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1 увеличить
1. augment2. magnify3. raise4. increase; enlarge; magnify5. add6. aggrandize7. enlarge8. expand9. multiply10. swellСинонимический ряд:1. повысить (глаг.) повысить; поднять; умножить2. усилить (глаг.) приумножить; усилитьАнтонимический ряд: -
2 укрупненный
enlarged, in less detail, preassembled -
3 чертёж
design, diagram, draft, drawing, figure, layout, plan* * *чертё́ж м.
drawingизготовля́ть по чертежу́ — make from drawingкопи́ровать чертё́ж на ка́льке — trace a drawing on tracing paper or tracing clothподпи́сывать чертё́ж — letter a drawing, produce lettering on a drawingподпи́сывать чертё́ж от руки́ — produce lettering [letter] freehandразбива́ть чертё́ж в натура́льных разме́рах мор. — develop a vessels the lines, lay out a vessels true lines to full size on the mould-loft floorразмеча́ть чертё́ж на плаву́ мор. — develop [lay out] a drawing to full size on a (shipyard) mould-loft floorчита́ть чертё́ж — read blueprintsчертё́ж в натура́льную величину́ — full-size drawingчертё́ж в разре́зе — sectional drawingчертё́ж в увели́ченном масшта́бе — enlarged drawingгабари́тный чертё́ж — outline drawingдеталиро́ванный чертё́ж — detail(ed) drawingдета́льный чертё́ж — detail(ed) drawingизометри́ческий чертё́ж — isometric drawingмонта́жный чертё́ж — assembly [erection, mounting] drawingрабо́чий чертё́ж — shop [working] drawingразме́точный чертё́ж — layout drawingсбо́рочный чертё́ж — assembly drawingчертё́ж с разме́рами — dimensioned drawingстрои́тельный чертё́ж — construction planсхемати́ческий чертё́ж — schematic diagram(me), sketchтеорети́ческий чертё́ж ( корабля) — lines drawingустано́вочный чертё́ж — installation drawingэски́зный чертё́ж — sketch, draftэтало́нный чертё́ж — master drawing -
4 чертёж
м. drawing -
5 укрупненный
1) enlarged
2) in less detail
3) <constr.> preassembled
– блок укрупненный
– узел укрупненный
– укрупненный план -
6 πίνω
Grammatical information: v.Meaning: `to drink'Other forms: Aeol., also Dor. (Call. Cer. 95) πώνω, fut. πίομαι, aor. ἔπιον, πιεῖν (all Hom.; later πεῖν), ipv. πῖθι (com. a.o.), Aeol. πῶθι, pass. ἐπόθην with fut. ποθήσομαι, perf. act. πέπωκα (all Att.), midd. πέπομαι (Od.); besides as causat. πιπίσκω, fut. πίσω, aor. πῖσαι, πισθῆναι, also w. προ-, ἐν-, συν- a.o. `give to drink, water' (Pi., Hp., Nic.).Derivatives: Many derivv. (condensed survey): A. From the zero grade πο-, most with τ-sufflx: 1. ποτόν n. `beverage' (Il.), ποτός `drinkable' (trag., Th.; ἔμποτος Aret.), πότος m. `drinking, beverage' (Att., Theoc.); from this πότ-ιμος `drinkable, fresh, pleasant' (IA; Arbenz 50f.), - ικός `inclined towards drinking etc.' (Alc. com., Plu.), most συμ- πίνω `belonging to the bacchanalia, pot companion' (Att.: συμπό-της, - σιον, s. v.); - ίζω, Dor. - ίσδω, also with προ- a.o., `to make drink, to drench' (IA., Theoc.) with - ισμός, - ισμα, - ιστές, - ιστήριον, - ιστρίς, - ίστρα. 2. ποτή f. `drink, draught' (pap.) gen. a. acc. - ῆτος, - ῆτα (Hom.; metr. enlerged, orig. at verse-end; Schwyzer 529 w. n. 1 a. lit.; not haplolog. from *ποτο-τη-τος, - τη-τα with Fraenkel Gnomon 21, 40 a.o.); πότ-ημα n. `(medical) drink' (medic.; enlarged form, Chantraine Form. 178). 3. πόσις f. (also w. προ-, κατα- a.o. in diff. senses) `drinking, drink, bacchanalia' (Il.) with πόσιμος `drinkable' (pap. IVp, Ps.-Callisth.; cf. πότιμος above); πόμα s.v. 4. ποτήρ m. `drinking cup' (E.), - ήριον n. `id.' (Aeol. IA.); πότης m. `drinker' (only in πότης λύχνος Ar. Nu. 57), f. πότις (com.); both from the usual compp., e.g. συμπό-της (Pi.), οἰνο-πό-της, - τις (Anacr. etc.), disjoined? (Leumann Mus. Helv. 2, 12 = Kl. Schr. 226); superl. ποτίστατος (Ar. a.o.); to this derivv. like συμπόσ-ιον `bacchanalia' (Pi., Alc.), καταπότ-ιον `pill' (medic.; καταπότης `throat' H., Suid.); οἰνοποτ-ά-ζω `to drink wine' (Hom.). 