charles+the+great

SUBJECT AREA: Land transport, Railways and locomotives

[br]

[br]

[br]

Booth followed his father as a Liverpool corn merchant but had great mechanical aptitude. In 1824 he joined the committee for the proposed Liverpool \& Manchester Railway (L \& MR) and after the company obtained its Act of Parliament in 1826 he was appointed Treasurer.

In 1829 the L \& MR announced a prize competition, the Rainhill Trials, for an improved steam locomotive: Booth, realizing that the power of a locomotive depended largely upon its capacity to raise steam, had the idea that this could be maximized by passing burning gases from the fire through the boiler in many small tubes to increase the heating surface, rather than in one large one, as was then the practice. He was apparently unaware of work on this type of boiler even then being done by Marc Seguin, and the 1791 American patent by John Stevens. Booth discussed his idea with George Stephenson, and a boiler of this type was incorporated into the locomotive Rocket, which was built by Robert Stephenson and entered in the Trials by Booth and the two Stephensons in partnership. The boiler enabled Rocket to do all that was required in the trials, and far more: it became the prototype for all subsequent conventional locomotive boilers.

After the L \& MR opened in 1830, Booth as Treasurer became in effect the general superintendent and was later General Manager. He invented screw couplings for use with sprung buffers. When the L \& MR was absorbed by the Grand Junction Railway in 1845 he became Secretary of the latter, and when, later the same year, that in turn amalgamated with the London \& Birmingham Railway (L \& BR) to form the London \& North Western Railway (L \& NWR), he became joint Secretary with Richard Creed from the L \& BR.

Earlier, completion in 1838 of the railway from London to Liverpool had brought problems with regard to local times. Towns then kept their own time according to their longitude: Birmingham time, for instance, was 7¼ minutes later than London time. This caused difficulties in railway operation, so Booth prepared a petition to Parliament on behalf of the L \& MR that London time should be used throughout the country, and in 1847 the L \& NWR, with other principal railways and the Post Office, adopted Greenwich time. It was only in 1880, however, that the arrangement was made law by Act of Parliament.

[br]

SUBJECT AREA: Architecture and building

[br]

[br]

[br]

Born Elinor Coade, she never married but adopted, as was customary in business in the eighteenth century, the courtesy title of Mrs. Following the bankruptcy and death of her father, George Coade, in Exeter, Eleanor and her mother (also called Eleanor) moved to London and founded the works at Lambeth, South London, in 1769 that later became famous as the Coade factory. The factory was located at King's Arms Stairs, Narrow Wall. During the eighteenth century, several attempts had been made in other businesses to manufacture a durable, malleable artificial stone that would be acceptable to architects for decorative use. These substances were not very successful, but Coade stone was different. Although stories are legion about the secret formula supposedly used in this artificial stone, modern methods have established the exact formula.

Coade stone was a stoneware ceramic material fired in a kiln. The body was remarkable in that it shrank only 8 per cent in drying and firing: this was achieved by using a combination of china clay, sand, crushed glass and grog (i.e. crushed and ground, previously fired stoneware). The Coade formula thus included a considerable proportion of material that, having been fired once already, was unshrinkable. Mrs Coade's name for the firm, Coade's Lithodipyra Terra-Cotta or Artificial Stone Manufactory (where "Lithodipyra" is a term derived from three Greek words meaning "stone", "twice" and "fire"), made reference to the custom of including such material (such as in Josiah Wedgwood's basalt and jasper ware). The especially low rate of shrinkage rendered the material ideal for making extra-life-size statuary, and large architectural, decorative features to be incorporated into stone buildings.

Coade stone was widely used for such purposes by leading architects in Britain and Ireland from the 1770s until the 1830s, including Robert Adam, Sir Charles Barry, Sir William Chambers, Sir John Soane, John Nash and James Wyatt. Some architects introduced the material abroad, as far as, for example, Charles Bulfinch's United States Bank in Boston, Massachusetts, and Charles Cameron's redecoration for the Empress Catherine of the great palace Tsarkoe Selo (now Pushkin), near St Petersburg. The material so resembles stone that it is often mistaken for it, but it is so hard and resistant to weather that it retains sharpness of detail much longer than the natural substance. The many famous British buildings where Coade stone was used include the Royal Hospital, Chelsea, Carlton House and the Sir John Soane Museum (all of which are located in London), St George's Chapel at Windsor, Alnwick Castle in Northumberland, and Culzean Castle in Ayrshire, Scotland.

Apart from the qualities of the material, the Coade firm established a high reputation for the equally fine quality of its classical statuary. Mrs Coade employed excellent craftsmen such as the sculptor John Bacon (1740–99), whose work was mass-produced by the use of moulds. One famous example which was widely reproduced was the female caryatid from the south porch of the Erechtheion on the acropolis of Athens. A drawing of this had appeared in the second edition of Stuart and Revett's Antiquities of Athens in 1789, and many copies were made from the original Coade model; Soane used them more than once, for example on the Bank of England and his own houses in London.

Eleanor Coade was a remarkable woman, and was important and influential on the neo-classical scene. She had close and amicable relations with leading architects of the day, notably Robert Adam and James Wyatt. The Coade factory was enlarged and altered over the years, but the site was finally cleared during 1949–50 in preparation for the establishment of the 1951 Festival of Britain.

[br]

SUBJECT AREA: Land transport, Railways and locomotives

[br]

[br]

[br]

Robert Stephenson's father was George Stephenson, who ensured that his son was educated to obtain the theoretical knowledge he lacked himself. In 1821 Robert Stephenson assisted his father in his survey of the Stockton \& Darlington Railway and in 1822 he assisted William James in the first survey of the Liverpool \& Manchester Railway. He then went to Edinburgh University for six months, and the following year Robert Stephenson \& Co. was named after him as Managing Partner when it was formed by himself, his father and others. The firm was to build stationary engines, locomotives and railway rolling stock; in its early years it also built paper-making machinery and did general engineering.

In 1824, however, Robert Stephenson accepted, perhaps in reaction to an excess of parental control, an invitation by a group of London speculators called the Colombian Mining Association to lead an expedition to South America to use steam power to reopen gold and silver mines. He subsequently visited North America before returning to England in 1827 to rejoin his father as an equal and again take charge of Robert Stephenson \& Co. There he set about altering the design of steam locomotives to improve both their riding and their steam-generating capacity. Lancashire Witch, completed in July 1828, was the first locomotive mounted on steel springs and had twin furnace tubes through the boiler to produce a large heating surface. Later that year Robert Stephenson \& Co. supplied the Stockton \& Darlington Railway with a wagon, mounted for the first time on springs and with outside bearings. It was to be the prototype of the standard British railway wagon. Between April and September 1829 Robert Stephenson built, not without difficulty, a multi-tubular boiler, as suggested by Henry Booth to George Stephenson, and incorporated it into the locomotive Rocket which the three men entered in the Liverpool \& Manchester Railway's Rainhill Trials in October. Rocket, was outstandingly successful and demonstrated that the long-distance steam railway was practicable.

Robert Stephenson continued to develop the locomotive. Northumbrian, built in 1830, had for the first time, a smokebox at the front of the boiler and also the firebox built integrally with the rear of the boiler. Then in Planet, built later the same year, he adopted a layout for the working parts used earlier by steam road-coach pioneer Goldsworthy Gurney, placing the cylinders, for the first time, in a nearly horizontal position beneath the smokebox, with the connecting rods driving a cranked axle. He had evolved the definitive form for the steam locomotive.

Also in 1830, Robert Stephenson surveyed the London \& Birmingham Railway, which was authorized by Act of Parliament in 1833. Stephenson became Engineer for construction of the 112-mile (180 km) railway, probably at that date the greatest task ever undertaken in of civil engineering. In this he was greatly assisted by G.P.Bidder, who as a child prodigy had been known as "The Calculating Boy", and the two men were to be associated in many subsequent projects. On the London \& Birmingham Railway there were long and deep cuttings to be excavated and difficult tunnels to be bored, notoriously at Kilsby. The line was opened in 1838.

In 1837 Stephenson provided facilities for W.F. Cooke to make an experimental electrictelegraph installation at London Euston. The directors of the London \& Birmingham Railway company, however, did not accept his recommendation that they should adopt the electric telegraph and it was left to I.K. Brunel to instigate the first permanent installation, alongside the Great Western Railway. After Cooke formed the Electric Telegraph Company, Stephenson became a shareholder and was Chairman during 1857–8.

Earlier, in the 1830s, Robert Stephenson assisted his father in advising on railways in Belgium and came to be increasingly in demand as a consultant. In 1840, however, he was almost ruined financially as a result of the collapse of the Stanhope \& Tyne Rail Road; in return for acting as Engineer-in-Chief he had unwisely accepted shares, with unlimited liability, instead of a fee.

During the late 1840s Stephenson's greatest achievements were the design and construction of four great bridges, as part of railways for which he was responsible. The High Level Bridge over the Tyne at Newcastle and the Royal Border Bridge over the Tweed at Berwick were the links needed to complete the East Coast Route from London to Scotland. For the Chester \& Holyhead Railway to cross the Menai Strait, a bridge with spans as long-as 460 ft (140 m) was needed: Stephenson designed them as wrought-iron tubes of rectangular cross-section, through which the trains would pass, and eventually joined the spans together into a tube 1,511 ft (460 m) long from shore to shore. Extensive testing was done beforehand by shipbuilder William Fairbairn to prove the method, and as a preliminary it was first used for a 400 ft (122 m) span bridge at Conway.

In 1847 Robert Stephenson was elected MP for Whitby, a position he held until his death, and he was one of the exhibition commissioners for the Great Exhibition of 1851. In the early 1850s he was Engineer-in-Chief for the Norwegian Trunk Railway, the first railway in Norway, and he also built the Alexandria \& Cairo Railway, the first railway in Africa. This included two tubular bridges with the railway running on top of the tubes. The railway was extended to Suez in 1858 and for several years provided a link in the route from Britain to India, until superseded by the Suez Canal, which Stephenson had opposed in Parliament. The greatest of all his tubular bridges was the Victoria Bridge across the River St Lawrence at Montreal: after inspecting the site in 1852 he was appointed Engineer-in-Chief for the bridge, which was 1 1/2 miles (2 km) long and was designed in his London offices. Sadly he, like Brunel, died young from self-imposed overwork, before the bridge was completed in 1859.

[br]

See also: Pihl, Carl Abraham; Seguin, Marc

SUBJECT AREA: Architecture and building

[br]

[br]

[br]

Born into a High Church and Royalist family, the young Wren early showed outstanding intellectual ability and at Oxford in 1654 was described as "that miracle of a youth". Educated at Westminster School, he went up to Oxford, where he graduated at the age of 19 and obtained his master's degree two years later. From this time onwards his interests were in science, primarily astronomy but also physics, engineering and meteorology. While still at college he developed theories about and experimentally solved some fifty varied problems. At the age of 25 Wren was appointed to the Chair of Astronomy at Gresham College in London, but he soon returned to Oxford as Savilian Professor of Astronomy there. At the same time he became one of the founder members of the Society of Experimental Philosophy at Oxford, which was awarded its Royal Charter soon after the Restoration of 1660; Wren, together with such men as Isaac Newton, Robert Hooke, John Evelyn and Robert Boyle, then found himself a member of the Royal Society.

