subject for decoration

SUBJECT AREA: Architecture and building

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For the last twenty years of his life Bunning served as architect to the Corporation of London. During this time he was especially noted for three large buildings: Holloway Prison (1849–52), built in stone in a bold, castellated style; Caledonian Market (1855); and, most important and original, the Coal Exchange (1847–9).

Bunning's larger replacement for an earlier building in Lower Thames Street was a ferrovitreous triumph. The exterior was of fashionable Italianate design, but inside it contained an elegant 60 ft (18 m) diameter rotunda of cast iron intended for the meeting of merchants. Galleries made entirely of iron and supported on brackets encircled the walls at three levels, and above was a glazed dome of ground plate glass rising to over 74 ft (22.5 m) from ground level, supported by thirty-two iron ribs. For decoration there were twenty-four painted panels depicting plants and fossils found in coal seams, and eight smaller compartments showing coal implements. The demolition of this outstanding structure in 1962 so that the road could be widened, served as a trigger to public concern over the then-increasing rate of demolition of notable nineteenth-century structures. During excavation for this building, a structure which cost £40,000, a Roman hypocaust system was found beneath and preserved.

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SUBJECT AREA: Architecture and building

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Sullivan, a Bostonian, studied at the Massachusetts Institute of Technology. Soon he joined his parents, who had moved to Chicago, and worked for a while in the office of William Le Baron Jenney, the pioneer of steel-frame construction. After spending some time studying at the Ecole des Beaux Arts in Paris, in 1875 Sullivan returned to Chicago, where he later met and worked for the Danish architect Dankmar Adler, who was practising there. In 1881 the two architects became partners, and during the succeeding fifteen years they produced their finest work and the buildings for which Sullivan is especially known.

During the early 1880s in Chicago, load-bearing, metal-framework structures that made lofty skyscrapers possible had been developed (see Jenney and Holabird). Louis H.Sullivan initiated building design to stress and complement the metal structure rather than hide it. Moving onwards from H.H.Richardson's treatment of his Marshall Field Wholesale Store in Chicago, Sullivan took the concept several stages further. His first outstanding work, built with Adler in 1886–9, was the Auditorium Building in Chicago. The exterior, in particular, was derived largely from Richardson's Field Store, and the building—now restored—is of bold but simple design, massively built in granite and stone, its form stressing the structure beneath. The architects' reputation was established with this building.

The firm of Sullivan \& Adler established itself during the early 1890s, when they built their most famous skyscrapers. Adler was largely responsible for the structure, the acoustics and function, while Sullivan was responsible for the architectural design, concerning himself particularly with the limitation and careful handling of ornament. In 1892 he published his ideas in Ornament in Architecture, where he preached restraint in its quality and disposition. He established himself as a master of design in the building itself, producing a rhythmic simplicity of form, closely related to the structural shape beneath. The two great examples of this successful approach were the Wainwright Building in St Louis, Missouri (1890–1) and the Guaranty Building in Buffalo, New York (1894–5). The Wainwright Building was a ten-storeyed structure built in stone and brick and decorated with terracotta. The vertical line was stressed throughout but especially at the corners, where pilasters were wider. These rose unbroken to an Art Nouveau type of decorative frieze and a deeply projecting cornice above. The thirteen-storeyed Guaranty Building is Sullivan's masterpiece, a simple, bold, finely proportioned and essentially modern structure. The pilaster verticals are even more boldly stressed and decoration is at a minimum. In the twentieth century the almost free-standing supporting pillars on the ground floor have come to be called pilotis. As late as the 1920s, particularly in New York, the architectural style and decoration of skyscrapers remained traditionally eclectic, based chiefly upon Gothic or classical forms; in view of this, Sullivan's Guaranty Building was far ahead of its time.

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SUBJECT AREA: Architecture and building

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Nothing is known of Vitruvius apart from what can be gleaned from his only known work, the treatise De architectura. He seems to have been employed in some capacity by Julius Caesar and continued to serve under his heir, Octavianus, later Emperor Augustus, to whom he dedicated his book. It was written towards the end of his life, after Octavianus became undisputed ruler of the Empire by his victory at Actium in 31 BC, and was based partly on his own experience and partly on earlier, Hellenistic, writers.

The De architectura is divided into ten books. The first seven books expound the general principles of architecture and the planning, design and construction of various types of building, public and domestic, including a consideration of techniques and materials. Book 7 deals with interior decoration, including stucco work and painting, while Book 8 treats water supply, from the location of sources to the transport of water by aqueducts, tunnels and pipes. Book 9, after a long and somewhat confused account of the astronomical theories of the day, describes various forms of clock and sundial. Finally, Book 10 deals with mechanical devices for handling building materials and raising and pumping water, for which Vitruvius draws on the earlier Greek authors Ctesibius and Hero.

Although this may seem a motley assembly of subjects, to the Roman architect and builder it was a logical compendium of the subjects he was expected to know about. At the time, Vitruvius' rigid rules for the design of buildings such as temples seem to have had little influence, but his accounts of more practical matters of building materials and techniques were widely used. His illustrations to the original work were lost in antiquity, for no later manuscript includes them. Through the Middle Ages, manuscript copies were made in monastic scriptoria, although the architectural style in vogue had little relevance to those in Vitruvius: these came into their own with the Italian Renaissance. Alberti, writing the first great Renaissance treatise on architecture from 1452 to 1467, drew heavily on De architectura; those who sought to revive the styles of antiquity were bound to regard the only surviving text on the subject as authoritative. The appearance of the first printed edition in 1486 only served to extend its influence.

During the sixteenth and seventeenth centuries, Vitruvius was used as a handbook for constructing machines and instruments. For the modern historian of technology and architecture the work is a source of prime importance, although it must be remembered that the illustrations in the early printed editions are of contemporary reproductions of ancient devices using the techniques of the time, rather than authentic representations of ancient technology.

