OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hood (Henry)

​HOOD (HENRY), bookseller in London; St. Dunstan's Churchyard, 1636-54. Took up his freedom July 1st, 1635. [Arber, iii 687.] Believed to have married the widow of Richard More or Moore, who carried on business at this address until his death in 1631. On May 12th, 1641, John More or Moore, the son of Richard, received from his mother the assignment of his father's copies, and the same day assigned them to Henry Hood. [Stationers' Registers, 1641.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Horne (Robert)

​HORNE (ROBERT), bookseller in London, (1) Turk's Head near the Royal Exchange, 1661; (2) Angel, in Pope's Head Alley, 1664; (3) In the first court entering into Gresham College, next Bishopsgate, 1669; (4) At the South Entrance to the Royal Exchange, Cornhill 1660-85. Amongst his publications was A Brief Description of the Province of Carolina, on the coasts of Floreda … Together with a most accurate map of the whole Province, London, Printed for Robert Horne, in the first Court of Gresham College, neer Bishopsgate-street, 1666. [B.M. 10412, c. 16.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hodges (Robert)

​HODGES (ROBERT), bookseller in London, 1649. Only known from the imprint to W. Prynne's Loyall vindication of the liberties of England, 1649. He may have been a descendant of George Hodges, who was publishing between 1621 and 1632. [Arber, v. 242.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hodgkinson (Richard)

​HODGKINSON (RICHARD), printer in London; Thames Street, near Baynard's Castle, 1624-68. Took up his freedom April 8th, 1616. [Arber, iii. 684.] In Sir John Lambe's notes he is said to have been the son of a printer, possibly Thomas Hodgkinson, who is mentioned in the Rasters between 1580 and 1597. Some time in 1635, Richard Hodgkinson was in trouble with the Star Chamber and his press and letters had been seized, but on the recommendation of the Commissioners they were restored to him. This, however, had not taken place at the time when Lambe made these notes. [Acts of the Court of High Commission, Domestic State Papers, Charles I, vol. 324, f. 307$^b$] On March 21st, 1637, another entry in the State Papers shows that he had purchased type from Arthur Nicholls the type-founder, and some dispute as to payment resulted. [Domestic State Papers, Charles I, vol. 350, 53, 53 (1).] In the same year he was in trouble for printing Doctor John Cowell's Interpreter, but this did not prevent his being chosen as one of the twenty printers appointed under the Act. He was the printer of the first volume of Sir W. Dugdale's Monasticon, which, next to the Polyglott Bible, must be considered a "magnus opus" of the Commonwealth period. He was still a master printer in 1668, but as no return of his office is given with the rest, he would have appeared to have died or retired from business about that time.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Holden (John)

​HOLDEN (JOHN), bookseller in London, (1) Blue Anchor in the New Exchange; (2) The Anchor in the New Exchange. 1650-1. Apparently the predecessor of Henry Herringman at this address. Publisher of Abraham Cowley's Guardian, 1650, and Sir W. Davenant's Gondibert, 1651. A list of thirteen miscellaneous books sold by him in 1651 occupies one leaf following the dedicatory epistle to L. Lessius' Sir W. Rawleighs Ghost.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crooke (Andrew)

​CROOKE (ANDREW), bookseller in London; Green Dragon in St. Paul's Churchyard, 1630-74. Took up his freedom March 26th, 1629. [Arber, iii. 686], and became one of the leading publishers of his day. He dealt largely in plays, in the publication of which he was associated with G. Bedell and W. Cooke, and he published the first authorised edition of Sir T. Browne's Religio Medici. A list of 17 plays by Beaumont and Fletcher sold by him is given at the end of the play Wit without Money, ​which he issued in 1661. He sometimes supplied books to Scottish booksellers. [See Hill (J.).] Andrew Crooke was master of the Stationers' Company in the year 1665-66. Smyth in his Obituary, p. 103, thus records his death: "Sep. 20. [1674.] Andrew Crooke bookseller, this evening died, being well the day before among his acquaintance in Little Britain, my old acquaintance." He left no will. Administration of his effects was granted to his widow on October 15th. [P.C.C., Admons.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crooke (John)

