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61 Stephenson, George
[br]b. 9 June 1781 Wylam, Northumberland, Englandd. 12 August 1848 Tapton House, Chesterfield, England[br]English engineer, "the father of railways".[br]George Stephenson was the son of the fireman of the pumping engine at Wylam colliery, and horses drew wagons of coal along the wooden rails of the Wylam wagonway past the house in which he was born and spent his earliest childhood. While still a child he worked as a cowherd, but soon moved to working at coal pits. At 17 years of age he showed sufficient mechanical talent to be placed in charge of a new pumping engine, and had already achieved a job more responsible than that of his father. Despite his position he was still illiterate, although he subsequently learned to read and write. He was largely self-educated.In 1801 he was appointed Brakesman of the winding engine at Black Callerton pit, with responsibility for lowering the miners safely to their work. Then, about two years later, he became Brakesman of a new winding engine erected by Robert Hawthorn at Willington Quay on the Tyne. Returning collier brigs discharged ballast into wagons and the engine drew the wagons up an inclined plane to the top of "Ballast Hill" for their contents to be tipped; this was one of the earliest applications of steam power to transport, other than experimentally.In 1804 Stephenson moved to West Moor pit, Killingworth, again as Brakesman. In 1811 he demonstrated his mechanical skill by successfully modifying a new and unsatisfactory atmospheric engine, a task that had defeated the efforts of others, to enable it to pump a drowned pit clear of water. The following year he was appointed Enginewright at Killingworth, in charge of the machinery in all the collieries of the "Grand Allies", the prominent coal-owning families of Wortley, Liddell and Bowes, with authorization also to work for others. He built many stationary engines and he closely examined locomotives of John Blenkinsop's type on the Kenton \& Coxlodge wagonway, as well as those of William Hedley at Wylam.It was in 1813 that Sir Thomas Liddell requested George Stephenson to build a steam locomotive for the Killingworth wagonway: Blucher made its first trial run on 25 July 1814 and was based on Blenkinsop's locomotives, although it lacked their rack-and-pinion drive. George Stephenson is credited with building the first locomotive both to run on edge rails and be driven by adhesion, an arrangement that has been the conventional one ever since. Yet Blucher was far from perfect and over the next few years, while other engineers ignored the steam locomotive, Stephenson built a succession of them, each an improvement on the last.During this period many lives were lost in coalmines from explosions of gas ignited by miners' lamps. By observation and experiment (sometimes at great personal risk) Stephenson invented a satisfactory safety lamp, working independently of the noted scientist Sir Humphry Davy who also invented such a lamp around the same time.In 1817 George Stephenson designed his first locomotive for an outside customer, the Kilmarnock \& Troon Railway, and in 1819 he laid out the Hetton Colliery Railway in County Durham, for which his brother Robert was Resident Engineer. This was the first railway to be worked entirely without animal traction: it used inclined planes with stationary engines, self-acting inclined planes powered by gravity, and locomotives.On 19 April 1821 Stephenson was introduced to Edward Pease, one of the main promoters of the Stockton \& Darlington Railway (S \& DR), which by coincidence received its Act of Parliament the same day. George Stephenson carried out a further survey, to improve the proposed line, and in this he was assisted by his 18-year-old son, Robert Stephenson, whom he had ensured received the theoretical education which he himself lacked. It is doubtful whether either could have succeeded without the other; together they were to make the steam railway practicable.At George Stephenson's instance, much of the S \& DR was laid with wrought-iron rails recently developed by John Birkinshaw at Bedlington Ironworks, Morpeth. These were longer than cast-iron rails and were not brittle: they made a track well suited for locomotives. In June 1823 George and Robert Stephenson, with other partners, founded a firm in Newcastle upon Tyne to build locomotives and rolling stock and to do general engineering work: after its Managing Partner, the firm was called Robert Stephenson \& Co.In 1824 the promoters of the Liverpool \& Manchester Railway (L \& MR) invited George Stephenson to resurvey their proposed line in order to reduce opposition to it. William James, a wealthy land agent who had become a visionary protagonist of a national railway network