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1 Coade, Eleanor
SUBJECT AREA: Architecture and building[br]b. 24 June 1733 Exeter, Devon, Englandd. 18 November 1821 Camberwell, London, England[br]English proprietor of the Coade Factory, making artificial stone.[br]Born Elinor Coade, she never married but adopted, as was customary in business in the eighteenth century, the courtesy title of Mrs. Following the bankruptcy and death of her father, George Coade, in Exeter, Eleanor and her mother (also called Eleanor) moved to London and founded the works at Lambeth, South London, in 1769 that later became famous as the Coade factory. The factory was located at King's Arms Stairs, Narrow Wall. During the eighteenth century, several attempts had been made in other businesses to manufacture a durable, malleable artificial stone that would be acceptable to architects for decorative use. These substances were not very successful, but Coade stone was different. Although stories are legion about the secret formula supposedly used in this artificial stone, modern methods have established the exact formula.Coade stone was a stoneware ceramic material fired in a kiln. The body was remarkable in that it shrank only 8 per cent in drying and firing: this was achieved by using a combination of china clay, sand, crushed glass and grog (i.e. crushed and ground, previously fired stoneware). The Coade formula thus included a considerable proportion of material that, having been fired once already, was unshrinkable. Mrs Coade's name for the firm, Coade's Lithodipyra Terra-Cotta or Artificial Stone Manufactory (where "Lithodipyra" is a term derived from three Greek words meaning "stone", "twice" and "fire"), made reference to the custom of including such material (such as in Josiah Wedgwood's basalt and jasper ware). The especially low rate of shrinkage rendered the material ideal for making extra-life-size statuary, and large architectural, decorative features to be incorporated into stone buildings.Coade stone was widely used for such purposes by leading architects in Britain and Ireland from the 1770s until the 1830s, including Robert Adam, Sir Charles Barry, Sir William Chambers, Sir John Soane, John Nash and James Wyatt. Some architects introduced the material abroad, as far as, for example, Charles Bulfinch's United States Bank in Boston, Massachusetts, and Charles Cameron's redecoration for the Empress Catherine of the great palace Tsarkoe Selo (now Pushkin), near St Petersburg. The material so resembles stone that it is often mistaken for it, but it is so hard and resistant to weather that it retains sharpness of detail much longer than the natural substance. The many famous British buildings where Coade stone was used include the Royal Hospital, Chelsea, Carlton House and the Sir John Soane Museum (all of which are located in London), St George's Chapel at Windsor, Alnwick Castle in Northumberland, and Culzean Castle in Ayrshire, Scotland.Apart from the qualities of the material, the Coade firm established a high reputation for the equally fine quality of its classical statuary. Mrs Coade employed excellent craftsmen such as the sculptor John Bacon (1740–99), whose work was mass-produced by the use of moulds. One famous example which was widely reproduced was the female caryatid from the south porch of the Erechtheion on the acropolis of Athens. A drawing of this had appeared in the second edition of Stuart and Revett's Antiquities of Athens in 1789, and many copies were made from the original Coade model; Soane used them more than once, for example on the Bank of England and his own houses in London.Eleanor Coade was a remarkable woman, and was important and influential on the neo-classical scene. She had close and amicable relations with leading architects of the day, notably Robert Adam and James Wyatt. The Coade factory was enlarged and altered over the years, but the site was finally cleared during 1949–50 in preparation for the establishment of the 1951 Festival of Britain.[br]Further ReadingA.Kelly, 1990, Mrs Coade's Stone, pub. in conjunction with the Georgian Group (an interesting, carefully written history; includes a detailed appendix on architects who used Coade stone and buildings where surviving work may be seen).DY -