Wren's architectural career began with the classical chapel that he built, at the request of his uncle, the Bishop of Ely, for Pembroke College, Cambridge (1663). From this time onwards, until he died at the age of 91, he was fully occupied with a wide and taxing variety of architectural problems which he faced in the execution of all the great building schemes of the day. His scientific background and inventive mind stood him in good stead in solving such difficulties with an often unusual approach and concept. Nowhere was this more apparent than in his rebuilding of fifty-one churches in the City of London after the Great Fire, in the construction of the new St Paul's Cathedral and in the grand layout of the Royal Hospital at Greenwich.

The first instance of Wren's approach to constructional problems was in his building of the Sheldonian Theatre in Oxford (1664–9). He based his design upon that of the Roman Theatre of Marcellus (13–11 BC), which he had studied from drawings in Serlio's book of architecture. Wren's reputation as an architect was greatly enhanced by his solution to the roofing problem here. The original theatre in Rome, like all Roman-theatres, was a circular building open to the sky; this would be unsuitable in the climate of Oxford and Wren wished to cover the English counterpart without using supporting columns, which would have obscured the view of the stage. He solved this difficulty mathematically, with the aid of his colleague Dr Wallis, the Professor of Geometry, by means of a timber-trussed roof supporting a painted ceiling which represented the open sky.

The City of London's churches were rebuilt over a period of nearly fifty years; the first to be completed and reopened was St Mary-at-Hill in 1676, and the last St Michael Cornhill in 1722, when Wren was 89. They had to be rebuilt upon the original medieval sites and they illustrate, perhaps more clearly than any other examples of Wren's work, the fertility of his imagination and his ability to solve the most intractable problems of site, limitation of space and variation in style and material. None of the churches is like any other. Of the varied sites, few are level or possess right-angled corners or parallel sides of equal length, and nearly all were hedged in by other, often larger, buildings. Nowhere is his versatility and inventiveness shown more clearly than in his designs for the steeples. There was no English precedent for a classical steeple, though he did draw upon the Dutch examples of the 1630s, because the London examples had been medieval, therefore Roman Catholic and Gothic, churches. Many of Wren's steeples are, therefore, Gothic steeples in classical dress, but many were of the greatest originality and delicate beauty: for example, St Mary-le-Bow in Cheapside; the "wedding cake" St Bride in Fleet Street; and the temple diminuendo concept of Christ Church in Newgate Street.

In St Paul's Cathedral Wren showed his ingenuity in adapting the incongruous Royal Warrant Design of 1675. Among his gradual and successful amendments were the intriguing upper lighting of his two-storey choir and the supporting of the lantern by a brick cone inserted between the inner and outer dome shells. The layout of the Royal Hospital at Greenwich illustrates Wren's qualities as an overall large-scale planner and designer. His terms of reference insisted upon the incorporation of the earlier existing Queen's House, erected by Inigo Jones, and of John Webb's King Charles II block. The Queen's House, in particular, created a difficult problem as its smaller size rendered it out of scale with the newer structures. Wren's solution was to make it the focal centre of a great vista between the main flanking larger buildings; this was a masterstroke.

[br]

1890-1969

   Uno mas de la larga lista de realizadores de peliculas baratas para consumo inmediato que empezo en el cine casi al mismo tiempo que lo hacia Hollywood, y que despues de ser montador de al menos cuatro peliculas entre 1922 y 1924, salto a la direccion en 1926 con Warner Bros. Al llegar el sonoro lo encontramos dedicado casi por completo al western de serie, en el que trabaja para casi todos, William Boyd (sobre todo), Charles Starrett, Buck Jones, Tim Holt, Don Barry, Bob Steele, Bill Elliott, Johnny Mack Brown, en peliculas con frecuencia intercambiables, de no ser por la personalidad de su protagonista. Segun cual fuera el actor protagonista, asi es la productora: Paramount, Columbia, Monogram, RKO o Republic.

   FILMOGRAFIA

    Hop-a-Long Cassidy (La cancion del vaquero). 1935. 62 min. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Paula Stone.

    The Eagle’s Brood. 1935. 59 minutos. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Dorothy Revier, Joan Woodbury.

    Bar 20 Rides Again. 1935. 65 minutos. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Jean Rouveral, George Hayes.

    Call of the Prairie (El ultimo testigo). 1936. 56 minutos. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Muriel Evans.

    Three on the Trail. 1936. 67 minutos. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Muriel Evans, George Hayes

    Heart of the West. 1936. 60 minutos. Blanco y Negro. Paramount. William Boyd, Jimmy Ellison, Lynn Gabriel, George Hayes.

    King of the Royal Mounted. 1936. 61 minutos. Blanco y Negro. Fox. Robert Kent, Rosalind Keith, Jack Luden.

    Wild Brian Kent. 1936. 60 minutos. Blanco y Negro. Principal/RKO. Ralph Bellamy, Mae Clarke.

    Secret Valley. 1937. 60 minutos. Blanco y Negro. Fox. Richard Arlen, Virginia Grey.

    It Happened Out West. 1937. 56 minutos. Blanco y Negro. Fox. Paul Kelly, Judith Allen.

    Western Gold. 1937. 57 minutos. Blanco y Negro. Fox. Smith Ballew, Heather Angel.

    The Showdown. 1940. 65 minutos. Blanco y Negro. Paramount. William Boyd, Russell Hayden, Britt Wood, Jane Clayton.

    In Old Colorado. 1941. 66 minutos. Blanco y Negro. Paramount. William Boyd, Russell Hayden, Margaret Hayes, Andy Clyde.

    Twilight on the Trail. 1941. 58 minutos. Blanco y Negro. Paramount. William Boyd, Andy Clyde, Wanda McKay, Brad King.

    Outlaws of the Desert. 1941. 66 minutos. Blanco y Negro. Paramount. William Boyd, Jean Phillips, Andy Clyde, Brad King.

    Riders of the Badlands. 1941. 57 minutos. Blanco y Negro. Columbia. Charles Starrett, Russell Hayden, Kay Hugues.

    West of Tombstone. 1942. 59 minutos. Blanco y Negro. Columbia. Charles Starrett, Russell Hayden, Marcella Martin.

    Below the Border. 1942. 57 minutos. Blanco y Negro. Monogram. Buck Jones, Tim McCoy, Linda Brent, Raymond Hatton.

    Ghost Town Law. 1942. 62 minutos. Blanco y Negro. Monogram. Buck Jones, Tim McCoy, Virginia Carpenter, Raymond Hatton.

    Down Texas Way (La ley del norte). 1942. 57 minutos. Blanco y Negro. Monogram. Buck Jones, Tim McCoy, Luana Walters, Raymond Hatton.

    Riders of the West. 1942. 58 minutos. Blanco y Negro. Monogram. Buck Jones, Tim McCoy, Christine McIntyre, Raymond Hatton.

    West of the Law. 1942. 60 minutos. Blanco y Negro. Monogram. Buck Jones, Tim McCoy, Evelyn Cooke, Raymond Hatton.

    Pirates of the Prairie (El terror de Oklahoma). 1942. 57 minutos. Blanco y Negro. RKO. Tim Holt, Cliff Edwards, Nell O’Day.

    Dawn of the Great Divide. 1942. 63 minutos. Blanco y Negro. Monogram. Buck Jones, Raymond Hatton, Mona Barrie.

    Carson City Cyclone. 1943. 55 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Emmett Lynn.

    Santa Fe Scouts. 1943. 57 minutos. Blanco y Negro. Republic. Bob Steele, Tom Tyler, Lois Collier, Jimmie Dodd.

    Riders of the Rio Grande. 1943. 55 minutos. Blanco y Negro. Republic. Bob Steele, Tom Tyler, Lorraine Miller, Jimmie Dodd.

    Fugitive from Sonora. 1943. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Wally Vernon.

    Beyond the Last Frontier. 1943. 57 minutos. Blanco y Negro. Republic. Eddie Dew, Smiley Burnette, Lorraine Miller.

    Bordertown Gun Fighters. 1943. 55 minutos. Blanco y Negro. Republic. Bill Elliott, Anne Jeffreys, George Hayes.

    The Man from the Rio Grande. 1943. 57 minutos. Blanco y Negro. Republic. Don Barry, Nancy Gay, Wally Vernon.

    Wagon Tracks West. 1943. 55 minutos. Blanco y Negro. Republic. Bill Elliott, Anne Jeffreys, George Hayes.

    Hidden Valley Outlaws. 1944. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Anne Jeffreys, George Hayes.

    Outlaws of Santa Fe. 1944. 56 minutos. Blanco y Negro. Republic. Don Barry, Helen Talbot, Wally Vernon.

    The San Antonio Kid. 1944. 59 minutos. Blanco y Negro. Republic. Bill Elliott, Linda Stirling, Bob Blake.

    Law of the Valley. 1944. 52 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Lynne Carver.

    The Navajo Trail. 1945. 60 minutos. Blanco y Negro Monogram. Johnny Mack Brown, Raymond Hatton, Jennifer Holt.

    The Topeka Terror. 1945. 55 minutos. Blanco y Negro. Republic. Allan Lane, Linda Stirling, Roy Barcroft.

    Gun Smoke. 1945. 57 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Jennifer Holt.

    Renegades of the Rio Grande. 1945. 57 minutos. Blanco y Negro. Universal. Rod Cameron, Jennifer Holt, Fuzzy Knight.

    Ridin’ Down the Trail. 1947. 53 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Beverly Jons.

    Where the North Begins. 1947. 42 minutos. Blanco y Negro. Screen Guild. Russell Hayden, Jennifer Holt.

    Trail of the Mounties. 1947. 42 minutos. Blanco y Negro. Screen Guild. Russell Hayden, Jennifer Holt.

    Triggerman. 1948. 56 minutos. Blanco y Negro. Monogram. Johnny Mack Brown, Raymond Hatton, Virginia Carroll.

    Night Raiders. 1952. 51 minutos. Blanco y Negro. Monogram. Whip Wilson, Fuzzy Knight, Lois Hall.

SUBJECT AREA: Architecture and building

[br]

[br]

[br]

During the 1890s Behrens, as an artist, was a member of the German branch of Sezessionismus and then moved towards Jugendstil (Art Nouveau) types of design in different media. His interest in architecture was aroused during the first years of the twentieth century, and a turning-point in his career was his appointment in 1907 as Artistic Supervisor and Consultant to AEG, the great Berlin electrical firm. His Turbine Factory (1909) in the city was a breakthrough in design and is still standing: in steel and glass, with visible girder construction, this is a truly functional modern building far ahead of its time. In 1910 two more of Behrens's factories were completed in Berlin, followed in 1913 by the great AEG plant at Riga, Latvia.

