sketches)

- teka rysunków/szkiców a portfolio of drawings/sketches

- teka autora writer’s portfolio

- teka redakcyjna an editorial file

- teka ministerialna a ministerial portfolio

- minister bez teki minister without portfolio

- węgiel opałowy a. na opał stove coal

- zasoby węgla coal reserves

- pokład/złoże węgla a coal seam/deposit

- kopalnia węgla a coal mine, a (coal) pit

- wydobywać a. urabiać węgiel to extract a. mine coal

- kubeł na węgiel a coal scuttle

- komórka na węgiel a coalhouse, a coal house US

- palić w piecu węglem to burn coal in a stove

- czarny jak węgiel as black as coal a. soot, coal-black

- dwutlenek węgla carbon dioxide

- tlenek węgla carbon monoxide

- żarzące się węgle live coals a. embers

- przygasające węgle dying embers

- dorzucić kilka węgli do pieca to put some more coals on the fire GB

- rysować/szkicować węglem to make charcoal drawings/sketches

- □ biały węgiel Techn. water power, white coal US

- węgiel brunatny Geol., Górn. lignite a. brown coal

- węgiel drzewny charcoal

- węgiel kamienny Geol., Górn. hard bituminous coal US

- węgiel koksujący a. koksowy Przem. coking coal

- węgiel kopalny Geol., Górn. mineral coal

- węgiel lekarski a. leczniczy Farm. ≈ carbo medicinalis (form of activated charcoal, used medically)

- węgiel promieniotwórczy Chem., Fiz. radiocarbon

- węgiel retortowy Techn. retort carbon

■ siedzieć jak na rozżarzonych węglach to be like a cat on a hot tin roof, like a cat on hot bricks GB

- spalić coś na węgiel to char sth completely

bozzettistica s.f. art of writing sketches, sketch writing.

past part. C'est étudié pour (of contraption, device): That's the way it works! (Don't ask me how, but it does!) The comedian Fernand Raynaud made this expression memorable by including it in one of his famous one-man sketches.

1) (знак, отметка) mark

2) ( краткая запись) note

3) ( газетная информация) item (of news), news story; ( комментарий) short commentary

••

КАПУСТНИК

dēscriptĭo, ōnis (in MSS. and edd. often confounded with discriptio, v. infra), f. [describo] (freq. in Cic.), a marking out, delineation, copy, transcript: in concreto.

Lit. (rare):

eadem caeli descriptio,

Cic. Rep. 6, 22; cf. id. ib. 1, 14:

explicate descriptionem imaginemque tabularum,

id. Verr. 2, 2, 77 fin. In plur.:

numeris aut descriptionibus aliquid explicare,

id. Tusc. 1, 17:

volutarum,

sketches, drawings, Vitr. 3, 3:

orbis terrarum,

maps, id. 8, 2 et saep. —Far more freq.,

Trop.

A representation, delineation, description:

nominis brevis et aperta descriptio,

Cic. Inv. 2, 18:

dilucida locorum,

Quint. 9, 2, 44:

regionum,

id. 4, 3, 12:

Siciliae,

id. 11, 3, 164:

convivii luxuriosi,

id. 8, 3, 66 et saep.—In rhetor., the delineating of character, Cic. Top. 22, 83; id. de Or. 3, 53, 205; Quint. 9, 1, 31; cf. Auct. Her. 4, 39, 51.—

A proper disposition, order, arrangement:

via descriptionis atque ordinis (in oratione),

id. de Or. 2, 9, 36:

aedificandi,

id. Off. 1, 39;

legionum et auxiliorum,

Suet. Tib. 30:

descriptio centuriarum classiumque non erat,

Liv. 4, 4, 2:

populi,

Vulg. 2 Reg. 24, 9.—In plur.:

descriptiones temporum,

id. Ac. 1, 3, 19 et saep. (Descriptio is often found in MSS. and edd. in the sense of distribution, division; but here the proper form is discriptio, [p. 556] e. g. Cic. Rep. 2, 22; id. de Off. 1, 7, 21 saep.)

līnĕāmentum ( līnĭā-), i, n. [linea], a line or stroke made with a pen, with chalk, etc., a mark, line.

Lit.:

in geometria lineamenta formae, etc.,

lines, Cic. de Or. 1, 41, 187:

lineamentum, longitudinem latitudine carentem,

id. Ac. 2, 36, 116. —

Transf.

A feature, lineament:

quae conformatio lineamentorum,

Cic. N. D. 1, 18, 47:

lineamenta hospitae,

id. Verr. 2, 2, 36, § 89:

lineamenta oris effingere,

id. Div. 1, 13, 23:

habitum oris lineamentaque intueri,

Liv. 21, 4:

corporis,

id. 26, 41.—

In plur., of the works of artists, designs, drawings, delineations:

adumbratorum deorum lineamenta,

Cic. N. D. 1, 27, 75:

operum lineamenta,

id. Verr. 2, 4, 44, § 98.—

Trop., a feature, lineament:

animi lineamenta sunt pulchriora quam corporis,

Cic. Fin. 3, 22, 75:

numerus quasi quandam palaestram et extrema lineamenta orationi attulit,

id. Or. 56, 186:

Catonis lineamentis nihil nisi eorum pigmentorum, quae inventa nondum erant, florem et colorem defuisse,

sketches, outlines, id. Brut. 87, 298.

