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21 क्रमः _kramḥ
क्रमः [क्रम-भावकरणादौ घञ्]1 A step, pace; त्रिविक्रमः; सागरः प्लवगेन्द्रेण क्रमेणैकेन लङ्घितः Mb.; Śi.12.18.-2 A foot; (अपनेष्यति) असुरेभ्यः श्रियं दीप्तां विष्णुस्त्रिभिरिव क्रमैः Rām. 5.21.28.-3 Going, proceeding, course; क्रमात् or क्रमेण in course of, gradually; कालक्रमेण gradually, in course of time; कालक्रमेण जगतः परिवर्तमाना Svapna., भाग्यक्रमः course or turn of fate; R.3.7,3,32.-4 Performance, commencement; अविचार्य क्रमं न करिष्यति । इत्थमत्र विततक्रमे क्रतौ Śi.14.53.-5 (a) Regular course, order, series, succession; निमित्तनैमित्तक- योरयं क्रमः &Sacute.7.3; Ms.7.24,.9.85,2.173,3.69. (b) Traditional order; U.6. (c) Order of propriety; लोका- न्तरगतेनापि नोज्झितो विनयक्रमः Nāg.5.11. आत्मीयः पर इत्ययं खलु कुतः सत्यं कृपाया क्रमः । ibid. 5.2; Ku.5.32; प्रियवचन- निवेदनत्वरया क्रमविशेषो नावेक्षितः Pratijñā.-6 Method, man- ner; वर्तस्व च सतां क्रमे Rām.2.25.2; नेत्रक्रमेणोपरुरोध सूर्यम् R.7.39.-7 Grasp, hold; क्रमगता पशोः कन्यका Māl.3.13.-8 A position of attack (assumed by an animal before making a spring); न मया क्रमः सज्जीकृत आसीत् Pt.4.-9 Prepa- ration, readiness; Bk.2.9.-1 An undertaking, enter- prize.-11 An act or deed, manner of proceeding; कोप्येष कान्तः क्रमः Amaru.48,33.-12 Particular manner of reci- ting Vedic texts, leaving at each time one word and taking up another; वेदैः साङ्गपदक्रमोपनिषदैर्गायन्ति यं सामगाः Bhāg.12.13.1. चर्चागुणान् क्रमगुणांश्चापेक्ष्य भवति Mbh. on P.V.1.119.-13 Power, strength; स ईश्वरः काल उरुक्रमो$सौ Bhāg.7.8.9.-14 N. of Viṣṇu.-Comp. -अनुसारः, अन्वयः regular order, due arrangement.-आगत, -आयात a. descended or inherited lineally, hereditary; क्रमायातो$पि भूपतिः Pt.1.73,84;3.167... त्यक्त्वैश्वर्यं क्रमागतम् Nāg.1.4.-उद्वेगः an ox.-ज्यका, -ज्या the sine of a planet declination.-पाठः the Karma reading.-भङ्गः irregularity,-भाविन् successive.-माला -रथः -लेखा -शठः -शिखा various kinds of क्रमपाठ.-योगः succession, order; Ms.1.42.-योगेन ind. in regular manner; तेनैव क्रमयोगेन जिज्ञासुः पर्यपृच्छत Mb.1.132.78. -
22 पदक्रम
padá-kramam. a series of steps, pace, walking Ṡiṡ. I, 52 (cf. citra-padakramam);
a series of quarters of verses R. ;
a partic. method of reciting orﾠ writing the Veda ( seeﾠ krama);
m. pl. ( orﾠ ibc.) the Pada-pāṭha andﾠ the different Krama-pāṭhas MBh. ;
- lakshaṇa n. N. of wk.;
- vid mfn. familiar with the Pada andﾠ Krama-pāṭha Hariv.
