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/Bryson (Robert)

​BRYSON (ROBERT), printer in Edinburgh; at the signe of Jonah, 1637–45. A bookseller who commenced printing in 1640. Apparently had some connection with R. Young, q.v. His inventory discloses an extensive stock of books and the list of debtors includes several booksellers, among them "Mr. Cruik [Crooke] and Mr. Hope, buiksellars at Londone." Wife, Isobel Herring; children, Samuel, Isobel, Helen. Died 1645. Ornaments: tailpiece with monogram R.B. and several formerly in possession of Finlason and Young. [H. G. Aldis, List of books printed in Scotland, p. 110.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Brown (P.)

​BROWN (P.), (?) bookseller in London, 1656. Is only known from the imprint to the first edition of the Rev. Henry Beesley's collection of sermons entitled, Ψυχομαχία, or the Souls Conflict … 1656, of which the title-page is preserved in the Ames Collection, No. 2553. His place of business is not given.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Bryson (James)

​BRYSON (JAMES), printer in Edinburgh; a little above the Kirk Style at the signe of the Golden Angel, 1638–42. A bookseller who commenced printing in 1639 in succession to the heirs of A. Hart. He rented his house from Hart's widow. He was probably a relative of Robert Bryson, q.v. Died in April, 1642, his widow continued the bookselling business. Device: headpiece with I.B. in centre; and many of Hart's ornaments. Some of his ornaments were afterwards used by G. Lithgow and A. Anderson. [H. G. Aldis, List of books printed in Scotland before 1700, p. 110.] See also Bryson, R. and J.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Bryson (R. and J.)

​BRYSON (R. and J.), printers in Edinburgh, 1641. Some official papers were printed (apparently by Robert Bryson) in their joint names in 1641, and at the end of that year, or in 1642, they petitioned unsuccessfully to have the recent appointment of Young and Tyler, q.v.., as King's Printers set aside in favour of themselves. [H. G. Aldis, List of books printed in Scotland before 1700, p. 110.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Browne (John)

​BROWNE (JOHN), bookseller in London; Guilded Acorn in Paul's Churchyard, 1652-61 (?). According to Hazlitt (iii. 43) he was the publisher of the Rev. Samuel Clarke's Martyrologie … of England, 1652, folio; Hazlitt had apparently seen a copy of this work, as he gives the collation, but no copy of it appears to be in any of our national libraries. Browne was afterwards in partnership with William Miller.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Browne (Samuel)

​BROWNE (SAMUEL), bookseller and printer in London and at the Hague. (1) Fountain, St. Paul's Churchyard, 1639; (2) St. Paul's Churchyard, at the sign of the White Lyon and Ball, 1641-43; (3) Hage. Samuel Browne English bookeseller dwelling in the Achter-Om at the signe of the English Printing Press, 1643-60; (4) At the sign of the Queen's Arms near the little north door of St. Paul's Church, 1661-65. (1638-65.) Took up his freedom June 3rd, 1633. [Arber, iii. 687], his first registered publication being an edition of Herodian's History of Greece in Greek and Latin, entered on February 3rd, 1637/8. At the outbreak of the Civil War, having strong royalist sympathies, he left the country and settled at the Hague, where he printed and published much royalist literature, including an edition of the Eikon Basilike in 1649, Jeremy Taylor's Martyrdom of King Charles, 1649, and a broadside ballad entitled Chipps of the Old Block, in 1659. [Lutt. Collection, ii. 40.] Returning to England at the Restoration, he settled at the sign of the Queen's Arms in St. Paul's Churchyard, and in partnership with a Frenchman named John de l'Ecluse, q.v., issued several French books. He died of the plague in the autumn of 1665, and Smyth, in his Obituary, p. 66, has the following notice of him: "Aug$^t$. 1665, Mr. Brown, once a bookseller at y$^e$ Hague, who married the daughter of Mr. Nath. Hall of y$^e$ Exchequer, died at y$^e$ Pest House, ex peste, about this time."
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Brudenell, or Brudnell (John)

​BRUDENELL, or BRUDNELL (JOHN), printer in London; Maiden-Head-Alley, near Newgate, 1660-66. Appears to have succeeded Thomas Brudenell. He was ruined by the Fire of London. [Plomer, Short History, p. 225.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Bryson (Heirs of R.)