After the First World War Behrens was in great demand for industrial construction. He designed office schemes such as those at the Mannesmann Steel Works in Dusseldorf (1911–12; now destroyed) and, in a departure from his earlier work, was responsible for a more Expressionist form of design, mainly in brick, in his extensive complex for I.G.Farben at Höchst (1920–4).

In the years before the First World War, some of those who were later amongst the most famous names in modern architecture were among his pupils: Gropius, Mies van der Rohe and Le Corbusier (Charles-Edouard Jeanneret).

[br]

1899-1964

   Nacido Samuel Neufeld, hermano de Sigmund Neufeld, futuro jefe de produccion de PRC, dirige cortometrajes desde 1926, y largometrajes desde 1933. Probablemente el mas prolifico realizador norteamericano de la era sonora, dirigio, sobre todo, westerns. Por sus manos paso una parte importante de los viejos heroes del genero, en peliculas de una hora de duracion y argumentos eternamente repetidos. Solo leer su filmografia produce cierto vertigo. Establecerla rigurosamente es una tarea ardua, especialmente en lo relativo al orden cronologico estricto, por lo que en esta ocasion mas que en ninguna otra hay que entender que ese orden es susceptible de correccion. Utiliza los seudonimos de Peter Stewart y Sherman Scott. Se ha prescindido de tres aparentes largometrajes, situados al final de su carrera y obtenidos, cada uno de ellos, por super posicion de dos episodios del serial televisivo “Hawkeye and the Last of the Mohicans”. Aunque el nivel medio de los filmes de Sam Newfeld es realmente bajo, hay que citar dos curiosidades: Harlem on the Prairie (1937) esta interpretado integramente por negros, y The Terror of Tiny Town (1938), por enanos, que se mueven en decorados de tamano normal.

   FILMOGRAFIA

    Undercover Men. 1935. 60 minutos. Blanco y Negro. Dominion. Charles Starrett, Adrienne Dore.

    Northern Frontier. 1935. 60 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Eleanor Hunt, LeRoy Mason.

    Code of the Mounted (Fiel a su consigna). 1935. 60 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Lilian Miles, Robert Warwick.

    Branded a Coward (El botin del rancho). 1935. 57 minutos. Blanco y Negro. Supreme. Johnny Mack Brown, Billie Seward, Syd Taylor.

    Trails of the Wild. 1935. 60 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Billie Seward, Fuzzy Knight.

    Timber War. 1935. 60 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Lucille Lund, Lawrence Gray.

    Bulldog Courage. 1935. 60 minutos. Blanco y Negro. Puritan. Tim McCoy, Joan Woodbury.

    Roarin’ Guns. 1936. 59 minutos. Blanco y Negro. Puritan. Tim McCoy, Rosalinda Rice, Rex Lease.

    Border Caballero. 1936. 59 minutos. Blanco y Negro. Puritan. Tim McCoy, Lois January, Ralph Byrd.

    Lightnin’ Bill Carson. 1936. 57 minutos. Blanco y Negro. Puritan. Tim McCoy, Lois January, Rex Lease.

    Aces and Eights. 1936. 62 minutos. Blanco y Negro. Puritan. Tim McCoy, Luana Walters, Rex Lease.

    The Lion’s Den. 1936. 59 minutos. Blanco y Negro. Puritan. Tim McCoy, Joan Woodbury, Don Barclay.

    Ghost Patrol. 1936. 60 minutos. Blanco y Negro. Puritan. Tim McCoy, Claudia Dell, Walter Miller.

    The Traitor. 1936. 56 minutos. Blanco y Negro. Puritan. Tim McCoy, Frances Grant, Wally Wales.

    Roarin’ Lead (co-d.: Mack V. Wright). 1936. 57 minutos. Blanco y Negro. Republic. Bob Livingston, Ray Corrigan, Max Terhune, Christine Maple.

    Stormy Trails. 1936. 58 minutos. Blanco y Negro. Colony (Grand National). Rex Bell, Lois Wilde, Lane Chandler.

    The Gambling Terror. 1937. 53 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Iris Meredith, Horace Murphy.

    Lightnin’ Crandall. 1937. 60 minutos. Blanco y Negro. Republic. Bob Steele, Lois January, Frank LaRue.

    Trail of Vengeance. 1937. 58 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Iris Meredith.

    Melody of the Plains. 1937. 55 minutos. Blanco y Negro. Spectrum. Fred Scott, Al St. John, Louise Small.

    Bar-Z Bad Men. 1937. 57 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Lois January.

    Guns in the Dark. 1937. 56 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Claire Rochelle, Syd Saylor.

    Gun Lords of Stirrup Basin. 1937. 53 minutos. Blanco y Negro. Republic. Bob Steele, Louise Stanley, Frank LaRue.

    A Lawman Is Born. 1937. 58 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Iris Meredith, Al St. John.

    Doomed at Sundown. 1937. 53 minutos. Blanco y Negro. Republic. Bob Steele, Lorraine Randall.

    Boothill Brigade. 1937. 56 minutos. Blanco y Negro. Republic. Johnny Mack Brown, Claire Rochelle, Horace Murphy.

    Arizona Gunfighter. 1937. 58 minutos. Blanco y Negro. Republic. Bob Steele, Jean Carmen, Ted Adams.

    Ridin’ the Lone Trail. 1937. 56 minutos. Blanco y Negro. Republic. Bob Steele, Claire Rochelle, Charles King.

    Moonlight on the Range. 1937. 52 minutos. Blanco y Negro. Spectrum. Fred Scott, Al St. John, Lois January.

    The Fighting Deputy. 1937. 57 minutos. Blanco y Negro. Spectrum. Fred Scott, Al St. John, Marjorie Beebe.

    The Colorado Kid. 1937. 56 minutos. Blanco y Negro. Republic. Bob Steele, Marion Weldon, Karl Hackett.

    Harlem on the Prairie (co-d.: Jed Buell). 1937. 55 minutos. Blanco y Negro. Associated. Herbert Jeffries, Connie Harris.

    Paroled To Die. 1938. 55 minutos. Blanco y Negro. Republic. Bob Steele, Kathleen Eliot, Karl Hackett.

    The Ranger’s Roundup. 1938. 55 minutos. Blanco y Negro. Spectrum (Stan Laurel Prod.) Fred Scott, Al St. John, Christine McIntyre.

    Thunder in the Desert. 1938. 56 minutos. Blanco y Negro. Republic. Bob Steele, Louise Stanley, Don Barclay.

    Code of the Rangers. 1938. 56 minutos. Blanco y Negro. Concord (Monogram). Tim McCoy, Judith Ford, Rex Lease.

    The Feud Maker. 1938. 55 minutos. Blanco y Negro. Republic. Bob Steele, Marion Weldon, Karl Hackett.

    Knights of the Plains (Allende Rio Grande). 1938. 57 min. Blanco y Negro. Spectrum (Stan Laurel Prod.) Fred Scott, Al St. John, Marion Weldon.

    Songs and Bullets. 1938. 58 minutos. Blanco y Negro. Spectrum (Stan Laurel Prod.) Fred Scott, Al St. John, Alice Ardell.

    Gunsmoke Trail. 1938. 57 minutos. Blanco y Negro. Concord (Monogram). Jack Randall, Louise Stanley, Al St. John.

    Phantom Ranger. 1938. 54 minutos. Blanco y Negro. Concord (Mono gram). Tim McCoy, Suzanne Kaaren.

    Desert Patrol. 1938. 56 minutos. Blanco y Negro. Republic. Bob Steele, Marion Weldon, Rex Lease.

    Durango Valley Raiders. 1938. 55 minutos. Blanco y Negro. Republic. Bob Steele, Louise Stanley, Karl Hackett.

    Frontier Scout. 1938. 61 minutos. Blanco y Negro. Fine Arts (Grand Natio nal). George Houston, Al St. John, Beth Marion.

    Lightning Carson Rides Again. 1938. 58 minutos. Blanco y Negro. Victory. Tim McCoy, Joan Barclay, Ben Corbett.

    Six-Gun Trail. 1938. 59 minutos. Blanco y Negro. Victory. Tim McCoy, Nora Lane, Ben Corbett.

    The Terror of Tiny Town. 1938. 62 minutos. Blanco y Negro. Principal (Co lumbia). Billy Curtis, Little Billy Rhodes, Nita Krebs, Yvonne Moray.

    Trigger Pals. 1939. 60 minutos. Blanco y Negro. Cinemart (Grand Natio nal). Art Jarrett, Lee Powell, Dorothy Faye, Al St. John.

    Six-Gun Rhythm. 1939. 55 minutos. Blanco y Negro. Arcadia (Grand National). Tex Fletcher, Joan Barclay, Ralph Peters.

    Code of the Cactus. 1939. 56 minutos. Blanco y Negro. Victory. Tim McCoy, Dorothy Short, Ben Corbett.

    Texas Wildcats. 1939. 57 minutos. Blanco y Negro. Victory. Tim McCoy, Joan Barclay, Ben Corbett.

    Outlaw’s Paradise. 1939. 62 minutos. Blanco y Negro. Victory. Tim McCoy, Joan Barclay, Ben Corbett.

    Straight Shooter. 1939. 54 minutos. Blanco y Negro. Victory. Tim McCoy, Julie Sheldon, Ben Corbett.

    Fighting Renegade. 1939. 58 minutos. Blanco y Negro. Victory. Tim McCoy, Joyce Bryant, Ben Corbett.

    Trigger Fingers. 1939. 60 minutos. Blanco y Negro. Victory. Tim McCoy, Jill Martin (Harley Wood), Ben Corbett.

    Fighting Mad. 1939. 60 minutos. Blanco y Negro. Monogram. James Newill, Sally Blane, Benny Rubin, Dave O’Brien.

    Flaming Lead. 1939. 57 minutos. Blanco y Negro. Colony. Ken Maynard, Eleanor Stewart, Dave O’Brien.

    The Sagebrush Family Trails West (Peter Stewart). 1940. 60 minutos. Blanco y Negro. PRC. Bobby Clark, Nina Guilbert, Earle Hodgins.

    Texas Renegades (Peter Stewart). 1940. 59 minutos. Blanco y Negro. PRC. Tim McCoy, Nora Lane, Harry Harvey.

    Death Rides the Range. 1940. 58 minutos. Blanco y Negro. Colony. Ken Maynard, Fay McKenzie, Raph Peters.

    Frontier Crusader (Peter Stewart). 1940. 62 minutos. Blanco y Negro. PRC. Tim McCoy, Dorothy Short, Lou Fulton.

    Billy the Kid Outlawed (Peter Stewart). 1940. 52 minutos. Blanco y Negro. PRC. Bob Steele, Al St. John, Louise Currie.

    Gun Code (Peter Stewart). 1940. 54 minutos. Blanco y Negro. PRC. Tim McCoy, Inna Gest, Lou Fulton.

    Marked Men (Sherman Scott). 1940. 66 minutos. Blanco y Negro. PRC. Warren Hull, Isabel Jewell.

