heritage+field

² = review, scholarship, study [studies, -pl.], work, calibration, surveying, analysis [analyses, -pl.].

Nota: Proceso de estudio de un todo para encontrar sus partes esenciales y las relaciones existentes entre ellas.

Ex. The review is supported by a complete list of LIPs completed or in progess at Aug 88, followed by references to their reports.

Ex. The most important of the functions of librarians is the collection, preservation and affording access to the materials of scholarship.

Ex. A study of the major general schemes reveals a wide gulf between theory, as outlined in the previous chapter, and practice, as reflected in the major schemes.

Ex. The Classification Research Group (CRG) has been a major force in the development of classification theory, and has made a major contribution towards work on a new general classification scheme.

Ex. This requires careful calibration of reader response and the use of as many quantitative indices as possible.

Ex. The author describes one effort made to counter this trend, through the surveying of the records of a library and the identification of materials to be preserved.

Ex. The operation of investigating a whole with the aim of finding out its essential parts and their relationship to each other is known as analysis.

----

* abandonar los estudios = drop out (from school), drop out of + school.

* ámbito de estudio = scope.

* área de estudio = study area, study area.

* asignatura de estudios = curriculum subject.

* beca de estudio(s) = study grant, education grant.

* bolsa de estudios = bursary.

* campo de estudio = field of study.

* centro de apoyo a los programas de estudios = curriculum material center.

* centro de estudios = study centre.

* comisionar un estudio = commission + study.

* compañero de estudios = co-student.

* con estudios = schooled, educated, educated.

* con estudios superiores = highly educated.

* con un nivel de estudios alto = well educated [well-educated].

* dejar los estudios = drop out (from school), drop out of + school.

* desarrollo del plan de estudios = curriculum development.

* disciplina de estudio = field of study.

* diseñado para el estudio = curriculum-oriented.

* diseño de planes de estudios = curriculum design.

* edad de finalización de los estudios = terminal education age.

* encargar un estudio = commission + study.

* en el estudio = at study.

* enseñanza a través del estudio de casos = case-teaching.

* espacio reservado para el estudio = study space.

* estudiante de bachiller que abandona los estudios = high-school dropout.

* estudiante que ha completado los estudios secundarios = high school graduate, high school leaver.

* estudiante universitario que abandona los estudios = college dropout.

* estudio académico = academic study.

* estudio basado en un cuestionario = questionnaire survey.

* estudio bibliométrico = bibliometric analysis.

* estudio cartográfico = ordnance survey.

* estudio cinematográfico = film location, film studio.

* estudio clásico = classic study.

* estudio comparativo = correlation study.

* estudio crítico del estado de la cuestión = review.

* estudio cualitativo = qualitative study.

* estudio cuantitativo = quantitative study.

* estudio de alcance = scoping study.

* estudio de arquitectos = architecture firm, architectural firm.

* estudio de caso = case study.

* estudio de impacto = impact study.

* estudio de impacto en el medio ambiente = environmental impact study.

* estudio de la productividad = time-and-motion study, time study, motion study.

* estudio del estado de la cuestión = survey.

* estudio de los himnos = hymnology.

* estudio Delphi = Delphi study.

* estudio de mercado = market survey, market research, marketing audit, consumer research.

* estudio de seguimiento = follow-up study.

* estudio de usabilidad = usability study.

* estudio de uso = use study.

* estudio de usuario = reader survey, consumer survey, customer survey.

* estudio de usuarios = user study, marketing audit, user survey.

* estudio de usuarios de la biblioteca = library user study.

* estudio de viabilidad = demonstration project, feasibility study.

* estudio epidemiológico = epidemiological study.

* estudio geológico = geological survey.

* estudio local = area study.

* estudio longitudinal = longitudinal study.

* estudio piloto = pilot study, pilot test.

* estudio por simulación = simulation study.

* estudio regional = area study.

* estudios = academic background, course of study, educational career.

* estudios africanos = African studies.

* estudios afroamericanos = black studies.

* estudios culturales = cultural studies.

* estudios de administración = management studies.

* estudios de auxiliar administrativo = information administration.

* estudios de gestión = management science.

* estudios de la mujer = women's studies, gender studies.

* estudios de la paz y los conflictos = peace and conflict studies.

* estudios de licenciatura = graduate work, graduate education.

* estudios de literatura clásica = classical studies.

* estudios del medio ambiente = environmental studies.

* estudios de secretariado = secretarial studies.

* estudios de tipografía = typographical studies.

