OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Griswold, Rufus Wilmot

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​GRISWOLD, RUFUS WILMOT (1815–1857), American editor and compiler, was born in Benson, Vermont, on the 15th of February 1815. He travelled extensively, worked in newspaper offices, was a Baptist clergyman for a time, and finally became a journalist in New York City, where he was successively a member of the staffs of The Brother Jonathan, The New World (1839–1840) and The New Yorker (1840). From 1841 to 1843 he edited Graham’s Magazine (Philadelphia), and added to its list of contributors many leading American writers. From 1850 to 1852 he edited the International Magazine (New York), which in 1852 was merged into Harper’s Magazine. He died in New York City on the 27th of August 1857. He is best known as the compiler and editor of various anthologies (with brief biographies and critiques), such as Poets and Poetry of America (1842), his most popular and valuable book; Prose Writers of America (1846); Female Poets of America (1848); and Sacred Poets of England and America (1849). Of his own writings his Republican Court: or American Society in the Days of Washington (1854) is the only one of permanent value. He edited the first American edition of Milton’s prose works (1845), and, as literary executor, edited, with James R. Lowell and N. P. Willis, the works (1850) of Edgar Allan Poe. Griswold’s great contemporary reputation as a critic has not stood the test of time; but he rendered a valuable service in making Americans better acquainted with the poetry and prose of their own countrymen.
See Passages from the Correspondence and Other Papers of Rufus W. Griswold (Cambridge, Mass., 1898), edited by his son William McCrillis Griswold (1853–1899).
# 1911 Encyclopædia Britannica/Engis

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​ENGIS, a cave on the banks of the Meuse near Liége, Belgium, where in 1832 Dr P. C. Schmerling found human remains in deposits belonging to the Quaternary period. Bones of the cave-bear, mammoth, rhinoceros and hyena were discovered in association with parts of a man’s skeleton and a human skull. This, known as “the Engis Skull,” gave rise to much discussion among anthropologists, since it has characteristics of both high and low development, the forehead, low and narrow, indicating slight intelligence, while the abnormally large brain cavity contradicts this conclusion. Of it Huxley wrote: “There is no mark of degradation about any part of its structure. It is a fair average human skull, which might have belonged to a philosopher, or might have contained the thoughtless brains of a savage.” Dr Schmerling concluded that the human remains were those of man who had been contemporary with the extinct mammals. As, however, fragments of coarse pottery were found in the cave which bore other evidence of having been used by neolithic man, by whom the cave-floor and its contents might have been disturbed and mixed, his arguments have not been regarded as conclusive. There is, however, no doubt as to the great age of the Engis Skull. Discoveries of a like nature were made by Dr Schmerling in the neighbourhood in the caves of Engihoul, Chokier and others.
See P. C. Schmerling, Recherches sur les ossements découverts dans les cavernes de la province Liège (1833); Huxley, Man’s Place in Nature, p. 156; Lord Avebury, Prehistoric Times, p. 317 (1900).
# 1911 Encyclopædia Britannica/Engleheart, George

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​ENGLEHEART, GEORGE (1752–1829), English miniature painter, the great rival of Richard Cosway, was born at Kew in October 1752, and received his artistic training first under George Barret, R.A., and then under Sir Joshua Reynolds. He started on his own account in 1773, and exhibited in that year at the Royal Academy. He continued the active pursuit of his profession down to 1813, when he retired, and his fee-book, still in existence, records the names of his sitters, and the amount paid for each portrait, proving that he painted 4853 miniatures during that period of thirty-nine years, and that his professional income for many years exceeded £1200 a year. During the greater part of his life he resided in Hertford Street, Mayfair, where he lived till he retired. He died at Blackheath in 1829, and was buried at Kew.
He painted George III. twenty-five times, and had a very extensive circle of patrons, comprising nearly all the important persons connected with the court. He made careful copies in miniature of many of the famous paintings executed by Sir Joshua Reynolds, and in some cases these constitute the only information we possess respecting portraits by Sir Joshua that are now missing. His fee-book, colours, appliances and a large collection of his miniatures still remain in the possession of his descendants.
His nephew, John Cox Dillman Engleheart (1784–1862), also a miniature painter, entered George Engleheart’s studio when he was but fourteen years of age. He first exhibited at the Royal Academy in 1801, and sent in altogether 157 works. He was a man of substantial means, and in his time a very popular painter, but his health broke down when he was forty-four years old, and he had to relinquish the pursuit of his profession. He lived at Tunbridge Wells for some years and died there in 1862.
See George Engleheart, by G. C. Williamson and H. L. D. Engleheart (1902). (G. C. W.)
# 1911 Encyclopædia Britannica/Englewood