2 mie|ścić
impf Ⅰ vi 1. [budynek, biurowiec, centrum handlowe] to house- budynek mieści kino, restaurację i salę konferencyjną the building houses a cinema, a restaurant, and a conference hall2. (mieć wystarczająco miejsca) to hold- pojemnik mieści 100 litrów wody the container holds a. contains a hundred litres of water- sala mieści sto osób the hall holds a. seats 100- ganek mieścił stół i krzesła there was enough room for a table and chairs on the porch ⇒ pomieścić3. (zawierać) to contain, to comprise- ten gest mieści więcej niż cała wypowiedź this gesture is more expressive than the whole speech ⇒ pomieścićⅡ mieścić się 1. (znajdować się) to be located, to be situated- czytelnia mieści się na parterze the reading room is situated on the ground floor- prokuratura mieściła się w niedużym domu the public prosecutor’s office was located in a small building2. (mieć odpowiednie rozmiary) to fit- telefon komórkowy z łatwością mieści się w kieszeni a mobile phone fits easily in(to) a pocket- walizki nie mieszczą się w bagażniku the boot can’t hold all the suitcases- w baku mieści się 25 litrów paliwa the fuel tank holds a. takes 25 litres ⇒ zmieścić się3. (zawierać się) to comprise, to fall into- w tej kategorii przestępstw mieszczą się też kradzieże samochodów car theft also falls into this category of crimes- w tej ogólnikowej uwadze mieści się wiele krytyki this general remark contains a lot of criticism- mieścić się w granicach normy to be within the limits of what’s normal, to stay within the normal range ⇒ zmieścić sięThe New English-Polish, Polish-English Kościuszko foundation dictionary > mie|ścić
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3 Theater, Portuguese
There are two types of theater in Portugal: classical or "serious" theater and light theater, or the Theater of Review, largely the Revistas de Lisboa (Lisbon Reviews). Modern theater, mostly but not exclusively centered in Lisbon, experienced an unfortunate impact from official censorship during the Estado Novo (1926-74). Following laws passed in 1927, the government decreed that, as a cultural activity, any theatrical presentations that were judged "offensive in law, in morality and in decent customs" were prohibited. One consequence that derived from the risk of prohibition was that directors and playwrights began to practice self-censorship. This discouraged liberal and experimental theatrical work, weakened commercial investment in theater, and made employment in much theater a risky business, with indifferent public support.Despite these political obstacles and the usual risks and difficulties of producing live theater in competition first with emerging cinema and then with television (which began in any case only after 1957), some good theatrical work flourished. Two of the century's greatest repertory actresses, Amélia Rey-Colaço (1898-1990) and Maria Matos (1890-1962), put together talented acting companies and performed well-received classical theater. Two periods witnessed a brief diminution of censorship: following World War II (1945-47) and during Prime Minister Marcello Caetano's government (1968-74). Although Portuguese playwrights also produced comedies and dramas, some of the best productions reached the stage under the authorship of foreign playwrights: Shakespeare, George Bernard Shaw, Arthur Miller, and others.A major new phase of Portuguese serious theater began in the 1960s, with the staging of challenging plays by playwrights José Cardoso Pires, Luis Sttau Monteiro, and Bernardo Santareno. Since the Revolution of 25 April 1974, more funds for experimental theater have become available, and government censorship ceased. As in so much of Western European theater, however, the general public tended to favor not plays with serious content but techno-hits that featured foreign