Quotes4study

In a very few minutes the count reached No. 7 in the Rue Meslay. The house was of white stone, and in a small court before it were two small beds full of beautiful flowers. In the concierge that opened the gate the count recognized Cocles; but as he had but one eye, and that eye had become somewhat dim in the course of nine years, Cocles did not recognize the count. The carriages that drove up to the door were compelled to turn, to avoid a fountain that played in a basin of rockwork,--an ornament that had excited the jealousy of the whole quarter, and had gained for the place the appellation of "The Little Versailles." It is needless to add that there were gold and silver fish in the basin. The house, with kitchens and cellars below, had above the ground-floor, two stories and attics. The whole of the property, consisting of an immense workshop, two pavilions at the bottom of the garden, and the garden itself, had been purchased by Emmanuel, who had seen at a glance that he could make of it a profitable speculation. He had reserved the house and half the garden, and building a wall between the garden and the workshops, had let them upon lease with the pavilions at the bottom of the garden. So that for a trifling sum he was as well lodged, and as perfectly shut out from observation, as the inhabitants of the finest mansion in the Faubourg St. Germain. The breakfast-room was finished in oak; the salon in mahogany, and the furnishings were of blue velvet; the bedroom was in citronwood and green damask. There was a study for Emmanuel, who never studied, and a music-room for Julie, who never played. The whole of the second story was set apart for Maximilian; it was precisely similar to his sister's apartments, except that for the breakfast-parlor he had a billiard-room, where he received his friends. He was superintending the grooming of his horse, and smoking his cigar at the entrance of the garden, when the count's carriage stopped at the gate.

Alexandre Dumas, Pere     The Count of Monte Cristo

Nor was Praeneste's founder wanting there, Whom fame reports the son of Mulciber: Found in the fire, and foster'd in the plains, A shepherd and a king at once he reigns, And leads to Turnus' aid his country swains. His own Praeneste sends a chosen band, With those who plow Saturnia's Gabine land; Besides the succor which cold Anien yields, The rocks of Hernicus, and dewy fields, Anagnia fat, and Father Amasene- A num'rous rout, but all of naked men: Nor arms they wear, nor swords and bucklers wield, Nor drive the chariot thro' the dusty field, But whirl from leathern slings huge balls of lead, And spoils of yellow wolves adorn their head; The left foot naked, when they march to fight, But in a bull's raw hide they sheathe the right. Messapus next, (great Neptune was his sire,) Secure of steel, and fated from the fire, In pomp appears, and with his ardor warms A heartless train, unexercis'd in arms: The just Faliscans he to battle brings, And those who live where Lake Ciminia springs; And where Feronia's grove and temple stands, Who till Fescennian or Flavinian lands. All these in order march, and marching sing The warlike actions of their sea-born king; Like a long team of snowy swans on high, Which clap their wings, and cleave the liquid sky, When, homeward from their wat'ry pastures borne, They sing, and Asia's lakes their notes return. Not one who heard their music from afar, Would think these troops an army train'd to war, But flocks of fowl, that, when the tempests roar, With their hoarse gabbling seek the silent shore.

Virgil     The Aeneid

Like noiseless nautilus shells, their light prows sped through the sea; but only slowly they neared the foe. As they neared him, the ocean grew still more smooth; seemed drawing a carpet over its waves; seemed a noon-meadow, so serenely it spread. At length the breathless hunter came so nigh his seemingly unsuspecting prey, that his entire dazzling hump was distinctly visible, sliding along the sea as if an isolated thing, and continually set in a revolving ring of finest, fleecy, greenish foam. He saw the vast, involved wrinkles of the slightly projecting head beyond. Before it, far out on the soft Turkish-rugged waters, went the glistening white shadow from his broad, milky forehead, a musical rippling playfully accompanying the shade; and behind, the blue waters interchangeably flowed over into the moving valley of his steady wake; and on either hand bright bubbles arose and danced by his side. But these were broken again by the light toes of hundreds of gay fowl softly feathering the sea, alternate with their fitful flight; and like to some flag-staff rising from the painted hull of an argosy, the tall but shattered pole of a recent lance projected from the white whale's back; and at intervals one of the cloud of soft-toed fowls hovering, and to and fro skimming like a canopy over the fish, silently perched and rocked on this pole, the long tail feathers streaming like pennons.