* estudios empresariales = business studies.

* estudios en el extranjero = study abroad.

* estudios europeos = European studies.

* estudio sicométrico = psychometric study.

* estudios literarios = literary studies.

* estudios relacionados con las misiones religiosas = missiology.

* estudios sobre la mujer = women's studies, gender studies.

* estudios sobre paz y conflictos = peace and conflict studies.

* estudios sociales = cultural studies.

* estudios socioculturales = cultural studies.

* estudio topográfico = surveying.

* estudio universitario = academic study.

* finalización de los estudios = graduation.

* finalizar los estudios de BUP = complete + high school.

* grupo de estudio = study circle.

* habitación de estudio = private study, study facilities.

* institución para el estudio y la conservación del patrimonio cult = heritage organisation.

* libro de estudio = study book.

* materia de estudio = subject of study.

* material de estudio = study material, course material, curriculum material, curriculum resource, study package.

* mesa de estudio = carrel, study table.

* mesa individual de estudio = study carrel.

* metodología de estudio = study skills.

* nivel de estudios = educational background, level of education.

* objeto de estudio = subject, object of study, under study.

* partitura de estudio = miniature score.

* permiso de estudios = study leave.

* persona que elabora el plan de estudios = syllabus maker.

* plan de estudios = curriculum [curricula, -pl.], syllabus [syllabi/syllabuses, -pl.], school curriculum, study plan.

* planes de estudios = syllabi.

* primer año de estudios superiores = freshman year.

* programa de estudio = programme of study.

* programa de estudios = course brochure, educational program(me), school program(me), study program(me), syllabus [syllabi/syllabuses, -pl.], education programme.

* programa de estudios común = common core syllabus.

* programas de estudios = syllabi.

* realización de los estudios escolares en casa = homeschooling [home schooling].

* realizar estudios = do + study.

* realizar un estudio = carry out + survey, conduct + survey, undertake + study, undertake + survey, conduct + study.

* realizar un estudio evaluativo = conduct + review.

* reforma del plan de estudios = curriculum development.

* relacionado con los estudios = course-related.

* relativo a los estudios de diplomatura = undergrad (undergraduate).

* relativo a los estudios de licenciatura = grad (graduate), postgraduate [post-graduate].

* sala de estudio = study facilities, study room.

* sin estudios = ill-educated.

* técnicas de estudio = study skills.

* tema de estudio = study area, under study.

* terminar los estudios = graduate.

* tiempo de estudio = study time.

* unidad de estudio = unit of study, study unit.

* viaje de estudio = study trip.

* zona de estudio = study area, study facilities.

mîlli:

Champ cultivé, terre labourée.

Esp., sementera, terre cultivée par opposition à 'tlâlli'. Pint. del Gob. f. Z-464.

heredad, propriété, domaine, héritage. Molina II 56v.

Angl., cultivate field. R.Andrews Introd 453.

" mîlli ", des champs. Cités parmi les choses précieuses que l'on pouvait gagner au jeu de patolli. SahS,60.

" quicempanocuihtihuih in mîlli ", ils vont en se tenant sur une file dans les champs - they all went together to the field. Sah2,57.

* à la forme possédée, " nomîl ", mon champ.

R.Joe Campbell et Frances Karttunen donnent le pluriel " mîltin ", les champs.

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: Mechanical, pneumatic and hydraulic engineering

[br]

[br]

[br]

