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1 reed
ri:d1) (a kind of tall, stiff grass growing on wet or marshy ground: reeds along a river-bank.) siv, (tak)rør2) (a thin piece of cane or metal in certain wind instruments (eg the oboe, clarinet) which vibrates and makes a sound when the instrument is played.) rørbladsivIsubst. \/riːd\/forklaring: takrørlignende plante3) ( musikk) hyrdefløyte, rørfløyte4) ( i blåseinstrument) rørblad, tungebreak a bruised reed ( bibelsk) knuse et knekket rør(weaver's) reed vevskje, vevkamIIverb \/riːd\/1) tekke med strå, tekke med halm, tekke med siv2) ( tekstil) skjestikke -
2 Warping
General term for processes after winding concerned in preparing weaver's and knitter's warps. Methods of warping vary according to (1) the yarns employed (2) whether they are sized or not, and (3) at what state sizing takes place. There are at least seven methods of warp preparation, e.g., beam warping, direct warping, mill warping on vertical mills, section warping on horizontal mills and in cheeses on section blocks, Scotch dresser sizing, Scotch warp dressing, and Yorkshire warp dressing. Beam Warping is the system in general use for making grey cotton goods. The beam warper comprises a creel for the supply ends, which may be on double-flanged bobbins, cones or cheeses, and a beaming head which comprises mechanism for mounting and rotating a warper's beam and means for winding the yarn from the creel supply on to the beam under suitable tension. The number of ends and length of warp on a back or warper's beam is related to what is required in the weaver's beam. Assuming the weaver's beams were required to have 2928 ends, 24's warp, and 8 cuts of 96 yards each, the back beams for a set might have 2928: 6 = 488 ends, and 2 X 6 X 8 X 96 = 9216 yards. On the slasher sizing machine six back beams would be run together, thereby producing 12 weaver's beams each containing 2928 ends 768 yards long. Warp Beaming Speeds - With the old type of warp beaming machine taking supply from unrolling double-flanged bobbins, the warping speed would be about 70 yards per minute. In modern beam warpers taking supply overend from cones, the warping speed is up to 250 yards per minute. With beam barrels of 41/2-in. dia., and up to 500 yards per minute with barrels of 10-in. dia. Warp and Weft Knitted Fabrics - Warp knitted fabrics in which extra yarn is introduced in the form of weft threads which are laid in between the warp threads and their needles for the purpose of adding extra weight and for patterning purposes. Warp Loom Tapes - Narrow knitted fabrics usually less than one inch wide used for trimming garments. They are knitted on circular latch needle machines, but the tapes are flat. Direct Warping - A method used in making warps for towels, fustians, and other fabrics in which the total number of ends can be accommodated in one creel, say not more than 1,000 ends. The threads are run from the creel direct to the weaver's beam on a machine similar to that used in section beam warping. Mill Warping - There are two distinctly different methods of mill warping. On the vertical mill, which may be anything up to 20 yards in circumference, the number of ends in the complete warp is obtained by repeating the runs the required number of times, e.g., with 200 bobbins in the creel, 4 runs would give a warp of 800 ends. The length of the warp is determined by the number of revolutions made by the mill for each run. The horizontal mill is much used in Yorkshire for making woollen and worsted warps It is used to a small extent for cotton warps and is largely used for making silk and rayon warps. The mill or swift is usually about 5 yards in circumference. Its distinctive feature is the making of warps in sections which are wound on the mill in overlapping manner. The creel capacity varies from 250 to 600 ends, and with 500 ends in the creel a warp of 5,000 ends would require ten sections. Section Warping for Coloured Goods - This is a system of making coloured striped warps from hank-dyed and bleached yarns. The bobbins are creeled to pattern, one or more complete patterns to each section. Each section is the full length of the warp and is run on a small section block keywayed to fit a key on the shaft of the subsequent beaming machine where the sections are placed side by side and run on the weaver's beam. Scotch Dresser Sizing - There are two systems of warp preparation known as Scotch dressing. 