    Arizona Gang Busters (Peter Stewart). 1940. 57 minutos. Blanco y Negro. PRC. Tim McCoy, Pauline Haddon, Lou Fulton.

    Billy the Kid in Texas (Peter Stewart). 1940. 52 minutos. Blanco y Negro. PRC. Bob Steele, Terry Walker, Al St. John.

    Riders of Black Mountain (Peter Stewart). 1940. 57 minutos. Blanco y Negro. PRC. Tim McCoy, Pauline Haddon, Ralph Peters, Rex Lease.

    Billy the Kid’s Gun Justice (Peter Stewart). 1940. 57 minutos. Blanco y Negro. PRC. Bob Steele, Louise Currie, Al St. John.

    The Lone Rider Rides On. 1941. 61 minutos. Blanco y Negro. PRC. George Houston, Hillary Brooke, Al St. John.

    Billy the Kid’s Range War (Peter Stewart). 1941. 57 minutos. Blanco y Negro. PRC. Bob Steele, Joan Barclay, Al St. John.

    The Lone Rider Crosses the Rio/Across the Border. 1941. 63 minutos. Blanco y Negro. PRC. George Houston, Roquell Verrin, Al St. John.

    Outlaws of the Rio Grande (Peter Stewart). 1941. 63 minutos. Blanco y Negro. PRC. Tim McCoy, Virginia Carpenter, Ralph Peters.

    Billy the Kid’s Fighting Pals (Sherman Scott). 1941. 62 minutos. Blanco y Negro. PRC. Bob Steele, Phyllis Adair, Al St. John.

    The Lone Rider in Ghost Town. 1941. 64 minutos. Blanco y Negro. PRC. George Houston, Alaine Brandes, Al St. John.

    Billy the Kid in Santa Fe (Sherman Scott). 1941. 66 minutos. Blanco y Negro. PRC. Bob Steele, Al St. John, Rex Lease.

    The Texas Marshal (Paul Stewart). 1941. 58 minutos. Blanco y Negro. PRC. Tim McCoy, Kay Leslie, Art Davis, Dave O’Brien.

    The Lone Rider in Frontier Fury. 1941. 62 minutos. Blanco y Negro. PRC. George Houston, Hillary Brooke, Al St. John.

    The Lone Rider Ambushed. 1941. 67 minutos. Blanco y Negro. PRC. George Houston, Maxine Leslie, Al St. John.

    Billy the Kid Wanted (Sherman Scott). 1941. 64 minutos. Blanco y Negro. PRC. Buster Crabbe, Choti Sherwood, Al St. John.

    The Lone Rider Fights Back. 1941. 64 minutos. Blanco y Negro. PRC. George Houston, Dorothy Short, Al St. John.

    Billy the Kid’s Round-Up (Sherman Scott). 1941. 58 minutos. Blanco y Negro. PRC. Buster Crabbe, Joan Barclay, Al St. John.

    Texas Manhunt (Peter Stewart). 1942. 60 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Julie Duncan, Lee Powell.

    The Lone Rider and the Bandit. 1942. 54 minutos. Blanco y Negro. PRC. George Houston, Al St. John, Vickie Lester.

    Raiders of the West (Peter Stewart). 1942. 60 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Virginia Carroll, Lee Powell.

    Billy the Kid Trapped (Sherman Scott). 1942. 59 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Anne Jeffreys.

    The Lone Rider in Cheyenne. 1942. 59 minutos. Blanco y Negro. PRC. George Houston, Al St. John, Ella Neal.

    Rolling Down the Great Divide (Peter Stewart). 1942. 59 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Wanda McKay, Lee Powell.

    Billy the Kid’s Smoking Guns (Sherman Scott). 1942. 58 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Joan Barclay.

    Texas Justice. 1942. 58 minutos. Blanco y Negro. PRC. George Houston, Al St. John, Wanda McKay.

    Tumbleweed Trail (Peter Stewart). 1942. 57 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Marjorie Manners, Lee Powell.

    Law and Order (Sherman Scott). 1942. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Wanda McKay.

    Prairie Pals (Peter Stewart). 1942. 60 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Esther Estrella, Lee Powell.

    Border Roundup. 1942. 57 minutos. Blanco y Negro. PRC. George Hous ton, Al St. John, Patricia Knox.

    Along the Sundown Trail (Peter Stewart). 1942. 57 minutos. Blanco y Negro. PRC. Bill Boyd, Art Davis, Julie Duncan, Lee Powell.

    Sheriff of Sage Valley (Sherman Scott). 1962. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Maxine Leslie.

    The Mysterious Rider. 1942. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Caroline Burke.

    Outlaws of Boulder Pass. 1942. 58 minutos. Blanco y Negro. PRC. George Houston, Al St. John, Marjorie Manners.

    Overland Stagecoach. 1942. 58 minutos. Blanco y Negro. PRC. Robert Livingston, Al St. John, Julie Duncan.

    The Kid Rides Again (Sherman Scott). 1943. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Iris Meredith.

    Wild Horse Rustlers. 1943. 58 minutos. Blanco y Negro. PRC. Robert Livingston, Al St. John, Lane Chandler, Linda Johnson.

    Fugitive of the Plains. 1943. 57 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Maxine Leslie.

    Death Rides the Plains. 1943. 55 minutos. Blanco y Negro. PRC. Robert Livingston, Al St. John, Nica Doret.

    Western Cyclone. 1943. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Marjorie Manners.

    Wolves of the Range. 1943. 60 minutos. Blanco y Negro. PRC. Robert Livingston, Al St. John, Frances Gladwyn.

    Cattle Stampede. 1943. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Frances Gladwin.

    The Renegade. 1943. 58 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Lois Ranson.

    Blazing Frontier. 1943. 59 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Marjorie Manners.

    Raiders of Red Gap. 1943. 56 minutos. Blanco y Negro. PRC. Robert Livingston, Al St. John, Myrna Dell.

    The Devil Riders. 1943. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Frontier Outlaws. 1944. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Frances Gladwin.

    Thundering Gunslingers. 1944. 59 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Frances Gladwin.

    Valley of Vengeance. 1944. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Evelyn Finley.

    The Drifter. 1944. 62 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Carol Parker.

    Fuzzy Settles Down. 1944. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Rustler’s Hideout. 1944. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Wild Horse Phantom. 1944. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Elaine Morley.

    Oath of Vengeance. 1944. 57 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Mady Lawrence.

    His Brother’s Ghost. 1945. 54 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John.

    Shadows of Death. 1945. 60 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Donna Dax.

    Gangster’s Den. 1945. 55 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Sydney Logan.

    Stagecoach Outlaws. 1945. 55 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Frances Gladwin.

    Border Badmen. 1945. 59 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Lorraine Miller.

    Fighting Bill Carson. 1945. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Kay Hugues.

    Prairie Rustlers. 1945. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Evelyn Finley.

    Ligthning Raiders. 1946. 61 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Mady Lawrence.

    Gentlemen with Guns. 1946. 52 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patricia Knox.

    Terrors on Horseback. 1946. 55 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Ghost of Hidden Valley. 1946. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Jean Carlin.

    Prairie Badmen. 1946. 55 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patricia Knox.

    Overland Riders. 1946. 54 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Outlaws of the Plains. 1946. 56 minutos. Blanco y Negro. PRC. Buster Crabbe, Al St. John, Patti McCarthy.

    Western Pacific Agent. 1950. 62 minutos. Blanco y Negro. Lippert. Kent Taylor, Sheila Ryan, Robert Lowery.

    Three Desperate Men. 1951. 69 minutos. Blanco y Negro. Lippert. Preston Foster, Virginia Grey, Jim Davis.

    Skipalong Rosenbloom. 1951. 72 minutos. Blanco y Negro. Eagle Lion Classics (UA). Max Rosenbloom, Jackie Coogan, Hillary Brooke.

    Outlaw Women (co-d.: Ron Ormond). 1952. 75 minutos. Cinecolor. Howco (Lippert). Marie Windsor, Richard Rober.

    Last of the Desperados. 1955. 71 minutos. Blanco y Negro. Associated. James Craig, Margia Dean, Jim Davis.

    The Wild Dakotas. 1956. 71 minutos. Blanco y Negro. Associated. Bill Williams, Coleen Gray, Jim Davis.

    The Three Outlaws. 1956. 74 minutos. Blanco y Negro. SuperScope. Asso ciated. Neville Brand, Alan Hale, Jr., Lillian Molieri, Jeanne Carmen.

    Frontier Gambler. 1956. 70 minutos. Blanco y Negro. Associated. John Bromfield, Coleen Gray, Jim Davis, Margia Dean.

    Wolf Dog. 1958. 69 minutos. Blanco y Negro. RegalScope. Regal (Fox). Jim Davis, Allison Hayes.

    Flaming Frontier. 1958. 70 minutos. Blanco y Negro. RegalScope. Regal (Fox). Bruce Bennett, Paisley Maxwell, Jim Davis.

SUBJECT AREA: Land transport, Railways and locomotives

[br]

[br]

[br]

Fairlie worked on railways in Ireland and India, and established himself as a consulting engineer in London by the early 1860s. In 1864 he patented his design of locomotive: it was to be carried on two bogies and had a double boiler, the barrels extending in each direction from a central firebox. From smokeboxes at the outer ends, return tubes led to a single central chimney. At that time in British practice, locomotives of ever-increasing size were being carried on longer and longer rigid wheelbases, but often only one or two of their three or four pairs of wheels were powered. Bogies were little used and then only for carrying-wheels rather than driving-wheels: since their pivots were given no sideplay, they were of little value. Fairlie's design offered a powerful locomotive with a wheelbase which though long would be flexible; it would ride well and have all wheels driven and available for adhesion.

The first five double Fairlie locomotives were built by James Cross \& Co. of St Helens during 1865–7. None was particularly successful: the single central chimney of the original design had been replaced by two chimneys, one at each end of the locomotive, but the single central firebox was retained, so that exhaust up one chimney tended to draw cold air down the other. In 1870 the next double Fairlie, Little Wonder, was built for the Festiniog Railway, on which C.E. Spooner was pioneering steam trains of very narrow gauge. The order had gone to George England, but the locomotive was completed by his successor in business, the Fairlie Engine \& Steam Carriage Company, in which Fairlie and George England's son were the principal partners. Little Wonder was given two inner fireboxes separated by a water space and proved outstandingly successful. The spectacle of this locomotive hauling immensely long trains up grade, through the Festiniog Railway's sinuous curves, was demonstrated before engineers from many parts of the world and had lasting effect. Fairlie himself became a great protagonist of narrow-gauge railways and influenced their construction in many countries.

Towards the end of the 1860s, Fairlie was designing steam carriages or, as they would now be called, railcars, but only one was built before the death of George England Jr precipitated closure of the works in 1870. Fairlie's business became a design agency and his patent locomotives were built in large numbers under licence by many noted locomotive builders, for narrow, standard and broad gauges. Few operated in Britain, but many did in other lands; they were particularly successful in Mexico and Russia.

