OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Feltre, Morto da

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​FELTRE, MORTO DA, Italian painter of the Venetian school, who worked at the close of the 15th century and beginning of the 16th. His real name appears to have been Pietro Luzzo; he is also known by the name Zarato or Zarotto, either from the place of his death or because his father, a surgeon, was in Zara during the son’s childhood: whether he was termed Morto (dead) from his joyless temperament is a disputed point. He may probably have studied painting first in Venice, but under what master is uncertain. At an early age he went to Rome, and investigated the ancient, especially the subterranean remains, and thence to Pozzuoli, where he painted from the decorations of antique crypts or “grotte.” The style of fanciful arabesque which he formed for himself from these studies gained the name of “grottesche,” whence comes the term “grotesque”; not, indeed, that Morto was the first painter of arabesque in the Italian Renaissance, for art of this kind had, apart from his influence, been fully developed, both in painting and in sculpture, towards 1480, but he may have powerfully aided its diffusion southwards. His works were received with much favour in Rome. He afterwards went to Florence, and painted some fine grotesques in the Palazzo Pubblico. Returning to Venice towards 1505, he assisted Giorgione in painting the Fondaco dei Tedeschi, and seems to have remained with him till 1511. If we may trust Ridolfi, Morto eloped with the mistress of Giorgione, whose grief at this transaction brought him to the grave; the allegation, however, is hardly reconcilable with other accounts. It may have been in 1515 that Morto returned to his native Feltre, then in a very ruinous condition from the ravages of war in 1509. There he executed various works, including some frescoes, still partly extant, and considered to be almost worthy of the hand of Raphael, in the loggia beside San Stefano. Towards the age of forty-five, Morto, unquiet and dissatisfied, abandoned painting and took to soldiering in the service of the Venetian republic. He was made captain of a troop of two hundred men; and fighting valorously, he is said to have died at Zara in Dalmatia, in 1519. This story, and especially the date of it, are questionable: there is some reason to think that Morto was painting as late as 1522. One of his pictures is in the Berlin museum, an allegorical subject of “Peace and War.” Andrea Feltrini was his pupil and assistant as a decorative painter.
# 1911 Encyclopædia Britannica/Femerell

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​FEMERELL, properly Fumerell (from O. Fr. fumeraille, Lat. fumus, smoke), the old English term given to the lantern in the ridge of a hall roof for the purpose of letting out the smoke of the fire kindled on a central hearth.
# 1911 Encyclopædia Britannica/Fenestella

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​ FENESTELLA, Roman historian and encyclopaedic writer, flourished in the reign of Tiberius. If the notice in Jerome be correct, he lived from 52 B.C. to A.D. 19 (according to others 35 B.C.–A.D. 36). Taking Varro for his model, Fenestella was one of the chief representatives of the new style of historical writing which, in the place of the brilliant descriptive pictures of Livy, discussed curious and out-of-the-way incidents and customs of political and social life, including literary history. He was the author of an Annales, probably from the earliest times down to his own days. The fragments indicate the great variety of subjects discussed: the origin of the appeal to the people (provocatio); the use of elephants in the circus games; the wearing of gold rings; the introduction of the olive tree; the material for making the toga; the cultivation of the soil; certain details as to the lives of Cicero and Terence. The work was very much used (mention is made of an abridged edition) by Pliny the elder, Asconius Pedianus (the commentator on Cicero), Nonius, and the philologists.
Fragments in H. Peter, Historicorum Romanorum fragmenta (1883); see also monographs by L. Mercklin (1844) and J. Poeth (1849); M. Schanz, Geschichte der röm. Litt. ed. 2 (1901); Teuffel, Hist. of Roman Literature, p. 259. A work published under the name of L. Fenestella (De magistratibus et sacerdotiis Romanorum, 1510) is really by A.D. Fiocchi, canon and papal secretary, and was subsequently published as by him (under the latinized form of his name, Floccus), edited by Aegidius Witsius (1561).
# 1911 Encyclopædia Britannica/Female