Herman Melville     Moby Dick; or The Whale

JENNER, EDWARD (1749-1823), English physician and discoverer of vaccination, was born at Berkeley, Gloucestershire, on the 17th of May 1749. His father, the Rev. Stephen Jenner, rector of Rockhampton and vicar of Berkeley, came of a family that had been long established in that county, and was possessed of considerable landed property; he died when Edward was only six years old, but his eldest son, the Rev. Stephen Jenner, brought his brother up with paternal care and tenderness. Edward received his early education at Wotton-under-Edge and Cirencester, where he already showed a strong taste for natural history. The medical profession having been selected for him, he began his studies under Daniel Ludlow, a surgeon of Sodbury near Bristol; but in his twenty-first year he proceeded to London, where he became a favourite pupil of John Hunter, in whose house he resided for two years. During this period he was employed by Sir Joseph Banks to arrange and prepare the valuable zoological specimens which he had brought back from Captain Cook's first voyage in 1771. He must have acquitted himself satisfactorily in this task, since he was offered the post of naturalist in the second expedition, but declined it as well as other advantageous offers, preferring rather to practise his profession in his native place, and near his eldest brother, to whom he was much attached. He was the principal founder of a local medical society, to which he contributed several papers of marked ability, in one of which he apparently anticipated later discoveries concerning rheumatic inflammations of the heart. He maintained a correspondence with John Hunter, under whose direction he investigated various points in biology, particularly the hibernation of hedgehogs and habits of the cuckoo; his paper on the latter subject was laid by Hunter before the Royal Society, and appeared in the _Phil. Trans._ for 1788. He also devoted considerable attention to the varied geological character of the district in which he lived, and constructed the first balloon seen in those parts. He was a great favourite in general society, from his agreeable and instructive conversation, and the many accomplishments he possessed. Thus he was a fair musician, both as a part singer and as a performer on the violin and flute, and a very successful writer, after the fashion of that time, of fugitive pieces of verse. In 1788 he married Catherine Kingscote, and in 1792 he obtained the degree of doctor of medicine from St Andrews. Entry: JENNER

Encyclopaedia Britannica, 11th Edition, Volume 15, Slice 3 "Japan" (part) to "Jeveros"     1910-1911