Many Fairlie locomotives were fitted with the radial valve gear invented by Egide Walschaert; Fairlie's role in the universal adoption of this valve gear was instrumental, for he introduced it to Britain in 1877 and fitted it to locomotives for New Zealand, whence it eventually spread worldwide. Earlier, in 1869, the Great Southern \& Western Railway of Ireland had built in its works the first "single Fairlie", a 0–4–4 tank engine carried on two bogies but with only one of them powered. This type, too, became popular during the last part of the nineteenth century. In the USA it was built in quantity by William Mason of Mason Machine Works, Taunton, Massachusetts, in preference to the double-ended type.

Double Fairlies may still be seen in operation on the Festiniog Railway; some of Fairlie's ideas were far ahead of their time, and modern diesel and electric locomotives are of the powered-bogie, double-ended type.

[br]

1887-1958

   Albert Herman hizo muchas peliculas, tal vez demasiadas peliculas; cerca de doscientas incluye su filmografia completa, si bien hay que aclarar que, de ellas, cerca de 130 son cortometrajes, la mayor parte de ellos mudos. Ya en el sonoro, con el diminutivo frecuente de Al Herman, se enfrento a un buen pu nado de westerns, entre otras peliculas de caracter dramatico principalmente, que no le aportaron una gloria especial. Dirige a algunas de las estrellas del western de serie B en peliculas de bajo presupuesto para diversas productoras, aunque es Monogram con la que mas trabaja.

   FILMOGRAFIA

    Twisted Rails. 1935. 51 minutos. Blanco y Negro. Imperial. Jack Donovan, Alice Dahl.

    Big Boy Rides Again. 1935. Blanco y Negro. Beacon/Alexander. Guinn Williams, Constante Bergen, Lafe McKee.

    The Cowboy and the Bandit. 1935. 57 minutos. Blanco y Negro. Superior Talking. Rex Lease, Bobby Nelson, Blanche Mehaffey.

    Western Frontier (Huerfanos del Oeste). 1935. 59 minutos. Blanco y Negro. Columbia. Ken Maynard, Lucile Browne, Nora Lane.

    Trail’s End. 1935. 61 minutos. Blanco y Negro. Beaumont. Conway Tearle, Fred Kohler, Claudia Dell.

    Gun Play. 1935. 59 minutos. Blanco y Negro. Beacon/Alexander. Guinn Williams, Marion Shilling.

    Blazing Justice. 1936. 60 minutos. Blanco y Negro. Spectrum. Bill Cody, Gertrude Messinger.

    Outlaws of the Range. 1936. 59 minutos. Blanco y Negro. Spectrum. Bill Cody, Catherine Cotter (Marie Burton).

    Valley of Terror. 1937. 59 minutos. Blanco y Negro. Ambassador. Kermit Maynard, John Merton, Harley Wood.

    Renfrew of the Royal Mounted. 1937. 57 minutos. Blanco y Negro. Grand National. James Newill, Carol Hugues, William Royle.

    On the Great White Trail. 1938. 58 minutos. Blanco y Negro. Grand National. James Newill, Terry Walker, Robert Frazer.

    Rollin’ Plains. 1938. 57 minutos. Blanco y Negro. Grand National. Tex Ritter, Hobart Bosworth, Snub Pollard, Harriet Bennett.

    The Utah Trail. 1938. 56 minutos. Blanco y Negro. Grand National. Tex Ritter, Horace Murphy, Snub Pollard, Pamela Blake.

    Starlight Over Texas. 1938. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Carmen LaRoux, Snub Pollard, Horace Murphy.

    Where the Buffalo Roam. 1938. 61 minutos. Blanco y Negro. Monogram. Tex Ritter, Horace Murphy, Snub Pollard, Dorothy Short.

    Song of the Buckaroo. 1939. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Jinx Falkenberg, Horace Murphy, Snub Pollard.

    Sundown on the Prairie. 1939. 58 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.

    Rollin’ Westward. 1939. 55 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.

    The Man from Texas. 1939. 56 minutos. Blanco y Negro. Monogram. Tex Ritter, Ruth Rogers, Charles B. Wood.

    Down the Wyoming Trail. 1939. 56 minutos. Blanco y Negro. Monogram. Tex Ritter, Mary Brodel, Charles King, Horace Murphy.

    Rhythm of the Rio Grande. 1940. 53 minutos. Blanco y Negro. Monogram. Tex Ritter, Suzan Dale, Warner Richmond.

    Pals of the Silver Sage. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Sugar Dawn, Slim Andrews.

    The Golden Trail. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Inna Gest, Slim Andrews.

    Rainbow Over the Range. 1940. 60 minutos. Blanco y Negro. Monogram. Tex Ritter, Dorothy Fay.

    Roll, Wagons, Roll. 1940. 52 minutos. Blanco y Negro. Monogram. Tex Ritter, Muriel Evans.

    Arizona Frontier. 1940. 60 minutos. Blanco y Negro. Monogram. Tex Ritter, Evelyn Finley.

    Take Me Back to Oklahoma. 1940. 57 minutos. Blanco y Negro. Mono gram. Tex Ritter, Terry Walker.

    Rollin’ Home to Texas. 1940. 63 minutos. Blanco y Negro. Monogram. Tex Ritter, Virginia Carpenter.

    The Pioneers. 1941. 58 min. B y N. Monogram. Tex Ritter, Wanda McKay.

    The Rangers Take Over. 1942. 60 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Iris Meredith.

    Bad Men of Thunder Gap. 1943. 57 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Janet Shaw.

SUBJECT AREA: Paper and printing

[br]

[br]

[br]

The son of a printer, Baxter was apprenticed to a wood engraver and there began his search for improved methods of making coloured prints, hitherto the perquisite of the rich, in order to bring them within reach of a wider public. After marriage to the daughter of Robert Harrild, founder of the printing firm of Harrild \& Co., he set up house in London, where he continued his experiments on colour while maintaining the run-of-the-mill work that kept the family.

The nineteenth century saw a tremendous advance in methods of printing pictures, produced as separate prints or as book illustrations. For the first three decades colour was supplied by hand, but from the 1830s attempts were made to print in colour, using a separate plate for each one. Coloured prints were produced by chromolithography and relief printing on a small scale. Prints were first made with the latter method on a commercial scale by Baxter with a process that he patented in 1835. He generally used a key plate that was engraved, aquatinted or lithographed; the colours were then printed separately from wood or metal blocks. Baxter was a skilful printer and his work reached a high standard. An early example is the frontispiece to Robert Mudie's Summer (1837). In 1849 he began licensing his patent to other printers, and after the Great Exhibition of 1851 colour relief printing came into its own. Of the plethora of illustrated literature that appeared then, Baxter's Gems of the Great Exhibition was one of the most widely circulated souvenirs of the event.

Baxter remained an active printer through the 1850s, but increasing competition from the German coloured lithographic process undermined his business and in 1860 he gave up the unequal struggle. In May of that year, all his oil pictures, engravings and blocks went up for auction, some 3,000 lots altogether. Baxter retired to Sydenham, then a country place, making occasional visits to London until injuries sustained in a mishap while he was ascending a London omnibus led to his death. Above all, he helped to initiate the change from the black and white world of pre-Victorian literature to the riotously colourful world of today.

[br]

SUBJECT AREA: Metallurgy

[br]

[br]

[br]

Deville was the son of a prosperous shipowner with diplomatic duties in the Virgin Islands. With his elder brother Charles, who later became a distinguished physicist, he was sent to Paris to be educated. He took his degree in medicine in 1843, but before that he had shown an interest in chemistry, due particularly to the lectures of Thenard. Two years later, with Thenard's influence, he was appointed Professor of Chemistry at Besançon. In 1851 he was able to return to Paris as Professor at the Ecole Normale Supérieure. He remained there for the rest of his working life, greatly improving the standard of teaching, and his laboratory became one of the great research centres of Europe. His first chemical work had been in organic chemistry, but he then turned to inorganic chemistry, specifically to improve methods of producing the new and little-known metal aluminium. Essentially, the process consisted of forming sodium aluminium trichloride and reducing it with sodium to metallic aluminium. He obtained sodium in sufficient quantity by reducing sodium carbonate with carbon. In 1855 he exhibited specimens of the metal at the Paris Exhibition, and the same year Napoleon III asked to see them, with a view to using it for breastplates for the Army and for spoons and forks for State banquets. With the resulting government support, he set up a pilot plant at Jarvel to develop the process, and then set up a small company, the Société d'Aluminium at Nan terre. This raised the output of this attractive and useful metal, so it could be used more widely than for the jewellery to which it had hitherto been restricted. Large-scale applications, however, had to await the electrolytic process that began to supersede Deville's in the 1890s. Deville extended his sodium reduction method to produce silicon, boron and the light metals magnesium and titanium. His investigations into the metallurgy of platinum revolutionized the industry and led in 1872 to his being asked to make the platinum-iridium (90–10) alloy for the standard kilogram and metre. Deville later carried out important work in high-temperature chemistry. He grieved much at the death of his brother Charles in 1876, and his retirement was forced by declining health in 1880; he did not survive for long.

[br]

SUBJECT AREA: Automotive engineering, Land transport

[br]

[br]

[br]

Royce was the younger son of a flour miller. His father's death forced him to earn his own living from the age of 10 selling newspapers, as a post office messenger boy, and in other jobs. At the age of 14, he became an apprentice at the Great Northern Railway's locomotive works, but was unable to complete his apprenticeship due to a shortage of money. He moved to a tool company in Leeds, then in 1882 he became a tester for the London Electric Light \& Power Company and attended classes at the City \& Guilds Technical College. In the same year, the company made him Chief Electrical Engineer for the lighting of the streets of Liverpool.

In 1884, at the age of 21, he founded F.H. Royce \& Co (later called Royce Ltd, from 1894 to 1933) with a capital of £70, manufacturing arc lamps, dynamos and electric cranes. In 1903, he bought a 10 hp Deauville car which proved noisy and unreliable; he therefore designed his own car. By the end of 1903 he had produced a twocylinder engine which ran for many hundreds of hours driving dynamos; on 31 March 1904, a 10 hp Royce car was driven smoothly and silently from the works in Cooke Street, Manchester. This car so impressed Charles S. Rolls, whose London firm were agents for high-class continental cars, that he agreed to take the entire output from the Manchester works. In 1906 they jointly formed Rolls-Royce Ltd and at the end of that year Royce produced the first 40/50 hp Silver Ghost, which remained in production until 1925 when it was replaced by the Phantom and Wraith. The demand for the cars grew so great that in 1908 manufacture was transferred to a new factory in Derby.

In 1911 Royce had a breakdown due to overwork and his lack of attention to taking regular meals. From that time he never returned to the works but continued in charge of design from a drawing office in his home in the south of France and later at West Wittering, Sussex, England. During the First World War he designed the Falcon, Hawk and Condor engines as well as the VI2 Eagle, all of which were liquid-cooled. Later he designed the 36.7-litre Rolls-Royce R engines for the Vickers Supermarine S.6 and S.6B seaplanes which were entered for the Schneider Trophy (which they won in 1929 and 1931, the 5.5 having won in 1927 with a Napier Lion engine) and set a world speed record of 408 mph (657 km/h) in 1931; the 1941 Griffon engine was derived from the R.