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SUBJECT AREA: Architecture and building

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Mies van der Rohe was the son of a stonemason and his early constructional training came from his father. As a young man he gained experience of the modern school from study of the architecture of the earlier leaders, notably Peter Behrens, Hendrik Berlage and Frank Lloyd Wright. He commenced architectural practice in 1913 and soon after the First World War was establishing his own version of modern architecture. His building materials were always of the highest quality, of marble, stone, glass and, especially, steel. He stripped his designs of all extraneous decoration: more than any of his contemporaries he followed the theme of elegance, functionalism and an ascetic concentration on essentials. He believed that architectural design should not look backwards but should reflect the contemporary achievement of advanced technology in both its construction and the materials used, and he began early in his career to act upon these beliefs. Typical was his early concrete and glass office building of 1922, after which, more importantly, came his designs for the German Pavilion at the Barcelona Exposition of 1929. These designs included his famous Barcelona chair, made from chrome steel and leather in a geometrical design, one which has survived as a classic and is still in production. Another milestone was his Tugendhat House in Brno (1930), a long, low, rectilinear structure in glass and steel that set a pattern for many later buildings of this type. In 1930 Mies followed his colleagues as third Director of the Bauhaus, but due to the rise of National Socialism in Germany it was closed in 1933. He finally left Germany for the USA in 1937, and the following year he took up his post as Director of Architecture in Chicago at what is now known as the Illinois Institute of Technology and where he remained for twenty years. In America Mies van der Rohe continued to develop his work upon his original thesis. His buildings are always recognizable for their elegance, fine proportions, high-quality materials and clean, geometrical forms; nearly all are of glass and steel in rectangular shapes. The structure and design evolved according to the individual needs of each commission, and there were three fundamental types of design. One type was the single or grouped high-rise tower, built for apartments for the wealthy, as in his Lake Shore Drive Apartments in Chicago (1948–51), or for city-centre offices, as in his Seagram Building in New York (1954–8, with Philip Johnson) or his Chicago Federal Centre (1964). Another form was the long, low rectangle based upon the earlier Tugendhat House and seen again in the New National Gallery in Berlin (1965–8). Third, there were the grouped schemes when the commission called for buildings of varied purpose on a single, large site. Here Mies van der Rohe achieved a variety and interest in the different shapes and heights of buildings set out in spatial harmony of landscape. Some examples of this type of scheme were housing estates (Lafayette Park Housing Development in Detroit, 1955–6), while others were for educational, commercial or shopping requirements, as at the Toronto Dominion Centre (1963–9).

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SUBJECT AREA: Architecture and building, Civil engineering

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Auguste Perret belonged to the family contracting firm of A. \& G.Perret, which early specialized in the use of reinforced concrete. His eight-storey building at 25 bis Rue Franklin in Paris, built in 1902–3, was the first example of frame construction in this material and established its viability for structural design. Both ground plan and façade are uncompromisingly modern, the simplicity of the latter being relieved by unobtrusive faience decoration. The two upper floors, which are set back, and the open terrace roof garden set a pattern for future schemes. All of Perret's buildings had reinforced-concrete structures and this was clearly delineated on the façade designs. The concept was uncommon in Europe at the time, when eclecticism still largely ruled, but was derived from the late nineteenth-century skyscraper façades built by Louis Sullivan in America. In 1905–6 came Perret's Garage Ponthieu in Paris; a striking example of exposed concrete, it had a central façade window glazed in modern design in rich colours. By the 1920s ferroconcrete was in more common use, but Perret still led the field in France with his imaginative, bold use of the material. His most original structure is the Church of Notre Dame at Le Raincy on the outskirts of Paris (1922–3). The imposing exterior with its tall tower in diminishing stages is finely designed, but the interior has magnificence. It is a wide, light church, the segmented vaulted roof supported on slender columns. The whole structure is in concrete apart from the glass window panels, which extend the full height of the walls all around the church. They provide a symphony of colour culminating in deep blue behind the altar. Because of the slenderness of the columns and the richness of the glass, this church possesses a spiritual atmosphere and unimpeded sight and sound of and from the altar for everyone. It became the prototype for churches all over Europe for decades, from Moser in prewar Switzerland to Spence's postwar Coventry Cathedral.

In a long working life Perret designed buildings for a wide range of purposes, adhering to his preference for ferroconcrete and adapting its use according to each building's needs. In the 1940s he was responsible for the railway station at Amiens, the Atomic Centre at Saclay and, one of his last important works, the redevelopment after wartime damage of the town centre of Le Havre. For the latter, he laid out large open squares enclosed by prefabricated units, which display a certain monotony, despite the imposing town hall and Church of St Joseph in the Place de L'Hôtel de Ville.

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SUBJECT AREA: Domestic appliances and interiors

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As with the Renaissance artists and architects of fifteenth-and sixteenth-century Italy, Boulle worked as a young man in varied media, as a painter, engraver and metalworker an in mosaic techniques. It was in the 1660s that he turned more specifically to furniture and in the following decade, under the patronage of Louis XIV, that he became a leading ébéniste or cabinet-maker, In 1672 the King's Controller-General, Jean-Baptiste Colbert, recommended Boulle as an outstanding cabinet-maker and he was appointed ébéniste du roi. From then he spent the rest of his life working in the royal palaces, notably the Louvre and Versailles, and also carried out commissions for the French aristocracy and from abroad, particularly Spain and Germany.

Before the advent of Boulle, the quality furniture made for the French court and aristocracy had come from foreign craftsmen, particularly Domenico Cucci of Italy and Pierre Colle of the Low Countries. Boulle made his name as their equal in his development of new forms of furniture such as his bureaux and commodes, the immense variety of his designs and their architectural quality, the beauty of his sculptural, gilded mounts, and the development of his elaborate marquetry. He was a leading exponent of the contemporary styles, which meant the elaborately rich baroque forms in the time of Louis XIV and the more delicate rococo elegance in that of Louis XV. The technique to which Boulle gave his name (sometimes referred to in its German spelling of Bühl) incorporated a rich variety of veneering materials into his designs: in particular, he used tortoiseshell and brass with ebony. Even greater richness was created with the introduction of an engraved design upon the brass surfaces. Further delicate elaboration derived from the use of paired panels of decoration to be used in reverse form in one piece, or two matching pieces, of furniture. In one panel, designated as première partie, the marquetry took the form of brass upon tortoiseshell, while in the other (contre-partie) the tortoiseshell was set into the brass background.