_Churches._--In conformity with the motto of the city, _Nisi Dominus frustra_, there are numerous handsome places of public worship. St Giles's church, which was effectively restored (1879-1883) by the liberality of Dr William Chambers the publisher, has interesting historical and literary associations. The regent Moray, the marquess of Montrose, and Napier of Merchiston were buried within its walls and are commemorated by monuments, and among the memorial tablets is one to R.L. Stevenson by Augustus St Gaudens. The choir (restored in 1873 by public subscription) is a fine example of 15th-century architecture, and the Gothic crown surmounting the central tower forms one of the most characteristic features in every view of the city. Just outside the church in Parliament Square, the supposed grave of John Knox is indicated by a stone set in the pavement bearing his initials, and in the pavement to the west a heart indicates the site of the old Tolbooth,[1] which figures prominently in Scott's _Heart of Midlothian_. Other churches having historical associations are the two Greyfriars churches, which occupy the two halves of one building; Tron church, the scene of midnight hilarity at the new year; St Cuthbert's church; St Andrew's church in George Street, whence set out, on a memorable day in 1843, that long procession of ministers and elders to Tanfield Hall which ended in the founding of the Free Church; St George's church in Charlotte Square, a good example of the work of Robert Adam. The United Free Church claims no buildings of much historic interest, but St George's Free was the scene of the ministrations of Dr Robert S. Candlish (1806-1873), Dr Oswald Dykes (b. 1835), Dr Alexander Whyte (b. 1837), a man of great mark and influence in the city, and his successor Hugh Black (b. 1868). Preachers like Robert Candlish, Thomas Guthrie (1803-1873), Marcus Dods (b. 1834), occupied many pulpits, besides those of the particular congregations whom each served. The most imposing structure belonging to the Scottish Episcopal Church is St Mary's cathedral, built on ground and chiefly from funds left by the Misses Walker of Coates, and opened for worship in 1879. It is in the Early Pointed style, by Sir Gilbert Scott, is 278 ft. long, and is surmounted by a spire 275 ft. high. The old-fashioned mansion of East Coates, dating from the 17th century, still stands in the close, and is occupied by functionaries of the cathedral. St John's Episcopal church at the west end of Princes Street was the scene of the ministrations of Dean Ramsay, and St Paul's Episcopal church of the Rev. Archibald Alison, father of the historian. The Catholic Apostolic church at the foot of Broughton Street is architecturally noticeable, and one of its features is a set of mural paintings executed by Mrs Traquair. The Central Hall at Tollcross testifies to Methodist energy. John Knox's house at the east end of High Street is kept in excellent repair, and contains several articles of furniture that belonged to the reformer. The Canongate Tolbooth adjoins the parish church, in the burial-ground of which is the tombstone raised by Burns to the memory of Robert Fergusson, and where Dugald Stewart, Adam Smith and other men of note were buried. Almost opposite to it stands Moray House, from the balcony of which the 8th earl of Argyll watched Montrose led to execution (1650). The city gaol, a castellated structure on the black rock of Calton Hill, forms one of the most striking groups of buildings in the town. In the Music Hall in George Street, Carlyle, as lord rector of the university, delivered his stimulating address on books to the students, and Gladstone addressed the electors in his Midlothian campaigns. St Bernard's Well, on the Water of Leith, was embellished and restored (1888) at the cost of Mr William Nelson. A sum of £100,000 was bequeathed by Mr Andrew Usher (1826-1898) for a hall to be called the Usher Hall and to supplement the municipal buildings. The library of the solicitors to the supreme courts presents to the Cowgate a lofty elevation in red sandstone. The Sheriff Court Buildings stand on George IV. Bridge, and facing them is Mr Andrew Carnegie's free library (1887-1889). At the corner of High Street and George IV. Bridge stand the County buildings. The _Scotsman_ newspaper is housed in an ornate structure in North Bridge Street, the building of which necessitated the demolition of many old alleys and wynds, such as Fleshmarket Close and Milne Square. Ramsay Gardens, a students' quarter fostered by Prof. Patrick Geddes (b. 1854), grew out of the "goose-pie" house where Allan Ramsay lived, and with its red-tiled roof and effective lines adds warmth to the view of the Old Town from Princes Street. Not the least interesting structure is the old City Cross (restored at the cost of W.E. Gladstone), which stands in High Street, adjoining St Giles's. Several of the quaint groups of buildings of Auld Reekie have been carefully restored, such as the White Horse Close in the Canongate; the mass of alleys on the north side of the Lawnmarket, from Paterson's Close to James's Court have been connected, and here Lord Rosebery acquired and restored the 17th-century dwelling which figures in the legend of _My Aunt Margaret's Mirror_. Another model restoration of a historic close is found in Riddle's Close, which contains a students' settlement. If these and other improvements have led to the disappearance of such old-world picturesque buildings as Allan Ramsay's shop "at the sign of the Mercury, opposite Niddry Wynd," Cardinal Beaton's palace, the old Cunzie House, or mint, the beautiful timber-fronted "land" that stood at the head of the West Bow, and even such "howffs" as Clerihugh's tavern, where Mr Counsellor Pleydell and the rest played the "high jinks" described in _Guy Mannering_, it must be conceded that the changes in the Old Town (many of a drastic nature) have been carried out with due regard to the character of their environment. Entry: EDINBURGH