and had seen Stephenson's locomotives at Killingworth, had promoted the L \& MR with some merchants of Liverpool and had carried out the first survey; however, he overreached himself in business and, shortly after the invitation to Stephenson, became bankrupt. In his own survey, however, George Stephenson lacked the assistance of his son Robert, who had left for South America, and he delegated much of the detailed work to incompetent assistants. During a devastating Parliamentary examination in the spring of 1825, much of his survey was shown to be seriously inaccurate and the L \& MR's application for an Act of Parliament was refused. The railway's promoters discharged Stephenson and had their line surveyed yet again, by C.B. Vignoles.The Stockton \& Darlington Railway was, however, triumphantly opened in the presence of vast crowds in September 1825, with Stephenson himself driving the locomotive Locomotion, which had been built at Robert Stephenson \& Co.'s Newcastle works. Once the railway was at work, horse-drawn and gravity-powered traffic shared the line with locomotives: in 1828 Stephenson invented the horse dandy, a wagon at the back of a train in which a horse could travel over the gravity-operated stretches, instead of trotting behind.Meanwhile, in May 1826, the Liverpool \& Manchester Railway had successfully obtained its Act of Parliament. Stephenson was appointed Engineer in June, and since he and Vignoles proved incompatible the latter left early in 1827. The railway was built by Stephenson and his staff, using direct labour. A considerable controversy arose c. 1828 over the motive power to be used: the traffic anticipated was too great for horses, but the performance of the reciprocal system of cable haulage developed by Benjamin Thompson appeared in many respects superior to that of contemporary locomotives. The company instituted a prize competition for a better locomotive and the Rainhill Trials were held in October 1829.Robert Stephenson had been working on improved locomotive designs since his return from America in 1827, but it was the L \& MR's Treasurer, Henry Booth, who suggested the multi-tubular boiler to George Stephenson. This was incorporated into a locomotive built by Robert Stephenson for the trials: Rocket was entered by the three men in partnership. The other principal entrants were Novelty, entered by John Braithwaite and John Ericsson, and Sans Pareil, entered by Timothy Hackworth, but only Rocket, driven by George Stephenson, met all the organizers' demands; indeed, it far surpassed them and demonstrated the practicability of the long-distance steam railway. With the opening of the Liverpool \& Manchester Railway in 1830, the age of railways began.Stephenson was active in many aspects. He advised on the construction of the Belgian State Railway, of which the Brussels-Malines section, opened in 1835, was the first all-steam railway on the European continent. In England, proposals to link the L \& MR with the Midlands had culminated in an Act of Parliament for the Grand Junction Railway in 1833: this was to run from Warrington, which was already linked to the L \& MR, to Birmingham. George Stephenson had been in charge of the surveys, and for the railway's construction he and J.U. Rastrick were initially Principal Engineers, with Stephenson's former pupil Joseph Locke under them; by 1835 both Stephenson and Rastrick had withdrawn and Locke was Engineer-in-Chief. Stephenson remained much in demand elsewhere: he was particularly associated with the construction of the North Midland Railway (Derby to Leeds) and related lines. He was active in many other places and carried out, for instance, preliminary surveys for the Chester \& Holyhead and Newcastle \& Berwick Railways, which were important links in the lines of communication between London and, respectively, Dublin and Edinburgh.He eventually retired to Tapton House, Chesterfield, overlooking the North Midland. A man who was self-made (with great success) against colossal odds, he was ever reluctant, regrettably, to give others their due credit, although in retirement, immensely wealthy and full of honour, he was still able to mingle with people of all ranks.[br]Principal Honours and DistinctionsPresident, Institution of Mechanical Engineers, on its formation in 1847. Order of Leopold (Belgium) 1835. Stephenson refused both a knighthood and Fellowship of the Royal Society.Bibliography1815, jointly with Ralph Dodd, British patent no. 3,887 (locomotive drive by connecting rods directly to the wheels).1817, jointly with William Losh, British patent no. 4,067 (steam springs for locomotives, and improvements to track).Further ReadingL.T.C.Rolt, 1960, George and Robert Stephenson, Longman (the best modern biography; includes a bibliography).S.Smiles, 1874, The Lives of George and Robert Stephenson, rev. edn, London (although sycophantic, this is probably the best nineteenthcentury biography).PJGR -