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SUBJECT AREA: Architecture and building

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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.

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SUBJECT AREA: Automotive engineering, Steam and internal combustion engines, Textiles

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Little is known of Knight's childhood, except that she was probably educated to high school level. She made her first invention at the age of 12, after seeing a woman cotton-mill worker injured when a dislodged shuttle fell on her. Knight set herself to design a mechanism that would shut down the machine if the thread broke and caused a shuttle to fly out. The device was widely used by cotton and woollen mills. Between that and her first patent in 1870, little is known of her activities; but she then embarked on a career of invention, achieving over 90 of them, earning herself the title "the female Edison ". Perhaps her most notable invention was a machine for making paper bags with square or satchel bottoms, which proved to be of great benefit to shoppers until the advent of the plastic bag. It won her little financial reward, but a decoration from Queen Victoria. Her other two main inventions related to the manufacture of shoes and, around 1902, to a rotary automobile engine. She worked for various companies, assigning to them her patent rights, so that at her death her estate was valued at less than $300.

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SUBJECT AREA: Domestic appliances and interiors

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Wedgwood came from prolific farming stock who, in the seventeenth century, had turned to pot-making. At the age of 9 his education was brought to an end by his father's death and he was set to work in one of the family potteries. Two years later an attack of smallpox left him with a weakness in his right knee which prevented him from working the potter's wheel. This forced his attention to other aspects of the process, such as design and modelling. He was apprenticed to his brother Thomas in 1744, and in 1752 was in partnership with Thomas Whieldon, a leading Staffordshire potter, until probably the first half of 1759, when he became a master potter and set up in business on his own account at Ivy House Works in Burslem.

Wedgwood was then able to exercise to the full his determination to improve the quality of his ware. This he achieved by careful attention to all aspects of the work: artistic judgement of form and decoration; chemical study of the materials; and intelligent management of manufacturing processes. For example, to achieve greater control over firing conditions, he invented a pyrometer, a temperature-measuring device by which the shrinkage of prepared clay cylinders in the furnace gave an indication of the temperature. Wedgwood was the first potter to employ steam power, installing a Boulton \& Watt engine for crushing and other operations in 1782. Beyond the confines of his works, Wedgwood concerned himself in local issues such as improvements to the road and canal systems to facilitate transport of raw materials and products.

During the first ten years, Wedgwood steadily improved the quality of his cream ware, known as "Queen's ware" after a set of ware was presented to Queen Charlotte in 1762. The business prospered and his reputation grew. In 1766 he was able to purchase an estate on which he built new works, a mansion and a village to which he gave the name Etruria. Four years after the Etruria works were opened in 1769, Wedgwood began experimenting with a barium compound combined in a fine-textured base allied to a true porcelain. The result was Wedgwood's most original and distinctive ware similar to jasper, made in a wide variety of forms.

Wedgwood had many followers and imitators but the merit of initiating and carrying through a large-scale technical and artistic development of English pottery belongs to Wedgwood.

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SUBJECT AREA: Domestic appliances and interiors

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Thomas Chippendale was the son of a carpenter. The business that he set up in London was so well established by 1753 that he was able to move to larger premises—a workshop, timberyard and shop—in the furniture-making centre of London, at 60–62 St Martin's Lane. In 1754 he published his folio work The Gentleman and Cabinet-Maker's Director, which contained illustrations of every conceivable type of furniture. No previously published book was as comprehensive. The Director, as it came to be called, made Chippendale famous and he became the best known of all such English craftsmen and designers. Further editions of the book followed in 1755 and 1762.

Stylistically most of the furniture designs in the Director followed the contemporary rococo fashion, but a number followed other popular themes such as the so-called "literary Gothic" and chinoiserie. Indeed, the Chinese versions became so well known that such furniture became known as "Chinese Chippendale". Chippendale's later work was more neo-classical, much of it produced at the request of Robert Adam for the many great houses whose interiors he was re-designing in the 1760s and 1770s.

From a technical viewpoint, Chippendale's furniture was made from a variety of woods and incorporated diverse decoration. Mahogany was the fashionable wood of the age, particularly during the middle years of the eighteenth century, and lent itself especially to the fine and elaborate carving that characterized Chippendale's intricate chair and settee backs. By the later 1760s other woods were also often in use, sometimes gilded and turned, sometimes inlaid with materials such as ivory or ceramic plaques and fine ormolu mounts. Later still, painted designs were applied to panel surfaces. Alternatively, a delicate form of marquetry had been fashionably revived.

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home [həʊm]

maison ⇒ 1 (a) chez-soi ⇒ 1 (a) foyer ⇒ 1 (b) patrie ⇒ 1 (c) habitat ⇒ 1 (d) arrivée ⇒ 1 (f) début ⇒ 1 (g) chez soi ⇒ 2 (a) au pays natal ⇒ 2 (b) à fond ⇒ 2 (c) familial ⇒ 3 (a) à/pour la maison ⇒ 3 (b) national ⇒ 3 (c), 3 (d)

1 noun

(a) (one's house) maison f; (more subjectively) chez-soi m inv;

∎ I've come straight from home je viens (directement) de chez moi;

∎ a home from home un second chez-soi;

∎ I left home at sixteen j'ai quitté la maison à seize ans;

∎ her home is not far from mine sa maison n'est pas loin de chez moi;

∎ he insulted me in my own home! il m'a insulté sous mon propre toit!;

∎ to have a home of one's own avoir un foyer ou un chez-soi;

∎ how long has he been missing from home? depuis combien de temps a-t-il disparu de la maison?;

∎ to be away from home être parti ou absent ou en voyage;

∎ he was found far away from home on l'a trouvé loin de chez lui;

∎ his home is in Nice il habite Nice;

∎ Glasgow is her second home Glasgow est sa deuxième patrie;

∎ New York will always be home for me! c'est toujours à New York que je me sentirai chez moi!;

∎ when did she make her home in Hollywood? quand s'est-elle installée à Hollywood?;

∎ emigrants came to make their homes in Canada des émigrés sont venus s'installer au Canada;