James Nasmyth was the youngest son of Alexander Nasmyth (1758–1840), the portrait and landscape painter. According to his autobiography he was named James Hall after his father's friend, the geologist Sir James Hall (1761–1832), but he seems never to have used his second name in official documents. He received an elementary education at Edinburgh High School, but left at the age of 12. He attended evening classes at the Edinburgh School of Arts for the instruction of Mechanics between 1821 and 1825, and gained experience as a mechanic at an early age in his father's workshop. He shared these early experiences with his brother George, who was only a year or so older, and in the 1820s the brothers built several model steam engines and a steam-carriage capable of carrying eight passengers on the public roads. In 1829 Nasmyth obtained a position in London as personal assistant to Henry Maudslay, and after Maudslay's death in February 1831 he remained with Maudslay's partner, Joshua Field, for a short time. He then returned to Edinburgh, where he and his brother George started in a small way as general engineers. In 1834 they moved to a small workshop in Manchester, and in 1836, with the aid of financial backing from some Manchester businessmen, they established on a site at Patricroft, a few miles from the city, the works which became known as the Bridgewater Foundry. They were soon joined by a third partner, Holbrook Gaskell (1813–1909), who looked after the administration of the business, the firm then being known as Nasmyths Gaskell \& Co. They specialized in making machine tools, and Nasmyth invented many improvements so that they soon became one of the leading manufacturers in this field. They also made steam locomotives for the rapidly developing railways. James Nasmyth's best-known invention was the steam-hammer, which dates from 1839 but was not patented until 1842. The self-acting control gear was probably the work of Robert Wilson and ensured the commercial success of the invention. George Nasmyth resigned from the partnership in 1843 and in 1850 Gaskell also resigned, after which the firm continued as James Nasmyth \& Co. James Nasmyth himself retired at the end of 1856 and went to live at Penshurst, Kent, in a house which he named "Hammerfield" where he devoted his time mainly to his hobby of astronomy. Robert Wilson returned to become Managing Partner of the firm, which later became Nasmyth, Wilson \& Co. and retained that style until its closure in 1940. Nasmyth's claim to be the sole inventor of the steam-hammer has been disputed, but his patent of 1842 was not challenged and the fourteen-year monopoly ensured the prosperity of the business so that he was able to retire at the age of 48. At his death in 1890 he left an estate valued at £243,805.

[br]

= Blue Shield, the

Ex. The Blue Shield is the equivalent of the Red Cross/Red Crescent in the field of cultural heritage.

= Red Crescent, the

Ex. The Blue Shield is the equivalent of the Red Cross/Red Crescent in the field of cultural heritage.

¹ = time-honoured, traditional, established, old-fashioned, tradition-bound, ancestral, standard, conventional, folkloristic, folkloric, tweedy [tweedier -comp., tweediest -sup.], brick(s) and mortar, timeworn.

Ex. The time-honoured training institution 'sitting with Nellie' is not much good if Nellie's competence is not up to scratch.

Ex. It may well be that the computer-based environment of such systems may overcome many of the limitations of enumerative classification schemes in their traditional applications.

Ex. These are trends designed to to break down boundaries of exclusivity erected by established professions to exploit their monopolistic advantages.

Ex. One is tempted to say that the enthusiasts for postcoordinate systems, being forced to admit reluctantly that control was necessary, couldn't bear to use the old-fashioned term 'list of subject headings'.

Ex. Tradition-bound acquisitions librarians may soon find themselves expendable -- acceptance of new technologies is essential for the survival of the acquisitions librarian.

Ex. All the libraries reflect colonial influence but there is a strong movement towards the study of their ancestral heritage.

Ex. Photographs are normally kept in drawers of standard filing cabinets, with folders or pockets, or both.

Ex. The foregoing discussion concerning analytical entries assumes implicitly a conventional catalogue format, that is, card, microform or other printed catalogue.

Ex. The cult of information forms the catalyst for a discussion of the ways in which information has acquired folkloristic status as the major way in which people look at the world.

Ex. Such recordings often originate in field work and are ethnomusicological, ethnolinguistic or folkloric in content.

Ex. No bright new digital firm can do without at least some of the supposedly decrepit bureaucracy it so abhors in the old tweedy institutions it wants to replace.

Ex. Advocates of the virtual university assume that the Internet can be used to replace the bricks and mortar campus.

Ex. But beyond the honeymoon hotels and resorts, Polynesian life goes on and timeworn traditions are preserved.

----

* arte tradicional = folk art.

* biblioteca tradicional = brick and mortar library.

* biblioteca traditional = physical library.

* costumbre tradicional = traditional custom.

* cultura tradicional = traditional culture.

* estilo tradicional = traditional style.

* literatura tradicional = folk literature.

* mercado tradicional = traditional market.

* modo de vida tradicional = folklife.

* museo tradicional = folk museum, folklore museum.

* no tradicional = non-traditional [nontraditional].

* ya tradicional = long-established.

² = attribute value, esteem, value, value, worth, worthiness, goodness.

Ex. Others have used possibility distributions for representing fuzzily known or incompletely known attribute values.

Ex. The two cases perhaps indicate the beginning of attitudinal changes in awards administrators which will give parity of esteem to information-driven programmes.

Ex. A good initial value for this field will start the system off with a good guess so that claims for missing issues are not unreasonable at the beginning.

Ex. This stop list is input to the computer before indexing can commence, and is a list of the words which appear in text which have no value as access words in an index.

Ex. The circulation of large numbers of books regardless of their worth to multitudes of people is no better criterion of mental health than is the profitable sale of quack medicines evidence of bodily health.

