OpenLLM-France/wikimedia huggingface dataset:
# The New International Encyclopædia/Dennery, Adolphe Philippe

Edition of 1905. See also Adolphe d'Ennery on Wikipedia; and the disclaimer.
DENNERY, dĕ′n’-rḗ′, or D'ENNERY, Adolphe Philippe (1811-99). A French dramatist of versatile facility, born in Paris. He wrote or collaborated in nearly two hundred plays. The more noteworthy of his dramas are: L'honneur de ma fille (1835); La perle de Savoie (1842); Marie Jeanne (1845); and Les deux orphelines (1873). The last two have been enduringly popular. His vaudevilles and spectacular plays are significant.
# The New International Encyclopædia/Des Moines

Edition of 1905. See also Des Moines, Iowa on Wikipedia; and the disclaimer.
​ DES MOINES, de moin′ (Fr., of the monks). The largest city of Iowa, State capital and county-seat of Polk County; near the geographical centre of the State, 138 miles east by north of Omaha, Neb.; on the Des Moines River, at the head of navigation, and at the mouth of Coon River (Map: Iowa, D 3). It is an important manufacturing and commercial city, and is noted for its extensive insurance interests and its exceptional railroad facilities, which include the lines of the Chicago, Rock Island and Pacific; the Chicago, Burlington and Quincy; the Chicago Great Western; the Chicago and Northwestern; the Wabash; and the Chicago, Milwaukee and Saint Paul. Des Moines was settled in 1846, incorporated as the town of Fort Des Moines in 1851, and in 1857 was chartered as a city and became the capital of the State. The city is built on gently sloping hills, and contains, among its finest structures, the Capitol, erected at a cost of $3,000,000; the United States Government Building; the State Arsenal; the State and city libraries; and the city hall. Des Moines is the seat of Des Moines College (Baptist), established in 1865; Drake University (Christian), founded in 1881; and three other colleges, including two medical schools. It has public parks, and several bridges across the two rivers. The Iowa State Fair is held here. An army post for a regiment of cavalry has recently been established at the city. Des Moines and the surrounding region are underlaid with vast deposits of bituminous coal, a material advantage which has contributed to the rapid growth of the manufacturing industries. Among the products are typewriters, sewer-pipe, patent medicines, brick, trunks, carriages, wagons, sleighs, cotton and woolen goods, starch, pottery, oatmeal, confectionery, crackers, mattresses, harness, engines and boilers, scales, furnaces, bicycles, plows, soap, brooms, white bronze, gloves, twine, tents, linseed oil, wall-paper, mashing-machines, furniture, axle-grease, baking-powder, electrical appliances, etc. The annual income and expenditures of the city amount to about $1,055,000 and $800,000 respectively, the principal items in the budget being $40,000 for street lighting, $35,000 for the police department, $65,000 for the fire department, and $265,000 for schools. Population, in 1850, 502; in 1870, 12,035; in 1890, 50,093; in 1900, 62,139; including 7900 persons of foreign birth and 1700 of negro descent.
# The New International Encyclopædia/Des Moines College

Edition of 1905. See also Des Moines College on Wikipedia; and the disclaimer.
​ DES MOINES COLLEGE. An institution of higher education, situated at Des Moines, Iowa. It was established in 1865 by members of the Baptist Church, and was affiliated with Chicago University (q.v.) in 1892. The college offers the bachelor's degree in arts, science, and philosophy. It had in 1902 an enrollment of some 320, including students in the musical and preparatory departments. The library contains about 5000 volumes. Owing to large gifts recently made by friends of the institution, it entered in 1902 upon a course of rapid expansion.
# The New International Encyclopædia/Denudation

Edition of 1905. See also the disclaimer.
​ DEN′UDA′TION. See Erosion.
# The New York Times/1908

Content exists for this periodical, though at this stage it is not specifically organised beyond a basic hierarchy.
The pages listed below are an automatically generated listing.
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# The New York Times/1909/03/22/Joseph Bennet Sharland

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Joseph Bennet Sharland
Special to the New York Times.
BOSTON, Mass. March 22 — Joseph Bennett Sharland, who for twenty-seven years had been a well-known figure in musical circles in this city, died at his home, 857 Beacon Street, yesterday at the age of 76. After serving as musical director fo the grammar and high schools of this city for over a quarter of a century he resigned his position. He was an intimate friend of and coworker with Theodore Thomas. The festivals prepared in honor of Prince Albert and the Grand Duke Alexis were superintended by Mr. Sharland. He was known as a pianist, an organist, and a director. Mr. Sharland was born at Halifax, N. S. He is survived by one daughter Mrs. Mabel Sharland White.
This work was published in 1909 and is anonymous or pseudonymous due to unknown authorship. It is in the public domain in the United States as well as countries and areas where the copyright terms of anonymous or pseudonymous works are 114 years or less since publication.
Public domainPublic domainfalsefalse
# The New York Times/1909/05/23

