used+to+responsible+work

SUBJECT AREA: Photography, film and optics

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As a young man Georges Demenÿ was a pioneer of physical education in France, and this led him to contact the physiologist Professor Marey in 1880. Marey had made a special study of animal movement, and Demenÿ hoped to work with him on research into physiological problems related to gymnastics. He joined Marey the following year, and when in 1882 the Physiological Station was set up near Paris to develop sequence photography for the study of movement. Demenÿ was made Head of the laboratory. He worked with the multiple-image fixed-plate cameras, and was chiefly responsible for the analysis of the records, having considerable mathematical and graphical ability. He also appeared as the subject in a number of the sequences. When in 1888 Marey began the development of a film camera, Demenÿ was involved in its design and operation. He became interested in the possibility of using animated sequence photographs as an aid to teaching of the deaf. He made close-up records of himself speaking short phrases, "Je vous aime" and "Vive la France" for example, which were published in such journals as Paris Photographe and La Nature in 1891 and 1892. To present these in motion, he devised the Phonoscope, which he patented on 3 March 1892. The series of photographs were mounted around the circumference of a disc and viewed through a counter-rotating slotted disc. The moving images could be viewed directly, or projected onto a screen. La Nature reported tests he had made in which deaf lip readers could interpret accurately what was being said. On 20 December 1892 Demenÿ formed a company, Société Générale du Phonoscope, to exploit his invention, hoping that "speaking portraits" might replace family-album pictures. This commercial activity led to a rift between Marey and Demenÿ in July 1893. Deprived of access to the film cameras, Demenÿ developed designs of his own, patenting new camera models in France on 10 October 1893 and 27 July 1894. The design covered by the latter had been included in English and German patents filed in December 1893, and was to be of some significance in the early development of cinematography. It was for an intermittent movement of the film, which used an eccentrically mounted blade or roller that, as it rotated, bore on the film, pulling down the length of one frame. As the blade moved away, the film loop so formed was taken up by the rotation of the take-up reel. This "beater" movement was employed extensively in the early years of cinematography, being effective yet inexpensive. It was first employed in the Chronophotographe apparatus marketed by Gaumont, to whom Demenÿ had licensed the patent rights, from the autumn of 1896. Demenÿ's work provided a link between the scientific purposes of sequence photography— chronophotography—and the introduction of commercial cinematography.

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SUBJECT AREA: Photography, film and optics

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The young Eastman was a clerk-bookkeeper in the Rochester Savings Bank when in 1877 he took up photography. Taking lessons in the wet-plate process, he became an enthusiastic amateur photographer. However, the cumbersome equipment and noxious chemicals used in the process proved an obstacle, as he said, "It seemed to be that one ought to be able to carry less than a pack-horse load." Then he came across an account of the new gelatine dry-plate process in the British Journal of Photography of March 1878. He experimented in coating glass plates with the new emulsions, and was soon so successful that he decided to go into commercial manufacture. He devised a machine to simplify the coating of the plates, and travelled to England in July 1879 to patent it. In April 1880 he prepared to begin manufacture in a rented building in Rochester, and contacted the leading American photographic supply house, E. \& H.T.Anthony, offering them an option as agents. A local whip manufacturer, Henry A.Strong, invested $1,000 in the enterprise and the Eastman Dry Plate Company was formed on 1 January 1881. Still working at the Savings Bank, he ran the business in his spare time, and demand grew for the quality product he was producing. The fledgling company survived a near disaster in 1882 when the quality of the emulsions dropped alarmingly. Eastman later discovered this was due to impurities in the gelatine used, and this led him to test all raw materials rigorously for quality. In 1884 the company became a corporation, the Eastman Dry Plate \& Film Company, and a new product was announced. Mindful of his desire to simplify photography, Eastman, with a camera maker, William H.Walker, designed a roll-holder in which the heavy glass plates were replaced by a roll of emulsion-coated paper. The holders were made in sizes suitable for most plate cameras. Eastman designed and patented a coating machine for the large-scale production of the paper film, bringing costs down dramatically, the roll-holders were acclaimed by photographers worldwide, and prizes and medals were awarded, but Eastman was still not satisfied. The next step was to incorporate the roll-holder in a smaller, hand-held camera. His first successful design was launched in June 1888: the Kodak camera. A small box camera, it held enough paper film for 100 circular exposures, and was bought ready-loaded. After the film had been exposed, the camera was returned to Eastman's factory, where the film was removed, processed and printed, and the camera reloaded. This developing and printing service was the most revolutionary part of his invention, since at that time photographers were expected to process their own photographs, which required access to a darkroom and appropriate chemicals. The Kodak camera put photography into the hands of the countless thousands who wanted photographs without complications. Eastman's marketing slogan neatly summed up the advantage: "You Press the Button, We Do the Rest." The Kodak camera was the last product in the design of which Eastman was personally involved. His company was growing rapidly, and he recruited the most talented scientists and technicians available. New products emerged regularly—notably the first commercially produced celluloid roll film for the Kodak cameras in July 1889; this material made possible the introduction of cinematography a few years later. Eastman's philosophy of simplifying photography and reducing its costs continued to influence products: for example, the introduction of the one dollar, or five shilling, Brownie camera in 1900, which put photography in the hands of almost everyone. Over the years the Eastman Kodak Company, as it now was, grew into a giant multinational corporation with manufacturing and marketing organizations throughout the world. Eastman continued to guide the company; he pursued an enlightened policy of employee welfare and profit sharing decades before this was common in industry. He made massive donations to many concerns, notably the Massachusetts Institute of Technology, and supported schemes for the education of black people, dental welfare, calendar reform, music and many other causes, he withdrew from the day-to-day control of the company in 1925, and at last had time for recreation. On 14 March 1932, suffering from a painful terminal cancer and after tidying up his affairs, he shot himself through the heart, leaving a note: "To my friends: My work is done. Why wait?" Although Eastman's technical innovations were made mostly at the beginning of his career, the organization which he founded and guided in its formative years was responsible for many of the major advances in photography over the years.