62 take
(to take or keep (someone) as a hostage: The police were unable to attack the terrorists because they were holding three people hostage.) ta/holde som gisselanta--------behøve--------bringe--------fjerne--------fordre--------forlange--------godta--------kåre--------overveie--------ta--------trenge--------utbytteIsubst. \/teɪk\/1) det å ta2) fangst, (jakt)bytte3) (billett)inntekter4) ( film) opptak (det som filmes på én gang)5) (bånd)opptak6) ( medisin) vaksinasjon som slår an7) ( typografi) del, avsnitt, stykkeII1) ta, gripe, ta tak i2) ta med (seg), bære, flytte, frakte, overbringe, gå med• could you take this letter to her?3) føre, lede, følge, kjøre, ta med4) innta, ta, legge beslag på• can I take this seat?5) notere, skrive ned, skrive opp6) (film, radio e.l.) ta opp, spille inn7) innta, svelge, spise, drikke8) ta imot, akseptere, gå med på, være fornøyd med• will you take £5000 for the car?9) kjøpe, leie10) abonnere på, holde11) behøve(s), trengs, legge beslag på, bruke(s), kreve(s)12) ta på seg, påta seg13) tåle, orke, holde ut14) oppfatte, forstå, ta, tro, mene, anse• how old do you take him to be?15) (sport, spill) vinne, ta hjem, ta, komme på• the cafe takes £10,000 a week17) fatte, få, finne, ha, kjenne, føle18) romme, (kunne) ta, ha plass for, ha plass til19) holde, forrette, ta, undervise i, lære, studere• can you take German with them?20) ( hverdagslig) ligge med, ha samleie med21) virke, lykkes, ta, slå an, slå rot (botanikk), nappe (om fisk), bre seg (om ild)give and take se ➢ give, 2give or take se ➢ give, 2take (somebody) about vise (noen) omkring, føre (noen) rundt (omkring)take after slekte på, lignetake against (begynne å) fatte uvilje mot, begynne å misliketake along ta med (seg)take a vow avlegge en ed, avlegge et løftetake away ta bort, fjerneføre borttrekke fra, subtraheretake back ta tilbake, gi tilbake, levere tilbakeføre tilbake, forflytte tilbake (i tid)take cover søke dekningtake down rive (ned), demontereskrive ned, skrive opp, notere, ta referat av kue, slå nedtake from forringe, minske, redusere, sette nedtake in ( om å drive losji) ta imot, haden gamle damen tok imot losjerende omfatte, inkludere, ta med( hverdagslig) stikke innom, besøke, gå på( om klær som er for vide) sy inn, legge inn, ta inn forstå, fatte, få overblikk over, legge merke tillure, narre, føre bak lyset, bedra( hverdagslig) ta med til politistasjonen, arresteretake it easy! ta det rolig!, ta det med ro!take it out of somebody gjøre noen sliten, utmatte noentake off ( også take oneself off) dra, reise, gi seg i vei, forsvinne, gå sin vei ( luftfart) ta av, lette, gå opp ( sport) ta sats, satse ( handel) få vind i seilene, gå bra komme i skuddet, bli populærtake on slå an, slå igjennom, bli populær( hverdagslig) ta på vei, bli opprørt, hisse seg opptake one's time ta tiden til hjelp, ta den tiden en trengertake out ta ut, ta vekk, fjernetegne, ta ut, skaffe seg, løsetake over overta, tiltreoverta ledelsen, overta makten( finans) kjøpe opp, legge under seg, overta aksjemajoriteten itake over from avløse, tiltre etter, ta over ettertake size... bruke størrelse...take somebody apart (hverdagslig, også overført) gi noen en skikkelig omgang, flå noen levende, hudflette noentake somebody down (a peg or two) jekke noen ned et hakk, sette noen på plasstake somebody off ( britisk) parodiere noen, herme etter noen føre noen bort, kjøre noen av stedtake somebody on ansette noen, ta inn noenvi ansetter flere arbeidere hver vår stille opp mot, spille mottake somebody up hjelpe noen fremtake somebody up on something akseptere (et tilbud \/ en utfordring) fra noen protestere på noe som noen har sagttake somebody up short avbryte noen bråtttake something hard ta noe hardt, ta noe tungttake something off ta noe av, fjerne noe( om tid) ta fri( om pris) slå av (på), redusere• she took £10 off the pricetake something on påta seg noe, ta på seg noebli noe, anta noe, begynne å få noelegge seg til noeta opp noe, ta noe om bord, fylle på med noetake something out on someone la noe gå ut over noentake something up with someone ta noe opp med noen, drøfte en sak med noentake to begynne med, slå seg påsette seg inn i, lære seghenfalle til• don't you take to drinking!(begynne å) like, fatte sympati for, fatte interesse forflykte til, ta sin tilflukt til• when the bombers came, the children took to the jungleda bombeflyene kom, flyktet barna inn i jungelentake up ta opp, løfte opp fortsette (med)ta, oppta, legge beslag påakseptere, anta, ta, gå med påbegynne med, slå seg påabsorbere, suge opp, ta til seg tiltre, begynne i( om klær som er for lange) legge opp ta på, ta med, la stige påta seg av, hjelpe fremavbryte (for å protestere eller irettesette)take up with somebody slå seg i lag med noen, begynne å omgås noenwell taken ( om utsagn) berettiget, akseptert, godkjent -