​CROOKE (JOHN), bookseller in London, and King's Printer in Dublin, 1638-69, (1) Greyhound in St. Paul's Churchyard, 1638-39; (2) Ship in St. Paul's Churchyard, 1640-66; (3) Duck Lane, 1667-69; (4) Dublin, King's Printing Office, 1660-69. Brother of Andrew Crooke. He was associated with R. Sergier, J. Baker, and G. Bedell, and during this time issued several plays. In July, 1660, he was appointed Printer General in Ireland with a fee of £8 per annum and power to print all books and statutes, and he still retained his London business. Smyth in his Obituary, p. 80, thus records his death: "20th March 1668/9 Mr. John Crook bookseller in Duck Lane, brother to Andr. Crook, died this morning: buried at Botolphs Aldersgate, Mar, 23." He left no will, administration of his effects being granted to his widow Mary on April 20th. He was succeeded in the office of King's Printer in Ireland by Benj. Tooke, but in a book noted by Mr. E. R. McC. Dix in his Books printed in Dublin, under date 1671, the imprint runs: "Typis Regiis et impensis Mariæ Crooke." He left two sons, John and Andrew, both of whom were afterwards associated with the King's Printing House in Dublin. [Information supplied by Mr. E. R. McC. Dix; W. W. Greg, List of English Plays & Masques, Appendix 1, p. xxxvi.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crooke (William)

​CROOKE (WILLIAM), bookseller in London; Three Bibles on Fleet Bridge, 1664-65. Published T. Lowick's History of … St. George, 1664. A list of seven books published by him is given at the end of The Truth & Excellency of Christian Religion Demonstrated, 1665, 4$^o$.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crofts (Robert)

​CROFTS (ROBERT,) bookseller in London, (1) Crown in Chancery Lane next the Rowles; (2) Crown in Chancery Lane under Serjeants Inne, 1657–64. Dealt largely in plays and broadsides. [See Hazlitt, H. 163, H. 39, H. 79, iv. 160.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cripps (Mrs.)

​CRIPPS (Mrs.), bookseller in London; First shop in Pope's-Head-Alley, 1661–64. Widow of Henry Cripps. The initials S.C. found in the imprint to C. Trenchfield's Historical Contemplations, 1664, may refer to her.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Croft, or Crofts (Edward)

​CROFT, or CROFTS (EDWARD), bookseller in London; Against St. Botolph's Church, Little Britain, 1666–67. His name occurs in the Hearth Tax Roll for the half-year ending Lady Day, 1666, as having premises in Little Britain. [P.R.O. Lay Subsidy, 252/32.] His death is recorded in Smyth's Obituary (p. 77), under date December 29th, 1667/8: "Edw. Croft bookseller against St. Buttolph's Church in Little Brittain died hora 5 ante merid.: his relict, remarried since to Mr. Blagrave, an honest bookseller, who live happily in her house in Little Brittain."
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crombie (Robert)

​CROMBIE (ROBERT), bookseller in Edinburgh, 1645. Probably the Robert Crumby, "servand, keeper of his buith," named in 1631 in the inventory of James Cathkin. Apprentice, Robert Brown, q.v. Died August or September, 1645. [H. G. Aldis, List of books printed in Scotland before 1700, p. 112.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crosley (John)

​CROSLEY (JOHN), bookseller at Oxford, 1664-1703. Was perhaps son or grandson of John Crosley, stationer in Oxford, who died February 12th, 1612/13. [Madan, Early Oxford Press, p. 276.] His imprint is found in M. Prideaux's Easy & compendious Introduction, for reading all sorts of Histories. 1664.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crosse (John)

​CROSSE (JOHN), English bookseller in Amsterdam; in the Calver Street, near the English Church, 1646. His imprint is found in John Featly's Fountain of Tears, 1646.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Crouch, or Crowch (John)