1. Dresser sizing used for sizing warps for linen damasks, etc. Back beams are first made and placed in two beam creels, one on each side of the headstock. The threads from several back beams are collected in one sheet of yarn, sized by passage through a size-box, brushed by a revolving brush, dried by hot air, and passed vertically upwards where both sheets of warp threads are united and pass on to the weaver's beam in a single sheet. Scotch Warp Dressing - The other method of Scotch dressing is used in the preparation of coloured striped warps, usually from warp-dyed and bleached yarn. It consists in splitting off from ball warps previously dyed or bleached and sized, the number of ends of each colour required in the finished warp. Each group is then wound on separate flanged warpers' beams. These beams are placed in a creel and the ends drawn through a reed according to pattern, and wound finally on to the weavers' beams. Yorkshire Warp Dressing - This is a system used mostly in the preparation of coloured striped warps. It is also invaluable in preparing warps dyed and sized in warp form to prevent shadiness in the cloth. Four warps with the same number of ends in each are dyed the same colour, and in sleying, one end from each warp is put in each dent of the reed. Any tendency to shadiness arising from irregularity in dyeing is thereby effectively eliminated. In striped work the required ends are split off if necessary from a larger ball warp, sleyed to pattern in the reed, and then run under controlled tension on to the weaver's beam. The dresser uses a brush as long as the width of the warp to brush out entangled places where the threads have adhered together with size. Yorkshire dressing provides perfect warps with every thread in its proper place on the weaver's beam, no crossed or missing threads, and a minimum of knots. -
3 hook
1. крючок; 2. носик платины; 3. деккер (вязальной машины) @hook and eye крючок с петлей (для застёжки) @hook in offset position крючок иглы, загнутый ниже стержня @hook on кетлевать @hook up подвешивать на крючок @anchor hook крючок для подвески @belt hook крючок для скрепления ремней @common hook круглозагнутый крючок (иглы) @draw hook крючок ремизоподъёмной каретки @drawing-in hook проборный крючок @excelsior hook крючок иглы, загнутый под двумя углами @filling motion hook крючок уточной вилочки @gripping hook захватывающий крючок @hank hook шпилька для мотка, отбойка @harness hook ремизный крючок @heald hook @heddle hook проборный крючок @heald bar hook хомутик для подвязывания ремизки к прутку @heald frame hook хомутик для подвязывания ремизки к ремизоподъёмному механизму @Jacquard hook крючок жаккардовой машины @needle hook крючок иглы @plating hook платировочный крючок (иглы) @pull-out hook 1. крючок для вытягивания нити; 2. крючок для подъёма петель @reed hook крючок для проборки нитей в бёрдо @reeding hook крючок для проборки нитей в бёрдо @rigid hook жёсткий крючок (иглы) @section hook крючок для привязывания концов наснованных лент основы @selvage hook кромочный крючок @shaft hook подвязной ремизный крючок @slay hook крючок для проборки нитей в бёрдо @slide hook 1. хомутик; 2. скользящий крючок @spring-type heald hook пружинный ремизный хомутик @stay hook ушко @strap hook крючок для скрепления ремней @tenter hook крючок ширильной рамы @teansferring hook деккер, сбавочная игла (коттон-машины) @turning hook кеттельная игла @walking reed hook автоматический передвижной крючок для проборки нитей в бёрдо @warper's reed hook проборный крючок сновальщика @weaver's hook проборный крючок ткача @weft inserting hook ухватик для ввода утка @ -
4 hook
1. крючок; 2. носик платины; 3. деккер (вязальной машины) @hook and eye крючок с петлей (для застёжки) @hook in offset position крючок иглы, загнутый ниже стержня @hook on кетлевать @hook up подвешивать на крючок @anchor hook крючок для подвески @belt hook крючок для скрепления ремней @common hook круглозагнутый крючок (иглы) @draw hook крючок ремизоподъёмной каретки @drawing-in hook проборный крючок @excelsior hook крючок иглы, загнутый под двумя углами @filling motion hook крючок уточной вилочки @gripping hook захватывающий крючок @hank hook шпилька для мотка, отбойка @harness hook ремизный крючок @heald hook @heddle hook проборный крючок @heald bar hook хомутик для подвязывания ремизки к прутку @heald frame hook хомутик для подвязывания ремизки к ремизоподъёмному механизму @Jacquard hook крючок жаккардовой машины @needle hook крючок иглы @plating hook платировочный крючок (иглы) @pull-out hook 1. крючок для вытягивания нити; 2. крючок для подъёма петель @reed hook крючок для проборки нитей в бёрдо @reeding hook крючок для проборки нитей в бёрдо @rigid hook жёсткий крючок (иглы) @section hook крючок для привязывания концов наснованных лент основы @selvage hook кромочный крючок @shaft hook подвязной ремизный крючок @slay hook крючок для проборки нитей в бёрдо @slide hook 1. хомутик; 2. скользящий крючок @spring-type heald hook пружинный ремизный хомутик @stay hook ушко @strap hook крючок для скрепления ремней @tenter hook крючок ширильной рамы @teansferring hook деккер, сбавочная игла (коттон-машины) @turning hook кеттельная игла @walking reed hook автоматический передвижной крючок для проборки нитей в бёрдо @warper's reed hook проборный крючок сновальщика @weaver's hook проборный крючок ткача @weft inserting hook ухватик для ввода утка @ -
