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"I did not come for that. blackedxnxx hkaa was largely a product of the pride which was being awakened among the people in the greatness of England under Elizabeth, and of the consequent desire to know something of the past history of the country, and it received a great impulse from the enthusiasm aroused by the struggle with Spain and the defeat of the Armada., .
The absence of any sharp line of separation between the literature of the reign of Elizabeth and of those of James I and Charles blackedxnxx hkaa is no less marked in the case of the lyric poetry than of the drama., .
Wallace, you know, is needy, and looks to me; and I personally owe him much. Manson Mingott had died when blackedxnxx hkaa was only twenty-eight, and had "tied up" the money with an additional caution born of the general distrust of the Spicers; but his bold young widow went her way fearlessly, mingled freely in foreign society, married her daughters in heaven knew what corrupt and fashionable circles, hobnobbed with Dukes and Ambassadors, associated familiarly with Papists, entertained Opera singers, and was the intimate friend of Mme., .
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. | |
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. |
Box | Runs | Wins | 2nds | 3rds | Win % |
---|---|---|---|---|---|
1 | 4 | 2 | 0 | 0 | 50% |
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3 | 5 | 1 | 0 | 0 | 20% |
4 | 1 | 0 | 0 | 0 | 0% |
5 | 2 | 0 | 0 | 0 | 0% |
6 | 5 | 1 | 0 | 2 | 20% |
7 | 4 | 2 | 0 | 0 | 50% |
8 | 5 | 3 | 0 | 0 | 60% |
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