Ex. Another goal of terrorism is to demonstrate to terrorists their own worthiness and thus to claim a sort of moral victory over their enemies.

Ex. Measurement in and of itself is neutral and cannot indicate ' goodness' or 'badness' = La medición en sí misma es neutral y no puede indicar lo bueno o malo que algo es.

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* adición de valor = value adding.

* adquirir un valor añadido = take on + added weight.

* asignar valor a = attach + value to.

* aumentar de valor = increase in + value.

* bolsa de valores = stock exchange, stock market, share market.

* Bolsa de Valores de Nueva York = New York Stock Exchange (NYSE).

* cadena de valores = value chain.

* carecer de valor = have + a hollow ring.

* carente de valor = worthless.

* centrado en los valores = value-driven.

* código de valores = code of values.

* conflicto de valores = conflict of values.

* con juicio de valor = value-loaded.

* conjunto de valores = set of values.

* contabilidad de valores devengados = accrual accounting.

* con valores difusos = fuzzy-valued.

* conversión en valor monetario = monetisation [monetization, -USA].

* convertido en valor monetario = monetised [monetized, -pl.].

* convertir en valor monetario = monetise [monetize, -USA].

* dar mucho valor a Algo = value + Nombre + highly.

* dar valor = imbue with + value.

* de gran valor = highly valued, highly valuable.

* de gran valor histórico = of great historical value.

* de incalculable valor = priceless.

* de poco valor = a dime a dozen.

* descomposición por valores simples = singular value decomposition.

* de valor = of value.

* de valor añadido = value-added, value-adding.

* de valor equiparable = of comparable worth.

* de valor incalculable = invaluable.

* disminuir el valor de = belittle.

* edificio de valor histórico = heritage-listed building.

* emitir un juicio de valor = exercise + value judgment, pass + value judgement.

* enfrentamiento de valores = conflict of values.

* escala de valores = graded range, set of values.

* establecer valores = establish + values.

* falta de valor = worthlessness.

* forma de la curva estadística en su valor más alto = peak-shape.

* hacer prevaler las ideas y valores de uno mismo = assert + own ideas and values.

* hacer que tenga más valor = put + a premium on.

* igualdad de retribución por un trabajo de igual valor = equal pay for equal work.

* igualdad de retribución por un trabajo de valor comparable = equal pay for comparable work.

* impuesto sobre el valor añadido (IVA) = value added tax (VAT).

* juicio de valor = value judgement.

* mercado de valores = stock market, share market.

* método del Valor de Discriminación (DV) = Discrimination Value model (DV).

* minar los valores tradicionales = undermine + traditional values.

* no tener valor = be valueless.

* nuevo valor = newcomer.

* objeto de valor = valuable.

* objeto de valor cultural = cultural valuable.

* objetos de valor = valuables.

* perder valor = lose + Posesivo + value.

* pérdida de valor = devaluation, loss of value.

* pez de valor = game fish.

* por valor de + Número = amounting to + Cantidad.

* quitar el valor = render + valueless.

* quitar valor = devalue, deflate.

* reducir el valor = reduce + value.

* regla del valor literal = face value rule.

* ser de poco valor = be of little use, be of little value.

* ser de un valor especial = be of particular value.

* servicios de red de valor añadido (VANS) = value added network services (VANS).

* sin valor = dummy, worthless, valueless, drossy.

* sistema de valores = system of values, value system.

* sistema de valores personales = personal value system.

* sistema de valores sociales = social value system.

* tener poco valor = be of little value.

* tener un valor especial = be of particular value.

* tener valor = count.

* valor afectivo del servicio = affect of service.

* valor añadido = added benefit, added value.

* valor atípico = outlier.

* valor característico = eigenvalue.

* valor comercial = marketing value, commercial paper.

* valor cultural = cultural value.

* valor de la novedad = novelty value.

* valor de la propiedad = property value.

* valor de ley = force of law.

* valor de ordenación = filing value.

* valor de pertinencia = estimation of relevance.

* valor de predicción = predictive power.

* valor de retención = retention value.

* valor económico = monetary value, economic value, monetary worth.

* valor efectivo = cash value.

* valores = assets, ethos, equities, equity shares.

* valores agregados = value chain.

* valores añadidos = value chain.

* valores de la bolsa = stock prices, stock market quotations.

* valores familiares = family values.

* valor específico = weight, weighting.

* valores y normas de comportamiento de los miembros de una instutición = corporate culture.

* valor ético = ethical value.

* valor fundamental = asset.