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​ENGLEWOOD, a city of Bergen county, New Jersey, U.S.A., near the Hudson river, 14 m. N. by E. of Jersey City. Pop. (1900) 6253, of whom 1548 were foreign-born and 386 negroes; (1905) 7922; (1910) 9924. It is served by a branch of the Erie railway, and by an electric line connecting with a ferry (at Fort Lee) to New York. Englewood is primarily a residential suburb of New York. The site rises terrace above terrace from the marshes in the valley of the Hackensack to the top of the palisades overlooking the Hudson, from which Englewood is separated by the borough of Englewood Cliffs (pop. in 1905, 266). There are several fine residences, a hospital, a public library and the Dwight school for girls (1859). The site of Englewood was for a long time a part of “English Neighbourhood,” and was known as Liberty Pole; but until 1859, when the place was laid out, there were only a few houses here, one of which was the “Liberty Pole Tavern.” In 1871 Englewood was set off from the township of Hackensack and was incorporated as a separate township, and in 1896 it was chartered as a city; but the act under which it was chartered was declared unconstitutional, and in 1899 Englewood was rechartered as a city by a special act of the state legislature.
# 1911 Encyclopædia Britannica/Horapollon

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​HORAPOLLON, of Phaenebythis in the nome of Panopolis in Egypt, Greek grammarian, flourished in the 4th century A.D. during the reign of Theodosius I. According to Suidas, he wrote commentaries on Sophocles, Alcaeus and Homer, and a work (Τεμενικά) on places consecrated to the gods. Photius (cod. 279), who calls him a dramatist as well as a grammarian, ascribes to him a history of the foundation and antiquities of Alexandria (unless this is by an Egyptian of the same name, who lived in the reign of Zeno, 474–491). Under the name of Horapollon two books on Hieroglyphics are extant, which profess to be a translation from an Egyptian original into Greek by a certain Philippus, of whom nothing is known. The inferior Greek of the translation, and the character of the additions in the second book point to its being of late date; some have even assigned it to the 15th century. Though a very large proportion of the statements seem absurd and cannot be accounted for by anything known in the latest and most fanciful usage, yet there is ample evidence in both the books, in individual cases, that the tradition of the values of the hieroglyphic signs was not yet extinct in the days of their author.
Bibliography.—Editions by C. Leemans (1835) and A. T. Cory (1840) with English translation and notes; see also G. Rathgeber in Ersch and Gruber’s Allgemeine Encyclopädie; H. Schäfer, Zeitschrift für ägyptische Sprache (1905), p. 72.
# 1911 Encyclopædia Britannica/Horatius Cocles

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​HORATIUS COCLES, a legendary hero of ancient Rome. With two companions he defended the Sublician bridge against Lars Porsena and the whole army of the Etruscans, while the Romans cut down the bridge behind. Then Horatius threw himself into the Tiber and swam in safety to the shore. A statue was erected in his honour in the temple of Vulcan, and he received as much land as he could plough round in a single day. According to another version, Horatius alone defended the bridge, and was drowned in the Tiber.
There is an obvious resemblance between the legend of Horatius Cocles and that of the Horatii and Curiatii. In both cases three Romans come forward as the champions of Rome at a critical moment of her fortunes, and only one successfully holds his ground. In the one case, the locality is the land frontier, in the other, the boundary stream of Roman territory. E. Pais finds the origin of the story in the worship of Vulcan, and identifies Cocles (the “one-eyed”) with one of the Cyclopes, who in mythology were connected with Hephaestus, and later with Vulcan. He concludes that the supposed statue of Cocles was really that of Vulcan, who, as one of the most ancient Roman divinities and, in fact, the protecting deity of the state, would naturally be confounded with the hero who saved it by holding the bridge against the invaders. He suggests that the legend arose from some religious ceremony, possibly the practice of throwing the stuffed figures called Argei into the Tiber from the Pons Sublicius on the ides of May. The conspicuous part played in Roman history by members of the Horatian family, who were connected with the worship of Jupiter Vulcanus, will explain the attribution of the name Horatius to Vulcan-Cocles.
See Livy ii. 10; Dion. Halic. v. 23-25; Polybius vi. 55; Plutarch, Poplicola, 16. For a critical examination of the legend, see Schwegler, Römische Geschichte, bk. xxi. 18; W. Ihne, History of Rome, i.; E. Pais, Storia di Roma, i. ch. 4 (1898), and Ancient Legends of Roman History (Eng. trans., 1906).
# 1911 Encyclopædia Britannica/Horde