imports, including musicals, or homegrown musicals on familiar themes. Nevertheless, after 1974, the theater scene was enlivened, not only in Lisbon, but also in Oporto, Coimbra, and other cities.The Theater of Review, or light theater, was introduced to Portugal in the 19th century and was based largely on French models. Adapted to the Portuguese scene, the Lisbon reviews featured pageantry, costume, comic skits, music (including the ever popular fado), dance, and slapstick humor and satire. Despite censorship, its heyday occurred actually during the Estado Novo, before 1968. Of all the performing arts, the Lisbon reviews enjoyed the greatest freedom from official political censorship. Certain periods featured more limited censorship, as cited earlier (1945-47 and 1968-74). The main venue of the Theater of Review was located in central Lisbon's Parque Mayer, an amusement park that featured four review theaters: Maria Vitória, Variedades, Capitólio, and ABC.Many actors and stage designers, as well as some musicians, served their apprenticeship in the Lisbon reviews before they moved into film and television. Noted fado singers, the fadistas, and composers plied their trade in Parque Mayer and built popular followings. The subjects of the reviews, often with provocative titles, varied greatly and followed contemporary social, economic, and even political fashion and trends, but audiences especially liked satire directed against convention and custom. If political satire was not passed by the censor in the press or on television, sometimes the Lisbon reviews, by the use of indirection and allegory, could get by with subtle critiques of some personalities in politics and society. A humorous stereotyping of customs of "the people," usually conceived of as Lisbon street people or naive "country bumpkins," was also popular. To a much greater degree than in classical, serious theater, the Lisbon review audiences steadily supported this form of public presentation. But the zenith of this form of theater had been passed by the late 1960s as audiences dwindled, production expenses rose, and film and television offered competition.The hopes that governance under Prime Minister Marcello Caetano would bring a new season of freedom of expression in the light theater or serious theater were dashed by 1970-71, as censorship again bore down. With revolution in the offing, change was in the air, and could be observed in a change of review show title. A Lisbon review show title on the eve of the Revolution of 25 April 1974, was altered from: 'To See, to Hear... and Be Quiet" to the suggestive, "To See, to Hear... and to Talk." The review theater experienced several difficult years after 1980, and virtually ceased to exist in Parque Mayer. In the late 1990s, nevertheless, this traditional form of entertainment underwent a gradual revival. Audiences again began to troop to renovated theater space in the amusement park to enjoy once again new lively and humorous reviews, cast for a new century and applied to Portugal today. -
4 שאב
שָׁאַב(b. h.) to draw water; to attract, absorb, imbibe. Mikv. II, 6 שלא נתכוין לִשְׁאוֹב for he had no intention to draw water. Sabb.II, 4 בשביל שתהא שוֹאֶבֶת in order that it (the wick) be soaked. Gen. R. s. בשעה … ושואבתוכ׳ while man is asleep, the soul rises and imbibes life for him from above. Ib. s. 70 (ref. to Gen. 29:2) משם היו שוֹאֲבִים רוחוכ׳ from there (Zion) did they (the pilgrims) draw holy inspiration. Ib. s. 42 (play on ש̇נא̇ב̇, Gen. 14:2) שהיה שוֹא̇ב̇ ממון he absorbed (was greedy after) money; a. fr. אבן שואבת, v. אֶבֶן. בית השואבה, v. שוֹאֵבָה.Part. pass. שָׁאוּב; f. שְׁאוּבָה; pl. שְׁאוּבִים, שְׁאוּבִין; שְׁאוּבוֹת.מים ש׳ drawn water, contrad. to מים חיים well water. Tosef.Mikv.II, 9 אחד שאוב ואחד כשר one reservoir containing drawn water (and therefore unfit for immersion), and one that was fit. Mikv. VI, 3 והש׳ מן הצד and the cavity containing drawn water was located sideways. Sabb.15a שלשה לוגין מים ש׳וכ׳ three Logs of drawn water in a bath make it unfit for immersion. Mikv. VII, 6 המים שבתוכן ש׳ the water therein is considered as drawn (is unfit); a. fr. -