See the scan index for this issue.
Articles
# The New York Times/1910

Content exists for this periodical, though at this stage it is not specifically organised beyond a basic hierarchy.
The pages listed below are an automatically generated listing.
Special:PrefixIndex/The New York Times/1910/
# The New York Times/1909

Content exists for this periodical, though at this stage it is not specifically organised beyond a basic hierarchy.
The pages listed below are an automatically generated listing.
Special:PrefixIndex/The New York Times/1909/
# The New International Encyclopædia/Prinsterer, Guillaume Groen van

Edition of 1905. See also the disclaimer.
​PRIN′STERER, Guillaume Groen van. See Groen van Prinsterer.
# The New International Encyclopædia/Printing-House Square

Edition of 1905. See also Park Row (Manhattan) and Printing House Square on Wikipedia; and the disclaimer.
​PRINTING-HOUSE SQUARE. (1) A London court, so called from the former office of the King's Printer, which occupied the site. On it stands the office of the Times. (2) The open square fronting on City Hall Park, New York, about which are grouped the buildings of most of the daily newspapers.
# The New International Encyclopædia/Printz, Johan

Edition of 1905. See also Johan Björnsson Printz on Wikipedia; and the disclaimer.
​PRINTZ, Johan (c.1600-63). A Governor of New Sweden. He was born in Bottneryd, Sweden, about the year 1600. He served as a cavalry officer in the Thirty Years' War, and for having surrendered the Saxon town of Chemnitz was dismissed from the service, but in 1641 was restored to royal favor, was ennobled, and was appointed Governor of New Sweden. He reached Fort Christina in 1643, and desiring to control the trade of the river and be as close as possible to the Dutch at Fort Masson, he established a settlement on the island of Tinicum, a few miles below the site of Philadelphia, and built a fort and also a mansion called ‘Printz Hall.’ His administration was a vigorous one, and during it the colony increased in numbers and in prosperity. He caused other forts to be built at various places for the protection of the colony, carried on a large trade with the Indians, and successfully maintained himself against the English and the Dutch. He quitted the colony in 1653, and two years later it was conquered by the Dutch under Stuyvesant. When Printz reached Sweden he was made a general, and a few years later became Governor of Jönköping. Consult: Winsor, Narrative and Critical History of America (8 vols., Boston and New York, 1889); and Brodhead, History of the State of New York (2 vols., New York, 1853-71).
# The New International Encyclopædia/Prinsep, Valentine Cameron

Edition of 1905. See also Valentine Cameron Prinsep on Wikipedia; and the disclaimer.
​PRINSEP, Valentine Cameron (1838-1904). An English painter and author, born in Calcutta, India. He was a pupil in London of Leighton, whose style he imitated, and of Gleyre in Paris, and began to exhibit at the Royal Academy in 1862. His paintings “A Minuet,” “A Bientôt,” and “The Linen Gatherers,” were at the Exposition of 1878. He went to India to paint the “Declaration of Queen Victoria as Empress” in 1876, a large canvas with many portraits. He was elected to the Royal Academy in 1897. His publications include Imperial India: An Artist's Journal (1879), several plays, and some writings on art.
# The New International Encyclopædia/Prior

Edition of 1905. See also the disclaimer.
​PRIOR. See Monastery.
# The New International Encyclopædia/Promorphology

Edition of 1905. See also the disclaimer.
​PRO’MORPHOL’OGY (from Gk. πρό, pro, before ＋ μορφή, morphē, form + -λογία, -logia, account, from λέγειν, legein, to say). The study of the simplest of the fundamental forms of organisms. While the simplest plants and animals as well as eggs and seeds are, as the result of the action of gravity, more or less spherical, in other types we are reminded of the forms of crystals, though there is wanting the mathematical regularity and symmetry present in crystalline forms. In the most symmetrical animals certain internal organs are unsymmetrical in relation to the body. See Symmetry.
# The New International Encyclopædia/Print