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23 ritmo
• cadence• pace• rhyming• rhythm method -
24 Cort, Henry
SUBJECT AREA: Metallurgy[br]b. 1740 Lancaster, Englandd. 1800 Hampstead, near London, England[br]English ironmaster, inventor of the puddling process and grooved rollers for forming iron into bars.[br]His father was a mason and brickmaker but, anxious to improve himself, Cort set up in London in 1765 as a navy agent, said to have been a profitable business. He recognized that, at that time, the conversion of pig iron to malleable or wrought iron, which was needed in increasing quantities as developments in industry and mechanical engineering gathered pace, presented a bottleneck in the ironmaking process. The finery hearth was still in use, slow and inefficient and requiring the scarce charcoal as fuel. To tackle this problem, Cort gave up his business and acquired a furnace and slitting mill at Fontley, near Fareham in Hampshire. In 1784 he patented his puddling process, by which molten pig iron on the bed of a reverberatory furnace was stirred with an iron bar and, by the action of the flame and the oxygen in the air, the carbon in the pig iron was oxidized, leaving nearly pure iron, which could be forged to remove slag. In this type of furnace, the fuel and the molten iron were separated, so that the cheaper coal could be used as fuel. It was the stirring action with the iron bar that gave the name "puddling" to the process. Others had realized the problem and reached a similar solution, notably the brothers Thomas and George Cranage, but only Cort succeeded in developing a commercially viable process. The laborious hammering of the ball of iron thus produced was much reduced by an invention of the previous year, 1783. This too was patented. The iron was passed between grooved rollers to form it into bars. Cort entered into an agreement with Samuel Jellico to set up an ironworks at Gosport to exploit his inventions. Samuel's father Adam, Deputy Paymaster of the Navy, advanced capital for this venture, Cort having expended much of his own resources in the experimental work that preceded his inventions. However, it transpired that Jellico senior had, unknown to Cort, used public money to advance the capital; the Admiralty acted to recover the money and Cort lost heavily, including the benefits from his patents. Rival ironmasters were quick to pillage the patents. In 1790, and again the following year, Cort offered unsuccessfully to work for the military. Finally, in 1794, at the instigation of the Prime Minister, William Pitt the Younger, Cort was paid a pension of £200 per year in recognition of the value of his improvements in the technology of ironmaking, although this was reduced by deductions to £160. After his death, the pension to his widow was halved, while some of his children received a pittance. Without the advances made by Cort, however, the iron trade could not have met the rapidly increasing demand for iron during the industrial revolution.[br]Bibliography1787, A Brief State of Facts Relative to the New Method of Making Bar Iron with Raw Pit Coal and Grooved Rollers (held in the Science Museum Library archive collection).Further ReadingH.W.Dickinson, 1941, "Henry Cort's bicentary", Transactions of the Newcomen Society 21: 31–47 (there are further references to grooved rollers and the puddling process in Vol. 49 of the same periodical (1978), on pp. 153–8).R.A.Mott, 1983, Henry Con, the Great Finery Creator of Puddled Iron, Sheffield: Historical Metallurgy Society.LRD -
25 Gropius, Walter Adolf
SUBJECT AREA: Architecture and building[br]b. 18 May 1883 Berlin, Germanyd. 5 July 1969 Boston, USA[br]German co-founder of the modern movement of architecture.[br]A year after he began practice as an architect, Gropius was responsible for the pace-setting Fagus shoe-last factory at Alfeld-an-der-Leine in Germany, one of the few of his buildings to survive the Second World War. Today the building does not appear unusual, but in 1911 it was a revolutionary prototype, heralding the glass curtain walled method of non-load-bearing cladding that later became ubiquitous. Made from glass, steel and reinforced concrete, this factory initiated a new concept, that of the International school of modern architecture.In 1919 Gropius was appointed to head the new School of Art and Design at Weimar, the Staatliches Bauhaus. The school had been formed by an amalgamation of the Grand Ducal schools of fine and applied arts founded in 1906. Here Gropius put into practice his strongly held views and he was so successful that this small college, which trained only a few hundred students in the limited years of its existence, became world famous, attracting artists, architects and students of quality from all over Europe.Gropius's idea was to set up an institution where students of all the arts and crafts could work together and learn from one another. He abhorred the artificial barriers that had come to exist between artists and craftsmen and saw them all as interdependent. He felt that manual dexterity was as essential as creative design. Every Bauhaus student, whatever the individual's field of work or talent, took the same original workshop training. When qualified they were able to understand and supervise all the aesthetic and constructional processes that made up the scope of their work.In 1924, because of political changes, the Weimar Bauhaus was closed, but Gropius was invited to go to Dessau to re-establish it in a new purpose-built school which he designed. This group of buildings became a prototype that designers of the new architectural form emulated. Gropius left the Bauhaus in 1928, only a few years before it was finally closed due to the growth of National Socialism. He moved to England in 1934, but because of a lack of architectural opportunities and encouragement he continued on his way to the USA, where he headed the Department of Architecture at Harvard University's Graduate School of Design from 1937 to 1952. After his retirement from there Gropius formed the Architect's Collaborative and, working with other architects such as Marcel Breuer and Pietro Belluschi, designed a number of buildings (for example, the US Embassy in Athens (1960) and the Pan Am Building in New York (1963)).[br]Bibliography1984, Scope of Total Architecture, Allen \& Unwin.Further ReadingN.Pevsner, 1936, Pioneers of the Modern Movement: From William Morris to Walter Gropius, Penguin.C.Jenck, 1973, Modern Movements in Architecture, Penguin.H.Probst and C.Shädlich, 1988, Walter Gropius, Berlin: Ernst \& Son.DY
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