Royce was an improver rather than an innovator, though he did invent a silent form of valve gear, a friction-damped slipper flywheel, the Royce carburettor and a spring drive for timing gears. He was a modest man with a remarkable memory who concentrated on perfecting the detail of every component. He married Minnie Punt, but they had no children. A bust of him at the Derby factory is captioned simply "Henry Royce, Mechanic".

[br]

See also: INDEX BY SUBJECT AREA

[br]

Archimedes of Syracuse

Armstrong, Sir William George

Atwood, George

Ayre, Sir Amos Lowrey

Barlow, Peter

Barnaby, Kenneth C.

Barnett, James Rennie

Bell, Henry

Bell, Imrie

Bentham, Sir Samuel

Berry, Henry

Biles, Sir John Harvard

Booth, Hubert Cecil

Brown, Andrew

Brunel, Isambard Kingdom

Brunel, Sir Marc Isambard

Burrell, William

Caird, Sir James

Chapman, Frederik Henrik af

Cockerell, Christopher Sydney

Cousteau, Jacques-Yves

Cubitt, William

Dalen, Nils Gustav

Davis, Robert Henry

Deane, Sir Anthony

Deas, James

Denny, William

Du Cane, Peter

Egerton, Francis

Elder, John

Elgar, Francis

Ericsson, John

Fairbairn, William

Ferguson, Peter Jack

Fife, William

Fox, Uffa

Foyn, Svend

Froude, William

Fulton, Robert

Giles, Francis

Harrison, John

Henry, James J.

Herreshoff, Nathaniel Greene

Holland, John Philip

Hulls, Jonathan

Jessop, William

Kennedy, Sir Alexander Blackie William

King, James Foster

Kirk, Alexander Carnegie

Kirkaldy, David

Krylov, Alexei Nicolaevitch

Laird, John

Li Gao

Linton, Hercules

Lithgow, James

Lobnitz, Frederick

MacGregor, Robert

McKay, Donald

McNeill, Sir James McFadyen

Mavor, Henry Alexander

Meek, Marshall

Miller, Patrick

Mitchell, Charles

Murray, John Mackay

Napier, Robert

Parsons, Sir Charles Algernon

Peter the Great

Plimsoll, Samuel

Popoff, Andrei Alexandrovitch

Pounder, Cuthbert Coulson

Purvis, Frank Prior

Railton, Reid Anthony

Ramus, Revd C.M.

Rickover, Admiral Hyman George

Russell, John Scott

Samuda, Joseph d'Aguilar

Schanck, John

Seppings, Robert

Shen Gua

Sickels, Frederick Ellsworth

Simpson, Thomas

Smith, Sir Francis Pettit

Sperry, Elmer Ambrose

Stalkartt, Marmaduke

Stanhope, Charles

Steers, Thomas

Stevens, John

Stevens, Robert Livingston

Stevenson, Robert

Symington, William

Taylor, David Watson

Temple, Lewis

Tideman, Bruno Joannes

Wallace, Sir William

Watson, George Lennox

Watts, Philip

Waymouth, Bernard

White, Sir William Henry

Williams, Thomas

Wilson, Thomas

Yarrow, Sir Alfred Fernandez

Yourkevitch, Vladimir Ivanovitch

1900-1979

   Sus origenes en el cine se situan dentro de la tarea de operador de camara y, despues, ayudante de direccion. Su carrera como director comienza realmente en 1936. Lesley Selander es uno de los grandes especialistas del western, con mas de cien peliculas a sus espaldas. Decir “uno de los grandes especialistas” no es lo mismo que decir “uno de los grandes nombres” y, en efecto, la trayectoria de Selander, en lo que a la calidad de sus peliculas se refiere, es irregular. Lo que, sin embargo, sorprende es que la valoracion media de sus westerns no es baja, lo que indica que el director poseia un especial instinto para el genero, que pone de manifiesto con una plastica mas que correcta y un buen manejo del tiempo de la narracion. Inabarcable por su extension, es dificil senalar los filmes que destacan en tan amplia muestra, pero si me veo en la obligacion de citar alguno, no dudaria en elegir las peliculas que hizo para Allied Artists a finales de los anos 40 y principios de los 50, y algunas otras de las ultimas que realizo, como Dakota Lil o The Broken Star.

   FILMOGRAFIA

    Ride’ Em Cowboy. 1936. 59 minutos. Blanco y Negro. Universal. Buck Jo nes, Luana Walters.

    The Boss Rider of Gun Creek. 1936. 65 minutos. Blanco y Negro. Univ er sal. Buck Jones, Muriel Evans.

    Empty Saddles. 1936. 67 minutos. Blanco y Negro. Universal. Buck Jones, Louise Brooks, Claire Rochelle.

    Sandflow. 1937. 58 minutos. Blanco y Negro. Universal. Buck Jones, Lita Chevret.

    Left Handed Law. 1937. 63 minutos. Blanco y Negro. Universal. Buck Jones, Noel Francis, Nina Quartero.

    Smoke Tree Range. 1937. 59 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans.

    Hopalong Rides Again. 1937. 65 minutos. Blanco y Negro. Paramount. William Boyd, Lois Wilde, Russell Hayden, George Hayes.

    The Barrier. 1937. 90 minutos. Blanco y Negro. Paramount. Leo Carrillo, Jean Parker, James Ellison.

    Partners of the Plains. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, Harvey Clark.

    Cassidy on Bar 20. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Nora Lane, Russell Hayden, Frank Darien.

    Heart of Arizona. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Natalie Moorhead, Russell Hayden, George Hayes.

    Bar 20 Justice. 1938. 70 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, George Hayes.

    Pride of the West. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Field, Russell Hayden, George Hayes.

    The Mysterious Rider. 1938. 74 minutos. Blanco y Negro. Paramount. Douglas Drumbrille, Russell Hayden, Charlotte Field.

    The Frontiersman. 1938. 74 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Venable, Russell Hayden, George Hayes.

    Sunset Trail. 1939. 60 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Jane Clayton, Russell Hayden, George Hayes.

    Heritage of the Desert. 1939. 74 minutos. Blanco y Negro. Paramount. Donald Woods, Russell Hayden, Evelyn Venable, Robert Barrat.

    Silver on the Sage (De cara a cara). 1939. 68 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, George Hayes.

    The Renegade Trail. 1939. 61 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Russell Hayden, George Hayes.

    Range War. 1939. 66 minutos. Blanco y Negro. Paramount. William Boyd, Betty Moran, Russell Hayden, Britt Wood.

    Santa Fe Marshal. 1940. 65 minutos. Blanco y Negro. Paramount. William Boyd, Bernadine Hayes, Russell Hayden, Britt Wood.

    Knights of the Range. 1940. 68 minutos. Blanco y Negro. Paramount. Russell Hayden, Jean Parker, Victor Jory.

    The Light of Western Stars. 1940. 67 minutos. Blanco y Negro. Para mount. Russell Hayden, Victor Jory, Jo Ann Sayers.

    Hidden Gold. 1940. 61 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, Britt Wood.

    Stagecoach War. 1940. 63 minutos. Blanco y Negro. Paramount. William Boyd, Julie Carter, Russell Hayden, Eddy Waller.

    Cherokee Strip. 1940. 86 minutos. Blanco y Negro. Paramount. Richard Dix, Florence Rice, Victor Jory, Andy Clyde.

    Three Men from Texas (Hombres del Oeste). 1940. 70 minutos. Blanco y Negro. Paramount. William Boyd, Esther Estrella, Russell Hayden, Andy Clyde.

    Doomed Caravan. 1941. 62 minutos. Blanco y Negro. Paramount. William Boyd, Georgia Hawkins, Russell Hayden, Andy Clyde.

    The Roundup. 1941. 90 minutos. Blanco y Negro. Paramount. Richard Dix, Patricia Morison, Preston Foster.

    Pirates on Horseback. 1941. 69 minutos. Blanco y Negro. Paramount. Wi lliam Boyd, Eleanor Stewart, Russell Hayden, Andy Clyde.

    Wide Open Town (La ley del Oeste). 1941. 78 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Brent, Bernice Kay, Russell Hayden, Andy Clyde.

    Riders of the Timberline. 1941. 59 minutos. Blanco y Negro. Paramount. William Boyd, Eleanor Stewart, Brad King,

    Stick to Your Guns. 1941. 63 minutos. Blanco y Negro. Paramount. William Boyd, Jennifer Holt, Brad King, Andy Clyde.

    Thundering Hoofs. 1942. 61 minutos. Blanco y Negro. RKO. Tim Holt, Luana Walters, Lee White, Ray Whitley.

    Bandit Ranger. 1942. 58 minutos. Blanco y Negro. RKO. Tim Holt, Joan Barclay, Cliff Edwards.

    Undercover Man. 1942. 68 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Esther Estrella, Jay Kirby, Andy Clyde.

    Border Patrol. 1943. 66 minutos. Blanco y Negro. UA. William Boyd, Claudia Drake, Jay Kirby, Andy Clyde.

    Buckskin Frontier. 1943. 74 minutos. Blanco y Negro. UA. Richard Dix, Jane Wyatt, Lee J. Cobb, Albert Dekker.

    Colt Comrades. 1943. 67 minutos. Blanco y Negro. UA. William Boyd, Gayle Lord, Jay Kirby, Andy Clyde.

    Red River Robin Hood. 1942. 57 minutos. Blanco y Negro. RKO. Tim Holt, Barbara Moffett, Cliff Edwards.

    Bar 20. 1943. 54 minutos. Blanco y Negro. UA. William Boyd, Dustine Farnum, George Reeves, Andy Clyde.

    Riders of the Deadline. 1943. 70 minutos. Blanco y Negro. UA. William Boyd, Frances Woodward, Jimmy Rogers, Andy Clyde.

    Lost Canyon. 1942. 61 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Jay Kirby, Andy Clyde.

    Lumberjack. 1944. 65 minutos. Blanco y Negro. UA. William Boyd, Ellen Hall, Jimmy Rogers, Andy Clyde.

    Forty Thieves. 1944. 60 minutos. Blanco y Negro. UA. William Boyd, Louise Currie, Jimmy Rogers, Andy Clyde.

    Call of the Rockies. 1944. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Hall.

    Bordertown Trail. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Lowe.

    Stagecoach to Monterey. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Peggy Stewart, Roy Barcroft.

    Cheyenne Wildcat. 1944. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.

    Sheriff of Sundown. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Max Terhune, Linda Sterling.

    Firebrands of Arizona. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Peggy Stewart.

    Sheriff of Las Vegas. 1944. 55 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.

    The Great Stagecoach Robbery. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.

    Trail of Kit Carson. 1945. 57 minutos. Blanco y Negro. Republic. Allan Lane, Helen Talbot.