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​FEMALE, the correlative of “male,” the sex which performs the function of conceiving and bearing as opposed to the begetting of young. The word in Middle English is femelle, adopted from the French from the Lat. femella, which is a diminutive, and in classical Latin used strictly as such, of femina, a woman. The present termination in English is due to a connexion in ideas with “male.” In various mechanical devices, where two corresponding parts work within the other, the receiving part is often known as the “female,” as for example in the “male” and “female screw.” The O. Fr. feme, modern femme, occurs in legal phraseology in feme covert, a married woman, i.e. one protected or covered by a husband, and in feme sole, one not so protected, a widow or spinster (see Women and Husband and Wife).
# 1911 Encyclopædia Britannica/Felton, Cornelius Conway

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​FELTON, CORNELIUS CONWAY (1807–1862), American classical scholar, was born on the 6th of November 1807, in West Newbury, Massachusetts. He graduated at Harvard College in 1827, having taught school in the winter vacations of his sophomore and junior years. After teaching in the Livingstone high school of Geneseo, New York, for two years, he became tutor at Harvard in 1829, university professor of Greek in 1832, and Eliot professor of Greek literature in 1834. In 1860 he succeeded James Walker as president of Harvard, which position he held until his death, at Chester, Pennsylvania, on the 26th of February 1862. Dr Felton edited many classical texts. His annotations on Wolf’s text of the Iliad (1833) are especially valuable. Greece, Ancient and Modern (2 vols., 1867), forty-nine lectures before the Lowell Institute, is scholarly, able and suggestive of the author’s personality. Among his miscellaneous publications are the American edition of Sir William Smith’s History of Greece (1855); translations of Menzel’s German Literature (1840), of Munk’s Metres of the Greeks and Romans (1844), and of Guyot’s Earth and Man (1849); and Familiar Letters from Europe (1865).
# 1911 Encyclopædia Britannica/Felton, John

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​FELTON, JOHN (c. 1595–1628), assassin of the 1st duke of Buckingham, was a member of an old Suffolk family established at Playford. The date of his birth and the name of his father are unknown, but his mother was Eleanor, daughter of William Wright, mayor of Durham. He entered the army, and served as lieutenant in the expedition to Cadiz commanded by Sir Edward Cecil in 1625. His career seems to have been ill-starred and unfortunate from the beginning. His left hand was early disabled by a wound, and a morose temper rendered him unpopular and prevented his advancement. Every application made to Buckingham for his promotion was refused, on account of an enmity, according to Sir Simonds D’Ewes, which existed between Felton and Sir Henry Hungate, a favourite of Buckingham. To his personal application that he could not live without a captaincy Buckingham replied harshly “that he might hang.” Whether he ​took part in the expedition to Rhé in 1627 is uncertain, but there is no doubt that he continued to be refused promotion, and that even his scanty pay earned during the Cadiz adventure was not received. Exasperated by his ill-treatment, his discontent sharpened by poverty, and his hatred of Buckingham intensified by a study of the Commons “Remonstrances” of the previous June, and by a work published by Eglesham, the physician of James I., in which Buckingham was accused of poisoning the king, Felton determined to effect his assassination. He bought a tenpenny knife on Tower Hill, and on his way through Fleet Street he left his name in a church to be prayed for as “a man much discontented in mind.” He arrived at Portsmouth at 9 o’clock in the morning of the 23rd of August 1628, and immediately proceeded to No. 10 High Street, where Buckingham was lodged. Here mingling with the crowd of applicants and unnoticed he stabbed the duke, who immediately fell dead. Though escape would have been easy he confessed the deed and was seized and conveyed to the Tower, his journey thither, such was the unpopularity of the duke, being accompanied by cries of “God bless thee” from the people. Charles and Laud desired he should be racked, but the illegal torture was prevented by the judges. He was tried before the king’s bench on the 27th of November, pleaded guilty, and was hanged the next day, his body being exposed in chains subsequently at Portsmouth.
# 1911 Encyclopædia Britannica/Feltre

