Arsenal

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arsenal

[′ärs·nəl]
(ordnance)
An installation whose primary mission is research, development, and manufacture pertaining to assigned items or components.
An installation having coequal missions of maintenance and supply for assigned items or components.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Arsenal

 

a military establishment designed to receive, store, register, and distribute armament and ammunition to troops, to assemble and repair them, and to manufacture certain of their component parts.

Up to the end of the 19th century most of the arsenals of all countries were occupied with the mass production of many kinds of armament and ammunition for the land and naval forces. Arsenal plants had on their premises storehouses of weapons and armaments. The most important arsenals in Russia were the St. Petersburg arsenal known as the Foundry and Cannon Yard, the Kiev and Briansk arsenals, and the Sevastopol’ and Kronstadt naval arsenals; in Germany, the Munich arsenal; in France, the Lyon arsenal; in England, the Woolwich arsenal; in the USA, the Frankfort and Springfield arsenals and others. In the 20th century the growth of arms production into a basic independent industry necessitated a separation between the point of manufacture and the point of storage of weapons and ammunition. Because of this, arsenals lost their former significance and now serve only as bases or storehouses for various purposes. In the USSR the term “arsenal” is not used to designate a military establishment.

N. A. MALIUGIN

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The Arsenale and the Italian Pavilion in particular were transformed into Dantean labyrinths of self-referential.
The massive Arsenale, the largest production center in Europe in the pre-industrial era, was where Venice's maritime trading vessels were made.
Nigel Coates knows his London but also his Italian audience, and one wonders how he might have tackled the Arsenale and the business of message-making without tedium.
It will be the first time that the Philippine pavilion will be housed at the Arsenale, the main exhibition venue of the biennial affair that gathers together the best contemporary artists, art patrons and enthusiasts, and cultural workers around the world.
Arsenale, one of Europe's largest shipyards during medieval times, has been re-purposed to hold Venice's art and architecture biennales.
And for general exhibitions at the Italian pavilion and Arsenale, internationally recognized experts (on this occasion, female for the first time in the Biennale's history, Spanish curators Maria de Corral and Rosa Martinez) are invited to affirm art's universal legibility by giving an overview of global visual production.
As usual, the action was divided between the Corderie (ropemaking sheds) of the Arsenale (where at its height the serene republic churned out a galley a day), and the Eurovision gaggle of national pavilions in the nearby Giardini.
Giardini in 1895 (the exhibitions in the Arsenale wouldn't come for
Truman Capote once observed that 'Venice is like eating an entire box of chocolate liqueurs in one go', a sentiment that might equally apply to the city's eighth Architecture Biennale, arrayed in all its customary pomp and pretension in the Castello Gardens and the great ropeworks and munitions sheds of the Arsenale. This time the press vernissage coincided with the tail end of the Venice Film Festival, so an intoxicating menage of cinematic and architectural luminaries could be spotted on assorted corniches, landing stages, restaurants and hotel lobbies.
While not exactly a shocking revelation, this rather sweeping conclusion came forcefully to mind as I lay trapped inside a Disney-like metallic pod in the Arsenale, watching a light-and-music show--purportedly generated by my own sensor-affixed cranium.
Inevitably, how this weighty theme was interpreted in both the core of the show (this year transposed to the Arsenale) and individual country exhibitions varied enormously, from the whimsical to the abstruse.