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SUBJECT AREA: Civil engineering, Land transport, Railways and locomotives, Telecommunications

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Gooch gained experience as a pupil with several successive engineering firms, including Vulcan Foundry and Robert Stephenson \& Co. In 1837 he was engaged by I.K. Brunel, who was then building the Great Western Railway (GWR) to the broad gauge of 7 ft 1/4 in. (2.14 m), to take charge of the railway's locomotive department. He was just 21 years old. The initial locomotive stock comprised several locomotives built to such extreme specifications laid down by Brunel that they were virtually unworkable, and two 2–2–2 locomotives, North Star and Morning Star, which had been built by Robert Stephenson \& Co. but left on the builder's hands. These latter were reliable and were perpetuated. An enlarged version, the "Fire Fly" class, was designed by Gooch and built in quantity: Gooch was an early proponent of standardization. His highly successful 4–2–2 Iron Duke of 1847 became the prototype of GWR express locomotives for the next forty-five years, until the railway's last broad-gauge sections were narrowed. Meanwhile Gooch had been largely responsible for establishing Swindon Works, opened in 1843. In 1862 he designed 2–4–0 condensing tank locomotives to work the first urban underground railway, the Metropolitan Railway in London. Gooch retired in 1864 but was then instrumental in arranging for Brunel's immense steamship Great Eastern to be used to lay the first transatlantic electric telegraph cable: he was on board when the cable was successfully laid in 1866. He had been elected Member of Parliament for Cricklade (which constituency included Swindon) in 1865, and the same year he had accepted an invitation to become Chairman of the Great Western Railway Company, which was in financial difficulties; he rescued it from near bankruptcy and remained Chairman until shortly before his death. The greatest engineering work undertaken during his chairmanship was the boring of the Severn Tunnel.

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SUBJECT AREA: Aerospace, Steam and internal combustion engines

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Griffith was very much a "boffin", for he was a quiet, thoughtful man who shunned public appearances, yet he produced many revolutionary ideas. During the First World War he worked at the Royal Aircraft Factory, Farnborough, where he carried out research into structural analysis. Because of his use of soap films in solving torsion problems, he was nicknamed "Soap-bubble".

During the 1920s Griffith carried out research into gas-turbine design at the Royal Aircraft Establishment (RAE; as the Royal Aircraft Factory had become). In 1929 he made proposals for a gas turbine driving a propeller (a turboprop), but the idea was shelved. In the 1930s he was head of the Engine Department of the RAE and developed multi-stage axial compressors, which were later used in jet engines. This work attracted the attention of E.W. (later Lord) Hives of Rolls-Royce who persuaded Griffith to join Rolls-Royce in 1939. His first major project was a "contra-flow" jet engine, which was a good idea but a practical failure. However, Griffith's axial-flow compressor experience played an important part in the success of Rolls-Royce jet engines from the Avon onwards. He also proposed the bypass principle used for the Conway.

Griffith experimented with suction to control the boundary layer on wings, but his main interest in the 1950s centred on vertical-take-off and -landing aircraft. He developed the remarkable "flying bedstead", which consisted of a framework (the bedstead) in which two jet engines were mounted with their jets pointing downwards, thus lifting the machine vertically. It first flew in 1954 and provided much valuable data. The Short SC1 aircraft followed, with four small jets providing lift for vertical take-off and one conventional jet to provide forward propulsion. This flew successfully in the late 1950s and early 1960s. Griffith proposed an airliner with lifting engines, but the weight of the lifting engines when not in use would have been a serious handicap. He retired in 1960.

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SUBJECT AREA: Paper and printing

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Koenig became a printer and bookseller. Around 1800 he was among those who conceived the idea of mechanizing the hand printing press, which apart from minor details had survived virtually unchanged through the first three and a half centuries of printing. In 1803, in Sühl, Saxony, he designed a press in which the flat forme, carrying the type, was mechanically inked and passed to and from the platen. Whether this ma-chine was ever constructed is not known, but Koenig found little support for his ideas because of lack of technical and financial resources. So, in 1806, he went to England and was introduced to Thomas Bensley, a book printer off Fleet Street in London. Bensley agreed to support Koenig and brought in two other printers to help finance Koenig's experiments. Another German, Andreas Bauer, an engineer, assisted Koenig and became largely responsible for the practical execution of Koenig's plans.

In 1810 they patented a press which was steam-driven but still used a platen. It was set to work in Bensley's office the following year but did not prove to be satisfactory. Koenig redesigned it, and in October 1811 he obtained a patent for a steam-driven press on an entirely new principle. In place of the platen, the paper was fixed around a hollow rotating cylinder, which impressed the paper on to the inked forme. In Bensley's office it was used for book printing, but its increased speed over the hand press appealed to newspaper proprietors and John Walter II of The Times asked Koenig to make a double-cylinder machine, so that the return stroke of the forme would be productive. A further patent was taken out in 1813 and the new machine was made ready to print the 29 November 1814 issue—in secrecy, behind closed doors, to forestall opposition from the pressmen working the hand presses. An important feature of the machine was that the inking rollers were not of the traditional leather or skin but a composite material made from glue, molasses and some soda. The inking could not have been achieved satisfactorily with the old materials. The editorial of that historic issue proclaimed, 'Our Journal of this day presents to the public the practical result of the greatest improvement connected with printing, since the discovery of the art itself Koenig's machine press could make 1,200 impressions an hour compared to 200 with the hand press; further improvements raised this figure to 1,500–2,000. Koenig's last English patent was in 1814 for an improved cylinder machine and a perfecting machine, which printed both sides of the paper. The steam-driven perfecting press was printing books in Bensley's office in February 1816. Koenig and Bauer wanted by that time to manufacture machine presses for other customers, but Bensley, now the principal shareholder, insisted that they should make machines for his benefit only. Finding this restriction intolerable, Koenig and Bauer returned to Germany: they became partners in a factory at Oberzell, near Würzburg, in 1817 and the firm of Koenig and Bauer flourishes there to this day.