​BRYSON (Heirs of R.), booksellers in Edinburgh, 1646. Only known by the imprint of a book, No. 1241, in Mr. Aldis's List of books printed in Scotland before 1700.
# A Dictionary of Music and Musicians/Picco

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

From volume 2 of the work.
​PICCOLO (i.e. Italian for 'little'), an abbreviation for Flauto Piccolo, usually applied to the Octave Flute, otherwise called Ottavino, from its tonal relation to the larger instruments, of which it occupies the superior octave. Small flutes and fifes have been made in many keys; those now most commonly in use are the D and E♭ piccolos. The former name is correct; it being the super-octave of the ordinary flute, which has been shown to stand in the key of D. The D piccolo, however, is not furnished with the adventitious keys of C, B♮ (and sometimes B♭), which give the flute three or four semitones below its natural keynote. The so-called E♭ piccolo is really in D♭, as can be easily demonstrated by attempting to play on it music written for the E♭ clarinet, which actually stands in the key named; when it will be found to differ by a whole tone. The French scorers very properly term it 'Petite flute en Ré♭.' Its use is now entirely limited to military bands, which habitually play in flat keys. The peculiar tonality thus adopted expunges five flats from the signature; enabling the instrument to avoid many mechanical difficulties, and to range around the lower sharp and flat keys from D to E♭, in which its intonation is most correct.
Its compass is from D or D♭ within the treble stave to at least A in altissimo (2 octaves and 5 notes), or even higher in the hands of a good player. It is customary to write for it an octave lower than the sound really produced.
It is, with the exception of the higher harmonic notes of the violin, by far the most acute instrument used in orchestral music; its sounds being much more powerful and piercing than the corresponding notes developed by a string. On the other hand, its lowest octave is feeble and devoid of character.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Pichel, Wenzel

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

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Piccolo Piano

From volume 2 of the work.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Piccolomini, Maria

From volume 2 of the work.
[ A. C. ]
* ↑ This drama was formerly forbidden on the English stage; but Mme. Modjeska, the Polish actress, has played in a modified version of the same at the Court Theatre during the season of 1880 with very great success.
* ↑ 'Recollections of an Old Playgoer.'
* ↑ Having sung the music previously at Mr. Benedict's annual concert, June 21, at the same theatre.
# A Dictionary of Music and Musicians/Picco Pipe

From volume 2 of the work.
​PICCO PIPE. A small and unimportant member of the family of flûtes à bec. It owes whatever musical significance it may possess to the efforts of the single exceptional player named in the preceding article. It is stated that this performer was able to produce from it a compass of three octaves. The only other importance which it displays is due to its extreme simplicity. Perhaps no wind instrument ever constructed exhibits such limited mechanism. It consists, as usually made, of a box-wood tube 3½ inches long. Of this, 1½ inches are occupied by a mouthpiece, common to it and to the penny whistle, the flageolet, the flûte à bec, and the diapason pipe of the organ. The remaining two inches form all the modulative apparatus required. This consists of three lateral holes; two in front, one at the back, for the thumb and two first fingers of either hand, and an expanded bell, spreading to of an inch in diameter. It is obvious that some additional device is necessary to complete even the simplest and most rudimentary diatonic scale. This is furnished by first using it as a stopped pipe; the bell being blocked, wholly or partially, by the palm of the hand, twelve semitones being so produced; then as an open pipe, giving eight consecutive notes; and lastly, by overblowing on the first harmonic of a stopped pipe (the 12th), obtaining again with a stopped bell six more semitones. Besides these, some intermediate sounds are indicated by half stopping holes, or by forcing the wind, according as the vibrations have to be slackened or accelerated.
The compass is usually 26 semitones, and is made to commence with B below the treble stave; rising to C above it (1). The lowest note is only to be obtained by covering the bell with the palm of the hand and closing all the holes. At B (2) the open scale commences, and at G (3) the harmonic.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Pieno