5. καταπό-θρα f. `(region of the) throat' (Paul. Aeg.). -- B. From the full grade: πῶμα n. `draught, drink, beverage' (Att.), ἔκπω-μα n. `drinking ware' (IA.), beside πόμα ( πρό-, κατά-, ἔκ- πίνω) n. `id.' (Pi., Ion. hell.); ἔκπωτις = ἄμπωτις ( Cat. Cod. Astr.); εὔπωνος ὄμβρος εὔποτος H., γακου-πώνης ἡδυπότης H. -- C. From the zero grade πῑ-: 1. πίστρα f., πῖστρα n. pl. `drinks' (E. Kyk., Str.), also πισμός, πιστήρ, πιστήριον H.; with analog. - σ- as 2. πιστός `drinkable, fluid' (A.; after χριστός, Leumann Mus. Helv. 14, 79 = Kl. Schr. 264), πιστικός `id.' (Ev. Marc., Ev. Io.); 3. Boeot. πιτεύω `to drench, to water' with ἀ-πίτευτος `unwatered' (Thespiae IIIa), from a noun *πῑτ(ο)-; cf. below. To be rejected Brugmann IF 39, 149 ff. (to πίων, OCS pitati `to feed' etc.); cf. Benveniste BSL 51, 29 f. w. lit.Etymology: The above system developed on the basis of an IE starting point independently inside Greek. From the imperatives πῖ-θι and πῶ-θι we can conclude to two athematic root-aorists *ἔ-πῑ-ν and *ἔ-πω-ν; to the latter provides Skt. á-pā-m (with pā-hí = πῶ-θι) an exact agreement: IE *é-peh₃-m. As zero grade was pī- in the plur. at home: IE *é-piH-me, which in Skt. was replaced by full grade á-pā-ma but in Greek πῖθι left a trace; note further OCS 2. a. 3. sg. aor. pi. Further, in Greek the athemat. forms wer replaced by the themat. ἔ-πι-ον with generalized zero grade. The origin of the form piH- is not well known. The shortvocalic subj. of this root-aorist lives on in fut. πί-ο-μαι (like ἔδ-ο-μαι; s. ἔδω); to the aorist still the nasal prsesents πί-ν-ω and πώ-ν-ω; cf. ἔ-δῡ-ν: δύ̄-ν-ω. To *ἔ-πῑ-ν was formed the factitive ἔ-πῑ-σα `I gave to drink' after ἔ-στη-ν: ἔ-στη-σα, ἔ-φῡν: ἔ-φῡ-σα a.o.; to this the reduplicated pres. πι-πί-σκω (cf. δι-δά-σκω: δα-ῆναι, βι-βά-σκω: ἔ-βη-σα: ἔ-βη-ν). The strongly spread zero grade πο- ( πέποται, ἐπόθην, πόσις usw.) is a Greek innovation after δο- ( δέδοται, ἐδόθην, δόσις). The perf. act. πέ-πω-κα agrees with Skt. pa-páu, but can also have been created newly to *ἔ-πω-ν. The nominal stem πῑτ- in πιτεύω is inherited and is found also in Skt. pī-tá- `drunk(en)', pī-ti ́'drinking, drink'. The 2. member in εὔ-πωνος and γακου-πώνης agrees with Skt. pā́-na-m n. `drink'. In ablaut deviating are πο-τήρ `drinking cup' (only E.; οἰνο-ποτῆρας acc. pl. θ 456 metr. for - πότας) and Skt. pā-tár- 'drinker', comparable πό-σις and pī-tí- (s. ab.); rather parallel innovations than old inherited material. -- Among the remaining many representatives of this family we mention only the reduplicated zero grade themat. pres. Sk. pí-b-ati, Lat. bi-b-ō, OIr. 2. pl. ipv. i-b-id (phonetically in detail uncertain) and the Lat. nouns pō-tus, pō-culum. (The Skt. caus. pāy-áyati goes back on *po-i-ei̯-, not a full grade *pōi̯-) -- On the histoy of the Greek forms s. Leumann Mus. Helv. 14, 75ff. (= Kl. Schr. 260ff.); further material of the other languages with rich lit. in WP. 2, 71 f., Pok. 839 f., W.-Hofmann s. bibō, Mayrhofer s. píbati and pā́ti 2. -- On ἄμπωτις and πῖνον s. v.Page in Frisk: 2,540-542Greek-English etymological dictionary (Ελληνικά-Αγγλικά ετυμολογική λεξικό) > πίνω
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7 Coade, Eleanor
SUBJECT AREA: Architecture and building[br]b. 24 June 1733 Exeter, Devon, Englandd. 18 November 1821 Camberwell, London, England[br]English proprietor of the Coade Factory, making artificial stone.[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]Further ReadingA.Kelly, 1990, Mrs Coade's Stone, pub. in conjunction with the Georgian Group (an interesting, carefully written history; includes a detailed appendix on architects who used Coade stone and buildings where surviving work may be seen).DY -
8 увеличивать
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