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SUBJECT AREA: Aerospace, Architecture and building, Horology, Weapons and armour

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Leonardo was the illegitimate son of a Florentine lawyer. His first sixteen years were spent with the lawyer's family in the rural surroundings of Vinci, which aroused in him a lifelong love of nature and an insatiable curiosity in it. He received little formal education but extended his knowledge through private reading. That gave him only a smattering of Latin, a deficiency that was to be a hindrance throughout his active life. At sixteen he was apprenticed in the studio of Andrea del Verrochio in Florence, where he received a training not only in art but in a wide variety of crafts and technical arts.

In 1482 Leonardo went to Milan, where he sought and obtained employment with Ludovico Sforza, later Duke of Milan, partly to sculpt a massive equestrian statue of Ludovico but the work never progressed beyond the full-scale model stage. He did, however, complete the painting which became known as the Virgin of the Rocks and in 1497 his greatest artistic achievement, The Last Supper, commissioned jointly by Ludovico and the friars of Santa Maria della Grazie and painted on the wall of the monastery's refectory. Leonardo was responsible for the court pageants and also devised a system of irrigation to supply water to the plains of Lombardy. In 1499 the French army entered Milan and deposed Leonardo's employer. Leonardo departed and, after a brief visit to Mantua, returned to Florence, where for a time he was employed as architect and engineer to Cesare Borgia, Duke of Romagna. Around 1504 he completed another celebrated work, the Mona Lisa.

In 1506 Leonardo began his second sojourn in Milan, this time in the service of King Louis XII of France, who appointed him "painter and engineer". In 1513 Leonardo left for Rome in the company of his pupil Francesco Melzi, but his time there was unproductive and he found himself out of touch with the younger artists active there, Michelangelo above all. In 1516 he accepted with relief an invitation from King François I of France to reside at the small château of St Cloux in the royal domain of Amboise. With the pension granted by François, Leonardo lived out his remaining years in tranquility at St Cloux.

Leonardo's career can hardly be regarded as a success or worthy of such a towering genius. For centuries he was known only for the handful of artistic works that he managed to complete and have survived more or less intact. His main activity remained hidden until the nineteenth and twentieth centuries, during which the contents of his notebooks were gradually revealed. It became evident that Leonardo was one of the greatest scientific investigators and inventors in the history of civilization. Throughout his working life he extended a searching curiosity over an extraordinarily wide range of subjects. The notes show careful investigation of questions of mechanical and civil engineering, such as power transmission by means of pulleys and also a form of chain belting. The notebooks record many devices, such as machines for grinding and polishing lenses, a lathe operated by treadle-crank, a rolling mill with conical rollers and a spinning machine with pinion and yard divider. Leonardo made an exhaustive study of the flight of birds, with a view to designing a flying machine, which obsessed him for many years.

Leonardo recorded his observations and conclusions, together with many ingenious inventions, on thousands of pages of manuscript notes, sketches and drawings. There are occasional indications that he had in mind the publication of portions of the notes in a coherent form, but he never diverted his energy into putting them in order; instead, he went on making notes. As a result, Leonardo's impact on the development of science and technology was virtually nil. Even if his notebooks had been copied and circulated, there were daunting impediments to their understanding. Leonardo was left-handed and wrote in mirror-writing: that is, in reverse from right to left. He also used his own abbreviations and no punctuation.

At his death Leonardo bequeathed his entire output of notes to his friend and companion Francesco Melzi, who kept them safe until his own death in 1570. Melzi left the collection in turn to his son Orazio, whose lack of interest in the arts and sciences resulted in a sad period of dispersal which endangered their survival, but in 1636 the bulk of them, in thirteen volumes, were assembled and donated to the Ambrosian Library in Milan. These include a large volume of notes and drawings compiled from the various portions of the notebooks and is now known as the Codex Atlanticus. There they stayed, forgotten and ignored, until 1796, when Napoleon's marauding army overran Italy and art and literary works, including the thirteen volumes of Leonardo's notebooks, were pillaged and taken to Paris. After the war in 1815, the French government agreed to return them but only the Codex Atlanticus found its way back to Milan; the rest remained in Paris. The appendix to one notebook, dealing with the flight of birds, was later regarded as of sufficient importance to stand on its own. Four small collections reached Britain at various times during the seventeenth and eighteenth centuries; of these, the volume in the Royal Collection at Windsor Castle is notable for its magnificent series of anatomical drawings. Other collections include the Codex Leicester and Codex Arundel in the British Museum in London, and the Madrid Codices in Spain.

Towards the end of the nineteenth century, Leonardo's true stature as scientist, engineer and inventor began to emerge, particularly with the publication of transcriptions and translations of his notebooks. The volumes in Paris appeared in 1881–97 and the Codex Atlanticus was published in Milan between 1894 and 1904.