∎ to give sb a home recueillir qn chez soi;

∎ they sell lovely things for the home ils vendent toutes sortes de très jolis accessoires pour la maison;

∎ they have a lovely home! c'est très agréable chez eux!;

∎ at home chez soi, à la maison;

∎ to stay at home rester à la maison;

∎ come and see me at home passez me voir à la maison;

∎ formal Mrs Carr is not at home on Mondays Mme Carr ne reçoit pas le lundi;

∎ there was nobody at home il n'y avait personne à la maison;

∎ make yourself at home faites comme chez vous;

∎ he made himself at home in the chair il s'est mis à l'aise dans le fauteuil;

∎ I don't feel at home here je me sens dépaysé ici, je ne me sens pas chez moi ici;

∎ she feels at home everywhere! elle est à l'aise partout!;

∎ to be or to feel at home with sth se sentir à l'aise avec qch;

∎ he doesn't yet feel at home with the machine il n'est pas encore à l'aise avec la machine;

∎ I work out of or at home je travaille à domicile ou chez moi;

∎ familiar what's that when it's at home? qu'est-ce que c'est que ça?;

∎ ironic don't you have a home to go to? tu as l'intention de passer la nuit ici?;

∎ proverb there's no place like home = on n'est vraiment bien que chez soi;

∎ proverb home is where the heart is = où le cœur aime, là est le foyer;

∎ home sweet home foyer, doux foyer

(b) (family unit) foyer m; Administration habitation f, logement m;

∎ the father left home le père a abandonné le foyer;

∎ to start or to set up a home fonder un foyer;

∎ how are things at home? comment ça va chez toi?;

∎ are you having problems at home? est-ce que tu as des problèmes chez toi?;

∎ a happy home une famille heureuse;

∎ he comes from a good home il vient d'une famille comme il faut;

∎ good home wanted for three kittens (on notice) je donne trois chatons

(c) (native land) patrie f, pays m natal;

∎ it's the same at home c'est la même chose chez nous ou dans notre pays;

∎ at home and abroad dans notre pays et à l'étranger;

∎ figurative this discussion is getting a bit close to home! on aborde un sujet dangereux!;

∎ let's look at a situation closer to or nearer home examinons une situation qui nous concerne plus directement;

∎ Kentucky, the home of bourbon Kentucky, le pays du bourbon;

∎ the home of jazz le berceau du jazz

(d) Botany & Zoology habitat m

(e) (mental hospital) maison f de repos; (old people's home) maison f de retraite; (children's home) foyer m pour enfants

(f) Sport (finishing line) arrivée f; (on board game) case f départ; (goal) but m;

∎ they play better at home ils jouent mieux sur leur terrain;

∎ Arsenal are playing at home on Saturday Arsenal joue à domicile samedi;

∎ to be at home to recevoir;

∎ the Rams meet the Braves at home les Rams jouent à domicile contre les Braves

(g) Computing (beginning of document) début m

2 adverb

(a) (to or at one's house) chez soi, à la maison;

∎ to go home rentrer (chez soi ou à la maison);

∎ what time did you get home? à quelle heure est-ce que tu es rentré?;

∎ I'd better be getting home je crois qu'il est temps que je rentre chez moi;

∎ it's on my way home c'est sur mon chemin;

∎ she'll be home tonight elle sera à la maison ce soir;

∎ American to be home alone être tout seul à la maison;

∎ to see sb home raccompagner qn jusque chez lui/elle;

∎ to take sb home ramener qn chez lui/elle;

∎ Fido, home! Fido, rentre ou à la maison!;

∎ familiar it's nothing to write home about ça ne casse rien;

∎ familiar British home and dry, American home free sauvé

(b) (from abroad) au pays natal, au pays;

∎ when did you get or come home? quand es-tu rentré?;

∎ to send sb home rapatrier qn;

∎ the grandparents want to go or to return home les grands-parents veulent rentrer dans leur pays

(c) (all the way) à fond;

∎ to drive a nail home enfoncer un clou jusqu'au bout;

∎ the remark really went home le commentaire a fait mouche;

∎ to push home one's advantage profiter au maximum d'un avantage;

∎ it will come home to him some day il s'en rendra compte un jour;

∎ to bring sth home to sb faire comprendre ou voir qch à qn

3 adjective

(a) (concerning family, household → life) de famille, familial; (→ for family consumption) familial, à usage familial

(b) (to, for, at one's house) à ou pour la maison

(c) (national → gen) national, du pays; (→ market, policy, sales) intérieur;

∎ to be on home ground (near home) être en pays de connaissance; figurative (familiar subject) être en terrain connu

(d) Sport (team → national) national; (→ local) local;

our home ground notre terrain;

∎ when they play at their home ground quand ils jouent sur leur terrain, quand ils reçoivent

4 intransitive verb

(person, animal) revenir ou rentrer chez soi; (pigeon) revenir au colombier

►► home address (on form) domicile m (permanent); (not business address) adresse f personnelle;

Computing home automation domotique f;

home baking Cookery (action) pâtisserie f; (cakes, biscuits) gâteaux mpl;

Banking home banking banque f à domicile;

Obstetrics home birth accouchement m à la maison;

home brew (beer) bière f faite maison;

home brewing (of beer) fabrication f de bière chez soi; American (illegal distilling) = distillation clandestine d'alcool chez soi;

home cleaning products produits mpl ménagers;

British home comforts confort m du foyer;

Computing home computer ordinateur m familial;

Computing home computing informatique f à domicile;

home cooking cuisine f familiale;

the Home Counties = l'ensemble des comtés limitrophes de Londres, à la population aisée et conservatrice;

home country pays m natal;

∎ the home country le pays;

home decorating décoration f intérieure;

home delivery livraison f à domicile;

home economics, familiar

home ec (UNCOUNT) économie f domestique;

home economist spécialiste mf d'économie domestique;

American Finance home equity loan prêt m sur valeur nette de la propriété;

American Cookery home fries pommes de terre fpl sautées non pelées;

home front (during war) arrière m;

∎ on the home front à l'arrière;

∎ what's the news on the home front? (in the home country) quelles sont les nouvelles du pays?;