* valor global = overall value.

* valor humano = human value.

* valor intrínsico = intrinsic worth.

* valor máximo = high-water mark.

* valor medicinal = medicinal value.

* valor medio = midrange, mean value.

* valor mínimo = low-water mark.

* valor monetario = monetary value, monetary worth.

* valor moral = moral value.

* valor numérico = numerical value.

* valor numérico exacto = crisp value.

* valor nutritivo = nutritional value, nutrient value.

* valor político = political value.

* valor por omisión = default value.

* valor positivo = virtue.

* valor representativo = eigenvalue.

* valor social = social value.

* VAN (red de valor añadido) = VAN (value added network).

traditional.

* * *

► adjetivo

1 traditional

\

es lo tradicional it's the traditional thing to do

* * *

* * *

ADJ traditional

* * *

adjetivo traditional

* * *

adjetivo traditional

* * *

tradicional¹

¹ = time-honoured, traditional, established, old-fashioned, tradition-bound, ancestral, standard, conventional, folkloristic, folkloric, tweedy [tweedier -comp., tweediest -sup.], brick(s) and mortar, timeworn.

tradicional²

² = traditional.

Nota: Nombre.

* * *

traditional

mañana, como es ya tradicional, se publicará el suplemento navideño tomorrow, as has become customary, we will publish our Christmas supplement

* * *

* * *

tradicional adj

traditional;

como es ya tradicional en cada partido de fútbol as has become traditional at every soccer game

* * *

adj traditional

* * *

tradicional adj

: traditional

♦ tradicionalmente adv

* * *

tradicional adj traditional

Blue Shield.

* * *

el Escudo Azul

la Media Luna Roja

•• warlord, warlordism

•• warlord, warlordism

- church fair

••

- fun of the fair

- day after the fair

- day before the fair

1) поэт. красивый, прекрасный ( обычно о женщинах)

- fair one

2) светлый, белокурый

- fair complexion

3) хороший, ясный; чистый

4) привлекательный, красивый (о словах, поступках)

5) мор. гладкий, ровный

6) чёткий, ясный

7) объёмный, большой, значительный, порядочный

8) амер. абсолютный, окончательный, полный, в наивысшей степени

9)

а) порядочный, честный, справедливый; законный

- fair price

б) незапятнанный, чистый

- fair name

в) вежливый, учтивый; мирный, спокойный

•

10) мор. попутный ( о ветре)

11) уст. свободный, беспрепятственный

•

- fair enough

••

1) красиво, прекрасно, приятно глазу

2) уст. учтиво, вежливо, благородно

3) чётко, чисто, ясно ( о почерке)

4) честно, откровенно, беспристрастно

5) гладко, ровно

6) прямо, точно ( об ударе)

7) полностью, совершенно, абсолютно

••

- fair and square

1) нечто вежливое, приличное

2) уст.; поэт. женщина; возлюбленная

1) диал. проясняться ( о погоде)

- fair up

2) переписывать начисто; выбелять ( документ)