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

[ V. de P. ]
# A Dictionary of Music and Musicians/Kreutzer, Conradin

From volume 2 of the work.
​KREUTZER, Conradin, German composer, son of a miller, born Nov. 22, 1782 [App. p.693 "1780"], at Mosskirch in Baden; chorister first in his native town, then at the Abbey of Zwiefalten, and afterwards at Scheussenried. In 1799 he went to Freiburg in Breisgau to study medicine, which he soon abandoned for music. The next 5 years he passed chiefly in Switzerland, as pianist, singer, and composer; and in 1804 arrived in Vienna. And there he took lessons from Albrechtsberger, and worked hard at composition, especially operas. His first opera was 'Conradin von Schwaben' (Stuttgart 1812), and its success gained him the post of Capellmeister to the King of Würtemburg; thence he went to Prince von Fürstenberg at Donaueschingen; but in 1822 returned to Vienna and produced 'Libussa.' At the Kärthnerthor theatre he was Capellmeister in 1825, 1829–32, and 1837–40. From 1833 to 40 he was conductor ​at the Josephstadt theatre, where he produced his two best works, 'Das Nachtlager in Granada' (1834) and a fairy opera 'Der Verschwender,' which have both kept the boards. At a later date he was appointed Capellmeister at Cologne, and in 1843 conducted the 43rd Festival [App. p.693 corrects to "in 1841 conducted the 23rd Festival"] of the Lower Rhine. Thence he went to Paris, and in 1846 back to Vienna. He accompanied his daughter, whom he had trained as a singer, to Riga, and there died, Dec. 14, 1849.
[ A. M. ]
# A Dictionary of Music and Musicians/Krauss, Marie

[ A. C. ]
# A Dictionary of Music and Musicians/Krebs

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

From volume 2 of the work.
​KREUTZER SONATA. The popular title in England of Beethoven's Sonata for piano and violin in A, op. 47, dedicated to 'his friend R. Kreutzer.' The work was first played by Beethoven and Bridgetower at the Augarten at 8 a.m. May 17 or 24, 1803. The finale had originally belonged to op. 30, no. 1, but the first movement and the variations were only finished just in time, and the latter had to be played from the autograph without rehearsal. In the opening Presto, at the pause in the 9th bar, Bridgetower introduced a Cadenza in imitation of that for the Piano in the 18th bar, fortunately to Beethoven's satisfaction (see Thayer, ii. 230). He gives it as follows:—
The sonata was published in 1805, by Simrock and Traeg, before May 18. Bridgetower averred (Thayer, ii. 231) that it was originally dedicated to him, and that the change was the result of a quarrel. Why Kreutzer was chosen is as yet a mystery. He was in Vienna with Bernadotte in 1798, but no trace of his relations with Beethoven remains, though we may assume them to have been good, for Beethoven to designate him as his 'friend.' It has been alleged as a reason that the second theme of the Presto is a phrase of Kreutzer's; but this has not been substantiated. Certainly no such passage appears in Kreutzer's violin works. The dedication on the 1st ed. stands 'Sonata per il Pianoforte ed un Violino obligato, scritta in uno stilo molto concertante, quasi come d'un Concerto. Composta e dedicata al suo amico R. Kreutzer, Membro del Conservatorio di Musica in Parigi, Primo Violino dell' Academia delleArti, e della Camera Imperiale, per L. van Beethoven. Opera 47. A Bonn chez K. Simrock. 422.' In a notebook of Beethoven's in the Imperial Library at Berlin, the second sentence appears 'in uno stilo molto brillante.'
[ G. ]
# A Dictionary of Music and Musicians/Krebs, Johann Ludwig

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

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Kreissle von Hellborn, Heinrich

From volume 2 of the work.
​KREISSLE VON HELLBORN, Heinrich, Dr. juris, Imperial-finance-Secretary at Vienna, and Member of the Direction of the Gesellschaft der Musikfreunde, finds a place here for his Lives of Schubert, viz. 'F. Schubert, eine biografische Skizze, von Heinrich von Kreissle' (small 8vo. Vienna, 1861), a preliminary sketch; and 'Franz Schubert' (8vo. Vienna, Gerold, 1865), a complete and exhaustive biography, with a portrait. The latter has been translated in full by Mr. Arthur Duke Coleridge, 'The Life of Franz Schubert … with an Appendix by George Grove' (giving a thematic catalogue of the nine symphonies, and mentioning other works still in MS.), 2 vols., 8vo., London, Longmans, 1869. It has also been condensed by Mr. E. Wilberforce, 8vo., London, Allen, 1866.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Krenn, Michael