    Phantom of the Plains. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.

    Out California Way. 1946. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, John Dehner, Bobby Blake.

    Last Frontier Uprising. 1947. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, Roy Barcroft.

    Saddle Pals. 1947. 72 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.

    Robin Hood of Texas. 1947. 71 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.

    The Red Stallion. 1947. 81 minutos. Cinecolor. Eagle Lion. Robert Paige, Noreen Nash.

    Belle Star’s Daughter. 1947. 85 minutos. Blanco y Negro. Alson (Fox). George Montgomery, Rod Cameron, Ruth Roman.

    Panhandle (Imperio del crimen). 1948. 85 minutos. Blanco y Negro. Allied. Rod Cameron, Cathy Downs, Reed Hadley, Anne Gwynne.

    Guns of Hate. 1948. 62 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin.

    Indian Agent. 1948. 63 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin, Lee “Lasses” White.

    Brothers in the Saddle. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Virginia Cox, Richard Martin.

    Rustlers. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Martha Hyer, Richard Martin.

    Stampede. 1949. 78 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Gale Storm.

    Masked Raiders. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Marjorie Lord, Richard Martin.

    The Mysterious Desperado. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Movita, Richard Martin.

    Dakota Lil. 1950. 88 minutos. Cinecolor. Fox. George Montgomery, Marie Windsor, Rod Cameron.

    Riders of the Range. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jacqueline White, Richard Martin.

    Storm Over Wyoming. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Betty Underwood, Richard Martin.

    Rider from Tucson. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Elaine Riley, Veda Ann Borg, Richard Martin.

    Rio Grande Patrol (Patrulla de Rio Grande). 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jane Nigh, Richard Martin.

    The Kangaroo Kid. 1950. 72 minutos. Blanco y Negro. Allied Australian. Jock Mahoney, Veda Ann Borg, Douglass Dumbrille, Martha Hyer.

    Short Grass. 1950. 82 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Cathy Downs.

    Law of the Badlands. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin

    Saddle Legion. 1951. 61 minutos. Blanco y Negro. RKO. Tim Holt, Dorothy Malone, Richard Martin.

    Cavalry Scout. 1951. 78 minutos. Cinecolor. Monogram. Rod Cameron, Audrey Long, Jim Davis.

    Gunplay. 1951. 69 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    Pistol Harvest. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    Overland Telegraph. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Gail Davis, Richard Martin.

    Fort Osage. 1952. 72 minutos. Cinecolor. Monogram. Rod Cameron, Jane Nigh.

    Trail Guide (Rastro oculto). 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Linda Douglas (Mary Jo Tarola), Richard Martin.

    Road Agent. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Richard Martin.

    Desert Passage. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.

    The Raiders. 1952. 80 minutos. Technicolor. Universal. Richard Conte, Viveca Lindfords, Richard Martin, Barbara Britton.

    Fort Vengeance (Fort Venganza). 1953. 75 minutos. Cinecolor. Allied. James Craig, Rita Moreno, Keith Larsen.

    Cow Country. 1953. 82 minutos. Blanco y Negro. Allied. Edmond O’Brien, Peggie Castle, Robert Barrat, Helen Westcott.

    War Paint. 1953. 89 minutos. Pathecolor. K-B Productions (UA). Robert Stack, Joan Taylor, Charles McGraw.

    Arrow in the Dust (Flechas incendiarias). 1954. 80 minutos. Technicolor. Allied. Sterling Hayden, Coleen Gray, Keith Larsen.

    The Yellow Tomahawk. 1954. 82 minutos. Color Corp. Of America. Bel-Air (UA). Rory Calhoun, Peggie Castle, Peter Graves.

    Shotgun (La pradera sangrienta). 1955. 81 minutos. Technicolor. Allied. Sterling Hayden, Yvonne De Carlo, Zachary Scott.

    Fort Yuma. 1955. 78 minutos. Technicolor. Bel-Air (UA). Peter Graves, Jean Vohs, John Hudson, Joan Taylor.

    Tall Man Riding. 1955. 83 minutos. Warnercolor. WB. Randolph Scott, Dorothy Malone, Robert Barrat, Peggie Castle.

    The Broken Star. 1956. 82 minutos. Blanco y Negro. Bel-Air (UA). Howard Duff, Lita Baron, Bill Williams.

    Quincannon - Frontier Scout. 1956. 83 minutos. Color DeLuxe. Bel-Air (UA). Tony Martin, Peggie Castle, John Bromfield.

    Tomahawk Trail. 1957. 60 minutos. Blanco y Negro. Bel-Air (UA). Chuck Connors, Susan Cummings, John Smith.

    Revolt at Fort Laramie. 1957. 73 minutos. Color DeLuxe. Bel-Air (UA). John Dehner, Gregg Palmer, Frances Helm.

    Outlaw’s Son. 1957. 87 minutos. Blanco y Negro. Bel-Air (UA). Dane Clark, Ben Cooper, Lori Nelson.

    The Lone Ranger and the Lost City of Gold. 1958. 80 minutos. East man color. UA. Clayton Moore, Jay Silverheels, Noreen Nash.

    Convict Stage. 1965. 71 minutos. Blanco y Negro. Fox. Harry Lauter, Do nald Barry, Jodi Mitchell.

    War Party. 1965. 72 minutos. Blanco y Negro. Fox. Michael T. Mikler, Do nald Barry, Laurie Mack.

    Fort Courageous. 1965. 72 minutos. Blanco y Negro. Fox. Fred Beir, Do nald Barry, Hanna Landy.

    Town Tamer. 1965. 89 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). Dana Andrews, Terry Moore, Pat O’Brien, Coleen Gray.

    The Texican/Texas Kid (Texas Kid). 1966. 86 minutos. Eastmancolor. Techniscope. M.C.R./Balcazar (Columbia). Audie Murphy, Broderick Craw ford, Diana Lorys

    Fort Utah. 1967. 83 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). John Ireland, Virginia Mayo, Scott Brady.

    Arizona Bushwhackers. 1968. 86 minutos. Technicolor. Techniscope. A.C. Lyles (Paramount). Howard Keel, Yvonne De Carlo, John Ireland.

SUBJECT AREA: Canals

[br]

[br]

[br]

Admitted in 1797 as a Gentleman Cadet in the Royal Military Academy at Woolwich, By was commissioned on 1 August 1799 as a second lieutenant in the Royal Artillery, but was soon transferred to the Royal Engineers. Posted to Plymouth upon the development of the fortifications, he was further posted to Canada, arriving there in August 1802.

In 1803 By was engaged in canal work, assisting Captain Bruyères in the construction of a short canal (1,500 ft (460 m) long) at the Cascades on the Grand, now the Ottawa, River. In 1805 he was back at the Cascades repairing ice damage caused during the previous winter. He was promoted Captain in 1809. Meanwhile he worked on the fortifications of Quebec and in 1806–7 he built a scale model of the Citadel, which is now in the National War Museum of Canada. He returned to England in 1810 and served in Portugal in 1811. Back in England at the end of the year, he was appointed Royal Engineer Officer in charge at the Waltham Abbey Gunpowder Works on 1 January 1812 and later planned the new Small Arms Factory at Enfield; both works were on the navigable River Lee.

In the post-Napoleonic period Major By, as he then was, retired on half-pay but was promoted to Lieu tenant-Colonel on 2 December 1824. Eighteen months later, in March 1826, he returned to Canada on active duty to build the Rideau Canal. This was John By's greatest work. It was conceived after the American war of 1812–14 as a connection for vessels to reach Kingston and the Great Lakes from Montreal while avoiding possible attack from the United States forces. Ships would pass up the Ottawa River using the already-constructed locks and bypass channels and then travel via a new canal cut through virgin forest southwards to the St Lawrence at Kingston. By based his operational headquarters at the Ottawa River end of the new works and in a forest clearing he established a small settlement. Because of the regard in which By was held, this settlement became known as By town. In 1855, long after By's death, the settlement was designated by Queen Victoria as capital of United Canada (which was to become a self-governing Dominion in 1867) and renamed Ottawa; as a result of the presence of the national government, the growth of the town accelerated greatly.

Between 1826–7 and 1832 the Rideau Canal was constructed. It included the massive engineering works of Jones Falls Dam (62 ft 6 in. (19 m) high) and 47 locks. By exercised an almost paternal care over those employed under his direction. The canal was completed in June 1832 at a cost of £800,000. By was summoned back to London to face virulent and unjust criticism from the Treasury. He was honoured in Canada but vilified by the British Government.

[br]

SUBJECT AREA: Automotive engineering, Land transport

[br]

[br]

[br]

He was the son of an Irish immigrant farmer, William Ford, and the oldest son to survive of Mary Litogot; his mother died in 1876 with the birth of her sixth child. He went to the village school, and at the age of 16 he was apprenticed to Flower brothers' machine shop and then at the Drydock \& Engineering Works in Detroit. In 1882 he left to return to the family farm and spent some time working with a 1 1/2 hp steam engine doing odd jobs for the farming community at $3 per day. He was then employed as a demonstrator for Westinghouse steam engines. He met Clara Jane Bryant at New Year 1885 and they were married on 11 April 1888. Their only child, Edsel Bryant Ford, was born on 6 November 1893.

At that time Henry worked on steam engine repairs for the Edison Illuminating Company, where he became Chief Engineer. He became one of a group working to develop a "horseless carriage" in 1896 and in June completed his first vehicle, a "quadri cycle" with a two-cylinder engine. It was built in a brick shed, which had to be partially demolished to get the carriage out.

Ford became involved in motor racing, at which he was more successful than he was in starting a car-manufacturing company. Several early ventures failed, until the Ford Motor Company of 1903. By October 1908 they had started with production of the Model T. The first, of which over 15 million were built up to the end of its production in May 1927, came out with bought-out steel stampings and a planetary gearbox, and had a one-piece four-cylinder block with a bolt-on head. This was one of the most successful models built by Ford or any other motor manufacturer in the life of the motor car.

Interchangeability of components was an important element in Ford's philosophy. Ford was a pioneer in the use of vanadium steel for engine components. He adopted the principles of Frederick Taylor, the pioneer of time-and-motion study, and installed the world's first moving assembly line for the production of magnetos, started in 1913. He installed blast furnaces at the factory to make his own steel, and he also promoted research and the cultivation of the soya bean, from which a plastic was derived.

In October 1913 he introduced the "Five Dollar Day", almost doubling the normal rate of pay. This was a profit-sharing scheme for his employees and contained an element of a reward for good behaviour. About this time he initiated work on an agricultural tractor, the "Fordson" made by a separate company, the directors of which were Henry and his son Edsel.

