developed+market

SUBJECT AREA: Agricultural and food technology, Land transport

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The son of a market gardener, Albone's interest lay in mechanics, and by 1880 he had established his own business as a cycle maker and repairer. His inventive mind led to a number of patents relating to bicycle design, but his commercial success was particularly assisted by his achievements in cycle racing. From this early start he diversified his business, designing and supplying, amongst other things, axle bearings for the Great Northern Railway, and also building motor cycles and several cars. It is possible that he began working on tractors as early as 1896. Certainly by 1902 he had built his first prototype, to the three-wheeled design that was to remain in later production models. Weighing only 30 cwt, yet capable of pulling two binders or a two-furrow plough, Albone's Ivel tractor was ahead of anything in its time, and its power-to-weight ratio was to be unrivalled for almost a decade. Albone's commercial success was not entirely due to the mechanical tractor's superiority, but owed a considerable amount to his ability as a showman and demonstrator. He held two working demonstrations a month in the village of Biggleswade in Bedfordshire, where the tractors were made. The tractor was named after the river Ivel, which flowed through the village. The Ivel tractor gained twenty-six gold and silver medals at agricultural shows between 1902 and 1906, and was a significant contributor to Britain's position as the world's largest exporter of tractors between 1904 and 1914. Albone tried other forms of his tractor to increase its sales. He built a fire engine, and also an armoured vehicle, but failed to impress the War Office with its potential.

Albone died at the age of 46. His tractor continued in production but remained essentially unimproved, and the company finally lost its sales to other designs, particularly those of American origin.

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SUBJECT AREA: Horology

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John Arnold was apprenticed to his father, a watchmaker, and then worked as an itinerant journeyman in the Low Countries and, later, in England. He settled in London in 1762 and rapidly established his reputation at Court by presenting George III with a miniature repeating watch mounted in a ring. He later abandoned the security of the Court for a more precarious living developing his chronometers, with some financial assistance from the Board of Longitude. Symbolically, in 1771 he moved from the vicinity of the Court at St James's to John Adam Street, which was close to the premises of the Royal Society for the Encouragement of Arts, Manufactures \& Commerce.

By the time Arnold became interested in chronometry, Harrison had already demonstrated that longitude could be determined by means of a timekeeper, and the need was for a simpler instrument that could be sold at an affordable price for universal use at sea. Le Roy had shown that it was possible to dispense with a remontoire by using a detached escapement with an isochronous balance; Arnold was obviously thinking along the same lines, although he may not have been aware of Le Roy's work. By 1772 Arnold had developed his detached escapement, a pivoted detent which was quite different from that used on the European continent, and three years later he took out a patent for a compensation balance and a helical balance spring (Arnold used the spring in torsion and not in tension as Harrison had done). His compensation balance was similar in principle to that described by Le Roy and used riveted bimetallic strips to alter the radius of gyration of the balance by moving small weights radially. Although the helical balance spring was not completely isochronous it was a great improvement on the spiral spring, and in a later patent (1782) he showed how it could be made more truly isochronous by shaping the ends. In this form it was used universally in marine chronometers.

Although Arnold's chronometers performed well, their long-term stability was less satisfactory because of the deterioration of the oil on the pivot of the detent. In his patent of 1782 he eliminated this defect by replacing the pivot with a spring, producing the spring detent escapement. This was also done independendy at about the same time by Berthoud and Earnshaw, although Earnshaw claimed vehemently that Arnold had plagiarized his work. Ironically it was Earnshaw's design that was finally adopted, although he had merely replaced Arnold's pivoted detent with a spring, while Arnold had completely redesigned the escapement. Earnshaw also improved the compensation balance by fusing the steel to the brass to form the bimetallic element, and it was in this form that it began to be used universally for chronometers and high-grade watches.