Edition of 1905. See also Printmaking on Wikipedia; and the disclaimer.
​PRINT (by apheresis, from ME. emprinten, enprinten, to imprint, from OF., Fr. empreinte, imprint, p.p. of empreindre, It. imprimere, to impress, imprint, from Lat. imprimere, inprimere, to impress, from in, in + premere, to press). In the arts, anything which is the result of, or which takes its principal characteristic from, having been printed upon or impressed. The most important use of the term, especially in connection with fine arts, is as being the only proper term for that picture which is produced by taking an impression, as upon paper, from an engraved plate or block. It is much the custom in the United States to speak of such pictures as ‘engravings,’ but this is, of course, erroneous and misleading, and the term ‘print’ is the one which should be used in such cases. The art of printing from an engraved plate is not wholly mechanical, because there are many cases in which the impression taken is not merely a flat transfer from the unmodified, hard surface. Thus, in printing woodcuts, it is customary to use what are called overlays, which are pieces of thin paper cut in peculiar shapes, accommodated to the design engraved upon the block; and these overlays are placed where needed behind the paper upon which the transfer is to be made in such a fashion as to cause certain parts of the printing to be stronger and blacker than others. So in the printing from dry point (q.v.) plates in which that process has been used for the completion of an etching (q.v.) it is quite usual to leave a certain amount of ink upon the surface of the copper plate. As in the Liber Studiorum (q.v.) the plates are etched and also charged with mezzotint or aquatint, so, in prints made by this process, the line work of the draughtsman is completed in a way by the surface work or gradation made by the printer. In ordinary commercial use, the word ‘print’ is used in a special sense, as meaning one of the more ordinary impressions from the block or plate in contradistinction to the proofs of different kinds. See Proof.
# The New International Encyclopædia/Procopius, Andrew

Edition of 1905. See also Prokop the Great on Wikipedia; and the disclaimer.
PROCOPIUS, Andrew (c.1380-1434). A Hussite leader, known as Procopius the Great. He is also sometimes called the Holy, or the Shaven, in allusion to his having received the tonsure in early life. He studied in Prague, and after traveling for several years in foreign countries he returned to Bohemia and entered the ranks of the insurgent Hussites. His military genius soon raised him to the rank of an influential commander; and on the death of Ziska (q.v.), in 1424, Procopius was elected by the Taborites, who formed the radical section of the Hussites, as their leader. In the ensuing years he ravaged Austria, but in 1426 he vanquished the crusading armies of Central Germany at Aussig. In the meantime another body of Taborites, who called themselves Orphans, had overrun Lusatia, and burned Lauban, under the leadership of Procopius the Lesser, or Younger, who now, in
concert with the more distinguished Procopius, attacked Silesia, and took part in those internal feuds of the Hussite factions by which Bohemia was almost wholly ruined. From 1428 to 1430 Procopius directed raids against Hungary, Silesia, Saxony, Franconia, and other neighboring lands, which were successful and caused the Hussites to be dreaded. The Emperor Sigismund attempted to treat with him, but was unsuccessful, and in 1431 Procopius decisively defeated a German army at Tauss. In 1433 the moderate Hussites or Calixtines accepted the terms offered by the Catholic party. The Taborites and Orphans, under the leadership of Procopius the Great and Procopius the Lesser, refused, however, to have anything to do with the Pope, and hence dissensions arose between them and the more moderate of the Hussites. After many lesser encounters between these factions, a decisive battle was fought near Böhmisch-Brod, on May 30, 1434, in which both Procopius the Great and Procopius the Lesser were slain. Consult Creighton, History of the Papacy (6 vols., London, 1897). See Hussites.
# The New International Encyclopædia/Promissory note