∎ how are things on the home front? (at home) comment ça va à la maison?;

home game match m à domicile;

British History the Home Guard = section de volontaires de l'armée britannique restée sur le territoire pour le défendre en cas d'invasion;

British home help aide f ménagère;

home improvements travaux mpl de rénovation;

Finance home improvement loan prêt m pour travaux de rénovation;

home journey voyage m de retour;

Computing home key touche f début;

British Military home leave congé m au foyer;

home life vie f de famille;

Finance home loan prêt m immobilier, prêt m d'épargne-logement;

home movie film m d'amateur;

home news nouvelles fpl nationales;

Politics the Home Office = le ministère britannique de l'Intérieur;

American Commerce home office (of company) siège m social;

home owner propriétaire mf;

home ownership = fait d'être propriétaire de son logement;

∎ home ownership is increasing le nombre des personnes propriétaires de leur logement augmente;

Computing home page (initial page) page f d'accueil; (start page in browser) page f d'accueil; (personal page) page f personnelle;

Marketing home party selling vente f domiciliaire;

home plate Sport (in baseball) bâton m, = plaque qui marque le début et la fin du parcours que doit effectuer le batteur pour marquer un point;

Nautical home port port m d'attache;

Economics home products produits mpl nationaux ou domestiques;

home remedy remède m de bonne femme;

Home Rule History (in Ireland) = gouvernement autonome de l'Irlande;

home rule (devolution) décentralisation f;

home run Sport (in baseball) coup m de circuit (coup de batte qui permet au batteur de marquer un point en faisant un tour complet en une seule fois); figurative (last leg of trip) dernière étape f du circuit;

∎ the ship/the delivery truck is on its home run le navire/le camion rentre à son port d'attache/au dépôt;

School home schooling scolarisation f à domicile;

Politics Home Secretary = ministre de l'Intérieur en Grande-Bretagne;

Commerce home shopping téléachat m;

American Home Show ≃ salon m des arts ménagers et de la décoration; Sport &

figurative British home straight, American home stretch dernière ligne f droite;

∎ they're on or in the home straight ils sont dans la dernière ligne droite;

Sport home team l'équipe f qui reçoit;

home time = heure où l'on rentre à la maison;

home town (of birth) ville f natale;

∎ (of upbringing) his home town la ville où il a grandi;

home truth vérité f désagréable;

∎ to tell sb a few home truths dire ses (quatre) vérités à qn;

∎ I learnt some home truths about myself j'ai appris quelques vérités désagréables sur moi-même;

home video = film vidéo réalisé par un particulier, généralement sur sa vie de famille;

∎ to watch sb's home videos regarder les cassettes vidéo filmées par qn;

home visit (by doctor) visite f à domicile;

home waters (territorial) eaux fpl territoriales; (near home port) eaux fpl voisines du port d'attache;

Sport home win victoire f à domicile

➲ home in on, home on to inseparable transitive verb

(a) (of missile) se diriger (automatiquement) sur ou vers; (proceed towards → goal) se diriger vers; figurative mettre le cap sur

(b) (direct attention to → problem, solution) mettre l'accent sur; (→ difficulty, question) viser, cerner;

∎ I made one mistake and he homed in on it je n'ai fait qu'une seule faute mais il s'est fait un plaisir de me la faire remarquer

ⓘ HOME RULE On désigne ainsi le régime d'autonomie revendiqué par l'Irlande entre 1870 et 1914. Après plusieurs tentatives, une loi sur l'autonomie partielle fut votée en 1914. La mise en vigueur de cette loi, déjà compromise par l'opposition des protestants unionistes de l'Ulster, fut reportée lorsque la Première Guerre mondiale éclata en août 1914. À la suite de l'insurrection de Pâques à Dublin en 1916, les partisans du "Home Rule" revendiquèrent l'autonomie totale. La guerre pour l'indépendance (1918-21) aboutit au traité anglo-irlandais de 1921, qui établit la partition de l'île entre l'Irlande du Sud qui devenait quasiment indépendante et l'Irlande du Nord qui devait rester rattachée à la Grande-Bretagne.

ⓘ Don't try this at home Il s'agit d'un conseil donné aux spectateurs dans les émissions de télévision dans lesquelles figurent des tours dangereux et des cascades. Aujourd'hui, cette formule ("n'essayez pas de faire cela chez vous") est toujours utilisée par les présentateurs de télévision avec une pointe d'ironie et d'une manière plus générale par toute personne qui est sur le point de tenter quelque chose de dangereux.

do¹ [du:]

à la forme interrogative ⇒ 1 (a) dans les question tags ⇒ 2 (b) à la forme négative ⇒ 1 (c) usage emphatique ⇒ 1 (d) usage elliptique ⇒ 1 (e) faire ⇒ 2 (a), 2 (b), 2 (d), 2 (f)-(j), 2 (m), 2 (q), 3 (c) s'occuper de ⇒ 2 (c) étudier ⇒ 2 (e) suffire ⇒ 2 (k), 3 (d) s'en tirer ⇒ 3 (a) aller ⇒ 3 (b), 3 (e)

(3rd person singular does [dʌz], pt did [dɪd], pp done [dʌn])

ⓘ GRAM Les formes négatives sont don't/doesn't et didn't, qui deviennent do not/does not et did not à l'écrit, dans un style plus soutenu.

1 auxiliary verb

(a) (in questions)

∎ do you know her? est-ce que tu la connais?, la connais-tu?;

∎ don't/didn't you know? vous ne le savez/saviez pas?;

∎ did I understand you correctly? vous ai-je bien compris?, est-ce que je vous ai bien compris?;

∎ why don't you tell her? pourquoi est-ce que tu ne (le) lui dis pas?, pourquoi ne (le) lui dis-tu pas?;

∎ do I know London! si je connais Londres?;

∎ boy, do I hate paperwork! nom d'un chien, qu'est-ce que je peux avoir horreur des paperasses!

