-
101 segno
['seɲɲo]1. smin o come segno d'amicizia — as a mark o token of friendship
perdere il segno — (leggendo) to lose one's place
mi fece segno di spostarmi/avvicinarmi/fermarmi — he made a sign to me to move/come nearer/stop
2) (bersaglio) targetcogliere o colpire nel segno — to hit the target o mark, fig to hit the bullseye, hit the nail on the head
2. -
102 uncinato
-
103 винт
mFRA vis-écrou fDEU Hülsenschraube fENG securing boltITA vite-dado fPLN śruba f łuskowaRUS винт mсм. поз. 1164 на
—FRA vis f de compression du savonDEU Spindel f für SeifenvorschubITA vite f di compressione del saponePLN śruba f dozownikaRUS винт m для подачи мыласм. поз. 1948 на
—FRA vis f à tête fendue fraiséeDEU Schlitzschraube fITA vite f a testa con intaglioPLN wkręt m z -wgłębieniemRUS винт m под отвёртку—FRA vis f de freinDEU Bremsspindel fENG brake screwITA vite f del frenoPLN śruba f hamulcowaRUS винт m привода ручного тормозасм. поз. 571 на
, 
, 
, 
, 
винт привода, регулировочный
—FRA vis fDEU Stellspindel fENG screwITA vite fPLN śruba f nastawiaczaRUS винт m привода, регулировочныйсм. поз. 2260 на
—FRA vis f de la cale amovibleDEU Schraube f am nachstellbaren PaßstückITA vite f del cuneo mobilePLN wkręt m wkładki przesuwnejRUS винт m регулируемого клинасм. поз. 207 на
винт с крестообразным прорезом
—FRA vis f à empreinte cruciformeDEU Kreuzschlitzschraube fITA vite f con intaglio a crocePLN wkręt m z wgłębieniem krzyżowymRUS винт m с крестообразным прорезомвинт с полупотайной головкой и крестообразным прорезом
—FRA vis f à tête fendue fraisée bombée à empreinte cruciformeDEU Linsensenkschraube f mit KreuzschlitzITA vite f a testa svasata con intaglio a crooePLN wkręt m z łbem walcowym soczewkowym i z wgłębieniem krzyżowym^RUS винт m с полупотайной головкой и крестообразным прорезомсм. поз. 2612 на
винт с цилиндрической выпуклой головкой
—FRA vis f à tête fendue cylindrique bombéeDEU Linsenschraube f mit LängsschlitzITA vite f a testa cilindrica con calottaPLN wkręt m z łbem walcowym soczewkowymRUS винт m с цилиндрической выпуклой головкойсм. поз. 2610 на—FRA vis f de tendeurDEU Kupplungsspindel fENG coupling screwITA vite f del tenditorePLN śruba f sprzęguRUS винт m стяжкисм. поз. 465 на
, 
винт, натяжной
—FRA vis f de réglage de tension de courroieDEU Riemenspannschraube fITA vite f di regolazione della tensione della cinghiaPLN śruba f naprężacza pasaRUS винт m, натяжнойсм. поз. 2021 на
винт, регулировочный
—FRA vis f de réglageDEU Regelschraube fENG adjusting screwITA vite f di regolazionePLN śruba f regulująca, śruba f ustalającaRUS винт m, регулировочныйсм. поз. 1330 на
, 
FRA grain mDEU Druckstift mENG push rodITA grano m, puntale m filettatoPLN wkręt m nastawczyRUS винт m, регулировочныйсм. поз. 2255 на
винт, тормозной
—FRA vis f de manœuvreDEU Bremsspindel fENG regulator screwITA vite f di manovraRUS винт m, тормознойсм. поз. 605 на -
104 crux
crux, ŭcis, f. (m., Enn. ap. Non. p. 195, 13; Gracch. ap. Fest. s. v. masculino, p. 150, 24, and 151, 12 Müll.) [perh. kindred with circus].I.Lit.A.In gen., a tree, frame, or other wooden instruments of execution, on which criminals were impaled or hanged, Sen. Prov. 3, 10; Cic. Rab. Perd. 3, 10 sqq.—B.In partic., a cross, Ter. And. 3, 5, 15; Cic. Verr. 2, 1, 3, § 7; 2, 1, 4, § 9; id. Pis. 18, 42; id. Fin. 5, 30, 92; Quint. 4, 2, 17; Tac. A. 15, 44; Hor. S. 1, 3, 82; 2, 7, [p. 486] 47; id. Ep. 1, 16, 48 et saep.:II.dignus fuit qui malo cruce periret, Gracch. ap. Fest. l. l.: pendula,
the pole of a carriage, Stat. S. 4, 3, 28. —Transf.A.As a term of reproach, a gallows bird, a hempen rascal, Plaut. Pers. 5, 2, 17.—B.Transf., torture, trouble, misery, destruction, etc. (so most freq. in Plaut. and Ter., and in the former esp. freq. in connection with mala): aliqua mala crux, tormentor (of a prostitute), Plaut. Aul. 3, 5, 48; cf.:illae cruces,
Ter. Eun. 2, 3, 92:quae te mala crux agitat?
what tormentor troubles you? Plaut. Bacch. 4, 2, 2:abstraxit hominem in maximam malam crucem,
id. Men. prol. 66:quaerere in malo crucem,
Ter. Phorm. 3, 3, 11.—Prov.:summum jus antiqui summam putabant crucem,
Col. 1, 7, 2.—Hence, in colloq. lang.:I (abi, etc.) in malam crucem!
go to the devil! go and be hanged! Plaut. Cas. 3, 5, 17; id. Ps. 3, 2, 57; 4, 7, 86 al.; Ter. Phorm. 2, 3, 21; cf.: Cy. Num quid vis? Me. Ut eas maximam in malam crucem, Plaut. Men. 2, 2, 53; id. Capt. 3, 1, 9.—Without mala:I in crucem,
Plaut. As. 5, 2, 91.—And ellipt.:in malam crucem!
