Between the headings were driven stentings. An excavated area was called a board, broken up by walls. To ensure the air circulated throughout the mine some boards were blocked off with stoppings either of brick or timber. Openings in some of the stoppings allowed the movement of men and materiel.
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Isolation stoppings for sectionalization of panels vw 04 and vw13 in v seam at damini ug mine of sohagpur area.
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Ten minutes later the night-shift workers were sent home, as the day-shift workers began work on the stoppings. The management team began inspecting the mine to decide upon a further course of action. Mr. Cocks, the managing director, ordered that the location of the stoppings be changed, despite disagreement from his team. This proved to be a fatal decision, as the new location was in unsettled ground.
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The air flow was improved by braziers or fire baskets suspended in the shaft, and by the late 1700s underground furnaces, in combination with stoppings and doors. These methods were not without danger from fires or explosions.
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Bentley recruited collier E.Beech to help him search for Hassell, but they failed to find him. Explosions occurring in the mine, a full evacuation was ordered. By around 7:10 the men met in the main crut. The manager ordered for stoppings to be put on in the cruts, and sand, stone and dust was brought in for this purpose.
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However, after retrieving air samples from beyond the permanent stoppings, the mining inspectors refused to allow recovery teams to go further into the Dennis districts to retrieve bodies, despite calls from the workers themselves that they should be allowed to do so. Dennis was never reopened; the bodies of the remaining 254 victims of the disaster would be left in the sealed districts.
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In the morning of the eighth, Straker, Anderson, Haswell and six others descended William shaft and found the air cool and wholesome. Work on recovering the victims and securing the mine then started. All work was performed using Spedding mills for light. As the workers moved through the mine all the various stoppings and traps had to be repaired to force the air current to fully ventilate it.
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The damage caused by explosions and by the water directed down the pit was severe, and efforts concentrated on building stoppings so that fresh air could be readmitted to the pit. In May, Parry Davies, captain of the Llay Main No. 2 rescue team, accompanied by two inspectors and a Ministry of Mines doctor, entered into the 20's return airway to recover the body of John Lewis of Cefn-y-Bedd, one of the members of the No. 1 team killed in the initial rescue attempts. By July, a party of men using breathing apparatus had proceeded 700 yards beyond the stoppings into the Dennis section as far as the top of the haulage road of the 142's Deep, though they found no trace of any of the missing miners. Within a matter of months, normal ventilation was restored to the Slant section: this work was, to that date, the first ever reopening of a pit by men working in an irrespirable atmosphere.
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Elle is a very popular Sri Lankan bat-and-ball game, often played in rural villages and urban areas. It involves a hitter, a pitcher and fielders. The hitter is given three chances to hit the ball pitched at him or her. Once the hitter hits the ball with the bat – often a sturdy bamboo stick – the hitter has to complete a round or run which includes four possible "stoppings" spaced apart.
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A strikeout happens if the hitter's ball is caught by the fielding side or if the fielding side is able to hit the hitter with the ball while he or she is in the course of completing a run. The hitter can stop only at one of the three stoppings in the round thereby paving the way for another member of his team to come and become the hitter. The side that gets the highest number of (complete) runs wins the match.
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Mining ventilation is a significant safety concern for many miners. Poor ventilation inside sub- surface mines causes exposure to harmful gases, heat, and dust, which can cause illness, injury, and death. The concentration of methane and other airborne contaminants underground can generally be controlled by dilution (ventilation), capture before entering the host air stream (methane drainage), or isolation (seals and stoppings). A ventilation system is set up to force a stream of air through the working areas of the mine.
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Spangeberg, 156–158 (Seghers), 170 (van Ostade), 177 (Berchem). Castiglione Callot, 13.7 x 10.5 cm, showing the use of multiple stoppings- out Giovanni Benedetto Castiglione grew up in Genoa and was greatly influenced by the stays there of Rubens and van Dyck when he was a young artist. His etching technique was extremely fluent, and in all mediums he often repeats the same few subjects in a large number of totally different compositions. His early prints include a number of bravura treatments of classical and pastoral themes, whilst later religious subjects predominate.
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Callot's technical innovations in improving the recipes for etching ground were crucial in allowing etching to rival the detail of engraving, and in the long term spelt the end of artistic engraving. Previously the unreliable nature of the grounds used meant that artists could not risk investing too much effort in an etched plate, as the work might be ruined by leaks in the ground. Equally, multiple stoppings-out, enabling lines etched to different depths by varying lengths of exposure to the acid, had been too risky.Mayor, 455–460.