​CROUCH, or CROWCH (JOHN), bookseller in London, 1635(?)-1653. Two men of this name took up their freedoms in the Stationers' Company within a few years of each other, the earlier of the two on February 4th, 1635, and the other on December 2nd, 1639, but whether they were related is not known. The first was the publisher of several of Thomas Heywood's plays, and cannot be traced after 1640. The second was apparently in partnership with Thomas Wilson, q.v., at the Sign of the 3 Foxes in Long Lane, and printed with him Mercurius Democritus, and also a pamphlet entitled The Tyranny of the Dutch against the English, in 1653. [Arber, iii. 687, 688.]
# A Dictionary of Music and Musicians/Flemming, Friedrich

[ M. ]
# A Dictionary of Music and Musicians/Flight, Benjamin

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Flat Fifth

From volume 1 of the work.
​FLAT FIFTH is an interval which is less by one semitone than a perfect fifth, and is dissonant.
# A Dictionary of Music and Musicians/Fliegende Holländer, Der

From volume 1 of the work.
​FLIEGENDE HOLLÄNDER, DER. Opera in 3 acts, words and music by Richard Wagner; produced at Dresden, Jan. 2, 1843. In London at Drury Lane, as L'Ollandese dannato, July 23, 1870; and by Carl Rosa, as the Flying Dutchman, at the Lyceum, Oct. 1876; at Covent Garden as Il Vascello fantasma, June 16, 77.
[ G. ]
# A Dictionary of Music and Musicians/Florid

From volume 1 of the work.
​FLORID. Music in rapid figures, divisions, or passages, the stem of the simple melody bursting forth, as it were, into leaves and flowers. The image is the same as that in Fioriture. The Italian term is Figurato. Examples are hardly necessary; but the genesis of florid passages is highly interesting, and an instance or two, from the simplest form to the very highest art, may be forgiven.
Bach, Christmas Oratorio.
Haydn, Quartet 1.
Mozart, G-minor Symphony
Beethoven, Concerto No. 5.
Do., Ninth Symphony (Adagio).
Such florid passages are essential to Variations, and the last of these examples is taken from the finest set of variations existing.
[ G. ]
# A Dictionary of Music and Musicians/Flat

From volume 1 of the work.
​FLAT. A term employed in the sense of lowering; an artist sings or plays flat when his notes are below the right pitch. B flat is a semitone lower than B, E flat than E, and so on; to 'flatten' (baisser) a sound or an instrument is to make it lower than before, just as to 'sharpen' it is to raise it. The sign used to denote this flattening in music is ♭, called a flat—Fr. bémol; Ital. Bemolle; Germ. Be. It has been already shown under Accidentals and B (p. 19a and 107) how the signs of the flat (♭) and natural (♮) were derived from two forms of the letter b. A double flat is a descent of two semitones, and is marked by ♭♭. The flat of a note is not the same pitch (does not give the same number of vibrations) as the sharp of the note a tone below it, though on a keyed instrument the two are represented by the same black key; nor are B and E the same as C♭ and F♭—and so on. This will be explained under Interval.
[ G. ]
# A Dictionary of Music and Musicians/Flauto Traverso

From volume 1 of the work.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Fleming, Alexander

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

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Parisian Symphony

From volume 2 of the work.
​PARISIAN, or FRENCH, SYMPHONY, THE. A symphony of Mozart's in D—
[ G. ]
# A Dictionary of Music and Musicians/Parepa-Rosa, Euphrosyne

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

From volume 2 of the work.
​PARISINA. 1. An opera in 3 acts; libretto (founded on Byron's poem) by Romani, music by Donizetti. Produced at the Pergola theatre, Florence, March 18, 1833. At the Théâtre des Italians, Paris, Feb. 24, 1838. In London, at Her Majesty's theatre, June 1, 1838.
[ G. ]
# A Dictionary of Music and Musicians/Parke, John