Plaut. Cas. 5, 4, 8; id. Ps. 5, 2, 5. —Hence, Ital. croce; Fr. croix. -
105 Brunelleschi, Filippo
SUBJECT AREA: Architecture and building[br]b. 1377 Florence, Italyd. 15 April 1446 Florence, Italy[br]Italian artist, craftsman and architect who introduced the Italian Renaissance style of classical architecture in the fifteenth century.[br]Brunelleschi was a true "Renaissance Man" in that he excelled in several disciplines, as did most artists of the Italian Renaissance of the fifteenth and sixteenth centuries. He was a goldsmith and sculptor; fifteenth-century writers acknowledge him as the first to study and demonstrate the principles of perspective, and he clearly possessed a deep mathematical understanding of the principles of architectural structure.Brunelleschi's Foundling Hospital in Florence, begun in 1419, is accepted as the first Renaissance building, one whose architectural style is based upon a blend of the classical principles and decoration of Ancient Rome and those of the Tuscan Romanesque. Brunelleschi went on to design a number of important Renaissance structures in Florence, such as the basilicas of San Lorenzo and Santo Spirito, the Pazzi Chapel at Santa Croce, and the unfinished church of Santa Maria degli Angeli.However, the artistic and technical feat for which Brunelleschi is most famed is the completion of Florence Cathedral by constructing a dome above the octagonal drum which had been completed in 1412. The building of this dome presented what appeared to be at the time insuperable problems, which had caused previous cathedral architects to shy away from tackling it. The drum was nearly 140 ft (43 m) in diameter and its base was 180 ft (55 m) above floor level: no wooden centering was possible because no trees long enough to span the gap could be found, and even if they had been available, the weight of such a massive framework would have broken centering beneath. In addition, the drum had no external abutment, so the weight of the dome must exert excessive lateral thrust. Aesthetically, the ideal Renaissance dome, like the Roman dome before it (for example, the Pantheon) was a hemisphere, but in the case of the Florence Cathedral such a structure would have been unsafe, so Brunelleschi created a pointed dome that would create less thrust laterally. He constructed eight major ribs of stone and, between them, sixteen minor ones, using a light infilling. He constructed a double-shell dome, which was the first of this type but is a design that has been followed by nearly all major architects since this date (for example Michelangelo's Saint Peter's in Rome, and Wren's Saint Paul's in London). Further strength is given by a herringbone pattern of masonry and brick infilling, and by tension chains of massive blocks, fastened with iron and with iron chains above, girding the dome at three levels. A large lantern finally stops the 50 ft (15.25 m) diameter eye at the point of the dome. Construction of the Florence Cathedral dome was begun on 7 August 1420 and was completed to the base of the lantern sixteen years later. It survives as the peak of Brunelleschi's Renaissance achievement.[br]Further ReadingPeter Murray, 1963, The Architecture of the Italian Renaissance, Batsford, Ch. 2. Howard Saalman, 1980, Filippo Brunelleschi: The Cupola of Santa Maria del Fiore, Zwemmer.Piero Sanpaolesi, 1977, La Cupola di Santa Maria del Fiore: Il Progetto: La Costruzione, Florence: Edam.Eugenio Battisti, 1981, Brunelleschi: The Complete Work, Thames and Hudson.DY -
106 Guido d'Arezzo
SUBJECT AREA: Recording[br]b. c. 995 Italyd. 1050 Avellana, Italy[br]Italian music theorist who made important developments in musical notation.[br]Guido was originally a monk at the Benedictine Abbey of Pomposa, where he began to introduce innovations into the symbolic representation of music, which greatly helped in the training of choristers. Because of jealousies aroused by this work, he was obliged to leave and settled in Arezzo, capital of the province of that name in northern Italy. Around 1030 he went to Rome at the invitation of the Pope, John XIX, to explain his theories, after which he appears to have settled at the monastery of S.Croce di Fonte, Avellana, where he became prior some three years before his death. In an effort to make it easier for the choristers to maintain correct pitch and to learn the complex polyphonic chants then in development, Guido introduced two major innovations. The first was the use of a four-line staff on which the pitch of successive notes could be recorded. The second was a nomenclature for the first six notes of the major scale supposedly based on the initial syllables of a hymn said to have been composed by him, namely ut (later do), re, mi, fa, so and la. These had a dramatic effect on the learning and singing of music. He also apparently devised forms of parallel voices for plainsong.[br]BibliographyGuido's work is recorded in his treatise, c.1026, Micrologus.Further ReadingWorks describing the development of music and musical notation in medieval times include: W.C.Mickelson, 1977, Hugo Riemann's History of Music Theory, Lincoln: University of Nebraska Press.S.Sadie (ed.), 1980, The New Grove Dictionary of Music and Musicians, vol. 9, London: Macmillan, 803.KF
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