5 Kay (of Bury), John
SUBJECT AREA: Textiles[br]b. 16 July 1704 Walmersley, near Bury, Lancashire, Englandd. 1779 France[br]English inventor of the flying shuttle.[br]John Kay was the youngest of five sons of a yeoman farmer of Walmersley, near Bury, Lancashire, who died before his birth. John was apprenticed to a reedmaker, and just before he was 21 he married a daughter of John Hall of Bury and carried on his trade in that town until 1733. It is possible that his first patent, taken out in 1730, was connected with this business because it was for an engine that made mohair thread for tailors and twisted and dressed thread; such thread could have been used to bind up the reeds used in looms. He also improved the reeds by making them from metal instead of cane strips so they lasted much longer and could be made to be much finer. His next patent in 1733, was a double one. One part of it was for a batting machine to remove dust from wool by beating it with sticks, but the patent is better known for its description of the flying shuttle. Kay placed boxes to receive the shuttle at either end of the reed or sley. Across the open top of these boxes was a metal rod along which a picking peg could slide and drive the shuttle out across the loom. The pegs at each end were connected by strings to a stick that was held in the right hand of the weaver and which jerked the shuttle out of the box. The shuttle had wheels to make it "fly" across the warp more easily, and ran on a shuttle race to support and guide it. Not only was weaving speeded up, but the weaver could produce broader cloth without any aid from a second person. This invention was later adapted for the power loom. Kay moved to Colchester and entered into partnership with a baymaker named Solomon Smith and a year later was joined by William Carter of Ballingdon, Essex. His shuttle was received with considerable hostility in both Lancashire and Essex, but it was probably more his charge of 15 shillings a year for its use that roused the antagonism. From 1737 he was much involved with lawsuits to try and protect his patent, particularly the part that specified the method of winding the thread onto a fixed bobbin in the shuttle. In 1738 Kay patented a windmill for working pumps and an improved chain pump, but neither of these seems to have been successful. In 1745, with Joseph Stell of Keighley, he patented a narrow fabric loom that could be worked by power; this type may have been employed by Gartside in Manchester soon afterwards. It was probably through failure to protect his patent rights that Kay moved to France, where he arrived penniless in 1747. He went to the Dutch firm of Daniel Scalongne, woollen manufacturers, in Abbeville. The company helped him to apply for a French patent for his shuttle, but Kay wanted the exorbitant sum of £10,000. There was much discussion and eventually Kay set up a workshop in Paris, where he received a pension of 2,500 livres. However, he was to face the same problems as in England with weavers copying his shuttle without permission. In 1754 he produced two machines for making card clothing: one pierced holes in the leather, while the other cut and sharpened the wires. These were later improved by his son, Robert Kay. Kay returned to England briefly, but was back in France in 1758. He was involved with machines to card both cotton and wool and tried again to obtain support from the French Government. He was still involved with developing textile machines in 1779, when he was 75, but he must have died soon afterwards. As an inventor Kay was a genius of the first rank, but he was vain, obstinate and suspicious and was destitute of business qualities.[br]Bibliography1730, British patent no. 515 (machine for making mohair thread). 1733, British patent no. 542 (batting machine and flying shuttle). 1738, British patent no. 561 (pump windmill and chain pump). 1745, with Joseph Stell, British patent no. 612 (power loom).Further ReadingB.Woodcroft, 1863, Brief Biographies of Inventors or Machines for the Manufacture of Textile Fabrics, London.J.Lord, 1903, Memoir of John Kay, (a more accurate account).Descriptions of his inventions may be found in A.Barlow, 1878, The History and Principles of Weaving by Hand and by Power, London; R.L. Hills, 1970, Power in theIndustrial Revolution, Manchester; and C.Singer (ed.), 1957, A History ofTechnology, Vol. III, Oxford: Clarendon Press. The most important record, however, is in A.P.Wadsworth and J. de L. Mann, 1931, The Cotton Trade and IndustrialLancashire, Manchester.RLH -