3) тех. обеспечивать обтекаемость, сглаживать контур; подгонять детали

1898-1985

   Nacido en Sacramento, California, acostumbraba a acompanar a su madre, actriz, cuando los rodajes no se hacian en estudio. El mismo fue actor infantil, pero despues de un parentesis impuesto por la guerra, decidio pasar al otro lado de la camara convirtiendose en un honesto y atareado ayudante de direccion durante los anos 20. Ya por entonces comenzo su larga colaboracion con Paramount, que sobrevivio hasta el final, aunque en los anos 40 tambien trabajo extensamente con 20th Century-Fox. A comienzos de los anos 30, Henry Hathaway comienza a dirigir, y comienza a dirigir westerns, basados en novelas de Zane Grey. Son un total de ocho, interpretados, con una sola excepcion, por Randolph Scott; peliculas de una hora de duracion aproximadamente que, sin embargo, tienen algo que otros productos similares de esos anos no tienen. Acaso se trata del sello de la productora, sin duda la que procuraba lanzar al mercado las peliculas mas elegantes; acaso, la versatilidad de un realizador novel llamado a abordar empresas mas ilustres. Lo consiguio poco despues, en 1936, con The Trail of the Lonesome Pine, una de sus obras emblematicas y, sin duda, una estupenda pelicula y un magnifico western, que se mueve en una linea claramente fronteriza en relacion con las senas de identidad del genero. Claro que ya antes habia dirigido una de sus obras mas populares, Tres lanceros bengalies (The Lives of a Bengal Lan cer, 1935). Los anos 40 encuentran a Hathaway inmerso en proyectos variopintos: peliculas de aventuras mas o menos exoticas, cine negro, algun que otro melodrama con tintes patrioticos… Son, basicamente, anos Fox, que ofrecen filmes tan logrados como The House on 92nd Street (La casa de la calle 92, 1945) y El beso de la muerte (Kiss of Death, 1947), con un antologico Richard Widmark. En los anos 50, mas de lo mismo, solidas muestras de cine de genero, alguna que otra pelicula mitica como Niagara (1953) y tres westerns memorables. No resistire la tentacion de destacar, entre ellos, El jardin del Diablo, situada en los albores de la pantalla ancha del CinemaScope, donde el realizador, entre otras virtudes, da buenas muestras de como aprovechar el formato. No solo eso, claro; la pelicula es un apasionante viaje vital en el que parecen haberse intercambiado los extremos, porque se parte de algo parecido a la muerte y se camina hacia la vida, simbolizada por una sugerente puesta de sol sobre la que se aproximan dos siluetas. Los anos 60 y los comienzos de los 70 nos muestran al fin a un director veterano, lleno de recursos narrativos que, casi sin darse cuenta, abusa a veces un poco de ellos, lo que no le impide ser, sin la menor duda, uno de los grandes nombres del western. A el se debe lo mas logrado de esa megaproduccion que pretendio ser La conquista del Oeste, particularmente el ultimo de sus fragmentos, The Outlaws. Cada western de Hen ry Hathaway es digno de una reflexion detallada. Al final de ella se llega a conclusiones como la de que, efectivamente, estamos ante un punado de peliculas mas importantes de lo que su superficie permite sospechar, importancia que es capaz de vencer el obstaculo, en otras ocasiones insuperable, de la falta de unidad. En efecto, el mundo de Hathaway es multifacetico, acaso conceptualmente poco fundamentado, pero, como no hay mal que por bien no venga, ello evita el peligro de un monolitismo esteril, que ha conducido a tantos creadores a elaborar universos de tedio, eso si, muy personales.

   FILMOGRAFIA

    Heritage of the Desert (El legado de la estepa). 1932. 60 minutos. Blanco y Negro. Paramount. Randolph Scott, Sally Blaine.

    Wild Horse Mesa. 1932. 65 minutos. Blanco y Negro. Paramount. Randolph Scott, Sally Blaine.

    The Thundering Herd (La horda maldita). 1933. 62 minutos. Blanco y Negro. Paramount. Randolph Scott, Judith Allen, Harry Carey.

    Under the Tonto Rim (Estaba escrito). 1933. 63 minutos. Blanco y Negro. Paramount. Stuart Edwin, Fred Kohler, Verna Hillie.

    Sunset Pass (El paso del ocaso). 1933. 61 minutos. Blanco y Negro. Paramount. Randolph Scott, Kathleen Burke, Tom Keene.

    Man of the Forest (El hombre del bosque). 1933. 62 minutos. Blanco y Negro. Paramount. Randolph Scott, Verna Hillie, Harry Carey.

    To the Last Man. 1933. 70 minutos. Blanco y Negro. Paramount. Randolph Scott, Esther Ralston.

    The Last Round-Up (El ultimo rodeo). 1934. 61 minutos. Blanco y Negro. Paramount. Randolph Scott, Barbara Fritchie, Fred Kohler.

    The Trail of the Lonesome Pine. 1936. 102 minutos. Technicolor. Paramount. Sylvia Sidney, Fred MacMurray, Henry Fonda, Beulah Bondi.

    Brigham Young – Frontiersman. 1940. 114 minutos. Blanco y Negro. Fox. Tyrone Power, Linda Darnell, Dean Jagger, Brian Donlevy.

    The Shepherd of the Hills. 1941. 98 minutos. Technicolor. Paramount. John Wayne, Betty Field, Harry Carey, Beulah Bondi.

    Rawhide (El correo del infierno). 1951. 89 minutos. Blanco y Negro. Fox. Tyrone Power, Susan Hayward, Hugh Marlowe, Dean Jagger.

    Garden of Evil (El jardin del diablo). 1954. 100 minutos. Technicolor. CinemaScope. Fox. Gary Cooper, Susan Hayward, Richard Widmark, Hugh Marlowe, Cameron Mitchell, Rita Moreno.

    From Hell to Texas (Del infierno a Texas). 1958. 100 minutos. Color DeLuxe. CinemaScope. Fox. Don Murray, Diane Varsi, Chill Wills, Dennis Hopper.