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LRD / IMcN

1. lie [laɪ] vi <- y-> lügen;

to \lie about sth intentions, plans falsche Angaben über etw akk machen;

I used to \lie about my age ich habe immer ein falsches Alter angegeben;

to \lie about sb über jdn die Unwahrheit erzählen;

to \lie to sb jdn belügen

to \lie through one's teeth wie gedruckt lügen ( fam) vt <- y->

to \lie one's way somewhere sich akk irgendwohin hineinschmuggeln;

to \lie one's way [or oneself] out of sth sich akk aus etw dat herausreden n Lüge f;

to be a pack [or ( Brit) tissue] of \lies erstunken und erlogen sein ( fam)

to be an outright \lie glatt gelogen sein ( fam)

to give the \lie to sb/ sth jdn/etw Lügen strafen;

to tell \lies Lügen erzählen;

don't tell me \lies! lüg mich nicht an!;

her name is Paula, no, I tell a \lie - it's Pauline ihr Name ist Paula - nein, Moment, bevor ich etwas Falsches sage - sie heißt Pauline

2. lie [laɪ] n

1) ( position) Lage f

2) no pl (esp Brit, Aus) Aussehen nt vi <-y-, lay, lain>

1) ( be horizontal) body liegen;

to \lie on one's back/ in bed/ on the ground auf dem Rücken/im Bett/auf dem Boden liegen;

to \lie in state aufgebahrt sein [o liegen];

to \lie awake/ quietly/ still wach/ruhig/still liegen;

to \lie flat flach liegen [bleiben]

2) (be) liegen;

snow lay thickly over the fields auf den Feldern lag eine dicke Schneeschicht;

to \lie off the coast [or shore] boat, ship, yacht vor der Küste liegen;

to \lie to the east/ north of sth im Osten/Norden [o östlich/nördlich] von etw dat [o einer S. gen] liegen;

to \lie on the route to... auf dem Weg nach... liegen; school, work auf dem Weg zu... liegen;

to \lie in ruins in Trümmern liegen;

to \lie in wait auf der Lauer liegen;

to \lie empty house, flat leer stehen;

to \lie fallow agr, hort brachliegen

3) ( be buried) ruhen;

here \lies the body of... hier ruht...

4) ( be responsible)

to \lie with sb/ sth bei jdm/etw liegen

5) ( be found)

to \lie in sth an etw dat liegen; solution bei etw dat liegen;

where do your interests \lie? wo liegen deine Interessen?;

the cause of the argument \lies in the stubbornness on both sides die Ursache des Streits waren in der Sturheit beider Seiten zu suchen

6) ( Brit) sports

to \lie bottom of/ third in the table Tabellenletzter/-dritter sein

to see how the land \lies sehen, wie die Zeichen stehen;

to \lie heavily on one's stomach jdm schwer im Magen liegen ( fam)

to \lie doggo ( Brit) sich akk still verhalten;

to \lie low ( escape search) untergetaucht sein;

( avoid being noticed) sich akk versteckt halten

way

A n

1 (route, road) chemin m (from de ; to à) ; a paved way un chemin pavé ; to live over the way ○ habiter en face ; the quickest way to town le chemin le plus court pour aller en ville ; if we go this way we avoid the traffic si nous prenons cette route nous éviterons la circulation ; to ask the way to demander le chemin pour aller à ; which is the best way to the station? quel est le meilleur chemin or le chemin le plus court pour aller à la gare? ; can you tell me the way to the museum? pouvez-vous m'indiquer le chemin pour aller au musée? ; to find one's way trouver son chemin ; how did that find its way in here? comment est-ce que c'est arrivé ici? ; the way ahead lit le chemin devant moi/eux etc ; the way ahead looks difficult fig l'avenir s'annonce difficile ; a way around lit un chemin pour contourner [obstacle] ; there is no way around the problem il n'y a pas moyen de contourner le problème ; to take the long way around prendre le chemin le plus long ; the way back to le chemin pour retourner à ; I telephoned on the way back j'ai téléphoné sur le chemin du retour ; on the way back from the meeting en revenant de la réunion ; the way down le chemin pour descendre, la descente ; she was hurt on the way down elle s'est blessée en descendant ; the way forward fig la clé de l'avenir ; the way forward is to… la clé de l'avenir consiste à… ; the way in l'entrée (to de) ; ‘way in’ ‘entrée’ ; the way out la sortie (of de) ; the quickest way out is through here c'est par ici que l'on sort le plus vite ; there's no way out fig il n'y a pas d'échappatoire ; a way out of our difficulties un moyen de nous sortir de nos difficultés or de nous en sortir ; the way up la montée ; on the way en route ; we're on the way to Mary's nous allons chez Mary ; I did it on the way here je l'ai fait en venant ici ; I stopped on the way je me suis arrêté en (cours de) route ; on the way past en passant ; I'm on my way j'arrive ; she's on her way over elle arrive ; on your way through town, look out for the cathedral en traversant la ville essaie de voir la cathédrale ; the shop is on the/my way le magasin est sur le/mon chemin ; his house is on your way to town tu passes devant chez lui en allant au centre-ville ; it's not on my way ce n'est pas sur mon chemin ; I must be on my way il faut que je parte ; to go on one's way se remettre en route ; to send sb on his way ( tell to go away) envoyer promener qn ○ ; she sent him on his way with an apple elle lui a donné une pomme pour la route ; to be on one's way to victory être sur le chemin de la victoire ; to be on the way to disaster aller à la catastrophe ; to be well on the ou one's way to doing être bien parti pour faire ; to be on the way out fig passer de mode ; she's got four kids and another one on the way ○ elle a quatre gosses et un autre en route ○ ; to be out of sb's way ne pas être sur le chemin de qn ; sorry to have taken you out of your way désolé de t'avoir fait faire un détour ; don't go out of your way to do ne t'embête pas à faire ; to go out of one's way to make sb feel uncomfortable tout faire pour que qn se sente mal à l'aise ; out of the way ( isolated) isolé ; ( unusual) extraordinaire ; along the way lit en chemin ; fig en cours de route ; by way of ( via) en passant par ; to go one's own way fig suivre son chemin ; they decided to go their separate ways ( of couple) ils ont décidé de suivre chacun son chemin ; there we went our separate ways là chacun est parti de son côté ; to go the way of sb/sth finir comme qn/qch ; to make one's way towards se diriger vers ; to make one's way along avancer le long de ; the procession makes its solemn way through London la procession avance solennellement dans Londres ; to make one's own way there/home se débrouiller seul pour y arriver/pour rentrer ; to make one's own way in life faire son chemin tout seul dans la vie ; to push one's way through sth se frayer un chemin à travers qch ; to argue/lie one's way out of trouble se sortir d'affaire en argumentant/en mentant ;