Encyclopaedia Britannica, 11th Edition, Volume 8, Slice 10 "Echinoderma" to "Edward"     1910-1911

When the _Method_ of Quantz appeared there were still in use, besides the orchestral flute in D, the little fourth flute in G, the low fourth flute in A, and the flûte d'amour a note higher; in France they had, moreover, the little octave flute in D (octave). A bass flute in D had also been attempted (see fig. 5). When Ribock published his _Bemerkungen über die Flöte_[37] the flute had already the five keys here shown. [notes] This author states that the inventor of these new keys is not known to him, but that either Kusder, a musical instrument-maker in London, or Johann Georg Tromlitz of Leipzig was the originator, since he has not been able to trace those keys on the flutes of any other maker. Although Tromlitz does not claim for himself the invention of the keys for F, G[sharp] and B[flat], he states that "he had occupied himself for several years in applying these keys so as not to augment the difficulty of playing, but on the contrary to render the handling of them as easy as possible."[38] In the later work published in 1800,[39] however, he seems to attribute the invention of these keys to Richard Potter of London; he says that he has never yet been fortunate enough to come across a good flute by that maker--"the flute has certainly gained by the addition of the keys for F, G[sharp] and B[flat], but this is not everything, for on such a flute much must perforce be left unattempted.... Only a flute with eight keys according to my invention is capable of everything." It would seem, moreover, from circumstantial evidence stated clearly and on good authority by Rockstro[40] that the keys for F, G[sharp] and B[flat] must have been used first in England and made by Richard Potter before 1774. The higher key of C adopted from 1786 by Tromlitz, we believe to have been first recommended by Ribock (1782).[41] Tromlitz in _Über Flöten_ describes at length what may be termed the first systematic effort to overcome the difficulties created by the combination of open holes and closed keys. He attempted to solve the question by determining the positions of the holes according to the exigencies of fingering instead of subordinating them to the more arbitrary theories connected with the musical scale. Entry: FIG

Encyclopaedia Britannica, 11th Edition, Volume 10, Slice 5 "Fleury, Claude" to "Foraker"     1910-1911

On the downfall of the Roman empire, the bag-pipe, sharing the fate of other instruments, probably lingered for a time among itinerant musicians, actors, jugglers, &c., reappearing later in primitive guise with the stamp of _naiveté_ which characterizes the productions of the early middle ages, and with a new name, chorus (_q.v._). An illustration of a Persian bag-pipe dating from the 6th century A.D. (reign of Chosroes II.) is to be found on the great arch at Takht-i-Bostan (see fig. 2). This very crude representation of the bag-pipe can only be useful as evidence that during centuries which elapsed between the moulding of the figurine found in the _tell_ at Susa, mentioned above, and the carving in the rock at Takht-i-Bostan, the instrument had survived. The reign of Chosroes was noted for its high standard of musical culture. The fault probably lies with the draughtsman, who drew the sculptures on the arch for the book. Nothing more is heard henceforth of the tibia utricularis. If the drawings of the early medieval bag-pipes, which are by no means rare in MSS. and monuments of the 9th to the 13th century, are to be trusted, it seems hard to understand the _raison d'être_ of the instrument shorn of its drones, to see how it justified its existence except as an ill-understood reminiscence. What could be the object of laboriously inflating a bag for the purpose of making a single chaunter speak, which could be done so much more satisfactorily by taking the reed itself into the mouth, as was the practice of the Greeks and Romans? There is a fine psalter in the library of University Court, Glasgow,[36] belonging co the Hunterian collection, in which King David is represented, as usual in the 12th century, playing or rather tuning a harp, surrounded by musicians playing bells, rebec, guitar fiddle (in 'cello position), quadruple pipes or ganistrum, and a bag-pipe with long chaunter having a well-defined stock. The insufflation tube appears to have been left out, and there are no drones to be seen. Entry: II