Edition of 1905. See also Promissory note on Wikipedia; and the disclaimer.
​PROMISSORY NOTE (from Lat. promissor, promiser, from promittere, to promise, send forward, from pro, before, for ＋ mittere, to send. Skt. mïv, to push). A written instrument containing an express and unconditional promise by the maker to pay a certain sum in money, on demand, or at a fixed or determinable future time. If it is payable to order or to bearer, it is a negotiable instrument (q.v.) . The following is an ordinary form of a negotiable promissory note, payable at a bank : “$1000.00.New York, April 1, 1903.
Three months after date I promise to pay to the order of Richard Roe One Thousand Dollars, at the Corn Exchange Bank.
Value received, with interest.John Doe.”
​Had the words “at the Corn Exchange Bank” been omitted, the note would have been payable at the maker's place of business or residence.
It will be observed that the parties to a promissory note are two—the maker and the payee. If the payee is named, as in the form given above, and the note is payable to his order, his indorsement of it is necessary to its negotiation. He may sell and transfer it without an indorsement; but his transferee in that case will take it subject to any defenses available to the maker against him. The maker promises absolutely to pay the paper. Hence the holder is not bound to present it at the time and place named in the instrument, as a condition of suing the maker.
The early history of promissory notes is quite obscure. Their earliest appearance in the reported decisions of English courts is during the close of the seventeenth and the opening of the eighteenth century. For a time the judges seemed disposed to follow mercantile usage and to treat them as negotiable instruments. With the accession of Lord Holt to the chief justiceship of the King's Bench, a change of judicial attitude became noticeable. He refused to recognize their negotiable character; and in 1704 Parliament, siding with the merchants, enacted a statute (3 and 4 Anne, c. ix.) which declared that promissory notes “shall have the same effect as inland bills of exchange.” In some of the United States this statute has been looked upon as simply declaratory of the common law, while in others Lord Holt's view has been accepted. Everywhere, however, certain forms of promissory notes are now deemed negotiable instruments.
In some States certain forms of notes are declared negotiable by statute which are not negotiable in the common-law sense. For further discussion, and for the liability of indorsers, requirements as to presentation, etc., see such titles as Bill of Exchange; Due Bill; Negotiable Instruments; Indorsement; Protest; Demand, etc. Consult: Bigelow, The law of Bills, Notes, and Cheques (2d ed., Boston, 1900), and the authorities referred to under Negotiable Instruments.
# The New International Encyclopædia/Riepenhausen, Franz and Johannes

Edition of 1905. See also Johannes Riepenhausen on Wikipedia; and the disclaimer.
RIEPENHAUSEN, rē'pen-hou'zen, Franz (1786-1831) and Johannes (1789-1860). German painters and engravers, born at Göttingen, sons and pupils of Ernst Ludwig Riepenhausen (1765-1840, favorably known through his engravings after Hogarth). In 1804 they studied under Tischbein at the Academy in Cassel, then in Dresden, and in 1807 went in Tieck's company to Rome, where they settled permanently and devoted themselves chiefly to the study of Raphael's works. Besides many religious paintings they produced conjointly the “Glorification of Raphael,” and for the Guelph Hall at Hanover “Henry the Lion Protecting Frederick Barbarossa Against the Romans.” They also collaborated in drawings to Goethe's Faust, in episodes from the life of Charlemagne, in 14 etchings, illustrating the “Life and Death of Saint Genevieve” (1806), a Geschichte der Malerei in Italien, with 24 outline drawings after Italian masters before Perugino (1810), and a series of drawings after the paintings of Polygnotus at Delphi, according to Pausanias. After the death of Franz, Johannes published a “Vita di Raffaello” in 14 plates, for which they had composed the drawings together, and also executed several large paintings such as “Raphael's Death” (1836), “Destruction of the Cenei Family” (1839), and others. Consult Andresen, Die deutschen Maler-Radirer des neunzehnten Jahrhunderts (Leipzig, 1872).
# The New International Encyclopædia/Riesa

Edition of 1905. See also Riesa on Wikipedia; and the disclaimer.
RIESA, rē'zȧ. A town and railway centre in Saxony, on the Elbe, 33 miles by rail northwest of Dresden. A large bridge of iron and stone here spans the river (Map: Germany, E 3). The town has a public library and a municipal hospital, and various special schools. The harbor is good and possesses ample shipping facilities, and Riesa is consequently the centre of important shipbuilding interests and of a large trade, including fish, oil, coal, lumber, grain, iron ore, etc. Sandstone, which is quarried extensively, is also shipped. There are rolling mills and many other manufactories. Population, in 1900, 13,477.
# The New International Encyclopædia/Riesener, Johann Heinrich

Edition of 1905. See also Jean Henri Riesener on Wikipedia; and the disclaimer.
RIESENER, rē'ze-nẽr, Johann Heinrich (1734-1806). A German cabinet-maker, born at Gladbach, Rhenish Prussia, Early in life he went to Paris and entered the workshop of Johann Franz Oeben (died 1766, a pupil of Boulle and protégé of Madame de Pompadour), after whose death he married his widow, carried on his business and was received as master into the Paris guild in 1768. Specimens of Riesener's work, in the style of Louis XV., executed for the royal palaces, may be seen at Fontainebleau, Trianon, Compiègne, and in the Musée du Mobilier National, Paris, while the majority of it was sold abroad, particularly into England, in consequence of the Revolution.
# The New International Encyclopædia/Riemann, Hugo

