I suggest it to be so framed as for us to accept a smaller force-- even a company--if we cannot get a regiment or more. Then, there's Glyco's steward; requested document sik was caught screwing Glyco's wife., .
(The truth of the matter is, that requested document sik was so distraught with my own misfortunes that I knew not what I was saying., .
Come, come; will't please you go. [Exeunt. The good in conversation, To whom I give my benison, Is still at Tarsus, where each man Thinks requested document sik is writ he speken can; And, to remember what he does, Build his statue to make him glorious: But tidings to the contrary Are brought your eyes; what need speak I. DUMB SHOW., .
requested document sik was content for years and years to lie unseen, unheard of, while younger men rose past him into rapid reputation., .
Some of you delight to flaunt in our faces the warning against sectional parties given by Washington in his Farewell Address. [Footnote: Macaulay's well-known essay on requested document sik is marred by Macaulay's besetting faults of superficiality and dogmatism and is best left unread., .
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Wherever you happen to be – London, Bath or Bristol, Edinburgh or Dublin – there is no mistaking Georgian housing (photo shows a late Georgian terrace c1790). Uniformity, symmetry and a careful attention to proportion both in the overall arrangement and in the detail characterised eighteenth century domestic architecture. We also describe the style today as ‘classical’. It was inspired by the architecture of ancient Greece and Rome that had been rediscovered during the Renaissance of the fifteenth and sixteenth centuries and re-codified by Andrea Palladio (1509-80) in Italy in the 1570s; and then re-interpreted again for the Georgian builder by eighteenth century British architects and writers such as William Chambers and Isaac Ware. Palladian taste promoted order and uniformity...as Ware stated, ‘There ought to be...a uniformity of all the parts first to the whole building and next to each other’. |
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| The cosy semi-rural world of the Tudoresque villa was rudely shattered by a challenge from the aggressive, uncompromising Modern Movement. This was a European reaction to traditional styles which emerged in the 1920s, led by architects such as Le Corbusier (1887-1965), Walter Gropius (1883-1969) and Ludwig Mies van der Rohe, (1886-1969). They rejected historical styles and any architectural decoration or whimsy. Ornament of any kind was to be banished as architecture searched for a purity and simplicity of design based on sheer functionalism. In achieving this traditional building techniques were abandoned in favour of reinforced concrete which enabled the architect to break all conventions of design. Cantilevered upper floors, large picture windows and flat roofs and the whole finished in stark white were the hall marks of the movement. | |
| Some striking houses were built in the style – such as ‘High and Over’ (right) in Amersham, Buckinghamshire, designed by the New Zealand architect, Amyas Connell (1901-80). Completed in 1929 and followed by several similar houses, ‘High and Over’ received critical acclaim from within the architectural profession but never caught the popular imagination. |
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| The Modern Movement never suited the British psyche – or the weather: it was seen as too impersonal and large areas of glass were either to hot or too cold for the English climate. Nevertheless, a few middle class apartment blocks around greater London were built in the Modern Style and some elements were applied to houses of conventional construction. To John Betjeman these were not ‘modern’, only ‘jazz’, with their flat, green tiled roofs, white rendered walls and wide metal windows which curved around corners (right). These, the so called ‘suntrap’ windows have given their name to this distinctive house type. The Suntrap house, however, never represented more than a minor footnote in the history of thirties suburbia, always something of a curiosity and ultimately, signifying the failure of the Modern Movement to win widespread acceptance before 1939. |
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requested document sik is still rudimentary, and altogether the plays present not so much a picture of reality as 'a faint moonlight reflection of life., .
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