1) the quality of being of many different kinds or of being varied:

2) a mixed collection or range:

3) a sort or kind:

4) a type of mixed theatrical entertainment including dances, songs, short sketches etc:

[from Eng]: sketch. Mo ti tir dan mo pos de trwa skech = I drew from my pocket a few sketches.

sketches

adumbrates, adumbrating, sketches, sketching

SUBJECT AREA: Mining and extraction technology

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After studying law at the University of Göttingen, Albert turned to the mining industry and in 1806 started his career in mining administration in the Harz district, where he became Chief Inspector of mines thirty years later. His influence on the organization of the mining industry was considerable and he contributed valuable ideas for the development of mining technology. For example, he initiated experiments with Reichenbach's water-column pump in Harz when it had been working successfully in the transportation of brine in Bavaria, and he encouraged Dörell to work on his miner's elevator.

The increasing depths of shafts in the Harz district brought problems with hoisting as the ropes became too heavy and tended to break. At the beginning of the nineteenth century, iron link chains replaced the hempen ropes which were expensive and wore out too quickly, especially in the wet conditions in the shafts. After he had experimented for six years using counterbalancing iron link chains, which broke too easily, in 1834 he conceived the idea of producing stranded cables from iron wires. Their breaking strength and flexibility depended greatly on the softness of the iron and the way of laying the strands. Albert produced the cable by attaching the wires to strings which he turned evenly; this method became known as "Albert lay". He was not the first to conceive the idea of metal cables: there exists evidence for such cables as far back as Pompeii; Leonardo da Vinci made sketches of cables made from brass wires; and in 1780 the French engineer Reignier applied iron cables for lightning conductors. The idea also developed in various other mining areas, but Albert cables were the first to gain rapidly direct common usage worldwide.

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SUBJECT AREA: Aerospace

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Cayley was born into a well-to-do Yorkshire family living at Brompton Hall. He was encouraged to study mathematics, navigation and mechanics, particularly by his mother. In 1792 he succeeded to the baronetcy and took over the daunting task of revitalizing the run-down family estate.

The first aeronautical device made by Cayley was a copy of the toy helicopter invented by the Frenchmen Launoy and Bienvenu in 1784. Cayley's version, made in 1796, convinced him that a machine could "rise in the air by mechanical means", as he later wrote. He studied the aerodynamics of flight and broke away from the unsuccessful ornithopters of his predecessors. In 1799 he scratched two sketches on a silver disc: one side of the disc showed the aerodynamic force on a wing resolved into lift and drag, and on the other side he illustrated his idea for a fixed-wing aeroplane; this disc is preserved in the Science Museum in London. In 1804 he tested a small wing on the end of a whirling arm to measure its lifting power. This led to the world's first model glider, which consisted of a simple kite (the wing) mounted on a pole with an adjustable cruciform tail. A full-size glider followed in 1809 and this flew successfully unmanned. By 1809 Cayley had also investigated the lifting properties of cambered wings and produced a low-drag aerofoil section. His aim was to produce a powered aeroplane, but no suitable engines were available. Steam-engines were too heavy, but he experimented with a gunpowder motor and invented the hot-air engine in 1807. He published details of some of his aeronautical researches in 1809–10 and in 1816 he wrote a paper on airships. Then for a period of some twenty-five years he was so busy with other activities that he largely neglected his aeronautical researches. It was not until 1843, at the age of 70, that he really had time to pursue his quest for flight. The Mechanics' Magazine of 8 April 1843 published drawings of "Sir George Cayley's Aerial Carriage", which consisted of a helicopter design with four circular lifting rotors—which could be adjusted to become wings—and two pusher propellers. In 1849 he built a full-size triplane glider which lifted a boy off the ground for a brief hop. Then in 1852 he proposed a monoplane glider which could be launched from a balloon. Late in 1853 Cayley built his "new flyer", another monoplane glider, which carried his coachman as a reluctant passenger across a dale at Brompton, Cayley became involved in public affairs and was MP for Scarborough in 1832. He also took a leading part in local scientific activities and was co-founder of the British Association for the Advancement of Science in 1831 and of the Regent Street Polytechnic Institution in 1838.

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SUBJECT AREA: Textiles

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Cotton was originally employed in Loughborough and became one of the first specialized hosiery-machine builders. After the introduction of the latch needle by Matthew Townsend in 1856, knitting frames developed rapidly. The circular frame was easier to work automatically, but attempts to apply power to the flat frame, which could produce fully fashioned work, culminated in 1863 with William Cotton's machine. In that year he invented a machine that could make a dozen or more stockings or hose simultaneously and knit fashioned garments of all kinds. The difficulty was to reduce automatically the number of stitches in the courses where the hose or garment narrowed to give it shape. Cotton had early opportunities to apply himself to the improvement of hosiery machines while employed in the patent shop of Cartwright \& Warner of Loughborough, where some of the first rotaries were made. He remained with the firm for twenty years, during which time sixty or seventy of these machines were turned out. Cotton then established a factory for the manufacture of warp fabrics, and it was here that he began to work on his ideas. He had no knowledge of the principles of engineering or drawing, so his method of making sketches and then getting his ideas roughed out involved much useless labour. After twelve years, in 1863, a patent was issued for the machine that became the basis of the Cotton's Patent type. This was a flat frame driven by rotary mechanism and remarkable for its adaptability. At first he built his machine upright, like a cottage piano, but after much thought and experimentation he conceived the idea of turning the upper part down flat so that the needles were in a vertical position instead of being horizontal, and the work was carried off horizontally instead of vertically. His first machine produced four identical pieces simultaneously, but this number was soon increased. Cotton was induced by the success of his invention to begin machine building as a separate business and thus established one of the first of a class of engineering firms that sprung up as an adjunct to the new hosiery manufacture. He employed only a dozen men and turned out six machines in the first year, entering into an agreement with Hine \& Mundella for their exclusive use. This was later extended to the firm of I. \& R.Morley. In 1878, Cotton began to build on his own account, and the business steadily increased until it employed some 200 workers and had an output of 100 machines a year.

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