5 שָׁאַב
שָׁאַב(b. h.) to draw water; to attract, absorb, imbibe. Mikv. II, 6 שלא נתכוין לִשְׁאוֹב for he had no intention to draw water. Sabb.II, 4 בשביל שתהא שוֹאֶבֶת in order that it (the wick) be soaked. Gen. R. s. בשעה … ושואבתוכ׳ while man is asleep, the soul rises and imbibes life for him from above. Ib. s. 70 (ref. to Gen. 29:2) משם היו שוֹאֲבִים רוחוכ׳ from there (Zion) did they (the pilgrims) draw holy inspiration. Ib. s. 42 (play on ש̇נא̇ב̇, Gen. 14:2) שהיה שוֹא̇ב̇ ממון he absorbed (was greedy after) money; a. fr. אבן שואבת, v. אֶבֶן. בית השואבה, v. שוֹאֵבָה.Part. pass. שָׁאוּב; f. שְׁאוּבָה; pl. שְׁאוּבִים, שְׁאוּבִין; שְׁאוּבוֹת.מים ש׳ drawn water, contrad. to מים חיים well water. Tosef.Mikv.II, 9 אחד שאוב ואחד כשר one reservoir containing drawn water (and therefore unfit for immersion), and one that was fit. Mikv. VI, 3 והש׳ מן הצד and the cavity containing drawn water was located sideways. Sabb.15a שלשה לוגין מים ש׳וכ׳ three Logs of drawn water in a bath make it unfit for immersion. Mikv. VII, 6 המים שבתוכן ש׳ the water therein is considered as drawn (is unfit); a. fr. -
6 dropped ball
■ Way of restarting the match after an interruption for reasons other than those mentioned in the Laws of the Game, whereby the referee drops the ball at the place where it was located when play was stopped.■ Fortsetzungsart des Spiels für den Fall, dass das Spiel aus anderen als in den Spielregeln festgelegten Gründen unterbrochen wurde und bei der der Schiedsrichter den Ball an der Stelle fallen lässt, an der sich der Ball zum Zeitpunkt der Unterbrechung befand. -
7 располагать близко к
Располагать близко кA stainless steel vent tube (...) was sited close to the condensing surface.One junction was located above the surface of the water in the boiler and the other near to the condensing surface.Русско-английский научно-технический словарь переводчика > располагать близко к
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8 Kitekite falls
<KITEKITE.JPG">Near Piha on Auckland's West CoastThe Kitekite Track leads to the impressive three-tiered Kitekite Falls - the Knutzen Track leads off this (named after the early manager of the Piha Mill) taking a route to the south of the Kitekite Stream to reach the falls. The return route is by the north side. Off this track a steep track can take you to the top of the falls, where there are small cold pools for taking a dip and notches in the rocks where the Glen Esk Dam was located. The first attempt to drive logs down the falls resulted in their destruction on the rocks below and the dam was thereafter only used to flush the logs waiting in the stream below down to the mill. Tracks at the top of the falls lead inland through the ranges to various outlets on the West Coast Road. -
9 Ἰεριχώ
Ἰεριχώ, ἡ (also Ἱερ-, Ἰερειχώ, Ἱερειχώ) indecl. (יְרִיחוֹ; LXX; Just., D. 111, 4. On the word s. W-S. §10, 1a. Joseph. varies betw. Ἱεριχώ, gen.-οῦς and Ἱεριχοῦς, gen.-οῦντος; s. Niese index. Ἰεριχοῦς, -οῦντος also Galen XI 693 K. and Steph. Byz. s.v., but in Strabo 16, 2, 41 Ἰερικοῦς. On the spelling s. B-D-F §38) Jericho, a city in Judea, not far from the ford across the Jordan just north of the Dead Sea Mt 20:29; Mk 10:46; Lk 18:35; Hb 11:30; 1 Cl 12:2. Since a much-traveled road led to Jerusalem, 150 stades (Jos., Bell. 4, 474) or about 30 km. away, a customs house was located here Lk 19:1. The road fr. Jerusalem to Jericho, which leads through desolate mountainous country (Jos., loc. cit. ἔρημον κ. πετρῶδες), was notoriously unsafe Lk 10:30 (AvVeldhuizen, TSt 25, 1907, 41–43).—ESellin and CWatzinger, Jericho 1913; Dalman, Orte3 257ff; PThomsen, Jericho: Reallex. d. Vorgesch. VI 196, 153ff; JPritchard, The 1951 Campaign at Herodian Jer.: BASOR no. 123, ’51, 8–17; JKelso, NT Jericho: BA 14, ’51, 34–43; LMowry, ibid. 15, ’52, 26–42.—BHHW II 816–19. OEANE III 220–24. -
10 кровля цемента была отбита
Oil&Gas technology the top of the cement was located atУниверсальный русско-английский словарь > кровля цемента была отбита