Encyclopaedia Britannica, 11th Edition, Volume 3, Part 1, Slice 2 "Baconthorpe" to "Bankruptcy"     1910-1911

GRINNELL, a city in Poweshiek county, Iowa, U.S.A., 55 m. E. by N. of Des Moines. Pop. (1900) 3860, of whom 274 were foreign-born; (1905) 4634; (1910) 5036. Grinnell is served by the Chicago, Rock Island & Pacific, and the Iowa Central railways. It is the seat of Iowa College (co-educational), founded in 1847 by the Iowa Band (Congregationalists and graduates of New England colleges and Andover Theological Seminary, who had devoted themselves to home missionary educational work in Iowa, and who came to Iowa in 1843), and by a few earlier pioneers from New England. The college opened in 1848 at Davenport, and in 1859 removed to Grinnell, where there was a school called Grinnell University, which it absorbed. Closely affiliated with the college are the Grinnell Academy and the Grinnell School of Music. In 1907-1908 the College had 463 students, the Academy had 129 students, and the School of Music had 141 students. Among the manufactures are carriages and gloves. The city was named in honour of one of its founders, Josiah Bushnell Grinnell (1821-1891), a Congregational clergyman, friend of and sympathizer with John Brown, and from 1863 to 1867 a member of the National House of Representatives. Grinnell was settled in 1854, was incorporated as a town in 1865, and in 1882 was chartered as a city of the second class. In 1882 it suffered severely from a cyclone. Entry: GRINNELL

Encyclopaedia Britannica, 11th Edition, Volume 12, Slice 5 "Greek Law" to "Ground-Squirrel"     1910-1911