From volume 2 of the work.
​PARKE, John, born in 1745, studied the oboe under Simpson, and the theory of music under Baumgarten. In 1768 he was engaged as principal oboist at the Opera, and in 1771 succeeded the celebrated Fischer as concerto player at Vauxhall, and became principal oboist at Drury Lane. In 1776 he appeared in the same capacity in the Lenten oratorios conducted by J. C. Smith and John Stanley, and soon afterwards at Ranelagh and Marylebone Gardens. He was appointed one of the King's band of music, and in 1783 chamber musician to the Prince of Wales. He was engaged at the Concert of Ancient Music, and other principal concerts, and at all the provincial festivals, until his retirement in 1815. He died Aug. 2, 1829. He composed many oboe concertos for his own performance, but never published them.
Maria Hester, his daughter (born 1775), was instructed by him in singing and pianoforte playing, and made her first appearance as a singer at Gloucester Festival in 1790, being then very young, and for about seven years afterwards sang at the principal London concerts and oratorios and the provincial festivals. She afterwards became Mrs. Beardmore and retired from the musical profession, but distinguished herself by her attainments in science, languages, and literature. She died in 1822, her husband surviving her only four months. She composed several sets of pianoforte sonatas, some songs, and a set of glees.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Paradis, Marie Therese von

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Pardon de Ploermel, Le

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

From volume 2 of the work.
​PARADISE AND THE PERI, the second of the four poems which form Moore's Lalla Rookh, has been several times set to music.
1. 'Das Paradies und die Peri,' by Robert Schumann, for solos, chorus, and orchestra (op. 50) in 3 parts, containing 26 nos. The words were compiled by Schumann himself from the translations of Flechsig and Oelkers, with large alterations of his own. It appears to have been composed shortly before its production at Leipzig, Dec. 2, 1843. In England it was first performed by the Philharmonic Society (Madame Goldschmidt) June 23, 1856. But it had previously been produced in Dublin under the conductorship of Mr. W. Glover, Feb. 10, 1854.
2. 'A Fantasia-Overture, Paradise and the Peri' (op. 42), composed by Sterndale Bennett for the Jubilee Concert of the Philharmonic Society, July 14, 1862, and produced then. A minute programme of the connexion of the words and music was furnished by the composer for the first performance, and is usually reprinted.
[ G. ]
# A Dictionary of Music and Musicians/Parisienne, La

From volume 2 of the work.
​PARISIENNE, LA. Out of the many melodies associated with the Revolution of 1830 two have survived, and in some sense become national airs, 'La Parisienne' and 'Les Trois Couleurs.' The first commemorates the influence of Paris, and the triumph of the Orleanist party; the second is Republican, and in the name of France proclaims the triumph of democracy. [See Trois Couleurs, Les.]
Casimir Delavigne, librarian of the Palais Royal, and the favourite poet of Louis Philippe, was the first to celebrate the Revolution in verse, his stanzas dating from the day after the Parisians had defeated the troops of Charles X. (Aug. 1, 1830). Among his intimate friends were Auber and Brack, the latter a good musician and singer, devoted to Volkslieder. In his collection was one, apparently composed in 1757 at the time of the siege of Harburg, and to this Delavigne adapted his words. Auber transposed it into A, and added a symphony, very simple, but bold and martial in character. We give the first of the seven stanzas.
​The 'Parisienne' was first heard in public at the Theatre of the Porte St. Martin on Monday, Aug. 2, 1830. Two days later the Opera was reopened, and the playbill announced the 'Muette de Portici' reduced to four acts, and 'La Marche Parisienne,' a cantata by Casimir Delavigne, sung by Adolphe Nourrit. On this occasion Auber had the last phrase repeated in chorus, and produced the symphony already mentioned.
The defect of the 'Parisienne,' from a musical point of view, is the constant recurrence of the three notes, C, E, and A, especially C: this harping on the third of the key has a monotonous effect, which not even Nourrit's singing could disguise. The jovial turn of the refrain too is quite inconsistent with the words. It is also a pity that the last line ends with a feminine rhyme; the final 'e' of the word 'victoire' being tame and unwarlike to a degree.
[ G. C. ]
# A Dictionary of Music and Musicians/Parish-Alvars, Elias