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​FELTRE (anc. Feltria), a town and episcopal see of Venetia, Italy, in the province of Belluno, 20 m. W.S.W. of it by rail, situated on an isolated hill, 885 ft. above sea-level. Pop. (1901) 5468 (town), 15,243 (commune). The cathedral has a fine polygonal apse of the 16th century. The Palazzo del Consiglio, now a theatre, is attributed to Palladio. At one end of the chief square of the town, the Piazza Maggiore, is the cistern by which the town is supplied with water, and a large fountain. There are some remains of the medieval castle. The ancient Feltria, which lay on the road (Via Claudia) from Opitergium to Tridentum, does not seem to have been a place of any importance under the Romans. Vittorino dei Rambaldoni da Feltre (1378–1446) was a famous educator and philosopher of his time.
# 1911 Encyclopædia Britannica/Felucca

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​FELUCCA (an Italian word; in forms like the Span. faluca, Fr. felouque, it appears in other languages; it is probably of Arabic origin, cf. fulk, a ship, and falaka, to be round; the modern Arabic form is falūkah), a type of vessel used in the Mediterranean for coasters or fishing-boats. It is a long, low and narrow undecked vessel, built for speed, and propelled by oars or sails. The sails are lateen-shaped and carried on one or two masts placed far forward (see Boat).
# 1911 Encyclopædia Britannica/Guillaume de Palerme

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​GUILLAUME DE PALERME (William of Palerne), hero of romance. The French verse romance was written at the desire of a Countess Yolande, generally identified with Yolande, daughter of Baldwin IV., count of Flanders. The English poem in alliterative verse was written about 1350 by a poet called William, at the desire of Humphrey Bohun, earl of Hereford, (d. 1361). Guillaume, a foundling supposed to be of low degree, is brought up at the court of the emperor of Rome, and loves his daughter Melior who is destined for a Greek prince. The lovers flee into the woods disguised in bear-skins. Alfonso, who is Guillaume’s cousin and a Spanish prince, has been changed into a wolf by his step-mother’s enchantments. He provides food and protection for the fugitives, and Guillaume eventually triumphs over Alfonso’s father, and wins back from him his kingdom. The benevolent werwolf is disenchanted, and marries Guillaume’s sister.
See Guillaume de Palerne, ed. H. Michelant (Soc. d. anc. textes fr., 1876); Hist. litt. de la France, xxii. 829; William of Palerme, ed. Sir F. Madden (Roxburghe Club, 1832), and W. W. Skeat (E. E. Text Soc., extra series No. 1, 1867); M. Kaluza, in Eng. Studien (Heilbronn, iv. 196). The prose version of the French romance, printed by N. Bonfons, passed through several editions.
# 1911 Encyclopædia Britannica/Guildhall

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​GUILDHALL, the hall of the corporation of the city of London, England. It faces a courtyard opening out of Gresham Street. The date of its original foundation is not known. An ancient crypt remains, but the hall has otherwise undergone much alteration. It was rebuilt in 1411, beautified by the munificence of successive officials, damaged in the Great Fire of 1666, and restored in 1789 by George Dance; while the hall was again restored, with a new roof, in 1870. This fine chamber, 152 ft. in length, is the scene of the state banquets and entertainments of the corporation, and of the municipal meetings “in common hall.” The building also contains a council chamber and various court rooms, with a splendid library, open to the public, a museum and art gallery adjoining. The hall contains several monuments and two giant figures of wood, ​known as Gog and Magog. These were set up in 1708, but the appearance of giants in city pageants is of much earlier date.
# 1911 Encyclopædia Britannica/Guillaume, Jean Baptiste Claude Eugène