    North to Alaska (Alaska, tierra de oro). 1960. 122 minutos. Color DeLuxe. CinemaScope. Fox. John Wayne, Stewart Granger, Capucine, Ernie Kovacs, Fabian.

    How the West Was Won (La conquista del Oeste) (co-d.: John Ford, George Marshall). Episodios: The Rivers (El rio),The Plains (Las llanuras)

    The Outlaws (Los bandidos). 1962. 165 minutos (duracion total). Metrocolor. Super Cinerama. MGM. Caroll Baker, James Stewart, Lee J. Cobb, Debbie Reynolds.

    The Sons of Katie Elder (Los cuatro hijos de Katie Elder). 1965. 122 minutos. Technicolor. Panavision. Paramount. John Wayne, Dean Martin, Martha Hyer, Earl Holliman.

    Nevada Smith (Nevada Smith). 1966. 128 minutos. Eastmancolor. Pana vision. Avco/Solar Productions. Steve McQueen, Karl Malden, Brian Keith, Arthur Kennedy, Suzanne Pleshette.

    5 Card Stud (El poker de la muerte). 1968. 103 minutos. Technicolor. Hall Wallis Productions (Paramount). Dean Martin, Robert Mitchum, Inger Stevens, Roddy McDowell.

    True Grit (Valor de ley). 1969. 128 minutos. Technicolor. Paramount. John Wayne, Glen Campbell, Kim Darby.

    Shoot Out (Circulo de fuego). 1971. 95 minutos. Technicolor. Universal. Gregory Peck, Susan Tyrell, Robert F. Lyons, Rita Gam.

(1799-1854)

   One of Portugal's greatest 19th-century writers, Garrett was a diplomat, civil servant, journalist, and intellectual. In exile abroad due to his adherence to the cause of constitutional liberal monarchy, during the period 1823-36 especially, Garrett studied and was influenced by his readings of Shakespeare and romantic writers such as Lord Byron and Walter Scott. He studied law at the University of Coimbra. Following the triumph of King Pedro IV's cause in the War of the Brothers, Garrett served in the new government as a diplomat in Belgium. In a later second residence abroad, he was influenced by his study of German literature.

   It was in the field of letters that Garrett made his greatest mark, and he was active in all aspects of literary endeavor: poetry, essays, theater, journalism, and the novel. He was the founder of Portugal's national theater, Teatro Nacional de D. Maria II, and several of his plays become standard in Portuguese theater repertory, including his adaptations of plays by Gil Vicente. Government censorship, however, prevented the staging of several of his plays. His classic play Frei Luís de Sousa premiered in 1843, in a private theater.

   Like so many other romantic writers of his era in Europe, Garrett collected, edited, and published Portuguese folk stories, poems, and songs from a rich rural heritage and preserved them for later generations. Many were collected in his Romanceiro e Cancioneiro, in three volumes. Uncomfortable in the maelstrom of unstable politics and already named a peer of the realm, Garrett accepted the post of minister of foreign affairs in 1852. Quickly disillusioned, he retired in 1853 to private life and to writing another novel, left unfinished at his death in the following year.

    See also Literature.

department [dɪ'pɑ:tmənt]

noun

(a) Administration & Politics (division) département m; (ministry) ministère m;

∎ she works in the housing department elle travaille au ministère du Logement

(b) (in company, organization) service m;

∎ the sales/personnel department le service commercial/du personnel;

∎ the complaints department le service des réclamations

(c) (field, responsibility) domaine m;

∎ recruiting staff is not my department le recrutement du personnel n'est pas mon domaine ou de mon ressort;

∎ figurative cooking's not really my department la cuisine n'est pas vraiment mon domaine ou ma spécialité

(d) (in shop) rayon m;

∎ the toy department le rayon des jouets

(e) (in university) département m;

∎ the French/maths department (at school) = ensemble des professeurs de français/de mathématique d'un établissement d'enseignement secondaire sous la responsabilité de l'un d'entre eux

(f) Geography département m

►► British Department of Culture, Media and Sport ministère m de la culture, de la communication et des sports;

American Department of Defense ministère m de la Défense;

British Department of Education and Employment = ministère britannique de l'Éducation et de l'Emploi;

American Department of Education ministère m de l'Éducation nationale;

American Department of Energy = ministère américain de l'Énergie;

British formerly Department of the Environment ministère m de l'environnement;

British Department of the Environment, Transport and the Regions = Ministère britannique de l'Environnement, des Transports et des Régions;