(b) (in tag questions)

∎ he takes you out a lot, doesn't he? il te sort souvent, n'est-ce pas ou hein?;

∎ he doesn't take you out very often, does he? il ne te sort pas souvent, n'est-ce pas ou hein?;

∎ so you want to be an actress, do you? alors tu veux devenir actrice?;

∎ you didn't sign it, did you? (in disbelief, horror) tu ne l'as pas signé, quand même?;

∎ you surely don't want any more, do you? tu ne veux quand même pas en reprendre, si?;

∎ look, we don't want any trouble, do we? (encouraging, threatening) écoute, nous ne voulons pas d'histoires, hein?

(c) (with the negative)

∎ I don't believe you je ne te crois pas;

∎ please don't tell her s'il te plaît, ne (le) lui dis pas;

∎ British don't let's go out ne sortons pas

(d) (for emphasis)

∎ I DO believe you sincèrement, je vous crois;

∎ do you mind if I smoke? - yes I DO mind cela vous dérange-t-il que je fume? - justement, oui, ça me dérange;

∎ he DOES know where it is il sait bien où c'est;

∎ we DO like it here (refuting accusation) mais si, nous nous plaisons ici, bien sûr que nous nous plaisons ici; (like it very much) nous nous plaisons vraiment ici;

∎ I DID tell you (refuting someone's denial) mais si, je te l'ai dit, bien sûr que je te l'ai dit; (emphasizing earlier warning) je te l'avais bien dit;

∎ if you DO decide to buy it si tu décides finalement de l'acheter;

∎ let me know when you DO decide dis-moi quand tu auras décidé;

∎ DO sit down asseyez-vous donc;

∎ DO let us know how your mother is surtout dites-nous comment va votre mère;

∎ DO stop crying mais arrête de pleurer, enfin

(e) (elliptically)

∎ you know as much as/more than I do tu en sais autant que/plus que moi;

∎ so do I/does she moi/elle aussi;

∎ neither do I/does she moi/elle non plus;

∎ he didn't know and neither did I il ne savait pas et moi non plus;

∎ do you smoke? - I do/don't est-ce que vous fumez? - oui/non;

∎ may I sit down? - please do puis-je m'asseoir? - je vous en prie;

∎ I'll talk to her about it - please do/don't! je lui en parlerai - oh, oui/non s'il vous plaît!;

∎ don't, you'll make me blush! arrête, tu vas me faire rougir!;

∎ will you tell her? - I may do (le) lui diras-tu? - peut-être;

∎ I may come to Paris next month - let me know if you do il se peut que je vienne à Paris le mois prochain - préviens-moi si tu viens;

∎ you said eight o'clock - oh, so I did tu as dit huit heures - oh, c'est vrai;

∎ I liked her - you didn't! (surprised) elle m'a plu - non! vraiment?;

∎ I wear a toupee - you do? (astonished) je porte une perruque - vraiment? ou non! ou pas possible!;

∎ it belongs/it doesn't belong to me - does/doesn't it? cela m'appartient/ne m'appartient pas - vraiment?;

∎ yes you do - no I don't mais si - mais non;

∎ yes it does - no it doesn't mais si - mais non;

∎ you know her, I don't tu la connais, moi pas;

∎ you don't know her - I do! tu ne la connais pas - si (je la connais)!;

∎ I do (marriage service) ≃ oui

(f) (in sentences beginning with adverbial phrase)

∎ not only did you lie… non seulement tu as menti…;

∎ little did I realize… j'étais bien loin de m'imaginer…

2 transitive verb

(a) (be busy or occupied with) faire; (carry out → task, work) faire;

∎ what are you doing? qu'est-ce que tu fais?, que fais-tu?, qu'es-tu en train de faire?;

∎ are you doing anything next Saturday? est-ce que tu fais quelque chose samedi prochain?;

∎ what do you do for a living? qu'est-ce que vous faites dans la vie?;

∎ what are these files doing here? qu'est-ce que ces dossiers font ici?;

∎ somebody DO something! que quelqu'un fasse quelque chose!;

∎ there's nothing more to be done il n'y a plus rien à faire;

∎ he does nothing but sleep, all he does is sleep il ne fait que dormir;

∎ you'll have to do it again il va falloir que tu le refasses;

∎ he did a good job il a fait du bon travail;

∎ what do I do to start the machine? comment est-ce que je fais pour mettre la machine en marche?;

∎ what do I have to do to make you understand? mais qu'est-ce que je dois faire pour que tu comprennes?;

∎ have I done the right thing? ai-je fait ce qu'il fallait?;

∎ what are you going to do about the noise? qu'est-ce que tu vas faire au sujet du bruit?;

∎ what can I do for you? que puis-je (faire) pour vous?;

∎ the doctors can't do anything more for him la médecine ne peut plus rien pour lui;

∎ that dress really does something/nothing for you cette robe te va vraiment très bien/ne te va vraiment pas du tout;

∎ the new wallpaper does a lot for the room le nouveau papier peint transforme la pièce;

∎ what do you do for entertainment? quelles sont vos distractions?, comment est-ce que vous vous distrayez?;

∎ what shall we do for water to wash in? où est-ce qu'on va trouver de l'eau pour se laver?;

∎ who did this to you? qui est-ce qui t'a fait ça?;

∎ what have you done to your hair? qu'est-ce que tu as fait à tes cheveux?;

∎ I hate what your job is doing to you je n'aime pas du tout l'effet que ton travail a sur toi;

∎ it does something to me ça me fait quelque chose;

∎ humorous don't do anything I wouldn't do ne fais pas de bêtises;

∎ that does it! cette fois c'en est trop!;

∎ that's done it, the battery's flat et voilà, la batterie est à plat

(b) (produce, provide → copy, report) faire;

∎ I don't do portraits je ne fais pas les portraits;

∎ British the pub does a good lunch on sert un bon déjeuner dans ce pub;

∎ could you do me a quick translation of this? pourriez-vous me traduire ceci rapidement?;

∎ do you do day trips to France? (to travel agent) est-ce que vous avez des excursions d'une journée en France?