As a result of the efforts of Arnold and Earnshaw, the marine chronometer emerged in what was essentially its final form by the end of the eighteenth century. The standardization of the design in England enabled it to be produced economically; whereas Larcum Kendall was paid £500 to copy Harrison's fourth timekeeper, Arnold was able to sell his chronometers for less than one-fifth of that amount. This combination of price and quality led to Britain's domination of the chronometer market during the nineteenth century.

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See also: Phillips, Edouard

SUBJECT AREA: Chemical technology, Photography, film and optics, Synthetic materials

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The son of an illiterate shoemaker, Baekeland was first apprenticed in that trade, but was encouraged by his mother to study, with spectacular results. He won a scholarship to Gand University and graduated in chemistry. Before he was 21 he had achieved his doctorate, and soon afterwards he obtained professorships at Bruges and then at Gand. Baekeland seemed set for a distinguished academic career, but he turned towards the industrial applications of chemistry, especially in photography.

Baekeland travelled to New York to further this interest, but his first inventions met with little success so he decided to concentrate on one that seemed to have distinct commercial possibilities. This was a photographic paper that could be developed in artificial light; he called this "gas light" paper Velox, using the less sensitive silver chloride as a light-sensitive agent. It proved to have good properties and was easy to use, at a time of photography's rising popularity. By 1896 the process began to be profitable, and three years later Baekeland disposed of his plant to Eastman Kodak for a handsome sum, said to be $3–4 million. That enabled him to retire from business and set up a laboratory at Yonkers to pursue his own research, including on synthetic resins. Several chemists had earlier obtained resinous products from the reaction between phenol and formaldehyde but had ignored them. By 1907 Baekeland had achieved sufficient control over the reaction to obtain a good thermosetting resin which he called "Bakélite". It showed good electrical insulation and resistance to chemicals, and was unchanged by heat. It could be moulded while plastic and would then set hard on heating, with its only drawback being its brittleness. Bakelite was an immediate success in the electrical industry and Baekeland set up the General Bakelite Company in 1910 to manufacture and market the product. The firm grew steadily, becoming the Bakélite Corporation in 1924, with Baekeland still as active President.

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SUBJECT AREA: Chemical technology

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Around 1850, the exciting new metal aluminium began to be produced by the process developed by Sainte-Claire Deville. However, it remained expensive on account of the high cost of one of the raw materials, sodium. It was another thirty years before Castner became the first to work successfully the process for producing sodium, which consisted of heating sodium hydroxide with charcoal at a high temperature. Unable to interest American backers in the process, Castner took it to England and set up a plant at Oldbury, near Birmingham. At the moment he achieved commercial success, however, the demand for cheap sodium plummeted as a result of the development of the electrolytic process for producing aluminium. He therefore sought other uses for cheap sodium, first converting it to sodium peroxide, a bleaching agent much used in the straw-hat industry. Much more importantly, Castner persuaded the gold industry to use sodium instead of potassium cyanide in the refining of gold. With the "gold rush", he established a large market in Australia, the USA, South Africa and elsewhere, but the problem was to meet the demand, so Castner turned to the electrolytic method. At first progress was slow because of the impure nature of the sodium hydroxide, so he used a mercury cathode, with which the released sodium formed an amalgam. It then reacted with water in a separate compartment in the cell to form sodium hydroxide of a purity hitherto unknown in the alkali industry; chlorine was a valuable by-product.

In 1894 Castner began to seek international patents for the cell, but found he had been anticipated in Germany by Kellner, an Austrian chemist. Preferring negotiation to legal confrontation, Castner exchanged patents and processes with Kellner, although the latter's had been less successful. The cell became known as the Castner-Kellner cell, but the process needed cheap electricity and salt, neither of which was available near Oldbury, so he set up the Castner-Kellner Alkali Company works at Runcorn in Cheshire; at the same time, a pilot plant was set up in the USA at Saltville, Virginia, with a larger plant being established at Niagara Falls.