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

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

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

​SUBSIDIARY, in a symphonic work, is a theme of inferior importance, not strictly forming part of either first or second subject, but subordinate to one or the other. The spaces between the two subjects, which in the early days before Beethoven were filled up by 'padding' in the shape of formal passages and modulations, ​are now, in obedience to his admirable practice, occupied by distinct ideas, usually of small scope, but of definite purport. [See vol. i. p. 203b.] The 'Eroica' Symphony affords early and striking examples of subsidiary subjects in various positions. Thus, on the usual dominant passage preceding the 2nd subject appears the plaintive melody:—
which becomes of so much importance in the 2nd part. And the same title belongs also to the fresh subject which appears transiently during the 'working-out' with so much effect:—
Equally noticeable is the phrase in a similar situation in the 4th Symphony,
while the melody which Schubert interpolated as an afterthought in the Scherzo of his great C major Symphony is too well known to require quotation.
These two last however are not worked, and can therefore hardly be classed as 'themes,' but are more of the nature of 'episodes.'
In some cases a Subsidiary acquires so much importance in the working out as to rank as a third subject. The Italian Symphony of Mendelssohn supplies a type of this. The subject—
which appears shortly after the double bar in the 1st movement, though properly speaking merely a Subsidiary, is so insisted upon and elaborated in the working-out and coda as to rival the ist subject itself in importance.
[ F. C. ]
# A Dictionary of Music and Musicians/Submediant

[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Succès d'Estime

[ G. ]
# A Dictionary of Music and Musicians/Sucher, Josef

[ G. ]
# A Dictionary of Music and Musicians/Stuttgart Conservatorium

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

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

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

[ C. H. H. P. ]
# A Bachelor's Establishment/Dedication

To Monsieur Charles Nodier, member of the French Academy, etc.
Here, my dear Nodier, is a book filled with deeds that are screened from the action of the laws by the closed doors of domestic life; but as to which the finger of God, often called chance, supplies the place of human justice, and in which the moral is none the less striking and instructive because it is pointed by a scoffer.
To my mind, such deeds contain great lessons for the Family and for Maternity. We shall some day realize, perhaps too late, the effects produced by the diminution of paternal authority. That authority, which formerly ceased only at the death of the father, was the sole human tribunal before which domestic crimes could be arraigned; kings themselves, on special occasions, took part in executing its judgments. However good and tender a mother may be, she cannot fulfil the function of the patriarchal royalty any more than a woman can take the place of a king upon the throne. Perhaps I have never drawn a picture that shows more plainly how essential to European society is the indissoluble marriage bond, how fatal the results of feminine weakness, how great the dangers arising from selfish interests when indulged without restraint. May a society which is based solely on the power of wealth shudder as it sees the impotence of the law in dealing with the workings of a system which deifies success, and pardons every means of attaining it. May it return to the Catholic religion, for the purification of its masses through the inspiration of religious feeling, and by means of an education other than that of a lay university.
In the "Scenes from Military Life" so many fine natures, so many high and noble self-devotions will be set forth, that I may here be allowed to point out the depraving effect of the necessities of war upon certain minds who venture to act in domestic life as if upon the field of battle.
You have cast a sagacious glance over the events of our own time; its philosophy shines, in more than one bitter reflection, through your elegant pages; you have appreciated, more clearly than other men, the havoc wrought in the mind of our country by the existence of four distinct political systems. I cannot, therefore, place this history under the protection of a more competent authority. Your name may, perhaps, defend my work against the criticisms that are certain to follow it,—for where is the patient who keeps silence when the surgeon lifts the dressing from his wound?
To the pleasure of dedicating this Scene to you, is joined the pride I feel in thus making known your friendship for one who here subscribes himself
Your sincere admirer,
 De Balzac  Paris, November, 1842.
# A Chinese Biographical Dictionary/Ch'ên Hsien (陳詵)