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​HORDE, a manufacturing town of Germany, in the Prussian province of Westphalia, is 2 m. S.E. from Dortmund on the railway to Soest. Pop. (1905) 28,461. It has a Roman Catholic and an Evangelical church, a synagogue and an old castle dating from about 1300. There are large smelting-works, foundries, puddling-works, rolling-mills and manufactures of iron and plated wares. In the neighbourhood there are large iron and coal mines. A tramway connects the town with Dortmund.
# 1911 Encyclopædia Britannica/Horgen

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​HORGEN, a small town in the Swiss canton of Zürich, situated on the left or west shore of the Lake of Zürich, and by rail 101/2 m. S.E. of the town of Zürich. Pop. (1900) 6883, mostly German-speaking and Protestants. It possesses many industrial establishments of various kinds, and is a centre of the Zürich silk manufacture. It came in 1406 into the possession of Zürich, with which it communicates by means of steamers on the lake, as well as by rail.
# 1911 Encyclopædia Britannica/Hor, Mount

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​HOR, MOUNT (הור), the scene in the Bible of Aaron’s death, situated “in the edge of the land of Edom” (Num. xxxiii. 37). Since the time of Josephus it has been identified with the Jebel Nebi Ḥarūn (“Mountain of the Prophet Aaron”), a twin-peaked mountain 4780 ft. above the sea-level (6072 ft. above the Dead Sea) in the Edomite Mountains on the east side of the Jordan-Arabah valley. On the summit is a shrine said to cover the grave of Aaron. Some modern investigators dissent from this identification: H. Clay Trumbull prefers the Jebel Madāra, a peak north-west of ʽAin Kadis. Another Mount Hor is mentioned in Num. xxxiv. 7, 8, as on the northern boundary of the prospective conquests of the Israelites. It is perhaps to be identified with Hermon. It has been doubtfully suggested that for Hor we should here read Hadrach, the name of a northern country near Damascus, mentioned only once in the Bible (Zech. ix. 1). (R. A. S. M.)
# 1911 Encyclopædia Britannica/Horae