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To enable his playing in Eastern musical modes, Gudenian employed an alternative tuning of his violin, which allowed the frequent use of open strings (no strings fretted). Rather than the G, D, A, E tuning used in the West, Guden used E, B, F-sharp, B (two perfect fifths and a perfect fourth). The fourth interval between the two upper strings rendered a difference to the double stoppings unfamiliar in the West. The English musicologist, music critic, and violinist Marion M. Scott wrote of Gudenian's music: > But once admit an altered tuning and all sorts of new vistas open up.
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Many of the tunes are explicitly in fiddle settings, with the bowings and ornaments clearly marked; Prince Eugin's March has extensive double stoppings, and another, London's loyalty, is an early example of scordatura notation. Some pieces are related to tunes recently published or composed in London - a few of these are attributed to named composers, including Purcell. Some other tunes, though written out for fiddle, are apparently pipe tunes, with their characteristic 9-note range and figuration: Curds and Whey, "Saw yee not my Meggy" and The Lad that keeps the Cattle are examples of this type.
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Massacre of the Innocents, showing the use of multiple stoppings-out to create the fainter lines of the distant view. 13.7 x 10.5 cm His technique was exceptional, and was helped by important technical advances he made. He developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. He also seems to have been responsible for an improved recipe for the etching ground that coated the plate and was removed to form the image, using lute- makers varnish rather than a wax-based formula.
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The viewer, Mr Foster, stated to the Newcastle Guardian that Davy lamps were employed throughout the colliery and that all the men were given written instructions in their use. The old areas of the colliery released a lot of foul air, but there was "not a better ventilated colliery on the Tyne". Foster reported that per minute was drawn down the shaft, a fact confirmed at the coroner's inquest by Mr Foster, the viewer. The colliery overman, John Greener, told the coroner that he had gone down the pit after the explosion and "found the separation stoppings blown down, and the stables on fire".
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This enabled lines to be etched more deeply, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", such that acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been present, preventing an engraver from investing too much time on a single plate that risked being ruined by foul-biting. Now etchers could do the very detailed work that was previously the monopoly of engravers, and Callot made good use of the new possibilities. He also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done.
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This enabled lines to be more deeply bitten, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul- biting", where acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been at the back of an etcher's mind, preventing too much time on a single plate that risked being ruined in the biting process. Now etchers could do the highly detailed work that was previously the monopoly of engravers, and Callot made full use of the new possibilities. Callot also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done.
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When the mine was reopened the area was found to damaged: "the stoppings and trap-doors were blown down, the roof fallen and as great marks of destruction as in any other part of the mine". The area was near John Pit, the down-cast shaft where fresh air was entering the mine at its greatest velocity. Hodgson realised that this was significant and supposed that "the atmospheric current ... intercepted the progress of the first explosion, and prevented it from igniting the fire damp here". Hodgson then proceeds to assume that the "choak-damp", perhaps here thinking of afterdamp rather than blackdamp, pressing upwards from the seat of the explosion forced a pocket of firedamp to where the coal was burning and set off the second explosion.
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Master of advanced etching techniques, Jacques Callot is credited with technical innovations such as the echoppe (needle) that allowed etchers to create a 'swelling' line; a lute maker's varnish based, etching ground that allowed for highly detailed work equal to that of engravers, and multiple "stoppings-out" which provided etchers with heretofore unknown possibilities to achieve subtle effects of distance and light. Callot's technical innovations enhanced the detail in his prints. In his portrayal of the English fleet, it is possible to differentiate galleons, carracks, pinnaces and perhaps shallops because each ship type had the same minute iconic image. Perhaps one of the pinnaces in these prints is Buckingham's sixth Lion's Whelp. English Siege of the St. Martin Citadel, Callot Pl.1 Siege of Saint Martin by the Duke of Buckingham.
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Evidence of 'heating' in the air samples taken beyond the stoppings, and the consequent risks of restarting fires, were cited as the reason: Walker agreed, though at the time of writing his report he hoped "that this heating will subside in time and that then it will be safe to re-enter the Dennis Section". As there were no other reports concerning the deeper parts of the section, the inquiry considered explanations presented by the legal representatives of the pit's management and by the inspectors. The divisional inspector, Charlton, countered the miners' theories by suggesting that firedamp had actually accumulated further up the Dennis main road just beyond the Clutch. This gas was ignited at the Clutch when a telephone was used to warn miners of the influx of firedamp.
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