2 ( direction) direction f, sens m ; which way is the arrow pointing? quelle direction indique la flèche? ; which way did he go? dans quelle direction est-il parti? ; he went that way il est parti par là ; south is that way le sud est dans cette direction or par là ; come ou step this way suivez-moi, venez par ici ; can we get to the park this way? est-ce que l'on peut aller au parc par ici? ; ‘this way for the zoo’ ‘vers le zoo’ ; she's heading this way elle vient par ici ; ‘this way up’ ‘haut’ ; look/turn this way regarde/tourne-toi par ici ; to look this way and that regarder dans toutes les directions ; to run this way and that courir dans tous les sens ; to look both ways regarder des deux côtés ; to look the other way ( to see) regarder de l'autre côté ; ( to avoid seeing unpleasant thing) détourner les yeux ; fig ( to ignore wrong doing) fermer les yeux ; to go every which way partir dans tous les sens ; the other way up dans l'autre sens ; the right way up dans le bon sens ; the wrong way up à l'envers ; to turn sth the other way around retourner qch ; to do it the other way around faire le contraire ; I didn't ask her, it was the other way around ce n'est pas moi qui lui ai demandé, c'est l'inverse ; the wrong/right way around dans le mauvais/bon sens ; to put one's skirt on the wrong way around mettre sa jupe à l'envers ; you're Ben and you're Tom, is that the right way around? tu es Ben, et toi tu es Tom, c'est bien ça? ; you're going the right way tu vas dans le bon sens or la bonne direction ; you're going the right way to get a smack tu es bien parti pour te prendre une claque ; are you going my way? est-ce que tu vas dans la même direction que moi? ; if you're ever down our way si jamais tu passes près de chez nous ; over Manchester way du côté de Manchester ; she's coming our way elle vient vers nous ; an opportunity came my way une occasion s'est présentée ; to put sth sb's way ○ filer qch à qn ○ ; everything's going my/his way tout me/lui sourit ;

3 (space in front, projected route) passage m ; to bar/block sb's way barrer/bloquer le passage à qn ; to be in sb's way empêcher qn de passer ; to be in the way gêner le passage ; am I in your way here? est-ce que je te gêne comme ça? ; to get in sb's way [hair, clothing] gêner qn ; [children] être dans les jambes de qn ; anyone who gets in his way gets knocked down fig quiconque se met en travers de son chemin se fait envoyer au tapis ○ ; she won't let anything get in the way of her ambition elle ne laissera rien entraver son ambition ; to get out of the way s'écarter (du chemin) ; to get out of sb's way laisser passer qn ; put that somewhere out of the way mets ça quelque part où ça ne gêne pas ; she couldn't get out of the way in time elle n'a pas pu s'écarter à temps ; out of my way! pousse-toi! ; get your car out of my way! pousse ta voiture! ; get him out of the way before the boss gets here! fais-le disparaître d'ici avant que le patron arrive! ; if only he were out of the way… si seulement on pouvait se débarrasser de lui… ; let me get lunch out of the way laisse-moi en terminer avec le déjeuner ; once the election is out of the way une fois les élections passées ; to keep out of the way rester à l'écart ; to keep out of sb's way éviter qn ; to keep sb out of sb's way ( to avoid annoyance) tenir qn à l'écart de qn ; to keep sth out of sb's way (to avoid injury, harm) garder qch hors de portée de qn ; to shove/pull sb out of the way écarter qn ; to make way s'écarter ; to make way for sb/sth faire place à qn/qch ; make way for the mayor! place au maire! ; make way! make way! place! place! ; it's time he made way for someone younger il est temps qu'il laisse la place à quelqu'un de plus jeune ;

4 ( distance) distance f ; it's a long way c'est loin (to jusqu'à) ; it's not a very long way ce n'est pas très loin ; to be a short way off lit être près ; my birthday is still some way off mon anniversaire est encore loin ; we still have some way to go before doing lit, fig nous avons encore du chemin à faire avant de faire ; to go all the way on foot/by bus faire tout le chemin à pied/en bus ; to go all the way to China with sb faire tout le voyage jusqu'en Chine avec qn ; there are cafés all the way along the road il y a des cafés tout le long de la rue ; I'm with you ou behind you all the way je suis de tout cœur avec toi, je te soutiendrai jusqu'au bout ; to go all the way ○ ( have sex) [two people] coucher ensemble ; to go all the way with sb ○ coucher avec qn ;