Thus, of Leonardo's sixteen years' work at Milan (1483-1499) the results actually remaining are as follows: The Louvre "Virgin of the Rocks" possibly, i.e. as to its execution; the conception and style are essentially Florentine, carried out by Leonardo to a point of intense and almost glittering finish, of quintessential, almost overstrained, refinement in design and expression, and invested with a new element of romance by the landscape in which the scene is set--a strange watered country of basaltic caves and arches, with the lights and shadows striking sharply and yet mysteriously among rocks, some upright, some jutting, some pendent, all tufted here and there with exquisite growths of shrub and flower. The National Gallery "Virgin of the Rocks" certainly, with help from Ambrogio de Predis; in this the Florentine character of the original is modified by an admixture of Milanese elements, the tendency to harshness and over-elaboration of detail softened, the strained action of the angel's pointing hand altogether dropped, while in many places pupils' work seems recognizable beside that of the master. The "Last Supper" of Sta Maria delle Grazie, his masterpiece; as to its history and present condition enough has been said. The decorations of the ceiling of the Sala della Torre in the Castello. Other paintings done by him at Milan are mentioned, and attempts have been made to identify them with works still existing. He is known to have painted portraits of two of the king's mistresses, Cecilia Gallerani and Lucrezia Crivelli. Cecilia Gallerani used to be identified as a lady with ringlets and a lute, depicted in a portrait at Milan, now rightly assigned to Bartolommeo Veneto. More lately she has by some been conjecturally recognized in a doubtful, though Leonardesque, portrait of a lady with a weasel in the Czartoryski collection at Prague. Lucrezia Crivelli has, with no better reason, been identified with the famous "Belle Ferronnière" (a mere misnomer, caught from the true name of another portrait which used to hang near it) at the Louvre; this last is either a genuine Milanese portrait by Leonardo himself or an extraordinarily fine work of his pupil Boltraffio. Strong claims have also been made on behalf of a fine profile portrait resembling Beatrice d'Este in the Ambrosiana; but this the best judges are agreed in regarding as a work, done in a lucky hour, of Ambrogio de Predis. A portrait of a musician in the same gallery is in like manner contested between the master and the pupil. Mention is made of a "Nativity" painted for and sent to the emperor Maximilian, and also apparently of some picture painted for Matthias Corvinus, king of Hungary; both are lost or at least unidentified. The painters especially recorded as Leonardo's immediate pupils during this part of his life at Milan are the two before mentioned, Giovanni Antonio Boltraffio and Ambrogio Preda or de Predis, with Marco d'Oggionno and Andrea Salai, the last apparently less a fully-trained painter than a studio assistant and personal attendant, devotedly attached and faithful in both capacities. Leonardo's own native Florentine manner had at first been not a little modified by that of the Milanese school as he found it represented in the works of such men as Bramantino, Borgognone and Zenale; but his genius had in its turn reacted far more strongly upon the younger members of the school, and exercised, now or later, a transforming and dominating influence not only upon his immediate pupils, but upon men like Luini, Giampetrino, Bazzi, Cesare da Sesto and indeed the whole Lombard school in the early 15th century. Of sculpture done by him during this period we have no remains, only the tragically tantalizing history of the Sforza monument. Of drawings there are very many, including few only for the "Last Supper," many for the Sforza monument, as well as the multitude of sketches, scientific and other, which we find intermingled among the vast body of his miscellaneous MSS., notes and records. In mechanical, scientific and theoretical studies of all kinds it was a period, as these MSS. attest, of extraordinary activity and self-development. At Pavia in 1494 we find him taking up literary and grammatical studies, both in Latin and the vernacular; the former, no doubt, in order the more easily to read those among the ancients who had laboured in the fields that were his own, as Euclid, Galen, Celsus, Ptolemy, Pliny, Vitruvius and, above all, Archimedes; the latter with a growing hope of some day getting into proper form and order the mass of materials he was daily accumulating for treatises on all his manifold subjects of enquiry. He had been much helped by his opportunities of intercourse with the great architects, engineers and mathematicians who frequented the court of Milan--Bramante, Alberghetti, Andrea di Ferrara, Pietro Monti, Fazio Cardano and, above all, Luca Pacioli. The knowledge of Leonardo's position among and familiarity with such men early helped to spread the idea that he had been at the head of a regularly constituted academy of arts and sciences at Milan. The occurrence of the words "Achademia Leonardi Vinci" on certain engravings, done after his drawings, of geometric "knots" or puzzle-patterns (things for which we have already learned his partiality), helped to give currency to this impression not only in Italy but in the North, where the same engravings were copied by Albrecht Dürer. The whole notion has been proved mistaken. There existed no such academy at Milan, with Leonardo as president. The academies of the day represented the prevailing intellectual tendency of Renaissance humanism, namely, an absorbing enthusiasm for classic letters and for the transcendental speculations of Platonic and neo-Platonic mysticism, not unmixed with the traditions and practice of medieval alchemy, astrology and necromantics. For these last pursuits Leonardo had nothing but contempt. His many-sided and far-reaching studies in experimental science were mainly his own, conceived and carried out long in advance of his time, and in communion with only such more or less isolated spirits as were advancing along one or another of the same paths of knowledge. He learnt indeed on these lines eagerly wherever he could, and in learning imparted knowledge to others. But he had no school in any proper sense except his studio, and his only scholars were those who painted there. Of these one or two, as we have evidence, tried their hands at engraving; among their engravings were these "knots," which, being things of use for decorative craftsmen to copy, were inscribed for identification, and perhaps for protection, as coming from the Achademia Leonardi Vinci; a trifling matter altogether, and quite unfit to sustain the elaborate structure of conjecture which has been built on it. Entry: LEONARDO

Encyclopaedia Britannica, 11th Edition, Volume 16, Slice 4 "Lefebvre, Tanneguy" to "Letronne, Jean Antoine"     1910-1911