British Department of Health ministère m de la Santé;

American formerly Department of Health, Education and Welfare = ancien ministère américain de l'Éducation et de la Santé publique;

American Department of Health and Human Services ministère m de la Santé;

American formerly Department of Housing and Urban Development ministère m du logement et de la ville;

British Department for International Development = secrétariat d'État à la Coopération;

American Department of the Interior = ministère de l'Intérieur;

American Department of Justice ministère m de la Justice;

American Department of Labor = ministère de l'Emploi et de la Solidarité;

American Department of Motor Vehicles = service des immatriculations et des permis de conduire aux États-Unis;

British Department of National Heritage ≃ ministère m du patrimoine national;

British Department of Public Works ≃ ministère m de l'Équipement;

British Department of Social Security ≃ ministère m des Affaires sociales;

American Department of State Département m d'État, ≃ ministère m des Affaires étrangères;

department store grand magasin m;

American Department of Trade ministère m du commerce;

British Department of Trade and Industry ministère m du commerce et de l'industrie;

British Department of Transport, American Department of Transportation ministère m des Transports

SUBJECT AREA: Mechanical, pneumatic and hydraulic engineering, Public utilities

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He was the third child and the eldest of three boys born to John Murdoch and Anna Bruce. His father, a millwright and joiner, spelled his name Murdock on moving to England. He was educated for some years at Old Cumnock Parish School and in 1777, with his father, he built a "wooden horse", supposed to have been a form of cycle. In 1777 he set out for the Soho manufactory of Boulton \& Watt, where he quickly found employment, Boulton supposedly being impressed by the lad's hat. This was oval and made of wood, and young William had turned it himself on a lathe of his own manufacture. Murdock quickly became Boulton \& Watt's representative in Cornwall, where there was a flourishing demand for steam-engines. He lived at Redruth during this period.

It is said that a number of the inventions generally ascribed to James Watt are in fact as much due to Murdock as to Watt. Examples are the piston and slide valve and the sun-and-planet gearing. A number of other inventions are attributed to Murdock alone: typical of these is the oscillating cylinder engine which obviated the need for an overhead beam.

In about 1784 he planned a steam-driven road carriage of which he made a working model. He also planned a high-pressure non-condensing engine. The model carriage was demonstrated before Murdock's friends and travelled at a speed of 6–8 mph (10–13 km/h). Boulton and Watt were both antagonistic to their employees' developing independent inventions, and when in 1786 Murdock set out with his model for the Patent Office, having received no reply to a letter he had sent to Watt, Boulton intercepted him on the open road near Exeter and dissuaded him from going any further.

In 1785 he married Mary Painter, daughter of a mine captain. She bore him four children, two of whom died in infancy, those surviving eventually joining their father at the Soho Works. Murdock was a great believer in pneumatic power: he had a pneumatic bell-push at Sycamore House, his home near Soho. The pattern-makers lathe at the Soho Works worked for thirty-five years from an air motor. He also conceived the idea of a vacuum piston engine to exhaust a pipe, later developed by the London Pneumatic Despatch Company's railway and the forerunner of the atmospheric railway.

Another field in which Murdock was a pioneer was the gas industry. In 1791, in Redruth, he was experimenting with different feedstocks in his home-cum-office in Cross Street: of wood, peat and coal, he preferred the last. He designed and built in the backyard of his house a prototype generator, washer, storage and distribution plant, and publicized the efficiency of coal gas as an illuminant by using it to light his own home. In 1794 or 1795 he informed Boulton and Watt of his experimental work and of its success, suggesting that a patent should be applied for. James Watt Junior was now in the firm and was against patenting the idea since they had had so much trouble with previous patents and had been involved in so much litigation. He refused Murdock's request and for a short time Murdock left the firm to go home to his father's mill. Boulton \& Watt soon recognized the loss of a valuable servant and, in a short time, he was again employed at Soho, now as Engineer and Superintendent at the increased salary of £300 per year plus a 1 per cent commission. From this income, he left £14,000 when he died in 1839.

In 1798 the workshops of Boulton and Watt were permanently lit by gas, starting with the foundry building. The 180 ft (55 m) façade of the Soho works was illuminated by gas for the Peace of Paris in June 1814. By 1804, Murdock had brought his apparatus to a point where Boulton \& Watt were able to canvas for orders. Murdock continued with the company after the death of James Watt in 1819, but retired in 1830 and continued to live at Sycamore House, Handsworth, near Birmingham.

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