OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Crosby, Howard

See also Howard Crosby (minister) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​CROSBY, HOWARD (1826–1891), American preacher and teacher, great-grandson of Judge Joseph Crosby of Massachusetts and of Gen. William Floyd of New York, a signer of the Declaration of Independence, was born in New York City on the 27th of February 1826. He graduated in 1844 from the University of the City of New York (now New York University); became professor of Greek there in 1851, and in 1859 became professor of Greek in Rutgers College, New Brunswick, New Jersey, where two years later he was ordained pastor of the first Presbyterian church. From 1870 to 1881 he was chancellor of the University of the City of New York; from 1872 to 1881 was one of the American revisers of the English version of the New Testament; and in 1873 was moderator of the general assembly of the Presbyterian Church. He took a prominent part in politics, urged excise reform, opposed “total abstinence,” was one of the founders and was the first president of the New York Society for the Prevention of Crime, and pleaded for better management of Indian affairs and for international copyright. Among his publications are The Lands of the Moslem (1851), Bible Companion (1870), Jesus: His Life and Works (1871), True Temperance Reform (1879), True Humanity of Christ (1880), and commentaries on the book of Joshua (1875), Nehemiah (1877) and the New Testament (1885).
His son, Ernest Howard Crosby (1856–1907), was a social reformer, and was born in New York City on the 4th of November 1856. He graduated at the University of the City of New York in 1876 and at Columbia Law School in 1878; served in the New York Assembly in 1887–1889, securing the passage of a high-licence bill; in 1889–1894 was a judge of the Mixed Tribunal at Alexandria, Egypt, resigning upon coming under the influence of Tolstoy; and died in New York City on the 3rd of January 1907. He was the first president (1894) of the Social Reform Club of New York City, and was president in 1900–1905 of the New York Anti-Imperialist League; was a leader in settlement work and in opposition to child labour, and was a disciple of Tolstoy as to universal peace and non-resistance, and of Henry George in his belief in the “single tax” principle. His writings, many of which are in the manner of Walt Whitman, comprise Plain Talk in Psalm and Parable (1899), Swords and Ploughshares (1902), and Broadcast (1905), all in verse; an anti-military novel, Captain Jinks, Hero (1902); and essays on Tolstoy (1904 and 1905) and on Garrison (1905).
# 1911 Encyclopædia Britannica/Crop

See also Crop on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​CROP (a word common in various forms, such as Germ. Kropf, to many Teutonic languages for a swelling, excrescence, round head or top of anything; it appears also in Romanic languages derived from Teutonic, in Fr. as croupe, whence the English “crupper”; and in Ital. groppo, whence English “group”), the ingluvies, or pouched expansion of a bird’s oesophagus, in which the food remains to undergo a preparatory process of digestion before being passed into the true stomach. From the meaning of “top” or “head,” as applied to a plant, herb or flower, comes the common use of the word for the produce of cereals or other cultivated plants, the wheat-crop, the cotton-crop and the like, and generally, “the crops”; more particular expressions are the “white-crop,” for such grain crops as barley or wheat, which whiten as they grow ripe and “green-crop” for such as roots or potatoes which do not, and also for those which are cut in a green state, like clover (see Agriculture). Other uses, more or less technical, of the word are, in leather-dressing, for the whole untrimmed hide; in mining and geology, for the “outcrop” or appearance at the surface of a vein or stratum and, particularly in tin mining, of the best part of the ore produced after dressing. A “hunting-crop” is a short thick stock for a whip, with a small leather loop at one end, to which a thong may be attached. From the verb “to crop,” i.e. to take off the top of anything, comes “crop” meaning a closely cut head of hair, found in the name “croppy” given to the Roundheads at the time of the Great Rebellion, to the Catholics in Ireland in 1688 by the Orangemen, probably with reference to the priests’ tonsures, and to the Irish rebels of 1798, who cut their hair short in imitation of the French revolutionaries.
# 1911 Encyclopædia Britannica/Cropsey, Jasper Francis

See also Jasper Francis Cropsey on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​CROPSEY, JASPER FRANCIS (1823–1900), American landscape painter, was born at Rossville, Staten Island, New York, on the 18th of February 1823. After practising architecture for several years, he turned his attention to painting, studying in Italy from 1847 to 1850. In 1851 he was elected a member of the National Academy of Design. From 1857 to 1863 he had a studio in London, and after his return to America enjoyed a considerable vogue, particularly as a painter of vivid autumnal effects, along the lines of the Hudson River school. He was one of the original members of the American Water Color Society. He continued actively in this profession until within a few days of his death, at Hastings-on-Hudson, New York, on the 22nd of June 1900. He made the architectural designs for the stations of the elevated railways in New York City.
# 1911 Encyclopædia Britannica/Gentile

