OpenLLM-France/wikimedia huggingface dataset:
# Dictionary of Christian Biography and Literature to the End of the Sixth Century/Amphilochius (2), bishop of Sida

​Amphilochius (2), bp. of Sida in Pamphylia. Like his more famous namesake of Iconium, he appears as an antagonist of the Messalians. He was urged, as one of the Pamphylian metropolitans, to take measures against them in encyclical letters written by two successive bps. of Constantinople, Atticus and Sisinnius (Phot. Bibl. 52), and seems to have prosecuted the matter with zeal. He brought forward the subject at the council of Ephesus (A.D. 431) in conjunction with Valerianus; and in consequence of their representations the council confirmed the decrees of former synods against these heretics (Labbe, Conc. iii. 1331 seq., ed. Coleti). At this same council we find him assenting to Cyril's letter, and subscribing in very strong language to the condemnation and deposition of Nestorius (ib. pp. 1012, 1046, 1077, 1133). His conduct, later, was marked by great vacillation, if not insincerity. It is sometimes stated that he was present at the "Robbers' Synod" (A.D. 449), and there committed himself to the policy of Dioscorus and the heresy of Eutyches (Le Quien, Oriens Christ. i. 998); but his name does not appear in the list of bishops assembled there (Labbe, Conc. iv. 889 seq.). At the council of Chalcedon, however (A.D. 451), he shewed great tenderness for Dioscorus, and here his career of tergiversation began. He tried to defer the second citation of Dioscorus (iv. 1260); and when after three citations Dioscorus did not appear, he consented to his condemnation, though with evident reluctance (iv. 1310, 1337). At a later session, too, he subscribed his assent to the epistle of pope Leo (iv. 1358, 1366); and we find his name also appended to the canons of the council (iv. 1715). Thus he committed himself fully to the principles of this council, and to the reversal of the proceedings of Latrocinium. But a few years later (A.D. 458) when the emperor Leo wrote to the bishops to elicit their opinions, Amphilochius stated, in reply, that, while he disapproved the appointment of Timotheus Aelurus, he did not acknowledge the authority of the council of Chalcedon (Evagr. H. E. ii. 10). Yet, as if this were not enough, we are told that he shortly afterwards assented and subscribed to its decrees (Eulogius in Phot. Bibl. 230).
[L.]
# Dictionary of National Biography, 1885-1900/Danby, James Francis

​DANBY, JAMES FRANCIS (1816–1875), painter, eldest son of Francis Danby [q. v.], was born at Bristol in 1816, and first exhibited at the Royal Academy in 1847. His subjects were usually scenes of sunrise or sunset, resembling his father's in execution, but not emulating his ideality. He was a frequent exhibitor at the Royal Academy and British Institution, and died of apoplexy on 22 Oct. 1875.
R. G.
# Dictionary of National Biography, 1885-1900/Danby, William

​DANBY, WILLIAM (1752–1833), miscellaneous writer, was the only son of William Danby, D.D., of Swinton Park, Yorkshire, by Mary, daughter of Gilbert Affleck of Dalham, Suffolk. He was the representative of that branch of the ancient family of Danby which acquired the lordship of Masham and Mashamshire in the reign of Henry VIII, by marriage with one of the heiresses of the Lords Scrope of Masham. In 1784 he served the office of high sheriff of Yorkshire. He almost entirely rebuilt his mansion of Swinton from designs by James Wyatt and John Foss of Richmond. It includes a handsome library and a richly furnished museum of minerals. Southey, in describing a tour which he made in 1829, says: ‘The most interesting person whom I saw during this expedition was Mr. Danby of Swinton Park, a man of very large fortune, and now very old. He gave me a book of his with the not very apt title of “Ideas and Realities,” detached thoughts on various subjects. It is a book in which his neighbours could find nothing to amuse them, or which they thought it behoved them to admire; but I have seldom seen a more amiable or a happier disposition portrayed than is there delineated’ (Life and Correspondence, vi. 78). Danby died at Swinton Park on 4 Dec. 1833. He was twice married: first to Caroline, daughter of Henry Seymour, and secondly to Anne Holwell, second daughter of William Gater; but left ​no issue. His portrait has been engraved by Scriven, from a painting by Jackson.
His works are:
* ‘Thoughts, chiefly on serious subjects,’ Exeter (privately printed), 1821, 8vo, second edition, with additions, including remarks on ‘Lacon,’ by Caleb Colton, 2 vols. Exeter, 1822, 8vo.
* ‘Ideas and Realities, or thoughts on various subjects,’ Exeter, 1827, 8vo.
* ‘Extracts from and observations on Cicero's dialogues De Senectute and De Amicitia, and a translation of his Somnium Scipionis, with notes,’ Exeter, 1829, 8vo, London, 1832, 8vo.
* ‘Thoughts on various subjects,’ London, 1831, 8vo.
* ‘Travelling Thoughts,’ Exeter, 1831, 8vo.
* ‘Poems,’ Edinburgh, 1831, 8vo.v ‘Extracts from Young's Night Thoughts, with observations upon them,’ Lond. 1832, 8vo.
[Martin's Privately Printed Books, 2nd edit. 274; Evans's Catalogue of Engraved Portraits, No. 14869; Gent. Mag. new ser. i. 440; Cat. of Printed Books in Brit. Mus.]
T. C.
# Dictionary of National Biography, 1885-1900/Dance, Charles

