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41 survey
∎ we sat surveying the view nous étions assis à contempler le paysage;∎ he stepped back to survey the painting il fit un pas en arrière pour contempler le tableau(b) (make a study of) dresser le bilan de, étudier;∎ the report surveys the current state of manufacturing industry in Britain le rapport dresse le bilan de l'industrie manufacturière en Grande-Bretagne∎ 65 percent of women surveyed were opposed to the measure 65 pour cent des femmes interrogées étaient contre cette mesure∎ always have a house independently surveyed before buying il faut toujours faire faire une expertise indépendante avant d'acheter une maison(a) (study, investigation) étude f, enquête f;∎ they carried out a survey of retail prices ils ont fait une enquête sur les prix au détail(b) (overview) vue f d'ensemble;∎ the exhibition offers a comprehensive survey of contemporary British art l'exposition présente une vision d'ensemble de l'art contemporain britannique∎ aerial survey levé m aérien∎ to have a survey done faire faire une expertise►► Marketing survey research recherche f par sondage -
42 Claudet, Antoine François Jean
SUBJECT AREA: Photography, film and optics[br]b. 12 August 1797 Franced. 27 December 1867 London, England[br]French pioneer photographer and photographic inventor in England.[br]He began his working life in banking but soon went into glassmaking and in 1829 he moved to London to open a glass warehouse. On hearing of the first practicable photographic processes in 1834, Claudet visited Paris, where he received instruction in the daguerreotype process from the inventor Daguerre, and purchased a licence to operate in England. On returning to London he began to sell daguerreotype views of Paris and Rome, but was soon taking and selling his own views of London. At this time exposures could take as long as thirty minutes and portraiture from life was impracticable. Claudet was fascinated by the possibilities of the daguerreotype and embarked on experiments to improve the process. In 1841 he published details of an accelerated process and took out a patent proposing the use of flat painted backgrounds and a red light in dark-rooms. In June of that year Claudet opened the second daguerreotype portrait studio in London, just three months after his rival, Richard Beard. He took stereoscopic photographs for Wheatstone as early as 1842, although it was not until the 1850s that stereoscopy became a major interest. He suggested and patented several improvements to viewers derived from Brewster's pattern.Claudet was also one of the first photographers to practise professionally Talbot's calotype process. He became a personal friend of Talbot, one of the few from whom the inventor was prepared to accept advice. Claudet died suddenly in London following an accident that occurred when he was alighting from an omnibus. A memoir produced shortly after his death lists over forty scientific papers relating to his researches into photography.[br]Principal Honours and DistinctionsFRS 1853.Further Reading"The late M.Claudet", 1868, Photographic News 12:3 (obituary)."A.Claudet, FRS, a memoir", 1968, (reprinted from The Scientific Review), London: British Association (a fulsome but valuable Victorian view of Claudet).H.Gernsheim and A.Gernsheim, 1969, The History of Photography, rev. edn, London (a comprehensive account of Claudet's daguerreotype work).H.J.P.Arnold, 1977, William Henry Fox Talbot, London (provides details of Claudet's relationship with Talbot).JWBiographical history of technology > Claudet, Antoine François Jean
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43 Essen, Louis
SUBJECT AREA: Horology[br]b. 6 September 1908 Nottingham, England[br]English physicist who produced the first practical caesium atomic clock, which was later used to define the second.[br]Louis Essen joined the National Physical Laboratory (NPL) at Teddington in 1927 after graduating from London University. He spent his whole working life at the NPL and retired in 1972; his research there was recognized by the award of a DSc in 1948. At NPL he joined a team working on the development of frequency standards using quartz crystals and he designed a very successful quartz oscillator, which became known as the "Essen ring". He was also involved with radio frequency oscillators. His expertise in these fields was to play a crucial role in the development of the caesium clock. The idea of an atomic clock had been proposed by I.I.Rabbi in 1945, and an instrument was constructed shortly afterwards at the National Bureau of Standards in the USA. However, this device never realized the full potential of the concept, and after seeing it on a visit to the USA Essen was convinced that a more successful instrument could be built at Teddington. Assisted by J.V.L.Parry, he commenced work in the spring of 1953 and by June 1955 the clock was working reliably, with an accuracy that was equivalent to one second in three hundred years. This was significantly more accurate than the astronomical observations that were used at that time to determine the second: in 1967 the second was redefined in terms of the value for the frequency of vibration of caesium atoms that had been obtained with this clock.[br]Principal Honours and DistinctionsFRS 1960. Clockmakers' Company Tompion Gold Medal 1957. Physical Society C.V.Boys Prize 1957. USSR Academy of Science Popov Gold Medal 1959.Bibliography1957, with J.V.L.Parry, "The caesium resonator as a standard of frequency and time", Philosophical Transactions of the Royal Society (Series A) 25:45–69 (the first comprehensive description of the caesium clock).Further ReadingP.Forman, 1985, "Atomichron: the atomic clock from concept to commercial product", Proceedings of the IEEE 75:1,181–204 (an authoritative critical review of the development of the atomic clock).N.Cessons (ed.), 1992, The Making of the Modern World, London: Science Museum, pp.190–1 (contains a short account).See also: Marrison, Warren AlvinDV -
44 Momma (Mumma), Jacob