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SUBJECT AREA: Broadcasting, Electronics and information technology, Recording

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After education in Hungary and a period as an assistant at the Technische Hochschule, Berlin, Goldmark moved to England, where he joined Pye of Cambridge and worked on an experimental thirty-line television system using a cathode ray tube (CRT) for the display. In 1936 he moved to the USA to work at Columbia Broadcasting Laboratories. There, with monochrome television based on the CRT virtually a practical proposition, he devoted his efforts to finding a way of producing colour TV images: in 1940 he gave his first demonstration of a working system. There then followed a series of experimental field-sequential colour TV systems based on segmented red, green and blue colour wheels and drums, where the problem was to find an acceptable compromise between bandwidth, resolution, colour flicker and colour-image breakup. Eventually he arrived at a system using a colour wheel in combination with a CRT containing a panchromatic phosphor screen, with a scanned raster of 405 lines and a primary colour rate of 144 fields per second. Despite the fact that the receivers were bulky, gave relatively poor, dim pictures and used standards totally incompatible with the existing 525-line, sixty fields per second interlaced monochrome (black and white) system, in 1950 the Federal Communications Commission (FCC), anxious to encourage postwar revival of the industry, authorized the system for public broadcasting. Within eighteen months, however, bowing to pressure from the remainder of the industry, which had formed its own National Television Systems Committee (NTSC) to develop a much more satisfactory, fully compatible system based on the RCA three-gun shadowmask CRT, the FCC withdrew its approval.

While all this was going on, Goldmark had also been working on ideas for overcoming the poor reproduction, noise quality, short playing-time (about four minutes) and limited robustness and life of the long-established 78 rpm 12 in. (30 cm) diameter shellac gramophone record. The recent availability of a new, more robust, plastic material, vinyl, which had a lower surface noise, enabled him in 1948 to reduce the groove width some three times to 0.003 in. (0.0762 mm), use a more lightly loaded synthetic sapphire stylus and crystal transducer with improved performance, and reduce the turntable speed to 33 1/3 rpm, to give thirty minutes of high-quality music per side. This successful development soon led to the availability of stereophonic recordings, based on the ideas of Alan Blumlein at EMI in the 1930s.

In 1950 Goldmark became a vice-president of CBS, but he still found time to develop a scan conversion system for relaying television pictures to Earth from the Lunar Orbiter spacecraft. He also almost brought to the market a domestic electronic video recorder (EVR) system based on the thermal distortion of plastic film by separate luminance and coded colour signals, but this was overtaken by the video cassette recorder (VCR) system, which uses magnetic tape.

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See also: Baird, John Logie

SUBJECT AREA: Recording

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He graduated from the Dover Academy (Delaware) in 1882 and was apprenticed in a machine-repair firm in Philadelphia and studied in evening classes at the Spring Garden Institute. In 1888 he took employment in a small Philadelphia machine shop owned by Andrew Scull, specializing in repair and bookbinding machinery. After travels in the western part of the US, in 1891 he became a partner in Scull \& Johnson, Manufacturing Machinists, and established a further company, the New Jersey Wire Stitching Machine Company. He bought out Andrew Scull's interest in October 1894 (the last instalment being paid in 1897) and became an independent general machinist. In 1896 he had perfected a spring motor for the Berliner flat-disc gramophone, and he started experimenting with a more direct method of recording in a spiral groove: that of cutting in wax. Co-operation with Berliner eventually led to the incorporation of the Victor Talking Machine Company in 1901. The innumerable court cases stemming from the fact that so many patents for various elements in sound recording and reproduction were in very many hands were brought to an end in 1903 when Johnson was material in establishing cross-licencing agreements between Victor, Columbia Graphophone and Edison to create what is known as a patent pool. Early on, Johnson had a thorough experience in all matters concerning the development and manufacture of both gramophones and records. He made and patented many major contributions in all these fields, and his approach was very business-like in that the contribution to cost of each part or process was always a decisive factor in his designs. This attitude was material in his consulting work for the sister company, the Gramophone Company, in London before it set up its own factories in 1910. He had quickly learned the advantages of advertising and of providing customers with durable equipment and records. This motivation was so strong that Johnson set up a research programme for determining the cause of wear in records. It turned out to depend on groove profile, and from 1911 one particular profile was adhered to and processes for transforming the grooves of valuable earlier records were developed. Without precise measuring instruments, he used the durability as the determining factor. Johnson withdrew more and more to the role of manager, and the Victor Talking Machine Company gained such a position in the market that the US anti-trust legislation was used against it. However, a generation change in the Board of Directors and certain erroneous decisions as to product line started a decline, and in February 1926 Johnson withdrew on extended sick leave: these changes led to the eventual sale of Victor. However, Victor survived due to the advent of radio and the electrification of replay equipment and became a part of Radio Corporation of America. In retirement Johnson took up various activities in the arts and sciences and financially supported several projects; his private yacht was used in 1933 in work with the Smithsonian Institution on a deep-sea hydrographie and fauna-collecting expedition near Puerto Rico.