​223 Ch'ên Hsien 陳詵 (T. 叔大. H. 寶齊). A.D. 1641-1722. Descended from an illustrious Chehkiang family, he graduated as chü jen in 1672, and served as a Censor in Peking, offering many valuable suggestions, especially on the conservation of the Yellow River. Sent as Governor to Kueichou, he promoted the reclamation of waste lands, sericulture, and fruit-growing, besides doing much for education. After a term as Governor of Hupeh, he returned to Peking as President of the Board of Works, and retired in 1719. An indefatigable student, he left only scattered notes on the History and the Four Books. Canonised as 文恪.
# A Chinese Biographical Dictionary/Ch'ên Hsü

​225 Ch'ên Hsü 陳頊 (T. 紹世). A.D. 531-582. Brother of Ch'ên Ch'ien and uncle to Ch'ên Po-tsung, whom he deposed in 558, mounting the throne as fourth Emperor of the Ch'ên dynasty. In 573 he recovered many Districts from Ch'i, but was overawed by the rising power of Chou. Canonised as 高宗宜皇帝.
# A Chinese Biographical Dictionary/Ch'ên Hsien (陳咸)

​222 Ch'ên Hsien 陳咸. 1st cent. B.C. and A.D. A high legal official under the Emperors Ai Ti and P'ing Ti of the Han dynasty. Unable to countenance the changes introduced by Wang Mang, he tendered his resignation; and when Wang Mang usurped the throne, he and his three sons all declined to hold office, and retired into private life. He concealed all his legal books and documents in a wall, and continued to use the old calendar of the Hans, declaring that he could not recognise the new calendar of the Wang family. His reputation had been that of a just judge, and he strongly impressed upon ​his sons the desirability of erring on the side of leniency.
# A Chinese Biographical Dictionary/Ch'ên Hsüan

​226 Ch'ên Hsüan 陳撰 (T. 楞山 H. 玉几) A famous calligraphist and bibliophile of the 18th cent. A.D.
# A Chinese Biographical Dictionary/Ch'ên Hung-mou

​228 Ch'ên Hung-mou 陳宏謀 (T. 汝咨 H. 褣門). A.D. 1695—1771. Graduated as chin shih in 1723. After serving in the Censorate he was sent to the provinces, and soon rose to be Governor; and during the next twenty years he was moved about from province to province over half the empire. In 1757 he was Viceroy of the Two Kuang, but lost the post in consequence of alleged incapacity in dealing with a plague of locusts. In 1763 he was President of the Board of War, and in 1767 Grand Secretary and President of the Board of Works. In 1771 he retired from ill-health, with the title of Senior Tutor to the Heir Apparent, and died soon afterwards. Ch'ên was a most successful administrator. He always had his room hung round with maps of the province in which he was serving, so as to become familiar with its geography. He was severe but just to his subordinates, and always anxious to improve the condition of the people. He encouraged the production of copper in Yünnan by allowing the sale of all ​in excess of the government quota, by which means he rendered importation from abroad unnecessary. He established free schools, and spread education among the aborigines of various provinces. Canonised as 文恭.
# A Chinese Biographical Dictionary/Ch'ên Hao (宸濠)

​219 Ch'ên Hao 宸濠. A.D. 1478-1519. A grandson of Prince 寧靖 Ning-ching, a scion of the Imperial family of the Mings. In 1507 he was restored to the title and dignity of which his grandfather had been deprived for misconduct, and was recognised as Prince Ning. After having enjoyed for years the favour of the debauched and extravagant monarch, Wu Tsung, to whom he owed his elevation, he took advantage of the confusion into which public affairs were thrown in 1519 by the Emperor's whim of undertaking a progress through the southern provinces, to head a revolt. With a large body of adherents, he made himself master of a portion of the province of Kiangsi, and proceeded to lay siege to An-ch'ing. The Imperial commander, Wang Shou-jen, who had subdued an insurrection in Kiangsi in the previous year, at once devised measures for drawing away the insurgent army from the Yang-tsze, lest an attempt should be made upon Nanking. He marched upon Nan-ch'ang Fu, the capital of ​Kiangsi, then in the power of the rebels, and took it by storm; upon which Ch'ên Hao abandoned his design upon An-ch'ing and returned to meet the foe in his rear. His fleet, while ascending the river Kan, encountered that of Wang Shou-jen; and after an obstinate engagement, Ch'ên Hao was defeated and taken prisoner. He was shortly afterwards executed at T'ung-chou, on the Emperor's return from his ill-fated journey to the south.