SUBJECT AREA: Metallurgy[br]b. early seventeenth century Germanyd. 1679 England[br]German (naturalized English) immigrant skilled in the manufacture and production of brass, who also mined and smelted copper.[br]The protestant Momma family were well known in Aachen, the seventeenth-century centre of German brass production. Subjected to religious pressures, some members of the family moved to nearby Stolberg, while others migrated to Sweden, starting brass manufacture there. Jacob travelled to England, establishing brassworks with two German partners at Esher in Surrey in 1649; theirs was the only such works in England to survive for more than a few years during the seventeenth century.Jacob, naturalized English by 1660, is often referred to in England as Mummer or another variant of his name. He became respected, serving as a juror, and was appointed a constable in 1661. During the 1660s Momma was engaged in mining copper at Ecton Hill, Staffordshire, where he was credited with introducing gunpowder to English mining technology. He smelted his ore at works nearby in an effort to secure copper supplies, but the whole project was brief and unprofitable.The alternative imported copper required for his brass came mainly from Sweden, its high cost proving a barrier to viable English brass production. In 1662 Momma petitioned Parliament for some form of assistance. A year later he pleaded further for higher tariffs against brass-wire imports as protection from the price manipulation of Swedish exporters. He sought support from the Society of Mineral and Battery Works, the Elizabethan monopoly (see Dockwra, William) claiming jurisdiction over the country's working of brass, but neither petition succeeded. Despite these problems with the high cost of copper supplies in England, Momma continued his business and is recorded as still paying hearth tax on his twenty brass furnaces up to 1664. Although these were abandoned before his death and he claimed to have lost £6,000 on his brassworks, his wire mills survived him for a few years under the management of his son.[br]Further ReadingJ.Morton, 1985, The rise of the modern copper and brass industry: 1690 to 1750, unpublished thesis: University of Birmingham, 16–25.J.Day, 1984, "The continental origins of Bristol Brass", Industrial Archaeology Review 8/1: 32–56.John Robey, 1969, "Ecton copper mines in the seventeenth century", Bulletin of the Peak District Mines Historic Society 4(2):145–55 (the most comprehensive published account).JD -
45 Theophilus Presbyter
[br]fl. late eleventh/early twelfth century[br]German author of the most detailed medieval treatise relating to technology.[br]The little that is known of Theophilus is what can be inferred from his great work, De diversis artibus. He was a Benedictine monk and priest living in north-west Germany, probably near an important art centre. He was an educated man, conversant with scholastic philosophy and at the same time a skilled, practising craftsman. Even his identity is obscure: Theophilus is a pseudonym, possibly for Roger of Helmarshausen, for the little that is known of both is in agreement.Evidence in De diversis suggests that it was probably composed during 1110 to 1140. White (see Further Reading) goes on to suggest late 1122 or early 1123, on the grounds that Theophilus only learned of St Bernard of Clairvaulx's diatribe against lavish church ornamentation during the writing of the work, for it is only in the preface to Book 3 that Theophilus seeks to justify his craft. St Bernard's Apologia can be dated late 1122. No other medieval work on art combines the comprehensive range, orderly presentation and attention to detail as does De diversis. It has been described as an encyclopedia of medieval skills and crafts. It also offers the best and often the only description of medieval technology, including the first direct reference to papermaking in the West, the earliest medieval account of bell-founding and the most complete account of organ building. Many metallurgical techniques are described in detail, such as the making of a crucible furnace and bloomery hearth.The treatise is divided into three books, the first on the materials and art of painting, the second on glassmaking, including stained glass, glass vessels and the blown-cylinder method for flat glass, and the final and longest book on metalwork, including working in iron, copper, gold and silver for church use, such as chalices and censers. The main texts are no mere compilations, but reveal the firsthand knowledge that can only be gained by a skilled craftsman. The prefaces to each book present perhaps the only medieval expression of an artist's ideals and how he sees his art in relation to the general scheme of things. For Theophilus, his art is a gift from God and every skill an act of praise and piety. Theophilus is thus an indispensable source for medieval crafts and technology, but there are indications that the work was also well known at the time of its composition and afterwards.[br]BibliographyThe Wolfenbuttel and Vienna manuscripts of De diversis are the earliest, both dating from the first half of the twelfth century, while the British Library copy, in an early thirteenth-century hand, is the most complete. Two incomplete copies from the thirteenth century held at Cambridge and Leipzig offer help in arriving at a definitive edition.There are several references to De diversis in sixteenth-century printed works, such as Cornelius Agrippa (1530) and Josias Simmler (1585). The earliest printed edition ofDe diversis was prepared by G.H.Lessing in 1781 with the title, much used since, Diversarium artium schedula.There are two good recent editions: Theophilus: De diversis artibus. The Various Arts, 1964, trans. with introd. by C.R.Dodwell, London: Thomas Nelson, and On Diverse Arts. The Treatise of Theophilus, 1963, trans. with introd. and notes by J.G.Harthorne and C.S.Smith, Chicago University Press.Further ReadingLynn White, 1962, "Theophilus redivivus", Technology and Culture 5:224–33 (a comparative review of Theophilus (op. cit.) and On Diverse Arts (op. cit.)).LRD
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