less attention to the literal sense of the word, than to the inward suggestions of the spirit, and that the efficacy of the word depended upon him that preached it; that the faithful ought to have all things in common; that there is no subordination or distinction of rank in the true church of Christ; that Christ was to reign a thousand years upon earth ; that the contemplative life is a state of grace and union with God, and the very height of perfection; that the christian, whose mind is contented and calm, sees all things in God, enjoys the Deity, and is perfectly indifferent about every thing that passes in the world; and that the christian arrives to that happy state by the exercise of a perfect self denial, by mortifying the flesh and all sensual affection, and by mental prayer.
Labbadie had the address to ingratiate himself with Elizabeth Princess Palatine, and other ladies of rank and piety. Several persons of distinguished talents became members of this sect; among whom was the celebrated Anne Maria Sehurman of Utrecht, whose extensive erudition rendered her so famous in the republic of letters, during the last century.

## Original footnotes

* ↑ Mosheim, vol. v. p. 492.
# A Dictionary of All Religions and Religious Denominations/Mendai

MENDAI, or MENDAEANS, otherwise called Christians of St. John, or Hemero Baptists, which see. "These ambiguous christians (says Mosheim) dwell in Persia and Arabia, and principally at Bassora, and their religion consists in bodily washings, performed frequently and with great solemnity".

## Original footnotes

* ↑ Mosheim, vol. iv. p. 266, 267, new ed.
# A Dictionary of All Religions and Religious Denominations/Lama

LAMA, worship of the. See Shamanism.
# A Geographical, Statistical, and Historical Description of the District, Or Zila, of Dinajpur/Book 2/Chapter 3

CHAPTER III.
EDUCATION.
* Section 1.: Schools and Languages
* Section 2.: Sciences
# A Geographical, Statistical, and Historical Description of the District, Or Zila, of Dinajpur/Book 2/Chapter 3/Section 2

* Part 1. The higher Sciences, Literature, Law, and Metaphysics
* Part 2. The Lower Sciences, Theology, Worship, Astrology, and Magic
# A Geographical, Statistical, and Historical Description of the District, Or Zila, of Dinajpur/Book 2/Chapter 4

CHAPTER IV.
RELIGIONS AND SECTS.
Introduction.
According to the opinion of the principal native officer of revenue, three-fourths of the whole people of this district are Muhammedan; but my native assistant estimates the Muhammedans at !9 of the population. In each division, I consulted the most intelligent persons on this subject, and have placed the result of their opinions, concerning the proportion of Hindús and Muhammedans, in the general statistical table. If the extent of occupied land in each Thana be divided in these proportions, and the whole sums of each be added, to enable us to form an estimate of the population, the result will be, that the Moslems are to the Hindús in the proportion nearly of 70 to 30, somewhat more than the estimate of my assistant, and considerably less than that of the officer of revenue. Both are Brahmins. In the statistical table, No. 3, will be found an estimate of the numbers belonging to each class, into which I have divided the population.
* Section 1.: Of the Muhammedans
* Section 2.: Of the Hindús
* Section 3.: Various small sects
# A Geographical, Statistical, and Historical Description of the District, Or Zila, of Dinajpur/Book 2/Chapter 4/Section 2

§ 2.—Of the Hindús.
The Hindús, especially those of pure descent, being but a small proportion of the people in this district, I might pass them over until I came to places where they are more numerous, but this would render some parts of my account obscure, I shall therefore notice some of the most remarkable particulars concerning them, and give a general view, which I shall endeavour to render more complete, when I pass into other districts.
* Part 1.: Of the Brahmins
* Part 2.: Customs of the Hindús
# A Dictionary of Music and Musicians/Monochord

From volume 2 of the work.
​MONOCHORD (μόνοσ single, and χορδή a string), an instrument consisting of a long box of thin wood with a bridge fixed at each end, over which is stretched a wire or catgut string. A moveable bridge is placed on the box and serves to stop off different lengths of string, in order to compare the relative pitch of the sounds they produce.
The monochord is said to have been invented by Pythagoras, in the 6th century B.C., but he more probably learnt the use of it in Egypt. The principle of dividing a string to obtain different sounds was applied in the Egyptian lute earlier than 3000 B.C. according to Lepsius. Euclid, writing in the 4th century B.C., and Claudius Ptolemy in the 2nd century A.D., make use of the monochord to define the intervals of the ancient Greek scale; and the later musical system of the Persians and Arabs is described by Abdul Kadir in the 14th century by means of a similar instrument. The Helikon was like the monochord, but had several strings. It was much used in the middle ages for teaching just intonation in singing.
For measuring relative or actual pitch to any high degree of accuracy the monochord is now superseded by Scheibler's tuning-fork Tonometer, and by the Siren as improved by M. Cavaillé-Coll. Those who wish to construct a monochord will find the best directions in Perronet Thompson's 'Just Intonation,' p. 71.
# A Dictionary of Music and Musicians/Monpou, François

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

From volume 2 of the work.
​MONTAGNANA, Antonio, is the name of a celebrated basso, who appeared in England in the autumn of 1731. He made his debut on the London boards in 'Poro' (revived); and in January, 1732, he created the bass rôle in 'Ezio,' Handel having written specially for him the famous song 'Nasce al bosco,' which is composed on a different plan from most of his other bass songs, and was clearly intended to exhibit the peculiar powers of the singer. This opera was followed by 'Sosarme,' in which Montagnana had again an air 'Fra l'ombre e l'orrori,' in which the depth, power, and mellow quality of his voice, and his rare accuracy of intonation in hitting distant and difficult intervals, were displayed to full advantage. In the same year he sang in Handel's 'Acis,' a revival of 'Alessandro,' 'Flavio,' 'Coriolano,' and in 'Esther.' In 1733 Montagnana took part in 'Deborah,' 'Tolomeo,' 'Ottone,' 'Orlando,' and 'Athaliah' (at Oxford). In 'Orlando' he had another very difficult song composed expressly for him, 'Sorge infausta,' which has remained a trial of compass and execution, since his day, for the most accomplished bassi.
[ J. M. ]
# A Dictionary of Music and Musicians/Monk, William