See also Gentile on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​GENTILE, in the English Bible, the term generally applied to those who were not of the Jewish race. It is an adaptation of the Lat. gentilis, of or belonging to the same gens, the clan or family; as defined in Paulus ex Festo “gentilis dicitur et ex eodem genere ortus et is qui simili nomine; ut ait Cincius, gentiles mihi sunt, qui meo nomine appellantur.” In post-Augustan Latin gentilis became wider in meaning, following the usage of gens, in the sense of race, nation, and meant “national,” belonging to the same race. Later still the word came to mean “foreign,” i.e. other than Roman, and was so used in the Vulgate, with gentes, to translate the Hebrew goyyim, nations, LXX. ἔθνη, the non-Israelitish peoples (see further Jews).
# 1911 Encyclopædia Britannica/Gentle

See also Gentry on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​GENTLE (through the Fr. gentil, from Lat. gentilis, belonging to the same gens, or family), properly an epithet of one born of a “good family”; the Latin generosus, “well born” (see Gentleman), contrasted with “noble” on the one side and “simple” on the other. The word followed the wider application of the word “gentleman”; implying the manners, character and breeding proper to one to whom that name could be applied, courteous, polite; hence, with no reference to its original meaning, free from violence or roughness, mild, soft, kind or tender. With a physical meaning of soft to the touch, the word is used substantively of the maggot of the bluebottle fly, used as a bait by fishermen. At the end of the 16th century the French gentil was again adapted into English in the form “gentile,” later changed to “genteel.” The word was common in the 17th and 18th centuries as applied to behaviour, manner of living, dress, &c., suitable or proper to persons living in a position in society above the ordinary, hence polite, elegant. From the early part of the 19th century it has also been used in an ironical sense, and applied chiefly to those who pay an excessive and absurd importance to the outward marks of respectability as evidence of being in a higher rank in society than that to which they properly belong.
# 1911 Encyclopædia Britannica/Gensonné, Armand

See also Armand Gensonné on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​GENSONNÉ, ARMAND (1758–1793), French politician, the son of a military surgeon, was born at Bordeaux on the 10th of August 1758. He studied law, and at the outbreak of the Revolution was an advocate of the parlement of Bordeaux. In 1790 he became procureur of the Commune, and in July 1791 was elected by the newly created department of the Gironde a member of the court of appeal. In the same year he was elected deputy for the department to the Legislative Assembly. As reporter of the diplomatic committee, in which he supported the policy of Brissot, he proposed two of the most revolutionary measures passed by the Assembly: the decree of accusation against the king’s brothers (January 1, 1792), and the declaration of war against the king of Bohemia and Hungary (April 20, 1792). He was vigorous in his denunciations of the intrigues of the court and of the “Austrian committee”; but the violence of the extreme democrats, culminating in the events of the 10th of August, alarmed him; and when he was returned to the National Convention, he attacked the Commune of Paris (October 24 and 25). At the trial of Louis XVI. he supported an appeal to the people, but voted for the death sentence. As a member of the Committee of General Defence, and as president of the Convention (March 7-21, 1793), he shared in the bitter attacks of the Girondists on the Mountain; and on the fatal day of the 2nd of June his name was among the first of those inscribed on the prosecution list. He was tried by the Revolutionary Tribunal on the 24th of October 1793, condemned to death and guillotined on the 31st of the month, displaying on the scaffold a stoic fortitude. Gensonné was accounted one of the most brilliant of the little band of brilliant ​orators from the Gironde, though his eloquence was somewhat cold and he always read his speeches.
# 1911 Encyclopædia Britannica/Gentile da Fabriano