​DANCE, CHARLES (1794–1863), dramatist, was the son of George Dance, architect [q. v.] During thirty years he was in the office of the late insolvent debtors' court, in which he was successively registrar, taxing officer, and chief clerk, retiring ultimately upon a superannuation allowance. Alone or in collaboration with J. R. Planché or others he wrote many pieces, chiefly of the lightest description, which were produced at the Olympic or other theatres. So great was his success in supplying Madame Vestris with extravaganzas that he was spoken of as a founder of a new order of burlesque. His pieces, which are mostly printed in Lacy's ‘Acting Edition of Plays,’ Duncombe's ‘British Theatre,’ Webster's ‘Acting National Drama,’ and Miller's ‘Modern Acting Drama,’ cover a period of nearly a quarter of a century. Some of his comediettas or farces, as ‘The Bengal Tiger,’ ‘Delicate Ground,’ ‘A Morning Call,’ ‘Who speaks first,’ and ‘Naval Engagements,’ are still occasionally revived, and one of his pieces was translated into German. Among his extravaganzas the best known is ‘Olympic Revels,’ with which, 3 Jan. 1831, Madame Vestris—the first feminine lessee of a theatre, according to the prologue, by John Hamilton Reynolds, spoken on the occasion—opened the Olympic. Other pieces in which Dance had more or less share are, ‘Alive and Merry,’ a farce; ‘Lucky Stars,’ a burletta; ‘Advice Gratis,’ a farce; ‘A Wonderful Woman,’ comic drama; ‘Blue Beard,’ a musical burletta; ‘A Dream of the Future,’ a comedy; ‘The Victor vanquished,’ a comedy; ‘Marriage a Lottery,’ a comedy; ‘The Stock Exchange,’ a comic drama; ‘The Paphian Bower,’ an extravaganza; ‘Telemachus,’ an extravaganza; ‘Pleasant Dreams,’ a farce; ‘The Country Squire,’ a comedy; ‘Toquet with the Tuft,’ a burletta; ‘Puss in Boots,’ a burletta; ‘Sons and Systems,’ a burletta; ‘The Burlington Arcade,’ a burletta; ‘Izaak Walton,’ a drama; ‘The Beulah Spa,’ a burletta; ‘The Dustman's Belle,’ a comic drama; ‘A Match in the Dark,’ a comedietta; and ‘The Water Party,’ a farce. During his later years Dance was a well-known figure at the Garrick Club. Dance was twice married, and survived both his wives. He lived in Mornington Road, not far from Regent's Park, and died at Lowestoft, whither he had returned for his health, 5 Jan. 1863. His illness was heart disease.
[Times, 7 Jan. 1863; Gent. Mag. 3rd ser. xiv. 259; Athenæum, 10 Jan. 1863; Era, 11 Jan. 1863; Era Almanack.]
J. K.
# Dictionary of National Biography, 1885-1900/Damon, William

​DAMON or DAMAN, WILLIAM (16th cent.), one of Queen Elizabeth's musicians, is probably the earliest composer who set the Psalms in the vernacular to part-music. His work appeared first in 1579, printed by John Day, with a preface by Edward Hake, who relates how these compositions were secretly ‘gathered together from the fertile soyle of his honest frend, Guilielmo Daman,’ by one ‘John Bull, citezen and goldsmith of London,’ and how Bull ‘ hasted forthwith of himself … to commit the same to the presse.’ The work appeared in four oblong quarto part-books, and is now of great rarity, the edition probably being bought up by the composer or his friends. In 1591 another version of Daman's Psalms appeared from Thomas East's press. This work was published by William Swayne, and by him dedicated to Lord Burghley. In the preface to this work Swayne says that the former publication ‘not answering the expectation that many had of the auctor's skill, gave him occasion to take uppon him a new labour to recover the wrong his friend did in publishing that that was so done.’ The work appeared in two forms, in one of which the melody of the psalm is in the tenor part, in the other in the treble. Both versions are in four separate part-books. The words of both the 1579 and 1591 editions are taken from Sternhold and Hopkins's version of the Psalms, but the contents of the two editions are not the same. Neither is entered in the register of the Stationers' Company. In the later publication Daman is styled ‘late one of her Majestie's Musitions.’ It is possible that he was dead when it appeared. The only other extant compositions of his are a Miserere and some sacred music in lute tablature preserved in the British Museum (Add. MSS. 5054, 31992, 29246).
W. B. S.
# Dictionary of National Biography, 1885-1900/Dampier, Thomas