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

From volume 2 of the work.
[ J. A. F. M. ]
# A Fever

O ! DO not die, for I shall hate All women so, when thou art gone, That thee I shall not celebrate, When I remember thou wast one.
But yet thou canst not die, I know; To leave this world behind, is death; But when thou from this world wilt go, The whole world vapours with thy breath.
Or if, when thou, the world's soul, go'st, It stay, 'tis but thy carcase then; The fairest woman, but thy ghost, But corrupt worms, the worthiest men.
O wrangling schools, that search what fire Shall burn this world, had none the wit Unto this knowledge to aspire, That this her feaver might be it?
And yet she cannot waste by this, Nor long bear this torturing wrong, For more corruption needful is, To fuel such a fever long.
These burning fits but meteors be, Whose matter in thee is soon spent; Thy beauty, and all parts, which are thee, Are unchangeable firmament.
Yet 'twas of my mind, seizing thee, Though it in thee cannot perséver; For I had rather owner be Of thee one hour, than all else ever.
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 Fellow-Traveller's Story

As serialized in Once a Week.
* Part 1
* Part 2
# A Few Maxims For The Instruction Of The Over-Educated

November 17, 1894
Education is an admirable thing. But it is well to remember from time to time that nothing that is worth knowing can be taught.
Public opinion exists only where there are no ideas.
The English are always degrading truths into facts. When a truth becomes a fact it loses all its intellectual value.
It is a very sad thing that nowadays there is so little useless information.
The only link between Literature and Drama left to us in England at the present moment is the bill of the play.
In old days books were written by men of letters and read by the public. Nowadays books are written by the public and read by nobody.
Most women are so artificial that they have no sense of Art. Most men are so natural that they have no sense of Beauty.
Friendship is far more tragic than love. It lasts longer.
What is abnormal in Life stands in normal relations to Art. It is the only thing in Life that stands in normal relations to Art.
A subject that is beautiful in itself gives no suggestion to the artist. It lacks imperfection.
The only thing that the artist cannot see is the obvious. The only thing that the public can see is the obvious. The result is the Criticism of the Journalist.
Art is the only serious thing in the world. And the artist is the only person who is never serious.
To be really mediæval one should have no body. To be really modern one should have no soul. To be really Greek one should have no clothes.
Dandyism is the assertion of the absolute modernity of Beauty.
The only thing that can console one for being poor is extravagance. The only thing that can console one for being rich is economy.
One should never listen. To listen is a sign of indifference to one's hearers.
Even the disciple has his uses. He stands behind one's throne, and at the moment of one's triumph whispers in one's ear that, after all, one is immortal.
The criminal classes are so close to us that even the policemen can see them. They are so far away from us that only the poet can understand them.
Those whom the gods love grow young.
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 Naval Biographical Dictionary/Robinson, Richard

Layout 4
​ROBINSON. (Commander, 1838. f-p., 22; h-p., 8.)
Richard Robinson was born in June, 1804, and died 11 Jan. 1848, in Dublin.
This officer entered the Navy, 23 Nov. 1817, as Midshipman, on. board the Favorite 26, Capt. Hercules Robinson, employed at St. Helena and in ​the Rio de la Plata. In Jan. 1820 he joined the Leander 50, bearing the flag of Hon. Sir Henry Blackwood in the East Indies, whence, after serving in the Satellite 18, Capt. Mark John Currie, he returned to England in 1823 in the Asia 84, also commanded by Capt. Currie. On 30 April, 1827, at which period he had been for about two years and 10 months employed in the Mediterranean on board the Cambrian 48, Capt. Gawen Wm. Hamilton, he was promoted to the rank of Lieutenant. His succeeding appointments were – in the course of the same year, to the Ariadne 26, Capts. Adolphus FitzClarence, Hon. Chas. Leonard Irby, and Lewis Davies, also in the Mediterranean, whence he came home and was paid off in May, 1828 – in 1830, to the Pylades 18, Capts. Patrick Duff Henry Hay, and Edw. Blanckley, employed at first on the coast of Ireland and afterwards in South America, whence he returned to England as Senior Lieutenant in June, 1834 – and 9 Feb. 1835, in the capacity last mentioned, to the Action 26, Capt. Lord Edw. Russell, with whom he again served in South America for three years. He attained the rank of Commander 28 June, 1838; and from 17 Feb. 1840 until the spring of 1845 filled an appointment in the Coast Guard. Agents Goode and Lawrence.