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​HORAE (Lat. hora, hour), the Hours, in Greek mythology Ὡραι, originally the personification of a series of natural phenomena. In the Iliad (v. 749) they are the custodians of the gates of Olympus, which they open or shut by scattering or condensing the clouds; that is, they are weather goddesses, who send down or withhold the fertilizing dews and rain. In the Odyssey, where they are represented as bringing round the seasons in regular order, they are an abstraction rather than a concrete personification. The brief notice in Hesiod (Theog. 901), where they are called the children of Zeus and Themis, who superintend the operations of agriculture, indicates by the names assigned to them (Eunomia, Dikē, Eirenē, i.e. Good Order, Justice, Peace) the extension of their functions as goddesses of order from nature to the events of human life, and at the same time invests them with moral attributes. Like the Moerae (Fates), they regulate the destinies of man, watch over the newly born, secure good laws and the administration of justice. The selection of three as their number has been supposed to refer to the most ancient division of the year into spring, summer and winter, but it is probably only another instance of the Greek liking for that particular number or its multiples in such connexions (three Moerae, Charites, Gorgons, nine Muses). Order and regularity being indispensable conditions of beauty, it was easy to conceive of the Horae as the goddesses of youthful bloom and grace, inseparably associated with the idea of springtime. As such they are companions of the Nymphs and Graces, with whom they are often confounded, and of other superior deities connected with the spring growth of vegetation (Demeter, Dionysus). At Athens they were two (or three) in number: Thallo and Carpo, the goddesses of the flowers of spring and of the fruits of summer, to whom Auxo, the goddess of the growth of plants, may be added, although some authorities make her only one of the Graces. In honour of the Horae a yearly festival (Horaea) was celebrated, at which protection was sought against the scorching heat and drought, and offerings were made of boiled meat as less insipid and more nutritious than roast. In later mythology, under Alexandrian influence, the Horae become the four seasons, daughters of Helios and Selene, each represented with the conventional attributes. Subsequently, when the day was divided into twelve equal parts, each of them took the name of Hora. Ovid (Metam. ii. 26) describes them as placed at equal intervals on the throne of Phoebus, with whom are also associated the four seasons. Nonnus (5th century A.D.) in the Dionysiaca also unites the twelve Horae as representing the day and the four Horae as the seasons in the palace of Helios.
See C. Lehrs, Populäre Aufsätze (1856); J. H. Krause, Die Musen, Grazien, Horen, und Nymphen (1871); and the articles in Daremberg and Saglio’s Dictionnaire des antiquités, J. A. Hild; and in Roscher’s Lexikon der Mythologie, W. Rapp.
# 1911 Encyclopædia Britannica/Horatii and Curiatii

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​HORATII and CURIATII, in Roman legend, two sets of three brothers born at one birth on the same day—the former Roman, the latter Alban—the mothers being twin sisters. During the war between Rome and Alba Longa it was agreed that the issue should depend on a combat between the two families. Two of the Horatii were soon slain; the third brother feigned flight, and when the Curiatii, who were all wounded, pursued him without concert he slew them one by one. When he entered Rome in triumph, his sister recognized a cloak which he was wearing as a trophy as one she had herself made for her lover, one of the Curiatii. She thereupon invoked a curse upon her brother, who slew her on the spot. Horatius was condemned to be scourged to death, but on his appealing to the people his life was spared (Livy i. 25, 26; Dion. Halic. iii. 13-22). Monuments of the tragic story were shown by the Romans in the time of Livy (the altar of Janus Curiatius near the sororium tigillum, the “sister’s beam,” or yoke under which Horatius had to pass; and the altar of Juno Sororia). The legend was probably invented to account for the origin of the provocatio (right of appeal to the people), while at the same time it points to the close connexion and final struggle for supremacy between the older city on the mountain and the younger city on the plain. Their relationship and origin from three tribes are symbolically represented by the twin sisters and the two sets of three brothers.
For a critical examination of the story, see Schwegler, Römische Geschichte, bk. xii. 11. 14; Sir G. Cornewall Lewis, Credibility of Early Roman History, ch. xi. 15; W. Ihne, Hist. of Rome, i.; E. Pais, Storia di Roma, i. ch. 3 (1898), and Ancient Legends of Roman History (Eng. trans., 1906), where the story is connected with the ceremonies performed in honour of Jupiter Tigillus and Juno Sororia; C. Pascal, Fatti e legende di Roma antica (Florence, 1903); O. Gilbert, Geschichte und Topographie der Stadt Rom im Altertum (1883–1885).
# 1911 Encyclopædia Britannica/Horeb

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​HOREB, the ancient seat of Yahweh, the tribal god of the Kenites, adopted by His covenant by Israel. This is the name preferred by the Elohistic writer (E) whose work is interwoven into the Old Testament narrative, and he is followed by the Deuteronomist school (D). The Yahwistic writer (J), on the other hand, prefers to call the mountain Sinai (q.v.), and so do the priestly writers (P). This latter form became the more usual. There is no ground for distinguishing between Horeb as the range and Sinai as the single mountain, or between Horeb and Sinai as respectively the N. and S. parts of the range.
# 1911 Encyclopædia Britannica/Horehound