​DAMPIER, THOMAS, D.D. (1748–1812), bishop of Ely, eldest son of Dr. Thomas Dampier, who was lower master at Eton and from 1774 dean of Durham, was born in 1748. He was educated at Eton, and in 1766 elected to King's College, Cambridge. He graduated B.A. 1771, M.A. 1774, D.D. 1780. After taking his degree he resided for some time at Eton as private tutor to the Earl of Guilford, holding at the same time the vicarage of Bexley in Kent, while a few years later he succeeded to the mastership of Sherborne Hospital, which his father obtained leave to resign in his favour. In 1782 he was promoted to the deanery of Rochester, and in 1802 to the bishopric of that diocese. The bishopric of Rochester was a poor one, and it was in his case, for the first time for some years past, separated from the deanery of Westminster. Dampier therefore looked for fresh promotion, and in 1808 was translated to Ely. He died suddenly from an attack of gout in the stomach in the evening of 13 May 812 at Ely House, Dover Street. As a bishop he seems to have made a good impression by his kindliness and liberality; and Archdeacon Law, in a charge delivered a few years after his death, speaks of his having been the first to promote the Christian Knowledge Society in Rochester, and of the bishop himself as 'one whose memory is still dear to us, and whose name every friend to our ecclesiastical establishment must ever revere.' His politics may be inferred from the statement ​that as bishop of Rochester he proposed an address from the clergy 'thanking the crown for requiring an undertaking from the ministry not to move in the matter of catholic emancipation.' Dampier published several sermons. He was celebrated for his love of literature, and for the splendid library and collection of prints which he accumulated throughout his life, often at considerable cost, and of the rarer books in which he left an account in Latin, the manuscript of which was extensively used by Dibdin in compiling his 'Aedes Althorpianae.' His bibliomania had begun early in life before he went to college, and remained his ruling passion to the day of his death. His library was sold by his half-brother, Sir Henry Dampier (a baron of the exchequer and a celebrated ecclesiastical lawyer), and his widow, to the Duke of Devonshire at a valuation amounting to nearly 10,000l. His portrait was painted by J. J. Masquerier, of which Dibdin giyes an engraving in his 'Bibliographical Decameron.'
[Gent. Mag. 1812, i. 501, ii. 240, 1817, ii. 140. 1821, ii. 280; Dibdin's Bibliographical Decameron, iii. 352; Harwood's Alumni Etonenses, p. 347.]
E. S. S.
# Dictionary of National Biography, 1885-1900/Danby, John

​DANBY, JOHN (1757–1798), musician, was born (according to the date on his tombstone) in 1757, but nothing is known of his parentage or education. He was probably a member of the Yorkshire family of the same name. He seems to have been connected with the musical performances at Vauxhall and Ranelagh, for which many of his earlier songs were written. At this time he was living at 8 Gilbert's Buildings, Lambeth, but he afterwards moved to 26 Henrietta Street, Covent Garden. On 6 March 1785 he was elected a member of the Royal Society of Musicians. Between 1781 and 1794 Danby gained ten prizes from the Catch Club for his glees and canons; his best known composition of the former class, ‘Awake, Æolian lyre,’ gained a prize medal in 1783. Danby, who was a catholic, held the post of organist to the chapel of the Spanish embassy, for which he wrote several masses, motets, and magnificats, which are preserved in the chapel music library. These works are mostly written for two or three parts, and are inferior to his glees, which are some of the best of their kind. During the latter part of his life he lost the use of his limbs, from having slept in a damp bed. A concert was given for his benefit at Willis's Rooms on 16 May 1798, but at half-past eleven the same night Danby died at Upper John Street, Fitzroy Square. He was buried near the south wall of the western part of Old St. Pancras churchyard. The inscription on his tombstone is now nearly illegible, but it was printed in Roffe's ‘British Monumental Inscriptions’ (i. No. 44), in the appendix to which a sketch of the grave is given.
Danby published several songs; the following are his most important works: Glees, book i. [op. 1 ?]; ‘La Guida alla Musica Vocale,’ op. 2; Glees, book ii. op. 3; book 3, op. 4; ‘La Guida della Musica Instrumentale,’ op. 5; Glees, op. 6. The last collection of glees was published posthumously by subscription for the benefit of his widow and four infant children.
W. B. S.
# Dictionary of National Biography, 1885-1900/Danby, Thomas