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

From volume 2 of the work.
​MONTE, Philippe or Filippo de, and sometimes Philippe de Mons, born probably in 1521 or 22, traditionally at Mons, but according to Dlabacz at Mechlin. As to his history we gain little by consulting old authorities, as Boissart, Bullart, Freher, Sweertius etc., and are told as much by the title-pages of Philippe's own ​publications. Bullart, however, gives a portrait of the composer, after Sadeler, which is well worth seeing, and much superior to the smaller copies of it in Boissart and Hawkins. Elisabeth Weston's poem, often referred to in biographies of Philippe, gives no information at all.
De Monte published his 1st book of Masses at Antwerp in 1557, just at the end of Lassus's residence in that city, and we may safely credit the common tradition of a friendship existing between the two composers. It was probably on Orlando's recommendation that Philippe was called to Vienna, May 1, 1568, to become Maximilian's Chapelmaster. Rudolph II, the next emperor, moved his court to Prague, and thither Philippe followed him. Thus we find him dating from Vienna April 15, 1569, and from Prague Sept. 20, 1580, and Oct. 10, 1587.
M. Fétis gives interesting details of de Monte's appointment as treasurer and canon of the cathedral at Cambrai, a benefice which he apparently held without residence. He resigned these appointments early in 1603, and died on July 4th of the same year.
[ J. R. S.-B. ]
* ↑ Sadeler's portrait, the single authority for this date, gives Philippe's age as 72 in 1594.
* ↑ 'Allgem. hlstor. Künstler Lex. fur Böhmen.,' 4to. (Prag. 1815). Dlabacz founds his statement on a list of the Imperial chapel dated 1582. For a full discussion of the subject see Fétis' Biographie, under 'Philippe de Mons.'
* ↑ Boissardus, 'Icones Viror. Illustr.,' pars 3. p. 32 (1593).
* ↑ Bullart, 'Academie des Sciences,' etc., vol. ii. bk. 4. p. 299 (Brusselles 1682).
* ↑ Freheri, 'Theatrum vir. clarorum (Nuremberg 1688).
* ↑ Sweertius, 'Athenæ Belgicæ,' p. 645 (Antwerp 1628).
* ↑ From the 'Parthenicon,' by E. J. Weston, 'ex familia Westoniorum Angla' (Praga, Aug. 16, 1810). The poem in Philippe's honour consists of 46 Latin lines.
* ↑ Missarum à 5, 6, 8. lib. i. (Antwerp 1557). This on the authority of Fétis.
* ↑ See Alto copy or 2nd book of 6-part Madrigals (Venice 1569), in Brit. Mus.
* ↑ 9th book of Madrigals (à 5) (Venice 1580), in Brit. Mus.
* ↑ Sacrar. Cantionum, lib. ii. (Venice 1587), in Brit. Mus.
* ↑ For this date, and that of the Vienna appointment, see Eitner, 'Verzeichniss neuer Ausgaben' (Berlin, Trautwein, 1871).
* ↑ Fétis speaks of the 19th book. The British Museum has the 14th. Fétis mentions no 4-part Madrigals; but the Catalogue of the Bibliotèque Fétis contains 'Di Fi. di. M. il 4º. lib. di Mad. à 4.'
# A Dictionary of Music and Musicians/Monro, Henry

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

From volume 2 of the work.
​MONOTONE (from μόνος, single, and τόνος, a note, or tone). Prayers, Psalms, Lessons, and other portions of the Divine Office, when declaimed on a single note, are said to be monotoned, or recited in Monotone. It is only when ornamented with the traditional inflections proper to certain parts of the Service, that they can be consistently described as sung. [See Accents.]
[ W. S. R. ]
# A Dictionary of Music and Musicians/Monk, Edwin

From volume 2 of the work.
[ W. H. H. ]
# A London Life, The Patagonia, The Liar, Mrs. Temperly (1 volume, American issue, London & New York: Macmillan & Co., 1889)/The Liar

THE LIAR
* Chapter 1
* Chapter 2
* Chapter 3
# A London Life, The Patagonia, The Liar, Mrs. Temperly (1 volume, American issue, London & New York: Macmillan & Co., 1889)/The Patagonia

THE PATAGONIA
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
# A Legend of Camelot, Pictures and Poems, etc/A Love-Agony

A LOVE-AGONY.
SO an thou be, that faintest in such wise, With love-wan eyelids on love-wanton eyes, Fain of thyself! I faint, adoring thee, Fain of thy kisses, fainer of thy sighs, Yet fainest, love! an thou wert fain of me, So an thou be!
Yea, lo! for veriest fainness faint I, Sweet, Of thy spare bosom, where no shadows meet, And small strait hip, and weak delicious knee! For joy thereof I swoon, and my pulse beat Is as of one that wasteth amorously, So an thou be!
Shepherd art thou, or nymph, that ailest there? Lily of Love, or Rose? Search they, who care, Thy likeness for a sign! For, verily, Naught reck I, Fairest, so an thou be but Fair! E'en as he recks not, that hath limned thee, So an thou Be!