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* Horehound.
HOREHOUND (O. Eng. harhune, Ger. Andorn, Fr. marrube). Common or white horehound, Marrubium vulgare, of the natural order Labiatae, is a perennial herb with a short stout rootstock, and thick stems, about 1 ft. in height, which, as well as their numerous branches, are coated with a white or hoary felt—whence the popular name of the plant. The leaves have long petioles, and are roundish or rhombic-ovate, with a bluntly toothed margin, much wrinkled, white and woolly below and pale green and downy above; the flowers are sessile, in dense whorls or clusters, small and dull-white, with a 10-toothed calyx and the upper lobe of the corolla long and bifid. The plant occurs in Europe, North Africa and West Asia to North-West India, and has been naturalized in parts of America. In Britain, where it is found generally on sandy or dry chalky ground, it is far from common. White horehound contains a volatile oil, resin, a crystallizable bitter principle termed marrubiin and other substances, and has a not unpleasant aromatic odour, and a persistent bitter taste. Formerly it was official in British pharmacopoeias; and the infusion, syrup or confection of horehound has long been in popular repute for the treatment of a host of dissimilar affections. Black horehound, Ballota nigra, is a hairy perennial herb, belonging to the same order, of foetid odour, is 2 to 3 ft. in height, and has stalked, roundish-ovate, toothed leaves and numerous flowers, in dense axillary clusters, with a green or purplish calyx, and a pale red-purple corolla. It occurs in Europe, North Africa and West Asia, and in Britain south of the Forth and Clyde, and has been introduced into North America.
# 1911 Encyclopædia Britannica/Genet

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​GENET, typically a south European carnivorous mammal referable to the Viverridae or family of civets, but also taken to include several allied species from Africa. The true genet (Genetta vulgaris or Genetta genetta) occurs throughout the south of Europe and in Palestine, as well as North Africa. The fur is of a dark-grey colour, thickly spotted with black, and having a dark streak along the back, while the tail, which is nearly as long as the body, is ringed with black and white. The genet is rare in the south of France, but commoner in Spain, where it frequents the banks of streams, and feeds on small mammals and birds. It differs from the true civets in that the anal pouch is a mere depression, and contains only a faint trace of the highly characteristic odour of the former. In south-western Europe and North Africa it is sought for its soft and beautifully spotted fur. In some parts of Europe, the genet, which is easily tamed, is kept like a cat for destroying mice and other vermin.
The Genet (Genetta vulgaris).
# 1911 Encyclopædia Britannica/Genelli, Giovanni Buonaventura

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​GENELLI, GIOVANNI BUONAVENTURA (1798–1868), German painter, was born at Berlin on the 28th of September 1798. He was the son of Janus Genelli, a painter whose landscapes are still preserved in the Schloss at Berlin, and grandson to Joseph Genelli, a Roman embroiderer employed to found a school of gobelins by Frederick the Great. Buonaventura Genelli first took lessons from his father and then became a student of the Berlin academy. After serving his time in the guards he went with a stipend to Rome, where he lived ten years, a friend and assistant to Koch the landscape painter, a colleague of the sculptor Ernst Hähnel (1811–1891), Reinhart, Overbeck and Führich, all of whom made a name in art. In 1830 he was commissioned by Dr Härtel to adorn a villa at Leipzig with frescoes, but quarrelling with this patron he withdrew to Munich, where he earned a scanty livelihood at first, though he succeeded at last in acquiring repute as an illustrative and figure draughtsman. In 1859 he was appointed a professor at Weimar, where he died on the 13th of November 1868. Genelli painted few pictures, and it is very rare to find his canvases in public galleries, but there are six of his compositions in oil in the Schack collection at Munich. These and numerous water-colours, as well as designs for engravings and lithographs, reveal an artist of considerable power whose ideal was the antique, but who was also fascinated by the works of Michelangelo. Though a German by birth, his spirit was unlike that of Overbeck or Führich, whose art was reminiscent of the old masters of their own country. He seemed to hark back to the land of his fathers and endeavour to revive the traditions of the Italian Renaissance. Subtle in thought and powerfully conceived, his compositions are usually mythological, but full of matter, energetic and fiery in execution, and marked almost invariably by daring effects of foreshortening. Impeded by straitened means, the artist seems frequently to have drawn from imagination rather than from life, and much of his anatomy of muscle is in consequence conventional and false. But none the less Genelli merits his reputation as a bold and imaginative artist, and his name deserves to be remembered beyond the narrow limits of the early schools of Munich and Weimar.