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​GUILLAUME, JEAN BAPTISTE CLAUDE EUGÈNE (1822–1905), French sculptor, was born at Montbard on the 4th of July 1822, and studied under Cavelier, Millet, and Barrias, at the École des Beaux-Arts, which he entered in 1841, and where he gained the prix de Rome in 1845 with “Theseus finding on a rock his Father’s Sword.” He became director of the École des Beaux-Arts in 1864, and director-general of Fine Arts from 1878 to 1879, when the office was suppressed. Many of his works have been bought for public galleries, and his monuments are to be found in the public squares of the chief cities of France. At Rheims there is his bronze statue of “Colbert,” at Dijon his “Rameau” monument. The Luxembourg Museum has his “Anacreon” (1852), “Les Gracques” (1853), “Faucheur” (1855), and the marble bust of “Mgr Darboy”; the Versailles Museum the portrait of “Thiers”; the Sorbonne Library the marble bust of “Victor le Clerc, doyen de la faculté des lettres.” Other works of his are at Trinity Church, St Germain l’Auxerrois, and the church of St Clotilde, Paris. Guillaume was a prolific writer, principally on sculpture and architecture of the Classic period and of the Italian Renaissance. He was elected member of the Académie Française in 1862, and in 1891 was sent to Rome as director of the Académie de France in that city. He was also elected an honorary member of the Royal Academy, London, 1869, on the institution of that class.
# 1911 Encyclopædia Britannica/Guilbert, Yvette

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​GUILBERT, YVETTE (1869– ), French diseuse, was born in Paris. She served for two years until 1885 in the Magasin du Printemps, when, on the advice of the journalist, Edmond Stoullig, she trained for the stage under Landrol. She made her début at the Bouffes du Nord, then played at the Variétés, and in 1890 she received a regular engagement at the Eldorado to sing a couple of songs at the beginning of the performance. She also sang at the Ambassadeurs. She soon won an immense vogue by her rendering of songs drawn from Parisian lower-class life, or from the humours of the Latin Quarter, “Quatre z’étudiants” and the “Hôtel du numéro trois” being among her early triumphs. Her adoption of an habitual yellow dress and long black gloves, her studied simplicity of diction, and her ingenuous delivery of songs charged with risqué meaning, made her famous. She owed something to M. Xanrof, who for a long time composed songs especially for her, and perhaps still more to Aristide Bruant, who wrote many of her argot songs. She made successful tours in England, Germany and America, and was in great request as an entertainer in private houses. In 1895 she married Dr M. Schiller. In later years she discarded something of her earlier manner, and sang songs of the “pompadour” and the “crinoline” period in costume. She published the novels La Vedette and Les Demi-vieilles, both in 1902.
# 1911 Encyclopædia Britannica/Guignes, Joseph de

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​GUIGNES, JOSEPH DE (1721–1800), French orientalist, was born at Pontoise on the 19th of October 1721. He succeeded Fourmont at the Royal Library as secretary interpreter of the Eastern languages. A Mémoire historique sur l’origine des Huns et des Turcs, published by de Guignes in 1748, obtained his admission to the Royal Society of London in 1752, and he became an associate of the French Academy of Inscriptions in 1754. Two years later he began to publish his learned and laborious Histoire générale des Huns, des Mongoles, des Turcs et des autres Tartares occidentaux (1756–1758); and in 1757 he was appointed to the chair of Syriac at the Collège de France. He maintained that the Chinese nation had originated in Egyptian colonization, an opinion to which, in spite of every argument, he obstinately clung. He died in Paris in 1800. The Histoire had been translated into German by Dähnert (1768–1771). De Guignes left a son, Christian Louis Joseph (1759–1845), who, after learning Chinese from his father, went as consul to Canton, where he spent seventeen years. On his return to France he was charged by the government with the work of preparing a Chinese-French-Latin dictionary (1813). He was also the author of a work of travels (Voyages à Pékin, Manille, et l’île de France, 1808).
See Quérard, La France littéraire, where a list of the memoirs contributed by de Guignes to the Journal des savants is given.
# 1911 Encyclopædia Britannica/Guillaume de Lorris