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11 אכדיה
n. Acadia, former French colony which was located in southeast Canada -
12 независимо от того, где
Независимо от того, где-- This response seemed to be characteristic of the individual instrument no matter where it was located.Русско-английский научно-технический словарь переводчика > независимо от того, где
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13 Fenicisch
adj. Phoenician, of or belonging to Phoenicia (ancient kingdom that was located on the territory of modern-day Syria, Lebanon and Israel) -
14 Fenicië
n. Phoenicia, ancient kingdom in the Mediterranean Sea region (was located on the territory of modern-day Syria, Lebanon and Israel) -
15 Feniciër
n. Phoenician, resident of Phoenician empire (ancient kingdom that was located on the territory of modern-day Syria, Lebanon and Israel) -
16 peryferyjnoś|ć
f sgt 1. (położenie daleko od centrum) location outside the centre- peryferyjność hotelu nie przeszkadzała mi the fact that the hotel was located outside the city centre didn’t bother me2. (drugoplanowość) marginal positionThe New English-Polish, Polish-English Kościuszko foundation dictionary > peryferyjnoś|ć
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17 zlokaliz|ować
pf Ⅰ vt książk. 1. (umiejscowić) to locate- nowy supermarket zlokalizowano pod miastem the new supermarket was located outside town ⇒ lokalizować2. (ograniczyć) to localize- zlokalizować epidemię to localize an epidemic ⇒ lokalizować3. (znaleźć) to localize, to find [przestępcę, ławicę ryb] ⇒ lokalizować Ⅱ zlokalizować się to become localized ⇒ lokalizować sięThe New English-Polish, Polish-English Kościuszko foundation dictionary > zlokaliz|ować
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18 осыпь каменистая
talus mound, boulder fieldсм. также эрозия, эрозионный ландшафтThe study site was located on the north-facing slopes of Tryme Hill at 1 500-1 800 m, and included three boulder-fields, each of approximately 1 ha. .The boulder-fields were separated by two grassy, comparatively boulder-free areas 50 and 100 m wide, measured along the contour. .Builder ranged up to 15 m across, and protruded up to 10 m above the grassland. Occasional trees, up to 6 m in height were scattered in the grassland but mainly on the .lower, gentler slopes .Русско-английский словарь по этологии (поведению животных) > осыпь каменистая
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19 неудобно
I1) кратк. прил. см. неудобный2) предик. безл. (дт.; затруднительно) it is inconvenient (for); ( неуютно) it is uncomfortable (for)мне неудо́бно приходи́ть в сре́ду — it is inconvenient for me to come on Wednesday
мне неудо́бно в э́том кре́сле — I am / feel uncomfortable in this chair, I am not comfortable in this chair
3) предик. безл. (+ инф.; неприлично, неуместно) it is not proper / appropriate (+ to inf)неудо́бно звони́ть ему́ в тако́е вре́мя — it is not proper to call him at this time
4) предик. безл. (кому-л; стыдно, совестно) smb is forry, smb feels uneasyмне неудо́бно вас беспоко́ить — I am sorry [I hate] to bother you
мне неудо́бно за моего́ бра́та — I am sorry about my brother
II нареч.ему́ ста́ло неудо́бно, когда́ роди́тели на́чали руга́ться — he felt uneasy when his parents started arguing
1) ( неуютно) uncomfortably2) (так, что это вызывает затруднения) inconvenientlyвход был располо́жен неудо́бно — the entrance was located inconveniently
3) ( напряжённо) uneasily, ill at easeон чу́вствовал себя́ там неудо́бно — he felt uneasy there
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20 χονδρίζω
χονδρίζω (hapax leg., cp. ἐγκονδρίζω ‘form into grains/ groats’, fr. ἔγκονδρος ‘in grains’, derived fr. χόνδρος ‘groats of wheat or spelt’) prob.=χονδρεύω to make coarsely crushed grain, make groats (Hesych.): εἰς τὸν ἀγρὸν ὅπου χονδρίζεις Hv 3, 1, 2 prob. means a field in which was located an apparatus for preparing groats, where Hermas works.—DELG s.v. χόνδρος.
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