See also Gentile da Fabriano on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​GENTILE DA FABRIANO (c. 1370–c. 1450), Italian painter, was born at Fabriano about 1370. He is said to have been a pupil of Allegretto di Nuzio, and has been supposed to have received most of his early instruction from Fra Angelico, to whose manner his bears in some respects a close similarity. About 1411 he went to Venice, where by order of the doge and senate he was engaged to adorn the great hall of the ducal palace with frescoes from the life of Barbarossa. He executed this work so entirely to the satisfaction of his employers that they granted him a pension for life, and accorded him the privilege of wearing the habit of a Venetian noble. About 1422 he went to Florence, where in 1423 he painted an “Adoration of the Magi” for the church of Santa Trinita, which is preserved in the Florence Accademia; this painting is considered his best work now extant. To the same period belongs a “Madonna and Child,” which is now in the Berlin Museum. He had by this time attained a wide reputation, and was engaged to paint pictures for various churches, more particularly Siena, Perugia, Gubbio and Fabriano. About 1426 he was called to Rome by Martin V. to adorn the church of St John Lateran with frescoes from the life of John the Baptist. He also executed a portrait of the pope attended by ten cardinals, and in the church of St Francesco Romano a painting of the “Virgin and Child attended by St Benedict and St Joseph,” which was much esteemed by Michelangelo, but is no longer in existence. Gentile da Fabriano died about 1450. Michelangelo said of him that his works resembled his name, meaning noble or refined. They are full of a quiet and serene joyousness, and he has a naïve and innocent delight in splendour and in gold ornaments, with which, however, his pictures are not overloaded.
# 1911 Encyclopædia Britannica/Gentileschi, Artemisia and Orazio de'

See also Orazio Gentileschi and Artemisia Gentileschi on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​GENTILESCHI, ARTEMISIA and ORAZIO DE’, Italian painters.
Orazio (c. 1565–1646) is generally named Orazio Lomi de’ Gentileschi; it appears that De’ Gentileschi was his correct surname, Lomi being the surname which his mother had borne during her first marriage. He was born at Pisa, and studied under his half-brother Aurelio Lomi, whom in course of time he surpassed. He afterwards went to Rome, and was associated with the landscape-painter Agostino Tasi, executing the figures for the landscape backgrounds of this artist in the Palazzo Rospigliosi, and it is said in the great hall of the Quirinal Palace, although by some authorities the figures in the last-named building are ascribed to Lanfranco. His best works are “Saints Cecilia and Valerian,” in the Palazzo Borghese, Rome; “David after the death of Goliath,” in the Palazzo Doria, Genoa; and some works in the royal palace, Turin, noticeable for vivid and uncommon colouring. At an advanced age Gentileschi went to England at the invitation of Charles I., and he was employed in the palace at Greenwich. Vandyck included him in his portraits of a hundred illustrious men. His works generally are strong in shadow and positive in colour. He died in England in 1646.
Artemisia (1590–1642), Orazio’s daughter, studied first under Guido, acquired much renown for portrait-painting, and considerably excelled her father’s fame. She was a beautiful and elegant woman; her likeness, limned by her own hand, is to be seen in Hampton Court. Her most celebrated composition is “Judith and Holofernes,” in the Uffizi Gallery; certainly a work of singular energy, and giving ample proof of executive faculty, ​but repulsive and unwomanly in its physical horror. She accompanied her father to England, but did not remain there long; the best picture which she produced for Charles I. was “David with the head of Goliath.” Artemisia refused an offer of marriage from Agostino Tasi, and bestowed her hand on Pier Antonio Schiattesi, continuing, however, to use her own surname. She settled in Naples, whither she returned after her English sojourn; she lived there in no little splendour, and there she died in 1642. She had a daughter and perhaps other children.
# 1911 Encyclopædia Britannica/Emeritus

See also Emeritus on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​EMERITUS (Lat. from emereri, to serve out one’s time, to earn thoroughly), a term used of Roman soldiers and public officials who had earned their discharge from the service, a veteran, and hence applied, in modern times, to a university professor (professor emeritus) who has vacated his chair, on account of long service, age or infirmity, and, in the Presbyterian church, to a minister who has for like reason given up his charge.
# 1911 Encyclopædia Britannica/Emetics

See also Emetic on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​EMETICS (from Gr. ἐμετικός, causing vomit), the term given to substances which are administered for the purpose of producing vomiting. It is customary to divide emetics into two classes, those which produce their effect by acting on the vomiting centre in the medulla, and those which act directly on the stomach itself. There is considerable confusion in the nomenclature of these two divisions, but all are agreed in calling the former class central emetics, and the latter gastric. The gastric emetics in common use are alum, ammonium carbonate, zinc sulphate, sodium chloride (common salt), mustard and warm water. Copper sulphate has been purposely omitted from this list, since unless it produces vomiting very shortly after administration, being itself a violent gastro-intestinal irritant, some other emetic must promptly be administered. The central emetics are apomorphine, tartar emetic, ipecacuanha, senega and squill. Of these tartar emetic and ipecacuanha come under both heads: when taken by the mouth they act as gastric emetics before absorption into the blood, and later produce a further and more vigorous effect by stimulation of the medullary centre. It must be remembered, however, that, valuable though these drugs are, their action is accompanied by so much depression, they should never be administered except under medical advice.
Emetics have two main uses: that of emptying the stomach, especially in cases of poisoning, and that of expelling the contents of the air passages, more especially in children before they have learnt or have the strength to expectorate. Where a physician is in attendance, the first of these uses is nearly always replaced by lavage of the stomach, whereby any subsequent depression is avoided. Emetics still have their place, however, in the treatment of bronchitis, laryngitis and diphtheria in children, as they aid in the expulsion of the morbid products. Occasionally also they are administered when a foreign body has got into the larynx. Their use is contra-indicated in the case of anyone suffering from aneurism, hernia or arterio-sclerosis, or where there is any tendency to haemorrhage.
# 1911 Encyclopædia Britannica/Emigration