(c) (work on, attend to) s'occuper de;

∎ he's doing your car now il est en train de s'occuper de votre voiture;

∎ can you do Mrs Baker first? (in hairdresser's) peux-tu t'occuper de Mme Baker d'abord?;

∎ to do the garden s'occuper du jardin;

∎ he's doing the garden il est en train de jardiner;

∎ they do you very well in this hotel on est très bien dans cet hôtel;

∎ this old car has done me well over the years cette voiture m'a bien servi au cours des années

(d) (clean, tidy → room, cupboard) faire; (decorate → room) faire la décoration de; (arrange → flowers) arranger;

∎ to do one's teeth se brosser les dents

(e) School & University (subject) étudier; British (course) suivre;

∎ to do medicine/law étudier la médecine/le droit, faire sa médecine/son droit;

∎ we're doing Tartuffe nous étudions Tartuffe

(f) (solve → sums, crossword, equation) faire

(g) Cars & Transport (speed, distance) faire;

∎ the car will do over 100 ≃ la voiture peut faire du 160;

∎ it does thirty-five miles to the gallon ≃ elle fait sept litres aux cents (kilomètres);

∎ we did the trip in under two hours nous avons fait le voyage en moins de deux heures

(h) Cinema, Theatre & Television (produce → play, film) faire; (appear in) être dans; (play part of) faire; Music (perform) jouer

(i) Cookery (cook) faire; (prepare → vegetables, salad) préparer;

∎ to do sth in the oven faire (cuire) qch au four;

∎ how would you like your steak done? comment voulez-vous votre steak?

(j) familiar (spend time → working, in prison) faire^□ ;

∎ she's doing three years for robbery elle fait trois ans pour vol

(k) (be enough or suitable for) suffire;

∎ will £10 do you? 10 livres, ça te suffira?;

∎ those shoes will have to do the children for another year les enfants devront encore faire un an avec ces chaussures

(l) (finish)

∎ well that's that done, thank goodness bon, voilà qui est fait, dieu merci;

∎ once I've done what I'm doing dès que j'aurai fini ce que je suis en train de faire;

∎ have you done eating/crying? tu as fini de manger/pleurer?;

∎ it will never be done in time ce ne sera jamais fini à temps;

∎ done! (in bargain) marché conclu!

(m) (imitate) imiter, faire;

∎ he does you very well il t'imite très bien

(n) British familiar (prosecute)

∎ she was done for speeding elle s'est fait pincer pour excès de vitesse;

∎ we could do you for dangerous driving nous pourrions vous arrêter pour conduite dangereuse^□

(o) familiar (rob, burgle → bank, shop) cambrioler^□, se faire

(p) familiar (cheat) rouler, avoir;

∎ you've been done tu t'es fait rouler ou avoir

(q) familiar (visit) faire;

∎ to do London/the sights faire Londres/les monuments

(r) familiar (take)

∎ to do drugs se camer;

∎ let's do lunch il faudrait qu'on déjeune ensemble un de ces jours

(s) British familiar (beat up) s'occuper de, en mettre une à;

∎ I'll do you! je vais m'occuper de toi, moi!

(t) familiar (kill) zigouiller, buter

3 intransitive verb

(a) (perform → in exam, competition etc) s'en tirer, s'en sortir;

∎ you did very well tu t'en es très bien tiré ou sorti;

∎ his team didn't do well in the match son équipe ne s'en est pas très bien tirée pendant le match;

∎ the company's not doing too badly l'entreprise ne se débrouille pas trop mal;

∎ how are you doing in the new job/at school? comment te débrouilles-tu dans ton nouveau travail/à l'école?;

∎ try to do better in future essaie de mieux faire à l'avenir;

∎ how are we doing with the corrections? (checking progress) où en sommes-nous avec les corrections?;

∎ well done! bien joué!, bravo!

(b) (referring to health) aller;

∎ how is she doing, doctor? comment va-t-elle, docteur?;

∎ he's not doing too well il ne va pas trop bien;

∎ mother and baby are both doing well la maman et le bébé se portent tous les deux à merveille;

∎ how is your eldest boy doing? comment va votre aîné?

(c) (act, behave) faire;

∎ do as you please fais ce qui te plaît, fais ce que tu veux;

∎ do as you're told! fais ce qu'on te dit!;

∎ you would do well to listen to your mother tu ferais bien d'écouter ta mère;

∎ to do well by sb bien traiter qn;

∎ British to be/to feel hard done by être/se sentir lésé;

∎ British he'll feel very hard done by if you don't at least send him a birthday card il se sentira vraiment blessé si tu ne lui envoies même pas de carte d'anniversaire;

∎ proverb do as you would be done by = traite les autres comme tu voudrais être traité

(d) (be enough) suffire;

∎ will £20 do? 20 livres, ça ira ou suffira?;

∎ that will do! (stop it) ça suffit comme ça!

(e) (be suitable) aller;

∎ that will do (nicely) ça ira ou conviendra parfaitement, cela fera très bien l'affaire;

∎ this won't do ça ne peut pas continuer comme ça;

∎ it wouldn't do to be late ce ne serait pas bien d'arriver en retard;

∎ will that do? (as alternative) est-ce que ça ira?;

∎ will Sunday do instead? et dimanche, ça irait?

(f) (always in continuous form) (happen) is there anything doing at the club tonight? est-ce qu'il y a quelque chose au club ce soir?;

∎ there's nothing doing here at weekends il n'y a rien à faire ici le week-end;

∎ familiar nothing doing (rejection, refusal) rien à faire

(g) (always in perfect tense) (finish) have you done? tu as fini?