5 ( manner of doing something) façon f, manière f ; do it this/that way fais-le comme ceci/cela ; you won't convince her that way tu ne vas pas la convaincre de cette façon or manière ; which way shall I do it? de quelle façon or manière dois-je le faire? ; let me explain it another way laisse-moi t'expliquer autrement ; to do sth the French way faire qch comme les Français ; to do sth the right/wrong way faire bien/mal qch ; you're going about it the wrong way tu t'y prends très mal ; he said it in such a hostile way that… il l'a dit de façon tellement hostile que… ; in the usual way de la façon habituelle ; let her do it her way laisse-la faire à sa façon or manière ; that's not her way ce n'est pas sa façon de faire ; try to see it my way mets-toi à ma place ; in his/her/its own way à sa façon ; they're nice people in their own way ce sont des gens sympathiques à leur façon ; to have a way with sth s'y connaître en qch ; to have a way with children savoir s'y prendre avec les enfants ; she certainly has a way with her ○ GB elle sait décidément s'y prendre avec les gens ; a way of doing ( method) une façon or manière de faire ; ( means) un moyen de faire ; there's no way of knowing/judging il n'y a pas moyen de savoir/juger ; to my way of thinking à mon avis ; that's one way of looking at it c'est une façon de voir les choses ; a way to do une façon or manière de faire ; what a horrible way to die quelle façon horrible de mourir ; that's the way to do it! voilà comment il faut s'y prendre! ; that's the way! voilà, c'est bien! ; way to go ○ ! US voilà qui est bien ○ ! ; that's no way to treat a child ce n'est pas une façon de traiter les enfants ; what a way to run a company! en voilà une façon de gérer une entreprise! ; the way (that) sb does sth la façon or manière dont qn fait qch ; I like the way he dresses j'aime la façon dont il s'habille, j'aime sa façon de s'habiller ; I like the way you blame me! iron c'est toi qui me fais des reproches! ; that's not the way we do things here ce n'est pas notre façon de faire ici ; whichever way you look at it de quelque façon que tu envisages les choses ; either way, she's wrong de toute façon, elle a tort ; one way or another d'une façon ou d'une autre ; one way and another it's been rather eventful tout compte fait ça a été assez mouvementé ; I don't care one way or the other ça m'est égal ; no two ways about it cela ne fait aucun doute ; you can't have it both ways on ne peut pas avoir le beurre et l'argent du beurre ; no way ○ ! pas question ○ ! ; no way am I doing that ○ ! pas question que je fasse ça ○ ! ;

6 (respect, aspect) sens m ; in a way it's sad en un sens or d'une certaine façon c'est triste ; in a way that's true/she was responsible dans une certaine mesure c'est vrai/elle était responsable ; can I help in any way? puis-je faire quoi que ce soit? ; would it make things easier in any way if… est-ce que cela simplifierait un peu les choses si… ; without wanting to criticize in any way sans vouloir le moins du monde critiquer ; it was unforgivable in every way c'était impardonnable à tous points de vue ; in every way possible dans la mesure du possible ; in many ways à bien des égards ; in more ways than one à plus d'un égard ; in some ways à certains égards ; in that way you're right à cet égard or en ce sens tu as raison ; in no way, not in any way aucunement, en aucune façon ; in no way are you to blame ce n'est aucunement ta faute ; this is in no way a criticism cela n'est en aucune façon une critique ; not much in the way of news/work il n'y a pas beaucoup de nouvelles/travail ; what have you got in the way of drinks? qu'est-ce que vous avez comme boissons or à boire? ; by way of light relief en guise de divertissement ; in a general way ( generally) en général ; in the ordinary way ( ordinarily) d'ordinaire ;

7 (custom, manner) coutume f, manière f ; you'll soon get used to our ways tu t'habitueras vite à nos coutumes ; the old ways les coutumes d'autrefois ; that's the modern way c'est la coutume d'aujourd'hui, c'est comme ça de nos jours ; I know all her little ways je connais toutes ses petites habitudes ; he's rather strange in his ways il a des habitudes un peu bizarres ; she's got a funny way of suddenly raising her voice elle a une façon curieuse d'élever brusquement la voix ; that's just his way il est comme ça ; it's not my way to complain but… ce n'est pas mon genre or dans mes habitudes de me plaindre mais… ; it's the way of the world c'est la vie, ainsi va le monde ;

8 (will, desire) to get one's way, to have one's own way faire à son idée ; she likes (to have) her own way elle aime n'en faire qu'à sa tête ; if I had my way… si cela ne tenait qu'à moi… ; have it your (own) way comme tu voudras ; she didn't have it all her own way elle n'a pas pu en faire qu'à son idée ; Leeds had things all their own way Sport Leeds a complètement dominé le match ; to have one's (wicked) way with sb† ou hum arriver à ses fins avec qn.

B adv to live way beyond one's means vivre largement au-dessus de ses moyens ; we went way over budget le budget a été largement dépassé ; to be way out (in guess, estimate) [person] être loin du compte ; to be way more expensive/dangerous être bien plus coûteux/dangereux ; to go way beyond what is necessary aller bien au-delà de ce qui est nécessaire ; that's way out of order je trouve ça un peu fort.

C by the way adv phr [tell, mention] en passant ; by the way,… à propos,… ; what time is it, by the way? quelle heure est-il, au fait? ; and she, by the way, is French et elle, à propos, est française ; but that's just by the way mais ce n'est qu'une parenthèse.

SUBJECT AREA: Agricultural and food technology

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Carroll worked first with the Buckeye Harvester Co., then with J.J.Mitchell \& Co. In 1911 he was hired by the Argentinian distributor for Massey Harris to help in the introduction of their new horse-drawn reaper-thresher. Carroll recommended modifications to suit Argentinian conditions, and these resulted in the production of a new model. In 1917 he joined the Toronto staff of Massey Harris as a product design leader, the No. 5 reaper-thresher being the first designed under him. Many significant new developments can be attributed to Carroll: welded sections, roller chains, oil-bath gears, antifriction ball bearings and the detachable cutting table allowing easy transfer of combines between fields were all innovations of which he was the source.

In the 1930s he became Chief Engineer with responsibility for the design of a self-propelled harvester. The 20 SP was tested in Argentina only eight months after design work had begun, and it was to this machine that the name "combine harvester" was applied for the first time. Improvements to this original design produced a lighter 12 ft (3.65 m) cut machine which came off the production line in 1941. Three years later 500 of these machines were transported to the southern United States, and then gradually harvested their way northwards as the corn ripened. It has been estimated that the famous "Harvest Brigade" harvested over 1 million acres, putting 25 million bushels into store, with a saving in excess of 300,000 labour hours and half a million gallons of fuel.