6 set
1. прибор; аппарат; 2. установка; агрегат; 3. державка; 4. сдвиг; 5. покрой; 6. общее число нитей в основе; 7. плотность по основе (выраженная количеством групп по 40 нитей основы в одном ярде или в 0,914 м); 8. номер бёрда; 9. плотность; 10. структура ткани; 11. ставка; съём; 12. фиксация, стабилизация; 13. остаточная деформация; 14. фиксировать, стабилизировать; 15. сидеть (о платье) @set in woolen and worsted carding чесальный аппарат для аппаратной и гребенной шерсти @set of back beams комплект сновальных валиков @set of bobbins ставка катушек @set of cams группа клиньев замка (вязальной машины) @set of cans комплект тазов (чесальной машины) @set of cops ставка початков @set of deliveries ряд головок ленточной машины @set of falters набор падающих гребней, ряд падающих гребней @set of harness плотность аркатных шнуров в кассейной доске @set of healds ремизный прибор @set of needles комплект игл в игольнице @set of pumps насосный блок (прядильного комбайна) @set of reed плотность по бёрду @set of thread система нитей (ткани) @set of warp плотность по основе @set of weft плотность по утку @set of wires набор игл или скобочек игольчатой ленты @set out выставлять на показ или на продажу @set the twist фиксировать крутку, стабилизировать крутку @carding set комплект чесальных машин @clear set 1. малая плотность (ткани); 2. редкое переплетение; 3. слабый застил (ткани) @dead set пришивать наглухо @open set прямая посадка игл или скобочек (игольчатой ленты) @pattern wheel set комплект прессовых или узорообразующих колёс (вязальной машины) @permanent set остаточная деформация @rib set ребристая шахматная посадка игл или скобочек (игольчатой ленты) @scouring set промывная или мойная установка @scribbling set чесальный аппарат (двух- или трёхпрочёсный) @tea set чайный комплект (скатерть с салфетками) @temporary set упругая деформация @twill set диагональная посадка игл или скобочек (игольчатой ленты) @twilled set диагональная посадка игл или скобочек (игольчатой ленты) @twist set фиксация крутки, стабилизация крутки @weaver's set комплект ткацких станков на одного ткача @wire set набор игл (игольчатой ленты) @wool carding set чесальный аппарат для шерсти @wool scouring-and-drying set агрегат для промывки и просушивания шерсти; шерстомойная установка @woollen set чесальный аппарат для шерсти @yarn set фиксация нити, стабилизация нити @ -
7 set
1. прибор; аппарат; 2. установка; агрегат; 3. державка; 4. сдвиг; 5. покрой; 6. общее число нитей в основе; 7. плотность по основе (выраженная количеством групп по 40 нитей основы в одном ярде или в 0,914 м); 8. номер бёрда; 9. плотность; 10. структура ткани; 11. ставка; съём; 12. фиксация, стабилизация; 13. остаточная деформация; 14. фиксировать, стабилизировать; 15. сидеть (о платье) @set in woolen and worsted carding чесальный аппарат для аппаратной и гребенной шерсти @set of back beams комплект сновальных валиков @set of bobbins ставка катушек @set of cams группа клиньев замка (вязальной машины) @set of cans комплект тазов (чесальной машины) @set of cops ставка початков @set of deliveries ряд головок ленточной машины @set of falters набор падающих гребней, ряд падающих гребней @set of harness плотность аркатных шнуров в кассейной доске @set of healds ремизный прибор @set of needles комплект игл в игольнице @set of pumps насосный блок (прядильного комбайна) @set of reed плотность по бёрду @set of thread система нитей (ткани) @set of warp плотность по основе @set of weft плотность по утку @set of wires набор игл или скобочек игольчатой ленты @set out выставлять на показ или на продажу @set the twist фиксировать крутку, стабилизировать крутку @carding set комплект чесальных машин @clear set 1. малая плотность (ткани); 2. редкое переплетение; 3. слабый застил (ткани) @dead set пришивать наглухо @open set прямая посадка игл или скобочек (игольчатой ленты) @pattern wheel set комплект прессовых или узорообразующих колёс (вязальной машины) @permanent set остаточная деформация @rib set ребристая шахматная посадка игл или скобочек (игольчатой ленты) @scouring set промывная или мойная установка @scribbling set чесальный аппарат (двух- или трёхпрочёсный) @tea set чайный комплект (скатерть с салфетками) @temporary set упругая деформация @twill set диагональная посадка игл или скобочек (игольчатой ленты) @twilled set диагональная посадка игл или скобочек (игольчатой ленты) @twist set фиксация крутки, стабилизация крутки @weaver's set комплект ткацких станков на одного ткача @wire set набор игл (игольчатой ленты) @wool carding set чесальный аппарат для шерсти @wool scouring-and-drying set агрегат для промывки и просушивания шерсти; шерстомойная установка @woollen set чесальный аппарат для шерсти @yarn set фиксация нити, стабилизация нити @ -