​DANBY, THOMAS (1817?–1886), painter, was the younger son of Francis Danby [q. v.] He followed his father to the continent about 1830, and, the latter being unable or unwilling to support him, young Danby, though only a lad of thirteen, earned his living by copying pictures at the Louvre. He thus became an earnest student of Claude, whose aerial effects he sought to imitate. Returning to England about the same time as his father, he first exhibited at the British Institution in 1841, and afterwards frequently at the Academy. He lived much with Paul Falconer Poole, and imbibed not a little of his romantic feeling for nature. The subjects of his landscapes were usually taken from Welsh scenery; his pictures for the most part were not, like his father's, ideal compositions, but actual scenes pervaded by a truly poetical spirit. ‘He was always trying,’ says the writer of the obituary notice in the ‘Times,’ ‘to render his inner heart's feeling of a beautiful view rather than the local facts received on the retina.’ He came, it is said, within one vote of election as A.R.A., but, failing eventually to attain Academy honours, devoted himself in his latter years chiefly to water-colour painting. He was elected an associate of the Society of Painters in Water-colours in 1867, and a full member in 1870: and until his death his contributions were among the chief ornaments of the society's exhibitions. He died of a chest complaint, terminating in dropsy, 25 March 1886.
R. G.
# Dictionary of National Biography, 1885-1900/Bromley, William (1769-1842)

​BROMLEY, WILLIAM (1769–1842), line-engraver, was born at Carisbrooke in the Isle of Wight. He was apprenticed to an engraver named Wooding, in London, and among his early productions were some of the plates to Macklin's Bible, the 'Death of Nelson,' after A. W. Devis, and the 'Attack on Valenciennes,' after P. J. de Loutherbourg. Later works were two portraits of the Duke of Wellington, after Sir Thomas Lawrence; and Rubens's 'Woman taken in Adultery.' Bromley was elected an associate engraver of the Royal Academy in 1819, and in the same year also a member of ​the academy of St. Luke, Rome. He was employed for many years by the trustees of the British Museum in engraving the Elgin marbles, from drawings executed by G. J. Corbould. Between 1786 and 1842 he exhibited fifty plates at the Royal Academy.
[Redgrave's Dictionary of Artists of the English School, London, 1878.]
L. F.
# Dictionary of National Biography, 1885-1900/Brompton, Richard

1904 Errata appended.
​BROMPTON, RICHARD (d. 1782), portrait-painter, studied under Benjamin Wilson and afterwards under Raphael Mengs at Rome; here he became acquainted with the Earl of Northampton, whom he accompanied to Venice. During his stay in that city he painted the portraits of the Duke of York and other English gentlemen, in a conversation piece, which was exhibited at Spring Gardens in 1763. In that year Brompton settled in London, residing in George Street, Hanover Square. In 1772 he painted the Prince of Wales, full length, in the robes of the Garter, and his brother, Prince Frederick, in the robes of the Bath. His best known portrait is that of William Pitt, first earl of Chatham, in which the great statesman is represented half-length, in peer's robes, standing with his right hand raised to his breast and his left arm extended. The original was presented in 1772 by the earl himself to Philip, second earl of Stanhope, and is now at Chevening. It was engraved in line by J. K. Sherwin in 1784, and in mezzotint by E. Fisher. There is a replica in the National Portrait Gallery, London. Brompton's extravagant habits led him into difficulties, and caused his confinement in the king's bench prison for debt; but being appointed portrait-painter to the Empress of Russia, he was released and went to St. Petersburg, where he died in 1782. In the gallery of Greenwich Hospital is a half-length portrait by him of Admiral Sir Charles Saunders, K.B. Brompton was an exhibitor at the Society of Arts and Royal Academy between the years 1767 and 1780.
[Redgrave's Dictionary of Artists, 1878.]
L. F.
Dictionary of National Biography, Errata (1904), p.37 N.B.— f.e. stands for from end and l.l. for last line
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| 405 | ii | 9 | Brompton, Richard: after 1782 insert He was president of the Society of Artists till 1779 |
# Dictionary of National Biography, 1885-1900/Bromsgrove, Richard

