cover+notes

1) a set of regularly spaced marks made on something (eg a thermometer or a ruler) for use as a measure; a system of numbers, measurement etc:

2) a series or system of items of increasing or decreasing size, value etc:

3) in music, a group of notes going up or down in order:

4) the size of measurements on a map etc compared with the real size of the country etc shown by it:

5) the size of an activity:

kryló `wing' [n o] \{1\}

krzydɫo (dial.) `wing' [n o]

krílo `wing, fin, nostril, lap' [n o];

Čak. krĩlå̄ `skirt, white linen half-slip, (esp. in songs) wings' [Nompn o];

Čak. krīlȍ (Orbanići) `lap' [n o]

skriẽti (dial.) `rotate, circle, fly' [verb] \{2\}

\{1\} With analogical y after kryt' `cover'. \{2\} Standard Lithuanian has skríeti.

Grammatical information: f. (m.)

Meaning: `asphalt, bitumen' (Hdt.).

Other forms: - ον n.

Derivatives: ἀσφάλτιον `treacle clover, Psoralea bituminosa' (Dsc.; after the smell, s. Strömberg Pflanzennamen 62); ἀσφαλτῖτις `bituminous' ( βῶλος etc., Str., Redard Les noms grecs en - ίτης 108); ἀσφαλτωδεύομαι `cover with a.'. - ἀσφαλτόω `smear with a.' (LXX).

Origin: PG [a word of Pre-Greek origin]

Etymology: Generally taken as negative verbal adjective of σφάλλεσθαι, as the material that protects walls from σφάλλεσθαι. Diels KZ 47, 207ff., who finds no Semitic etymologies. For the `causative' meaning of the verbal adjective one compares ἀμέθυστος; still, this point makes the etymology weak. Chantr. notes `qui empêche de glisser, de tomber, le produit étant employé comme mortier (ce qui n'est pas à l'origine un procédé grec).' The etymology is improbable; rather a substr. word; Diels noted that sources occur everywhere, e.g. on Zakynthos and near Dyrrhachium..

Page in Frisk: 1,174

SUBJECT AREA: Photography, film and optics

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In 1841, while studying at Cambridge, Sutton became interested in photography and tried out the current processes, daguerreotype, calotype and cyanotype among them. He subsequently settled in Jersey, where he continued his photographic studies. In 1855 he opened a photographic printing works in Jersey, in partnership with L.-D. Blanquart- Evrard, exploiting the latter's process for producing developed positive prints. He started and edited one of the first photographic periodicals, Photographic Notes, in 1856; until its cessation in 1867, his journal presented a fresher view of the world of photography than that given by its London-based rivals. He also drew up the first dictionary of photography in 1858.

In 1859 Sutton designed and patented a wideangle lens in which the space between two meniscus lenses, forming parts of a sphere and sealed in a metal rim, was filled with water; the lens so formed could cover an angle of up to 120 degrees at an aperture of f12. Sutton's design was inspired by observing the images produced by the water-filled sphere of a "snowstorm" souvenir brought home from Paris! Sutton commissioned the London camera-maker Frederick Cox to make the Panoramic camera, demonstrating the first model in January 1860; it took panoramic pictures on curved glass plates 152×381 mm in size. Cox later advertised other models in a total of four sizes. In January 1861 Sutton handed over manufacture to Andrew Ross's son Thomas Ross, who produced much-improved lenses and also cameras in three sizes. Sutton then developed the first single-lens reflex camera design, patenting it on 20 August 1961: a pivoted mirror, placed at 45 degrees inside the camera, reflected the image from the lens onto a ground glass-screen set in the top of the camera for framing and focusing. When ready, the mirror was swung up out of the way to allow light to reach the plate at the back of the camera. The design was manufactured for a few years by Thomas Ross and J.H. Dallmeyer.