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SUBJECT AREA: Electronics and information technology

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Kilby spent most of his childhood in Great Bend, Kansas, where he often accompanied his father, an electrical power engineer, on his maintenance rounds. Working in the blizzard of 1937, his father borrowed a "ham" radio, and this fired Jack to study for his amateur licence (W9GTY) and to construct his own equipment while still a student at Great Bend High School. In 1941 he entered the University of Illinois, but four months later, after the attack on Pearl Harbor, he was enlisted in the US Army and found himself working in a radio repair workshop in India. When the war ended he returned to his studies, obtaining his BSEE from Illinois in 1947 and his MSEE from the University of Wisconsin. He then joined Centralab, a small electronics firm in Milwaukee owned by Globe-Union. There he filed twelve patents, including some for reduced titanate capacitors and for Steatite-packing of transistors, and developed a transistorized hearing-aid. During this period he also attended a course on transistors at Bell Laboratories. In May 1958, concerned to gain experience in the field of number processing, he joined Texas Instruments in Dallas. Shortly afterwards, while working alone during the factory vacation, he conceived the idea of making monolithic, or integrated, circuits by diffusing impurities into a silicon substrate to create P-N junctions. Within less than a month he had produced a complete oscillator on a chip to prove that the technology was feasible, and the following year at the 1ERE Show he demonstrated a germanium integrated-circuit flip-flop. Initially he was granted a patent for the idea, but eventually, after protracted litigation, priority was awarded to Robert Noyce of Fairchild. In 1965 he was commissioned by Patrick Haggerty, the Chief Executive of Texas Instruments, to make a pocket calculator based on integrated circuits, and on 14 April 1971 the world's first such device, the Pocketronic, was launched onto the market. Costing $150 (and weighing some 2½ lb or 1.1 kg), it was an instant success and in 1972 some 5 million calculators were sold worldwide. He left Texas Instruments in November 1970 to become an independent consultant and inventor, working on, amongst other things, methods of deriving electricity from sunlight.

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SUBJECT AREA: Photography, film and optics

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Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.

The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.

Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.

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SUBJECT AREA: Agricultural and food technology

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John Ridley was a preacher in his youth, and then became a mill owner before migrating to Australia with his wife and daughters in 1839. Intending to continue his business in the new colony, he took with him a "Grasshopper" overbeam steam-engine made by James Watt, together with milling equipment. Cereal acreages were insufficient for the steam power he had available, and he expanded into saw milling as well as farming 300 acres. Aware of the Adelaide trials of reaping machines, he eventually built a prototype using the same principles as those developed by Wrathall Bull. After a successful trial in 1843 Ridley began the patent procedure in England, although he never completed the project. The agricultural press was highly enthusiastic about his machine, but when trials took place in 1855 the award went to a rival. The development of the stripper enabled a spectacular increase in the cereal acreage planted over the next decade. Ridley left Australia in 1853 and returned to England. He built a number of machines to his design in Leeds; however, these failed to perform in the much damper English climate. All of the machines were exported to South America, anticipating a substantial market to be exploited by Australian manufacturers.

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