63 panel interview
HRan interview that takes place before two or more interviewers who may be from different parts of the interviewing organization or external to it.Organizations tend to use panel interviews as they save time by bringing all the interviewers together rather than shuffling the applicant around from one office to the next. They are also used for their consistency of information: from the applicant and from the organization.As with any job interview, it is important beforehand for applicant to find out not only about the position they are applying for, but the organization to which they are applying. It may also help them to mentally rehearse the panel interview situation. With several interviewers, the applicant may feel bombarded by questions. He or she should attempt to answer all the questions, taking one at a time, and if necessary, ask for clarification where a question is not clear.The interview is an opportunity for the applicant to showcase his or her strengths to several interviewers at once, and so while it is not wise to interrupt the interviewers, he or she should resist the temptation to let them do most of the talking. Making meaningful eye contact with all members of the panel when talking is a good way for the applicant to convey a sense of confidence and calm—the key to success in the panel interview. -
64 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
65 _життя
a cat has nine lives he lives long who lives well it is a great life if you don't weaken it matters not how long we live, but how it's easy to die right, but it's hard to live right life and misery begin together life begins at forty life is but a span life is a comedy to those who think and a tragedy to those who feel life is just one damned thing after another life is just one parting after another life is a light before the wind life is a long lesson in humility life is made up of little things life is not all beer and skittles life is short and sweet a light heart lives long live and learn live and let live a man's not ready to die until he's fit to live not living well isn't living at all only those are fit to live who are not afraid to die start sooner, go slower, and live longer they that live longest, see most tis more brave to live than to die to live long is to suffer long the true value of life cannot be measured in dollars variety is the spice of life we are born crying, live complaining, and die disappointed we only live once -
66 One
adj.Of number: P. and V. εἵς.Indefinite pron.: P. and V. τις.One of a pair: P. and V. ὁ ἕτερος.The one... the other: P. and V. ὁ ἕτερος... ὁ ἕτερος.I will bring witnesses to prove that he was one of the Ephors: P. ὡς τῶν ἐφόρων ἐγένετο μάρτυρας παρέξομαι (Lys. 124).Death is one of two things: P. δυοῖν θάτερόν ἐστι τὸ τεθνάναι (Plat., Ap. 40C).Eurymachus was one of them: P. Εὐρύμαχος εἷς αὐτῶν ἦν (Thuc. 2, 5).One... another: P. and V. ὁ μὲν... ὁ δέ.One another, each other: P. and V. ἀλλήλους (acc.).Be at one: see Agree.Become one with: P. and V. συντήκεσθαι (dat.).One by one: P. καθʼ ἕνα.Referring to the future: P. and V. ποτέ, ἔπειτα.With one voice, unanimously: P. μιᾷ γνώμῃ, V. ἁθρόῳ στόματι; see Unanimously.'Tis all one whether you desire to praise or blame me: V. σὺ δʼ αἰνεῖν εἴτε με ψέγειν θέλειν ὁμοῖον (Æsch., Ag. 1403).It was all one whether the quantity drunk were more or less: P. ἐν τῷ ὁμοίῳ καθειστήκει τό τε πλέον καὶ ἔλασσον ποτόν (Thuc., 2, 49).——————subs.The number one: P. μονάς, ἡ.Woodhouse English-Greek dictionary. A vocabulary of the Attic language > One
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67 Lister, Samuel Cunliffe, 1st Baron Masham
SUBJECT AREA: Textiles[br]b. 1 January 1815 Calverly Hall, Bradford, Englandd. 2 February 1906 Swinton Park, near Bradford, England[br]English inventor of successful wool-combing and waste-silk spinning machines.[br]Lister was descended from one of the old Yorkshire families, the Cunliffe Listers of Manningham, and was the fourth son of his father Ellis. After attending a school on Clapham Common, Lister would not go to university; his family hoped he would enter the Church, but instead he started work with the Liverpool merchants Sands, Turner \& Co., who frequently sent him to America. In 1837 his father built for him and his brother a worsted mill at Manningham, where Samuel invented a swivel shuttle and a machine for making fringes on shawls. It was here that he first became aware of the unhealthy occupation of combing wool by hand. Four years later, after seeing the machine that G.E. Donisthorpe was trying to work out, he turned his attention to mechanizing wool-combing. Lister took