In 1915 he chartered the Oscar II, a "peace ship", and with fifty-five delegates sailed for Europe a week before Christmas, docking at Oslo. Their objective was to appeal to all European Heads of State to stop the war. He had hoped to persuade manufacturers to replace armaments with tractors in their production programmes. In the event, Ford took to his bed in the hotel with a chill, stayed there for five days and then sailed for New York and home. He did, however, continue to finance the peace activists who remained in Europe. Back in America, he stood for election to the US Senate but was defeated. He was probably the father of John Dahlinger, illegitimate son of Evangeline Dahlinger, a stenographer employed by the firm and on whom he lavished gifts of cars, clothes and properties. He became the owner of a weekly newspaper, the Dearborn Independent, which became the medium for the expression of many of his more unorthodox ideas. He was involved in a lawsuit with the Chicago Tribune in 1919, during which he was cross-examined on his knowledge of American history: he is reputed to have said "History is bunk". What he actually said was, "History is bunk as it is taught in schools", a very different comment. The lawyers who thus made a fool of him would have been surprised if they could have foreseen the force and energy that their actions were to release. For years Ford employed a team of specialists to scour America and Europe for furniture, artefacts and relics of all kinds, illustrating various aspects of history. Starting with the Wayside Inn from South Sudbury, Massachusetts, buildings were bought, dismantled and moved, to be reconstructed in Greenfield Village, near Dearborn. The courthouse where Abraham Lincoln had practised law and the Ohio bicycle shop where the Wright brothers built their first primitive aeroplane were added to the farmhouse where the proprietor, Henry Ford, had been born. Replicas were made of Independence Hall, Congress Hall and the old City Hall in Philadelphia, and even a reconstruction of Edison's Menlo Park laboratory was installed. The Henry Ford museum was officially opened on 21 October 1929, on the fiftieth anniversary of Edison's invention of the incandescent bulb, but it continued to be a primary preoccupation of the great American car maker until his death.

Henry Ford was also responsible for a number of aeronautical developments at the Ford Airport at Dearborn. He introduced the first use of radio to guide a commercial aircraft, the first regular airmail service in the United States. He also manufactured the country's first all-metal multi-engined plane, the Ford Tri-Motor.

Edsel became President of the Ford Motor Company on his father's resignation from that position on 30 December 1918. Following the end of production in May 1927 of the Model T, the replacement Model A was not in production for another six months. During this period Henry Ford, though officially retired from the presidency of the company, repeatedly interfered and countermanded the orders of his son, ostensibly the man in charge. Edsel, who died of stomach cancer at his home at Grosse Point, Detroit, on 26 May 1943, was the father of Henry Ford II. Henry Ford died at his home, "Fair Lane", four years after his son's death.

[br]

SUBJECT AREA: Agricultural and food technology

[br]

[br]

[br]

Cyrus McCormick's father, a farmer, began to experiment unsuccessfully with a harvesting machine between 1809 and 1816. His son took up the challenge and gave his first public demonstration of his machine in 1831. It cut a 4 ft swathe, but, wanting to perfect the machine, he waited until 1834 before patenting it, by which time he felt that his invention was threatened by others of similar design. In the same year he entered an article in the Mechanics Magazine, warning competitors off his design. His main rival was Obed Hussey who contested McCormick's claim to the originality of the idea, having patented his own machine six months before McCormick.

A competition between the two machines was held in 1843, the judges favouring McCormick's, even after additional trials were conducted after objections of unfairness from Hussey. The rivalry continued over a number of years, being avidly reported in the agricultural press. The publicity did no harm to reaper sales, and McCormick sold twenty-nine machines in 1843 and fifty the following year.

As the westward settlement movement progressed, so the demand for McCormick's machine grew. In order to be more central to his markets, McCormick established himself in Chicago. In partnership with C.M.Gray he established a factory to produce 500 harvesters for the 1848 season. By means of advertising and offers of credit terms, as well as production-line assembly, McCormick was able to establish himself as sole owner and also control all production, under the one roof. By the end of the decade he dominated reaper production but other developments were to threaten this position; however, foreign markets were appearing at the same time, not least the opportunities of European sales stimulated by the Great Exhibition in 1851. In the trials arranged by the Royal Agricultural Society of England the McCormick machine significantly outperformed that of Hussey's, and as a result McCormick arranged for 500 to be made under licence in England.

In 1874 McCormick bought a half interest in the patent for a wire binder from Charles Withington, a watchmaker from Janesville, Wisconsin, and by 1885 a total of 50,000 wire binders had been built in Chicago. By 1881 McCormick was producing twine binders using Appleby's twine knotter under a licence agreement, and by 1885 the company was producing only twine binders. The McCormick Company was one of the co-founders of the International Harvester Company in 1901.

[br]

SUBJECT AREA: Broadcasting, Electronics and information technology

[br]

[br]

[br]

Zworykin studied engineering at the Institute of Technology in St Petersburg under Boris Rosing, assisting the latter with his early experiments with television. After graduating in 1912, he spent a time doing X-ray research at the Collège de France in Paris before returning to join the Russian Marconi Company, initially in St Petersburg and then in Moscow. On the outbreak of war in 1917, he joined the Russian Army Signal Corps, but when the war ended in the chaos of the Revolution he set off on his travels, ending up in the USA, where he joined the Westinghouse Corporation. There, in 1923, he filed the first of many patents for a complete system of electronic television, including one for an all-electronic scanning pick-up tube that he called the iconoscope. In 1924 he became a US citizen and invented the kinescope, a hard-vacuum cathode ray tube (CRT) for the display of television pictures, and the following year he patented a camera tube with a mosaic of photoelectric elements and gave a demonstration of still-picture TV. In 1926 he was awarded a PhD by the University of Pittsburgh and in 1928 he was granted a patent for a colour TV system.

In 1929 he embarked on a tour of Europe to study TV developments; on his return he joined the Radio Corporation of America (RCA) as Director of the Electronics Research Group, first at Camden and then Princeton, New Jersey. Securing a budget to develop an improved CRT picture tube, he soon produced a kinescope with a hard vacuum, an indirectly heated cathode, a signal-modulation grid and electrostatic focusing. In 1933 an improved iconoscope camera tube was produced, and under his direction RCA went on to produce other improved types of camera tube, including the image iconoscope, the orthicon and image orthicon and the vidicon. The secondary-emission effect used in many of these tubes was also used in a scintillation radiation counter. In 1941 he was responsible for the development of the first industrial electron microscope, but for most of the Second World War he directed work concerned with radar, aircraft fire-control and TV-guided missiles.

After the war he worked for a time on high-speed memories and medical electronics, becoming Vice-President and Technical Consultant in 1947. He "retired" from RCA and was made an honorary vice-president in 1954, but he retained an office and continued to work there almost up until his death; he also served as Director of the Rockefeller Institute for Medical Research from 1954 until 1962.

[br]

See also: Baird, John Logie; Farnsworth, Philo Taylor; Jenkins, Charles Francis

spirit ['spɪrɪt]

1 noun

(a) (non-physical part of being, soul) esprit m;

∎ the poor in spirit les pauvres d'esprit;

∎ the spirit is willing but the flesh is weak l'esprit est prompt mais la chair est faible;

∎ he is with us in spirit il est avec nous en pensée ou par la pensée

(b) (supernatural being) esprit m;

∎ I don't believe in ghosts or spirits je ne crois ni aux fantômes ni aux esprits;

∎ she is possessed by spirits elle est possédée par des esprits;

∎ to call up the spirits of the dead évoquer les âmes des morts;

∎ evil spirits esprits mpl malins;

∎ the spirit world le monde des esprits

(c) (person) esprit m, âme f;

∎ he is a generous spirit il a une âme généreuse, c'est une bonne âme;

∎ he is a courageous spirit il est courageux;

∎ he is a leading spirit in the movement il est l'un de ceux qui donnent son impulsion au mouvement;

∎ he is one of the great spirits of modern philosophy c'est un des grands esprits de la philosophie moderne

(d) (attitude, mood) esprit m;

∎ the spirit of the age l'esprit m ou le génie de l'époque;

∎ to do sth in a spirit of fun faire qch pour s'amuser;

∎ you mustn't do it in a spirit of vengeance il ne faut pas le faire par esprit de vengeance;

∎ to take sth in the right/wrong spirit prendre qch bien/mal;

∎ she took my remarks in the wrong spirit elle a mal pris mes remarques;

∎ he went about the job entirely in the wrong spirit il n'a pas compris dans quel esprit il devait travailler;

∎ he took it in the spirit in which it was intended il l'a pris comme il fallait;

∎ to have the party spirit avoir envie de s'amuser;

∎ to enter into the spirit of things (at party) se mettre au diapason; (in work) participer de bon cœur;

∎ familiar that's the spirit! voilà comment il faut réagir!^□, à la bonne heure!

(e) (deep meaning) esprit m, génie m;

∎ the spirit of the law l'esprit m de la loi;

∎ you haven't understood the spirit of the poem vous n'avez pas saisi l'esprit du poème

(f) (energy) énergie f, entrain m; (courage) courage m; (character) caractère m;

∎ to do sth with spirit faire quelque chose avec entrain;

∎ he replied with spirit il a répondu énergiquement;

∎ they sang with spirit ils ont chanté avec entrain;

∎ a man of spirit un homme de caractère;

∎ he is entirely lacking in spirit il est complètement amorphe;

∎ to show spirit montrer du caractère ou du courage;

∎ to have spirit avoir de l'allant;

∎ his spirit was broken il avait perdu courage

(g) British (alcoholic drink) alcool m, spiritueux m;

∎ wines and spirits vins mpl et spiritueux mpl;

∎ I prefer beer to spirits je préfère la bière aux spiritueux;

∎ brandy is my favourite spirit le cognac est mon alcool préféré;

∎ taxes on spirits have increased les taxes sur les spiritueux ont augmenté

(h) Chemistry essence f, sel m

2 transitive verb

∎ (move secretly) they spirited her in/out by a side door ils l'ont fait entrer/sortir discrètement par une porte dérobée;

∎ he seems to have been spirited into thin air il semble avoir disparu comme par enchantement;

∎ to spirit sth in/out introduire/sortir discrètement qch

3 spirits plural noun

(mood, mental state) humeur f, état m d'esprit; (morale) moral m;

∎ to be in good spirits être de bonne humeur, avoir le moral;

∎ to feel out of spirits avoir le cafard;

∎ to be in high spirits être de très bonne humeur, avoir le moral au beau fixe;

∎ to be in low spirits être déprimé;

∎ you must keep your spirits up il faut garder le moral, il ne faut pas vous laisser abattre;

∎ my spirits rose at the thought mon moral est remonté rien que d'y penser;

∎ to raise sb's spirits remonter le moral à qn

►► spirit of ammonia or spirits of ammonia ammoniaque m liquide;

spirit gum colle f gomme;

British spirit lamp lampe f à alcool;

spirit level niveau m à bulle;

Spirit of Saint Louis = avion spécialement conçu pour l'aviateur américain Charles Lindbergh, avec lequel il effectua, en 1927, la première traversée de l'Atlantique sans escale, de New York à Paris;

spirit stove réchaud m à alcool;

spirit of turpentine (essence f de) térébenthine f;

spirit varnish vernis m à alcool

➲ spirit away, spirit off separable transitive verb

(carry off secretly) faire disparaître (comme par enchantement); (steal) escamoter, subtiliser