Carroll retired from Massey Ferguson in 1961.

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SUBJECT AREA: Electronics and information technology, Recording

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At the age of 23, Eisler obtained a Diploma in Engineering from the Technical University of Vienna. Because of the growing Nazi influence in Austria, he then accepted a post with the His Master's Voice (HMV) agents in Belgrade, where he worked on the problems of radio reception and sound transmission in railway trains. However, he soon returned to Vienna to found a weekly radio journal and file patents on graphical sound recording (for which he received a doctorate) and on a system of stereoscopic television based on lenticular vertical scanning.

In 1936 he moved to England and sold the TV patent to Marconi for £250. Unable to find a job, he carried out experiments in his rooms in a Hampstead boarding-house; after making circuits using strip wires mounted on bakelite sheet, he filed his first printed-circuit patent that year. He then tried to find ways of printing the circuits, but without success. Obtaining a post with Odeon Theatres, he invented a sound-level control for films and devised a mirror-drum continuous-film projector, but with the outbreak of war in 1939, when the company was evacuated, he chose to stay in London and was interned for a while. Released in 1941, he began work with Henderson and Spalding, a firm of lithographic printers, to whom he unwittingly assigned all future patents for the paltry sum of £1. In due course he perfected a means of printing conducting circuits and on 3 February 1943 he filed three patents covering the process. The British Ministry of Defence rejected the idea, considering it of no use for military equipment, but after he had demonstrated the technique to American visitors it was enthusiastically taken up in the US for making proximity fuses, of which many millions were produced and used for the war effort. Subsequently the US Government ruled that all air-borne electronic circuits should be printed.

In the late 1940s the Instrument Department of Henderson and Spalding was split off as Technograph Printed Circuits Ltd, with Eisler as Technical Director. In 1949 he filed a further patent covering a multilayer system; this was licensed to Pye and the Telegraph Condenser Company. A further refinement, patented in the 1950s, the use of the technique for telephone exchange equipment, but this was subsequently widely infringed and although he negotiated licences in the USA he found it difficult to license his ideas in Europe. In the UK he obtained finance from the National Research and Development Corporation, but they interfered and refused money for further development, and he eventually resigned from Technograph. Faced with litigation in the USA and open infringement in the UK, he found it difficult to establish his claims, but their validity was finally agreed by the Court of Appeal (1969) and the House of Lords (1971).

As a freelance inventor he filed many other printed-circuit patents, including foil heating films and batteries. When his Patent Agents proved unwilling to fund the cost of filing and prosecuting Complete Specifications he set up his own company, Eisler Consultants Ltd, to promote food and space heating, including the use of heated cans and wallpaper! As Foil Heating Ltd he went into the production of heating films, the process subsequently being licensed to Thermal Technology Inc. in California.

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SUBJECT AREA: Architecture and building, Civil engineering, Railways and locomotives

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Fox was a pupil of John Ericsson, helped to build the locomotive Novelty, and drove it at the Rainhill Trials in 1829. He became a driver on the Liverpool \& Manchester Railway and then a pupil of Robert Stephenson, who appointed him an assistant engineer for construction of the southern part of the London \& Birmingham Railway, opened in 1837. He was probably responsible for the design of the early bow-string girder bridge which carried the railway over the Regent's Canal. He also invented turnouts with switch blades, i.e. "points". With Robert Stephenson he designed the light iron train sheds at Euston Station, a type of roof that was subsequently much used elsewhere. He then became a partner in Fox, Henderson \& Co., railway contractors and manufacturers of railway equipment and bridges. The firm built the Crystal Palace in London for the Great Exhibition of 1851: Fox did much of the detail design work personally and was subsequently knighted. It also built many station roofs, including that at Paddington. From 1857 Fox was in practice in London as a consulting engineer in partnership with his sons, Charles Douglas Fox and Francis Fox. Sir Charles Fox became an advocate of light and narrow-gauge railways, although he was opposed to break-of-gauge unless it was unavoidable. He was joint Engineer for the Indian Tramway Company, building the first narrow-gauge (3 ft 6 in. or 107 cm) railway in India, opened in 1865, and his firm was Consulting Engineer for the first railways in Queensland, Australia, built to the same gauge at the same period on recommendation of Government Engineer A.C.Fitzgibbon.

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SUBJECT AREA: Aerospace

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The large and successful Lockheed Aircraft Corporation grew out of a small company founded by Allan and Malcolm Loughhead (pronounced "Lockheed") in 1913. The company employed many notable designers such as Jack Northrop, Jerry Vultee and Lloyd Stearman, but the most productive was "Kelly" Johnson. After studying aeronautical engineering at the University of Michigan, Johnson joined Lockheed in 1933 and gained experience in all the branches of the design department. By 1938 he had been appointed Chief Research Engineer and became involved with the design of the P-38 Lightning twin-boom fighter and the Constellation airliner. In 1943 he set up a super-secret research and development organization called Advanced Development Projects, but this soon became known as the "Skunk Works": the name came from a very mysterious factory which made potions from skunks in the popular comic strip Li'lAbner. The first aircraft designed and built by Johnson's small hand-picked team was the XP-80 Shooting Star prototype jet fighter, which was produced in just 143 days: it became the United States' first production jet fighter. At this stage the Skunk Works produced a prototype, then the main Lockheed factories took over the production run. The F-104 Starfighter and the C-130 Hercules transport were produced in this way and became widely used in many countries. In 1954 work began on the U-2 reconnaissance aircraft which was so secret that production was carried out within the Skunk Works. This made the headlines in 1960 when one was shot down over Russia. Probably the most outstanding of Johnson's designs was the SR-71 Blackbird of 1964, a reconnaissance aircraft capable of flying at Mach 3 (three times the speed of sound). Johnson was not only a great designer, he was also an outstanding manager, and his methods—including his "14 Rules"—have been widely followed. He retired from the Lockheed board in 1980, having been involved in the design of some forty aircraft.