​BROMSGROVE, RICHARD (d. 1435), was a monk of the Benedictine abbey of Evesham, who doubtless derived his name (which is sometimes given under the form of Bremesgrave) from Bromsgrove in Worcestershire as his birthplace. He was elected abbot of Evesham when infirmarer of the abbey, on 6 Dec. 1418, and was consecrated in Bengeworth church by Bishop Barrow, of Bangor, who in the year previous had been chancellor of Oxford. He died on 10 May 1435, after holding the abbacy for seventeen years, and was buried before the high altar in St. Mary's chapel in the abbey church. The register of his acts during his abbacy is preserved in Cotton MS. Titus C. ix. (ff. 1-38). It contains articles for the reformation of monasteries which were proposed by Henry V in 1421, with modifications suggested by various abbots. It appears from this register (f. 32) that he wrote a tract, 'De fraterna correctione canonice exercenda.' A transcript of the register exists amongst the collections of James West in Lansdowne MS. 227, British Museum.
[Tanner's Bibl. Brit.; Nash's "Worcestershire, i. 400, where, however, there are errors in dates; Chronicon Abb. de Evesham (Rolls Series), xxxvii. 338.]
W. D. M.
# Dictionary of National Biography, 1885-1900/Bromyarde, John de

1904 Errata appended.
​BROMYARDE, JOHN de (fl. 1390), so named from the place of his birth, Bromyard in Herefordshire, was a friar of the Dominican order. He was educated at Oxford, where he distinguished himself in jurisprudence as well as in theology, and he subsequently lectured on theology at Cambridge. He was a keen opponent of the doctrines of Wycliffe, which he denounced in preaching and lecturing, and also by writing; and he is said by some writers to have taken part in the fourth council of London which assembled under William de Courtenay, archbishop of Canterbury, in the year 1352, for the purpose of condemning Wycliffe; but ​Bromyarde's name does not appear in contemporary lists of persons present at the council. Bromyarde is the author of a work entitled 'Summa Prædicantium,' printed at Nuremberg by A. Koberger in 1485, and reprinted several times, the last edition having appeared at Venice in 1586. It is also probable that he was the author of 'Opus trivium perutilium materiarum prædicabilium ordine alphabetico e divina canonica civilique legibus eleganter contextum per ven. F. Philippum de Bronnerde, ord. præd.,' printed without date or place, but probably from the press of Fust and Schœffer at Mayence, about 1475. This book was reprinted at Paris in 1500, with the author's name given as Joannes Bromyard.
[Leland's Comm. de Scriptoribus Britannicis, p. 356; Quétif's Scriptores Ordinis Prædicatorum; Pits's Relat. Hist. de rebus Anglicis; Fabricius's Bibliotheca Latina.]
A. M.
Dictionary of National Biography, Errata (1904), p.37 N.B.— f.e. stands for from end and l.l. for last line
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| 405 | ii | 9 f.e. | Bromyarde, John de: after Cambridge insert He was chancellor of the university in 1383 |
# Dictionary of National Biography, 1885-1900/Bromley, Valentine Walter

1904 Errata appended.
​BROMLEY, VALENTINE WALTER (1848–1877), painter, great-grandson of William Bromley (1769-1842) [q. v.], was born in London on 14 Feb. 1848. From his childhood he manifested a remarkable faculty for art, both as an original designer and as a depicter of nature. He was especially remarkable for invention and swiftness of execution. He contributed largely to the 'Illustrated London News,' and illustrated the American travels of Lord Dunraven, whom he accompanied in his tour. He was an associate of the Institute of Painters in Water Colours, and was an exhibitor at the Royal Academy at the time of his death. He died very unexpectedly of congestion of the lungs, on 30 April 1877, just as he had undertaken an important series of illustrations of Shakespeare and the Bible. He was a thorough artist, as full of animation and energy as of talent, and greatly beloved for his affectionate temper and warmth of heart. He had been married only a few months to a lady artist of considerable mark, Ida, daughter of Mr. John Forbes-Robertson. His picture of 'Troilus and Cressida' is engraved in the 'Art Journal' for 1873.
[Art Journal, xxxix. 205 ; Athenaeum, 5 May 1877.]
R. G.
Dictionary of National Biography, Errata (1904), p.37 N.B.— f.e. stands for from end and l.l. for last line
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| 403 | ii | 11 | Bromley, Valentine W.: for congestion of the lungs read smallpox |