In 1861 James Clerk Maxwell asked Sutton to prepare a series of photographs for use in his lecture "On the theory of three primary colours", to be presented at the Royal Institution in London on 17 May 1861. Maxwell required three photographs to be taken through red, green and blue filters, which were to be printed as lantern slides and projected in superimposition through three projectors. If his theory was correct, a colour reproduction of the original subject would be produced. Sutton used liquid filters: ammoniacal copper sulphate for blue, copper chloride for the green and iron sulphocyanide for the red. A fourth exposure was made through lemon-yellow glass, but was not used in the final demonstration. A tartan ribbon in a bow was used as the subject; the wet-collodion process in current use required six seconds for the blue exposure, about twice what would have been needed without the filter. After twelve minutes no trace of image was produced through the green filter, which had to be diluted to a pale green: a twelve-minute exposure then produced a serviceable negative. Eight minutes was enough to record an image through the red filter, although since the process was sensitive only to blue light, nothing at all should have been recorded. In 1961, R.M.Evans of the Kodak Research Laboratory showed that the red liquid transmitted ultraviolet radiation, and by an extraordinary coincidence many natural red dye-stuffs reflect ultraviolet. Thus the red separation was made on the basis of non-visible radiation rather than red, but the net result was correct and the projected images did give an identifiable reproduction of the original. Sutton's photographs enabled Maxwell to establish the validity of his theory and to provide the basis upon which all subsequent methods of colour photography have been founded.

JW / BC

στέγω aor. inf. στέξαι (Sir 8:17) (Aeschyl. et al.; ins, pap; freq. in the sense of covering or enclosing in such a way as to keep someth. undesirable from coming in, as water into a ship)

① to keep confidential, cover, pass over in silence (Eur., Electra 273 τἀμὰ ἔπη; Thu. 6, 72, 5; Polyb. 8, 14, 5 τὸν λόγον; Sir 8:17; Jos., Vi. 225; Field, Notes 177f), so perh. ἡ ἀγάπη πάντα στέγει 1 Cor 13:7 of love that throws a cloak of silence over what is displeasing in another person (Harnack, SBBerlAk 1911, 147; but s. 2).

② to bear up against difficulties, bear, stand, endure (Aeschyl. et al.; Polyb.; Diod S; Plut.; SIG 700, 23; Philo, In Flacc. 64 στέγειν τὰς ἐνδείας) τὶ someth. πάντα 1 Cor 9:12; perh. (s. 1) 13:7 (GWhitaker, ‘Love Springs No Leak’: Exp. 8th ser., 21, 1921, 126ff). Abs. (PGrenf I, 1, 18 [II B.C.]; POxy 1775, 10 καὶ ἔστεξα, ἕως ἔλθῃς) μηκέτι στέγων since I could not bear it any longer 1 Th 3:5; cp. vs. 1.—B. 849. DELG. M-M. TW. Spicq.

φαιλόνης, ου, ὁ is to be spelled so (B-D-F §25) as against the great uncials and critical editions, which have φελόνης (PFay 347 [II A.D.]). This appears to be a Lat. loanw. (paenula; see Hahn p. 10, 8; EFraenkel, ZVS 42, 1909, 115, 1; ESchwyzer, MusHelv 3, ’46, 50–52; but s. B. below), also in rabb. in var. spellings. Its original form was φαινόλας (Rhinthon [III B.C.], Com. Graec. Fgm. 7 Kaibel [in Pollux 7, 61]) or φαινόλης (Epict. 4, 8, 34; Artem. 2, 3; 5, 29; Athen. 3, 97e; POxy 736, 4; 1737, 9; 15; PGiss 10, 21; PHamb 10, 19 [II B.C.]; Gignac I 100), also φαινόλιον (POxy 531, 14 [II A.D.]; 936, 18; 19). From these by metathesis (s. CLobeck, Pathologiae Sermonis Graeci Elementa I 1853, 514; W-S. §5, 18; B-D-F §32, 2; Mlt-H. 81; 106; 155) came φαιλόνης (which is still quotable at least in its dim. form φαιλόνιον [-ώνιον]: POxy 933, 30; PGiss 12, 4 [II A.D.]; BGU 816, 24 [III A.D.]; cp. Mod. Gk. φελόνι) cloak (POxy 531, 14 τὰ ἱμάτια τὰ λευκὰ τὰ δυνάμενα μετὰ τῶν πορφυρῶν φορεῖσθαι φαινολίων. Likew. Epict.; Athen., loc. cit. In view of these pass. the translation ‘valise’ is excluded; s. Field, Notes 217f, cited in M-M; also excluded is the interpretation in the direction of διφθέρα, the leather cover for papyrus rolls) 2 Ti 4:13 (on the subject-matter s. POxy 1489 [III A.D.] τὸ κιθώνιν [=χιτώνιον] ἐπιλέλησμαι παρὰ Τεκοῦσαν εἰς τὸν πυλῶνα. πέμψον μοι).—See B. 417, where φαινόλα is treated as the original fr. which Lat. paenula is borrowed, and not vice versa; s. also Mlt-H. 106.—Frisk. DELG s.v. φαίνω A. M-M.