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​GUILLAUME DE LORRIS (fl. 1230), the author of the earlier section of the Roman de la rose, derives his surname from a small town about equidistant from Montargis and Gien, in the present department of Loiret. This and the fact of his authorship may be said to be the only things positively known about him. The rubric of the poem, where his own part finishes, attributes Jean de Meun’s continuation to a period forty years later than William’s death and the consequent interruption of the romance. Arguing backwards, this death used to be put at about 1260; but Jean de Meun’s own work has recently been dated earlier, and so the composition of the first part has been thrown back to a period before 1240. The author represents himself as having dreamed the dream which furnished the substance of the poem in his twentieth year, and as having set to work to “rhyme it” five years later. The later and longer part of the Roman shows signs of greater intellectual vigour and wider knowledge than the earlier and shorter, but Guillaume de Lorris is to all appearance more original. The great features of his four or five thousand lines are, in the first place, the extraordinary vividness and beauty of his word-pictures, in which for colour, freshness and individuality he has not many rivals except in the greatest masters, and, secondly, the fashion of allegorical presentation, which, hackneyed and wearisome as it afterwards became, was evidently in his time new and striking. There are of course traces of it before, as in some romances, such as those of Raoul de Houdenc, in the troubadours, and in other writers; but it was unquestionably Guillaume de Lorris who fixed the style.
For an attempt to identify Guillaume de Lorris see L. Jarry, Guillaume de Lorris et le testament d’Alphonse de Poitiers (1881). Also Paulin Paris in the Hist. litt. de la France, vol. xxiii.
# 1911 Encyclopædia Britannica/Eminescu, Michail

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​EMINESCU, MICHAIL (1849–1889), the greatest Rumanian poet of the 19th century, was born on the 20th of December in Ipateshti near Botoshani, in the north of Moldavia. He was of Turco-Tatar origin, and his surname was originally Emin; this was changed to Eminovich and finally to the Rumanian form Eminescu. He was educated for a time in Czernowitz, and then entered the civil service. In 1864 he resumed his studies in Transylvania, but soon joined a roving theatrical company where he played in turn the rôles of actor, prompter and stage-manager. After a few years he went to Vienna, Jena and Berlin, where he attended lectures, especially on philosophy. In 1874 he was appointed school inspector and librarian at the university of Jassy, but was soon turned out through the change of government, and took charge, as editor in chief, of the Conservative paper Timpul (Times). In 1883 ​he had the first attack of the insanity hereditary in his family, and in 1889 he died in a private institution in Bucharest. In 1870 his great poetical talent was revealed by two contributions to the Convorbiri literare, the organ of the Junimist party in Jassy; these were the poems “Venera şi Madona” and “Epigonii.” Other poems followed and soon established his claim to be the first among the modern poets of his country. He was thoroughly acquainted with the chronicles of the past, had a complete mastery of the Rumanian language, and was a lover and admirer of Rumanian popular poetry. Influenced by these studies and by the philosophy of Schopenhauer, he introduced a new spirit into Rumanian poetry. Mystically inclined and himself of a melancholy disposition, he lived in the glory of the medieval Rumanian past; stifled by the artificiality of the world around him, he rebelled against the conventionality of society and his surroundings. In inimitable language he denounced the vileness of the present and painted in glowing pictures the heroism of the past; he also surprised nature in its primitive beauty, and he gave expression to stirring emotions in lyrics couched in the language and metre of popular poetry. He further proved himself an unsurpassed master in satire. Over all his poetry hangs a cloud of sadness, the sense of coming doom. Simplicity of language, masterly handling of rhyme and verse, deep thought and plastic expression made Eminescu the creator of a school of poetry which dominated the thought of Rumania and the expression of Rumanian writers and poets at the end of the 19th century and the beginning of the 20th.
Five editions of his collected poems appeared after 1890. Some of them were translated into German by “Carmen Sylva” and Mite Kremnitz, and others have also been translated into several other languages. Eminescu also wrote two short novels, real poems in prose (Jassy, 1890).  (M. G.)