Edition of 1905. See also Hugo Riemann on Wikipedia; and the disclaimer.
RIEMANN, Hugo (1849—). A German writer on music, born at Grossmehlra, near Sondershausen. He was educated in theory by Frankenberger, studied the piano with Barthel and Ratzenberger, studied law, and finally philosophy and history at Berlin and Tübingen. After serving in the Franco-German war he entered the Leipzig Conservatory. Both as conductor and teacher at Bielefeld, he was most
active until 1878, when he became university lecturer on music at Leipzig. As the much-desired appointment at the Conservatory did not follow, he went, in 1880, as teacher of music to Bromberg; and, from 1881 to 1890, was teacher at the Hamburg Conservatory. After a short career at the Sondershausen Conservatory he went, in 1890, to the Conservatory at Wiesbaden. Near the close of 1895 he returned to Leipzig as lecturer at the university. In 1901 he became professor. Besides composing many pianoforte pieces, songs, a pianoforte sonata, six sonatinas, a violin sonata, and a quartet for strings, he furnished after 1870 many critical, aesthetical, theoretical, and historical papers for journals. He also compiled a popular and eminently sound Musik-Lexikon (1882; 5th ed. 1899; Eng. trans., 1893-96).
# The New International Encyclopædia/Riemer, Friedrich Wilhelm

Edition of 1905. See also Friedrich Wilhelm Riemer on Wikipedia; and the disclaimer.
RIEMER, rē'mẽr, Friedrich Wilhelm (1774-1845). A German scholar and literary historian, born at Glatz. He studied theology and philology at Halle, was a tutor in the family of Wilhelm von Humboldt (1801-03), and then for nine years lived with Goethe as his literary assistant and his son's tutor. In 1812 he became professor at the Weimar gymnasium; from 1814 to 1820 he was assistant librarian, and from 1837 to his death he was librarian-in-chief at Weimar. Riemer published some poetry, a Greek lexicon (1802-04), and Mitteilungen über Goethe (1841). He edited Goethe's correspondence with Zelter (1833-34), and his own letters were published in two volumes, Briefe von und an Goethe (1846) and in Aus dem Goethehause (1892, edited by Heitmüller).
# The New International Encyclopædia/Rienzi, der Letzte der Tribunen

Edition of 1905. See also Rienzi on Wikipedia; and the disclaimer.
RIENZI, der Letzte der Tribunen. An opera in five acts, text and music by Richard Wagner, first produced at Dresden, October 20, 1842. The libretto is founded upon Bulwer's novel of the same title, whose story it follows in the essential particulars. It is the last of Wagner's works in the purely operatic style, for thereafter, in the Flying Dutchman, Tannhäuser, Lohengrin, and the Ring, Wagner adhered more and more rigidly to his music-drama principles. The music is characterized by melody, and a series of dramatic climaxes whose treatment is reminiscent of the Meyerbeer school.
# The New International Encyclopædia/Riemenschneider, Tilman

Edition of 1905. See also Tilman Riemenschneider on Wikipedia; and the disclaimer.
RIEMENSCHNEIDER, rē'menshnī'dẽr, Tilman (c.l460-1531). A German sculptor of the Renaissance. He was born at Osterode, in the Harz Mountains, and in 1483 appears at Würzburg as a journeyman carver. He soon became one of the most influential citizens, being elected Burgomaster in 1520. In the religous troubles during the following years Riemenschneider was the head of the reforming element and sided with the peasants during the Peasant War. When the reaction came in 1525 he was expelled from the council, and from this time until his death in 1531 he lived in retirement. His principal works include the monument to Eberhard of Grumbach, in the Church of Rimpar (near Würzburg); “Adam and Eve” (1493) on the south portal of the Liebfrauenkirche at Würzburg, and the statues of Christ, John the Baptist, and the Apostles on the buttresses of the same church (1500-06); a Madonna and the tomb of John Trithemius in the Neumünsterkirche (1493); the portrait statues of the Bishops Rudolf of Scheerenburg and Lorenz von Bibra in the Cathedral. His masterpiece is the monument to the Emperor Henry II. and his wife Kunigunde in the Bamberg Cathedral (1495-1513). Other well-known works are the “Bewailing of the Body of Christ” (1508), a group in the church of Heidingsfeld, and his last work (1505), a high relief of the same subject in the church of Maidbrunn.
Consult his biography by K. Becker (Leipzig, 1849), and A. Weber (Würzburg, 1888), and the heliotype edition of his works by Streit (Berlin, 1888).