See also our 1911 Encyclopædia Britannica disclaimer.
​EMIGRATION (from Lat. emigrare; e, ex, out of, and migrare, to depart), the movement of population out of one country into another (see Migration).
# 1911 Encyclopædia Britannica/Emerson, William

See also William Emerson (mathematician) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​EMERSON, WILLIAM (1701–1782), English mathematician, was born on the 14th of May 1701 at Hurworth, near Darlington, where his father, Dudley Emerson, also a mathematician, taught a school. Unsuccessful as a teacher he devoted himself entirely to studious retirement, and published many works which are singularly free from errata. In mechanics he never advanced a proposition which he had not previously tested in practice, nor published an invention without first proving its effects by a model. He was skilled in the science of music, the theory of sounds, and the ancient and modern scales; but he never attained any excellence as a performer. He died on the 20th of May 1782 at his native village. Emerson was eccentric and indeed clownish, but he possessed remarkable independence of character and intellectual energy. The boldness with which he expressed his opinions on religious subjects led to his being charged with scepticism, but for this there was no foundation.
Emerson’s works include The Doctrine of Fluxions (1748); The Projection of the Sphere, Orthographic, Stereographic and Gnomical (1749); The Elements of Trigonometry (1749); The Principles of Mechanics (1754); A Treatise of Navigation (1755); A Treatise of Algebra, in two books (1765); The Arithmetic of Infinites, and the Differential Method, illustrated by Examples (1767); Mechanics, or the Doctrine of Motion (1769); The Elements of Optics, in four books (1768); A System of Astronomy (1769); The Laws of Centripetal and Centrifugal Force (1769); The Mathematical Principles of Geography (1770); Tracts (1770); Cyclomathesis, or an Easy Introduction to the several branches of the Mathematics (1770), in ten vols.; A Short Comment on Sir Isaac Newton’s Principia; to which is added, A Defence of Sir Isaac against the objections that have been made to several parts of his works (1770); A Miscellaneous Treatise containing several Mathematical Subjects (1776).
# 1911 Encyclopædia Britannica/Duse, Eleanora

See also Eleonora Duse on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​DUSE, ELEANORA (1859– ), Italian actress, was born at Vigevano of a family of actors, and made her first stage appearance at a very early age. The hardships incident to touring with travelling companies unfavourably affected her health, but by 1885 she was recognized at home as Italy’s greatest actress, and this verdict was confirmed by that of all the leading cities of Europe and America. In 1893 she made her first appearances in New York and in London. For some years she was closely associated with the romanticist Gabriele d’Annunzio, and several of his plays, notably La Città morta (1898) and Francesca da Rimini (1901), provided her with important parts. But some of her great successes during the ’eighties and early ’nineties—the days of her chief triumphs—were in Italian versions of such plays as La Dame aux camélias, in which Sarah Bernhardt was already famous; and Madame Duse’s reputation as an actress was founded less on her “creations” than on her magnificent individuality. In contrast to the great French actress she avoided all “make-up”; her art depended on intense naturalness rather than stage effect, sympathetic force and poignant intellectuality rather than the theatrical emotionalism of the French tradition. Her dramatic genius gave a new reading to the parts, and during these years the admirers of the two leading actresses of Europe practically constituted two rival schools of appreciation. Ill-health kept Madame Duse off the stage for some time; but though, after 1900, it was no longer possible for her to avoid “make-up,” her rank among the great actresses of history remained indisputable.
See also a biography by L. Rasi (1901); A. Symons, Studies in Seven Arts (1906).
# 1911 Encyclopædia Britannica/Dusserah

See also Mysore Dasara on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​DUSSERAH, or Dasara, a Hindu new-moon festival (sometimes called Maha-navami), held in October, and specially connected with ancestral worship. In the native states, such as Mysore, the rajas give public entertainments lasting for ten days, and especially invite European officials to the festivities, which include horse-racing, athletic contests, and banquets.
See J. A. Dubois, Hindu Manners, Customs and Ceremonies, p. 577.