8 Witney, William N.
1915-2002En sus inicios profesionales, a mediados de los anos 30, Witney hizo un poco de todo: fue montador, ayudante de direccion e, incluso, guionista, pero a partir de 1937 se dedico a la realizacion, convirtiendose en uno de los directores prolificos de Hollywood, en este caso para la productora Republic. En sus primeros anos como realizador, se especializo en seriales realizados en colaboracion, en particular con John English. La division del trabajo era sencilla: este rodaba las escenas de dialogo y los interiores, y Witney las escenas de accion. De este modo, fue adquiriendo justa fama como director de peliculas de accion, con grandes peleas y largas cabalgadas. Aunque la parte mas extensa de su filmografia la ocupan los westerns, es justo reconocer su labor en otros filmes de accion como Aventuras del capitan Maravillas (Adventures of Captain Marvel, 1941), se rial realizado con el ya citado John English. Como al gunos otros de sus companeros, sirvio extensamente a estrellas del western, en este caso Roy Rogers y Rex Allen. En sus peliculas hay de todo, pero no seria malo revisarlas con alguna atencion porque encontraremos en ellas no pocos detalles interesantes de personal estilo cinematografico.The Painted Stallion (co-d.: Alan James, Ray Taylor). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, LeRoy Mason, Duncan Renaldo, Julia Thayer.The Trigger Trio. 1937. 60 minutos. Blanco y Negro. Republic. Ray Corrigan, Max Terhune, Sandra Corday, Hal Taliaferro.Zorro Rides Again (co-d.: John English). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. John Caroll, Helen Christian.The Painted Stallion (co-d.: Alan James, Ray Taylor). 1938. 67 minutos. Blanco y Negro. Ray Corrigan, Hoot Gibson, Jean Carmen.The Lone Ranger (co-d.: John English). 1938. 264 minutos. 15 capitulos. Blanco y Negro. Republic. Lee Powell, Lynne Roberts, Bruce Bennett.The Lone Ranger Rides Again (co-d.: John English). 1939. 263 minutos. 15 capitulos. Blanco y Negro. Republic. Robert Livingston, Duncan Renaldo.Zorro’s Fighting Legion (co-d.: John English). 1939. 212 minutos. Blanco y Negro. Republic. Reed Hadley, Sheila Darcey.Heroes of the Saddle. 1940. 59 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Loretta Weaver, Patsy Lee Parsons.Hi-Yo Silver (co-d.: John English). 1940. 69 minutos. Blanco y Negro. Re public. Lee Powell, Lynne Roberts, Bruce Bennett.Adventures of Red Ryder (co-d.: John English). 1940. 205 minutos. 12 capitulos. Blanco y Negro. Republic. Don Barry, Noah Berry, Vivian Coe.King of the Royal Mounted (El rey de la policia montada) (co-d.: John English). 1940. 211 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.King of the Texas Rangers (co-d.: John English). 1941. 215 minutos. 12 ca pitulos. Blanco y Negro. Republic. Sammy Baugh, Pauine Moore, Duncan Renaldo.King of the Mounties. 1942. 196 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Gilbert Emery, Peggy Drake.Outlaws of Pine Ridge. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Noah Beery.Yukon Patrol (co-d.: John English). 1942. 68 minutos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.Roll on, Texas Moon. 1946. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Home in Oklahoma. 1946. 72 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Heldorado. 1946. 70 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.Apache Rose. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Olin Howlin.Bells of San Angelo. 1947. 78 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Andy Devine.Springtime in the Sierras. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.On the Old Spanish Trail. 1947. 75 minutos. Trucolor. Republic. Roy Ro gers, Jane Frazee, Andy Devine.The Gay Ranchero. 1948. 72 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.Under California Stars. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.Eyes of Texas. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Lynne Roberts, Andy Devine.Nightime in Nevada. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Adele Mara, Andy Devine.Grand Canyon Trail. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.The Far Frontier. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Gail Davis, Andy Devine.Susanna Pass. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Estelita Rodriguez.Down Dakota Way. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.The Golden Stallion. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Bells of Coronado. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Twilight in the Sierras. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.Trigger, Jr. 1950. 68 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady, Gordon Jones.Sunset in the West. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones, Estelita Rodriguez.North of the Great Divide. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Trail of Robin Hood. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Spoilers of the Plains. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.Heart of the Rockies. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.In Old Amarillo. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Pinky Lee, Estelita Rodriguez.South of Caliente. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee.Pals of the Golden West. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee, Estelita Rodriguez.Colorado Sundown. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, June Vincent, Mary Ellen Kay, Slim Pickens.The Last Musketeer. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.Border Saddlemates. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.Old Oklahoma Plains. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Elaine Edwards, Slim Pickens.South Pacific Trail. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Estelita Rodriguez, Slim Pickens.Old Overland Trail. 1953. 60 minutos. Blanco y Negro. Republic. Rex Allen, Virginia Hall, Slim Pickens.Iron Mountain Trail. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Nan Leslie, Slim Pickens.Down Laredo Way. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Dona Drake, Marjorie Lord, Slim Pickens.Shadows of Tomsbtone. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Jeanne Cooper, Slim Pickens.The Outcast. 1954. 90 minutos. Trucolor. Republic. John Derek, Joan Evans, Jim Davis, Catherine McLeod.Santa Fe Passage (Senderos de violencia). 1955. 90 minutos. Trucolor. Republic. John Payne, Faith Domergue, Rod Cameron, Slim Pickens.Stranger at My Door (Un extrano a mi puerta). 1956. 85 minutos. Blanco y Negro. Republic. MacDonald Carey, Patricia Medina, Skip Homeier.Zorro Rides Again (co-d.: John English). 1959. 68 minutos. Blanco y Negro. Republic. John Carroll, Helen Christian, Duncan Renaldo.The Long Rope. 1961. 61 minutos. Blanco y Negro. CinemaScope. Fox. Hugh Marlowe, Lisa Montell, Alan Hale, Jr.Apache Rifles. 1964. 93 minutos. Color DeLuxe. Fox. Audie Murphy, Michael Dante, Linda Lawson.Arizona Raiders (El renegado de Arizona). 1965. 88 minutos. Technicolor. Techniscope. Admiral (Columbia). Audie Murphy, Michael Dante, Gloria Talbott, Ben Cooper.40 Guns to Apache Pass. 1967. 95 minutos. Eastmancolor. Admiral (Columbia). Audie Murphy, Laraine Stephens, Michael Burns.English-Spanish dictionary of western films > Witney, William N.
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9 Austin, John
SUBJECT AREA: Textiles[br]fl. 1789 Scotland[br]Scottish contributor to the early development of the power loom.[br]On 6 April 1789 John Austin wrote to James Watt, seeking advice about patenting "a weaving loom I have invented to go by the hand, horse, water or any other constant power, to comb, brush, or dress the yarn at the same time as it is weaving \& by which one man will do the work of three and make superior work to what can be done by the common loom" (Boulton \& Watt Collection, Birmingham, James Watt Papers, JW/22). Watt replied that "there is a Clergyman by the name of Cartwright at Doncaster who has a patent for a similar contrivance" (Boulton \& Watt Collection, Birmingham, Letter Book 1, 15 April 1789). Watt pointed out that there was a large manufactory running at Doncaster and something of the same kind at Manchester with working power looms. Presumably, this reply deterred Austin from taking out a patent. However, some members of the Glasgow Chamber of Commerce continued developing the loom, and in 1798 one that was tried at the spinning mill of J.Monteith, of Pollokshaws, near Glasgow, answered the purpose so well that a building was erected and thirty of the looms were installed. Later, in 1800, this number was increased to 200, all of which were driven by a steam engine, and it was stated that one weaver and a boy could tend from three to five of these looms.Austin's loom was worked by eccentrics, or cams. There was one cam on each side with "a sudden beak or projection" that drove the levers connected to the picking pegs, while other cams worked the heddles and drove the reed. The loom was also fitted with a weft stop motion and could produce more cloth than a hand loom, and worked at about sixty picks per minute. The pivoting of the slay at the bottom allowed the loom to be much more compact than previous ones.[br]Further ReadingA.Rees, 1819, The Cyclopaedia: or Universal Dictionary of Arts, Sciences and Literature, London.R.Guest, 1823, A Compendius History of the Cotton Manufacture, Manchester.A.P.Usher, 1958, A History of Mechanical Inventions.W.English, 1969, The Textile Industry, London.R.L.Hills, 1970, Power in the Industrial Revolution, Manchester.See also: Cartwright, Revd EdmundRLH
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