Donisthorpe into partnership after paying him £12,000 for his patent, and developed the Lister-Cartwright "square nip" comber. Until this time, combing machines were little different from Cartwright's original, but Lister was able to improve on this with continuous operation and by 1843 was combing the first fine botany wool that had ever been combed by machinery. In the following year he received an order for fifty machines to comb all qualities of wool. Further combing patents were taken out with Donisthorpe in 1849, 1850, 1851 and 1852, the last two being in Lister's name only. One of the important features of these patents was the provision of a gripping device or "nip" which held the wool fibres at one end while the rest of the tuft was being combed. Lister was soon running nine combing mills. In the 1850s Lister had become involved in disputes with others who held combing patents, such as his associate Isaac Holden and the Frenchman Josué Heilmann. Lister bought up the Heilmann machine patents and afterwards other types until he obtained a complete monopoly of combing machines before the patents expired. His invention stimulated demand for wool by cheapening the product and gave a vital boost to the Australian wool trade. By 1856 he was at the head of a wool-combing business such as had never been seen before, with mills at Manningham, Bradford, Halifax, Keighley and other places in the West Riding, as well as abroad.His inventive genius also extended to other fields. In 1848 he patented automatic compressed air brakes for railways, and in 1853 alone he took out twelve patents for various textile machines. He then tried to spin waste silk and made a second commercial career, turning what was called "chassum" and hitherto regarded as refuse into beautiful velvets, silks, plush and other fine materials. Waste silk consisted of cocoon remnants from the reeling process, damaged cocoons and fibres rejected from other processes. There was also wild silk obtained from uncultivated worms. This is what Lister saw in a London warehouse as a mass of knotty, dirty, impure stuff, full of bits of stick and dead mulberry leaves, which he bought for a halfpenny a pound. He spent ten years trying to solve the problems, but after a loss of £250,000 and desertion by his partner his machine caught on in 1865 and brought Lister another fortune. Having failed to comb this waste silk, Lister turned his attention to the idea of "dressing" it and separating the qualities automatically. He patented a machine in 1877 that gave a graduated combing. To weave his new silk, he imported from Spain to Bradford, together with its inventor Jose Reixach, a velvet loom that was still giving trouble. It wove two fabrics face to face, but the problem lay in separating the layers so that the pile remained regular in length. Eventually Lister was inspired by watching a scissors grinder in the street to use small emery wheels to sharpen the cutters that divided the layers of fabric. Lister took out several patents for this loom in his own name in 1868 and 1869, while in 1871 he took out one jointly with Reixach. It is said that he spent £29,000 over an eleven-year period on this loom, but this was more than recouped from the sale of reasonably priced high-quality velvets and plushes once success was achieved. Manningham mills were greatly enlarged to accommodate this new manufacture.In later years Lister had an annual profit from his mills of £250,000, much of which was presented to Bradford city in gifts such as Lister Park, the original home of the Listers. He was connected with the Bradford Chamber of Commerce for many years and held the position of President of the Fair Trade League for some time. In 1887 he became High Sheriff of Yorkshire, and in 1891 he was made 1st Baron Masham. He was also Deputy Lieutenant in North and West Riding.[br]Principal Honours and DistinctionsCreated 1st Baron Masham 1891.Bibliography1849, with G.E.Donisthorpe, British patent no. 12,712. 1850, with G.E. Donisthorpe, British patent no. 13,009. 1851, British patent no. 13,532.1852, British patent no. 14,135.1877, British patent no. 3,600 (combing machine). 1868, British patent no. 470.1868, British patent no. 2,386.1868, British patent no. 2,429.1868, British patent no. 3,669.1868, British patent no. 1,549.1871, with J.Reixach, British patent no. 1,117. 1905, Lord Masham's Inventions (autobiography).Further ReadingJ.Hogg (ed.), c. 1888, Fortunes Made in Business, London (biography).W.English, 1969, The Textile Industry, London; and C.Singer (ed.), 1958, A History of Technology, Vol. IV, Oxford: Clarendon Press (both cover the technical details of Lister's invention).RLHBiographical history of technology > Lister, Samuel Cunliffe, 1st Baron Masham
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