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SUBJECT AREA: Photography, film and optics

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Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.

The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.

Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.

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SUBJECT AREA: Architecture and building

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Mansart was a classical architect who designed in High Renaissance style in France. Chief architect to Louis XIII, he was responsible for a number of fine châteaux and hôtels such as the Château de Maisons (1642–51) near Paris and the Hôtel Carnavalet (1660) in Paris. He was also the architect of the magnificent Paris church of Val de Grâce (begun in 1645).

The mansard roof, which has two different slopes of pitch, one steeper than the other, was named after Mansart (with a small change of spelling for euphony). It was a type of roof that was very popular in France from the early seventeenth century onwards and was revived under Napoleon III in the nineteenth century. However, although Mansart popularized this style of roof, he did not invent it; indeed, it was used in earlier works by both Pierre Lescot and Jacques Lemercier.

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SUBJECT AREA: Broadcasting, Electronics and information technology, Recording

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Poniatoff was educated at the University of Kazan, the Imperial College in Moscow, and the Technische Hochschule in Karlsruhe, gaining degrees in mechanical and electrical engineering. He was in Germany when the First World War broke out, but he managed to escape back to Russia, where he served as an Air Force pilot with the Imperial Russian Navy. During the Russian Revolution he was a pilot with the White Russian Forces, and escaped into China in 1920; there he found work as an assistant engineer in the Shanghai Power Company. In 1927 he immigrated to the USA, becoming a US citizen in 1932. He obtained a post in the research and development department of the General Electric Company in Schenectady, New York, and later at Dalmo Victor, San Carlos, California. During the Second World War he was involved in the development of airborne radar for the US Navy.

In 1944, taking his initials to form the title, Poniatoff founded the AMPEX Corporation to manufacture components for the airborne radar developed at General Electric, but in 1946 he turned to the production of audio tape recorders developed from the German wartime Telefunken Magnetophon machine (the first tape recorder in the truest sense). In this he was supported by the entertainer Bing Crosby, who needed high-quality replay facilities for broadcasting purposes, and in 1947 he was able to offer a professional-quality product and the business prospered.

With the rapid post-war boom in television broadcasting in the USA, a need soon arose for a video recorder to provide "time-shifting" of live TV programmes between the different US time zones. Many companies therefore endeavoured to produce a video tape recorder (VTR) using the same single-track, fixed-head, longitudinal-scan system used for audio, but the very much higher bandwidth required involved an unacceptably high tape-speed. AMPEX attempted to solve the problem by using twelve parallel tracks and a machine was demonstrated in 1952, but it proved unsatisfactory.

The development team, which included Charles Ginsburg and Ray Dolby, then devised a four-head transverse-scan system in which a quadruplex head rotating at 14,400 rpm was made to scan across the width of a 2 in. (5 cm) tape with a tape-to-head speed of the order of 160 ft/sec (about 110 mph; 49 m/sec or 176 km/h) but with a longitudinal tape speed of only 15 in./sec (0.38 m/sec). In this way, acceptable picture quality was obtained with an acceptable tape consumption. Following a public demonstration on 14 April 1956, commercial produc-tion of studio-quality machines began to revolutionize the production and distribution of TV programmes, and the perfecting of time-base correctors which could stabilize the signal timing to a few nanoseconds made colour VTRs a practical proposition. However, AMPEX did not rest on its laurels and in the face of emerging competition from helical scan machines, where the tracks are laid diagonally on the tape, the company was able to demonstrate its own helical machine in 1957. Another development was the Videofile system, in which 250,000 pages of facsimile could be recorded on a single tape, offering a new means of archiving information. By 1986, quadruplex VTRs were obsolete, but Poniatoff's role in making television recording possible deserves a place in history.

Poniatoff was President of AMPEX Corporation until 1955 and then became Chairman of the Board, a position he held until 1970.

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SUBJECT AREA: Electronics and information technology

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Whilst Directeur of the Bureau du Cadastre, Prony was made responsible for a project to determine the trigonometric functions of the centesimal units of 90°, i.e. the right angle was successively divided into 100 grades containing 100 minutes, which in turn each consisted of 100 seconds. This work produced tables (known as the Table de Cadastre) of the natural sines to twenty-two decimal places and the logarithms of sines and tangents to fourteen places. Although the tables as calculated were never published, tables based on them (presumably derived for the more familiar degree, minute and second sub-divisions of a right-angle by interpolation) have since appeared.

See also: Briggs, Henry; Burgi, Jost; Napier, John

SUBJECT AREA: Architecture and building, Civil engineering

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From 1795 Rondelet was Professor at the Ecole Centrale des Travaux Publics and while there was responsible for a major treatise on building construction: this was his Traité théorique et pratique de l'art de bâtir, published in four volumes in 1802–17. From 1806 he taught at the Ecole Spéciale d'Architecture, which was soon afterwards merged with the Ecole Polytechnique. It was when Rondelet took over the work of com-pleting the Panthéon in Paris, after the death of Jacques-Germain Soufflot, that he had the opportunity of putting some of his particular structural ideas into practice. In 1755 the King had appointed Soufflot architect of the great new church to be dedicated to the patron saint of the city, Sainte Geneviève. In this neo-classical structure based upon Greek cross plan, Soufflot intended four slender piers, each encased in three engaged columns, to support the pendentives for the dome to rise over the crossing. It was a fine and elegant building on a large scale, but by the early nineteenth century, when the church had become a pantheon, cracks were appearing in the masonry. When Rondelet succeeded as architect after Soufflot's death, he strengthened and enlarged the piers, employing a faced concrete structure reinforced with metal. He used a metalreinforced mortar with rubble aggregate.

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