(h) (be connected with)

∎ it has to do with your missing car c'est au sujet de votre voiture volée;

∎ that's got nothing to do with it! (is irrelevant) cela n'a rien à voir!;

∎ I want nothing to do with it/you je ne veux rien avoir à faire là-dedans/avec toi;

∎ I had nothing at all to do with it je n'avais rien à voir là-dedans, je n'y étais pour rien;

∎ it's nothing to do with me je n'y suis pour rien;

∎ we don't have much to do with the people next door nous n'avons pas beaucoup de contacts avec les gens d'à côté;

∎ what I said to him has got nothing to do with you (it's none of your business) ce que je lui ai dit ne te regarde pas; (it's not about you) ce que je lui ai dit n'a rien à voir avec toi;

∎ that has a lot to do with it cela joue un rôle très important;

∎ he is or has something to do with printing il est dans l'imprimerie

(i) British familiar (work as cleaner) faire le ménage^□ ;

∎ to do for sb faire le ménage chez qn

4 noun

(a) (tip)

∎ the do's and don'ts of car maintenance les choses à faire et à ne pas faire dans l'entretien des voitures

(b) British familiar (party, celebration) fête^□ f;

∎ he's having a do to celebrate his promotion il donne une fête pour célébrer sa promotion;

∎ leaving do pot m de départ

(c) familiar (excrement)

∎ dog do crotte f de chien^□

➲ do away with inseparable transitive verb

(a) (abolish → institution, rule, restriction) abolir; (get rid of → object) se débarrasser de

(b) (kill) se débarrasser de, faire disparaître;

∎ to do away with oneself mettre fin à ses jours

➲ do down separable transitive verb British familiar

(a) (criticize, disparage) rabaisser^□, médire sur^□, dire du mal de^□ ;

∎ to do oneself down se rabaisser^□

(b) (cheat) avoir, rouler

➲ do for inseparable transitive verb familiar

(a) British (murder) zigouiller; (cause death of) tuer^□

(b) (ruin → object, engine) bousiller; (cause failure of → plan) ruiner^□ ; (→ company) couler^□ ;

∎ I'm done for je suis cuit;

∎ the project is done for le projet est tombé à l'eau ou foutu;

∎ the industry is done for l'industrie est fichue

(c) British (exhaust) tuer, crever;

∎ shopping always does for me je suis toujours crevé après les courses;

∎ I'm done for je suis mort ou crevé;

∎ it was that last hill that did for me c'est la dernière colline qui m'a épuisé^□

(d) British familiar (do housework for) faire le ménage chez^□ ;

∎ who does for you? qui fait votre ménage?

➲ do in separable transitive verb British familiar

(a) (murder, kill) zigouiller, buter, butter

(b) (exhaust) tuer, crever;

∎ I'm completely done in je suis complètement crevé

(c) (injure)

∎ to do one's back/one's knee in se bousiller le dos/le genou;

∎ you'll do your lungs in tu vas te bousiller les poumons

➲ do out separable transitive verb

British familiar (clean thoroughly) nettoyer à fond^□ ; (decorate) refaire^□

➲ do out of separable transitive verb

familiar (cheat)

∎ to do sb out of sth soutirer^□ ou carotter qch à qn; (money) refaire ou escroquer^□ qn de qch;

∎ to do sb out of a job (of person) faire perdre son travail à qn^□ ;

∎ all this automation is doing people out of jobs toute cette automatisation supprime des emplois^□ ;

∎ the new structure did him out of his job la nouvelle structure lui a fait perdre son travail;

∎ she's been done out of her share of the money elle s'est fait escroquer de sa part de l'argent

➲ do over separable transitive verb

(a) (room) refaire;

∎ the whole house needs doing over toute la maison a besoin d'être refaite

(b) American (do again) refaire

(c) British familiar (beat up) casser la gueule ou la tête à

(d) British familiar (rob → person) dépouiller; (→ house, bank etc) cambrioler^□

➲ do up

1 separable transitive verb

(a) (fasten → dress, jacket) fermer; (→ zip) fermer, remonter; (→ buttons) boutonner; (→ shoelaces) attacher;

∎ do me up will you? tu peux fermer ma robe?

(b) (wrap, bundle up) emballer;

∎ envelopes done up in bundles of 20 des enveloppes en paquets de 20;

∎ a parcel done up in brown paper un paquet emballé dans du papier kraft

(c) familiar (renovate → house, cottage etc) refaire^□, retaper; (old dress, hat) arranger;

∎ the house needs a bit of doing up la maison a besoin d'être un peu refaite ou retapée;

∎ to do oneself up (make more glamorous) se faire beau/belle;

∎ I didn't recognize you all done up like that je ne t'ai pas reconnu tout beau comme ça;

∎ to be done up to the nines être sur son trente et un

2 intransitive verb

(skirt, dress) se fermer; (zip) se fermer, se remonter; (buttons) se fermer, se boutonner;

∎ it does up at the side cela se ferme sur le côté

➲ do with inseparable transitive verb

(a) British familiar (after "could") (need, want) avoir besoin de^□ ;

∎ I could have done with some help j'aurais eu bien besoin d'aide;

∎ I could do with a drink je prendrais bien un verre, j'ai bien envie de prendre un verre

(b) British familiar (after "can't") (tolerate) supporter^□ ;

∎ I can't do or be doing with all this noise je ne supporte pas ce vacarme;

∎ he couldn't be doing with living in London il ne pouvait pas supporter de vivre à Londres

(c) (after "what") (act with regard to) faire de;

∎ she didn't know what to do with herself (to keep busy) elle ne savait que faire ou à quoi s'occuper; (for joy) elle ne se tenait pas de joie; (for awkwardness) elle était gênée, elle ne savait plus où se mettre;

∎ what are we going to do with your father for two whole weeks! qu'allons-nous faire de ton père pendant deux semaines entières?;

∎ what do you want me to do with this? que veux-tu que je fasse de ça?;

∎ what have you done with the hammer? qu'as-tu fait du marteau?

(d) (with past participle) (finish with) finir avec;

∎ I'm done with men for ever j'en ai fini pour toujours avec les hommes;

∎ I haven't done with him yet! (haven't finished scolding him) je n'en ai pas encore fini avec lui!;

∎ I'm done with trying to be nice to her je n'essaierai plus jamais d'être gentil avec elle;

∎ can I borrow the ashtray if you've done with it? puis-je emprunter le cendrier si tu n'en as plus besoin?

➲ do without

1 intransitive verb

faire sans;

∎ he'll have to do without il devra s'en passer ou faire sans

2 inseparable transitive verb

se passer de;

∎ I could have done without this long wait j'aurais bien pu me passer de cette longue attente;

∎ we can do without the sarcasm on n'a pas besoin de ces sarcasmes

do² [dəʊ]

noun

Music (fixed) do m inv, ut m inv;

∎ Scottish familiar to be up to high do être dans tous ses états